Many people sing to express the spirit, emotions, and ideas inside them. However, efforts to be expressive are often undermined by the difficulties of Vocal Technique. It takes time, hard work, and mindfulness to fine-tune any craft. And, singing is no different. If we aim to be expressive but don’t dedicate time and practice to the technical and musical aspects of singing, we limit our potential to freely and effectively express what's deep within us. The good news is that good old-fashioned hard work can be JOYFUL! While spending those long (and sometimes grueling) hours working on technique, never lose sight of the good news! That is, that your disciplined efforts are the very thing that will help you express yourself more soulfully than ever before!
You’ve practiced your vocal technique. You’ve practiced your songs. You’ve practiced your performance. So, don’t forget to practice your AUDITIONING! It’s easy to forget that Auditioning is really its own skill. While there are similarities between performance and Audition situations, there are also key differences. In Auditions, you’re usually in front of a few strangers who you can see in a well-lit room. The acoustics of the Audition often vary from where you rehearsed. The Audition accompanist may not play your music like you expected. All of these variables (and more) make Auditioning a very different experience than performing. So, try simulating the audition experience as much as you can as you prepare. And most importantly, make sure that you Audition A LOT until the skill of Auditioning becomes as exciting as opening night!
Are you struggling with notes that feel BIG, heavy, or difficult? Try focusing on AGILITY instead! Agility promotes vocal flexibility and helps take unwanted weight out of your high notes. Start by doing some quick vocal exercises on a lip or tongue trill near the note you are struggling with. Or, take any exercise you are working on and do it twice as fast and also twice in a row. Don’t go faster than you feel comfortable with, but see how fast you can flow through the phrase. Let the notes fly smoothly from one to the other with no hesitation. Sometimes we get stuck working too hard for notes that seem scary. Moving faster around them makes them feel freer and lighter when we come back to them in a more full manner. So, if you’re struggling to be BIG, try being AGILE instead!
Have a CRITICAL ear, but not a JUDGMENTAL one! So often while practicing our singing we judge ourselves. Maybe the best example is that awkward moment when our voice “breaks” or “cracks”. It’s common to fear this moment so much that we try to avoid it at all costs. Yet, don’t let moments like these hinder you! These are actually the exact moments that can teach us how our voices really work. It’s essential to make the sounds that we DISLIKE in order to achieve the vocal coordinations that we NEED! So, be careful to not sing “PRETTY” or to only make sounds that your ears approve of. Every sound, good or bad, is another step on the journey toward your vocal best!
MENTHOL. Who doesn't love it? It offers a cooling sensation, it has an invigorating feel, and it smells good! We've all been there... we have a cold and start coughing. So, we grab a cough drop with menthol, rub a menthol cream on the chest at night, or even use steamers with menthol steam. But, what many people don't know is that menthol can have adverse effects for you as a singer! Although the cooling sensation of menthol can feel good, it also has a NUMBING effect and DRYING effect on our vocal folds. These two things certainly don't bode well for our singing. When we're feeling sick we want to be very much AWARE of how our throat and vocal folds are feeling, not the opposite! So, when you're looking for throat lozenges be sure to look for drops with honey. Better yet, find some high quality raw honey and just take a spoonful. Drop the menthol and reach for the HONEY!
Have you ever felt like your EE or IH vowels “push” against your face more powerfully than other vowels? Part of that feeling is due to the small pathway these vowels create for your breath. Think about turning on a garden hose and then covering the end of it with your thumb. The same amount of water is coming out, but now it has a much smaller pathway to go through - so the flow gets much stronger and more pointed. When you sing small bright vowels like EE and IH, your tongue limits the exit area for your air and creates a similar effect. Don't shy away from this feeling! A smooth, strong airflow through those tiny vowels is actually what opens the floodgates for fantastically full sounds!
Do you need a REASON to sing? No. But, if you think about it, you certainly have one. Or many! The Reasons people sing and express themselves through song are limitless. Each Reason is as unique as each person. Identifying the Reasons behind your singing is a powerful step toward becoming a True Artist. It helps you find song repertoire that speaks to you. It helps you perform from a place of authenticity since nobody in history will ever communicate through song exactly like you do. It helps you to feel grounded in yourself when the world tries to make you something other than beautiful YOU. So, every now and again, make sure you remember the REASON why you are doing this. It will guide your way. Like it always has.
