by Dave Kester
Did placekicker Billy Cundiff of the Baltimore Ravens lose his concentration thereby causing him to miss a 32-yard field goal attempt? He said "It's a kick I've kicked a thousand times in my career, the timing was just a little off." If this is indeed the case, he may take some comfort in the fact that he is not alone, as a lot of that has been going around in the current NFL playoff period. In the previous week, the vaunted Aaron Rodgers, quarterback of the reigning Super Bowl champion Green Bay Packers, undoubtedly lost his concentration several times leading to his loss to the NY Giants who are now bound for Indianapolis, the site of this year's Super Bowl, to meet the New England Patriots, the lucky beneficiaries of Cundiff's gift.
So often the simple act of focusing all of your faculties on the task at hand can make the difference between success and failure, between magnificence and mediocrity, between getting by and getting rewards. This actuality is particularly evident in any effort requiring the simultaneous coordination of mind and body. While the significance of concentration in achieving a championship performance is undeniable, its relative importance may vary from one endeavor to another. Obviously, long distance running does not require as high a degree of concentration as, say, pole vaulting or high jumping. Similarly, a buffalo chip tosser need not focus as intensely as a major league hurler. And where do you think choral singing ranks in this hierarchy of need for concentration? Why, it's right up there with neurosurgery and synchronized swimming!
If you were to list all of the things a dedicated singer must do with his or her feet, knees, diaphragm, intercostals, chest, arms, hands, throat, tongue, lips, etc., you would be truly amazed to find that there are over thirty-five of them! Vocal production can be compared to a jigsaw puzzle with many individual, seemingly insignificant pieces, which must come together in concert to create the whole picture. But these pieces do not come together in the right sequence with the proper emphasis automatically. That takes C-O-N-C-E-N-T-R-A-T-I-O-N!!! None of us wish to admit, as Billy Cundiff did, "My timing was a little off."
Now that we know the secret of great singing, we should have no problem integrating the thirty-five plus things that we have to do, right? Wrong! Singing with expression and control is a sensitive, complex pursuit. So many delicate, highly coordinated actions and reactions take place in the same instant; we couldn't possibly control all of them through conscious thought, as there just isn't time. It is, therefore, necessary to rely on habit (carefully chosen actions that you train your mind to do without cognizant awareness.) Most of the fundamental principles of singing can be developed into habitual actions. You can readily see how posture and breath control fall into this category. With a little practice, you might also find that the correct positioning of the tongue and shaping of the mouth can become automatic as well. Make a serious effort to practice the basics every day for a month and see if this doesn't help you to sing with more confidence and allow you to put more of your conscious efforts into expression and interpretation.
Remember, as any "dumb jock" knows, proper practice (and concentration) makes perfect. Believe me; the jocks that hold to this are anything but dumb. It would be smart for all singers to adhere to this routine as well.
