Yes, we all do and will continue to make dumb mistakes in life.  But just remember in the singing business you will always be remembered for those dumb mistakes, so try and avoid them by being professional at all points of your career.

Here are a couple of my own stupid move confessionals of mine.  Perhaps admitting them to the “public” will help free me of them!

The stupid young singer I was- (totally embarrassing to admit)

Out of college I was given a lot of work by different opera companies, I didn’t realize what a big deal that was.  I was very young to the business, during that time and I became overwhelmed by all that needed to be done.  With all my responsibilities, I pulled out of a production that I was supposed to understudy the lead in because it didn’t seem important to me and I really just didn’t want to do it with all the other work I had going on.

What I should have done was declined the offer from the beginning graciously, but I was too uncomfortable to say no.  I kept thinking I would some how deal with it.  I never even opened the score to learn the music and then pulled out just before rehearsals started claiming personal reasons.

This was sooo dumb of me, and so irresponsible. I was so self absorbed (normal for that age but…)  it was just to understudy the part so somehow I felt it was ok at the time.  That forever marked me with that company. Something I would never ever do today, but yet years later I will be remembered as a flake by them.

You must remember that your actions effect everyone around you, not just yourself.

After that last minute drop out of mine, someone was sent in a scurry to find a replacement.  And then some other poor singer had to rush and learn a part.  Totally not fair of me.  I’m sorry for that!

My senior Recital

To contrary belief, the world does NOT revolve around you

Being an Opera singer was my whole focus and world for many years.  When I was a senior at USC I had a senior recital.  This was my main event in school a full length recital that I performed with accompaniment full stage my own program etc…  This was my whole focus- lived and breathed it.

Anyway, the recital went great, and I filled the theater.  But, there were a few people at that time in my life that I had been working under regularly in the music business doing concerts, mentoring with etc…  Some of these people did not attend my concert and I was extremely hurt.  I would even say I felt betrayed by them for not attending.  As a result, I held a “childish” grudge against them, was cold and sulky when I saw them, tried to make them feel guilty etc…  HOW LAME I WAS!

These musicians were older than me and professionals with their own lives and families.  I could not comprehend them not attending my marvelous event on a Saturday night.  But in fact, it was not their responsiblitiy to be there.  I can see now, how hard it would have been for them to attend every concert of every musician that they new and that it really was not a big deal on their spectrum, even though I am sure they had wished me their best.

I should have just sent them a copy with a big smile, and left it at that with no expectations of them watching it.  It proved me to be unprofessional that I took it so personally them not being at my concert.

The truth is, not everyone is going to be your fan. Let your fans be your fans, but never pressure that out of someone.  You don’t want to come off bratty, and childish.

The better you get, and the more concerts you give, the more people will come.  You should not have to beg for it.  I probably am the opposite at this point to a fault.  I rarely let people know, (unless they are on a fan mailing list), that I am performing because I don’t want anyone to feel that pressure in our friendships to attend my concert.  I never want anyone to feel obligated.

All in all, these events happened, but they are not isolated, and I am sure there are many more I’ve done. The impression you give once stays with people.  I still encounter these people in different capacitites years later now and I always feel a bit dumb and “young” around them as a result of my dumb actions in the past even though I have had many years of experience and success in my own life.

Remember, you never know how these people will be in your life in the future and to whom they may spread these stories.  Try and keep your reputation squeaky clean.  Be professional at all times.

Do you have any sage advice on dumb acts that have stuck to you?  Come on, help our readers prevent your own mistakes by sharing them with us!  I would love to hear back from you!

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

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Singing runs in music, (a group of notes on a vowel), can be tricky.  You encounter them a lot in both classical music and R & B.  The goal with a run is to make it sound effortless, have it be perfectly in tune, and create a smooth legato tying the notes all together to sound like 1 phrase.  Regarding the word legato, you want the singing to be smooth, not short and choppy.  You don’t want to hear each note being created rather a succession on notes all eliding together.

10 technical vocal tips to help you achieve a good run:

1. Take the run apart and play it repeatedly.  Play the run out on the piano or guitar if you can one note at a time. Really listen to the relationships between all the notes involved.  Are they all half steps?  Two half steps two whole steps? etc…

2. Put numbers to the run- if there are 6 notes in it sing each note with a number, ex. 123456.  (each note having its own number).

3. Break the run up into sections- if there are 12 notes in it, break them up in groups that naturally make sence according to the rythem it is written in.  So you may have 3 groups of 4, you can count these out as well 1234,1234,1234 instead of counting straight through to twelve.

4. Learn the end of the run first- Just like memorizing the last page of a song first, if you conquer the end of your run first, you will have more confidence as you go through it.

5. Practice your run on a staccato (short and choppy) vowel- Of course, your end goal is to sing your run legato, but breaking up the run into a staccato will help your muscle memory learn each pitch precisely so that when you sing through smoothly your pitch will be spot on for every note involved.  You want to sing it smooth not sloppy, using a staccato to practice it will help with that.

6. Separate the runs into little syllables such as bi di bi di be, or mi ni mi ni mi.  Adding the consonants in practice will also help you to solidify the correct pitches of the runs.  Sing with the consonants and then take them out and sing on the vowel.

7. Practice the run on different vowels.  -You may have a vowel you prefer such as ee or ahh, use which ever vowels you like and are comfortable with to learn your runs.  Each vowel will give a slightly different flavor to your run depending on how they resonate.  You can pull a little bit of oh into an ee, or ah into an i to create the best sound.

8. Listen to recordings of the runs- Some of us learn really well through ours ears.  If you have a good recording of your runs listen and learn.  Then envision yourself singing them just the same or better and do it.

