Archive for the ‘singing advice’ Category

Gospel Singing- learn from them.

Friday, June 11th, 2010

As a voice teacher for over 18 years and an Opera singer myself which is no easy cake walk to do well, I have always been in awe of the good Gospel singer.

I think most people would agree that there are not many more things more invigorating then hearing and watching a gospel choir sing out with an amazing soloist riding over them.  It is moving and inspirational to most, no matter your religion.

And why is Gospel Singing so moving and what can we learn form it?

Gospel singing is sung from the soul.  Take that in.  The deep soul, spirit.  I talk so much about honest singing and connecting to your audience.  Gospel is one of the best examples of that.

Take the essence of gospel intention and put it into your own music:

Believe it

Feel it

Experience it

Share it

Give in to it

Whether you are dying on stage in your last act of Traviata as an Opera singer,

Crooning to a loved one in a torch song,

Or screaming (hopefully fully supported of course) in rage for your heavy metal concert.

Take the essence of Good Gospel singing and use it in you to move your audience.

Get lost in your own music, get swept up, taken away, and over come.

Then you can always pull back as to what is appropriate keeping the core of soul and honesty in your sound but remaining appropriate to your style.

Sing well!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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It’s getting sunny…..swimming is a singers stamina’s best friend

Thursday, April 22nd, 2010

Spring is here which means summer is coming.  May I, as a voice teacher, recommend getting yourself in a bathing suit and going for a swim?  Swimming is the most amazing workout you can get when it comes to targeting the needs of a singer, (OK Yoga is pretty close to it).  Singing opens up the back and develops your low breathing.  You build stamina in your breath and strength in all the right muscles to support a glowing free voice when you swim on a regular basis.

See full size image

So start off slow, but get in the pool.  Try and do swim three times a week.  Change up your stroke since each one works on different parts of the back.  Back stroke is great at opening and expanding the chest while freestyle does the same for the back.  Breast stroke strengthens and widens the side of your rib cage and lower abdominals.  Couldn’t be better.

Your legs will get stronger which helps you to “grip to the earth” and connect your voice all the way down. Plus of course, swimming will make your body fabulous which will make you more confident on stage and more attractive to your audience!

The beauty of swimming is that the whole time you are strengthening you are also doing the most incredible breathing exercises.  (I emulate some of them on my first volume of Voice Lessons To Go- Vocalize and Breath).  Developing your breathing capacity will strengthen and lengthen your ability to hold notes and keep beautiful lines.  This will give you more control and power as a singer to convey your styling.

Also, swimming is a great body warm up in the morning before you do your singing vocal warm-ups.  After you swim and you go to sing you will find that all your muscles are already alert and working for you from your first note on.

I know it requires getting wet, time, showering after etc… but it is a great thing for your body as a whole and your voice.

I find when I am swimming laps, I often run through music in my head and practice my memorization of lines.  (There’s not much else to do while going back and forth in a pool :) ).

You will feel GREAT afterwards that’s a guarantee!

Give it a thought!    See full size image

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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Have pathos… Maria Callas was one of the best to learn from

Monday, April 19th, 2010

UGHHHHH….Pathos….You feel it in your bones when they relay their pain to you on stage.  How can you be someone who does that?  The conveyor of depth and raw emotion.  How can you make it real for your audience?  Maria Callas is my Idol for this.  She moves me theatrically more then anyone I have ever heard.

Take a moment and watch her perform this aria Vissi D’arte from Verdi’s Tosca.  The first moment you see her, before she has even opened her mouth to sing, you know that she is consumed with the emotion of the character.  You can’t even imagine that she is a character and not just unlocking her true self in front of the audience.  She is so vulnerable in her expression.  She is the ultimate conveyor of Pathos.

How can you learn from her?  Well what she was Raw.  Raw in her emotion, no matter what your genre of singing that is something you should try and tap into.  Whether you are singing about love, bliss, or heart ache.

