What happens when you don't warm up your voice

I urge every student and recording client I work with to be sure and warm up vocally before performance. That preparation includes:

• Carefully doing special vocal exercises to warm up the instrument and to find the proper body/voice connection.
• Singing, at least as long as your upcoming performance, full voice at least 3 and preferably 4 days before your show. (If you are regularly performing and in top shape, you might be able to skip this full voice preparation.)

So, I decided to prove my point by having my own show to do and NOT warming up before it. After all, I do vocal exercises all the time as I teach. And... I was BUSY with deadlines and distractions. Oh, the sacrificial experiments I do for my people!!

The show was at a huge outdoor 4th of July celebration in Decatur, Alabama. I spent the night with my mother who lives in Florence. I started the day, yes, by singing my songs full voice at my mother's piano a couple of times. (Remember, I said to do this BEFORE the day of your show?!...) Then I drove to Studio One Acting School where I taught our Runaway Home (the musical) cast a new acapella arrangement I created for them of "God Bless America". I also rehearsed them on a few songs from the musical that we would be singing at the show. It was great to see them and sing with them again, which we did for a couple of hours!!...

Then we met at the stadium field and rehearsed a little more backstage. Can I say it was HOT, ya'll!!??? I was sweating even before I took to the stage, where I energetically sang a couple of solos and then sang with them. It was a great show, and I felt good about all our performances, but as I left the stage I was talking in a voice that sounded like I'd been breathing helium. I took about 48 hours for my cords to calm down and shrink.

OK, I've turned around. Somebody kick me now. :<

The Voice of Hank Williams Sr

I had an interesting gig last Thursday. I booked veteran studio vocalist friends Margie Cates and Michael Black to drive out to Hartford, Tn with me and sing on Jet Williams' new album. She is the daughter of Hank Williams, senior. This was contested for quite a while by her brother Hank, but it was adjudicated that she is indeed his half-sister. It was a blast. Bobby Bradley was the engineer who hired us. Bobby is the nephew of the great Owen Bradley, who produced among others Patsy Cline, Loretta Lynn, Buddy Holly.

I was raised listening to my father play Hank Williams songs at our kitchen table to relax after his job as an air traffic controller. It gave me a rush to watch Jet pull out her father 's old acoustic guitar upon which he recorded "Your Cheating Heart". She smiled as I touched the strings. When I turned it over, I could see the worn wood where Hank had held it against him, and there was a scratched place on the front near the bridge where many pick strokes had scraped wood.

She also played us a part of an old radio show that her father sang and did a comedy bit on. This audio ended up in a dumpster at one time. It and many other audio shows were rescued, remastered and will be included in an upcoming Hank Williams Sr. release you will be hearing about in a few months.

This chance meeting with the past reminded me of the first time I ever played the Grand Ole Opry and stood on that worn wood circle they kept at the mic, saved from the original floor. Also the first time I played the Tonight Show and stood behind the curtain waiting to go on, in a spot where so many had waited their own turn in the past.

Hank Williams died way too young, a victim of his substance abuse. But he left a legacy of music that lives on. May we always honor the ones who came before (in every genre), and may we seek to make the kind of music that is good enough to live on, blessing people way beyond our time. If my son remembered his mother's song, I'd say this would be the ultimate in vocal success.

Fyi... www.music-and-technology.com is a cool site I've found exploring the web for info you might need. According to their blurb, this site has "Resources for the Recording Musician", including Message Board, How To Guides, Required Reading Book List, Links/Directory, and more. Let me know if you find any good spots!

Articulation: Got too much?

OK, so there's a downside to too much articulation. If you "grab" your words too strongly, you will be perceived as:

• Angry
• An amateur
• Insincere (I think it was Shakespeare who wrote "Me thinks he protesteth too much")

Truly over-pronounced words will also cause tongue and jaw tension. You don't want that because it limits your control, tone and range. That's a good way to know your diction has crossed the line.

