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Doing it My Way

    After my recent foray into the world of jazz singing, I'm now making an attempt at putting some of my new skills into practice. In the space of five days I learnt a lot about singing, music, telling stories and most of all, about myself and the way I see things. I have the blessing (or perhaps curse) of perfect pitch. A pitch fascist if you will. I cringe when I hear microtones out of tune. And my voice is nearly always very very slightly flat. Now that doesn't mean it sounds bad, but I am highly aware of it and hypercritical of it, probably because I can hear it so acutely. I was brought up learning classical music, where one is tied to tempo, prescribed dynamics, pitch, note length, phrasing. Everything is played straight, as it is written on the page.

    As I'd always enjoyed non classical singing, and have always sung along to pop songs, I ended up in pop/rock/dance bands, but with my pseudo classical attitude glued onto that. Do not waver from the melody. Never change the phrasing or tempo. When I'd write music, I'd be locked into something I'd created and there was never any room for adapting, improvising. I'd never learnt how. It was an alien concept. When I was younger, I'd go to gigs and be quite uptight about the fact that someone might forget words or change a melody line. In my heart of hearts I'd think they were getting it wrong.

    So when learning about and listening to jazz, I realised that my understanding of music was rather inflexible. I stuck to the phrasing I knew. I chose a melody and stuck to that. I never improvised. It wasn't that I couldn't, but that I thought it was safe to stick to what I knew. In the first couple of days of tuition it was pointed out to me that that rigidity concerning my musicality led me to be in a scary place. If I were to fall off the melody, not do what I intended, I saw it as a mistake. Doing something wrong, as it were. So I tried it out. Sliding about notes can sound great, just listen to Betty Carter. Relaxing the phrasing of a song, even my own, makes it sound more natural, and makes my voice sound more relaxed.

    I'm not so frightened of making a mistake now. I recorded Black Coffee tonight, it sounds lazy, but I trusted my ability  to do it my own way for the first time. And it sounds great.

Posted on Saturday, July 17, 2004 at 12:27AM by Registered Commentersisterphonetica in | Comments2 Comments

Reader Comments (2)

I'd only just sent you a blah blah about the throatie, and then I started reading the blogs.Fascinating stuff. My take on performing music is a bit different-I have always believed that drink & drugs can be( and I stress can be rather than are) really helpful in being able to let go of all that self-conscious rubbish, and become as one (Thats not new age, I promise) with your chosen instrument. I am also classically trained, and can advise that spliff and written music are not compatible as you can forget where u are when counting rests, but when it comes to the unwritten, can help massively with improvisation. Changing your state of consciousness is a great tool, but would agree that Tennents Super probably isn't the best way to go about it! I also have this perfect pitch thing,but after many years of thought realise that it isn't some god-given special talent, but a learned thing. After all, Middle A 440Hz was not there until someone invented the piano? If microtones make you wobbly, consider the notes in the Khoomii harmonic scale- Classical people had the notes altered to become the traditional western scale,but that is merely an artificial construct. As a kid, I never understood why the Flat 7th was ignored in formal western music- I only heard it in the blues,and it is a note that says so much (especially when in the context of a major scale, particularly against the major 3rd (which makes a lovely sharp 4th within itself). The classical fascists sharpened the 7th.I guess thats why the blues didn't come out of Europe. It's like having really important words missing from the language, and probably has major implications for how society has developed. I'm sure as a linguist you have a few thoughts about that,and would be most interested to hear them.Look fwd to your comments.
August 13, 2004 | Unregistered CommenterPhil James
Thanks for your comments, Phil, food for thought indeed. As far as the words missing theory goes, I think the major (pun intended) effect is that musicians raised in a certain musical style find it difficult to talk to each other musically thereby maintaining the separateness of different musical styles. And like you say, that has implications in society, for instance the prevalence of certain social/ethnic groups in each genre of music, and the way this perpetuates itself (much like isolated linguistic groups). There's always a common musical language, but each group doesn't fully understand the other beyond the musical overlap, thereby maintaining their separateness.
August 22, 2004 | Registered Commentersisterphonetica

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