Do you remember your BEST audition? Probably what comes to mind is the time that you booked the big part. Or, the time that someone said something nice about your work. Or, the time that you sang your song "perfectly". Those certainly are great auditions. But, they are not your BEST auditions. Your best auditions are the ones when you woke up at 4:30AM just to be seen. The ones where you patted yourself on the back when nobody else would. The ones where you came SO close, didn’t get what you wanted, and still decided to not quit performing. Because THOSE auditions are the ones that give you the guts, the grind, and the grit of a true professional performer. If you can learn to make those your BEST auditions… well, then, nobody can stop you.
FRUSTRATION is the enemy of good Riffing. Yet, how many times have you said this to yourself? "I can't Riff." OR "That run is too fast for me!" OR "My voice can't move like that!" If you have, then you've fallen victim to frustration! Most likely you’ve been listening to finished, polished, and PRACTICED Riffs. However, the artists you admire didn’t do their Riffs at full speed when they first tried. So, why should you? Riffs take patience, a listening ear, and a willingness to explore and have FUN. First, slow things down. Take delight in the experience of deciphering notes, accents, and pivot points. Take JOY in learning Riffs slowly and precisely. Only start adding speed when you've found that JOYful place! Frustration actually tightens the instrument and slows you down more. So, SMILE! And your Riffs will soon reward you with speed!
The LYRICS are the obvious way to find out what a song is about, what action you should be playing, or who you are singing to. However, what many singers forget is that the ACCOMPANIMENT gives clues too! Often the composer offers extra insight into the character and acting through the music. The next time you're listening to a song - listen to the Accompaniment exclusively. See if you can find the emotional journey of the character via the music. Ask yourself: how does the Accompaniment enhance the journey? What do the rhythm, dynamics, harmonies, and flow tell you? Chances are - it’s A LOT. Next time you're singing a song, take the time to listen to how every part of the song works together to tell a story. Your performances will be richer, more honest, and more exciting!
Have you ever wanted to be the INVENTOR of your own original Riffs? A great way to start creating Riffs is to become aware of their specific components. Start by listening to as many great Riffs as possible. Observe the rhythm, the amount of notes, the melodic contour, the vowels and words used, the vocal register, and the stylistic nuances. Write out a list of these items. Then, challenge yourself to design at least 5 unique Riffs using these elements. You might write out the rhythm, vowels, and notes before you sing. Or, you might experiment with your voice to find the exact elements you desire. Either way, you’ll soon find yourself becoming the inventor of all kinds of Riffs that you can truly own and call your OWN.
When acting a song, remember to SAY your words! This may sound silly or obvious, but try speaking the lyrics of a song you love to sing and you'll quickly notice how unnatural some of the speech patterns become. Every word is part of a sentence, even though this isn’t always obvious in the rhythms of a song. That’s why it can be easy to neglect these inflections and phrasings when we're caught up in a soaring melody or a fun groove. As you work through a new song, practice SPEAKING the lyrics. Really make sure that the meaning of your sentence remains honest even as you return to the rhythm of the song. Follow the WORDS to your destiny of beautifully acted songs!
“Two is better than one!” This goes for singing as well. Have a friend that loves to sing? Try practicing with them! We usually only think about practicing alone or with a vocal coach, but having another set of friendly ears can be helpful and inspirational. In addition to singing your favorite duets, you can give each other feedback and learn from one another's strengths. Plan to meet at least once a month and keep each other positive and accountable. Record your sessions so you can document your mutual progress from month to month. So go ahead - set a date, create a song list for both of you, and get started with vocal growth x 2!
Climb to the top of your voice - EVERY DAY! Many singers that Belt, Mix, and sing contemporary music just adore singing in the low, middle, and upper-middle parts of their range. This is natural because contemporary vocal styles are written in this part of the voice. However, it’s tempting to practice those registers exclusively and thus neglect Head Voice (female), Falsetto (male), and Flageolet. The upper ranges of your voice promote vocal flexibility, health, longevity, and agility. Plus, they will actually make your lower and middle range BETTER. So, even if it’s not something your style calls for, be sure to stretch out your voice consistently. Once you come down from the stratosphere, your voice will feel like it’s walking on clouds!
Have you ever sung from your THIRD EYE? The “Third Eye” is located in the middle of the forehead, slightly above the eyebrows. For thousands of years awareness of this spot has been a way to DEEPEN our consciousness, CONNECT to our souls, and FOCUS our minds. Singers have also long noticed a connection to this place. Higher notes are often felt in the Third Eye because the need for Head and Nasal resonance increases. When you observe elite singers in action, you will often notice that there is intense energy and focus between the eyebrows - even without lifting or tensing them. So, start seeing through new eyes and singing from new places! Guiding your sound toward your Third Eye will help add FOCUS to your voice, your mind, and your soul!