Open Voice  -
​'Singing is a highly physical happening, a unique form of communication produced by movements set in motion by a fundamentally emotive desire to express beauty.'
Yvonne Rodd-Marling.

CREATIVE 'ALEXANDER' FOR SINGERS

Most teaching of singing or playing focusses on the activity itself: practice and technique, and the performance aspects: interpretation and role, etc. This is perfect and as as it must be, but it leaves an area untouched, the area where problems sneak in, only showing themselves later when the performance/audition isn't going as hoped, or when pain, stiffness, or lack of colour or freedom prevent you from playing or singing in the way you intend.

In my teaching we get curious about what happens in this 'space between'... That is, the spaces between your deciding to sing or play and actually beginning, and between being in the wings and the very first down-beat on stage in your performance. It is in this space that many of our problems lie, whether they be around nerves, flaky self-belief, tensions which get in the way, or old stories (maybe invisible to you and deeply entrenched) which can prevent you from being fully present to the music at hand.

In my classes and 1-1s we find those 'preventative' tensions or reactions and allow them to release, unravel, and transform, so both the practice and performance of music can be carried out with the least amount of interference possible. This leads to you being more fully and uniquely you, more relaxation, a confidence within yourself (which creates a trusting and delighted audience), and a far more authentic and emotionally rewarding experience for all. 

The Communicative Self - Performance is communication; communication between the composer/poet and the performer, and between the performer and the audience… And on the best of days, there seems a heart-to-heart occurrence between all involved; the 'magic' for which every performer and audience yearns. When you, the performer, are open, free, balanced, flexible, grounded, and standing in absolutely who you really are, the music can flow freely and this magic has every chance of happening. That's what we all want more of, and what my teaching seeks to offer you. 
                                                                                                    
Open Voice - sessions starting in September in The Chiswick Rehearsal Room, London, W4.
These are classes where you can bring your questions and problems, or just an open mind ready to discover new ideas which will enhance your singing and performance.
I can work with up to six singers in each session who need to pre-book the class. But you can drop in at any time to suit your schedule in order to observe and make new discoveries. You can bring your accompanist if you wish.


We will explore:
Your body's innate support system.
Your body's innate wisdom around breath.

Embodiment. 
Finding more space.
Becoming un-stuck.

Balance.
Confidence.
Performance anxiety.
Authenticity.
Becoming captivating.

Connection.
Emotion.
Listening.

Costs: As a singer: £35 early bird before 1st September. Thereafter £40    
As an observer/accompanist: £10  (pay on day)
Next date: Friday 8th September 2017 2.30-5.30
Booking: https://www.eventbrite.co.uk/e/open-voice-voice-body-and-emotion-tickets-37239826323
                                                                                                                                                                          

                                                                                                  
In the powerful quotation below, please insert 'sing' or music' in the place of 'speak' or 'say'....

"Fundamentally, it is the relationships between people that form the underlying base of human interaction. In addition, all effective communication needs a sense of trust, and one of the ways in which this is indicated is through a sense of mutual respect. Here is it helpful to remember that communication is a factor that takes place as much inside the individual as outside. For, as counterpart to the link between what we wish to say and how we eventually express it, comes the important factor of balancing trust and respect for our own selves. This element of a basic self-confidence, which does not have to be flamboyant, is a pre-requisite of effective use of the spoken word. Otherwise, by setting up a virtual sound-barrier to his/her own belief, self-doubt can defeat a speaker from within.

​So it is best to prepare the spoken word with a positive concentration on what is to be said and to keep in the back of the mind the age-old advice, 'to thine own self be true' because (a) you haven't got time for anything else, and (b) your own integrity is the longest-running thread of your communicating life." 
Esme Crampton - 'Good Words, Well Spoken'


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