What Can A Free Jaw Do? Artist Video Examples

To get the best tone, control and vocal freedom, the jaw tightness needs to be conquered and the jaw loosed. You don't have to go overboard, just loosen your jaw so that it can move all around in a slight chewing motion and open wide easily at the back of the molars with no tension clamping it together. Doing this helps you keeping the river of sound flowing and not pinched. Pinch-- and you lose vocal control and tone; it's that simple.

To illustrate what I'm talking about, take a look at the following artists' video performances. This works in any contemporary genre, whether you're a rock, country, r&b, gospel, jazz singer... whatever. Free the jaw and free the voice.

• Jennifer Nettles singing "Baby Girl"

• Whitney Houston singing "One Of Those Days"

• Andrea Bocelli singing "Melodramma"

• Jason Mraz singing "I'm Yours"

•  Faith Hill singing "When The Lights Go Down"

• Bono singing "Vertigo"

• Christina Aguilera singing "Hurt"

...and here's one where you can't see her, because she passed away years ago without a video... but you can HEAR her loose jaw allow this incredible vocal performance on the Sting classic...

• Eva Cassidy singing "Fields Of Gold"

Now...There are "boucou's" of examples of the loose jaw at work in great singers' voices. I didn't look too long, so I know you must have other examples. Please chime in and add to the list.
Thanks!

Singing From The Soul

There is a subtle psychological shift you can make to take your next performance out of the ordinary and make it leave a memory in your listener's heart. I call it "singing from the soul" instead of just from the head. Let me use an old familiar tune to illustrate.

How many times have you sung "Amazing Grace"? When is the last time you ever thought about what the lyrics mean? It's usually played at a swift clip, sung with about as much emotion as "Row Row Row Your Boat" and if the lyrics aren't being read, the words come out as mixed up as most people's un-memorized version of "The Star Spangled Banner".  

But one event forever etched the song into my soul's memory, and I no longer can sing or listen to this song without emotion. Picture a woman's prison gymnasium, with an old funky piano somehow situated in a lost corner. This is where it happened.

I used to volunteer at Tennessee Prison for Women for a program called "Better Decisions" . After going through our own training, we each met with one woman prisoner partner for 8 weeks, teaching her a process of making wise decisions which would help her create the life she really wanted rather than the life that ended her up in such a place. Many times we were the only visitors these women usually had, and you can imagine, relationships of trust and friendship were quickly formed. Then we had to completely disconnect, for their own good, as part of empowering them to find answers themselves.

After the 8 weeks, we held a ceremonial "graduation party" for them. At one of them, an impromptu request to sing something before we all had to say goodbye moved me to sit at that old piano and play Amazing Grace. They all took each other's hands... prisoners and volunteers, and while tears rolled, a version was created of "Amazing Grace" that I will never ever forget. And after many years, I ran into one of my fellow volunteers out of nowhere...and she remembered it deeply, too.

Sing every song you perform... from your soul. And if you choose to do this, a warning: Check your own song list. Don't sing anything you CAN'T sing from your soul. There's nothing worse to listen to than fake soul singing.

Newsflash: Mat Kearney plays Nashville TONIGHT

Hieveryone...

I just found out late last night that my friend and vocal student Mat Kearney will be playing the Cannery Ballroom tonight (Thurs Oct 14th). He just sold out the Fillmore, and has obviously been enjoying a great tour for his new album.

I know it's last minute, but wanted to get the word out, because we don't see him in Nashville much. This venue requires only 21 yrs old and up, and tonight's tickets are for standing-room-only. But I'm going... if you're interested here's the link to buy tickets.

Venue: The Cannery Ballroom
Time: show is at 8:00pm, doors open at 7.
Tonight (Oct 14th)

Let me know if you're coming and I'll look for you. If you're not in the area, do look for Mat Kearney on tour near you... you'll be so glad for the experience.

Will You Still Love Me Tomorrow?

