Spring Forward!

UGH, it’s Daylight Savings Time. I hate the transitions both in and out of DST. I feel like I gain nothing in the fall because I wake up too early, and I definitely feel the loss of the hour in the spring. (Spring? It’s spring?)

But I do like the idea of “spring forward.” Of finding some new things to do and thinking outside the box.

For example, at my church job today, I decided that I was going to put the emphasis on all the prepositions in the hymns and responses. At first, it was a source of amusement (which pretty much sums up how I approach almost anything new), and then I realized it was a way to be really aware of the words I was saying. Too often, responses are on autopilot, and so are hymns (if you’re just singing the melody to something you’ve known for years). But if you put the emphasis on a different word, you have to think about all the words before and after it.

“And also with you.”
“Our Father, who art in Heaven.”
“Make you to shine like the sun.”

I did something like that recently in a cabaret performance of the song, “As if we never said goodbye” from Sunset Boulevard. I have always sung the lyric, “Has there ever been a moment?” with the emphasis on “ever.” But in my last performance, it just felt right to put it on “been.”

Now, I realize that emphasis is kind of Chandler Bing-esque, but it felt right to me in that moment. It seemed like it made all the other words in the line even more important.

There’s an acting game to take a phrase and change the emphasis to get a different point across:

I didn’t say she stole my money.”
“I didn’t say she stole my money.”
“I didn’t say she stole my money.”
“I didn’t say she stole my money.”
“I didn’t say she stole my money.”
“I didn’t say she stole my money.”
“I didn’t say she stole my money.”

How would you interpret each of this lines with the different emphasis? Which one might be defensive? Sad? Evasive?

How could you apply this to a song you’re working on? Or a song you’ve known for years? How would it change the interpretation? What works? What doesn’t?

Try this and see what happens. And remember….

Published by Mezzoid Voice Studio

Christine Thomas-O'Meally, a mezzo soprano and voice teacher currently based in the Baltimore-DC area, has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. As an opera singer and actress, she has appeared with companies such as Charm City Players, Spotlighters Theatre, Chicago Opera Theater, Opera Theater of Northern Virginia, Opera North, the Washington Savoyards, In Tandem Theatre, Windfall Theater, The Young Victorian Theater of Baltimore, and Skylight Opera Theatre. She created the role of The Woman in Red in Dominick Argento’s Dream of Valentino in its world premiere with the Washington Opera and Mary Pickersgill in O'er the Ramparts at its world premiere during the Bicentennial of Battle of Baltimore at the Community College of Baltimore County. Other roles include Mrs. Paroo in Music Man, Mother Abbess in Sound of Music, Dorabella in Cosi Fan Tutte, Marcellina in Le Nozze di Figaro, both Hansel and the Witch in Hansel & Gretel, and many roles in Gilbert & Sullivan operettas. Her performance as the Housekeeper in Man of La Mancha was honored with a WATCH award nomination. Ms. Thomas-O'Meally received an M.M. in vocal performance from the Peabody Conservatory in Baltimore. She regularly attends master classes and workshops in both performance and vocal pedagogy, and is certified in all three Levels of Somatic Voicework™ The LoVetri Method. Her students have performed on national and international tours of Broadway productions, at prestigious conservatories, and in regional theater throughout the country.

What do you think?

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