Maria Callas was a Genius performer and could make anyone feel her Pathos within seconds of seeing her face.  Please enjoy Callas and learn from from her:   http://www.youtube.com/watch?v=1ZXwz0gj5fY

Pathos is a term from Greek mythology.  As quoted from wikipedia “Pathos is often associated with emotional appeal. But a better equivalent might be appeal to the audience’s sympathies and imagination. An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer’s point of view – to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb ‘to suffer’ – to feel pain imaginatively. Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer’s message moves the audience to decision or action.”

For more in depth study of the term Pathos please check out:http://en.wikipedia.org/wiki/Pathos

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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A vocal line to die for…Joan Sutherland

Thursday, April 15th, 2010

Today I want to share of you one of my Idols.  Joan Sutherland was really one of the most amazing sopranos ever.

http://www.youtube.com/watch?v=EJ2L_B7VOWs&feature=related

I have spent many an hour listening and glowing in her vocal beauty.  She is a lyric Coloratura Soprano and really absolutely amazing.  Her instrument is a gift from God and her technique is incredible.  I have often been moved to tears when listening to her beauty.

I know that many of you are not Opera singers, but as singers we can learn from all types of singing genres.  Today when you watch this link and listen to Dame Sutherland, I want you listen and feel the line of her voice.  This is something that I always talk about in singing.  How important it is to have a beautiful line.  She is the epitome of it.

You can skip the first minute and a half of the video which is a bit cheesy 60′s Opera.  She starts to sing at about 1:30 into it by 2:30 into it you can hear this line I am talking about.  There are no single notes or syllables.  Every thought and sound is leading somewhere in her sound and voice.  Her breath control is INSANE and her sound glorious perfection.  Few can even begin to touch the line that Joan Sutherland achieved over and over again.

Just thought you might enjoy listening to one of my favorites.  Please enjoy!

http://www.youtube.com/watch?v=EJ2L_B7VOWs&feature=related

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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Singers, who should you listen to?- conflicting advice from American Idol judges…

Wednesday, March 31st, 2010

As I have watched American Idol for some added blog inspiration this season, I am really feeling for the singers during their judgement from the panelists.  It brings back a lot of memories for me as a singer when it comes to receiving conflicting advice from your mentors.  It can be extremely confusing to the “green” and even not so “green” singer.  What do you take to heart, what do you learn from, and what do you ignore?

When 4 people are giving you conflicting advice, or even 2 people what do you do?

It is a very hard position to be in as a singer because we want so much to please the people in charge.  We need the job, we want to keep the job, and we have to get the next job.  Think of all the pressure and opinions one singing gig may have:  your teacher, any opposing teachers on your technique, your conductor, your coach, your pianist, your band members, or director, or choreographer, your producer, your agent, your parent, your boyfriend, the music critic, the audience…

Everyone has an opinion on how you should sing and what you should do to make yourself better.  Whether they are talking about your technique, your song choice, your fach (vocal category), your personal style, or your genre of choice.

This is a really tough position to be in.  For example on American Idol last night Randy told Katie Stevens that she was singing perfectly in her R&B genre while Simon Cowell said she was a country singer.  This is a young girl who is very talented who needs to find her way receiving conflicting advice by two highly acclaimed professionals.  How is she supposed to deal with that?

That is a lot of pressure.  All you can do singers is pick a few people to trust who have a great record of experience that you respect and listen to them.  Then take it all in and listen to your gut.  The truth is, it is you standing up there, being judged.  You need to feel 100% true to how you are presenting what you’ve got inside from the truest voice to the most honest emotions conveyed.  You have to be happy with your outfit and your own hair style.  You need to feel connected to your song choice and cozy in your genre selection.

At the end of the day, when the lights come down, the answer is in your gut and instinct. Use a few wise people to help guide you to that true place.  You are the one to receive the acclaim or critique of your performance no matter who told you to do what.  So own your decisions and choices, but make sure you do so with a professional positive attitude.

