Chris Beatty's Vocal Coach Blog

HOW MUCH OF A SINGER'S SONG IS REALLY HEARD Part 1 of 2*

Reminder to our Vocal Coach Online and in-person students: We'll be in Israel, then doing two conferences in Nashville which will keep us occupied until July 20th. That's when all Online Classes, Online Private Coaching as well as In-Person sessions in Nashville resume.

How much of your songs are they really hearing?  I don't mean like a shortened version.  I mean they've listened to it, but not heard it because of what I call "cover-ups."
Cover-Up #1: Unclear words. When only some of the words are clear, and the listener has to work really hard to figure out the message they eventually give up.
Solution: Remember that just because you know the message doesn't mean the audience does.  In fact, the more you sing a song the more you need to make sure the words are clear. The assumption always has to be this: I have one chance to share this message and it had better be clear.  All style, and no lyric won't cut it.
Make sure to get neutral feedback from those who can be objective, not just family and friends. When it doubt, sing the song, then ask the listeners to write down the hook in the chorus and the essence of the message.  If they can't you have some cleaning up to do.

Cover-Up #2: The singers and instrumentalists haven’t walked in each other’s shoes, at least musically. All too often it seems like the band, or other accompaniment, is in competition with the singer. This forces the singer to push, and overdo the singing just to feel he’s being heard.  The result?  A tired singer, and often ear-fatigued audience.  
Solution: It takes a lot of objective give-and-take for a singer and instrumentalists to keep things in balance.  As musicians mature, they understand where they need to leave “space” for others in the team.
Cover-Up #3: The lead singer looks either bored or nervous totally distracting the listener from the message.  In some cases the audience just endures the performance hoping for something better down the road. Sometimes they just tune out. Other times they are so nervous and anxious for the singer they have long-forgotten the message.
Solution: Singers, if you are in front of a live audience you owe it to them to have done your homework.  Live songs are sung not only with the voice, but also with the eyes, face, arms, hands posture . . . all of you.  For some that all comes naturally, but for many, if not most, it takes work and guidance.  
Use the power of video by taping your practice/performance and being brutally honest about what you see and hear. Then, don’t get discouraged with what isn’t good.  Instead, be bold.  Do something about it.  Watch the pros and even mimic some of they do, then see what applies to your performance.  If you are lacking in basic vocal skills take action.  Vocal Coach is loaded with very reasonably priced training tools and online experiences.  Even your local community colleges may have tremendous music departments. Thoughts or comments?  Let me know.
*I fully realize that these comments don’t cover every genre of music.  But there are elements and principles contained here that do bleed over into most styles.  Please fee free to comment.

Finding great songs that will work well for you takes more work than just dreaming.  It isn't as simple as just saying, "I like that song. It moves me.  I think I'll perform that at my next opportunity."  There is, however, a process you can work through that will help you qualify songs that you will be able to sing and communicate well, and here it is: 

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's range 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.

ANNOUNCING VOCAL COACH ONLINE TRAINING

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 What is Online Training? It is an interactive, online, multi-media training experience using:

• Live Video: You see Chris Beatty and other teachers. In class settings you may also see some of the other students. If you have a webcam others can also see you, making it a fully interactive event.
  
• Live Audio: You can hear the full session using your computer's speakers, headphones or even a telephone. You can speak/sing using either your computer's microphone or a telephone.
• Interactive: You can see, hear and speak to your teahers and other studetns. You can also type in questions, take polls and tests (for classes). It's fully interactive.
  

IT'S CONVENIENT. You never have to leave home, and as long as you are on the Internet (cable or DSL, no dialup) and have a telephone you're ready to register for a session that fits your schedule. 

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I've known  people who are always "On Stage" even when they're not. I've know others who never quite seem to be on stage even when they are . . . on the stage. 

Emotions effect the physical voice. "Duh," you might be saying. Most of us have experienced how the emotional part of us can deeply impact our control of the physical parts of us, and that includes the voice. The key to being able to still perform, whether speaking or singing, is found in the preparation at all levels.

Does that mean public performance will always be a walk in the park?  No, it doesn't. There are many seasoned performers who regularly get so emotionally and physically upset before they go on stage they actually get sick to their stomachs in one way . . . or the other. But the vast majority of those who regularly perform have found that preparing the body, mind and spirit let's them have consistent success.

