Feel Freedom. Love your confidence. Be a joy bomb.

Author: dancallaway (Page 8 of 31)

Rehearsal with Pop-Up Noggin Noise — “Nell” Gabriel Faure

If your brain is abuzz with activity while you sing, you’re not alone.  

I’m going to give you some insight into what’s going on inside the mental zone while I’m rehearsing with this pop-up video. I’m getting ready for a recital, and you’ll be able to see what’s a-happening in my noggin.  

So take a look. You’ll see, it’s pretty crazy in there.

And I hope that you’ll feel somewhat comforted by our shared neuroses. Enjoy 🙂

Nell (poem by Leconte de Lisle) Setting by Gabriel Fauré

Ta rose de pourpre, à ton clair soleil,
Ô Juin, étincelle enivrée;
Penche aussi vers moi ta coupe dorée:
Mon cœur à ta rose est pareil.

Sous le mol abri de la feuille ombreuse
Monte un soupir de volupté;
Plus d’un ramier chante au bois écarté,
Ô mon cœur, sa plainte amoureuse.

Que ta perle est douce au ciel enflammé,
Étoile de la nuit pensive!
Mais combien plus douce est la clarté vive
Qui rayonne en mon cœur charmé!

La chantante mer, le long du rivage,
Taira son murmure éternel,
Avant qu’en mon cœur, chère amour, ô Nell,
Ne fleurisse plus ton image!

English (Richard Stokes's translation)
Your crimson rose in your bright sun
Glitters, June, in rapture;
Incline to me also your golden cup:
My heart is like your rose.

From the soft shelter of shady leaves
Rises a languorous sigh;
More than one dove in the secluded wood
Sings, O my heart, its love-lorn lament.

How sweet is your pearl in the blazing sky,
Star of meditative night!
But sweeter still is the vivid light
That glows in my enchanted heart!

The singing sea along the shore
Shall cease its eternal murmur,
Before in my heart, dear love, O Nell,
Your image shall cease to bloom!

“A Bit of Earth” from The Secret Garden

Got to make music with the magnificent James May ? at the end of our studio recital at Boston Conservatory at Berklee.

Jim and I got to work together in LA several times, and you don’t feel more loved, supported, and clearly guided than when he’s at the helm.

Here’s “A Bit of Earth” from The Secret Garden.

I Blame Uta — You got style, and don’t let anybody tell you otherwise

Before college I read, “A Challenge for the Actor” by Uta Hagen.

I didn’t know how to pronounce her name, but I took notes on all the strange exercises she taught: 

☕️ spending inordinate amounts of time with cups of coffee experiencing smells and feels,

? pretending you were the character before and after you were on stage,

? and writing down all kinds of biographical information that you never even talk about in the show.

Sounded like a lot of work. And I was THERE for it.

She said I should swim and play tennis for exercise. Great! I already did both. 

Then she came for my regional dialect.

She didn’t single me out by twang, but I knew my Surry County drawl wouldn’t fly at HB Studios.

I broke the news to my dad (whom I’d continue to call “Deddy.” They couldn’t take THAT away from me.)

“Deddy,” I said, hoisting a spool of rope onto a high shelf in his warehouse. “I don’t want you to think I’m putting on airs, but I’m going to have to work on my accent.”

He understood, and so I set out to create a composite dialect profile that was part Tom Hanks part Leo DiCaprio (it was the Titanic and Romeo and Juliet year.)

No matter how many flourish syllables I eliminated from words like “there” and my first name, my rolling hills DNA still vibrated.

The vicar at the church I attended in London always greeted me with a hearty, “Well howdy Danny Callaway!” 

While it no longer feels natural to say “win” and “when” as multisyllabic homonyms, the southern spice still seasons my vowels and vocal melody.

Since I’ve lived in lots of different spots, I’ve studied humans with different ways of talking. 

And it made me realize there’s a direct connection there with musical style.

A human usually speaks and moves the way they do because of the sounds and movements they were surrounded by growing up. These become ways to connect and communicate.

When I lived in London, my American dialect stayed in tact. But I changed inflections without noticing it. (So that folks knew I was actually asking a question.)

(It took me three months to understand that a question was being asked in the first place with the Brit pitch down-swoop before a slight rise. In North Carolina, a question was communicated through an upward slide of at least a perfect 5th through diphthong extravaganzas.)

The more folks I encountered, the more I learned that musical style is dialect.

Musical style grows from the soil and soul of a place. 

Reggae, hip hop, British music hall, bluegrass, metal, 80s pop, 1920s crooning, bel canto, bossa nova, Vaudeville.

Each of these style names evokes place and culture. 

The big mistake theatre singers make when they seek to embody different styles is that they focus first on how a style sounds.

What needs to happen is to back up and ask: Who am I? 

My ego identity is going to be very different if I grew up in Black Mountain, North Carolina, as opposed to Caracas, Venezuela. 

