<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	
	>
<channel>
	<title>
	Comments on: Rehearsal Voice vs Performance Voice &#8211; Why The Difference Matters	</title>
	<atom:link href="https://judyrodman.com/rehearsal-voice-vs-performance-voice/feed/" rel="self" type="application/rss+xml" />
	<link>https://judyrodman.com/rehearsal-voice-vs-performance-voice/</link>
	<description>Vocal Coach • Singer • Speaker • Songwriter • Studio Producer • Podcaster</description>
	<lastBuildDate>Wed, 22 Jan 2025 15:42:07 +0000</lastBuildDate>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=6.9.1</generator>
	<item>
		<title>
		By: Judy Rodman		</title>
		<link>https://judyrodman.com/rehearsal-voice-vs-performance-voice/#comment-252</link>

		<dc:creator><![CDATA[Judy Rodman]]></dc:creator>
		<pubDate>Sun, 24 May 2020 02:51:57 +0000</pubDate>
		<guid isPermaLink="false">https://judyrodman.com/rehearsal-voice-vs-performance-voice-why-the-difference-matters/#comment-252</guid>

					<description><![CDATA[You got it... so glad you enjoyed the read!&lt;br /&gt;&lt;br /&gt;]]></description>
			<content:encoded><![CDATA[<p>You got it&#8230; so glad you enjoyed the read!</p>
]]></content:encoded>
		
			</item>
		<item>
		<title>
		By: Unknown		</title>
		<link>https://judyrodman.com/rehearsal-voice-vs-performance-voice/#comment-253</link>

		<dc:creator><![CDATA[Unknown]]></dc:creator>
		<pubDate>Fri, 22 May 2020 20:24:20 +0000</pubDate>
		<guid isPermaLink="false">https://judyrodman.com/rehearsal-voice-vs-performance-voice-why-the-difference-matters/#comment-253</guid>

					<description><![CDATA[Wow, Judy, I had never really thought about all the different voices we use: performance, rehearsal, classroom, presenting...Thanks for giving me something to think about and be aware of.]]></description>
			<content:encoded><![CDATA[<p>Wow, Judy, I had never really thought about all the different voices we use: performance, rehearsal, classroom, presenting&#8230;Thanks for giving me something to think about and be aware of.</p>
]]></content:encoded>
		
			</item>
		<item>
		<title>
		By: Ron Calabrese		</title>
		<link>https://judyrodman.com/rehearsal-voice-vs-performance-voice/#comment-254</link>

		<dc:creator><![CDATA[Ron Calabrese]]></dc:creator>
		<pubDate>Tue, 19 May 2020 23:12:28 +0000</pubDate>
		<guid isPermaLink="false">https://judyrodman.com/rehearsal-voice-vs-performance-voice-why-the-difference-matters/#comment-254</guid>

					<description><![CDATA[This blog brings back many memories of preparing for various singing responsibilities. I must admit I never realized I was utilizing a rehearsal voice versus a performance voice, but I was. Frequently, I’d experiment at home with the transition through difficult vocal passages, to determine the best way to work through them. One of my bad habits, at least early on, was to allow the vocal position to fall back in my throat when coming down from a very high note to a note in the middle range. My teacher taught me to keep the same position as the high note, and listening to various great tenors, verified that was the “trick.” Being an emotional Italian, singing duets at rehearsal with a soprano and/or a baritone, I can’t say I saved my voice. We had some sopranos at the Chicago Conservatory, who would make you sound mute, if you didn’t put out sufficient sound. But there’s no doubt, a singer will learn much more in practice and rehearsal than can be learned in performance. The performance must be the time to allow the practiced technique to provide the basis of your communication. You never think about your technique when performing, and if you’ve prepared properly, everything works and you enjoy the communication best of all!&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;The old singing teachers of the 1800 era would stress exercises before allowing the singer to try a song, something modern students would rail against. This concentration on “rehearsal” was obviously beneficial because singers were not worried about particular notes in their range. They had learned how to hear them in their brain and ALLOW them to happen. The other night I watched Pavarotti sing the great aria, Nessun Dorma, from Turondot, on You Tube. It’s a singing lesson for all tenors or anyone. Pavarotti sings the aria with its high tessitura, strings of high A’s, and a final B natural, without the slightest squint, lifting of shoulders, or tense facial movement. He could have been singing Jingle Bells. Such superlative performances are a product of tireless productive rehearsal, i.e. practice.&lt;br /&gt;&lt;br /&gt;Best Regards to you and yours and stay well.]]></description>
			<content:encoded><![CDATA[<p>This blog brings back many memories of preparing for various singing responsibilities. I must admit I never realized I was utilizing a rehearsal voice versus a performance voice, but I was. Frequently, I’d experiment at home with the transition through difficult vocal passages, to determine the best way to work through them. One of my bad habits, at least early on, was to allow the vocal position to fall back in my throat when coming down from a very high note to a note in the middle range. My teacher taught me to keep the same position as the high note, and listening to various great tenors, verified that was the “trick.” Being an emotional Italian, singing duets at rehearsal with a soprano and/or a baritone, I can’t say I saved my voice. We had some sopranos at the Chicago Conservatory, who would make you sound mute, if you didn’t put out sufficient sound. But there’s no doubt, a singer will learn much more in practice and rehearsal than can be learned in performance. The performance must be the time to allow the practiced technique to provide the basis of your communication. You never think about your technique when performing, and if you’ve prepared properly, everything works and you enjoy the communication best of all!</p>
<p>The old singing teachers of the 1800 era would stress exercises before allowing the singer to try a song, something modern students would rail against. This concentration on “rehearsal” was obviously beneficial because singers were not worried about particular notes in their range. They had learned how to hear them in their brain and ALLOW them to happen. The other night I watched Pavarotti sing the great aria, Nessun Dorma, from Turondot, on You Tube. It’s a singing lesson for all tenors or anyone. Pavarotti sings the aria with its high tessitura, strings of high A’s, and a final B natural, without the slightest squint, lifting of shoulders, or tense facial movement. He could have been singing Jingle Bells. Such superlative performances are a product of tireless productive rehearsal, i.e. practice.</p>
<p>Best Regards to you and yours and stay well.</p>
]]></content:encoded>
		
			</item>
	</channel>
</rss>