Here are some tips to help balance the crispness of your articulation:

1. Give your jaw some flexibility. A slight sideways or circular chewing motion, if not overdone, can free things up marvelously.
2. Concentrate on communicating with your eyes. That usually helps keep over-pronouncing under control.
3. BIG TIP: Try singing only on the vowels. Yes this will feel silly, but I think we covered how "silly" can cause miracles in a post not long ago. Notice how much more resonance and range you can muster without the consonants. Now very lightly use the consonants again. Then, make the words feel more normal in your mouth.
4. Use the consonants and lose them... quickly let go. Think of a throwing a baseball... if you hold on too long you're in trouble.
5. Record yourself and see if you believe yourself. Be honest <:
6. Listen to masterful vocalists (a bit of rhythm & blues or soft jazz wouldn't hurt, Emmy Lou Harris is a great example in the country genre) who are clear but don't sound like they are dictating something. "Mime" a song with such an artist, trying to copy their style.

Here is a link to a performance by Jane Monheit, one of the country's hottest jazz artists. You might find it interesting to study how she uses words but doesn't over use them. Notice the life in her eyes. Note... don't be put off by the jazz genre if that's not what you're into. These concepts will work for ANY kind of music.

http://yoyenduy.multiply.com/video/item/14

Articulation- need some!

One of my pet peeves is listening to a song and not being able to tell what the heck it's saying.

I know some people will say they are only into the music and don't care about or listen to lyrics. I remember when my son was little, he used that rationale to protest my veto of music with inappropriate lyrics. (No, hehehe, it didn't work.) But in reality, most people are drawn to a song and to a singer whose message is clear.

What is articulation? A simple definition, for the singer or speaker, is: the forming of words. A synonym for articulation is "diction". I really don't like to use these words a lot in my teaching or in my studio vocal production because they can make people think I want them to speak like an English professor... Which of course is not true. (My apologies to all you English professors!) So I say this instead: Communicate so I can understand you!
(Duh)

All kinds of things are involved in articulation: The mouth, tongue, lips, soft palate, yes. But to articulate not just words but the MEANING behind them involves other body parts such as eyes, nose, even spinal alignment (body language!) For instance, if your eyes are "dead" instead of communicative, I could tell you weren't "with me" - even if you were somewhere I couldn't see you. I would know you weren't really communicating with me in mind. See previous posts for more about the importance of eyes and body language .
Sometimes muddy articulation happens on a recording, but more often I notice it in live performance. The artist gets into the music and slurs through the performance, seeming to just assume everybody knows the lyrics. Hey, even if it's a hit and the audience does know the lyrics, you still need to say them clearly. Why?

When you aren't clear, you are "dis-ing" your audience. Whether or not you are aware of it, you are dismissive and disrespectful. I've heard hugely popular entertainers when they spoke so clearly I could understand every word. I've also heard the same entertainers when I could understand nothing. It was as if they could have cared less if the audience was there or not. An audience is a fickle thing, and my suggestion is to remember that without them your public career becomes a private hobby.

A great way to rev up the clarity of your articulation is to imagine you have a deaf contingent in your audience. Articulate so that a deaf person could read your face and know what the words are. Do this in the studio and the clarity of your performance can amaze you; do it on stage and you may find a connection with your audience that may surprise you. Do it in your next public speaking engagement and you may hear a pin drop because people are actually listening.

Toastmasters is a great organization to join to practice articulation, among other vocal skills.

Next post I plan on discussing: when articulation goes wrong......!

Strange Vocal Exercises That Work

Some of my vocal exercises are, well, strange. Bryan White once wryly observed to me "the more humiliating an exercise, the better it seems to work".

I think the reason a correctly executed weird exercise works so well is...
that it bypasses the tenacious but counter-productive vocal habits of the conscious mind by trickery. The Feldenkrais method used by some chiropractors does the same thing... a slight touch can suggest possibilities of movement that the conscious mind hasn't considered possible, and then amazing healing can take place.