I recently performed in Las Vegas, which was a blast, and here's what I came away with: great memories with my husband, my clients and friends, and... Perspective on why I sing. I told this story to a vocal student/friend and she suggested I put it in my blog here for you.

As always, when I perform, I end up looking for lessons I can use for you. I'm like a mad scientist, experimenting on MYSELF! I was doing live bgvs (background vocals) for a client of mine (Jim Wilkes) at the House Of Blues, and he also asked me to sing a couple of solos. One of my songs I chose at the suggestion of Ron Oates, who wrote a terrific arrangement of "Will You Still Love Me Tomorrow" -- the Carol King classic.

As I worked myself into it (and yes, it took 7 days to get my full voice in shape because I haven't been singing out much lately), I looked for my usual motivation . I ask myself what the lyric meant to me. It came as a bit of a sudden surprise. I found myself singing to -- my audience. Why is this odd? Because the lyric goes...

Tonight you're mine completely
You give your love so sweetly
Tonight, the light of love is in your eyes
But will you love me... tomorrow? (by Carol King & Gerry Goffin)

... and the answer came to me... "Probably not". Wow. What a splash in the face. But it is the truth, and in this truth there is great protection and power for an artist. That's why I want to share it with you. Let me explain:

Earlier in my life's journey, I was having hits on the radio, national awards, on TV and in stadiums all the time, etc. and when I sang, everybody loved me. It was the strongest drug I can imagine, all that validation. Then came the day when I wasn't on the radio or TV much anymore, and guess what... when I sang, the audience reaction wasn't nearly as strong, finally trickling to an appreciative pat on the head. I was devastated. What was I doing differently? Can I tell you how common this is for artists - both now and since the "music business" began?

I finally got my bearings, my journey took some wild turns and I'm amazed and thrilled with where I am now. Getting back to the present: I happened to take a ride in a parking business limo to the airport on this trip. While I was in there I had a brief surge of unexpected sadness... I was remembering when I used to spend a lot of time in limos. Then the antidote to this silliness was sent to my heart: Jesus never rode in a limo.

Hmmm. So I'm already more blessed in this life than Jesus was? If I am really a follower (as I want to be) of Jesus, why is the limo important? Here's the thing: it's really, really true that it is better serve than to be served. I will always enjoy a limo ride, an audience cheering, a thank you from someone I can help... but motivation is everything. When I do what I do out of the sheer joy of performing the act... and out of a desire to truly serve someone with my best ability... that's when I really win.

Fans must always be important to an artist. Without them, you won't have much of a career. In Power, Path & Performance parlance, the audience is the endpoint of your performance, after all. For your voice to work best, your motivation should be to make the listener feel something. But paradoxically, the safest way to have a public career is to be careful how much importance you are attaching to public fame. A good way to check yourself is to ponder if you'd still want to sing if you fell several rungs down the ladder. George Strait says he'd go back to singing in Texas bars.

That's what I took away from Vegas, and it felt good. I had a ball... and the truth is, I would have had a ball just feeling my voice sound with a full band and horns and Ron Oates playing piano behind me... even if there were only one person in the audience to listen, and that was just God clapping.

Singing with Bands Unfamiliar With You

I got a great question about singing with musicians in "instant situations" where you sit in with those who don't regularly accompany you.

This situation can happen at big and small events, such as:

1. Bars and clubs who invite new singers to sit in.
2. Contests or auditions where the accompaniest plays for you with no rehearsal.
3. Informal jamfests where you're invited to "do something you know", and someone there plays for you.
4. Events where artists have to fly or bus in and perform with a house band of some kind.
5. TV shows where the artist plays with the house band.
   

It's always tricky. Sometimes a musician or band can be awesome, but even with great musicians this is never the optimum situation. What you can do is limited, but here are some suggestions from my days of doing these things:

1. ALWAYS know the key for a song you are considering singing.
2. ALWAYS be able to give them the "feel" and the tempo right before they count off. If you are confident with doing so, you count the intro off yourself.
3. ALWAYS show respect to the band, no matter how limited or strange they play.
4. ALWAYS try like crazy to get a rehearsal or at least a soundcheck. Not always possible, but try anyway.
   
