“When something exceeds your ability to understand how it works, it becomes kind of magical.”  I recently heard that statement in an online demonstration of the Apple iPad.  It occurred to me that the same descriptive applies to the human voice.

Here’s what I mean: Aren’t there times when you hear a singer that just amazes you?  One who can do things with their voice that you can only imagine doing, but never actually do?  That’s the “magical” aspect of the voice.  The part that defies analysis, or duplication by the average listener, and even the average singer.

But, what if you really, really, really want to at least come close to delivering that kind of magical performance.  And, what if you are willing to invest the time, effort and resources to take the voice as far as you possibly can.  What are the steps?

In truth, it’s no different than choosing to absolutely maximize your athletic performance, or your intellectual performance.  It takes sacrifice at all levels.  Sacrifice that most of us, frankly, aren’t willing or able to make. Sacrifice that would make having a normal family life and job almost impossible.  Like being an Olympic athlete in training.  It takes all that you are, often at the expense of normalcy.

Discouraged?  Don’t be! No one is asking you to give up family and friends to compete for “World’s Best Singer.  But, there is sacrifice and investment involved in becoming a better, more consistent singer.  And, it starts with constant, non-stop awareness of your daily posture, and the way you manage your breathing in speaking and singing.

You see, many people compromise their posture throughout the day, and that leads to poor breathing.  Then, they “get straight” for singing and wonder why it feels so stiff and unnatural.  The key is being upright and aligned every waking hour.  I don’t mean standing at attention.  I just mean being upright, like any two-year-old. It’s natural, and how we were designed to function.  And, it’s one of the first things to go if we don’t get daily reminders.  For years I would go so far as to put reminders in my calendar to check my posture and breathing.  Seem extreme?  Not if you’re really serious about being your best.

When it comes to breathing it’s a matter of management, not power or push.  Untrained, three-week-old babies do fine with sharing their vocal messages to the entire household with no formal training whatsoever.

For a free Guide To Breathing for Singers click here, or go to the “FREE Singing Resources” tab at the top of our site at vocalcoach.com, then see “White Papers.”

In the Olympics we see only the best of the best.  Those who for years have paid the price to physically and mentally prepare for the toughest competitions in the world. The ones who know that 2/100ths of a second can make the difference between winning and loosing.

They have to train well, eat well, rest well and do everything in their power to stay healthy.  Even a small cold or upset stomach can compromise their performance, and they know it. Performing at the Olympic level is very inconvenient and costly, but that’s what it takes, and they are willing to pay the price.

In contrast, American Idol shows it all.  We see everything from the very gifted and talented to those who have no idea what they are doing.  Many have been encouraged to audition based on their talents and dedication.  Others have been encouraged to audition by well-meaning family and friends when what they really needed was more training.  It’s no different than sports.  It takes more than just wanting it.

What really shows the value of intense, professional training and coaching is what happens in the performances of even the best singers.  They continue to improve.  Many become truly great vocal communicators.  They learn to own it all: The high notes, movement and expression.  They deliver complete message to the audience, and that takes work, and the right kind of training.

One big lesson for us all is to know when to just encourage someone with positive comments and when to point them towards excellent training. As I have said many of times, Inspiration Without Preparation leaves you incomplete, lacking necessary skills and consistency. And, Preparation Without Inspiration often leaves you mechanical, and boring.

Does that mean we should only dream about things we are sure to accomplish?  No. I regularly dream about doing all kinds of things that I couldn’t possibly accomplish in one lifetime, and I’m fine with that.  But, I also realize that if I am honestly interested in accomplishing a certain goal, I have to be willing to pay the price of training and discipline.  Sometimes I am willing; sometimes I’m not, but at least I know it.

How do these thoughts challenge you? Hopefully, you will look at where you are now as a singer, where you would like to be and make the big decision: Am I willing to pay the price to get to the next level?  Will I sacrifice to make the time and resources available for my training?

If the answer is yes, do the necessary research to see what training is available in your area, or what resources you should purchase.  If the answer is no, that’s fine, too. You can still enjoy singing at your current level and stop being anxious about not being more accomplished at this time. In either case, it’s good to identify what should, or should not be happening right now and act accordingly.

Review the underlined phrases above and sing on!

Because we are as passionate about the voice as you are we have made some great changes to the Vocal Coach Web Site and Blog.

NEW WEB SITE at vocalcoach.com with some great new features including:

Lower prices on all your favorite CD’s & DVD’s.

