What can vocalists learn from instrumentalists?

Earlier, I discussed how instrumentalists can learn phrasing, expressiveness, breath support, and stage presence from vocalists. Now let's consider what vocalists can learn from their instrumentalist peers.

Two vocalists I consulted on this subject confirmed what I learned from some string players a few weeks ago: what applies to modern Western string instruments often applies to the human voice. For instance, paying attention to string vibrato and bowing can help singers achieve a more desirable sound and phrasing. According to Peter Burroughs, an opera singer and vocal teacher based in Washington, D.C., "vibrato is supposed to be a natural part of our voice, but a lot of singers have that trained out of them, so listening to string players can help get that back."

Burroughs noted that varying your vibrato is important, and Virginia Sublett, a colleague of mine at North Dakota State University, agrees. "Having a flexible attitude toward vibrato, rather than employing it consistently, offers more coloristic and ornamentation options." Sublett said that her frequent work with period instrument orchestras has shown her how to use minimal vibrato when appropriate. "I also learned to match timbre, intonation, and articulation with obbligato instruments such as transverse flutes, oboes, and recorders."

As for bowing, Burroughs said that vocal students often need to learn when to take a breath, and watching a string player's bow can provide clues to phrase shapes. I had figured that vocalists tend to have a better sense of when and how to breathe than instrumentalists, and maybe that's true for some aspects of breathing. The comment, though, made me realize that vocalists have to make choices about when to breathe based not only on lung capacity and melodic phrases, like instrumentalists do, but also on text. With these three factors to balance, I can see how it would help to really sharpen your sense of melodic phrasing by observing string players (and other instrumentalists) in action.

Strings weren't the only instruments Burroughs mentioned. He said the low brass instruments are a good model for a relaxed vocal embouchure (oboes and trumpets, not so much). He also agreed with my suggestion that the colors and timbres of different instruments could inspire vocalists to try different things.

When I told a group of wind- and brass-playing friends I was working on this piece, there was consensus that rhythmic dictation was a challenge for vocalist classmates in college aural skills classes. "[cough] Rhythm! [cough]" is how one person put it.

In defense of vocalists—not all of whom struggle in this area, of course—Burroughs said they tend to consider word rhythm more than metronomic rhythm. It's rare that singers sing without words. In 20th- and 21st-century music, word rhythm can be challenging because "getting the diction across is more difficult," Burroughs argued. "It's written more instrumentally, so it's hard to fit in the words in the right amount of time."

In the end, I don't think it's helpful to make too much of the differences between those who play instruments and those whose instrument is their voice. As classical musicians, we have many of the same goals and methods and face many of the same challenges. Considering what the two groups can learn from each other, though, has been an interesting exercise for me and will no doubt help my horn playing (and my now very occasional singing). I hope it has provided some insights for readers, too.

Gwendolyn Hoberg is an editor, writer, and classical musician. She lives in Moorhead, plays with the Duluth Superior Symphony Orchestra, and writes the Little Mouse fitness blog. She is also a co-author of The Walk Across North Dakota.

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