Hate watching

I read an article in a recent NATS publication about hate watching. We all know the game: watching a performance we expect (or hope) will be bad just so we can make fun of it. American Idol has made a lot of money off the concept. The article made reference to last year's NBC production of Sound of Music with Carrie Underwood as an example and pointed to the social media commentary as proof of all the hate watching.

I think a lot of times we imagine auditions, masterclasses, Dem Lab performances, JURIES, like everyone is hate watching our performance, just waiting for us to make a mistake.

When we find those thoughts creeping into our heads, it may be worth stepping back to consider what kind of audience members we are ourselves. Do we hope the performers we are watching do well or are we secretly rooting for some noticeable failure (as if their failure somehow makes us better)?

It’s one thing to notice imperfections and to have opinions about what we are seeing and hearing and deciding what we might do differently. That’s an important part of developing artistry. And it’s perfectly alright to say that you don’t like a performance.

But what are we looking for? Are we looking for flaws or looking for what works? Are we quick to criticize or quick to compliment?

Now, consider how you evaluate your own performances. Do you look for the flaws first or can you just as easily highlight your areas of excellence?

Did you see this French ad for Dove?
http://www.bustle.com/articles/74573-french-dove-campaign-asks-women-to-write-down-every-negative-thought-about-themselves

We would never let other people get away with saying the negative things to us that we say to ourselves. We all know haters gonna hate and we can't do anything about that. Do we really need to do it to ourselves, as well?

Some of the most gracious performers I know are also the most gracious audience members. They love to perform and they love to watch others do what they love—perform.

I love watching my students perform. Honestly, it’s one of my favorite things to do. I enjoy it even more when I can tell you feel good about your own performance.

That’s what I'd like to see at your juries. Thanks for a great semester!

Now go practice.

Practice like Wynton

One thing I’ve been trying to emphasize differently this year (and the impetus for this blog, really) is just how intentional and methodical practicing needs to be if we are to make the most significant improvements.

Generally, we don't really need much time to warm up our voices. But we DO need specific exercises—used regularly over time—to build the voice in ways that will lead to the most significant improvements in our technical capabilities.

Singing in your car may serve to warm up the voice, but it can't really be considered honest “practice” because the seat tends to compromise posture and singing over the outside noise of the engine and traffic encourages pushing the voice. Plus, if you are really giving your singing the focus it deserves then you aren't paying enough attention to your driving.

Singing through a bunch of songs is one form of practice but it should never be a replacement for daily technical work.

Here is a site I saw recently (thanks, Cecily!) about how professional trumpet player Wynton Marsalis practices:

http://arbanmethod.com/wyntons-twelve-ways-to-practice/

His list of twelve ways to practice emphasizes a lot of elements we have worked on and discussed in lessons but also introduces some concepts that were new to me. I especially like #9 and #12, which I hadn't ever seen spelled out in quite that way before.

Which number(s) on the list work the best for you? Which numbers do you need to emphasize differently?

“I like to say that the time spent practicing is the true sign of virtue in a musician. When you practice, it means you are willing to sacrifice to sound good.” —Wynton Marsalis

Now go practice.