The Coach’s Pick is back. Each month we’ll highlight one of the many Vocal Coach training products and offer special pricing.  The current Coach’s Pick gives you a 20% discount, so be sure to check it out.

Free Singing Resources. In addition to our blog articles we will be offering free quarterly online classes.  Free instructive videos.  Free downloadable mp3’s.  Free white papers and more.

Enhance Your Worship is a new resource for those in ministry.  It will feature articles and tips for worship leaders, worship teams and choir members.  We will also address common issues with the speaking voice for pastors and teachers. So, be sure to share your needs and questions at chris@vocalcoach.com .

NEW BLOG at blog.vocalcoach.com featuring:

Tips and articles that answer YOUR vocal questions.

Carole Cares. Carole, who along with Chris has been working with singers around the world for over 30 years. In this section Carole will feature your vocal success stories and testimonies as well as other personal observations and thoughts. You can contact Carole at carolecares@vocalcoach.com

We look forward to sharing all that 2010 has to offer with you. Please visit us often at vocalcoach.com and blog.vocalcoach.com and let us know how we can help you be the best singer you can be.

Lastly, to be sure you don’t miss anything Vocal Coach has to offer PLEASE ENTER YOUR EMAIL ADDRESS AT THE TOP OF THIS PAGE. Even if you think you are on the list.  Why?  Because we have changed blog hosting and need to update our list.

Thank you for being part of the Vocal Coach Family.

Chris and Carole Beatty

I’m a Brooklyn-born girl, raised in a Jewish home on Bay 41st Street.  36 years ago I added to my Jewish heritage by becoming a Christ-follower. And, while it took a while for my family to accept that, they quickly became great supporters of all Chris and I do.  I’m also a fanatic New York Yankees fan. So much so that we move our office to Florida for five weeks every Spring to be near Yankees Spring Training.

Now, about Carole Cares. This is where I’ll feature some of your stories and testimonies about how Vocal Coach has impacted your life.  Maybe some fun or humorous experiences, also.

So, let me know what’s going on with your and your voice at carolecares@vocalcoach.com

I look forward to hearing from you.

Carole

1. KNOW YOURSELF.That means knowing your dependable vocal range. That’s the one that works every time you sing after a good warm-up, not the “it worked once” one. Also, be honest about what styles you can relate to at this time in your life. Loving a song doesn’t mean you are culturally and vocally ready to sing it.
2. MAKE A LIST OF SONGS. Think out of the box and consider not only what you like, but what others like.  It’s a big world and if you want to be heard you need to be willing to color outside your familiar lines and even take some risks.
3. MAKE SURE THE RANGE FITS, AND THE TESSITURA FITS. Range: If you are limited to commercial tracks, or an accompanist who doesn’t transpose well it’s more challenging.  Why?  Because your range, and the song’srange have to agree. If you, your accompanist or band can transpose keys to make this work it’s much easier to find songs. Tessitura: You need to also consider the “tessitura,” or average siging area of the song.  If a song has a 1 1/2 octave range and you can get it in a key that works for you, GREAT.  But if 98% of the song sits on the top 5 notes, or bottom 4 notes of your range it can wear you out vocally.  So, analyze where most the song sits and be honest and realistic as you do.  I’m not saying run from challenges.  I’m just saying know they are there.
4. TYPE OUT THE LYRICS, THEN ACT IT. Type out the lyrics in 14-point type, triple spaced so you can make notes.  Now, read and act out the lyrics as a monologue.  Do you, and can you believe the message?  If you imagine you are doing a monologue to a group of 1st graders or senior citizens it will help you be more naturally expressive.  If not can you make it convincing, or is this song a poor choice?
5. GET THAT ALL-IMPORTANT NEUTRAL FEEDBACK from those who will be encouraging and honest. You may want to begin by video taping yourself and making obvious changes.  It’s the perfect place to try some new ways to make a song work.  Then move on to live, people feedback. Why?  Bacause you must be willing to hear other’s opinions if you are to grow. It’s not always fun, but it is necessary.  When someone doesn’t think a song is working find out why.  Is it the message, the range, the arrangement, unclear diction, lack of meaningful phrasing or physical expressions? These are all fixable, but you have to know there’s a problem before you can fix it.

There are millions of songs out there in addition to what you can write.  As you choose carefully you will increase your chances for strong communications.

