Judy Rodman - All Things Vocal

Auditions for new CBS show "Jingles"

2008-05-09T17:37:00.001-05:00

Someone at CBS must have read my post on singing jingles:) Just got this emailed to me... another crazy reality show, but it could be an opportunity you might have some fun auditioning for it if you're into jingles. Here's the blurb they sent me:

CBS and Mark Burnett Productions have teamed up to find the greatest undiscovered marketing genius for a new show, "Jingles"! We are looking for teams of (preferably) 2-4 people to write and perform product jingles. A team could be anything from a brother/sister team to a singing comedy duo or a barbershop quartet!

Do you think you could use your quick mind, great sense of humor, and musical skills to wow Fortune 500 companies with your talent?

We are looking for fun, high energy performances mixed with a competitive spirit. Minimum age 13.

Please email Jonathan at jtanzman@markburnettprod.com for more information.
We will be casting in Nashville late May.

Fans Rule! - the new music business model

2008-05-08T09:01:00.000-05:00

If you're not into social networking and you want to sell music, you either need to get into it or get someone who IS into it to become a part of your marketing team. Instead of being depressed, I have to say I'm energized by the way music business's apple cart has been turned over and the bottlenecks are irreparably broken. Now listening and concert-attending FANS are driving the business, instead of the other way around. I say, "long live fan-archy!" hehehe...

There are awesome stories on the net of music marketing successes using this new model. Go here to read about some) .

Don't be fooled...It's HARD WORK doing business this way. To become successful... (and I am borrowing from the writings of Internet marketers such as Mari Smith and Brian Clark) ... you must:

Connect with your fans.
Interest your fans in staying around.
Motivate and excite the fans so much that they want to buy from you.

Think you'd have to make millions of fans to "make it"? ... Here are two links to a debate going on about the premise that it only takes 1000 "True Fans" to make a living in the music business:

http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php

http://www.kk.org/thetechnium/archives/2008/04/the_case_agains.php

Social networking sites I recommend for you to put up your profile and become active:

1. Myspace.com
Recommended resource: Bob Baker's "My Space Music Marketing" (about $20)

2. Facebook.com
Recommended resource: Mari Smith's "Facebook Fortunes" (free)

3. Twitter.com
Recommended resource: "Why Twitter Isn't A Waste Of Time" (blogpost)

Anybody out there have other suggestions to share? Click "comment" below this post!

Auditions coming up for Footloose (Nashville production)

2008-05-04T19:13:00.003-05:00

I just got this in from Lynda Hawkersmith... thanks for the heads up, Lynda!

Nashville Auditions for Circle Players' Production of Footloose

Vocal and cold reading auditions---Saturday, May 31, 10a.m. - 3p.m.

a.. E-mail directorSaraYO@hotmail.com to sign up for an audition time
b.. Prepare 16 bars of an up-tempo song in the appropriate show style
c.. Accompanist and CD player provided

Dance auditions and callbacks---Sunday, June 1, 2p.m. - 6p.m.

a.. All auditionees are required to attend the dance audition
b.. Please come dressed to move-no jeans, flip-flops, skirts.
c.. Callbacks will begin immediately following the dance audition

Audition location for both May 31 & June 1 Circle Players' rehearsal space in Madison - 801 N. Gallatin Pike in the back of the Madison Square Shopping Center

Approximately 20 roles are available for teenagers through adults.

Footloose will be directed by Sara Youngblood-Ochoa, choreographed by Jose
Ochoa and music directed by Thom Garrison

Production dates are July 25 - Aug 10, 2008
Looby Center Theatre
2301 Rosa L. Parks Blvd, Nashville

Does anybody have recommendations for headset mics?

2008-04-30T12:27:00.002-05:00

Quick tech question from my client Jenni Schaefer...

Does anybody have recommendations for specific headset mics like, or ones to avoid?

Click "comment" to respond. - and thanks!

What would I do as producer of your project?

2008-04-28T23:35:00.000-05:00

I got a new request recently to explain what I do in my role as producer or vocal producer.

If you are a new artist and are contemplating recording a project, the following may help you know what to expect, or what questions to ask of the producer you are working with or considering.

As producer of your project:

I would hold a face-to-face planning consultation with you
I would explain the options you have and costs of different kinds of recorded projects (full tracks demo, limited pressing, master OR a smaller project like piano or guitar and vocal, etc.) Once we decided together what kind of project to do and how many songs...
I would help you find and choose songs that fit you.
I then suggest taking some voice lessons to get your voice ready and to work on the songs and keys.
If we are doing full band, I would have a "pre-production" meeting with you, and sometimes with the band leader, going over musician choices and production ideas.
I would book the band, the recording studio and engineer according to your budget and write the charts.
Then I would produce the tracking session. You would do "scratch tracks", singing them as the musicians play, but not trying for final vocals.
At this point, I recommend taking the rough tracks home and working with them for a while (a couple weeks to a couple months), and if possible, work on them at several more voice lessons. When you and I feel you are confident with them...
I would book the vocal sessions with the studio and any needed background vocals.
Then I would produce your lead vocals and background vocals.
Then I would have it mixed, you and I would listen to the mix, do any tweaks and ok the final mix.

My production fee would be negotiated according to the type project. Of course, it it's just piano or guitar vocal or pre-existing track, I would charge much less because the time required would also be much less. Vocal lessons would be an extra fee you would need to include in your budget. You would also need to pay separately for any graphics and duplication you want.

As vocal producer of your project:

I would usually work with your over-all project producer and engineer to get your best vocals. Most often I give a short vocal consultation (lesson) before we begin.
Sometimes, according to the producer and engineer's wishes, I help "comp" the vocal tracks on the spot.

My vocal production fee is $80 an hour. Typical length of time is one to two hours per song.

I hope this helps you plan your project, whether or not I work on it. I always love working with other producers - on the team as vocal coach, vocal producer or consultant. There are many creative solutions that can help you get the best project for your budget. If you have any questions, please click the comment link and I'll be happy to reply.

Ways to mend a pesky vocal break - part 3

2008-04-23T22:43:00.003-05:00

OK, this will be the last in this series of posts on vocal breaks. Truth be told, I could write a book on this subject, but you all gave me so many other great requests about which to write! So, I'm going to wrap this subject up by letting you in on one of the core secrets of my teaching.

