Posts Tagged ‘voice training’

|

IS SINGING IN THE CAR OK FOR THE VOICE?

Monday, January 16th, 2012

WANT TO HEAR THE AUDIO VERSION OF THIS BLOG? Click here:  Blog-WarmingUpInCar_011612

Great Email Question

I got a great email question that asked this: “Chris, I bought the Vocal Coach series from you at a workshop you gave. You mention warming up while driving to rehearsal/gig. I thought I had heard not to do that. Is it ok to do that so long as posture is correct?”  This is a super question because it deals with real life for a singer.

Ideal vs Reality

Let’s start with this: The “ideal” warm-up/practice scenario would have you peaceful and quiet, undisturbed. You are rested, have eaten well and have just read something relaxing.  Maybe even had a string quartet playing during your meal. I’m not being sarcastic. Superstars like Luciano Pavarotti and Michael Jackson traveled with their own chef’s, food supply and, in the case of Pavarotti, entertainment.

Muscle Memory

Most singers who wait, and only warm-up and practice in perfect, ideal situations often just don’t do it. The result is that they don’t develop the muscle memory necessary for good singing.

Is Warming Up in the Car Ok?

I have sung all over the world and sometimes the only place I knew I could really “get away” to think and warm-up was in a rental car. Pavarotti and Jackson I am not, but I do know what my voice and mind and emotions feel like when I’m fully ready to perform and I’ll do about anything to make that happen. If you’re a choir or worship team member and the car is your only time to focus, put in a Vocal Coach Warm-Up or Daily Workout CD and go for it. The goal is to be ready.

If you do end up warming up in a car:

  1. Make sure the rear-view mirror is positioned comfortably high requiring you to sit tall to see out the back window.
  2. Keep your hands at the One and Three O’clock positions on the steerting wheel.  It will stabilize your chest and ribs in a comfortably expanded position.
  3. Have a goal of physically feeling a free, rich tone since road noise, air conditioning etc. may make accurate hearing challenging.
  4. Don’t try to out-sing the car noise. Instead, sing smart.  If you begin to strain, back off and recheck posture, breathing and tone. If you aren’t solid in those foundations make a plan, get some materials personal training and learn to do it right.

Ten Minutes Is Much Better Than Nothing

What it your schedule or situation doesn’t allow for a good warm-up?  That’s where muscle memory and experience kick in and get you through, but it’s not something to get comfortable with.  Those who do ultimately pay the price of sloppy, unpredictable performances. There is always some time to do humming and lip-trill exercises even if it’s while you’re in the shower and getting ready.

Summary

Do all you can to assure regular warm-up and practice times in ideal surrounding.  When that can’t happen, make sure to still prepare your voice and heart even if you need to hide in the janitor’s closet or a car to do it.

Got a Question You Would Like Answered?

Just email me at chris@vocalcoach.com and put “Question” in the subject.

Tags: , , , , , , ,
Posted in Soloist, Uncategorized, Vocal Coach Audios, Warm-Ups, Worship Team | No Comments »

GIFTS FOR THE SINGERS IN YOUR LIFE

Thursday, December 15th, 2011

Receive a 10% discount at checkout when you enter HOLIDAY10 in the coupon code.

WHAT TO BUY FOR THE SINGERS IN YOUR LIFE? 

HOW ABOUT SOMETHING TO MAKE THEM BETTER SINGERS?

 

1. A personal Online training & coaching session with Chris Beatty. All you need is a webcam and Skype, iChat or FaceTime. It’s the perfect way to evaluate your strengths and weaknesses and get on a path to being your best. 

2. Vocal Coach Singer 12 CD training series. A complete, systematic program to help you be all you can be. 

3.  Our Teaching Kids To Sing pack is the perfect gift for kids and grandkids!  The two DVD’s and one CD set cover the foundations of singing in a fun, practical and very user-friendly way. 

Receive a 10% discount at checkout when you enter HOLIDAY10 in the coupon code. 

Tags: , , , , , ,
Posted in Choir Directors, From the Coach, Singing and Voice Lessons, Uncategorized | No Comments »

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.

VERY SPECIAL OFFER

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%.

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

WHEN YOU SING IS YOUR BRAIN PART OF THE MIX?

Tuesday, February 8th, 2011

BACKGROUND

As a young singer, in a very musical home, I was constantly being mentored in the things of voice and music without even knowing it.  I thought it normal to hear one’s mother playing the piano, or giving a voice lesson in our living room.  I remember hiding behind the couch and just listening, intrigued by what I was hearing.

I also didn’t think anything of it when my mother would fly to New York for one of my uncle, Samuel Barber’s premiers, whether for the opening of the new Metropolitan Opera House in Lincoln Center or with the New York Philharmonic.  I knew my family loved and respected good music, but had yet to fully understand the impact it would have on my life.

