Archive for the ‘Diction’ Category

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DICTION. IT’S MORE THAN WORDS.

Tuesday, April 19th, 2011

DICTION REALLY IS ABOUT MORE THAN WORDS

Most people know that diction is all about making your message understandable to the listener.  But, for the singer, there is a lot more at stake than just the message. There are vocal issues!  Issues like tone quality, pitch and vocal stamina.  These areas and more are impacted by the way you pronounce your words.

Example 1: if you’re a mumbler, there’s a good chance your larynx is working overtime trying to fix the unclear words coming out of your mouth.  It can’t, of course, since diction has to be taken care of with lips, tongue, teeth and an ear that knows what to listen for. Clearing up the diction will reduce vocal stress and make you a better singer.

Example 2: If you have sloppy diction when you record and depend on “fixing it in the mix” you’re building some really bad habits. It’s true that programs like ProTools, Logic Pro and AutoTune allow the engineer to correct pitch, reduce the amount of SSS or TTT and even move a syllable within the phrase.  But, some things are better being done right in real-time, every time.  It’s healthier for your voice, makes a better performer and makes you more fun to record.

SOME THINGS YOU CAN DO RIGHT NOW

Begin by looking at your self in a mirror and lip-syncing the words to a song.  No sound, but moving lips, face and tongue.  It will help you get in touch with all the muscles involved with good diction.  Next, still with no sound, be even more expressive as you “sing” the song and memorize the “feeling” of good diction and expression. Finally, make sure your voice is warmed up and put the music to it.  Try and duplicate what you felt in the first exercises.

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Because DICTION is one of those important-but-often-neglected areas of singing, WE ARE OFFERING THE COMPLETE DICTION CD at a special price.  Just CLICK HERE to learn more and save 20%.

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Posted in Choir Directors, Diction, Performance, Soloist, Teaching Teens To Sing, Tone, Uncategorized, Worship Team | No Comments »

FREEDOM + CONTROL = SUCCESSFUL SINGING

Tuesday, December 7th, 2010

I love the concept of FREEDOM UNDER CONTROL.  It applies to most areas of our lives including social interaction, eating, our spiritual lives and most definitely singing.

When a singer has vocal freedom there is no restriction caused by bad mechanics.  The voice doesn’t tire, and the notes at both extremes of the range are always accessible.  The result is that whatever the singer wants the voice to do, it does.   When this freedom is combined with self-control and wise restraint, great communications occur.

Why is it difficult for singers to achieve freedom under control?

Think of it as being like a college freshman that goes away to school.  Suddenly, there is enormous freedom, but often it is not in balance with the ability, and even desire, to make the most of the learning experience.  Hopefully, in time, the balance is achieved.  For some, unfortunately, it is after a lot of time and money have been wasted.

In singing, the same holds true.

Many singers learn how to use the mechanics of the voice, and that’s it.  They open their mouths and let it fly with nice tone and range, but little expression.  They don’t have the discipline and musical knowledge to finesse the phrases into powerful tools of communications.  Other singers totally get the emotions and expressions that really sell the song, but never master the mechanics that allow them to consistently get the job done.

As I said in the opening, freedom under control applies not only to singing, but also to most areas of life, including how you eat and how you relate to God.  And, here’s the beauty of it: If you are willing to openly pursue both freedom and control, you will be more successful at everything.

The best singers I know take the time and make the effort to master the mechanics of the voice.

  • Learn to hold the instrument (posture).
  • Control the energy (breath management).
  • Shape the phrases (dynamics, rhythm, tempos).
  • Deliver the words (diction).

Do the above, and you are half way there.  Then, study those who are masters of communicating songs.  Listen, imitate, experiment and be on the lookout for mentors: Those more experienced than you, who can guide and challenge you all along the way.

FREEDOM + CONTROL = SUCCESSFUL SINGING.  It’s a formula that can change the way you sing, forever.

Posted in Breathing, Choir Directors, Diction, Duets to Groups, Posture, Singing and Voice Lessons, Worship Team | No Comments »

WHAT IF YOU WERE ALWAYS BEING RECORDED?