5. Be ready to sing as if you're singing acapella. If they don't play the song the way you know it, you'll need to confidently plow ahead and let them follow you. Practice this by doing a lot of acapella singing.
6. If the players ARE good, consider changing your own performance to an "in the moment" feel. You'll have to literally feel this out.
7. Sometimes you have a situation where your own band member(s) can't get to the gig for some reason, and you may be offered the services of a substitute. If you can rehearse, and if you have the authority and confidence and kindness do so with respect, pay rehearsal fee to a player who hasn't had time enough to master your songs. Then tell them you're just not going to be able to use them for this show, because it came together so fast. It's usually better to play with just one musician (or trio) than to play with an unprepared band.
8. Remember to sing TO THE AUDIENCE... don't perform as if you are rehearsing.
   
9. Leave the band and the audience wanting more:)
10. If asked to sing and you don't think you and the band are a good enouth fit, politely decline the invitation. The last time I declined to sing was an event where the band was absolutely incredible... and I didn't know any of their genre of songs! I saved myself some embarrassment there!
    

Lest we condescend, remember that plenty of musicians have stories about having to sing with singers who don't have a clue, too! Make it easy on them... be prepared... and be respectful. Let that be your reputation among musicians and it will pay off in droves. The last thing you want is for a band to groan as you asend the stage towards the microphone:)

Anyone else have suggestions?

Angela Martinez Invites Us to the Scleroderma Walk-A-Thon

I believe in pay-it-forward. My precious student Angela Martinez does, too. She asked me to spread the news of an upcoming Walk-A-Thon to benefit a cause which has touched people she loves. Here's what she'd like you to know if you're in or about Nashville on June 13th:

Angela wants to encourage everyone to come support the Seventh Annual National Scleroderma 5K Walk-A-Thon (3.1 miles).

It will be Saturday, June 13, 2009 at 9:30 a.m. Registration begins at 8:30 a.m.
Starting Line: The large picnic shelter near the train in Centennial Park, Nashville.

Scleroderma is an autoimmune disease which literally means "hard skin", and not only attacks the skin but also the vascular system and internal organs. Angela has a dear friend who has Scleroderma and through her introductions Angela has met more people with this disease. Greatly touched by their stories, Angela immediately wrote a song for them. Angela is hoping to raise awareness of their need for support for finding a cure.

Her new song is called "Right There" and you can hear it on her "Myspace" page. Angela will be performing at the Walk-a-Thon and will have "Music Down Load" cards available, featuring her new single. All donations will go to benefit the Scleroderma Foundation.

Singing Into a Spotlight

Singing onstage while being blinded by a spotlight can be disconcerting if you're not used to it. I got a great question from a reader about it; with her permission I'll post her question and my answer here:

Hi, Judy,

My gigs are mostly small, in dimly-lit rooms where I can make eye contact with people. I recently had an experience performing in a theatre seating 600, in which I looked out into the black abyss with a blinding spotlight on me. Felt like I was standing in the road at midnight with a motorcycle coming at me. Suggestions? Thanks, Devora Gila

My answer:

HAHA... yes, been there done that.. it can be disconcerting indeed to look out at the audience and see only "the LIGHT"!

Here's what I do:
I pick a spot in the whiteness, in the middle of where I think the audience will be sitting, and sing to that spot like it is a person. It WILL be a person... and they will think you're singing right to them. When you do this, everyone around that person will ALSO think you're singing directly to them, because that's the way it will look from their point of view.

I move this focal "spot" several times while I'm singing the song, to another place in the whiteness and sing to someone else. I don't do this rapidly, I try to make it real to myself and pace it as if I were really connected to each person.

Don't move the "spots" you sing to too far up or you'll be perceived as singing over everyone's heads. Keep them at about audience level. You'll get used to it quickly.

