Learning To Sing From Scratch: A Strategy to Fast-Forward A Beginner

There is an interesting fast forward strategy you can take as a new vocalist, which mimics the way people learn to use their voices as children.

1. First, choose the vocal style you want to sing (rock, pop, country, alternative, etc.) based on particular songs you like. Then choose an easy song in that genre.

2. Now listen closely to the artist singing. I find that headphones are good at this point because they help you zoom in on the intricacies of the vocal performance you're listening to. Listen like you're holding an aural microscope to the sound.

3. After listening a few times, start miming with the singer, SILENTLY moving your mouth, face, tongue, etc. trying to imagine in your mind creating the exact sound and pronunciation of the singer you're listening to. Literally let the intent to make the sound teach your automatic nervous system to sing.

4. After you feel confident miming the song, start putting your voice to it. IMPORTANT: If you're wearing headphones, take half an ear off so you can hear what you are really doing. Don't sing with both sides on ... you'll fool yourself.

Let me know if you decide to do this. It's also a great way to learn a new musical style.

Power, Path and Performance training... when voice matters

PPP Vocal Technique: When Pulling Back, Don't Lift Your Chin

In my role as your vocal coach today, I'd like to clarify something I teach about head position that people often get wrong when first trying it. My vocal students know that I advise pulling the head back slightly when singing or speaking. Let me be more specific:

• Don't lift your chin! Float your chin levelly when singing or speaking.
• Don't pull your head straight back!
• Do pull your head back slightly to the side, cocking your head at a small tilt as you do.
• Do lift your head by lengthening your spine, which carries your head up.
• Do balance your head over your tailbone. This is farther back than most people carry their heads.
• But...don't bend your head back in such a way that something you were carrying on your head would fall backwards. In fact, practice by putting something on your head as you sing or speak. It should ride along, not falling forwards or backwards.
• Do use your lyric to pull ... not push ... your voice out.

Hope these clarification tips help you!

Improving Vocal Ability: How Long Does It Take To Get Results?

In a recent forum subject on The Modern Vocalist website, a question was posed about how long a singer can expect to take lessons and practice in order to gain significant vocal improvement. I suggested the following thoughts:

How many lessons you must take before your voice improves?

You should notice definite improvement after ONE vocal lesson with an intuitive, skilled voice teacher. Then, if you're serious about vocal training, I recommend committing to two or three months of work with a vocal coach and then reassessing where you are. But your improvement should be both noticeable and growing after every lesson you take.

How long should your practice sessions be?

It depends. You should understand that your vocal ability can improve in two major ways... and you can plan your practice sessions accordingly:

• The first way is to improve your vocal technique... meaning the WAY you use your voice, the way you apply breath, the openness you keep in your throat, the degree to which you effectively communicate. (I call this training  Power, Path & Performance.)  This helps you gain access to the latent vocal ability you already have. And this is where HOW you practice is matters. If done properly, vocal exercises can help you create and correct vocal habits you need. But just like in any athletic endeavor, form is everything. Even if you could only fit in 10 minutes of daily practice with correct form, you could make constant, significant vocal gains. Just don't practice wrong!

• The second way is to improve your vocal stamina... meaning to increase the strength, muscle tone and tissue structure... and coordination of the working parts of the vocal apparatus. This is where HOW LONG you practice (practicing correct form at all times, of course) matters. I would suggest singing at least as long as the length of the next performance you will be giving. If you have no particular performance coming up, it would be great if-- after warming up-- you committed to singing at least 30 minutes to two hours every day or every other day, for steady gains in your vocal stamina. Don't just practice exercises, sing your songs FULL VOICE, with communicative body language. Schedule your practice for when you have energy. The main thing here is that you don't want to practice singing with incorrect form, which happens when you get mentally and/or physically tired.

Bottom line... to improve your vocal ability, practice smart-- not hard.

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.

Singing While Seated: 5 Things You Need To Do

Got a great question in this morning about singing while you are seated. This is the reality when doing certain singer/songwriter rounds, parts of performances where for looks you want to change from standing to sitting for a song, or when you are physically incapacitated from back, leg or other pain and can't stand without it hurting you, and when your recording equipment configuration requires sitting. Yes, you can do this... but if you want to sing with good breath support and control, and also keep your throat open, you need to do the following:

1. Don't slump in your chair.
Sit on the front edge of the seat with one foot more forward to balance you securely as you sit tall. When you "go" for something, press your rump into the seat, and your forward foot into the ground. This should allow your spine to stretch freely and flexibly.

2. Make sure your upper back stays stretched and flexible.
Don't let the curve of your spine slump, and don't freeze in place, either.

3.. Be sure your head is balanced over your tailbone, chin down and floating.
It's "smooch de morte" (kiss of death) if you let your face drift forward while singing. If you do move forward, do it from your hips, not your shoulders.

4. Use your eyes.
"Talk" with your face just as expressively as you would standing.

5. Use your hands.
"Talk" with your hands. If you are holding a mic, make sure you do that correctly. (Another post soon about that.) Those of you who read this blog or are my "Power, Path & Performance" vocal students know that I caution against letting arms become "rib anchors".

Try these things and let me know how you do... your comments always welcome!

Singing In Heels (not just for the girls)

I had to wear heels last week to sing in Vegas and I have to tell you that I don't spend nearly as much time in those pedi-torture devices as I used to. It was actually fun to be back in 'em, but I had to use my secret to make it work for me instead of against me. Dear beloved readers, I shall share it with you. Ready?