Tuesday, November 16th, 2010

24/7 RECORDING?
What if every word you spoke and sang at home, in the car, in rehearsal and in performance was recorded? Then, at the end of the day you would be given an evaluation of how you did in areas with your tone quality, appropriate volume, clarity of your words, use of breath and more. Would that change the way you use your voice?
For some, the very possibility of being recorded and evaluated would lead to paranoia, not to mention less speaking and singing. For most, however, it should give birth to a fun, challenging and very fulfilling game called, “I will prepare mentally and physically before I open my mouth.”

THINK ABOUT IT
Every time you make an audible sound you are reinforcing your physical process be it right or wrong. If you’re like most people you speak without ever thinking about the actual sound. Hopefully, that’s because you are focusing on the message.

The fact is, we have the mental capacity to think about content and voice at the same time, and that should be our goal. Even as we begin the process we can quadruple the power of our communications by matching content with appropriate tone, volume, diction and inflections. Any time we don’t have all these elements working in harmony we risk a partial disconnect between what we think we are saying and what actually gets heard.

MAKE A LIST

It begins with you actively listening to and defining your own voice. What does it sound like? Is it rough, smooth, pitched high or low or in between? Is it soothing or alarming, unnecessarily loud or too soft to be heard? Are the words clear and easy for others to understand, or are they mumbled, requiring repeats of what you’ve said? Write down these observations. If you have the courage, ask several others to give their feedback on the above list of possibilities. Keep this list handy as you begin the Exercise In Voice Awareness.

FOR SPEAKING

  • Using your new list begin to make the changes you are capable of.
  • If you are straining your throat while trying to speak at too low a pitch (you can put a hand there and feel it) stop it. Allow your speaking voice to be slightly higher.
  • If you are always hyper and loud when you speak, relax. Get softer. It will be easier on the listener and your voice. It will also give you room to build and grow your sound when that is appropriate.
  • If you mumble your words, slow down and use the lips, tongue and teeth. With a little listening and effort you can be clear.
  • Adjust other obvious areas, then begin “hearing” your tone and voice quality before it comes out, then speak.

FOR SINGING

  • Before you make a sung sound think about it. What should it feel like (posture, breathing, tone resonance, diction)? Then, consider what it should sound like. Mentally anticipate and “hear” the sound before it comes out. This is a skill that you can develop.
  • Whenever possible, record yourself speaking or singing, and be objective as you listen back. Ask yourself what areas met your goals and what didn’t? What can you do about it? Even many smart phones can record with surprisingly accurate quality.

REMEMBER THE GOAL

As you mentally record and evaluate your voice, you will grow in your vocal awareness. Your goal is to be “hearing” your voice even before the sound is produced. This will help the different parts of the vocal process (posture, breathing, tone, diction, and volume) deliver exactly what you want rather than whatever default sound happens to come out.

WHEN WILL YOU SEE THE FRUIT?

You can start benefiting almost immediately but it will take a little time before it happens automatically. In my own experience I began just thinking about and enjoying the sound and physical sensations of the voice. Before long it was always in the back of my mind. Now, it just happens and things adjust in milliseconds before sound comes out. Because it is on autopilot, I can put all my thought into content and delivering the message whether speaking or singing.

DO YOU HAVE QUESTIONS?

Let me know your thoughts and questions at moc.hcaoclacovnull@sirhc and be sure to visit our FaceBook page by clicking the icon in the upper, left-hand corner of this page. While on the FB page click the “Like” button at the top of the page.

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Posted in Breathing, Choir Directors, Diction, Posture, Singing Subjects, Soloist, Speaking Tips, Tone, Uncategorized, Vocal Health, Voice Fatigue and Strain, Worship Team | No Comments »

HOW DO I FIX MY UNSTABLE VOICE?