Before I developed the concepts of the Power, Path & Performance, I had the worst and most un-mendable (or so I thought) vocal break I've ever heard in anyone. My brilliant Nashville vocal coach Gerald Arthur helped me get my voice back after it was damaged by an endotracheal tube (I spent some time hooked to a ventilator many years ago). I still had that pesky break, though with Gerald's help I learned to mask it well and continue on with my vocal career as a session singer, and then a recording artist. Thank you, Gerald, from my heart and soul!

Not too long after I began teaching voice I was given a book by a student who asked me to explain it to him. The author was vocal coach Jeffrey Allen of California. In his book Mr. Allen suggested holding a mental picture of a question-mark shaped path that the voice should take. That imagery opened up a whole world for me.

I began experimenting with what that path meant to me and how I could use it with my students. Long story short... this is what mends vocal breaks every day in my office:

Use your power- your compressed breath power located in your pelvic floor- to lift you into the balcony above and behind you. NOT STRAIGHT UP. You have to lift a little to the back, bending your upper spine to do so. DO NOT LIFT YOUR CHIN. This action should cause you to raise your eyebrows and look like you're about to say "I don't THINK so" very sarcastically.

Then... use the word (articulated with meaning) to PULL sound from the balcony to your audience. DO NOT MOVE YOUR HEAD FORWARD. Notice, you don't pull with your head, your neck or your jaw... you just pronounce the word and direct it to the listener.

In summary...Your voice should come from the pelvic floor, lift to the balcony above and behind you, then travel to the audience. This path is complicated, often frustrating when first trying to learn it, but it works. If you've been pushing your voice through your break, this will feel like learning to walk all over again. But every one of my students will tell you - it's well worth the effort. Why?

It causes gives you access to great breath support and control.
It enables vibration from your larynx to resonate in the open spaces of the nose, sinuses, pharynx, mouth, and possibly even trachea -resulting in rich tone colors and expanded range.
It causes the vocal cords to freely change length and width, and allows the larynx to tilt freely according to the pitch.
It makes your voice feel GREAT! You will have NO vocal strain.
And...it erases the break. Every time, in everybody, if done correctly.

To this day, if I don't pull my voice in this path, I will find myself back with my old break. But I know how to erase the pesky thing! And I can do it any time I want! Yeah!!

Thanks to Jeffrey Allen for graciously allowing me to use his imagery in my method. You can find his book "Secrets Of Singing" at http://www.vocalsuccess.com . And of course, you can find my PPP cds at http://www.judyrodman.com/power-path-performance.htm .

Loosening a tight jaw: two specific tips

2008-04-18T19:09:00.003-05:00

I wanted to add this information today for Nav's benefit - Two specific tips for loosening the jaw:

1. Let the jaw open like a monkey wrench, not like pliers. Put your knuckle between your molars on one side and try to sing like that until the jaw loosens.

2. Let the jaw move SLOWLY and SLIGHTLY to the side while singing "ee" and "oo" vowels to loosen the lockdown.

Ways to mend a pesky vocal break - part 2

2008-04-18T18:15:00.006-05:00

This is a continuation of my post series on the subject of vocal breaks. I had a great question emailed (thanks, Nav!) to me today about the jaw's function in singing. Oddly enough, incorrect jaw actions are among the things that will cause and/or exacerbate a vocal break.

Vocal register breaks, as indicated in my previous post, are caused and made worse by whatever interferes with allowing changes in length, tension and mass of the vocal cords as the singer moves through different pitches. Top 5 causes I see...

Locking the jaw
Tightening the base of the tongue (which goes along with locking the jaw)
Freezing the spinal position
Tensing shoulders
Numb facial expression or eye movement
Choosing to sing or talk too high or too low, causing chronic tension and strain.

Why do we do these vocally dysfunctional things? Top 4 reasons I see:

To try to keep the voice FROM breaking (unaware that guarding and over-controlling to try and eliminate the problem inadvertently makes it worse)
To try and hit notes that are difficult (again, a bit of a catch-22)
Because of some erroneous vocal training that says to keep the jaw or any of the other body parts I just mentioned perfectly still, (Run, don't walk, from this kind of teaching)
Bad habit - talking too low (constantly "hitting gravel"), trying to sing in keys that are too high or low for the current capabilities of the voice, not realizing the locking up this is causing.

What can we do to change our habits?

First become aware of what you are actually doing. Watch yourself perform a song in front of a mirror. Do you see any of those actions I just listed?
Record yourself talking. Do you hear tension, monotone, gravel, lack of breath? Try talking with much more animation and "life" and record it again until your body, spine, face, tongue, jaw are loose and flexible.
Do corrective wall and mirror work. In front of a mirror, stand with your back against the wall... back of the head and heel against the wall. Now slowly try to loosen those areas I named on purpose - while you are watching. Notice the effects.
Out of the pressure of public performance, privately practice doing things a different way. At first it may get worse before it gets better - like it would be if we were learning to walk with a different stride. Relax, relax, relax and trust the process.
If you have my vocal training course, just listen over and over to the first two Cd's to let the insights sink in.

Comments are always welcome as you try my suggestions. Next post, I'll give amazingly effective tips to open the throat channel at the break point. Yes, this will be about the correct vocal "Path".

Ways to mend a pesky vocal break - part 1

2008-04-13T17:20:00.013-05:00

Pesky, dreaded, dratted vocal breaks. At one point, I had one of the worst. Here is the problem as defined by Wikipedea,

...The frequency of vibration of the vocal folds is determined by their length,
tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases. In other words, all three of these factors are in a state of flux in the transition from the lowest to the highest tones.

If a singer holds any of these factors constant and interferes with their progressive state of change, his laryngeal function tends to become static and
eventually breaks occur, with obvious changes of tone quality. These
break are often identified as register boundaries or as transition areas between
registers. The distinct change or break between registers is called a passaggio or a ponticello.