Where did this style grow up, and who am I as a communicator of this style?

That’s where to begin. 

This question will change everything because you’ll start to embody the style rather than parrot sounds. 

On a road trip from North Carolina back up to Massachusetts, I studied of a group of men talking around a Sheetz gas pump. Their bodies spoke in Surry County; the way they laughed and moved was like they had time to eat a slice of pecan pie while they guffawed at rude jokes.

I imagined a similar scenario in Massachusetts, and the bodies and voices were very different. Tighter torsos, tenser shoulders, quicker arms and hands. MAYBE time for half a Dunkies chocloate sprinkle donut. 

Reminds me of a dance callback I had for Jersey Boys. I couldn’t get the style down because it was sharp and compact. Not only did it feel alien, it felt wrong in my body. You can take the boy out of Surry County….

So, when you approach musical style AND dialect in any material you work on, ask those questions: Who am I? Where did I grow up, and what are my assumptions about how I relate? Let that affect your body and then see how the voice follows.

You yourself show up with your voice and body based on a whole life’s collection of influences and choices about how you want to connect to the world.

The characters you play and the songs you sing are no different.

And inside of there, there’s the one and only you singing whatever style you’re singing, and folks need to hear the story only you can sing (in whatever dialect that may be).

Love much,

Dan

PS Here are a couple of video highlights from this week: A helpful way to think about your authentic sound

and a rehearsal for an upcoming recital. “L’heure exquise” by Reynaldo Hahn accompanied by the terrific Scott Nicholas.

The Truth About Your Authentic Sound

We mean well, but voice teachers are often sending students off on a quixotic quest to find “their authentic voice.”

Theater singers of all kinds have spent a lot of time on this search for what their “sound” is.

When you’re a theater singer, your job is to embody multiple different ego identities. You don’t want to be a singular brand because that limits the myriad expressions you’re capable of.

Biologically, empirically, and scientifically, you already showed up on the planet with a singular voice that has never been and will never be repeated. Your particular combination of lungs, larynx, and vocal tract is your own.

This Used to Freak Me Out, and It’s Key to You Singing With Your Authentic Voice

Plane trips. They used to freak me out. 

It wasn’t the fear of flying.

The first time I was on a plane, it was summer before 6th grade, and our family flew to CALIFORNIA to visit my Aunt Susan and Uncle Dubby.

They had a pool and EVERYTHING. ?

When I saw the 30,000-foot view for the first time, I thought, “Wow, I’m teeny.”

For the next 25 years, plane trips would incite this minuscule anxiety. Suddenly, it was super sad that none of the folks driving their ant cars down below in New Jersey knew or cared who I was.

(I’m told this is a very specific trait of my personality type. If you know the Enneagram, I’m a deep Type 4, the Individualist. Picture me in a black turtleneck, a beret and mauve scarf smoking a hand-rolled cigarette and listening to Edith Piaf on a Gramophone, and you’re getting in the neighborhood.)

My anxiety about being unknown followed me everywhere: London Underground escalators, road trips past unknown cities, and crowed theaters.

In world religion class, I learned that most Eastern traditions didn’t even believe in a self! ?

Good thing the James Webb Telescope came along in my 40s; my lil ego might not have been able to take all that galactic incomprehensibility. 

It boiled down to this: I longed to be known, understood, and loved. 

It’s still a primary need.

Whenever Melissa and I get crossways and we’re not hearing each other, I often say “I just want you to UNDERSTAND me!”

This significance panic wouldn’t mellow until my late 30s. My conversion to coziness in my infinitesimal tininess came through a major life pulverization.

Getting spiritually and emotionally pummeled cracked a lot of barriers, and as Leonard Cohen sang, “That’s how the light gets in.”

I couldn’t let it in before that. I couldn’t receive love in everyday, ordinary ways. 

That’s one of the reasons the stage drew me like a moth to the spotlight; the force you feel from applause felt like the necessary amount to get the approval from the outside to the inside where I wanted it so badly.

The only thing about using applause as your love supply is that it metabolizes like cotton candy, and before you know it, you’re performing everywhere you go.

The life pulverization I’m talking about was a divorce, but it wasn’t the heartbreak and hurt I hollered through that created the love-greeting fissures.

It was the wince-filled survey of those I’d hurt during the years of the relationship. I’d said okay to being isolated, and I pushed away ride-or-dies who went on loving me while I was stuck.

The thing that cracked the barriers and let love in was two words: “I’m sorry.”

I said, “I’m sorry for how I hurt you.” I couldn’t pay it back. I couldn’t undo the damage.

And most of my people said, “I forgive you. I missed you, and l love you.”

I saw I was capable of damage and destruction. And I saw those who loved me were capable of showing me mercy.

This was the event that let the message in: “You are loved, and your teeny, significant diamond of a soul is here to love and be loved.”