-I can guarantee you that you will be judged for them.

Sing well people!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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The thrill of a good high note- inspired by Siobhon Magnus

Wednesday, March 17th, 2010

What about a great high note makes us so crazed?  The anticipation of it, the singing of it on point, and then the release of it done well?  I think it is all three and  it is quite a thrill.  I myself being the highest type of singer, an Operatic Soprano (called a coloratura), know this subject personally.

As a singer of those notes I will say, they are quite a thrill to sing as well, even though the pressure for perfection is strong from your listeners and there are never any guarantees.  That is probably why it is so thrilling to listen to- there is such risk to it all.

When done correctly you really get a whole body connection like no other moment in a piece, as you use your body as a vessel for an incredible note to beam out, whether you are belting chest voice or a classical singer hitting a high F.

But high notes need to be sung well or they are just miserable to listen to!  Last thing we want is to hear or see any straining on a singer that is going for the golden notes.  If when singing them you feel your larynx raising up in your throat to do so, you are not going about it correctly or healthily.

There are definitely things you can do as a singer to minimize the risk of failing at your high notes.  On singing a good high note, your body needs to lock down deep- feet, legs, and abdomin to support your vocal chords. The more powerful and alert your body the freer your sound will be.

We also need to access the resonators in our forhead, top of our head, and back of our head.  In other words, imagine that there is space all around your head that you need to be creating so that the sound can bouce into and off of it.  You don’t want to listen to a note and feel you are at the “top” of it.  Rather, you should feel like there is more room for the next note up to come.   When it is totally working for me on a piece like Queen of the Night, I feel like I can’t even tell which way the sound is coming out of my head.  Like I am singing backwards forward, and all around myself.

So think of the above combination for you high note success- grounded body and sound, tension free larxnx, and space to resonate all around your head.  When you find that “pocket” like Adam Lambert, Freddie Mercury, and Joan Sutherland, or Luciano Pavarotti- you are in high note bliss for yourself and your audience.

Remember good singing is about letting your sound release not pushing your sound out- especially on a high note.

*Big recommendation though, until you sort this out for yourself, don’t attempt the big high notes in public.  When done wrong, people can be really unforgiving!

Here are some high notes to listen to:

Pavarotti- lay down in heaven for this one.  Whether you like Opera or not, his last few notes are going to make your hair raise and your eyes well!  http://www.youtube.com/watch?v=VATmgtmR5o4

Siobhan Magnus:  The crazy note is about 1:20 into this one and is ridiculous!! (in the best way)                                                                                        http://www.youtube.com/watch?v=Rk1nK-W0Da0

Adam Lambert:  Thank you to whom ever put this clip together couldn’t be a better example (I’ve already written by Vocal God blog on him:            http://www.youtube.com/watch?v=GkwJURnVGxo

Happy Listening!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want to receive immediate feedback on how you are singing from me?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my advice right away.

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An homage to great Belt Singers!

Tuesday, March 16th, 2010

The great great Belt singers!

Let’s take a moment and appreciate the great Belters out there.

To belt is to take your chest voice up into a higher range with out transitioning into head voice or your falsetto and projecting it out strong.  I love a great belt voice.  Not many people are naturally inclined to do good belt singing.  Here are a few examples of singers who are great at it:

Someone a lot of people don’t think of as a serious singer, but who was great and on Broadway in her day was Comedian Carol Burnett.  She is one of those great belters with a natural placement, who is not known for having a “pretty voice”, but rather a great powerhouse free sound:  About 45 seconds into the clip it gets really good.

http://www.youtube.com/watch?v=vugLimIj98g

Next is the Vocal Goddess Barbra Streisand.  This woman is a freak of nature ( I mean that in the best way).  Only a handful of people can attempt to sing like her- I’ll give Celine Dion a pass for that.  The end of this rocks “Don’t” from Funny Girl!