Vocal pedagogists teach that with study a singer can move effortlessly from one register to the other with ease and consistent tone. [Judy says, absolutely!] Registers can even overlap while singing. Teachers who like to use this theory of "blending registers" usually help students through the "passage" from one register to another by hiding their "lift" (where the voice changes). However, many pedagogists disagree with this distinction of boundaries blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place...

Symantics aside, however you define vocal registers, boundaries and breaks, the important thing is how to blend your voice to get rid of the cracks. Added bonus... eliminating vocal breaks also adds to the tone quality of the voice through out the whole range, helps to relax the voice into a fuller range and adds to vocal control. Whew! It's pretty clear we want this.

I have been able both to get rid of my own vocal break and to help every student I've worked with eliminate theirs with the teachings of Power, Path & Performance personal lessons and cd course. That's how I know it works. This next series of blog posts, will be my first response to my dear reader's list of subjects. I will be addressing every "All Things Vocal" subject you name, so ... keep sending me your subject requests for this blog and be sure to subscribe for updates!

... mending vocal breaks to be continued...

Pop Quiz... Got vocal issues?

2008-04-10T14:42:00.008-05:00

Time...
It's time for me to do an inventory on my focus in this blog. It takes time to write each post and time for you to read it. To keep it worth our time, I'd like to increase its usefulness to you. And I'd like to ask you to take a few moments of your time to help me get you the information you need and want.

If you could ask your most urgent, puzzling, frustrating or curious question about anything relating to the voice (fitting for a subject to explore on "All Things Vocal") what would it be? Got multiple vocal issues or questions? List as many as you can.

To begin your thinking process, look at these random vocal issues and let me know which one(s) you'd like to see me add to "our" grand list (if you want, tell me what you're NOT interested in as well):

You have uncontrolled, excessive or missing vibrato issues.
You consistently sing either sharp or flat.
You want to know how to make money with your voice.
You need info about your speaking voice.
Your voice is tired and strained.
Your voice is thin, weak, lifeless, nasal or edgy.
You want to increase your range.
You have some strange, mysterious problem that occurs when you speak or sing.
You don't know what style you should sing.
You have a frustrating vocal break.
You feel numb or fake in performance.
You can't get the magic in your studio vocals that you get in live performance.
You want to know how to correctly sing and play an instrument simultaneously.
You want to know how to choose great vocal training.
You want to protect yourself from getting ripped off in the music business.
You want to learn and keep up with how the music business news.
You'd like to learn how use breath more efficiently when speaking or singing.
You want to learn to read music or the Nashville number system.
You want to know how to fire up your creativity.
You want to know what "Power, Path & Performance" vocal training can do for you.
You are interested in ideas to keep the voice healthy.
You want to know how to co-write.

OK... your turn... just click the comment link at the bottom of this post and list numbers of issues of interest to you. Then add your own. And thank you for joining the conversation!

Jingle singing

2008-04-07T15:45:00.002-05:00

I got a recent comment on this blog asking me to talk about jingle singing. Thanks very much for the comment and here goes...

What's the difference between jingle singing and session singing? Jingle singers are a sub-field of session singers, which is just an abbreviated term for "recording session singers". Session singers includes background singers for recordings, demo singing for songwriters, duet, solo and group singing for all kinds of media projects, and for which a singer is paid a set fee or residual schedule.

The niche of jingle singer has been drying up for many years. In times gone by, every product on the market had its own jingle... usually with a memorable melody AND lyric (which meant it had to be sung). Now there are few signature jingles you see on TV, and those that are on TV are often just instrumental. Nevertheless, jingles are still sung, and a whole lot of money is still made from them in residual income. There are local, regional and national jingles. $12,000 and more from a single 13 week run of a national spot is not uncommon.

On the subject of payments... Joining the singer's union AFTRA (American Federation of Television and Recording Artists) assures that you get these fees. Though I often disagree with AFTRA's policies, I do know that non union commercial work offers much less pay and gives no protection that the payments will be made.

What are the requirements of a jingle singer?

First requirement of a jingle singer is that they be able to sing the jingle. Sometimes recording artists are chosen to sing a particular jingle that fits their voice, but true career jingle singers are "stunt singers". They never know what vocal chore they will have to accomplish before they get to the studio, so they have to be vocally ready for just about anything that could be asked of them.
The second requirement of a jingle singer is that they have a great professional attitude. There is no one who is good enough to be a personality problem or a diva and have a session singing career. This attitude needs to include habits like showing up prepared to sing... on time, every time. Banter should be pleasant and friendly but should also be limited and respectful of the fact that the client is paying for studio time! The attitude also should include respect for the fellow session singer. Word gets around! Also, the singer has to be willing to change (sometimes every other take) the way they are singing. The client is always right, even when they are wrong (or have control problems, or just don't know what they want).

A list of things a jingle singer needs to be prepared to do:

read music - but sometimes to wing it (head chart)
sing any part assigned to them
sound a lot like a particular hit artist that would cost the advertisers too much to hire
sound authentic within a particular musical genre (i.e. be able to sound country, pop, r&b, jazz, or alternative)
blend with other singers like butter
have the extreme vocal control to be completely together in sync with other singers (follow the group leader's decisions about phrasing, tone color, cut-offs, glottal starts for vowels)
clearly articulate the lyrics (the advertising message)
have total control of pitch... able to lift or drop a pitch if necessary by a degree of a step.

If you think this takes training... drum roll.... YOU'RE RIGHT! Seek out a professional vocal coach who trains session singers and also do as much singing with other session singers as you possibly can. If you can get in to watch session singers work, do so with every opportunity. This is a specialty skill, and the best session singers perfect their craft carefully for years.

You must also have a "jingle reel". It's a bit like "which came first, the chicken or the egg", but you must have your voice recorded on 6 to 8 jingles recorded and have the snippets professionally edited together. Try to include as many different styles as you are comfortable singing. You can ask around or do a Google search for studios or engineers who do this; I don't want to recommend a particular company. I will tell you it needs to sound great and stand out from the crowd of jingle reels.

Then you have to do the researching and networking required to get the cd listened to. Search out jingle companies in your area; also find singers who do this work. Problem: many times jingle companies have in-house singers (who are sometimes the producers themselves) and really only need soloists. That's OK, submit the reel with some of your solos.