• Balance yourself on your HEELS when you sing, instead of the BALLS of your feet. Press down on your heels for the hard stuff.

Everything should line up nicely, and it's easy to lean back a bit for the high long notes or the tricky vocal licks (those of you who train with Power, Path & Performance know what that's about). Your heels go right up your spine to your neck and your skull. Balancing your body weight on your heels like this will help you open your chest for both breath support and control, and open your throat as well.

Guys, the truth is, we all need to sing from our heels no matter how high they are. Plant those heels firmly into the floor and you'll feel the difference.

Feedback anyone?

The Path Through An Open Throat: The Slinky Concept

Whether you are singing soft jazz, southern rock, a pop anthem, a country ballad or a screaming metal song, if you have a tight throat you...

• ...will not have control of your voice (because your breath is overpowering)
• ...will not have the best sound you can make (because of limited vocal resonance)
  
• ...will not be freely connected and communicating with the audience (because you're feeling your throat)
• ...and you will be gambling with vocal damage (because your vocal cords are being abused)

I think you can see from the above list that your open throat is synergistically connected to your breath and your performance. This is the magic of Power, Path & Performance vocal training.

With my vocal students, I use a Slinky to demonstrate several things. In this case, I'll use it to show you how to put your breath, open throat and communication together.

If you are operating the Slinky with both hands, think of the left hand as your breath power, centered in your pelvic floor. Think of the right hand as your performance. These two places are where the action should be, and the "path through the open throat" is represented by the freely moving , unobstructed and loose hump of the Slinky. No tension, just doing it's thing. Fun, isn't it? That's how singing should be!

For vocal training that puts everything together for your maximum vocal ability, book a Power, Path & Performance lesson in person or by phone, or get a cd training course.

Singers: Bored With Your Song? How To Make It Fresh

Songs you sing over and over again can get boring. One of the best wishes I can give an artist is: I hope that song is such a hit you get sick of singing it, haha! Actually, this can be a problem.

I got an email from a rock artist about this very thing... in her case, she was going into the studio and had rehearsed her songs so much she was bored with them. She recognized the trap and wanted to know what to do. Here are some thoughts I'll share with you as well:

Caution before we begin: no matter what you do, you must take care to use good technique when you sing. Don't tighten your throat or relax your breath support/control and strain your voice, no matter what.

1. Rehearsal is NOT necessarily performance. You can rehearse a song, just trying out some different phrasing, style and licks and making sure you know it. You can do this all day long. This is different than rehearsing PERFORMANCE. When you do this, you have to "go on stage" and physically, emotionally & communicatively act as if you are. Don't do this more than a couple of times per song in a day. Give it a break.
2. In the studio: Go for it the first time, or sing the song a time or two until you feel warmed up to it and the engineer is ready with levels. Then go for it. Don't expect to do take after take, however, and stay fresh. After about 3 or 4 good vocal tracks, I like to just start punching the bad lines. If it takes too long, come back another day instead of singing the life out of the thing!
3. On stage: James Taylor once talked about this issue with his song "Fire and Rain" in a PBS documentary. He said when he and the band rehearsed it, they would all cut up and have a good time making light of the old standard. But each time he sings it to a live audience, he said it still feels like the first time. How? Because he lets the audience be a part of the equasion. He sings TO them, and their reaction feeds the freshness of his delivery. I'm paraphrasing him, but you get the point.
4. Remember: Don't just sing. Communicate like it's the first time you ever said that to anyone. Know who you are as the deliverer of the song, know who you're talking to and why you're having the conversation.
   
5. Passion rules. Keep the fire in your heart for your music, and it won't let you down.
   

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?

The Alexander Technique and Singing: by AT Practitioner Ethan Kind

Today I would like to introduce you to Ethan Kind. Ethan is an Alexander Technique practitioner who I met at an Indie Connect meeting here in Nashville. He wrote an article on singing and the Alexander Technique that blew me away, so I asked him if he would write a guest post about what he does for my blog readers. I consider him a go-to team member of what I do when I see chronic, mysterious tension in a client that I'm having trouble helping them release. His contact information will be at the bottom of this post. - xoxo Judy

Ethan Kind:

My approach to all musical performing as an Alexander Technique teacher is...

...how can I show the performer how do to do the least amount of work and sing with high dynamic and intensity, without the pain and tension of hunkering down in fear trying to do his or her best work?

I do this by giving the singer back control over her body. What this means is, I give the singer back the ability to release the accumulated tension in his body as he performs. I make the performer aware of where she is habitually holding in her body, and gently teach her how to release this tension, which in many singers manifests as strangling the voice and causing physical pain.

The effect of letting go of the tension that doesn't work, is to let the voice come out bigger and with more beautiful tone. We have a saying in this technique,

"If you can let go of the tension in a muscle, you have control over it and can do what works".

If you replace one set of habits with another set of habits, even if the new habits are much better technically, you can still get back into physical trouble. Unnecessary tension causes compression in the joints, forcing you to hurt and be off balance, and makes what looks right fail.

Singing with high dynamic means you perform with expressive intensity. It is my job to see that you do this without sacrificing your body, without hurting yourself. When you work with an Alexander Technique teacher you become taller and balanced as you stand or sit to perform, so that you are free to really go for it, which means it sounds like you want it to sound.

Ethan Kind is a certified Alexander Technique teacher with a private practice living in Nashville, who has been published in this country and abroad. He can be reached at 615-353-9915 or at ethankind@hushmail.com.