Having someone with you as you practice is always a good way to get feedback on your performance. But have you ever considered watching YOURSELF? Video taping yourself while you practice is an excellent way to ensure that your appearance, stage presence, facial expressions, etc. align with how you want to come across! It will also be a revelation to you as far as your vocal technique. Small things you may have never noticed that you do will become apparent, making change so much easier! Visualizing your performance from an audience’s viewpoint will also give you a fresh perspective from which to analyze your presentation. So grab your phone or webcam.... and lights, camera, PRACTICE!
Practice makes perfect. Sure. But, it can also drive you NUTS! There are so many technical, stylistic, and musical elements to focus on - it’s not always easy to know what to do next. Or, perhaps you end up practicing only the things you do well. Creating a Practice Plan can save a lot of time and frustration. First, figure how frequently you can practice and for how long. Vocal Practice doesn’t need to be long to be efficient. Even 15 or 20-minute increments can help you maintain focus and manage your time more effectively. Try labelling these increments with what you want to use the time for: “Resonance”, “Agility”, “Range”, “Songwork”, etc. This will be time better spent than an hour of unfocused energy and scattered objectives. Make a plan that helps your singing progress like it should!
COMEDY isn’t funny when an actor thinks they are funny or tries to get laughs. Instead, it’s funny when the actor is serious, deadpan, or very committed to what they're saying. DRAMA isn’t dramatic when an actor shows how sad, angry, or emotional they are. Instead, it’s Dramatic when an actor focuses on overcoming a challenge they face. Try to play the OPPOSITES when performing your songs. Avoid getting caught up in the general MOOD of the music. Instead, discern what that mood is and see if you can find something to juxtapose. Hope in the sadness. Memory in the loss. Annoyance in the laughter. Awkwardness in the confidence. Do this - and your songs will become the OPPOSITE of boring.
When seeking new song material for your Repertoire, don’t just search based on your musical and stylistic preferences. Instead, search also by what stands out to you LYRICALLY. Songs can be altered to suit many different styles in more ways than are initially obvious. If you find songs with lyrics that are meaningful, powerful, and personal to you, then your chances of eventually creating a magical performance increase exponentially. So, in selecting new songs, don’t just consider the SOUND - consider the special part of yourself that you would like to share with us!
When selecting new songs to be a part of your repertoire, there are a number of factors to consider. For example, the range of the piece, the style of the piece, the technical demands, and the acting values. All of these factors are crucial to determining if it is wise to add the song into your repertoire. However, at the end of the day, the most important variable is how the song resonates with YOU! What does the song mean to you? How does it represent you? How does it showcase something that you can personally connect to? While a singer might be able to execute every aspect of a piece flawlessly on a technical level, if the piece doesn’t speak to the singer’s SOUL, the listener will pick up on this! Be wise to choose pieces that you can not only sing well, but also sing with soulful integrity!
Practicing Riffs SLOWLY can be embarrassing. If you’re just starting off, your Riffs will be a far cry from the rabbit-like speed of Mariah or Stevie. Should you just give up then? No way! In the proverbial tradition of being a patient tortoise - going SLOW is the best way to succeed! Fast Riffing is all about "letting go." Yet, usually when we Riff too quickly, we tighten up and attempt to “hang on” to every little note. In order to let go, your body needs to understand the coordination required first. Going at a tortoise-like pace can help your mind and vocal cords to understand what needs to happen. Try your Riffs at PAINFULLY slow speeds and then gradually increase that speed each day for a week. On the 7th day, let go! The control and precision will be there! Slow and steady wins the race!
Are you a PUSHER or a PEEPER? Pushing is singing with too much pressure and tightness. Peeping is holding back by not using enough breath and vocal fold compression. Either way, Vocal Fry can help you fix your problem! Try letting your voice make a lazy, low, creaking sound in a very relaxed way. It should be so low that you don’t hear a note, but rather a series of pops and bubbles. Next, gradually glide up to the first note of a sung phrase (where you usually push or peep) and then sing confidently. Monitor what you feel and hear. If all goes well, your voice will have enough compression and breath flow to keep your sound solid, but will also be free from excessive force and tension. No more PUSHING, no more PEEPING!
There’s nothing “FALSE” about Falsetto! Nope. It’s as real as can be! The term is derived from the Italian word for 'false'. Pitches in your Falsetto are usually above the range of your modal (or Chest) register. So, Falsetto often sounds thin, airy, and weaker than Chest Voice, giving Falsetto its “falseness”. Truthfully though, Falsetto vocal cords are just a bit more parted and less resistant to the breath flow than other registers. Try it! Slide with an "OO" vowel from Chest to Falsetto and feel the difference. Begin to master your Falsetto by adding legato, sustains, and slides from note to note. Embrace your Falsetto and all that this important register has to offer! May the TRUTH set your Falsetto free!
