“A singer’s work is never done.” That is the first thing that comes to mind when discussing the varying levels of proficiency in a singer who participates in any type of ensemble work. While much of this applies to all singers – it is specifically targeted for Sweet Adelines, female singers performing in the barbershop style of 4-part harmony.
We must begin with the understanding that the instrument itself is dynamic. The human voice is always changing and affected by a number of items that, in and of themselves, are also dynamic. These include such factors as:
- Overall health
- Age
- Emotions
- Environment
- The performing ensemble (the ability to interact, connect with and trust the other performers and audience)
- Innate skills (God given – may not know how or why they can do something)
- Acquired skills (through practice and education)
This constant dynamic state is the single most noticeable attribute that wears any singer down. Our expectation is that that once we get a handle on a particular skill we can move on. We are finished with “that” and we don’t want to work on “it” any more.
Nowhere is this dynamic change more evidenced than in the breathing skills. Yet, each successive skill is built with an ever-increasing awareness of the breath, which connects us to our bodies, our sound, our music and our soul.
From Novice to Expert, I believe a singer tends to fall within one OR MORE of the “Four Stages of Competency”. The singer may move backward or forward based upon what is going on in their lives. For example, a woman during pregnancy may find that breathing while singing takes on a completely new dimension, even though she had reached the point in her singing career where it required little thought due to her physical exercise routine during the “non-pregnant” state. Another example is seen in the process of recovering after any kind of vocal distress. This requires patience that the singer may or may not willingly accept.
Moreover, the idea that just because I KNOW how something is to be done, I can immediately integrate it has tripped more potential adult singers than any single perceived obstacle. The ability to deliver a performance that captivates an audience takes time and practice. As Aristotle said, “We are what we repeatedly do. Excellence then is not an act but a habit.” Therefore, contrary to the popular saying “practice makes perfect” any accomplished artist or sports aficionado knows that practice makes permanent, so the simple fact is, perfect practice creates a perfect performance.
Being one to have a firsthand relationship with the saying, “God grant me patience, but hurry”, it has taken years to find that place where “now” is filled with “joy”. I have fought with myself to own the concept that the joy is in the journey, not the destination. As singers, we will always be in a state of growth or decay – we choose. As Kim Hulbert once pointed out, a state of perfection is only achieved when you are six feet under.
So let us examine the necessary skills along with the four stages and their interaction. It is the one who masters the skills and acquires the gift to perform in the “now” of sharing their performance with their audience, that one finds an artist who uses their instrument as their brush and the universe as their canvas.
7 Skill Areas
Starting with the specific skill areas, the following list is a short version of an ensemble singer’s ideal skill areas.
- Posture
- Total connection from head to toe with fluid, flexible freedom
- Breath
- As the foundation for any sound, the breath carries with it the ability to deliver the sound. This sound will ride on a column of air that is free from tension both on the inhalation and exhalation
- Pitch Accuracy
- The internal sense of “do” and the ability to produce sounds that enhance the ring and spin of the barbershop style of music
- Articulation
- With a focus on the American English language, singing well-matched vowels and consonants that create a flowing vocal line and allows the listener to understand the story being told
1. A visual chart as well as audio examples of several diphthongs can be seen / heard at http://www.paulmeier.com/ipa/diphthongs.html
- Resonation
- The balanced combination of back space and “ping” within the voice creating overtones using the four resonators
- Nasopharynx – the nasal passages and sinus cavities
- Mouth
- Oropharynx – the back of the mouth
- Laryngopharynx – the area from the top of the larynx to the back of the mouth
- Vocal Energy and Freedom
- Awareness and use of the singers “own” voice
- Appropriate Physical Tension
- Appropriate Emotional Tension
- The ability to focus and stay in the moment
- The ability to move with and within the music
- Artistic Delivery
- The moment when the energy is fed and created by the interaction between the audience and the singer. The singer is able to be one with the message in the music and take the listener on a journey. During this journey, the listener is able to suspend belief being transported to another place and time.
And before we continue, I’d like to point out that it is true that we have all had the opportunity to hear one or more soul moving performances where at least one of the first 5 skill areas were demonstrated with something less than perfect command. Listening to Joe Cocker singing, With A Little Help From My Friends, the audience is moved both by the message and the messenger. His commitment to the performance is obvious – whether we like the style or not. In “barbershop style harmony”, (among other characteristics) the ringing chords set the music apart. Therefore, the unit approach within the ensemble is critical to creating a musical experience that has a hope of achieving that ultimate Artistic performance so each individual will contribute based on her mastery of each skill.
