As part of an overall plan to upskill in as many areas as I can ahead of #PilotSeason2019, I decided to improve my singing - or rather understand what I need to do to be able to start singing - so I signed up for the Introduction to Singing class delivered by Ross Anderson-Doherty at the Crescent Arts Centre.
Ross trained in the Estil method of singing, which applies science to the mechanics of singing, studying the effects of the larynx on the quality of a vocal tone.
The class is a mix of enthusiasts and performers looking to upskill like myself, including one participant who is looking to get over a lifelong fear of singing that was the result of an insensitive music teacher in their childhood, and Ross's delivery is warm, funny and reassuring.
I've worked with him before, of course, as part of Bruiser Theatre's Graduate Academy, and a lot of the first few lessons was information that rushed back into my head, but it probably is better to learn it in isolation, where I can give the information the attention it needs.
Tagging in to cover the always unpopular theory was Rosie Barry, who handled the unenviable task of introducing musical intervals to a class that had next to no grounding in musical theory with aplomb. I was at an advantage, given that I had studied musical theory in GCSE music, but even I found some of the terminology confusing at first (a major/minor interval is a seperate idea than a major or minor scale).
I am only part way through the eight week course, and I look forward to the results at the end.
Ross trained in the Estil method of singing, which applies science to the mechanics of singing, studying the effects of the larynx on the quality of a vocal tone.
The class is a mix of enthusiasts and performers looking to upskill like myself, including one participant who is looking to get over a lifelong fear of singing that was the result of an insensitive music teacher in their childhood, and Ross's delivery is warm, funny and reassuring.
I've worked with him before, of course, as part of Bruiser Theatre's Graduate Academy, and a lot of the first few lessons was information that rushed back into my head, but it probably is better to learn it in isolation, where I can give the information the attention it needs.
Tagging in to cover the always unpopular theory was Rosie Barry, who handled the unenviable task of introducing musical intervals to a class that had next to no grounding in musical theory with aplomb. I was at an advantage, given that I had studied musical theory in GCSE music, but even I found some of the terminology confusing at first (a major/minor interval is a seperate idea than a major or minor scale).
I am only part way through the eight week course, and I look forward to the results at the end.