Remember that you are a vocal athlete.  If you think super-star athletes, high school or professional, just walk out with confidence and have fun playing their sport, you're wrong. The locker room is a seriously tense setting before important games. Before the game they are warming up, then stretching, then warming up some more, often for hours.  At the same time they are mentally going over the game, the opposition and what they will do to overcome that opposition. And remember that they have been doing this same preparation for weeks,  months or years.  They haven't just been dreaming about it and hoping all works out.  THEY LIVE IT, in a good way.

LEARNING TO LIVE IT IS WHERE THE VICTORY COMES.

• Think Like a Singer. You are a messenger. Know your message inside and out.
• Stand Like a Singer. If you're not used to being upright and balanced when you're not singing it will be foreign to you when you are singing.  Live it out.
• Walk Like a Singer. It's not a matter of having an "attitude," but rather a confidence in who you are. It makes it comfortable for people to believe in what they see and hear when you're on stage.
• Breathe Like a Singer. Think down when you breathe in, and only take in what you need. Being aware of your breathing every now and then will give you and ability to manage your breath when it's important.
• Think before you speak. Engaging the mind before the mouth will get you in a good habit.
• Express yourself clearly with clear words, meaningful facial expression and, when appropriate with hand gesture. Imagine you are on TV. How would others see you?

I know this may seem a little extreme for daily living but it's not.  If you want your emotions and appearance to be more relaxed in public performance live it out as described above. Don't become overly aware of yourself to the point of paranoia. But don't take performance so casually that you become a performance casualty.  If the only time you think about your singing is during "official practice and performance times," you will never be fully effective and relaxed when you are on stage.

 MAKE A PLAN.    LIVE THE PLAN.   ENJOY THE FRUIT.

 Remember to check out VOCAL COACH ONLINE Webinars and classes.

One of the biggest challenges for many singers and songwriters is getting mentally and emotionally prepared when it’s time to work on the more creative disciplines of our work.  And, though creating and new song, or working on interpreting an old one is partially just discipline, it also involves creativity and inventiveness.  After all, you are trying to create something that has never existed before.  Something that is part of you, and will take the listener on a journey.  In that way, the arts are different than other areas of life, and getting into the right mindset for that creativity can be a challenge. And, but both the inspiration and the mechanics must be there for it all to come together. 

One exercise you might try is this: Listen to some natural sounds.  Think about the last time you were at the ocean, listening to the surf, or in an area so filled with trees that the sounds of nature were almost deafening. That kind of sound, natural sound, connects with us at the deepest level and is at the opposite end of the spectrum from say, a screaming crowd at a football game or concert or the honking horns.

But, what if you don't have an ocean or forest handy every time you want to prepare to do inventive things?  You can still hear the sounds and see the beauty. When we lived in Southern California I recorded hours of surf at the Huntington Beach pier.  I would play that recording when I needed to mentally be “somewhere else.”  I could listen, close my eyes, and hear and smell the ocean.  That's how real I ALLOWED it to be. 

In recent years I've gotten quite good at sitting down for a few minutes, closing my eyes and even without a recording being able to "see and hear" the sounds of nature.  I use those times to help me transition to my next activity, and for me it works.  If you can't quite create those moments without help, find or make a recording of the beach, or birds singing and let the sounds of nature prepare you for something amazing.  Then, enter in to your creative time with freshness.

I would love your thoughts on this.  What do you do?  Is it prayer, meditation, reading or some special music?  Let me know. Also, let me know if you have other questions you would like to see addressed in future BLOGS.    Just write me at chris@vocalcoach.com

Are you reproducing yourself in those you lead?  That's an interesting question and, perhaps, a scary one depending on your experience and expertise.

The issue is this: If you are a vocal leader of any kind the students will assume you know something about what you are doing and therefore imitate what you do.  And this includes not only those who direct choirs, choruses and worship teams, but also private music teachers and home schooling parents.  You especially need to pay attention to your posture, breathing, expression, tone, diction and pitch accuracy because those under your care are observing you.