LISTEN. Do you hear it? Music is all around you all the time! The car horns honking. The front door squeaking. The neighbor’s dog barking. The crunch of your lunch in your mouth. The cacophonic cadence of every conversation careening up and down. You don’t have to be practicing your singing to be practicing your LISTENING. Opening up your ears can be a truly spiritual and artistic experience. All the sounds that we hear are just vibrations of air. Yet, these vibrations have the power to make us think, feel, act, react, and love. Don’t limit your aural life to just your singing and music alone. Give thanks for the fact that each and every moment we can lift ourselves to Higher Vibrations. All we have to do is to open up our ears and our hearts. The exact answers you’ve been praying for could be in the air right now! LISTEN.
Practicing Riffs SLOWLY can be embarrassing. If you’re just starting off, your Riffs will be a far cry from the rabbit-like speed of Mariah or Stevie. Should you just give up then? No way! In the proverbial tradition of being a patient tortoise - going SLOW is the best way to succeed! Fast Riffing is all about "letting go." Yet, usually when we Riff too quickly, we tighten up and attempt to “hang on” to every little note. In order to let go, your body needs to understand the coordination required first. Going at a tortoise-like pace can help your mind and vocal cords to understand what needs to happen. Try your Riffs at PAINFULLY slow speeds and then gradually increase that speed each day for a week. On the 7th day, let go! The control and precision will be there! Slow and steady wins the race!
These days Opera isn’t as popular as it once was, but it certainly ain’t over! While it’s a myth that classical training will make you skillful at singing other styles of music, don’t neglect at least SOME classical work in your technique practice. What does this mean? Learn to sing with lower larynx positions. Know how to sing every note with vibrato. Cultivate your Head Voice. Build the stamina for long legato phrases. Master your breath support and dynamic control. Experience how your voice can sing on pure vowels. Adding all of these elements to your technique practice will make you a better singer overall. You might even try out an Aria or Art Song for extra enrichment. Or, if you’re really inspired you might even buy a ticket to go and see an Opera! Chances are it will greatly expand your horizons.
It’s time to FIRE UP your singing! With the BREATH OF FIRE! Try it! With your mouth closed, inhale and exhale through your nose very rapidly for several seconds. You’ll feel the belly pulsing as you do it. This quick and FIERY breath through a small opening gets the air moving in hurry! This is an indication that the diaphragm is moving very quickly. You might not be able to do the Breath of Fire for very long at first. Maybe 5-10 seconds is enough. Later, you can increase to 20-30 seconds and eventually to 1 minute. No matter how long you do the Breath of Fire, you'll notice an INSTANT energy boost to your breathing and to your body. Yogi’s swear by the Breath of Fire. But, it’s great for singers too. So, it's time to get that diaphragm FIRED UP with agility, control, and energy!
You’ve got TWO Options. Option 1 - hold back the breath with the VOCAL FOLDS. Option 2 - hold back the breath with BODY. When we take an inhalation into our ribs and belly, we’ve taken an ideal singing breath. From there, though, the difficulty often begins. Sending air too forcefully towards the vocal folds causes tension and strain. With Option 1, the vocal folds and the larynx will have to hold back this air. With Option 2, the muscles of the torso create resistance so that the air doesn’t exit the body too quickly. This assures that the vocal folds receive their small, steady stream of air. “Breath Support” like this allows them to vibrate freely and naturally without bearing the brunt of the breath’s force. Efficient airflow leads to great control of your voice. From there, you won’t just have TWO Options. You'll have INFINITE Options!
Does it really matter if the hips, arms, chest, and shoulders aren't properly aligned and free? After all, the vocal folds are within the Larynx - FAR AWAY from all those parts of the body. It seems like all that posture and alignment stuff shouldn’t matter! Right? Well, let's experiment! Try clenching your fist and holding your arm in a very tense way. Is it just your arm that is affected? Or does this tension transfer to your shoulders, chest, abs, neck? Interestingly, the tension in your arm can even transfer all the way to the external muscles of the Larynx. It’s good to remember that every part of our body is INTERCONNECTED. Let go of tension in each part of your body. Also, let it go in your mind, emotions, and Spirit. You'll instantly notice that your whole being benefits!
Why do we practice proper posture in Voice Lessons when in reality we'll be dancing, sitting, crouching, or even laying down when we perform? Well, consider an ATHLETE. They aren't running marathons on a treadmill or competing on how much they can stretch their hamstrings. They are conditioning the body in optimal ways so that it can do many things on the court, track, or field. Similarly, when we do vocal exercises, we're conditioning our vocal and postural muscles to perform optimally on the stage or in the recording studio. Start thinking of the Vocal Studio as your GYM and the stage as your FIELD. Without becoming rigid - stand up straight, keep the back of your neck long, and your sternum lifted. If you’ve trained your body under these controlled conditions, your voice will have an advantage when it comes time to perform in any situation!
