What, you wonder (if you aren't another singer) does this have to do with singing? Lots, according to my voice coach, because unnecessary and unwanted twitches and jerks indicate tension, and tension is Bad. Tension disturbs the instrument and can make icky sounds where the vocal cords aren't doing anything wrong.
Despite this, things are already changing for the good in my voice. (Ritual disclaimer--no, I don't think I'm the next Jessye Norman or anything. But having discovered, via my voice coach, that I've been unfairly ignoring a good chunk of my range, I'm now working on getting it into useful order.) Week by week, the upper range is "waking up" and I'm learning to hear what's going on up there. Of course I've played with singing high from time to time, but I didn't know what to listen for, and suspected it was all squeaks and creaks.
The good news (for me, anyway) is that when singing properly (not tense, not doing something weird with my mouth) I sing on pitch, even at the margins of my range. That's one thing I don't have to "fix" as long as the rest of the technique is correct. It's also handy that I have fairly decent music memory...I can repeat things I just heard, or heard five minutes ago, etc.
An hour lesson is fairly strenuous--mentally and physically--and about an hour and a half after the end of my lesson I was singing again--in a Messiah rehearsal. My voice coach is the director. So a little over 2 hours of that rehearsal plus my hour lesson and...yes...I'm tired. But also exhilarated. Because I touched--just touched, very breathily, but on pitch and with the right vowel sound, the high A. I also got to work on the "pieces" I was given...a deceptively simple folksong and Purcell's "If Music Be the Food of Love" which doesn't even make a pretence of being simple.
It's very different singing a song for a voice teacher than singing in a group...or alone in the house...there's the awareness that a very educated ear is listening, for one thing. And will notice if a breath is misplaced, if a vowel goes off, and so on and so on. But--somewhat to my surprise--I felt a bit as I did the first time I faced one of the better fencers in our group as a novice fencer. It was scary but then came that rush of excitement and--there I was, singing.
Singing Messiah in the choir is very different again--familiar, in that I've sung with many of these people before, was sitting beside Carolyn, in front of Nancy, etc., and familiar in that I've sung Messiah quite a few times. But different, too, right after a lesson--he tunes my ear as well as my voice--the one being necessary to accomplish the other--so I am hearing more about the other voices in the choir, details of how they sing. Everyone in "our" choir--the parish choir--has constant nudging from the director and some of them take lessons from him, as I now do. It annoys him that we still need reminders, but it usually takes only one or two before we're in synch with him. Choristers from other groups often take much longer to grasp what he means, what he's striving for. I remember being that confused, feeling that helpless. Our director doesn't want an ordinary Messiah--he wants a knock-their-socks-off-and-wake-them-up Messiah. So his markings are very individual and make the most of the music & words.
Need sleep now. It was a long, long day.