You can use this trick if ever you need to talk or sing to a camera. Many times you will be directed NOT to look at a camera when performing, but if you are supposed to (say for a video, or for a photo shoot) just look directly at the eye of the camera like you would look into human eyes... the eyes of whoever you'd logically be talking or singing to at the time.

This works in the "blackness" you see, as well. Just pick a spot in the general direction of where you think your audience is. Let me know how this works for you!

Comments, anyone?

Vocal Rehearsing... Can You Over-Do It?

I got a great question from a rock artist I communicate with on The Modern Vocalist website:

...I'm having a heck of a time getting the energy and motivation to work these 11 songs (for my upcoming recording project). I love them (if I do say so myself since I wrote them LOL); they're good songs; they require some challenging vocal work; they have good arrangements...it's pretty much all there. But it's like I'm bored with them?!!!!!! Though I'm not exactly sure what's going on... In your opinion, should I just sing other material and give them some rest so I can come back to them fresh? ... I dont' feel i have the time to do that.

I will pass along what I told her to you, and I hope it helps you any time you seek to make your songs so routine you don't have to "think" when you perform, but also deal with the catch-22 of being over-rehearsed:

James Taylor (one of my heros) was once asked if he ever got bored singing "Fire And Rain". He responded that during rehearsals they ALL are bored stiff with it, they can't hardly take it seriously but of course they must rehearse it. There is a lot of goofing and kidding around concerning that song at rehearsal.

However, he said that every single time he sings it in live performance before an audience, it comes alive again... it's like he's doing it for the first time again. To this day.

What is the difference? There is more than JT and band in the mix... there's ... the LISTENERS!

Somehow, I think you need to separate rehearsing technically from rehearsing performance communication. Imho, you should rehearse technically until you don't have to think, then completely go on stage in your mind and perform to the unseen other who will be listening to your CD. You have to make this person real for yourself... much like an actor going into character.

DO NOT practice performance much. Just when you're ready, once or twice at the most, a day. Only practice the drills of technically performing the song.

It's a mind thing, and a set-place thing. When you perform, the act won't be authentic without the listener involved. AND THE CONTROL ROOM DOESN"T COUNT! Sing to the beings who will be listening to your CD. But then once you've performed, it can't feel authentic again for a while, because after all, the listener's already heard it... and for goodness sakes you don't want to bore them!! hehe. And think about it... once someone performs in an olympic event, does anyone ask them to repeat that all-out performance again that same day??? Not and live to tell about it, lol!

And I mean not only in live performance, but in seeking that studio master vocal as well. If you have to sing it too many times, you need to park it and come back another day. Even making an actor do a scene too many times takes the life right out of it as they lose perspective and inhibition creeps in.

Does this make sense? Hey, one of the best wishes I can make for you is that you get sick of hearing these songs on the radio :)

Does anyone else out there have experience with this conundrum?

Performance Coach Diane Kimbrough to Speak at Indie Connect Monday!

I know I've done more blogposts this week than ever, (don't get used to it :) but I couldn't let the day go by without giving you this Special Alert:

If you are in or near Nashville and are or will be performing live in your career, you would be nuts to miss next Monday night at Indie Connect. My friend, pro performance coach Diane Kimbrough will speak on live performing- for $5 fee you will get some very expensive information: Here's the Indie Connect Blurb on Diane:

On stage or on camera - making your act as commanding visually as it is musically is what sells.

Think about this. Why is it that people won't spend a dime on an album, download it for free so they can listen to it a thousand times, but be willing to spend $100 to see someone once and then it's over? It's because that live performance is an irreplaceable experience. In a world where instant gratification is at every corner, people are clamoring for something that stirs their feelings. Now, more than ever before, it's all about the live performance.

Live Performance Coach, Diane Kimbrough, currently working with Columbia Records new duo, Caitlin & Will, discusses the artist/audience relationship, how to make it work for you and why it's paramount to success.