Being flat, sharp, north or south of the note etc., is worth looking at.  Being pitchy means you are not centering your pitch on the pitch center, which is one of the non-negotiables in singing.

Everyone has occasional inaccuracies, and even major recording artists often let the recording engineer “fix it in the mix.”  That’s where they look at a graphic of the note and literally “drag” it up or down to fix it. In truth, there are a lot of problems that are fixed “in the mix.”

If you have constant pitch issues, it’s another matter, and you need to take some immediate steps to try and fix the problem.  It could be a simple matter of inexperience.  In rare instances, however, you may not have the natural gift, or ability to know if you are on, or even near the right note.  That’s called tone deafness.

In that case, you have a long road to go, and even then you may, or may not be able to accurately sing the right notes. In the same way that some people will never be good athletes, painters or electrical engineers, some will never be accurate singers. But, as long as you’re not picking up a microphone, and claiming to be a good singer, sing on!  God listens to the heart, and those hearing you sing in the shower love your spirit and heart.

Here are some steps you can take to evaluate what’s going on and get things moving in the right direction:

You need accurate feedback to know what’s happening.  That can be either from another musician who can immediately tell where you are in relationship to the note, a recording of you singing, or, ideally, a combination of the two.

Once you are convinced of the need for fine-tuning your pitch accuracy, you need to look at some foundations of singing and go through the “Singer’s Pre-flight Check List.” All of these areas can have an impact on your pitch:

• Posture. Check it by lifting your hands over your head and going up on your toes.  This is your most efficient, balanced posture.  It needs to be who you are when standing.  When you’re sitting, stand from the waist up.
• Breathing. Inefficient breathing can make you inconsistent, and tentative. Good breath management will free up the voice and also helps with pitch.*
• Diction. If your words are sloppy, with unclear vowels and consonants it can get your throat busy trying to fix things.  The throat can’t fix diction issues, and if it tries it can drive pitch up or down.*
• Do singing accuracy exercises. Pitch matching exercises are a great way to challenge and fine-tune your pitch accuracy. Start with playing (or having someone else play) single pitches and simply matching them.  Then go to two notes, then three, and finally, a series of four or more. You may need someone else to judge your accuracy and point up or down to help you center your pitch.
• There are software packages that work on ear training, but I’ve not used those with students and can’t recommend a specific one.

In summary, all those who sing in public need to have good pitch accuracy.  It’s a gift and skill that can be enhanced and refined in most singers, and it’s worth the effort.

Let me know your thoughts and experiences in this area.  Also, let me know if you have ever worked with any of the ear training software programs.

May the Lord bless you as you seek to be the best, most efficient communicator you can be, in singing and speaking.

We all do it. Lead by example, that is. It’s just the way things work. Our children learn how to speak by imitating those who raise them. That can be good, or that can be bad. Our moral judgments, values, eating habits, attitudes and more are also passed on to those under our care.

When it comes to any kind of vocal group the same is true. The leadership who takes their voices, and how they use them seriously will be constantly sharing good foundations as they speak sing and lead. Those who don’t may be creating confusion as they ask for one thing and demonstrate another. Now, I’m not suggesting that choir directors need to be great singers. But certain, non-negotiable foundations can be maintained by almost anyone at any age.

I strongly believe that one of the most influential vocal leaders in today’s society is the high school choir director. During this time in a singer’s life he or she is in the “learning mode” and very vulnerable to what is being taught. In college only the music or voice majors pay much attention to voice technique and as we get older the percentages get even smaller. Yet we all continue to use our voices for a lifetime.

Why this power at the High School level? Perhaps it’s because choir is a contrast to English, French, algebra or biology. It’s a place where the audio senses can engage along with a different kind of social interaction. And, like sports, it has an element of team interdependency and that is an important skill to learn.

Second only to the High School setting is the church youth choir. Here, with the addition of the spiritual is a place where a supernatural unity can develop in sound and spirit, and it doesn’t get much better than that.

What’s the point of all this?

If you are in a place of influence over singers, whether as a choir director, worship leader, voice teacher or public school music teacher at any level, YOU ARE LEADING BY EXAMPLE WHETHER YOU WANT TO OR NOT. Those under your care are not just listening to your instruction. They are observing your posture, breathing, facial expression and more. They are listening to the tone and pitch accuracy in your voice.

Your desire should be to continue to evolve as a singer and leader, and that takes commitment and time. It is, I believe, necessary if you are to continue to be the best possible influents you can be. And, here’s a bonus: You will be experiencing personal satisfaction every step of the way.