Here's a prime example:

Memphis Cole, a young man who is has been studying with me for a few months, came in to his lesson this week with a grin. Memphis has been growing vocally by leaps and bounds, and has really developed his style, his sound and his confidence. Anyway, he entered his first Nashville contest- "The Grand Ole Opry Country Vocal Challenge"- just to get some experience with competing. In the male category he joined about 46 fellow competitors.

Before he went on, he was doing his "Forrest Gump" imitation of "Life is like a box of chocolates", a vocal exercise he learned from the Power, Path & Performance cd vocal training course he bought to go with his private lessons. One of his competitors started laughing and taunting "what are you doing, man?" Memphis shot back "I'm loosening up my jaw". The guy kept laughing and so Memphis started doing it silently instead of out loud.

Memphis got the last laugh: He won the contest! The other guy... he was eliminated rather quickly.

NEVER UNDERESTIMATE THE POWER OF A SILLY VOCAL EXERCISE! Be willing to ditch a little pride, and you may find a strange and weird sense of ... VOCAL FREEDOM!

The Importance of THE WORD to vocal technique

The articulation of the word to the voice is like the ring in a bull's nose.

Let me explain:
There is a lot that goes into making your best sung or spoken vocal communication. In my training method, I teach you to learn to properly apply concepts of breath ("Power"), open throat ("Path") and telling the story ("Performance"). Your vocal instrument can be considered to include everything from your heels to the top of your head, and extend to the end of your outstretched hands. In other words... your whole body is involved when you are purposefully speaking. Some parts are active, some parts just barely involved and some parts must stay tension-free.

It can get confusing. Think of it like flying a plane. You need to be trained in what all the lights and levers are for, how to diagnose a problem, what to adjust for maximum operation. But it would be hard to fly the thing this way (manually). Sooo... you mostly run the thing on autopilot. Flip one little switch and you can relax (though alertly!)

The switch that should cause your voice to line up and operate properly on autopilot is... THE WORD (lyric)!! BUT.... you have to know how to use the word to make this happen.

1. The word should be defined as "communicating something specific to someone specific"
2. This involves being present with the consonants, vowels, meaning, emotion, and if singing, the pitch with which the word is communicated.
3. Form the consonants in the front of your mouth (not in your jaw)
4. Shape the vowels in the back of your throat (thus keeping it open).
5. Put expression in your eyes (this communicates the meaning of the word!)

Try this and see if the word doesn't feel like it starts at your heels and connects your whole being to communicate a performance that gets through. AND... makes your voice feel great! Let me know how you do by clicking the comment link below.

Are You Really Communicating?

When we speak indistinctly, it doesn't communicate. Only common sense, right? Funny how a desire to communicate something can get scattered like a flashlight beam.

It's like there's a disconnect between your mind and your voice. It can happen for a lot of reasons, such as-

• You're not quite sure that the object of your message really wants to hear it. Hey, and sometimes, they don't! It's your job to change their minds...
• You don't really want to communicate- you're going through the motions while thinking about something else (don't you hate it when someone talks to you and you know they aren't really "present" with you?
• You are wondering how your voice sounds, how you look, what they think about you, what the judges will conclude(which has absolutely NOTHING to do with communicating)
• You may be afraid your voice or your message isn't good enough. (This is where you may need some help with vocal techniques and songwriting/selecting)
• You are, for whatever reason, INSECURE. Could be a temporary condition, or a chronic state.
• Or... You're actually only rehearsing for the real thing! Try this... count to 5 in a zombie-like voice (rehearsal). Now look at a point of your choosing and count with some kind of attitude... try mad, happy, amazed, confused, etc.

Communication problems can also be caused by a disconnect between your body and your voice.

Vocal training can provide life changing help to people who think that the voice only comes from the throat. Consider this...The best communicators have rich, musical voices with dynamics and flow. Guess what? If your voice is not like this, it's only that you don't know how to access all of your instrument. Much more than your throat, your voice involves your whole body. In fact, when operating optimally your voice should never feel like it's coming from your throat at all (unless you put your hand on your larynx and feel the vibration)!