Wednesday, June 30th, 2010

Question from Blog reader:

Chris, I am having a voice problem and need your input.  I’ve been using your training CD’s for a few years now and they have helped me a lot.  But, here’s my problem: When I first start a song I feel short of breath.  My voice feels unstable.  After a few words it gets better, but I still have a problem with my voice breaking or quivering. It’s not solid, or stable. Is this a throat problem, breathing or ???  Your comments would be greatly appreciated.

Vocal Coach Answer:

When a voice is unstable, wavering, tentative or breaks and quivers there are several possible causes.  Here are some likely ones and some solutions

1.  Anxiety. When you are mentally or emotionally unsure about what is going to come out when you open your mouth it can interfere with breathing, posture, diction, tone, expression . . . everything.  The solution will be found in being more mechanically solid than you are anxious.  In other words, having such secure technique in the posture, breathing, tone and diction that nothing can interfere. Solid muscle memory, of right techniques will be your friend every time.

2.  Posture. If your posture is bent or broken it will interfere with breathing, tone and self-confidence and how the listener perceives your confidence. By lifting your arms straight up over your head you will discover your balanced posture.  As you slowly bring your arms back down be sure to maintain the upright alignment. The shoulders should be completely relaxed, not pulled up or back.  The feeling is one of being “athletically alert,” with a comfortably upright chest. Feel like you have a long back of neck and a shorter front of the neck. The head is back, over the shoulders, with the eyes looking straight ahead.  Don’t let the chin lift for high notes or fall for low notes.  Keep the head position neutral. Once you can sing your songs comfortably in this position you can look anywhere you want.  Just don’t move the head to help you hit a note; it won’t.

3.  Breathing. Securing good breath management will help you sing through the nervous times.  The muscles will just continue to get you the right amount of breath.  Not too much; not too little.  Good breathing starts with good posture. A good first exercise is to get on your back, on the floor and feel what parts of the body are naturally engaged when you breathe in, and out. Then start sipping the breath in through an imaginary straw, and out on a SSSSSSS sound. After you have memorized where the breathing is naturally felt, stand, check your posture and repeat the exercise with a still chest and ribs.

4.  Tone. Getting your posture and breathing more secure opens the possibility for your best vocal sound, or tone quality. The physical sensations of good tone are a relaxed throat, and lots of buzzing resonance (harmonics and overtones) vibrating through the face, mouth, sinuses and nasal passages.  These are all sensations that you can physically feel, memorize and reproduce. A gentle hum will begin the sensation. Adding a chewing motion to the humming will keep the face and jaw more relaxed.  And, don’t be afraid of all the vibrating you feel in the face.  That’s a good sign, and means you are allowing the voice to work and not forcing it. These are aspects of your vocal sound you can “feel,” and that means you can reproduce them using muscle memory.

5.  Diction. Another important area is diction, pronunciation or enunciation.  It just means that the listener gets the message, not just the music. The other bonus of clear diction is this: As your own ears hear clear words coming out they tell the brain to tell the larynx to just relax and keep giving the pitch. If, on the other hand, your ears hear mumbled words they often tell the brain, and the brain (for some unknown reason) gets the larynx involved. That just leads to useless tension in the throat since the larynx can’t help diction.  So, when in doubt, over-pronounce a bit so that even the least attentive listener hears your message.

So, there you have it. A systematic approach, to freeing up an unstable voice by paying attention to your POSTURE, BREATHING, TONE and DICTION.  Needless to say, there’s a lot more to be said on all these topics.  If you want to go deeper, with principles and exercises just go to the main site at vocalcoach.com and look for the Vocal Coach Singer package, or individual subjects by title.

If you have thoughts or comments leave them in the space below.  Thanks.

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Posted in Ask the Coach, Breathing, Choir Directors, Diction, Duets to Groups, From the Coach, Performance, Posture, Singing Subjects, Tone, Voice Fatigue and Strain, Worship Team | 3 Comments »

I’m A Singer and They Say I’m “Pitchy.” What Can I Do?

Friday, January 15th, 2010

When someone says you’re pitchy, you need to listen.

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.

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Posted in Breathing, Diction, Posture, Singing Subjects, Tone, Worship Team | 4 Comments »

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