Have you ever wondered why your voice sounds different to you when you hear it back on a recording? The answer: ACOUSTICS! When you hear someone else speak or sing, you’re hearing their voice completely via sound waves traveling through the air. When you sing or speak, you’re hearing approximately 20% of your voice through the air. The other 80% is sound that vibrates in your body, bones, and head. This is why our perception of our own voice is quite skewed. These perceptions can wrongly influence our opinion of tone, beauty, and dynamics and thus limit our progress. Take the time to record your lessons, practices, and performances regularly and then listen back so that you can hear 100% of what others hear. And as you do, remember to be kind to yourself about what you’re hearing!
Have you considered the ACTING values of your song? It’s easy to go through the motions while singing. However, in order to make a true connection with your audience, you must understand the dramatic nuances of your song. Musical aspects come first of course - the melody, rhythm, and stylistic choices. But, consider the CIRCUMSTANCES next. WHO are you singing to? What do you WANT in the song? WHERE does the song take place? What are the specific BEATS (or changes of thought) that the character has throughout the song? What do those unfamiliar words MEAN? If you hang onto both the musical and acting aspects of your songs, then you’ll be thrilled when your audience hangs onto your every word!
Want better Stage Presence? With your finger, point to where you are NOW. (Actually try it!) Good. Did you point down? Now, point to where you're GOING. Did you point forward? Last, point to where you've BEEN. It's behind you, right? As performers, we spend a lot of time talking about the space in front of us (aka ”the 4th wall”). And that makes sense. After all, that's the way we're facing! However, where our character has been is just as important as where they’re going. So, next time you practice, think of your character’s past, journey, and backstory. Be specific about the people, places, feelings, and circumstances that have brought you to this place. Paint the imagery of the "2nd wall" behind you just as clearly as you paint the 4th wall in front of you. Being PRESENT onstage is knowing just how far you've come and just how far you've got to go - and finding yourself squarely in the middle.
One of the greatest secrets to becoming a professional artist is this: “Don’t always wait for someone ELSE to give you a job.” While auditioning is an excellent chance to hone your skills and to work in the industry, it shouldn’t be your only avenue to success. You must think like an entrepreneur and create your OWN opportunities too. Find collaborators - writers, designers, directors, musicians, composers, people with the same gumption as you - and go make something happen! It’s important to branch out and not just surround yourself with other performers. Create something new and you can add “Producer” to your resume too!
If you take an audition workshop or ask people for audition tips, you're almost guaranteed to hear contradicting advice. “Always introduce yourself” - “Never introduce yourself”. “Look at the people at the table” - “Never look at the people at the table”. But, one piece of advice that always remains constant is - “Be respectful to everyone in the room”. From the monitor, to the accompanist, to the casting team, to the reader. Even to the other artists you are up against. Everyone is there to do their job and be a professional. So, this is your chance to be the kind of person that everyone wants to work with. You may not do everything perfectly in your audition, but by consistently being a respectful and courteous professional, you can never go wrong!
Do you ever have trouble SUSTAINING a note? The first step to good Sustains is to consider which VOWEL you are singing. Sustains are almost always done on vowels. So, knowing your EXACT vowel is critical. Ask yourself: will this vowel be sung PURELY or will it be MODIFIED in any way? Next, consider your JAW position. For bigger sounds, we might choose a more open jaw. However, all Sustains require the jaw to be free and loose. Finally, inspect your BREATH. Sustains rely on good Breath Support. So, don’t let your air come out too fast! Instead, feel the airflow traveling at a controlled, but constant rate. With these elements in place, you're ready to hold notes with greater ease and control than ever before!
Want a voice that will LAST? Then, don't BLAST! Oftentimes, when attempting to hit notes in the higher portion of our range, we try to FORCE it. Yet, the vocal folds are actually safest when a smaller airflow is used. If you find yourself hoarse after belting higher notes, then too much air is likely a contributing factor. A helpful exercise to diagnose breath issues and also practice consistent airflow throughout the range is Lip or Tongue Trills. Trills are such a staple of many exercise regimens because they demand a similar amount of air during all notes. Try using Trills on a 1-3-5-3-1 pattern and see if you can sustain the Trill across your entire range. This classic exercise has been around a long time. Using it will ensure that your voice is too!
