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Quarterly Newsletter - Feb/Mar/Apr ’12 |
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2012...here we come! |
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DISCLAIMER: The information contained in this electronic communication may be privileged and confidential, intended only for the exclusive use of the addressee. Opinions expressed are those of the sender and not necessarily the opinions of DJARTS. If you are not the addressee, any use of this communication is strictly prohibited. If you have received this message in error, please contact info@djarts.com.au. While DJARTS is using the latest antiviral tools, we do not accept any responsibility for problems caused by viruses or other destructive mechanisms which may be attached to electronic communication. Please scan this email and any attachment for viruses. If you no longer wish to receive email as a part of the djarts mail out, please reply to info@djarts.com.au requesting your removal from the list. |
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© Djarts 2012. All Rights Reserved. Permission is required to reproduce any information written herein. Djarts ~ PO Box 1375 Carindale QLD 4152 ( (07) 3398 6758 * singing@djarts.com.au |
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* Whilst Djarts seeks to maintain a high standard in all areas, Djarts does not accept any responsibility for items listed in the classifieds. Any individual involving themselves with any product, competition, audition etc does so at their own discretion. |
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If you have a gig you would like to advertise, some equipment that you are wanting to sell or you've heard of a great seminar coming up then email us your classified for review and inclusion in the djarts facebook wall feed*. |
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Our Vision To facilitate professional voice instruction in a manner that is both progressive and practical to equip vocalists ranging in experience from amateur to professional with current contemporary technique. Our Facilities The studio is situated on a private premises in a purpose furnished teaching room with a range of facilities and features: · Fully integrated computer run facilities · Multi-media format amenities including CD, MP3, DVD, VCR, Minidisk, Midi, and Tape · Teaching Aids including medical moulds and posters · Vocal analysis software (Sing & See) · Extensive library of music and vocal reference texts, including over 4500 backing tracks. · Functional PA system for vocal performance during lessons. · Clean, tidy and private learning environment with air purification for healthy learning. |
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more about Djarts... |
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more Singing Tips... |
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· 2012...here we come! · Don’t forget to ‘Check In’ · Entertainers Secret · Vocal Tip: “Energy vs. Effort” |
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In this Issue... |
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Most people commence the new year with optimism and excitement for what the future 12 months might hold. At Djarts we are no different! Term 1 is well and truly underway and we are positively enthused by the students who have already commenced their vocal training for 2012. Will you be receiving vocal training this year? Perhaps you committed to yourself that 2012 would be the year that you tackled the challenge of developing your voice under the instruction of a qualified singing teacher. Don’t look now because January is nearly behind us, and before you know it you’ll have celebrated Easter and the determined dream of learning to sing during 2012 will have vanished with the Easter eggs. Each year Djarts Singing Voice Specialist, Dr Dan, helps hundred’s of singers to realize their vocal potential. Whether you’re an absolute beginner with no singing experience or a touring professional vocalist with more performance experience than you care to mention, Dr Dan would love to help you realize your FULL vocal potential. Give us a call on (07) 3398 6758 at the studio to book your 2012 singing lessons...we’re waiting for your call. |
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Don’t forget to ‘Check In’ |
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You can download a range of articles by Dr Dan covering the broad topic of singing from our online repository—Scribd.