9. Clap or stomp the rhythm of them out physically. This will help you to get the beat and rhythem into your body.

10. Do body motions to help create a phrase- bend your knees through the run, do large eight motions with your hands, bend at the waist and pick imaginary flowers off the ground. (sounds crazy but lots of singers do these odd things to distract their mind from concentrating on every note so that they may attain a freer result in the run.

Once you have done all of the above, remember to relax into the run and sing it smoothly.  Each note of the run needs to blossom and be beautiful with its own spin on it.  You need to be prepared with a good breath and make the run sound effortless.

Sing well!

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

www.voicelessonstogo.com

It may take more to just a vocal warm up to prepare you for your performance or audition.  Think of your body as a machine.  Each machine is a little different and works best under its own specific conditions.

Warming up with Voice Lessons To GO is a great start for your “vocal warm-up’, but there is more you can do to get everything working its best.   Develop a routine that works for you by trial an error so you have something you can count on.

Here are some ideas try a few out and see what works for you:

1. Do a physical warm up before your sing- yoga, walking, biking, swimming are all great for getting the muscles warm and the breath engaged.  If you are physically warmed-up before you do your vocal warm-up you all ready have a head start on your singing.  Your body will be there to support your singing.

2. Do breathing exercises:  Whether as a result of a physical warm -up such as swimming or just 15 minutes of breathing exercises (I have great ones on volume 1 Vocalize & Breath of Voice Lessons To Go. The sooner you get your diaphragm coordinating with your breath the faster you will sing better, as well as develop more stamina and power.

3. Take a hot shower- this helps to break up built up phlegm, open up nasal passages and your sining resonators.

4. Humming and yawn sighs-  These are great “pre-vocal-warm-ups”.  Keep them light ans easy, just to wake things up.  Great to do in the shower since your acoustics will be favorable so you will be less likely to push.

5. Find a warm-up song that fits your voice like a glove. – After you do your vocal warm-up, sing through some pieces that really work for your voice everytime, so that you can “set the standard” for your practice ahead.  Your song selection for this may not be obvious.  For example I am a lyric coloratura the highest type of soprano, yet I often warm-up with an aria from Carmen which is for a lower voice.  It seems to set my middle voice solid so that my regular songs float freer.  Sometimes I do the opposite and sing my hardest aria, queen of the night, right after the mezzo aria because it “shocks” my system into working since it is so hard.  This is a very individual decision, but really can be a great lead into practice.  Warming-up should not just be my CDs or your own vocalizes, it should include a transition song into songs.

6. Drink something warm with honey- I love Roibos tea!  There is no caffeine and it and it is smooth with the honey, not necessary but a good ritual for me.  It helps keep all my vocal muscles calm.

7.  Listen- play some recordings of singers who sing well to open your mind to singing well to.  We learn by listening.  Hearing someone with great placement can have a great influence on your own voice.  (make sure they are good singers!)  Good songs, and good singing are two different things.  Make sure you pick the ladder for this one.

8. Play through your music- sometimes I just play the piano parts through on my pieces to get into the piece and familiarize myself with the other aspects of it, other than my vocal part.  I think it really helps my to get comfortable with being part of the work.  We have to remember that a sing has many elements and we are only the singing element.

9. Speak your lines-  Get the lyrics into your body as speech.  This will really help your diction and vocal placement.  Remember singing is extended speech- it should sound natural and easy like you are speaking.

10.   Give yourself time-  A good vocal warm-up takes some time.  Some people need longer than others.  Some performances and styles need more time as well.  Prepare some time for yourself to sing properly.  When you try and push through a practice, often you end up doing just that, pushing.  there is no pushing allowed in good , healthy singing.

I hope some of these ideas inspire or help you.  I would love your feedback on anything you do for your best warm-up!

Ariella Vaccarino

www.voicelessonstogo.com

creator of Voice Lessons To Go- singing lessons on CD, and author of Vocalize!

What is “vocal timbre“?

Vocal timbre is the color and quality of your voice. Everyone has their own natural sound that is distinct to themselves. Some people’s voices are more distinctive then others. For example Amy Winehouse. The minute she opens her mouth you know that can only be her voice- dark, bluesy, thick sound. Having a distinctive vocal timbre sets you apart from the crowd. It is what can take a soprano out of a choir and into a solo.

It is important to be true to your own sound.

Often we find ourselves imitating our influences. So whether it is Brittany Spears nasel grovel, Maria Callas’s dark maturity or Frank Sinatra’s bright speak, watch that you learn from your favorites rather than imitate them. Those voices all ready exist, are recognizable, and face it- we probably can’t top them. So find your own sound unless you are looking for a future in impersonations.

How do I find my own sound and timbre?

Well of course a great teacher would be optimal to help you this. On your own, it is important to sing to accompaniment without singing along with other voices. For example on my Voice Lessons CDs- Voice Lessons TO GO- The second part of both volume 3 and volume 4 are just piano accompaniment so that you can sing alone to them- hearing and developing just your sound.

If you do karaoke, turn down the sample voices and sing just to the music. Sing alone to your guitar or work with a piano coach who will play for you. You need to practice singing through pieces without any other vocal influences. Find what feels natural, don’t make any fake voices.

Can I effect or change my vocal timbre?

The answer is yes, and there is room for effect and influence to a point. As long as you keep it natural. For example- renaissance music requires a straighter lighter tone which you can evolve through practice. That same voice, can thicken up of opera or brighten for musical theater. You will find often though that our voices seem to be better suited for specific sounds and timbres. For example you may have the ability to sing ingenue classical soprano music but yet when you open your mouth and sing a Disney balled you bring chills to those who hear you.

Find your sound through trial error, and of course a lot of practice!

Sing well!

Ariella Vaccarino

http://voicelessonstogo.com/ volumes 1-4 and author of Vocalize!