But, what if you're a really good musician and communicator but not a great singer?  Or, what if you're the only one available to teach and lead, qualified, or not?  Can you still be used, or should you just throw in the towel?

Even technically unqualified leaders can lead well if they base what they teach on systematic, proven principles and exercises.  It's all about how you you understand and present the foundational truths of singing.

For instance, in the Vocal Coach Complete Blend CD (part of the Groups package or available as an individual CD) we don't just say, "do this and it will sound like this."  First, we tweak the listeners ears and minds with samples of the most common mistakes singers make in group settings.  Then, we present the principles and exercises to overcome the mistakes and let them hear the results.

If you lead other singers, at any level, I encourage you to take your responsibility so seriously that you are judging and critiquing yourself along the way.  And, if there are areas where you have problems, find some good training material and work through it. Remember: Practice makes permanent, and whatever you are allowing your singers to do is what they are are becoming.

Do you have a vocal question you would like to have answered here.  Just email chris@vocalcoach.com and be sure to check out the Vocal Coach Groups series.

Question: Why should I have to exercise my breathing muscles?  I breathe all day, every day with no problem.

Vocal Coach Answer: We all have arms and legs, too, but anyone who wants to be a successful athlete trains and conditions not only their arms and legs, but their entire bodies.  If you’re a singer, you’re a vocal athlete!

For centuries people around the world have known the value of using deep breathing to help them relax, focus and get through tough times.  The body responds to lack of oxygen with a good yawn.  In sports, all players learn to manage and control the breath.  Why?  Because the way we breathe has a lot to do with how we perform.  Lack of breath and over-breathing can both leave you anxious and far from relaxed.

As you look at your own singing technique ask this question: Do I specifically train, challenge and maintain my breathing muscles?  If the answer is no it’s only a matter of time before you will wish you did. The good news is that refining and building good breath management can be easy, fun and worked into your normal day.  

Here is a simple Starter List. For more detail, including systematic exercises use the Vocal Coach Complete Breathing CD available as a single CD or in the Vocal Coach Singer package. Here’s the list:

1. Strive for a balanced, upright posture every waking hour.  It will actually leave you more relaxed, and use only half as much energy as poor posture.  Exercise: Start by standing and lifting your arms straight up.  Memorize where your chest and ribs are in this position.  Now, slowly lower and relax your arms letting the shoulders, absolutely relaxed.  (When sitting feel as though you are “standing from the waist, up.”)
2. Use resistance.  Just as barbells help build strength in the arms, sipping and hissing will help build strength, stamina and predictability with the breathing.  Exercise: With good, relaxed posture, slowly sip in breath as though you were breathing through a very small straw. Do this to the count of four.  Now, exhale to four counts on a ssssss.  Make sure to take in easy, short breaths keeping steady rhythm but not necessarily filling up.  Remember: You are striving for control, not necessary to exchange large volumes of air. Still keeping an upright, relaxed posture, expand the exercise to eight, sixteen and thirty-two counts. (Some students can do 64!!) Try putting your hands behind your head to guarantee proper positions of the chest and ribs.  Hint: Make sure to fully exhale on the sssss so you don’t get stuck with half-full lungs when taking your new breath.
3. Wrap your hands around your back at waist level and yawn, feeling natural expansion in this area.  Now do the four-count sip/ssss noticing how the back STAYS OUT during the exhale.

 Strive for a balanced, upright posture every waking hour.  It will actually leave you more relaxed, and use only half as much energy as poor posture.  Exercise: Start by standing and lifting your arms straight up.  Memorize where your chest and ribs are in this position.  Now, slowly lower and relax your arms letting the shoulders, absolutely relaxed.  (When sitting feel as though you are “standing from the waist, up.”)

