The King's Singers at 2008 TMEA Convention

Wednesday, February 13, 2008
8:00 p.m.
Concert: The King’s Singers

Thursday, Feb 14, 2008
12:30-1:00 p.m.

Vocal Techniques of the King’s Singers
Clinicians: David Hurley, Robin Tyson, Paul Phoenix, Philip Lawson. Christopher Gabbitas

The King’s Singers , celebrating a long tradition in their 40th anniversary year, are appearing during this current U.S. tour without bass Stephen Connolly, whose family had a recent bereavement. This 6 member, a cappella men’s group, sings many arrangements created specifically for their unique ensemble of 2 countertenors, tenor, 2 baritones and bass. The marvelous concert on Wednesday, February 13, was only the 2nd performance of a program decided upon by the group just before embarking on the tour, when it was apparent that their bass would not be able to join them.

In the Thursday clinic, the group members discussed the processes of deciding on and adjusting to a new program of music in their repertoire that would work without the usual bass voice of Stephen Connolly. Since their sound is built from the bass pitch up, this required adjustments for everyone. They approached this task together, with a sense of openness and creativity, and found this adversity to be a true bonding experience. This not only required changes in planned repertoire for the tour to works, but rearrangements of works which could be adjusted for the five remaining vocalists, and, also, in parts sung--Christopher usually assumed the bass role, but even countertenor Robin took on the low role in one arrangement! Wow! Such flexibility! Each vocalist commented on making large tonal adjustments to create good blend with the new demands on the ensemble.

The King’s Singers formula for success:
They describe their job as 80% listening and 20% singing.
• On unified vowel sounds: “exhale the air”—without pushing
• On vibrato: in block harmonies vibrato is used as a color, not as a given. We use a variety of vibrato styles.

Q: How to teach someone how NOT to use vibrato when singing?
A: Insist they not imitate others, but rather find their own voice.. In classical singing, vibrato is a result of a well-trained classical voice. Mature sound for young students is a bad idea. Let them find their own voices…

The King’s Singers report that they spend a lot of effort on developing mental flexibility, and actively work on converging the right left hemispheres of the brain, advocating the use of “Brain Gym” techniques.

Kudos to this ensemble for their successful efforts to perform a concert of the highest quality under difficult circumstances! Thanks also for being such great role models for musicians of all ages and levels.

Sincerely,
Catherine

Sir James Galway at the Texas Music Educators Association Convention

I had the pleasure of meeting Sir James Galway after an "informal conversation session" at the Texas Music Educators Association Convention yesterday.

He delighted the many attendees with his witty responses, personal stories, and opinions and advice in response to questions on flutes, recording, warm-up routines, and flute pedagogy.

Here are a few of the things I learned:

• Sir James uses top-of-the-line Neumann microphones for all of his audio and video recording.
• In response to a question of maintaining physical flexibility, Sir James proudly announced his age, 68, and suggested shoulder stretches for range of motion, forearm and hand self-massage, and, when nothing else works… just keep playing and enjoy the music!
• He practices studies regularly from the Moyse’s De la Sonorité and advocates practicing scales and patterns always with the best tone and musical expression and style. He pointed out an obvious, but seldom considered, fact: if you practice scales and patterns in a boring, unmusical, way, not only is practicing boring, but you are actually practicing to play boring and unmusical music (music is largely created from these patterns)!
• He also advocates practice of the Boehm Caprices and Andersen Etudes, in particular, to develop a fluid technique and legato while maintaining tone and musical expression.

I encourage you to join to Sir James online forum, Galway Flute Chat (Yahoo group) and to watch the videos posted at http://www.thegalwaynetwork.com/ for access to Sir James’ teaching and thoughts.

Many thanks to Sir James for reminding us that joy and expression give meaning to music-making--and to life!


I also attended the fine Valentine’s Day evening concert performance by Sir James and Lady Jeanne Galway with the San Antonio Symphony. They performed the Cimarosa Concerto in G Major for 2 Flutes and a lively encore, an arrangement of “Rondo Alla Turca” from the Mozart Piano Sonata, K. 331. They clearly had great fun together on stage!

After intermission, Sir James performed “The Pied Piper Fantasy” by John Corigliano, attired in festive costume and joined by dozens of local young flutists performing with Sir James while parading on stage and following him out of the theater. Quite a spectacle!

Sir James’ final encore, Badinerie from the J.S. Bach Suite in B Minor, BWV 1067, brilliantly played, was a rousing ending to an evening celebrating the love of music-making and flute-playing—perfect for Valentine’s Day.

I will post more notes from other clinics and events I attended at the TMEA Convention later this week in the LeGrand Virtual Studio.

Best,
Catherine