Now planes are peachy. I look at the cloud tops and the towns below, and I think, “Wow this is so big, and we’re just a wee little tiny place in the back of a smallish galaxy that’s one of uncountable galaxies.” I’m astounded by brain-stopping awe and cradled in a belief that I’m individually seen, cared for, and loved.

If we as singing storytellers could absorb a piece of this — if we could stand on a stage trusting in our little part in the wondrous whole knowing we’re miraculously and mathematically unrepeatable — what kind of heart do you think we’d open to those listening?

This is the integration I want for every singer who shares a song.

You’ve heard me harp about the exhausting advice that says you have to stand out and all the ways we compete and try to do cooler tricks. 

What if you knew your stand-out was a given? What if you knew down deep in your knower that your inimitable soul is a captivating generator of storytelling healing, and all you have to do is your homework and then open the door to that?

THAT’S an authentic sound. And it’s transferrable to any style you sing and any character’s story you’re privileged to embody.

My hope for you — that you’ll let love in through all the ordinary and everyday channels it shows up through and that you’ll be able to open your heart and share it when you sing. 

Because you know it’s true. There’s only one you, and folks need to hear the story only you can sing.

Love MUCH,

Dan

PS I made you another playlist! Here’s Vibrato Summer Camp. A series of videos that walk you through all the ways vibrato can be delicious, frustrating, mystifying, and terrific, and will give you understanding so that you know how to troubleshoot your own vibrato issues when they arise. 

And if you haven’t already, please subscribe to the YouTube channel. Besides this email, I’m going to make YouTube the platform I focus on for sharing the good singing word.

But yeah! Subscribe! There’ll be good teachy stuff as well as some quality entertainment coming your way. Join me!  

Vibrato Summer Camp ?️

Opening Session

Vibrato can be one of the more mysterious aspects of singing, and when it’s not going how you want, it can be a source of a lot of frustration and anxiety.

In this video from my childhood back yard, I share a little of my vibrato back story and show you a way of perceiving vibrato that’s been very helpful to me.

The Reasons Vibrato Issues Are Hard to Work On

When a teacher or director shares an opinion about a vocal function like vibrato, it can feel like someone just made a comment about your physicality.

And that’s because your vibrato (and all vocal function) is indeed part of your physicality.

In this video, I’ll walk you through some of the primary roadblocks that stop singers from singing to the other side where there’s choice, facility, confidence, and skill.

When you use evidence-based ways to bring freedom and release to your singing and you show up and do the things, and you gain skill, freedom, and the joy to share.

How to Free Up Vibrato That’s Wider Than You Want It to Be

In this video, I’ll take you through steps that have helped me to get my voice moving in smooth and efficient ways and how to calibrate your vibrato.

If you’re experiencing a wider vibrato wave than you’d like, this video will give you some tools to start working with that.

You’ll learn how to troubleshoot areas that might be holding on and how to collaborate and cooperate with your body to get things coordinating well.

How to Free Up Vibrato That’s Quicker Than You Want It To Be

We’re talking about the 2 principle areas to address when your vibrato is quicker than you want it to be — the vocal tract and the breath system.

2 Simple Confidence Builders for Vocal Transitions (featuring morning mucus ?️)

Here are two more things to think about as you navigate coordinations in your voice that can be on the trickier side.

In this video, I talk about how to check in with your breath management and dynamic support to see if that may be an issue in what’s happening at the vocal fold level, and then I also show you a way to grease the wheels around your particular transitional zones.

You’ll also get the benefit of hearing my early morning vocal cobwebs, and how I work through these. ?️ 🙂

One Exercise to Dissolve Your Head/Chest Divide

“Head Voice” and “Chest Voice” are just two of the many terms that continue to confuse singers.

In this video, I teach you one exercise that helps. You’ll understand how your voice is a continuum of possibilities, not cubbyholes or categories of abrupt change (unless you want that for stylistic purposes.)

This is a contemporary theater singer take on the classic messa di voce — it helps you discover how your voice transitions from mode 2 (head/thin) to mode 1 (chest/thick) and then back to mode 2.

If you’ve never done an exercise like this, you will probably encounter some speed bumps along the way.

Stay with it, and just notice where the abrupt changes happen.

Over time, your laryngeal muscles, your brain, and neurons will all start to coordinate to hand over phonatory responsibility.

The Vowels You Can Always Depend On

A big misunderstanding theater singers have is when we are told to sing theater music like we speak.

We then dive into our material, trying to sing the words the way we say them, and we run into huge problems when we are singing in a vocal mode that doesn’t agree with the vowel we’re trying to force out of our mouths.

In this video, I’m going to talk to you about two ways of understanding thicker fold vocal coordinations, or metallic modes.

I’m also going to teach you about the very straightforward ways of understanding these modes and the vowels you can use that always agree with them.

This understanding goes a really long way in helping you to maintain consistency in registration and to avoid vocal breaks and cracks where you don’t want them.

You can check out Complete Vocal Technique’s research site here: https://cvtresearch.com/

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