Here is a site I thought did a good job of talking about jingle singing. Beware of other jingle singing info sites that just want to sell you something. Make sure that reel they want to produce for you will be affordable and give you the quality you need. You might be better off getting it done locally.

http://www.wikihow.com/Sing-Jingles

The jingle singing field has always been lucrative. That's why people go to the trouble to train for it. If you are truly good at hearing parts, at reading music, and at blending your voice, try to do some recording with a group and see if you think this kind of singing could be a fit for you.

If you are a jingle or session singer, watch over your instrument. Stunt singing is a demanding business. If you:

experience strain or vocal fatigue
want to expand your vocal abilities
want to get some protective vocal warm ups

... I can help you.

Call or email me at 615-834-4747, rodmanjudy@comcast.net . Power, Path & Performance is, most of all, a practical, real-world solution to vocal goals, and a jingle singer's voice is more than worth the investment.

Chronic breathiness or hoarseness? Suspect vocal damage!

2008-04-05T05:49:00.005-06:00

I was eating lunch when my one of my new students' mother called. "Hello", I said. "Well, you were right", she said. Sadly, I had guessed I would be right. It wasn't the first time I'd correctly suspected vocal damage.

She had taken her little actress daughter to the doctor after my suggestion at her last voice lesson to get her vocal cords inspected. Her doctor found lesions on both vocal cords. He told them she should not talk for a week and that it will be a long, long time before she should attempt to sing. She had been scheduled to audition for two productions... one a movie... and it's all on hold for now.

I knew something was wrong because I had way too much trouble getting this little girl to be able to sing in her head voice. When I did gently coax a head tone out of her, nothing I suggested could help her sing very far up the scale, and those notes were very breathy. She tried her best to follow my directions, but she could not focus her spread tone into a healthy, clear, bell-like sound. The breathiness in both her chest and head voices and her limited range cautioned me to stop the vocal training until she could get checked out. And thank God her mother took the initiative and the discovery of vocal injury was made.

Anything which keeps your vocal cords from closing properly, such as a bump of tissue caused by injury, swelling, any kind of lesion or other obstruction, will cause problems such as breathiness, hoarseness, fatigue, vocal cracks and other limitations in your speaking and singing voice such as an inability to sing in head voice. Fortunately, these symptoms are a cry for help... which needs to be heeded.

It is imperative to get a correct diagnosis as to the type of vocal lesion present, because some injuries respond quite well to rest and corrective vocal training, and some require surgery. And sometimes the lesion is malignant. Don't fool around with chronic breathiness or hoarseness. Get to the bottom of the problem. For a "symptom tree", see: http://voiceproblem.org/disorders/vflesions/index.asp . If you suspect a problem, make an appointment with a doctor who can inspect your cords and who knows about singers' voices (get references).

You can actually click a link and hear examples of some types of vocal damage at: http://www.gbmc.org/voice/disorders.cfm .

Here's a wake up... you can cause your vocal cords to hemorrhage (bleed) from just ONE episode of traumatic vocal abuse. A jingle singer I worked with in Memphis named Janie Fricke was diagnosed with this many years ago. Good news... with rest, she did fully recover - and she became a highly lauded country singer with a major hit career. I myself had vocal damage from the insertion of an endotracheal tube (I was on a ventilator for a while many years ago). With the help of my vocal teacher Gerald Arthur, I fully recovered and then went on to my own career at MTM records.

This mother had been told for years that her daughter's breathy sound was natural for her... that there was "nothing wrong - that's just the way her voice sounds". Therefore, her daughter has been re-injuring her vocal cords constantly. Hopefully, this talented and precious little girl's voice will mend with time. When her injury sufficiently heals, she will need vocal training to fully recover.

Read into this post your own cautionary tale. Sometimes you may wish to make a breathy sound for a momentary "effect", but don't fool around with chronic breathiness that you can't focus into clear tone. If you think you have a problem, get checked out with a good voice teacher and/or a doctor who specializes in voices.

News of (Quickly) Upcoming Events in Musical Theater

2008-04-01T14:44:00.004-06:00

Hi everyone... I've been resting up from all the music manuscripts I have written and sent to Bristol, Connecticut in preparation for their upcoming production of "Runaway Home". That's why I haven't posted here for a while... but I'M DONE NOW! Yessssss...

There are several musical theater productions coming in April, either mine or my students. I wanted you to know about them in time to attend!

First of all, I will be performing a short music set, then the first performance of the new revision of our musical drama "Runaway Home" will begin at Athens University (Alabama) THIS THURSDAY NIGHT! (sorry for the short notice)
Details:
Venue: Ballroom of the Sandridge Student Center at Athens State University (Alabama)
Date: April 3 (Thursday) Dinner and short concert 6:30-7:30, play begins afterwards.
Tickets: $25 - to reserve, call Student Services (256) 216-3319

If you are near Bristol, Connecticut, make plans to see the Mark Mazzarella production of "Runaway Home".
Details:
Venue: Auditorium at St. Paul CHS
Dates: April 11-13, 2008 Fri. & Sat. 7:30pm ▪ Sun. 2:00pm Thu., April 17th 7:30pm
Tickets:Adults $12, Students $8, Senior Citizens $10INFO LINE: 860-584-0911
Click here to purchase tickets online

Judy's student (and neice) Gretta Fergeson has lead role "Audrey" in Florence High School's production of "Little Shop Of Horrors".
Details:
Venue: Falcon Theater - Florence High School (1201 Bradshaw Dr, Florence, Alabama)
Dates: April 3rd at 7:00pm, April 6th at 2:00pm
Tickets: Adults $8; Students $5; Call (256) 768-2237 for ticket information.