To help connect the body and the voice, I have a saying: "act as if and ye shall be". In other words, what would your body language be (how would your posture be, how engaged would your eyes be, how well would you form your words) if you WERE secure about your voice and determined to communicate? OK, fake it till ya make it. Have faith in your voice... use a confident stance and delivery, and your voice will then clearly understand it's chore. Before you know it, you really ARE secure about your message, and someone is truly listening.

Remember that true communication has a purpose and an object. If it's worth saying/singing, then commit and communicate!!

What to do for your Speaking Voice

I had a comment on my last post that was a question about the speaking voice. Because I figure most of you may not click on the comments to see what is said, I thought I'd put the info in this new post, with a bit of elaboration.

I remember when I was on the road as an artist, I used to dread interviews before shows. It actually affected my singing voice to do a lot of talking before I sang, so I tried to have them scheduled after the show. Now I can talk all day long, 8- 10 hours a day and my voice never gets tired! (The rest of me does, but not my voice.)

Vocal sound quality and volume - whether speaking or singing- comes from resonation; your vocal cords just create the initial buzz when air moves through them. That buzz needs to reach reverberating zones in your head, throat & chest (some teachers even add your back and tailbone). That's how your speaking (and singing) voice can become much richer, more melodic, and yes, louder. Without adequate resonation, you end up pushing too much air through your cords trying to work up enough volume. Here are some tips for you:

• This advice alone will make immediate improvements: USE YOUR EYES WHEN YOU SPEAK!!! even on the phone!

To convince you, try this little exercise: keep your eyes very still and count to 5 moderately loud. Now count again, but move your eyes very animatedly while you speak, (check the mirror because sometimes your brain really doesn't know what your eyes are doing- your eyebrows should be active).

Your eyepads and eyebrows are very connected to what's going on inside your throat. You'll notice your voice is more melodic and can reach more pitches, and it's richer. It feels like you're pulling your voice out of your head by the word, with no forward "push" pressure. For practical application, just know it's important to communicate with your eyes while you are speaking- imagine your audience is deaf and needs to read your face for the message. Or imagine talking to a child. Use animation. ESPECIALLY on the phone, we tend to speak without expression on our faces.

• SUPPORT YOUR VOICE!

Don't be a talking head...Speak from your pelvic floor! Keep your ribs open by your posture, and you'll have compression power for your voice. This is another thing we do when we're on the phone... slouch. Then the voice feels like it's disconnected from the body. When standing, your voice needs your legs (which your voice considers butt extentions). Another power point: Whether sitting or standing, even on the phone, talk with your hands. It helps your ribs stay weightless and gives your diaphragm room to control the airflow to your cords. Keep your back flexible and keep your head from going forward of your shoulders. All tension can and should be relegated to butt and legs.

• WARM UP your speaking voice, too!

As many voice-over artists and actors know, it is very helpful to warm up the voice for speaking as well as singing. The tissues and muscles involved in your vocal apparatus need to get blood flow and flexibility increased.

• Get a list of tongue tanglers and say them a few times till your tongue and jaw get loosened and flexible, your face starts working, articulation gets animated and fluid... and you don't get your tongue tied behind your eye teeth when you practice (OK, it's a southern phrase, but you get the pic). I have pages of them for my clients...Try these three:

1. red leather yellow leather
2. you know New York, you need New York, you know you need unique New York
3. eleven benevolent elephants

• A great way to warm up is to make noises like a siren or ghost. You have to become somewhat fearless as to what people may think if they hear you.
• Humming, bubbling and tongue trills are great voice starters, too.

IN SUMMARY:

1. Warm up your voice
2. Talk with body language- especially eyes and hands
3. Keep your chest open, head back, chin level and your back flexible.
4. Loosen your jaw and form words distinctly.
5. And one more time... talk with your eyes!

If you'd like to check out the exercises in my training method Power, Path & Performance, go to my website www.judyrodman.com where you'll learn how to order my 6-cd package or my single cd condensed course.

Happy talking!

Vocal Performance: Messages

There's an ancient Chinese proverb that goes something like this:
"A songbird doesn't sing to be heard, it sings because it has a song." I translate that proverb into this observation- The most important part of vocal performance is... THE MESSAGE!!