It wasn’t until I was under the gifted leadership of my high school choir director Eric Jensen, that I began to grasp the brain-ear-larynx connection.  Once that happened, I was quick to start experimenting with vocal sounds based on what I had been exposed to in my childhood. Step two happened in college under the no-nonsense guidance of my technique teacher, Dr. Harvey Ringle, and my coach, Fredrick Schauwecker. They would only settle for complete freedom in the vocal mechanism no matter what style was being sung.  They knew my potential and never let me off the hook of accurate and free singing.

The next big revelation of how the voice works occurred when I was 19.  I started singing with the Chicago Symphony Chorus under director Margaret Hillis, one of the most relentless, non-compromising director/conductors imaginable.  Every note, every phrase, all dynamics and balanced blend had to be there all the time.  Our rehearsals were exhausting, but always fruitful.

As I look back I now see that my DNA and family set the stage for my vocal passion.  But, it wasn’t until by brain, ears, larynx, respiratory system and articulators got on the same page that I really got it.

APPLICATION IN YOUR SINGING

As much as I’m sure you enjoyed reading about my background, you’re probably asking yourself, “What does this mean to me?” Here’s the answer:

1. Let this be a wake-up call to never just sing without engaging your mind. It is true that good singing should become automatic, but that only becomes reality after many hours of focusing on all the parts, then putting them together one piece at a time. As the muscle and mental memories become strong, you don’t need to think about the details; however, you always need to be vocally aware.  Always.

2. Do the musical and physical work of intelligent singing. Challenge your mind and ear as you work to perfect pitch center, phrasing and dynamics, diction and expression and the all-important posture, breathing and tone.  Never stop evaluating, improving and getting feedback from qualified, neutral sources.  Remember: Those who do the smartest preparation get the lucky breaks.

BACH TO ROCK AND EVERYTHING IN BETWEEN

In my teens and early 20’s I had the advantage of being invited to NYC for amazing rehearsals and performances by some of the best singers in the world.  Seeing their seriousness and focus impressed me.  As I ventured out and sang pop shows in Las Vegas (not something the musicians in my family had ever done) I realized the same focus and excellence was also there.  I sang family shows with amazing bands and singers.  Now, I’m part of a church whose lead singers can literally sing any style.  They have the ability to read printed arrangements or create “head arrangements” on the spot. This is not something you find in the average church.  I know that living in the Nashville area and having a congregation of 7,500 doesn’t hurt, but the point is this: Excellence can exist anywhere there are singers willing to receive instruction and discipline their craft.

SUMMARY

If you want to be an excellent singer don’t just sing.  Make sure your brain isn’t M.I.A.  Use the full resources available, whether it’s through private study, the Vocal Coach CD’s or live Online coaching.  Do something.  You owe it to your voice and your audience.

Tags: , , , , , ,
Posted in Choir Directors, From The Heart of Chris Beatty, Singing and Voice Lessons, Soloist, Speaking Tips | 1 Comment »

DON’T TRY AND FIT ANOTHER SINGER’S VOCAL MOLD

Tuesday, September 21st, 2010

Be who you are, vocally. Don’t try and fit someone else’s vocal mold.

Someone else may be a higher or lower voice part than you, and that’s fine.  They may also relate to different vocal styles because of their cultural or musical experiences.  That’s also fine.

But, notice that I didn’t say, “Stay in the rut you’re in. That’s just the way it is.”  In fact, here are two thoughts to the contrary:

1. Even though you can’t suddenly become another voice part you probably can significantly expand your vocal range just by cleaning up and refining your vocal technique. It’s all about owning the foundations and having some specific goals.

2. Learning to believably sing new styles is a fun and wise pursuit.  In fact, expanding your repertoire of vocal styles makes you a more valuable, more flexible singer.

Finally, here’s the answer to a question I get asked regularly.

Question: Chris, what do you actually do with singers?  Help me understand.

Vocal Coach Answer: I guess you could sum it up as this:  I look at people who sing, and then help them discover their potential, discover current problems or limitations and come up with solutions and a step-by-step way to make it happen.  This does, of course, require the cooperation of the singer, and it does take some time, but it’s very doable . . . and that’s what we do at Vocal Coach with in-person or Online sessions.

BONUS: Like a little humor? Check out these two Vocal Coach Animations:

I Have To Practice? And Preparing for Performance

Please keep those questions coming to chris@vocalcoach.com.

Thanks

Tags: , , , , ,
Posted in Performance, Soloist, Tips Tailored for You, Uncategorized, Worship Team | No Comments »

GOING FROM WANTING TO DOING

Wednesday, August 11th, 2010

GOING FROM WANTING TO DOING

Here are some thoughts and tips to help you go from just wanting to express something when you sing, to actually doing it.  This can also apply to public speaking, classroom teaching, prepping your team for a game, preaching or leading a Bible study.  In every one of those cases your goal is to clearly communicate. As a bonus in this blog, I’ve created an animated segment to reinforce some of the principles. Check it out now, or after you’ve read the blog. Click here.

Start with these simple steps:

  1. Recognize that the rules change anytime you get up in front of people to share, with or without a microphone.  You become responsible to give them a clear message, not one that is only half-thought-out. Otherwise, you will lose them and they will mentally to elsewhere.  Second, be confident that with a bit of the right kind of preparation you will succeed in getting the message from your heart to the listener’s ear.
  2. Rejoice in the fact that if you make certain preparations you will succeed in getting the message from your heart to theirs.