As we moved to this, our new BLOG format I wanted to again feature this important article.  Just like “You Are The Message, Part 1,” this article hold a number of keys to moving from wanting to communicate, to doing it clearly and consistently.

IT TAKES A LOT OF HONESTY

It takes a lot of honesty, and a bit of reflecting, to deal with the visual side of presenting a single song or an entire concert.  But, the good news is that by adding the visual to the audio you have many more ways to get the job done.  That job?  To get the message of the song from your heart, to the listener’s heart.

The following are some areas to consider, evaluate and act on.  Before you look at that, however, you need to take an inventory of who you really are . . . now.  Not, whom you think you’d like to be some day, but who you are. Why all this analysis?  Because there has to be a comfortable connection between the audio message, and the visual messenger.  If not, there are dozens of things that can and will get in the way of a successful sharing.

A BIT OF SELF-HISTORY MIGHT HELP

As a counselor and mentor to a number of musicians I have often used a personality inventory test to get the conversation going.  It’s neutral, doesn’t care who the players are and is generally accurate. After using this test with myself, and my family I remember saying to Carole, “Am I really still doing that? Well, since you, and the kids are still seeing it in me, I guess I’m still blinded to some of my own actions.” All that to say, don’t be too shocked if you discover some annoying truths about yourself. Growing is a non-stop process.

SOME SPECIFICS TO LOOK FOR

Be age-appropriate in the way you look and act.  Wow. How does one do that? Since we’re dealing with physical and mental age it’s not always obvious.  For example, I’m 65, work with young musicians and teens, have a shaved head, ride a Segway for fun and travel the world with my wife teaching about the voice. I have no intention of retiring any time soon.  I think and feel young and workout every day but, like it or not, I’m not a kid, shouldn’t pretend I’m one or try to be one in concert. It won’t fly, and instead of taking advantage of my maturity and experience, I’ll look like an old guy who can’t accept where he is in life.

Dress in a way that compliments you and the situation. I can dress casual, moderately mod, wear an Italian suit or my favorite, shorts and a T-shirt, but I’m still me.  Why go into such detail about me? Because I see other people my age who are convinced that if they change their hair and wear smaller sizes they will magically become young. No they won’t. In fact, they will only emphasize their lack of self-acceptance and make the whole presentation less than believable. Enjoy your station in life, dress in a way that compliments you and rock on. If there are some tasteful changes you can make, such as taking off a few pounds and getting a new doo, great.

On the other hand, don’t fall into the, “I’m over 50, therefore I need to look as boring as the people I work with or others in my church. No you don’t. It gets back to identifying who you really are inside, then being that with joy and confidence.

THE VENUE and SETTING

Make sure you check out the physical setting and what the host’s expectations are for people who sing there.  Singing in a church? Some churches require a jacket and tie for Sunday mornings, but not for Sunday evenings or mid-week services.  Honor that, even if it’s not your norm and you have to borrow a tie.  Some churches could care less what you wear at any time, but do the research.  You’re job is to make sure you don’t let something as silly as clothing get in the way of your communications.

AGE OF THE AUDIENCE

Find out the demographic of your audience.  If it’s 90% seniors they may not “get” certain forms/styles of songs. It is your job to change, not theirs.  If it’s a youth-based audience make sure your stories and testimonies apply to that age.  If not, you are not honoring their time.

SUMMARY

Do your homework so that the message and the messenger are appropriate and ready to get the job done.  That job? Fully, completely sharing the message.

TOOLS TO HELP YOU GROW
Perhaps your best tool is going to be some thoughtful interaction with yourself, some mature, trustworthy friends and a video camera.  Let’s all keep growing together.

Part 1: The Vocal Side

As Vocal Coach moves to our new BLOG format I wanted to feature a previous article that addresses a key to being a successful singer.  When you sing there needs to be a coordinated effort between a number of parts of your presentation.  If not the distractions and filters between you and the listener can completely block your message from getting through.

CONSIDER THESE KEY ELEMENTS AND HOW YOU NEED TO PREPARE:

The Sound/Tone Quality

Think about it.  Does the message invite a full rich, vibrant tone quality or a softer, almost airy sound?  Is it a declaration or conversation?  Are you testifying or asking questions? You need to answer this question then practice the various possibilities.  If you can’t think of any, try listening to accomplished singers and imitate what they do for various kinds of songs.  Then, begin in integrate some of these qualities into your own vocal sound. A caution: I said integrate, not copy.  You still need to be you, just with more possibilities of sound.