If you are in Nashville, my student Ike Hawkersmith has the lead role (Tom) in the Circle Players production of "Tom Sawyer".
Details:
Venue: Looby Center Theatre 2301 Rosa L. Parks Blvd. (8th Ave.) Across from Watkins College in Metro Center
Dates: April 4 – April 20th.
7:30 p.m. Thursday, Friday & Saturdays
2:00 p.m. Sunday Matinees
Tickets: Adults $15, All tickets are $10 on Thursdays
Tics can be purchased at www.circleplayers.net
Or by phone 615/332-PLAY
Or at the box office at Looby Theatre

My student Adam Young has a great role in Agatha Christie's play "Mousetrap".
Venue: Lamplighter Theatre on the campus of Smyrna Assembly at corner of Rock Springs Road & Old Nashville Hwy.
Dates: Fridays & Saturdays April 4, 5, 11, 12 - 7:30pm, Sundays April 6 & 13 - 4:00pm
Tickets: $8 Adults, $7 Seniors, $5 Students and children (under 4 not admitted). Discounts for groups of 10 or more. Call 615-534-0148 for reservations.

Dust your spring shoes off and come see something!!!

5th Christian Independent Alliance Summit this wk

2008-03-24T20:50:00.003-06:00

Heads up ... there's a good conference going on this wk if anyone's interested. It's the
5th Christian Independent Alliance Summit near Nashville, TN. The email I received says:

"We have 3 excellent events!"
Wednesday, March 26- Tom Jackson Performance Seminar
Thursday, March 27- Songwriter Bootcamp
Friday-Saturday- CIA Summit Seminars

For more info, please visit:
http://www.ciasummit.com
For an overview of the Summit events, go to:
http://www.ciasummit.com/2008/02/19/recap-of-all-cia-summit-2008-events/
To register, go to:
http://www.ciasummit.com/registration/
The CIA Summit is sponsored by:
Mission of Mercy:
www.missionofmercy.org
Indieheaven:
www.indieheaven.com

Byrd Burton passing

2008-03-17T09:23:00.002-06:00

Our beloved Byrd Burton passed away March 10th. He will be greatly missed, because he has left a big hole in the world.

Byrd was chosen by Sam Phillips to be a session guitar player at his famous Memphis studio. Byrd also played with my husband John at the William B. Tanner jingle company in Memphis. One day Byrd mentioned to John that he was cutting some tracks with some guys and none of them knew what they were doing but it was fun. The "guys" and he became the 70's rock band "The Amazing Rhythm Aces" with such legendary hits as "Third Rate Romance" (remember the famous guitar lick?) and "The End Is Not In Sight". Byrd won grammys for both songs, and also as producer.

Not bad for "not knowing what he was doing"!

After the Aces, Byrd went on to major work in the recording studio and onstage with artists such as Nancy Griffith, Dan Fogelberg, Brooks & Dunn, Emmylou Harris, the Oak Ridge Boys and with me. It was so much fun for my husband and I to reconnect with Byrd... I wish I had a nickel for every belly laugh we all had on the road together! He flew me to some gigs in his precious little plane, and we all remember how manic he was about keeping baseball stats at the games! He would amaze and entertain our little son Peter on the bus by just being Byrd.

Oh, dear Byrd, I like to imagine what skies you are seeing now. You are now a part of the music of the spheres. May our thoughts and our actions make you proud of us till we join you.

You can check out the benefit fund for Byrd's medical expenses, and see great pics and other info about Byrd at www.byrdburton.com and at Mike Plunk's blog http://plunkchronicles.blogspot.com/2008/03/byrd-burton-1947-2008.html

How to write your artist bio

2008-03-14T07:14:00.003-06:00

I have received a request to write an artist's bio. This is not one of the services I offer, but I know it's important and I do have suggestions for researching the topic.

If you are writing a bio to get the attention of the music business, do remember that you are writing for industry. Don't over-hype... they can smell it a mile away. Just give a well written summary of your best true information, and write it from the viewpoint of "how will this interest a music industry person in getting on board to further my career" instead of "this was fun and interesting to me (the artist)". What's in it for THEM?

Here are some great bio writing suggestions sites:

http://www.taxi.com/members/bios.html

http://www.musicbizacademy.com/knab/articles/artistbio.htm

http://www.arielpublicity.com/sound_advice/professional-musician-bio.html

http://mediawebsource.com/band_bios.htm

btw... hope everyone had a great Easter!

Music Business in the Digital Age

2008-03-13T16:03:00.005-06:00

I heard a great broadcast on NPR today. Terry Gross interviewed Eliot Van Buskirk, who covers digital media for Wired.com on the blog, Listening Post.
You can listen to the NPR story "The Music Industry: Adapting to a Digital Future" here:
http://www.npr.org/templates/story/story.php?storyId=88145070 .

One thing they talked about was a website I've found called "TuneCore". Unlike CD Baby, after you pay a very nominal amount to get your music uploaded and distributed for possible inclusion by such distribution entities as Amazon.com mp3 music downloads, iTunes, etc, you get 100% of the money that comes in for your songs.

There is still a place for the major labels marketing in some scenarios. On the NPR program they discussed the fact that yes, getting "findable" on myspace.com and the other Internet music sites is the hardest part. But people are doing it every day. And the labels kick in best when the artist has already garnered a following. (The contract is also much more artist friendly!)

It is so incredibly economical these days to create, market and distribute music, if you really want to learn the ropes for the Digital Age. Research the web by setting up "Google Alerts" for music business, music industry, digital technology for selling music, etc. Read blogs like the Listening Post. Buy a round of training with Internet music sales gurus like Bob Baker . And comment on this blog when you find something interesting!

Vocal Aerobics- the importance of physical exercise

2008-03-11T09:02:00.003-06:00

I have a new understanding to offer you for the phrase "Move it or Lose it!" Think of the word "it" as meaning "voice".

If you sing according to Power, Path & Performance principles, you'll notice you don't get vocally tired. You'll also notice that you do get physically tired! That's because singing correctly will use the big muscles of your core (abs, back, thighs, buttocks) and minimize incorrect over-use of the little muscles of your throat. The state of your body at any given time will affect your vocal ability - for better or for worse.

It should go without saying that part of the state of your body has to do with your rest, stress, hydration and nutrition levels. However, in this post, I want to concentrate on the levels of flexibility, coordination and strength of your muscles.

I have noticed that people who don't do much physical exercise don't contract their lower abdominal muscles when they sing. This means they won't be encouraging the abdominal contents to shift upwards, which is vital for supporting the upper movement of the diaphragm. This results in all kinds of vocal limitations.

