Six Types of Energy Qualities

Six types of energy qualities:

1. Sustained (An opera diva or a formal tea) An uplifted, regal type of posture. (Instant good posture!)
2. Percussive (A karate chop) Strong pulses for precise moves.
3. Vibratory (Tambourine fashion or "Ya, da, da, da, duh da") Rapid, short, jerky percussive movements.
4. Suspended (Calling from a distant field) Forward, lifted posture, great for singing!
5. Collapsed (Release or slump) The opposite of suspended, body falls back on itself.
6. Swinging (Arms swing as if skipping) Even balanced flow of movement. (Pretend you are pulling your arms through concrete that has almost set!)

From the Pitch Pipe January 1997 by Betty Lou Coleman

Energy, energy, give me some energy! Has anyone not heard that plea from a frustrated director, coach or choreographer? In response, because most Sweet Adelines are overachievers, we tend to give our all by tightening and tensing every muscle and replying, “I am energized!"

How do we go about adding this seemingly mystical clement to our performances? A first step is understanding that we don't actually see energy - we see only the result of energy being applied. For example: When we see a tree bend in the wind, we know a force of energy makes that tree bend. We do not see the wind ­only the results of the wind blowing. When we see a light bulb glow. we don't actually see the electrical energy - only the results of the energy being applied. When we see a person or a group performing with a great deal of energy. we do not actually see the energy - only the results of physical energy being applied.

How do we show the result of physical energy being applied in our performances?

Pretend you are an opera diva. With a snobbish attitude stand with fingertips interlocked at chest level, pulling against each other, with elbows out to either side. Did you change your posture? Did you notice a lift? Now relax...you have just applied a sustained form of physical energy. Instant posture improvement! Now pretend you are a karate expert delivering a chop to an invisible opponent. Go ahead and do it; the family probably thinks you're nuts anyway. If you give a little yell it adds to the excitement. Did you try it with real enthusiasm? Do three karate chops adding a kick punch. That is percussive energy.

Try singing New York New York; while facing right, touch the fingertips of your right hand to the brim of your imaginary top hat (chorus line strut-style) Now reach up and out with that hand and bring it back to the hat brim. Do this eight times in succession with percussive energy, then do it eight times without the percus­sive energy. Can you tell a difference? Do you see how this type of energy can be used to strengthen many moves or steps in choreog­raphy? Try it again and this time put your left fist on your hip and add a step kick with each arm movement. Don't forget the energy!

Of the many different types of physical energy useful in our style of musical entertainment, the most effective is suspended energy.

Pretend you arc standing outdoors and someone in a distant field calls to you. While replying "Yyyeeeesss'" step forward, lifting toward the sound as if straining to hear. Notice the lifted singing position! Now relax and lift up again. Becoming aware of how we can control the physical movement of our bodies helps us achieve better posture and more coordination for executing choreography.

Your director can demonstrate this exercise with your chorus: Director stands in front, far away from the risers and calls, Chooooorrrrrus!" The chorus steps forward and responds, "Yyyeeeesss?" The result should be an uplifted, energized singing posture. Remember not to lock your knees or arch your back.

A suspended energy posture should not be rigid or inflexible; it needs me flexibility of a continual flow of energy up and out into the audience. Practice making the 80w of energy nap and start while maintaining the same posture.

Here comes everyone's favorite: collapse! That's right, just as it sounds, collapse, release or discontinue expending energy. It is the opposite of suspended energy. Of course, when we perform we can not collapse completely or we would never have enough air to sing correctly. Knowing how to release: (collapse), then change or reapply the energy from a suspended or sustained position, can be an effective tool to enhance your vocal dynamics with body lan­guage simply by interchanging the different energy levels.

Another form of energy exercise is done simply by swinging your arms bad and forth with a constant, even flow, as if you were skipping. Now add energy to your arm movements by pretending you are pulling your arms through concrete that is almost set. Do you notice resistance in your upper arm or shoulder? Add the same resistance when swinging your arms from side to side in front of you. This will help eliminate “noodle arms!" Just because a movement looks gracefu1 does not mean energy is not being applied. Ballet dancers demonstrate graceful energy.

As singers and performers, we need to master the fundamentals of good posture and vocal production and to understand that these fundamentals must work in conjunction with applied energy. The use of different qualities or levels of energy affects the projection of your emotional attitude and your sound. Energy should always be present. Controlling the force of energy exerted is not a matter of switching it on and off, but should provide flexible control, like a dimmer switch.

The components of good singing and good showmanship, when combined, help us achieve the goal of great performances that sometimes seems almost unattainable. If we try to remember separately our posture, vocal production, choreography, facial expressions, emotional attitudes and energy, we might all begin to consider astrophysics as an easier "hobby." When properly executed, however, all of these skills affect and support one another. So make it a habit to perform while you practice, instead of practicing when you perform, and the magic will be the energy that comes from your audience!

From Beyond Energy

Coordination of energy and volume: Use either the same song or a different song and perform a chosen section of the song using the energy of a 30 watt, then 60 watt, then 100 watt light bulb. Then use the ultimate energy of a flood light.

Make certain this energy pertains to both physical and vocal volume

• Now, use the same song; sing with the energy force and vocal energy at a 60 watt bulb level.
• Maintain the 60 watt volume level; change the physical force of energy without changing the volume.
• Start with 30 watt and alternate through 60 watt, 100 watt and flood light, still maintaining the 60 watt volume level.
• The goal is to control the magnitude and intensity of energy exerted so singers will have the flexibility to perform with the physical energy of a flood light and the volume of a 30 watt bulb or the opposite. This allows for dramatic vocal, visual and emotional effects.