Here is an interesting vocal exercise:

Next time you choose to generate sound waves with your vocal apparatus, (or write something for someone else to sing!!)- I challenge you to honestly ask yourself: What is my motivation(s) for using my voice? Check all soul-searching answer (or answers) that apply:

• I'm trying to get someone to like me
• I'm trying to impress someone with my talent
• I'm trying to win a contest
• I want to make a fortune- no matter what addiction, violence, hate or sexual misconduct I have to sanction with my music.
• I want to be famous (worshipped)
• I need to know I have a voice that is heard
• I want to make a living with music I believe in
• I'm looking for a musical rush- to feel the passion of my own voice
• I'm singing as background vocalist for someone's recording project or live show and they are trusting me to give my best vocal efforts
• I'm speaking my truth for anyone who will hear
• I'm mad and want to expose something
• I'm in love and want to sing about it
• I want to entertain and make people happy (and it's really about them)
• I want to make people think
• I'm trying to share some insight on love/faith/justice/forgiveness/freedom/mercy/integrity/faithfulness/life/etc.
• I have a song you need to hear!

Btw... the only right answer is a truthful answer :)

The first answers, as you can see, involve insecurity and nervousness centered around yourself. I'd be lying if I claimed I have never been nervous or vocally insecure (that's how I know what YOU are doing! hehehehe)

As for contests... I'll share my thoughts about them on a future post, but here's a clue: I would like a contest named something like"American Positive Role Model" to take the place of "American Idol". (Investors welcome!)

If you're like me, you have more than just one motivation. And if you, like me, make a living with music, you have to draw your own fine line between the business and the art of music. As for me...I sang jingles and background vocals exclusively for many years, and I found that I almost lost my love of making music until I began writing songs that meant something to me. I still do background vocals and jingles today, but I know I also have to regularly sink my teeth into a message my heart needs to communicate to keep the fires going.

The paradox is, the more you make your performance a useful message to your listener instead of all about you, the better your vocal technique tends to be. See previous posts about body language on this blog.

Here is a possibly uneasy fact to wrap your head around. When you use your voice, you are sending a message. That message may cause people to like or dislike you, buy or not buy your music, reject or dismiss you, or... change something in their life or mark a memory because of your vocal performance. Music is THAT powerful!

Every choir practice. Every songwriting session. Every casual jamfest. Every recording. Every show. Remember who you are. Remember what messages you want your audience to hear. Then your singing can be considered - dare I say - a holy art. Comments always welcome...

LoVetri Post: Perfect Vocalism

Here is a link to a wonderful post on emotional singing by vocal teacher LoVetri. I totally agree with her conclusions.

If someone sings with power and technical perfection, yet without authentic emotional feeling, the performance is wasted. Yet emotion without training can wreck a voice.

The voice must elicit some kind of emotional response to be effective, yet no one listens very well when someone yells at them. Balance, dear singers. Balance vocal training with the courage to sing from your deepest truth.

Set yourself up correctly, know what you want to communicate, intend the message and support it. Let the song sing itself out of you. It's amazing when this happens.

Here is Ms LoVetri's article:
LoVetri Post: Perfect Vocalism

Singing, Health and Body Language

Here are some very interesting links about singing you might want to read:

http://www.sixwise.com/newsletters/06/06/07/how_singing_improves_your_health_even_if_other_people_shouldnt_hear_you_singing.htm
http://www.sixwise.com/newsletters/05/10/19/how_your_body_language_conveys_confidence_intelligence_and_trust__or_a_lack_there_of.htm

Back Off the Pressure!

Here's a very important tip for using max vocal power...

DON'T DO IT!

I mean... never use 100% of the power you have available to sing. It will turn into "pushed" sound instead of what I like to call "pulled" sound.

Instead of "pushing", imagine pulling your voice, by the word, from above and behind you. If you sing as hard as you can, you will tense muscles and tendons in your neck, shoulders, jaw and tongue- oh, yes- and your larynx! This will limit your vocal range, will make it very hard and effortful to reach for upper notes, will fatigue your voice, and will sound strained, thin and brittle.