These sedentary people also don't get good breath in. Their shoulders tend to be rounded forward, ribcage slumped, trunk sort of compact and arms hanging limply at the sides like rib anchors.

They also tend to be rather numb in performance. It takes physical energy to communicate.

Great vocal exercises can work out your physical core if you do them properly. I used to notice my own abs get sore after a number of vocal lessons. (They don't get sore anymore... I use them too much, and they are strong!) But I suggest working out your core so you can do your exercises more correctly. You'll find yourself singing longer without strain. Remember- once physical fatigue sets in, vocal fatigue can quickly follow.

My suggestions:

Find an exercise routine you will actually do regularly - at least 3 or 4 times a week.
If you go to a gym, consider hiring a personal trainer for at least one round of lessons. Let them know you are a singer or public speaker. When holding your breath to push against a weight, be careful not to put too much pressure on your vocal cords. (Don't grunt hard).
Find a routine you can take with you wherever you go. I used to use Cindy Crawford tapes in my hotel room before my concerts. I didn't know why then, but I knew from experience that I sang better for exercising at least 30 minutes before a show.

My cautions:

Don't use your physical strength against your voice! In your mind right now, separate what you should do when weight training from what you should do when singing. Weight training requires you to tense muscles in your neck, which you MUST relax when you sing. Also remember to relax "buff" chest and throat muscles when you sing or speak. Float your head on your shoulders, like you wouldn't do while weight training.
Don't work out too much - or incorrectly with weights. If you injure your neck muscles, you will definitely affect your voice. Again... find a great personal trainer to help you protect yourself with correct form. Don't weight train the day of performance.
Remember to rest your muscles with a day off when weight training. You can do aerobic training (treadmill, etc.) every day, but not weight training the same muscles.

The bug is spreading... vocalists beware!

2008-03-07T00:09:00.001-06:00

The dreaded scratchiness at the back of your throat... the fatigue that you can't explain... the headache from the first tinges of fever... and you know.... THE BUG IS TRYING TO GET YOU!!

Here in Nashville, we are definately experiencing the season to be sneezing (and throwing up and coughing... well, you get the picture)

What can successfully nip an oncoming cold in the bud? I know there are things that don't work, things that some people are allergic to, and things that work for some but not for others.

Use common sense and go to the doctor if your symptoms warrent. Pneumonia or serious sinus infection can take hold fast. Also...do not take any layperson's medical advice (including the following) without consulting a trusted doctor. Most remedies, natural or not, are powerful enough to have unwanted or dangerous side effects in some people.

That said, here are some things that have worked for me when I feel a cold coming on.

Hot bath with 2 cups Epsom salts (don't take hot bath if you are or could be pregnant)
Airborne (find at most drugstores and grocers)
Zicam (find at most drugstores)
Echinacea Synergy (not for those allergic to the daisy family)
FlumaxPro (homeopathic remedy)
heparsulph.calc. 30x (homeopathic remedy)
Holy Basil (homeopathic remedy)
the Master Tonic (go to "About Judy" tab on my website and click on left to see recipe)
Vick Salve on the soles of feet (for coughs)
"Firewater" (a concoction of lemon juice, honey or grade B maple syrup and Cayenne pepper)
UltraInflamX (supplement that fights inflammation)
Vibe (vit/min suppliment)
Sambucol black elderberry cough syrup
Ginger tea (1 tsp grated ginger root -steep in cup of hot water- plus 1 tsp lemon juice)

Also important... I eat very lightly or not at all. I find that my body needs to harness all its resources to fight the invaders, not digest heavy meals. My homemade chicken soup (hint... use organically raised chicken and lots of garlic!) can make me feel better if I'm not too sick to eat.
And of course, warm clothes - including something at my neck- and precious sleep!

Now... what do YOU find helpful that you'd like to share?

David Byrne on evolving music business

2008-03-04T11:45:00.004-06:00

In my researching of where the "Music Business" is evolving, I came upon a great article in Wired Magazine that was written by David Byrne (of the band "Talking Heads"):

http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all

In this article, Byrne lists 6 different music distribution possibilities quite nicely. These models go from the do-it-yourself sell-from-myspace-page to the megastar's 360 equity deal.

I find this fascinating. If we really have music inside us, and we really want to get into the business of music to distribute this music and perhaps make some money, there are more ways than ever to do so.

To quote David Byrne:

"For existing and emerging artists — who read about the music business going down the drain — this is actually a great time, full of options and possibilities. The future of music as a career is wide open."

There are and always will be, sc*mers out there who prey on the desires of people to make and distribute their music. That's why it is more important than ever to really do your homework. For instance, as Byrne points out, music sold on iTunes can make the artist with a label deal less money than cds. (Question I have... then artists with their own labels can make more money on iTunes?)

You may have to learn to use software like "Pro Tools" or partner with someone who can. You may have to do some "social networking" on places like MySpace, Facebook, etc. You may have to learn how to do things like license your soundtracks or your songs. You may have to settle, at least at first, on not having a major label attached to your name. But if the music is the reason for your efforts, you'll be able to find a way to make your music and to find your audience in this day and time - because, hallelujah, the bottlenecks are being broken!

Balancing strength in vocal muscle sets

2008-02-26T11:39:00.005-06:00

If you, like so many popular genre singers, have trouble straining in your upper chest voice, you may find the following insight helpful.

I know a young artist friend who studied with a $400 dollar an hour voice teacher out in LA (I don't remember his name. She had problems with pitch, control and range. She has developed a very natural, controlled voice and to get a major pop recording contract. I asked what her vocal teacher did to help her.

He told her that there are two different sets of muscles controlling head voice or "falsetto" voice (falsetto differs from head voice in that just the edges, instead of more area, of the vocal cords vibrate), and the chest, or lower vocal register. She was told the head voice is controlled by crycothyroid muscles and the chest by the arytenoid muscles. I think in the following website illustration, she must mean the head voice is controlled by the cricoarytenoid muscles and the chest voice by the interarytenoid muscles. The vocal cords themselves are really the two thyroarytenoid muscles. http://www.evmsent.org/larynx.asp

He told her that her problems lay in the uneven strength she had present between these two controlling sets of muscles. His training centered on strengthening the weak set (that controlled her head voice) to match the strength in the strong set (her chest voice).