When: Monday, April 13th (Next Monday night) 6:00pm

Where: The Closing Bell, 1524 Demonbreun St. Nashville, Tn

******************************************************************************
Also...If you missed Vinny Ribas' speech last month, he'll be giving two next week:
"Making Money Making Music" - How to insure your music career is profitable"-

If you want to have any measure of success in the music business, you need to know both the music and the business side of things. One of the primary reasons that artists fail is because they don't do the math regarding their performing and their recording income and expenses.

Vinny Ribas has been a sought-after business consultant and is the author of "CEO Secrets - What They Know About Business That Every Entrepreneur Should". He has written business plans and financial projections for artists, independent record labels as well as traditional businesses. He will describe in plain English how to plan and analyze the financial side of your career to insure that you really are making money. He'll give this speech at...

MONDAY April 13th.
11:30 AM at Corky's Ribs and BBQ, 100 Franklin Rd. in Brentwood

And "Booking Yourself"- at the new Mt' Juliet Indie Connect location. Here's the info:

In order to get gigs, your act, regardless of its size or nature, must 1) find the appropriate venues, and; 2) be sold to the entertainment buyers. Until you are in demand and commanding enough money to make it worthwhile for a booking agent to represent you, you most likely are going to need to book yourself. This doesn't need to be an intimidating process if you know where to go, what to do, what to say, how to present yourself and have confidence in your ability to deliver. You will learn all of these things in Vinny Ribas' presentation on "Booking Yourself". Besides being the founder of Indie Connect. Vinny has 20 years experience as an artist, artist manager and booking agent!

He will be giving this speech at...

TUESDAY April 14th.
11:30 AM at Logan's Roadhouse in the Providence Mall, 401 S. Mt. Juliet Rd. in Mt. Juliet, Tn.

PS... I'll be doing that second post on production next week.
Oh, and may God bless you and yours with a very Happy Passover and Easter, dear readers... love, JR

I'm Playing Out This Thursday

I'm playing out at 9:30 pm this Thursday, March 12th. (2 days from this post)

I have a 30 minute set as guest artist at the Frisky Berry, which is located in "The Factory", Franklin, Tennessee. The address is:

230 Franklin Rd
Franklin, TN 37064

(615) 595-2500

If you're up for a late night listening room, come join us!

Here is the line-up for Tyson Bowman's show he calls the "Grand New Opry" Thursday March 12, 2009:

7:00-Tara Bell/Leanne Miele
7:30-Adam Foster/Harlan Pease
7:50-Tyson Bowman/Whitney Layne
8:20-Mary Ellen Kirk
8:40-Katha Harris/Crystal Chandler
9:00-Joey Formosa/Joe Porter
9:30-Judy Rodman (Special Guest)

Singing In Color vs Black & White

I have heard many technically amazing singers who wonder why they don't have record deals or much of a devoted following. Very often, it's because they are singing in black & white instead of color. It makes me sad to hear a technically great vocalist who leaves me numb, and I fear has wasted a lot of energy, time and money. What do I mean?

Black and white singing:

• This is caused by the lack of an authentically communicative face and body language. The eyes are usually rather numb, body language closed off.

• This singer sings everything with the same tone of voice. It can be beautiful, strong, technically flawless but without subtlety of tone, it's just sound with no meaning. This voice may have dynamic changes but they are predictable, not nuanced and fresh. Listening to it you get the feeling that the singer is not present with anything other than the technical aspects of their voice. The connection from the singer and the song to the audience is weak or altogether missing.
  

• This type of singing is common in amateur singers who don't have much live experience with an audience. They don't yet know how to truly connect with people listening to them, thinking their job is to amaze the audience, judges, industry with their vocal ability to hit high notes, long notes, strong notes. And/or they have stage fright issues, fearing any contact they could make with the audience.
  

• Friends and family may attend concerts and buy CDs, the singer may have a small following but the emotional response will not be much. If they continue a black & white approach, the singer usually moves on to other things in life- not to a sustained music career.
  

Color singing:

• This is singing with varying degrees of vocal tone and inflection, as is authentic and appropriate for the meaning of the lyric.

