How do you balance praise and critique when coaching singers of different skill levels?
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Praise and critique are both essential tools for vocal coaching. Praise can motivate, encourage, and reinforce positive behaviors and outcomes. Critique can identify, correct, and prevent negative behaviors and outcomes. However, both praise and critique need to be used wisely and appropriately, depending on the context, the singer, and the objective. Too much or too little of either can have adverse effects, such as demotivating, discouraging, or confusing the singer.
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I think it's important to start with acknowledging what they are doing well before entering into the critique. By building their self-esteem first, you are helping them be more open to hearing the rest.
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There is a common practice today in the field of voice teaching g and coaching to become the singer’s “cheerleader”. Too often, teachers are afraid of losing the student to another teacher or getting a bad review so they only say good things. But sadly, the singers are quite able to tell that they aren’t improving. Most really want to hear the truth and want clear, practical advice for tone, flexibility, power and range. They are happy when they work hard and the coach acknowledges that with some positive comments but they don’t want a cheerleader
Before you can balance praise and critique, you need to assess the singer's skill level. This will help you set realistic expectations, goals, and challenges for the singer, as well as adjust your feedback style and frequency. You can assess the singer's skill level by using various methods, such as listening to their recordings, observing their performances, asking them questions, or using vocal tests. You can also use a scale or a rubric to rate the singer's vocal abilities in different areas, such as pitch, tone, breath, range, dynamics, articulation, expression, and technique.
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There is only one thing to assess: is the student able to mix? In other words, can they sing from lower to upper voice and back down with losing tone quality or getting uncomfortable? If they can’t do that, all the other issues are symptoms. If they can do that, then onto phrasing inflection and style
Praise is an effective way to boost a singer's self-esteem, confidence, and motivation. However, for praise to be effective, it needs to be genuine, specific, and relevant. To give praise effectively, you should focus on the singer's strengths, achievements, and improvements rather than their personality or appearance. Additionally, use descriptive and positive language instead of evaluative or comparative language. Explain why you are praising the singer and how it relates to their goals or criteria. Furthermore, provide examples or evidence of the singer's performance or behavior that you are praising. Lastly, encourage the singer to reflect on and acknowledge their own progress and success.
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I think that all praise is, if it is to be authentic (which is essential if the client's subconscious mind is to be engaged), about the voice leader's ability to listen. If you can really listen and hear what the client is attempting to express through their voice then you can authentically feed back what you are hearing and make suggestions as to what they could do to achieve their singing goals. Alternatively, they may then feed back that they are not trying to express what you think they are. In this way, praise and critique are a dialogue between voice leader and client in which a way forward is learned together.
Critique is an essential way to assist singers in improving their skills, overcoming their challenges, and avoiding their mistakes. However, critique needs to be respectful, honest, and beneficial. Unkind or obscure critique can injure the singer's feelings, weaken their trust, or impede their learning. To deliver critique constructively, you should concentrate on the singer's actions rather than their personality or character. Utilize objective and impartial language rather than subjective or negative language. Explain what the singer did incorrectly and how it affects their performance or the outcome. Give examples or proof of the singer's performance or behavior that is being critiqued. Propose particular and feasible solutions or alternatives for the singer to attempt or practice.
Balancing praise and critique is not a one-size-fits-all approach; it depends on various factors, such as the singer's skill level, personality, goals, preferences, and mood. However, some general guidelines to follow are to start and end with praise to create a positive atmosphere and help the singer feel valued and appreciated. Critique should be sandwiched between praise to soften its impact and help the singer understand the potential for improvement. Additionally, praise and critique should be tailored to the singer's skill level; for beginners, use more praise and less critique to build confidence, while for intermediate or advanced singers, use more critique and less praise to challenge them. Finally, adjust your approach based on the singer's situation; if they are feeling nervous or frustrated, use more praise and less critique to calm them down, while if they are overconfident or complacent, use more critique and less praise to wake them up.
Feedback is a two-way process that involves both giving and receiving information. As a vocal coach, seeking feedback from the singer is essential to evaluate the effectiveness of your praise and critique, understand their perspective, identify their strengths and weaknesses, and build rapport. You can get feedback from the singer by asking open-ended questions, using surveys or scales, observing their reactions or behaviors, or inviting them to share their thoughts or suggestions. Doing so can help you make adjustments if needed, understand the singer's feelings and opinions about their performance and your coaching, identify their interests and goals, and build trust and communication.
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