Classical singing isn’t neutral

One of the most interesting things that happens when a classically trained singer starts exploring contemporary work is that they often discover something they didn’t realise they were doing.

They’re holding a shape.

I have seen this repeatedly over more than 30 years of working with singers who want to expand their sound palette, and Gillyanne has had similar experiences with her clients.

The singer is usually very aware of technique. They may have studied breathing, support, placement, vowels, resonance, register and legato in enormous detail. But many have never been asked to notice the overall resonating configuration they associate with “singing properly”.

It’s become invisible because it feels normal.

Moving from classical singing to contemporary styles

A configuration that’s efficient and stylistically useful for classical singing may make another task harder. Not wrong. Not bad. Just designed for a different job.

I was working recently with a classically trained singer who wanted more access to contemporary musical theatre sounds.

We contrasted her usual singing shape with a different configuration.

First she sang in the familiar way. Then we changed the overall shape and compared.

The difference was immediate. The second version felt smaller to her. But it wasn’t weaker. In fact, she could maintain the M1-heavy coordination she wanted with much less effort.

That contrast is the important part.

I am not interested in telling classical singers to abandon classical technique. Quite the opposite. I want them to understand what that technique actually asks them to do, when to use it and when to change it.

You get a choice

Once a singer has something they can experience and compare, they can change it. Before that, they may simply assume: “This is how singing works.” And then spend years trying to force a contemporary sound through a setup built specifically for another style.

That can become frustrating very quickly.

Sometimes expanding your vocal range does not mean finding more notes. It means finding more options. The moment you can hear and feel the difference between two setups, your sound palette gets bigger.

And that, for me, is the point of vocal training. What are your thoughts?

 

If this blog makes you want to change style, book a session and find out what’s stopping you here