Unconscious Incompetence
With the overview of the skills behind us we continue on to the first stage of competency called “Unconscious Incompetence.” At this level, a Novice singer neither understands nor knows how to do something beyond singing the words and generally the right notes. Moreover, they are not even aware that they don’t know. In many cases, the Novice or Beginning singer will quickly move OUT of this stage in one or more skill area but still have the majority of skills fall within the stage. For example while many singers begin to get a handle on breathing as to move into stage two or even three, it will be sometime before they understand or even recognize Vocal Freedom. The preconceived idea of what is “good” or what the singer “should” sound like can take time to process. They may not recognize for some time that they are trying to sing in a style that isn’t their true voice (such as imitating another singer that they frequently listen to).
Conscious Incompetence
At the second stage of learning, known as “Conscious Incompetence”, the singer does recognize a specific skill, though she does not understand nor know how to execute it. The Advanced Beginner is seen primarily in this stage. Additionally, singers may even have a limited number of skills beginning to emerge in the third stage of competence (Conscious Competence), yet it is almost a toss of a coin as to their ability to execute any one of them.
The singer at this level may find themselves very frustrated because they know “what”, they may know “why”, but they can’t get a handle on the “how”. The singer as well as the ensemble will do well to encourage further study while AT THE SAME TIME treating themselves and others with TLC. That loving kindness, persistence and patience will help the artist emerge through the periods of doubt and–what sometimes feels like self-loathing. It takes time to create new habits, even longer to break old ones, and any one of the 7 Area Skills can be quite challenging to overcome. Repeating the mantra, “An Obstacle is Simply an Opportunity in Disguise” during this time may be quite helpful.
Conscious Competence
In the third stage known as “Conscious Competence”, the singer understands or knows how to execute a minimum of the first six skills necessary for a wonderful performance. However, demonstrating the skills requires a great deal of focus and concentration. This is where you will find many “good” singers—very proficient indeed—but, they require much presence of mind. We can easily fall into the trap of “good enough” at this stage because we are having fun, the audience enjoys the performance and we probably don’t have to spend a lot of our time outside of rehearsal maintaining this level of competency to varying degrees.
It is during this third stage the singer may have one remaining area that they have yet to relate to. This may be due to either a lack of opportunity to experience it, a belief that it is beyond their capabilities OR a fundamental resistance to allowing it to happen. This is the ability to experience a truly artistic moment of delivery. This experience, more than any other, will encourage the singer to progress and seek to own the final level of competency in all of the skill areas so that they are one with their voice.
Unconscious Competence
The fourth and final level, known as "Unconscious Competence", is achieved when the singer has had so much practice with a skill that it becomes “second nature” and performs easily and effortlessly, purely and unconsciously. The singer may or may not be able teach it to others, depending upon how and when it was learned. Someone considered an “Expert” singer exhibits the first six Skill Areas at this level to a high degree of consistency. Again, the important thing to remember here is that the human instrument is dynamic. Therefore, the Expert singer will revisit all of the skill areas during rehearsal / practice sessions. A singer who really believes that their instrument is a gift from a higher power will continue to practice these skills so that the performance is free of any effort to control the sound thereby allowing them to stay in touch and in tune with their audience.
A 5th Dimension?
Finally, I believe that there is a level beyond “Expert” where the singer is truly an Artist. The Artist exhibits all of the first six skill areas to a high degree and is blessed when they are one with the seventh. This experience is more of the exception than the rule. It is my personal belief that this is often because we are afraid to be laughed at, to make a mistake, yes even to fall on our face. We refuse to risk much – therefore our ability to experience much is elusive. It is important to remove all elements of doubt within any performance. Knowing that we can deliver (Conscious Competence) is only a single element of the Artistry, trusting that we have the ability to deliver (Unconscious Competence) is yet another key. However, it does not stop there. In an ensemble, there are other performers on the stage. This level of Artistry means that everyone trusts each other to deliver. That takes time, preparation and Belief. Or maybe—that’s where it all starts…
May your path include a journey to transcend and experience the magic of that artistic moment. My desire for you is that it will be yours at least once in your life.
In Harmony,
Kira Wagner
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