For vocalists

Hello friends,

Some ideas for vocalists and others.  Feel free to pass this on, disagree etc.

Think for yourself.  Use your own experience and opinions when  making music.  You will not be able to ask a teacher or read a book that will explain every note, rhythm, articulation - and besides, it's your music.  

When you hear instruction in a lesson, hear music, hear yourself singing, read opinions -- don't merely like or dislike something.  What about it do you like and dislike?  Be specific and detailed in your thinking.  You can develop your taste (and confidence in your own judgement) by forming opinions about acting, music, art, comedy, anything.   If you find yourself standing next to a rack of ties in a department store - which would you buy, which do you hate and why?  Feel of the fabric, color, width, how does it reflect light, is it pleasant to the touch, is it well-made?  If you dislike a singer, what about her? is it as much about the singer as the song, the production, the tempo, the lyrics?  Then keep relating back to your music and art.  Don't just be a music snob, nothing is gained that way.  Keep giving your own work the same searching appraisals, and evolve through doing so.  This may seem pretty abstract, but do it until something occurs in your thinking and feeling.

Example:  

-Someone you don't like?  

-Madonna.

-what about her?

-her narrow range.

-Johnny Cash and Tracey Chapman have pretty narrow ranges.  Do you like them?

-Yes, better than Madonna.

-So maybe range is only part of it.  What else?

- the pop production, the sounds are too big.

- James Taylor has pop production, but not the same way - there's a feeling of intimacy.  Would you like Madonna's records better if there the voice felt close and unaffected like James Taylor's Cds?

- Part of it is that he is someone I would want to know and Madonna isn't.  And if her voice was close and unaffected -- well, I don't like the sound of her voice much.  

- You said range first, then you mentioned pop production, personality and the sound of her vocal instrument.  You're intending to record a CD,  Any thoughts after considering these artists?

- I don't want the production to make me seem far away from the listener.  I want people to like the true sound of my voice.  Also, personality comes through in a vocalist, and I want people to like me for who I am.  

-Being liked, reaching listeners that way -  probably makes how you come through as you sing, and your connection to the song's mood, message, meaning --important.

- wow, more than I realized.  And I guess I could make myself too distant from the listeners with the wrong production.  I think you just steered me towards making a folk album!

Record yourself often, listen more than once.  Don't just like or hate, notice details.  Get to know what you really sound like.

If a teacher is observant, they'll be getting far more info from your singing than from your explanations, excuses, history.  Most talking during lessons is beside the point.  You can express what you need to for most of a lesson with "OK" ('I understand' or 'I'll sing that') and "huh?" (I don't understand).  Also, in a lesson, a teacher should see your posture, breathing, tension.  Dress accordingly.  Don't wear shoes you're about to fall off of.

Everyone you meet, who hears you, who you interact with -- could hire you or refer you.  You don't need to tell them you're looking for work.  In the performing arts, EVERYBODY is looking for work.  Everyone you know is bombarded (and bored by) by adverts, emails, pitches asking them to buy things or hire people.  The best way for a performer to "network" is to get better at what they do.  That way, when you sing in a class or a gig, people remember you.  I saw a concert once.  Six years later, I started 4-5 years of lessons with that artist.  

Pitch, time, phrasing, choice of notes - these are not simply "good or bad".  Serious musicians spend their lives focused on these basics.  Your rhythm and pitch can be refined and improved.  They always can, in everyone.  Most of what you're trying to refine is your perception of pitch and time - your brain's awareness of how you are singing, of the sounds of the other instruments.  Very often in music, performers are not aware of what they don't have control over.  Or they're fixated on one thing, and unaware of others.  You will often have to focus and search to find what needs work and improvement in your performance.  

You'll need to be hard on yourself in order to improve.  You'll need to be kind to yourself in order to do it at all.

Hire accompanists, book rehearsals whether you have work or not.  Barter if you have to.  In voice lessons you'll ask and receive advice from a teacher.  Use rehearsals with good musicians to make your own musical decisions, to develop your musical perspective.

By learning what your colleagues on the bandstand know -- by learning music theory, rhythmic theory, how to describe an arrangement, and how to lead a group, you'll improve your singing, gain the respect of the instrumentalists, develop your confidence.

As you go on in music, you'll be recording CDs and putting up a website.  You'll work with audio engineers, producers, graphic designers.  You'll be making production choices.  Get informed about the crafts allied to music.  Whatever you can learn about music software, audio engineering, graphics will help you make choices and save you money.