The Power of Emotion Centered Singing
Where the 'Singer' evolves into the 'Artist' like Picasso or Michaelangelo except in the musical sense. This is the power of Emotion Centered Singing...The power to unleash the kind of genius that has produced artists of the calibre of Jeff Buckley, Norah Jones, Elvis Presley and Eva Cassidy.David Jaanz, Founder
The Method
The power, beauty and majesty of
Emotion Centred Singing
Emotion Centred Singing is the revolutionary approach to contemporary singing developed by David Jaanz to train and develop singers. Its success speaks for itself with a track record of stars, professionals, and industry interest labelling the David Jaanz School of Singing 'the school for the stars'. The ultimate goal of Emotion Centred Singing is to touch, excite and move audiences 'emotionally'.
After years of research and a distinguished performing career, David Jaanz firmly believes that there are two fundamental levels when working with singers. Firstly, 'the good to very good': where this group are impressive technically, they are also however, 'faceless'. The second, more privileged group here are the 'great singers': the rare breed. They are unique, magical, and have a way of leaving a lasting impact. They are the pioneers who lead the way with new sounds, vocal styles, signatures and creativity. Where the 'good to very good singers' are getting session work and cover gigs, this second group get the record deals, the lead roles in musical theatre; they become the legends of the music industry. These singers can touch and move an audience in a way that 'good singers', no matter how technically correct, cannot. Emotion Centred Singing is about pursuing the attributes of this second group; what David Jaanz has labelled 'the pursuit of the magical performance'.
Emotion Centred Singing embraces the best of the classical technique: breathing, correct posture, mouth shapes, larynx positions, placement of voice, vowels and diction, and further bridges it with new applications of the modern singer: connected voice, flexibility, emotion and performance technique. It thus goes deeper into the mindset of the stars and explores for the first time the "how to become great': how to stand out, how to be extraordinary. David Jaanz believes that the great singers practise on a completely different level and mindset to what is being taught in most singing schools around the world. Unfortunately, the general focus remains on the 'outer singer', that is the 'correct way'': correct breathing and correct sound, often encouraging 'who sings highest wins', giving precedence to 'high singing' over vocal health, control, tone and light-and-shade. This often has a cloning effect, producing technically good, but in most cases, emotionally dead singers. In the pursuit of such technical perfection, the uniqueness, emotion, and star qualities are often trained out of a singer.
This coaching style has again evolved out of the classical technique, created for classical and operatic styles, where singers had to sing note-for-note and produce one particular sound with no microphones. This is in vast contrast to contemporary singing, a relatively new art form requiring singers to write, be unique, creative, and innovative of new styles and sounds.
The problem is that whilst the arena, playing field and rules of engagement have changed, most contemporary training is still very much archaic: focusing on 'correctness' and cloning, when it should rather be focused on innovation. Emotion Centred Singing is about not only having a great technique, but also the ability to touch, move, and, be amazing. It is the balance between the 'inner' and 'outer' singer that sets Emotion Centred Singing apart, as it is here that singers can unlock their creativity, uniqueness, and emotion. That is, the edge needed for today's contemporary music arena.
This balanced approach to singing should be at the forefront of any contemporary training program today. Teachers can no longer make the assumption that 'everyone is the same', and, more so, that 'there is only one correct way to open your mouth, one correct sound, one correct placement, one correct way to breathe'. By allowing the modern singer the freedom to experiment, innovate, and find his/her own sound, one can then find (with assistance and care principles adhered to) a technique that is right for them as a unique individual.
The Method
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