http://www.youtube.com/watch?v=y6E2Mooz_LA

Adina Menzel’s Defying Gravity from Wicked:  A great singer!  I can’t get the best clip from Youtube but here is the idea:

http://www.youtube.com/watch?v=3g4ekwTd6Ig

The thing about belting is that not everyone can do it or is meant to.  A lot of people try and blow out there voice.  It is a gift you are born with just like an Opera singer is often born into their specialty.  These belters are not straining and are connected to their own sound.  A straining “want to be belter”, is a tough thing to listen to and terrible for one’s vocal chords.  Be very careful when belting.  Try and get guidance from a good voice teacher to master it.  The power does not come from the throat, rather the body and strength supporting the sound.

Sing well people!written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want to receive immediate feedback on how you are singing from me?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my advice right away.

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The riotous fight…it’s not worth it. Singers keep it neutral.

Wednesday, March 10th, 2010

Trust me on this as someone with a strong personality who has always been crazed for justice to the innocent and meek.  I’ve sung for many years and have learned sometimes the hard way how important it is to be easy to deal with, no matter the situation or injustice you encounter.

The impression you give once, will always be remembered and assigned to you by all who witnessed it, no matter how many years have passed.  And, impressions are spread from person to person and easily skewed in our business.

You never know who knows who, what director may work with the tenor you just fought with (whether he showed up drunk or without his lines no one will ever know), or which producer may be dating a wardrobe person you gave hell to (whether she tried to make you fit in a size 5 when you where a 9 or gave you an impossible costume change that would make you miss a cue) again, no one will ever know.

I understand for you the singer, it is so hard not to  take things personally in this business.  Often we are put working for people with really tough personalities rehearsing for long hours and not getting paid at that.  Their is a whole lot of injustice that singers/performers encounter.  You will deal with a lot of stupid and mean people who you know should not “have the right” to be telling you what to do.  And, whether you are right or not… I recommend keeping things neutral on your part.

Be known as the person who is easy going and easy to deal with.  Don’t talk behind people’s backs, you never know who you can trust in this business.  Your chorus mate may seem like your best friend now while the conductor is going on a rant, but that same person may use any bait to score a solo from him next performance.

I can just feel emotions running through me as I write this of the different situations where I may have given a negative impression whether I thought I was standing for the greater good or not.  Now years later, the “injustices” I was dealt on stage, or back stage are all gone,  but the impressions I left are all still there for people.

The Riotous Fight

I did La Traviata for a small opera house.  I was quite seasoned all ready singing the lead, but needed the performance opportunity to “get the role under my belt”.  I got into a situation there fighting for the volunteer opera chorus behind me that the idiot director (who should never have been hired) was constantly verbally abusing.

This may have been riotous of me (having been a teacher for years all ready I was overcome with how awful she was to these poor volunteers.-  It still makes my blood boil to think of that witch).  But, after the production, she continued to work as an opera director (God only knows how), and I was never hired for that company again.  Also, the people who really liked me and hired me in the first place became oddly cold to me after because that director had their ear.  Who knows how many other people that may have spread to and how the story may have been altered.

Now am I saying if I went back and could do a “do-over”, I would change my actions?  Phew, tough question.  I think I would have learned that no one can be trusted or confided in.  I probably would have spent more of my energy encouraging the chorus with positive feedback, and less of my energy against the monster director.  I think I would have also done some reverse psychology with that director.  Tried to “find the good in her” etc… to hopefully get her to calm down with the chorus through some reverse psychology.  I guess I would have been smarter about it, and more careful about my impression.  That is always hard to do when you are in the middle of it.

Easier to say but: Find a way to vent your frustrations to loved ones who are not involved and pose no threat to you.

When dealing with terrible personalities, know that they are going to be terrible no matter what you do, so you may as well find a way for them to like you by being that one easy person who doesn’t attack them.  Often times fighting them will only effect you in a negative way.  Your attitude should always be gleaming and easy as a performer.  People remember your impression forever, what they won’t remember are the details that created the impression they have of you.