Instead, back off the pressure and you will find yourself with more vocal range, tone and pitch control. You'll be able to blend your registers much better. Your voice will less likely suffer from strain and fatigue.

That's because when you back off a bit, you'll be better able to keep your throat open, giving the vibrations from your larynx an open path to the resonation zones in your face, sinuses, nose, throat and trachea. You'll be able to blend your vocal registers so you are not screaming chest voice and then changing to weak head voice.

Here's the bottom line: Vocal volume should come from more resonation, not more pressure through your vocal cords!!!

IMPORTANT: As you back off the power, you should (and can) add PASSION! Meaning, with less strain in your face, neck and shoulders, you can articulate the words and emotions of your song even stronger.

So......

Whether live performance or in the studio: Back off the pressure + add passion, and you'll find that less is truly more!

Posture for Singers- Studio

Many times a singer has trouble getting studio vocals and can't figure out why. It happens a lot with vocalists who do a lot of live performance work and are used to singing while holding a microphone (wired or wireless). But of course, it also happens with people who are new to the studio.

Try changing your posture!

• First of all, stand with your feet in farther towards the mic than you're used to. Ask the engineer to make this possible, which may entail a longer boom stand position so you can move under it. You may need to move the music stand farther back, too. (THOUGH I HOPE YOU'RE NOT READING THE LYRIC WHILE PERFORMING!!)It's so important not to move your head forward (closing the ribs and the throat), and if you move it forward while in this position, you'll hit the mic with your mouth!
• Stand tall, flexible, and confident! Don't stand there like a bump on a log. Unless your voice needs to communicate that you are a bump on a log :)
• Talk with your hands!!! Use your hands just like you would with your friendliest live crowd (or your favorite unguarded vocal performance in the shower or to a pet audience) Your hands are connected to your arms...which are connected to your shoulders... spine... ribcage... DIAPHRAGM. Your expressive hands & arms can keep your chest from caving in, which gives your diaphragm too much slack and also limits your inhale. You need to keep the bottom of your ribs expanded but not frozen, and "talking with your hands" can help.
• Use a dummy mic! I've had amazing success having vocalists use to live performance hold a dead mic or similarly weighted object in their hands while singing. It psychologically causes the body to balance itself differently. Without the mic, these singers feel front-heavy, like a fish out of water. Sometimes all they need to do is to use the previous tip and "talk with their hands". However, sometimes that's not enough. If you'd like to try this, grab the dummy mic and hold it close to your mouth like you do on stage, but keep your mouth closer to the live mic which is recording you.
• Air out your armpits! Don't clench your ribcage with your upper arms. This is a position you assume when you're scared. If you're scared, don't show it with body language.
• Let the groove get into your legs! If you allow a dance-like sway in your feet, legs and hips, you will affect your spine in such a way as to free up your ribcage, and also to free up your mind. It will tell your automatic nervous system that you are confident, into the music, and confident. Act as if, and ye shall be!
• Keep your head level! Don't lift or dip your chin. Just flexibly balance your head on your neck... don't let your neck or shoulders get tight for any reason.
• Keep your eyes communicating. This affects your posture, your open throat, and your emotional impact.
• MOVE YOUR MOUTH! Communicate, communicate, communicate. What the heck are you saying? And remember, you're not singing to the control room- you're singing to the object of the song, for the sake of those who will listen to the final product and hopefully, be moved!

While you are doing your studio vocals, it is not the time to be worrying about technique... use your posture to set you up, literally, in the right position and then just get uninhibited with body language and go for it!

Posture for Singers- Live Performance

Posture sounds like a technical, cold word. But you wouldn't believe how assuming a better one can change your life as a vocalist.

First let's talk about live performance. Next post will concentrate on posture for the recording studio.