• This singer communicates with eyes, face, hands, body language. They are holistically committed t0 delivering message. Dynamics are sometimes surprising, full of power but also infinitely controlled. There are subtle nuances everywhere, but no "over-acting". The listener gets the feeling the singer is singing directly to them.
  

• This is the sound of the true artist. The goal of such sounds are to cause someone to understand a message, in such a way that they respond with emotion.
  

• People will... 1. pay money for... 2. develop a loyalty to and ... 3. tell others about the experience of being moved in this way. Sometimes this devoted audience is a small niche market, sometimes a mega-market, but there is emotional satisfaction for artist and audience, and if wisely planned and monitored, a financially sustainable career.

Can singing in color be learned? You bet it can! Just like actors can be trained to go deeper into character, artistic singing can be be studied and learned until it is second nature. Some people get it easier than others, but then the question becomes, "how bad do you want it?" Real singing is not for the squeamish. You must commit, heart and soul ... to color!

So have you heard a black & white or color singer somewhere lately? How did that performance hit you?

Quick heads up... Indie Connect, JessAlicia showcase

Just a quick reminder for anyone wanting to attend either on of the two events I'm in today:

The "Indie Connect" networking meeting is at 11:30am - 1:00pm, at Corky's BBQ in Brentwood, Tn.

Then the 30 minute JessAlicia showcase will be at 6:00pm, 12th & Porter, Nashville. Public is invited. I'll be playing mandolin and keys. Check out the two girls who are "JessAlicia" here: http://profile.myspace.com/jessaalicia . I have to say, they are incredible. My son Peter (the photojournalist major) will be snapping shots at the gig. Great fun will be had by all.

See ya maybe!
Judy

Need to learn a different vocal style?

Sometimes our musical hearts are not where our vocal training is. Sometimes a classically trained singer or musical theater performer wants to find a more contemporary sound so they can sing pop, country, jazz, r&b, rock, or alternative in a way that fits the genre. Other times, a contemporary genre artist may wish to explore some classical or musical theater singing.

Here's a typical question someone emailed me last week:

...I was thrown a little this morning when I got a letter from someone close to me who said they had heard my songwriting demo and didn't like my singing, saying it was too 'formal' It's not the first time this has been said, and these were my songs (modern piano ballads) not musical theatre classics (Rogers and Hammerstein era) which I normally sing. I guess singing that way has gotten a little ingrained in me (formal baritone) and I don't have a 'modern era' voice if you will. Any thoughts about this? I don't suppose I'm the only one, and maybe others have something to say.

I understand the problem...I've had to change vocal styles throughout my whole professional singing career. As a jingle singer I frequently had to stifle my tendency towards slurs and vocal licks. As a background singer I had to exactly trace the style of different genres of artists. Earlier in my career, as a club singer in Memphis, I had to learn pop, r&b and jazz. Then I got my record deal and had to find my own style! Let me share from my experience, some tips for learning a new style:

1. LISTEN, listen, listen! ... to vocal artists that have mastered the style in which you're interested. Immerse yourself in the rhythms, melodies, phrasing, vocal embellishments (licks), articulation that the they are using.
   
2. DISSECT the performances - Where do the lyrics fall compared to the beat? Do they sing perfectly with the beat or do they lay back or are they "on top" of it? How often do they do vocal licks and what are typical licks they use? For instance, notice that pop & rock is often sung straighter than country or r&b.
   
3. MIME! Go through the physical motions of singing with the master artist, but don't make a sound. It's important that you do this physically yet inaudibly. If your audience was deaf, let them see the words and the melody in your body language and face.
4. SING WITH the artist (audibly). Try to make sure you are tracing them exactly.
5. SING WITHOUT the artist...with only tracks if you can find them.
6. RECORD yourself singing. Play it back, and ask yourself if you believe it.
7. PERFORM ORIGINAL SONGS - get or write original material that is in that genre. This is where you will develop your inner connection with the style and can begin to truly deliver authentic performance.

Take the time to get real within the genre. You must paint other people's masterpieces before you can learn to paint your own, but you must make that transition - to sing the genre in a way that you make it your own.