Treatment of Diction

If you’re singing a hymn or English art song, the way you pronounce the words will be handled differently than in a worship song, or a contemporary/pop style of song. If I’m singing, “My Jesus, I Love Thee,” I’ll treat the words differently than when I sing the Broadway song, “To Dream The Impossible Dream.” If I don’t, I will be putting up walls between myself, and my audience. Again, listen to the pros, imitate and play with the different options. Build some choices into your diction options.  It’s the only way to keep things real and really communicate with the listener.

Phrasing & Expression

Going back to the earlier example of the difference between “My Jesus, I Love Thee,” and “To Dream The Impossible Dream,” let’s consider phrasing and other tools of expression.  To begin with, most hymns will have built-in phrases that invite breathing at certain places.  And, though you may make things more interesting by stretching that a bit, you are still at least partially limited unless you are doing a real pop arrangement.

With other songs, however, you have more options as to where you might breath, pause, or bring attention to a word with more or less volume or a dramatic and sometime sudden change of tone quality.  The options are many and best learned by listening to those who do it best, then imitating them to feel and hear you and your voice doing it.  That’s how a singer builds a repertoire of creative options.  If you have never heard and felt yourself do it, you are not likely to draw on that option any time soon, even when it would be the perfect solution.

Summary: Get inspired by those who do it well in the same way you get inspired by watching an excellent, experienced athlete.  Observe, analyze, imitate and integrate.  And, remember throughout that to do this safely you must maintain the foundations of posture, breathing, tone, diction and expression.  It’s a lot of work . . . with a lot of rewards.

Maybe it’s time you did.  Why?  Because many of us forget that there is are a number of physical and acoustical processes that make singing possible.  One the the key players is the larynx, and the closer you two become the better, and more consistent your singing will be.

Why, just th other day I listened in to a singer-larynx conversation that went like this:*

Singer: I just want to sing.

Singer: I just want to survive your singing, and sometimes you make that tough.

Singer: Sorry about that. I get so stressed and distracted I don’t even know what I’m doing until it’s all over, and by then I’ve abused you.  You actually hurt and get rough sounding.

Larynx: You got that right.  But, if you’ll stop physically stressing me, I’ll stop emotionally stressing you.

Singer: Sounds like a plan.  Where do we start?

Larynx: Well, since we’re kind of stuck with each other for the rest of our lives, with no replacement parts available, maybe we should get to know each other.  You know, abilities, expectations etc.

Singer: I’m game.  Why don’t you start.

Larynx: Well, to start with, I was designed by the greatest inventor of all time.  He created the entire universe and everything and everyone in it.  He also figured out the mechanics and acoustics of making sound.  He’s really good!  Here are some things you should know:

The vocal folds (sometimes called vocal cords) are designed to protect the lungs from foreign objects.  When something heads that way, like food or liquid, the vocal folds close to protect the lungs. They can also become a one-way valve allowing you to cough the threat away.  Rather clever if you ask me.

The cool thing, of course, is that these same vocal folds can vibrate as air from the lungs passes between them.  And, depending on the length and thickness of their leading edge, they can produce hundreds of different pitches.

Singer: Very cool, but why can some people sing the big high notes so easily and others look and sound like they’re screaming? And it doesn’t seem to matter if they’re male or female.

Larynx: You’re right about range not being gender-specific.  Most men, of course have lower voices than most women, but there are thousands of exceptions to that. If a woman has thicker and longer vocal folds she may be a natural tenor.  If a man has shorter, thinner folds he may be an outstanding high tenor or even alto.  The Creator gave everyone a potentially wide range, but not all the same range.  Kind of like the string family in the orchestra: Violin, viola, cello and double bass.  All have wide ranges, but all have different ranges.

The important thing is to discover how we were made and maximize that range. Then, to choose song arrangements that fit into our range.  And, remember: No matter what our range you need to develop the skills and habits that will make us the most consistent and flexible singer we can be.

Singer: But, what if I don’t like our range?  What if I’m really a bass and would prefer to be a tenor?

Larynx: You’ll have to talk to the Creator about that one.  I once overheard a cello asking the Creator if he could play a violin concerto. The Creator didn’t even bother to respond.

Note to self: Stay in touch with the larynx.  It’s good for both of us as well as our listeners.