1. Use resistance.  Just as barbells help build strength in the arms, sipping and hissing will help build strength, stamina and predictability with the breathing.  Exercise: With good, relaxed posture, slowly sip in breath as though you were breathing through a very small straw. Do this to the count of four.  Now, exhale to four counts on a ssssss.  Make sure to take in easy, short breaths keeping steady rhythm but not necessarily filling up.  Remember: You are striving for control, not necessary to exchange large volumes of air. Still keeping an upright, relaxed posture, expand the exercise to eight, sixteen and thirty-two counts. (Some students can do 64!!) Try putting your hands behind your head to guarantee proper positions of the chest and ribs.  Hint: Make sure to fully exhale on the sssss so you don’t get stuck with half-full lungs when taking your new breath.
2. Wrap your hands around your back at waist level and yawn, feeling natural expansion in this area.  Now do the four-count sip/ssss noticing how the back STAYS OUT during the exhale.
3. Poke your fingers into your sides at waist level.  Take in a quick, gasping breath and feel the sides expand. Next, do the four-count sip/sssss noticing how the sides expand during the inhale and STAY OUT during the exhale.
4. It’s now time to get on your hands and knees on the floor. Why? Because this position eliminates many of the posture muscles helping you feel the exaggerated action in the abdomen, sides and back at the waist level.
   

Summary: We were designed to maintain a comfortable chest and rib position.  We were also designed to expand the full waist area.  As we exhale or sing the back and sides want to stay expanded.  This helps counter over-singing as well as running out of breath.

Put in some time with these exercises and you will soon be enjoying some new and very efficient breath management.

The COMPLETE BREATHING CD is our most powerful tool in helping manage your breath in the best way posible. It's available in the Vocal Coach Singer package as well as an individual CD both hard copy or as a download.

ERNIE’S PROBLEM: HELP!  I am a singer/guitarist. I use your Daily Workout CD for Low Voice and Warm-Up CD’s before I perform. I also use the Entertainer’s Secret throat spray and drink lots of water and I practice regularly.  Here’s my problem: Once every 2 months I have back-to-back, five-hour marathons at a local restaurant. By Sunday morning my voice is shot, and by Monday I cannot speak at all!  It takes a week to get my voice back.  

VOCAL COACH ANSWER:  Endurance is the capacity to last through challenging circumstances.   Being able to endure is the result of being efficient with the way you use your voice.  Singers who push and strain almost always tire prematurely.  When required to sing for longer than normal they often suffer slow-healing laryngitis or even permanent injury. The only way to build endurance is to let your TECHNIQUE & PREPARATION catch up to the demands.  It’s like going from being a weekend athlete to a full-timer.  The demands are just different.  Here are some tips: 

1.     You must be voice-aware, posture-aware, breathing-aware, tone-aware and diction-aware every waking hour.  It’s actually fun, and you won’t have to “shift” into your singing mode when it’s time to sing.  You’re already there.

2.     Pushing to get big sound needs to be replaced with great use of your natural acoustics.  Allowing the harmonics and overtones to vibrate and resonate throughout the vocal tract (chest, throat, oral cavity, nasal and sinus cavities) makes producing big, full sound easy.  If you learn to allow the voice to work you won’t be so tempted to force it and make it work.

3.     Pushing to get higher notes instead of allowing it to happen is dangerous. If you get the high notes by just pushing it will cost you in vocal fatigue and eventually in limited range.

4.     When you start using the above techniques you can start using much less air to get the same size, quality and volume of sound.  That’s right: Less air and the same or even more sound. It replaces pushing with allowing.  Less air; more acoustics.

            Please let me know your thoughts on this blog as well as any other questions you may have at chris@vocalcoach.com

Suggested Vocal Coach tools: Vocal Coach Singer 12 CD package (Breathing, warm-up, tone, expanding range, diction, daily workouts for high and low voices and more.)

1. STAND TALL.  You were designed to be upright, not broken and bent.  Lift your hands over your head to get into a good standing/walking position.  
2. SIT TALL. When sitting feel like you’re “standing from the waist up.”
3. “HEAR” YOUR VOICE BEFORE YOU SPEAK. Since we speak far more than we sing, speaking represents the majority of our voice use.  By thinking about and anticipating your best vocal sound before you speak you will be reinforcing good vocal tone quality.
4. USE YOUR FACE. Whether speaking or singing allow your face to be part of the communications.  It’s unnatural to have a stiff, robotic face. Watching a child talk is a great way to be reminded of how we are to include the face in all communications.  It’s natural.
5. LEARN TO BE YOUR SELF.  Imitation is a great way to expand your repertoire of possible sounds and styles.  But, unless you’re doing a cover tune, or trying to imitate another person’s speech  be sure you have inserted plenty of you in the mix.