I suppose that for my first post on the subject of Singing, I should state a bit about my general approach to the subject, and consequently to this blog:
How we think is made manifest in how we act. What we believe is demonstrated by our actions. One may of course be able to come up with examples of cases where we seem to think something other than what we do. It is a natural sort of impulse to defend oneself with this observation when faced with cases of potential hypocrisy. If you normally argue, say, that thievery is bad, and then proceed to steal. Clearly, for you in that moment, Theft is preferable to some other option, or is not quite so bad a thing in your private mind as you would like for others to perceive you to think. But I would suggest that there are also cases of this sort that can serve to be clarifying moments of honesty about our own natures. If, for example, you are a “singer” who espouses regular practice as necessary for any vocational singer, but rarely seem to find the time to practice yourself.... I will grant you, you may actually, truly believe what you say about regular practice, but perhaps what is just as true is that you are less of a singer than you would like to believe.
Generally though, I would say that the way you think about a thing is the way that you will go. This certainly applies to the field of singing. Because there are direct physical ramifications to your singing action, it is that much more important that one should have their head on straight about Singing from the start. And that is where my mind lingers.
Almost no one comes to the study of singing without some preconceived notions on the subject. And Singing, for all of its physical realities, still has an incredible amount of abstract conception involved and particularly acute kinesthetic sensitivity to parts of ourselves that are typically not accessed. As a consequence of this, it is easy to be swept up by something, be it the glamour of performing, the intricacy of technique, or the benefits of various musical styles, and to seek out what you want to hear or think, rather than what is true. In Singing, with the singer being both the musician and the instrument, it can be hard to extricate oneself from the emotional content or response and take a clear, honest look at progress. But for anyone who seeks to sing with any regularity, be it professionally or avocationally, and especially if they are looking to improve...... honest assessment is necessary.