One of my favourite memories from high school was my involvement in the bi-annual musical. As I look back with fondness on these times it strikes me how I recall the rehearsals with greater clarity than the performances. It’s the time taken developing the skills to present the show with friends that seem to embed themselves in our long-term memories; process over product. I particularly remember a session of ‘vocal warm-ups’ with a senior member of our high school cast who insisted that we stand in a circle and project our voices at each other. The simple instructions required that we yell as loud as we could until we could feel our whole body exert enough effort to be heard over the other young thespians in the circle. As a 13 year old boy in grade-nine I found this extremely fun and exhilarating; completely oblivious to the fact that the tremendous effort I was driving through my larynx was placing my vocal health in harm’s way. The idea of ‘projecting’ the voice will not be a new one to many of my readers. But what does it mean to ‘project the voice’? The archetypical example of the singer standing on stage and being heard in the back rows of a large auditorium is often given as the model of a ‘well projected voice’. This illustration seems to pre-date the use of modern amplification and points towards the classical singer whose voice is not assisted by a microphone. Robert Edwin (2000) highlights the difference between the amplitude (volume) required by a classical voice compared with the contemporary sound. He tells the story about one of his students who ...realised that her acoustically-driven [classical] mentality to project to the back of the performance space was a detriment in her pop singing since the microphone rendered projection moot. Singing conversationally into the mike helped her tell her story far more effectively and efficiently. (p. 72) Edwin’s student had learnt to attribute a sense of physical effort and activity with her vocalisation. It’s important that I spell out, as always, my instruction is directed to the contemporary vocalist. Classical singers often perform without microphones and consequently need to deliver an acoustically reinforced sound which, by virtue of its particular frequency refinement, can be heard over the instruments that accompany it. But even for the classical singer the development of volume and projection should not come about through physically exerted effort. It seems to me that singers (classical and contemporary) who do try to form their volume through sheer effort often find themselves ‘laryngeally focused’. That is to say that their sound is being produced as if their larynx is required to do all the work. Gillyanne Kayes (2004) warns that, “The vocal folds on their own are not enough to enable seemingly effortless projection in large spaces or over long-term use” (p. 75). A singer’s instrument is much more than the larynx alone. I often say to my students that their vocal instrument starts at the top of their head and finishes in the soles of their feet; their entire body is the instrument! This is where ‘energy’ comes in… The optimally ‘energised’ instrument evenly distributes the physical activity of singing and the associated effort required throughout the entire body. Some students incorrectly misinterpret the idea of reduced-effort as a request for a lazy physical engagement of the instrument (whole body). No! A lazy voice will lead to a lazy performance; and surprisingly to some can also lead to heightened vocal fatigue. The aim of every skilful singer is to present the voice in an energised fashion; loud or soft. Yes, even softer sounds can be energised. You see it turns out that all levels of volume, shifts in dynamics and acoustic projection require the whole singer to be energised at all times. You could apply the old adage of ‘work smarter, not harder’ at this point. The smart application of skill and balanced energies trumps the more fatiguing and harder activity of effortful and lazy singing. Perhaps the most difficult challenge in establishing an energised voice is kinaesthetically identifying when you are engaging effortful phonation. I note that it was Edwin who, in the earlier quote, identified the effort in his student; often we need another person to help us ascertain when a sound is effortful or energised. A vocalist who has been singing incorrectly their entire career may not even know their technique is lacking aside from the symptoms of vocal wear and tear (and even then they may be blissfully ignorant!). In the match-up between energy vs. effort the energised voice is the underdog. Why? It seems our bodies are more likely to respond with effort because singing with energy is a refined skill whereas anyone can stand in a circle and yell uncontrollably – even a 13 year old boy in his high school musical! References Edwin, R. (2000). From classical to pop: a case study. Journal of Singing, 56(3), 71–72. Kayes, G. (2004). Singing and the actor (2nd ed.). New York, NY: Routledge. |
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Sessions from only $60 |
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Current Available Lesson Times |
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Entertainers Secret |
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more Djarts Product... |
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While we are on the topic of email updates; we’d love to hear your feedback about what you would like to see or see more of in the updates in 2010. What parts of the updates have you really enjoyed? What would you like to see more of? Email Jodie with your suggestions— Jodie will send the first 2 insightful suggestions one of the new flash Djarts sling bags, just for having your say! |
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The Easter performance season will soon be upon us. There’s no substitute for great technique, but even the most robust skill requires some assistance when the voice is tired. Entertainers secret is excellent in providing that ‘little extra support’ during and after a heavy gigging schedule. You can purchase Entertainers Secret online or in the studio for the great price of only $20 per bottle. |
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Many of our past and current students have joined Djarts on Facebook by ‘Liking’ our Djarts Facebook Page. As a fan you receive industry news, audition notices and the weekly “Tuesday Tip”—all direct to your Facebook wall. Did you know you can also ‘Check In’? With the use of most smart-phone devices you can easily let your friends and family know that you have arrived at your Djarts singing lesson by ‘Checking In’ to Djarts Voice Studio through your Facebook app. Try it next time you come to your lesson J |
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www.djarts.com.au |
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(07) 3398 6758 |
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Professional Contemporary Voice Coaching |
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Quality Voice Tuition |
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For those experiencing difficulty in viewing this email please refer to the attached .pdf version or view the Newsletter online. |
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The evils of ‘Effort’ versus the benefits of ‘Energy’ |