Identify the challenges:

  1. Fear. Speaking or singing in front of others is the number one listed fear for the average person.  For some, it’s uncomfortable.  For some, it’s nearly impossible.
  2. Lack of preparation. Even if you are moderately comfortable or even thrive in public performance situation you have to do your homework.  If you don’t you risk being less clear or even embarrassing yourself.

Where to begin:

  1. Prepare your content. Know what your message is.  Be able to summarize it in a few sentences. If it’s a song, you should be able to put the essence of every verse and chorus in our own words. Restating the song personalizes it.  Then, and only then will you own the message.
  2. Prepare your mind. If you’re singing a serious song with a painful message you need to be able to feel that.  The same is true for happy, encouraging messages, or instructional or testimony songs, etc. If it’s a speech or teaching put yourself in the message. Be there.  Live there. Feel it.  Otherwise how will you be believable?
  3. Prepare your face and body. Unless you’re just doing an audio recording, your posture, facial expression and hand gestures will play a part in your communications, whether you like it or not.  That means you need to know your options, chose the right ones and practice them.  Why?  Because if you don’t they either won’t be there, or they will look stiff and unnatural.
    1. a. Your Posture is always showing something, be it confidence, or fear.  Determine to look secure and in authority.  The fastest way there is to lift your hands straight up over your head and memorize that aligned, upright posture.  Then, slowly bring the arms down to your sides, relax the shoulders and keep the rest of it the same. Look in the mirror and you will be pleased.
    2. b. Your face. Here’s a biggie and it will take some practice because there are dozens of options is facial expression.  I suggest using a mirror, or video camera connected to a TV monitor, to see what your various expressions look and physically feel like.  Ultimately, it’s the physical sensations that you will be reproducing.  Muscle memory is your friend. Bottom line: Your facial expressions need to agree with your message.
    3. c. Your arms and hands are another part of you that will either enhance or distract from your message. Don’t just stand there, and don’t worry about doing too much.  You probably won’t.  Do worry, however, about doing nothing, or being tentative or vague with what you do. Decide the options, practice the options then assign meaningful gestures to the words.

Worried that this will be too mechanical? Don’t be.  Actors, baseball players, guitarists, chefs and even computer programmers all practice the physical aspects of what they do until it is second nature.  That’s the only way you will ever own it.

Check out this Vocal Coach animated dramatization to help reinforce what you’ve just read.  Just click here.  And be sure to check out the special offer for the Vocal Coach Complete Performance CD at our store.

Tags: , , , , , ,
Posted in Choir Directors, Performance, Soloist, Song Selection, Songwriting, Tips Tailored for You | 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.

Tags: , , , , , , , , ,
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 | 2 Comments »

Finding The Magic In Your Voice with Better Posture and Breathing

Wednesday, March 10th, 2010

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.”

“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.”

Tags: , , , , ,
Posted in Breathing, Posture, Singing Subjects | 2 Comments »

Singers! Help Your Listener Be Vulnerable To The Message

Monday, October 26th, 2009

Singers! Help Your Listener Be Vulnerable To The Message

If An Audience Is Going To Receive Youre Message

If an audiend is going to receive your message they need to be comfortable with you.  That means they need to be vulnerable, mentally available and ready to hear what you have to share.

The Areas You CAN Control

Anything you can do to help them believe you is worth doing.  This can be done in the way you promote yourself, the way you look and the way you sing your message.  Those are all areas you can control.

The Areas You CAN’T Control

There are other areas that you may, or may not be able to anticipate, and this means you need to be ready to make things right in real-time.

* If the listeners are tired, it’s your job to revive them.  This may mean adding a song that gets them up on their feet, singing, clapping and getting some much needed oxygen.  Once they’re mentally and physically refreshed you can get to your message.
* If they’re distracted, your job is to get them focused . . . on you and your message. This may take a bit of personal story telling that engages then personally.  Do your homework and know what your audience it likely to be interested in. Using name/stories from their community, sports teams etc. will draw them into what you are sharing.  Remember: It’s about them, not you.
* If technical issues are getting between your message and the heart of the listener you need to do something about it. If they’re cringing or leaving because the sound level is too high, or look like they’re hearing more track/band than words do what it takes to change things. When in doubt ask the audience between songs. “Is the sound a little loud?” or “Are you hearing more instruments that vocals?” Then, in your most friendly tone ask the sound person to lower the accompaniment, or overall sound level.  Better to offend one sound person than several hundred in the audience. You can also have a trusted ear seated on the isle in the middle of the house who can go back and suggest some changes to the sound person. (This, of course, should be pre-arranged to avoid an awkward moment.)

Summary

Your job isn’t just to get up there, sing your songs and then sit down. You are responsible for successfully communicating your message. Do what is necessary to get that done well.

Tags: , , , , ,
Posted in Uncategorized | No Comments »

|