If a song isn't right for you, find out WHY. Many of us have songs in our books that we love to sing, but that teachers or casting directors say "just aren't right for you." When this happens, be sure to ask your listeners WHAT about the song makes them feel that way. Is the problem technical: the song highlights an uncomfortable part of your voice or doesn't allow you to show off your best vocal skills? Maybe it's emotional: the song may seem downtrodden when your natural energy is more buoyant. Or, perhaps the song has a worldliness that your innocence seems to work against. However true or false this feedback may feel to your personal instincts, it can help you learn a lot about yourself as a performer and guide you to material that absolutely IS right for you!
Let Go and Let Flow! All singing requires a relationship between our Breath FLOW and our Vocal Fold COMPRESSION. Great Vocal Technique involves letting the air lead and guide every single sound we make. This doesn’t mean PUSHING the breath. But, it means that we should always have the sensation of our air moving gently through our Vocal Folds. So, if you’re sounding a little bit strained and pinched, try LETTING GO of the Compression inside the larynx a little bit. You’re probably holding the Vocal Folds a bit too firmly and asking them to participate a bit too much. Give them a break and let them ride on a graceful wave of that “still small breath”. They will know what to do if you’ll trust. Let Go and Let Flow!
"How do ye go from note to note? Let me count the ways!" The next time you’re listening to an amazing Riff or vocal improvisation, notice how the singer goes to and from notes. Some musical lines flow smoothly from one note to the next. Others include scoops, slides, or big leaps. Still others have grace notes, repeated accents on one note, or double or triple turns around a note. Each kind of musical movement has its own challenges. And, different movements are easier or harder for different singers. But no matter what you choose, a wide variety of movement gives your Riffs their sparkle, their character, and their life! Want your Riffs to love thee? Practice ALL the ways!
Speed up your vocal progress by improving the way you LISTEN! First, make sure you RECORD your Voice Lessons and then revisit them. From there, record your PRACTICE sessions as well. How do they compare to your lesson or other recent practices? Are you addressing the nuances of your technique in each practice? Are you starting to hear the things your instructor hears? Are you noticing any consistent habits? The discipline of listening will accelerate your progress. Don’t judge yourself harshly. Instead, be objective and listen for pitch, timbre, resonance, and breath. Use your ears to listen, your heart to hear, and your soul to grow!
"Am I too old to sing?". This is a question asked by 17-year olds. This is a question asked by 30-year olds. It's asked by 50-years olds. And, by 70-year olds. But, if it's a question that virtually everyone asks themselves, then there's something wrong with the question. Singing is meant for everyone to enjoy and to succeed at regardless of their age. It's actually quite reasonable to sing into one's NINETIES very beautifully! Often society puts pressure and expectations on people of all ages regarding what they "can" or "cannot" do. So, you have two options. You can listen to those pressures and stay silent. Or, you can dare to "Make A Joyful Noise!". If you do, it will keep you forever YOUNG!
Want to adjust the Larynx without even thinking about it? Try thinking about your BREATH sometimes instead of your Larynx. While it’s helpful to adjust the Larynx directly, sometimes adjustments are better made indirectly. When you take a breath deep in the body, the larynx actually drops a little bit automatically. This slightly lowered position allows for greater resonance and looser vocal folds. Not to mention that a low breath sets you up for optimal breath support. While good vocal technique often asks us to isolate different components of our instrument, it’s also great for them to work together. Let your low breath and your low larynx work in harmony!
Looking to add some new stylistic elements to your singing? Try the Vocal Fry! Vocal Fry (also called Glottal Fry) is very often used as ONSETS in Pop, Rock, R&B, and Country Music. These Onsets are especially common in words that begin with vowels. Try using it just before actually hitting the first note of a phrase. It may become somewhat more difficult to do this for higher pitches. That's because we often associate Vocal Fry with lower pitches since it is the vocal register beneath our Chest Voice. Yet, Vocal Fry Onsets can be used before singing any notes in your range! To practice using Glottal Fry before singing, try singing “Oh No No No” on an 8-5-3-1 interval beginning with the Glottal Fry each time! Practice this throughout your range to get yourself acquainted with this contemporary stylistic gesture of Vocal Fry Onsets!
When we inhale for singing, our attention is usually focused on the expansion of the abs, ribs and lower back. And rightly so! These are the most important elements of good breathing. However, have you ever focused on any part of your body ABOVE your shoulders as you breathe? If not, you might try it! The shape of your mouth, jaw, lips, tongue and soft palate all influence the way that breath enters AND exits your body. For example, if you are about to sing in your Falsetto register or high in your range, try breathing in on a lip-rounded “OO” vowel. This will configure your vocal tract in such a way that is optimal for singing your highest notes! Keep working to make sure that your breath support emerges from deep in your body. But as you do - don't forget about what's up TOP!