Performers

I am trying to describe what it's like to perform, putting the experience into words. My husband performed years ago and was helpful with the technical aspect, but I want to know what the performer is experiencing emotionally with the music. What is that day of the performance like? When you arrive at the hall, how do you feel? Do you talk to anyone? Is the music running through your mind? What about when you are performing? What does hearing the music do to you? Are you feeling any emotions? What about afterward? Relief, I know. But is there any emotion experienced with the separation of the music, now that you are no longer involved with it as you were during the performance. I'm trying to write this so that the reader can experience and hear what s/he is reading. Any information would be helpful. Thank you.

Question Re: Vocal Technique

Hello Marc! I recently bought your book "The Art of Singing" and I have a question concerning vocal technique. I have a student who has developed a wide fluctuation in the middle to lower range so that it becomes apparent when she is holding a note. Her upper range is fantastic and has no wide fluctuation at all. What do you recommend as an exercise in order to steady this vocal problem and what could be the cause? I have tried many methods in order to help her steady the sound...however, she does not seem to be able to apply the technique well enough to make it work for her. She is 15 years old. I suspect it has something to do with the breath, and as you say in your book....what the breath and sound is bouncing off of can make a difference. Plus, she may be over practicing and forcing her voice to do things it is not ready for? Unfortunately, I cannot supervise her methods of practice at her home. Your book is helpful for sure, although a lot of it I already knew about, due to the years vocal training I have had with several eminent teachers, since 1976. I would have liked more diagrams or photos in the book as I feel it can be an extra teaching aid. I hope you don't mind my opinion on it? Thank you and I look forward to your response. Ingrid Smith, ARCT, NATS We are busy writing The Art of Singing Better. First books are simpler, second books get to the nitti grittie. I understand. Equalizing the Registers. I have listened to narrowing, less pressure, etc. I always get confused. Most of the time the rib cage is too low. Put your hands over your head and sing your heart out. It will show where things belong. We need to duplicate this situation. With hands down, modified fourth position, ballet. The student is out of balance. The glissando from the extreme top to the absolute bottom, slowing down each time, sands down the rough edges. It also helps with preception. MAI