Teaching Singing
By David Barela
When I was a young boy, my music teacher in school let me borrow a recording of the legendary singer Lily Pons. When I played that record, I could not believe my ears. The beauty of her voice, not to mention the ravishing music she sang, struck me. From that moment on, I knew I wanted to be a singer.
I entered college as a voice major. The University of New Mexico awarded me a full scholarship. My first voice teacher was one of the rare individuals who not only were a great voice teacher but also a superb pianist. Her name was Jane Snow.
This is the great singer and teacher Igor Gorin who I studied with for five years.
I remained at the University of New Mexico for two years then I transferred to the University of Arizona to study with the greatest teacher I have ever had. His name was Igor Gorin. I spent five years in his studio as not only his student but also his accompanist. I had the opportunity to hear this great singer teach and demonstrate day after day. I base my understanding of singing on his technique.
In 1976, I presented a combined recital with the tremendous soprano Martha Belén. This recital took place at the Old Center for the Arts in San Francisco, Ca.
Many other great professionals have also influenced me. These distinguished artists had one thing in common and that is they built their artistry on a secure technique. That is why I focus my efforts with a beginning singer on the development of a solid technique. I do not rush this process. I take an athletic approach to teaching singing; by that, I mean, like any thorough coach, I spend much time on training muscles. A dancer spends years doing the same exercises repeatedly, thereby gaining mastery over their bodies. It takes time and determination to train and develop the voice, built over time, this understanding of technique allows the singer the freedom to bring the music to life.
Classical training will stand any type of singer in good stead. The one thing that a great gymnast, ballroom dancer, figure skater, jazz dancer, or any other type of athlete that require beauty and grace to achieve the highest level of performance, is integrating a foundation in classical ballet. The same is true for any singer who is serious about singing well. I am not a vocal snob by believing that classical music is the best form of music. I have listened to all types of singing. Of course, I am partial to a beautiful classically trained voice, but it is my belief that all singers can benefit from a better vocal technique. A well-trained singer must learn elements such as intonation, rhythm, quality of sound, projection, diction, and artistry if one desires to sing well. A gymnast applies the knowledge gained from classical training to the sport of gymnastics. It is also true for the singer. The singer needs only to modify the technique to fit the style of music. The educated singer who sings the music from Broadway, to country western and hip-hop would have an advantage over the singer who relies on natural ability alone. Natural talent, although indispensable, will take a singer only so far.
After I feel a student’s technique is established, I begin to focus on developing the artist. For me, this is the best part of teaching because I introduce the great masterpieces of the vocal literature. I began with the early Italian masters, and then I move on to the German and English/American composers.
My puissance is that I am an exceedingly good pianist and accompanist. Jane Snow, my first voice teacher, set the standard that I thought all voice teachers adhere. I was soon to realize that she was the exception rather than the rule. I have played the piano from the time I was four. During the fifteen years I devoted to singing, I was playing the piano. I focused my entire energies to improve my piano skills after deciding that I no longer wanted to be a professional singer. I am so grateful for my ability to play the piano. It has been my most valuable prowess.
Learning to sing well takes time. The undeveloped voice is like a diamond in the ruff. Much time and effort must be devoted to the cut in order to create a priceless gem. The diamond cutter can easily ruin a stone with one wrong strike. I treat each voice with the same care a great diamond cutter shows to a priceless stone. In conclusion, I feel privileged to be a teacher. The great thing about teaching voice is that all students can improve, regardless of talent. In addition, seeing this improvement gives me great satisfaction. As Enrico Caruso, the greatest singer of his age, once said; “Success is due to real work along one’s natural calling. Work, work, and still more work, makes the fine singer. Laziness in preparatory work makes the failure.”
