musical ramble
Dec. 30th, 2004 09:33 amSo I'm going to rant a little about singing. I have next to no formal musical training, so those who do (
ipanicked,
rottenfruit,
drkeys,
raithen's sister, and any of the rest of you) are encouraged to avert their eyes and/or poke holes in the following. But I've sung in several choirs, I am an enthusiastic singer-along to the radio, and I know what I like, dammit. So.
Performances of songs, it seems to me, can be roughly divided into three (maybe four) categories:
1. Easy songs made to sound easy.
Lots of pop music is like this. Some of it can be fantastic (many folk songs fall in this category). I enjoy singing along to an easy song as much as the next girl. If the singer has a spectacular voice, this is a definite plus, but easy songs can also show off pleasant-voiced singers with a limited range, and that's fine. Performances in this category are not trying to be something they're not.
2a. Hard songs made to sound hard.
2b. Easy songs made to sound hard.
Anyone can do either of these. Pop "divas" do this a lot -- Celine Dion and Whitney Houston, for instance, come to mind. They never quite let you forget how much work they're putting into the song. (Whether the song sounds good is another question -- Gerard Butler as the Phantom of the Opera, I'm lookin' at you. I've seen a trailer for the Phantom, which looks quite sumptuous, but the line
There is certainly a place for virtuoso singing that doesn't make a secret of how difficult the song is (as a random example, the bass soloist's rendition of "The Trumpet Shall Sound" at my mother's choir's performance of the Messiah). So category 2a gets a conditional bye from me. I reserve a special place in Heck, though, for many, many performances in 2b, good singers overplaying a song (hard or easy) to show off. And in this category I am placing those responsible for two renditions I recently heard of "O Holy Night": Stevie Wonder and whoever got the nod for the CBC's broadcast on Christmas Day. Both of them managed to make the chorus sound something like this:
3. Hard songs made to sound easy.
This is the singing I admire the most. Kirsty MacColl and Warren Zevon, my current obsessions, share this quality: incredible voices that sneak up on you by making you think "Hey, I could do that." Until you try. (I grant you that my definition of "hard" is entirely subjective and arbitrary and consists of "I tried to sing it, and found it difficult." It's as good a working definition as I've been able to come up with, though, and I'm going to keep it.) There are others: off the top of my head, Ella Fitzgerald, Dusty Springfield, Dolly Parton (the reader will kindly make a hex sign here to ward off harm from the only living person in this list) all put a hell of a lot of effort into making their singing sound effortless.
And that, to me, is the real secret of virtuosity.
Performances of songs, it seems to me, can be roughly divided into three (maybe four) categories:
1. Easy songs made to sound easy.
Lots of pop music is like this. Some of it can be fantastic (many folk songs fall in this category). I enjoy singing along to an easy song as much as the next girl. If the singer has a spectacular voice, this is a definite plus, but easy songs can also show off pleasant-voiced singers with a limited range, and that's fine. Performances in this category are not trying to be something they're not.
2a. Hard songs made to sound hard.
2b. Easy songs made to sound hard.
Anyone can do either of these. Pop "divas" do this a lot -- Celine Dion and Whitney Houston, for instance, come to mind. They never quite let you forget how much work they're putting into the song. (Whether the song sounds good is another question -- Gerard Butler as the Phantom of the Opera, I'm lookin' at you. I've seen a trailer for the Phantom, which looks quite sumptuous, but the line
Let your soul take you where you long to... BEEE!made me flinch back in my seat. Not his fault, mind you -- I gather he's never sung before. But it's a problem.)
There is certainly a place for virtuoso singing that doesn't make a secret of how difficult the song is (as a random example, the bass soloist's rendition of "The Trumpet Shall Sound" at my mother's choir's performance of the Messiah). So category 2a gets a conditional bye from me. I reserve a special place in Heck, though, for many, many performances in 2b, good singers overplaying a song (hard or easy) to show off. And in this category I am placing those responsible for two renditions I recently heard of "O Holy Night": Stevie Wonder and whoever got the nod for the CBC's broadcast on Christmas Day. Both of them managed to make the chorus sound something like this:
Fall on your knees!And that's just wrong. It's a beautiful carol and, yes, difficult to sing, but it can show off a voice very well without, as it were, showing off. It has plenty of drama all on its own -- there's no need to add pounds of vibrato and overplay the dynamics and generally marzipan it up. Ugh. I would much prefer it to fall in the last category:
Oh hear how great my voice is!
My voice divine, my voice, listen to me
I'm working hard, so hear
My voice divine!
3. Hard songs made to sound easy.
This is the singing I admire the most. Kirsty MacColl and Warren Zevon, my current obsessions, share this quality: incredible voices that sneak up on you by making you think "Hey, I could do that." Until you try. (I grant you that my definition of "hard" is entirely subjective and arbitrary and consists of "I tried to sing it, and found it difficult." It's as good a working definition as I've been able to come up with, though, and I'm going to keep it.) There are others: off the top of my head, Ella Fitzgerald, Dusty Springfield, Dolly Parton (the reader will kindly make a hex sign here to ward off harm from the only living person in this list) all put a hell of a lot of effort into making their singing sound effortless.
And that, to me, is the real secret of virtuosity.