So, that’s a little advice for all you singers out there.  Try and keep the slate clean.  At least, try… :)

I’d love to hear some of your stories on this one!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want to receive immediate feedback on how you are singing from me?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my advice right away.

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What a great sound you have!- Your unique vocal timbre.

Friday, March 5th, 2010

At a certain level of singing, there will be a lot of good people auditioning for your role/band, or trying to get that same record contract.  When everyone is talented, prepared, professional, and looking good what can make some singers pop from the pool of others?

Your sound.  Your unique sound.  Your vocal timbre. No imitations allowed.

Can you force a unique sound?  Not in my opinion.  To me it is the difference between the great choral soprano as opposed to the Diva soloist.  You are born with a unique sound which you hope not many other people have.  I am not saying this is your only route in , so if you are a great singer with a more “common” voice don’t fret, there is still much to be done and conquered for you. such as vocal styling, image, good song writing, personality, stage presence etc…

But, if you are someone who possesses that unique timbre you are a lucky one.  If you are unclear as to what I mean by Vocal Timbre, please refer to a past blog I wrote:   Vocal Timbre Blog

When you posses a truly unique sound, the minute you open your mouth to sing people know its you without looking.  Think of Tom Waits, Frank Sinatra, Bjork, Maria Callas, Barbara Streisand, Edith Piaf, Maria Carey, Pavarotti, Paul Simon, Elton John, Bruce Springsteen- just to name a few.  They are all identifiable by the first note they sing.  That is something truly great to posses.  If you have it, congratulations.

You can’t force it though, it never sounds genuine when you do.  Singing is not about impersonating a sound that you like, rather freeing your own unique sound.  Make sure when you sing that you are being true to yourself, not following Brittany Spears or Miley Sirus on the radio.  Take song, sound, and tone, and make it your own. Let your voice out.

This can be more complicated then it sounds.  I often spend a lot of time peeling back layers of “impersonating sound” off of my students till we found their own true voice.  I can understand how it happens, you receive so much audio input over time that you may not even know you are imitating someone.

So think about it the next time you warm up and sing.  Go bare of other influences and let your own natural tone release.  You may just find that you have your own unique one of a kind gem in your own larynx!

written by: Ariella Vaccarino creator of Voice Lessons TO GO (singing lessons on CD), and author of Vocalize!

Want my opinion on your own voice?  Sign up for a  Vocal Assessment on my site.  Then send me a link to your voice with your questions and I’ll get back to you with my feedback right away.

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The connection starts with your feet!- Singers be a prize fighter

Monday, February 22nd, 2010

Correct singing posture is three told fold: first- It makes you look appealing, second- you need it to set your body up so that the voice sails out freely, and third- it sets you up to ground yourself so that your free voice is deeply rooted and grounded in sound giving you more color, projection, and volume.

Singing posture for looking good:

Nobody wants to look at a slouching singer.  Your posture should give off an air of confidence that is warm and friendly.  Think of three strings.  The first pulls you straight up from your sternum, the second pulls up from the back of the head, and the third pulls down from the tail bone. You are long and tall.

The aligned singer:

We are not standing to up like a ballerina, rather “a proud tree”.  Think of your feet “the roots” rooted in the ground, your body the truck is the support for your head which should be free to release the sound like leaves free in the wind- your voice just sails out free.

The grounded singer:

Now that you are confident and aligned beautifully, you need to add some grub and oomph to that sound. Think of yourself (not letting go of the previous ideas rather adding to them), as a prize fighter.  Add a little bend in your knee feel tough- no one should be able to to knock you down physically.  Your muscles in you feet and legs are strong and alert so that when you hit a note, you hit it with the support of all of your body as well as the ground beneath.

Sing strong!

Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD), and aulthor of Vocalize!

Looking for some professional feedback on your own singing?  Sign up for my Vocal Assessment.  Send me a link to your voice with your questions and I will get back to you right away.

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