Muscle naming aside... This makes all the sense in the world to me. I have been working with people instinctively this way, (using exercises to strengthen head voice especially with people who strain in chest voice) without knowing the specific anatomical reasons, and now have even more reason to use this insight with my students. And big plus... this balance will also help you with your PITCH accuracy!

Here's my suggestion to you:

If you tend to strain at the upper end of your chest voice:

.... practice singing in your head voice. Do exercises that take you up far higher that you'd sing songs, but be sure you're not leaning or pushing to do so. (You can even push in head voice!) Just go as high as you are able to without strain. Keep doing this on a regular basis and you will strengthen the muscles that control your upper register. I believe you'll find that your head voice will begin to influence your chest voice and you will be able to reach notes that were previously difficult to sing without pushing.

If you have been classically trained and find it hard to keep from bringing your head voice too low when doing contemporary (non-classical) songs,

.... practice singing in your chest voice. Sing songs and do exercises that take you up into middle voice, but keep it "talking" voice. Important... while using this voice, DON'T PUSH. This should help, over time, strengthen the lower voice muscle set. If you're not sure what voice you're in, find a good voice teacher who can help you.

If you are a student of my "Power, Path & Performance" method, and have the cds, check out the exercises I call "Blending Steps". If you know what voice you are singing in, and can change the voice, you should find great benefit from doing this. Also remember the difference between what I call "pushing" and "pulling" words. One of the best things you can do for your voice is to learn to pull it out of your resonation spaces instead of push it in any way, with any muscles you want to name!

Benefit concert for guitarist Byrd Burton

2008-02-21T09:57:00.004-06:00

This Saturday, February 23, there will be a benefit concert for my dear friend, legendary guitar player Barry "Byrd" Burton, who is suffering from a recurrence of leukemia.

Here is the blurb with details which I received via email today (thanks to Ronny Light):

"Byrd was a founding member of the Amazing Rhythm Aces and won a Grammy while he was with the group. He has been on many recordings, including a number of Don Williams' classics, including "Living on Tulsa Time". He has worked in the studio & live with Nancy Griffith, Judy Rodman, Dan Fogelberg, Dolly Parton, Brooks and Dunn and many, many more.

The benefit concert will be held at the Jet Harbor Maintenance Hangar at Gallatin Airport in Gallatin, TN from 2 p.m. until 5 p.m. Byrd is an accomplished aviator and this event is being called "Fly Like a Byrd". Merlin Gene Grigsby will perform and serve as host for the event. An all star band has been put together of some of Nashville's finest session players and there will be many more of us there to perform and help raise money for Byrd. He is in the hospital now taking treatments.

For more info, contact Kathy at Jet Harbor, 615-230-9763 or email Merlin at sparkchaser5@yahoo.com.

If you'd like to make a donation, checks can be made payable to:

The Barry "Byrd" Burton Benefit Fund and mailed to:
The Barry "Byrd" Burton Benefit FundC/O First Tennessee Bank 429 West Main Street Hendersonville, TN 37075 ".

Byrd and my family go way back... when I lived in Memphis, Tennessee before I moved to Nashville, I used to sing at a jingle company called "Pepper Tanner". My husband John played drums, with Byrd playing guitar, for jingle sessions there. One day Byrd told John about this group he was experimenting in, (which turned into the Amazing Rhythm Aces) quipping something to the effect that "we don't know what we're doing, but we're having fun". It was history waiting to happen.

Later, after the Aces split up and I got a record deal, Byrd started playing in my road band, again with my husband who was playing drums. We did some great shows, such as opening for Meryle Haggard at Harrahs; we also did some "pay your dues" shows in the mud and rain at fairs, in the smoke at clubs, etc... But even though Byrd had been used to the "big time", he never made me feel insignificant, and always - always enjoyed playing music. It was wonderful to be able to spend time, make music, laugh at funny "bus tapes" and really catch up with him (and I'm sure he still remembers the day the band had to be picked up in a laundry truck to get to the airport on time!)

Byrd, though with the physique of a tall bear, is a gentle presence in this world. He lights up any room he's in. Please consider a donation to his medical expenses, try to attend this benefit and hear some great music, and by all means, keep him in your prayers.

Tips on writing music

2008-02-17T23:10:00.002-06:00

Ok.. got some great comments on writing lyrics; so on to the next part of the songwriting equasion: here are some tips on writing the music.

The Music -

should have a memorable melody.
should have structured patterns of rhythm. These structures can be more free-form, however it takes experience and study of patterned music to learn how to create free form music, such as musical theater dialog set to music, art music, etc. Most of the time I see a lack of patterned rhythm, I hear badly stitched together pieces of music that instantly cry out... well, BAD.
stands out better with an unpredictable melody line and/or chord progression. However, should be something that still fits the genre you are writing for.
SHOULD BE SINGABLE! Watch words and word combinations that the tongue finds difficult... try to get your lyrics to flow from the mouth. I also find that many musicians who are not singers tend to write melodies that are not very singable. Writing wide vocal range songs can be good if you are pitching to singers with great range, but remember that male singers usually have larger ranges than females.
As suggested by either Quincy Jones or Baby Face (I can't remember which), melody should be strong played on piano without the bells and whistles of production. Not always, but many times great melodies can cross genres when produced in varied ways, as in songs like "I Will Always Love You", "I Swear", "I'll Be Your Baby Tonight", etc.
should have a mesmerizing, identifying, great feeling and if possible, innovative groove if up- or mid- tempo
when recorded - should be produced, with budget considerations, with as much quality and sonic excellence as possible, comparing the sound to current radio hits in that genre.

Here are some suggestions I have for studying and researching the subject of songwriting:

Go to the NSAI website and check out the workshops there. Consider joining NSAI.
go to Ultimate Songwriting.com and check out the books on this page http://www.ultimatesongwriting.com/songwriting-books.html
Study the lyrical and musical forms and rhythmic structures of songs YOU love. How many lines in the verse and chorus? How many beats in the lines? How did they make a "bridge"? How did they end the song? What was the musical "riff" that makes you think of the song?
Try taking a song you love and putting your own lyrics to that song's music. You can't, of course, end up using that music, but you can structure your song the same way. Then you put new music to your lyrics.

