Alleson Aering wrote :
<< It's the demands within the repertoire that bring forth the skills--both interpretive and technical. If we all learn to sing a perfect G, then a perfect A, then a B, etc., we'll stick these into our repertoire note by note. And that's all we get: note after note of perfect singing that means *nothing*.>>
This is so true! Furthermore each repertoire (period, style...) will require a different "perfection": there are lots of different "perfect G", and no one is less perfect than the others! ;-) The phrasing between all those perfect notes will also be different.
An important step, for an "advanced beginner", will be to learn those different "relative perfections". Some of them will suit him more than others. At a certain point, the student will probably feel the need to specialize, be it only for one week or one month. But all these different styles must be explored very early. Otherwise, the student's technique will become too stiff to incorporate the necessary temporary changes. This also happen when one study with a zealot of school X or Y.
And it's also fun to sing like in a musical, like in an operetta, like an Italian or a Russian singer, alla Caccini or alla Lully or alla Puccini...
| Alain Zürcher, Paris, France | L'Atelier du Chanteur : | http://chanteur.net
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