Do you have any other thoughts, questions, websites or insights? Please join the conversation and click COMMENT.

Btw... another of my absolutely favorite songwriters is Hugh Prestwood. ("The Song Remembers When", "You're Gonna Miss Me When I'm Gone", etc.)

More on lyric tips for songwriters

2008-02-14T13:33:00.008-06:00

Wow, I got some great comments on my last post about writing lyrics. Before going on to writing music, I'd like to post on my commenters' thoughts about lyrics.

Leigh Ann, you ask about my favorite song lyrics and songwriters:

There are so many truly great songs now... I can't think of all but some of my favorite best written lyrics, in no particular order, are for the songs:

Amazing Grace (written by John Newton, sung by everybody)

I Can't Make You Love Me (written by Mike Reid/Allen Shamblin, sung by Bonnie Raitt)

She Is His Only Need (Written by Dave Loggins, sung by Wynonna)

Fire and Rain (James Taylor)

I Can Only Imagine (written & sung by MercyMe)

God Bless The Broken Road (sritten by Marcus Hummon, Jeff Hannah and someone else, I think, sung by Rascal Flatts)

I Will Always Love You (written and sung by Dolly Parton)

Hurt (written by Linda Perry, sung by Christina Aguilera)

Hurt (written by Trent Renzor, sung by 9 Inch Nails and Johnny Cash)

Chiseled In Stone (sung by Vern Gosdin, written by Max T. Barnes/Vern Gosdin)

Memorial Stones (written and sung by Mat Kearney)

You Can't Always Get What You Want (But You Get What You Need) (The Stones)

Undeniable (written and sung by Mat Kearney)

Respect (written by Otis Redding, sung by Aretha Franklin)

Fields of Gold (written and sung by Sting)

I'm Not Supposed to Love You Anymore (written by Skip Ewing and Eddie Keys, sung by Bryan White)

On A Bus To Cloud 9 (written, as Leigh Ann noted, by Gretchen Peters, sung by Trisha Yearwood)

Your Cheating Heart (written and sung by the great Hank Williams, Sr.)

And yes, I like Simon & Garfunkle (master songwriters), Amy Grant too... much of her songwriting is great, but she cuts those mindless pop ditties probably because somebody tells her she needs to have some commercial songs for the radio. It's unfortunately the business of being a megastar.

Some of my favorite songwriters happen to be all the writers I listed who wrote the above songs. I am also a big fan of Nancy Griffith. Bob Dylan, it goes w/o saying. And Bruce Springstein.

Billy, you had some great points... here are my thoughts:

Yes, I agree that its best to get a "hook line" that is memorable. It is important that this line be unique, and powerful enough to catch the attention of the mind. A songwriter does indeed do well to look for "hooks" and central song ideas in the lives of those around him or her. Many hit songs have been inspired by the offhand comment of a stranger.

But it's also important to be keenly observant, so as not to write a superficial lyric. I, for instance, find it hard to write a male lyric. I have done it, but usually need a male co-writer. My mind thinks like a girl. Some writers are better at "getting into other peoples' skin". Dave Loggins comes to mind. I think he could write like a Martian if he had ever met one!

Though it can be a jumping-off point to write, I don't think it's important to have the final title of the song until it's written, because I've frequently had the song I was writing take a different direction than I thought, and a better title made itself known. Sometimes what I thought was going to be the title just ended up being an important line (sometimes the first line).

Come to think of it, I may do a post listing some jumping off triggers for songwriting. Whatdya think? I am always grateful for your comments!

Lyric tips for songwriters

2008-02-14T09:53:00.007-06:00

I get lots of questions about songwriting. This is, of course your inner voice, and so the subject belongs on "All Things Vocal" (don't cha think?) I intend to write a 3-part series on songwriting, beginning with my thoughts on writing great LYRICS.

In my humble opinion, no matter what the musical genre, a well-written song should have the following characteristics:

The Lyric-

should be written with intellegence and cleverness, avoiding trite phrases and cliches.

should try to say something unique about the subject. Drawing from true personal experience helps find the most unique perspective.

even if written third person, should be written from the vantage point of a participant instead of a spectator to the story. Writing from a personal vantage point makes is much stronger and more real than writing what you think someone else knows or wants to hear.

should be consistant in its language (if it's earthy, say it with "down-to-earth" language all the way through the song... if poetic, keep that voice going... if easily understandable with clear images, or if more obscure and symbolic as in many great pop songs, be sure it sounds like the same person talking in the whole song.

needs to say that which will make the listener connect with the singer on an emotional level, even if that level is just a happy or freed feeling.

should make the listener identify and actually like the singer (duh); the listener frequently will take on the singer's persona while listening.

should make the listener feel loved. Yes. Loved. ie... what would every woman want her man to say to her (and it could be "I'm sorry, I was wrong"!) What would every man want his woman to say to him? (and yes, it also could be "I'm sorry, I was wrong")

should bring the listener wisdom, anger at things done wrong, fun, story, drama, and/or empathy with hard places that actually point to solutions (I lost you and I learned how to be a better person, I lost you and learned how to love myself, I lost you and you're gonna miss me, I lost you and I will miss you but I can love again, I lost you but I love you enough to let you go and I'll be fine... etc.)

should not be "preachy". Instead... just tell the story and let your audience draw conclusions. They don't trust you when you condescend or preach, like you are smarter/better/wiser than them.

should not lead to hopelessness, unresolved hatred or violence towards others.

should if at all possible have an unexpected twist or two.

should have some kind of structured pattern of lines.

I'll give my songwriting suggestions for writing MUSIC on my next post. On my third post, I intend to suggest HOW you learn to do the things I mentioned, books you should study to develop your skills, what you need to know about co-writing, how to prime the pump of your inner muse, etc.

To make my next posts more interesting, I have questions for you:

what have I've forgotten?

what more would you like to know?

what are your favorite songwriting books?

who are your favorite songwriters?

what suggestions for successful songwriting do you have to pass along?

Please join the conversation by clicking the "comment" link below this post. Thanks!