Don't -

• DON'T STAND STIFFLY with your arms clenched into your sides- you will lose both resonance and control. Especially watch the hand holding the mic... don't let that arm clench. This "non-verbal" body language will communicates a lack of confidence, too. The voice will obey the cue with an unsure, thin, pitchy sound.
• DON'T LEAN FORWARD toward the audience in such a way as to cause your ribcage to tighten in front, you're also going to have trouble with support and control of breath and your voice will not be as wide. If you lean forward, do so from the hips so as to keep the ribs wide open.
• DON'T TIGHTEN YOUR RIBCAGE by slouching when you sing while playing guitar, keyboard, drums or other instrument. Instead... play your instrument with your chest out! Move into the mic with your feet and body so you can lean back a bit- NOT FORWARD! Chin level. This will help you use your butt for power, whether standing or seated on a stool. I will reiterate this point below...

DO -

• PLAY YOUR INSTRUMENT WITH YOUR CHEST OUT, SPINE FLEXIBLE!
• STAND OR SIT SO THAT YOUR WEIGHT IS BALANCED ON YOUR BUTT.
• STAND OR SIT TALL AND FLEXIBLE
• MOVE! Feel the groove in your feet, legs and spine- like dancing. This will also transfer energy to the hips and butt, and will result in a more correct breath support (vocal power should come from the pelvic floor).
• MAKE YOUR POSTURE COMMUNICATE CONFIDENT BODY LANGUAGE...This is not an arrogant stance. It's a taking care of business stance that tells your audience you've got something good to give them!
• KEEP YOUR HEAD BACK , chin down (level), neck floating and when going for a high note, pulling slightly to the side!! (Hint...Study a good hip hop artist for this posture)
• KEEP YOUR CHIN floating and level.
• MOVE YOUR FEET FORWARD (causing you to lean back and open the chest) - when using a boom stand while standing, singing and playing. This tip is HUGELY important. If you're using a straight stand, be sure and get close enough that you don't have to lean forward and close your ribs (have I said this enough??) Or take the stand in your hand and lean it towards YOU. Or better yet, take the mic out and use it to help balance you. Don't lean your head in to follow the mic.
• USE YOUR HANDS! Talk with your hands... they are connected to your arms, shoulders, spine, ribcage and eventually your diaphragm. This is good stage presence, too. Just make it look REAL... make sure the hands are communicating what you're saying or singing. Don't let them become dead weight pulling your ribs down and inward.

Next time... studio posture!

A voice to love in hip-hop

Mat Kearney began lessons with me a few years ago as a Christian rapper/songwriter. He learned to find his full, natural voice and last year became a monster hit maker- amazingly signing to major labels in Christian and pop music, simultaneously. His first single, "Undeniable", shot out of the box as the most-added single in the history of Christian Hit Radio (CHR).

He is now also shining in the mainstream secular field. Artists he's toured with include John Mayer and Cheryl Crow. He is EVERYWHERE in the media... check it out on his website www.matkearney.com.

If you want to buy a positive, urban-real, extremely intellegent cd in the hip/hop and alternative rock genre with GREAT MESSAGES, get Mat's breakout cd titled"Bullet", or his new cd "Nothing Left To Lose" They would make a great last minute stocking stuffers, too!

By the way, if you are a hip-hop artist, please know that you will help yourself by singing with the same body language with which you rap. This encourages confidence, staying loose, tall, and communicative.

Oh, and may God bless you and your loved ones this Christmas season with happy memories and great music!

Vocal performance: it's not about you

Ever been nervous about your vocal performance? Perhaps it is because your voice doesn't understand what you want it to do. Here's a paradoxical truth: YOUR GREATEST SINGING IS NOT ABOUT YOU!

When you make vocal performance all about yourself it leads to self-consciousness, numbness, stage fright, bad vocal technique and disconnection to the audience.

YES, anytime you sing or speak publically, you need to send out your presence and claim the room- but direct your voice TO the one the lyrics speak to and do it FOR the audience and you'll be amazed at your confidence level. Study your favorite singers and see this principle at work. My recording artist clients all use this to great effect both in the studio and on the road.

Here's a current example: My student Maria Standing Rock just graduated Suma cum Laude from Belmont University and did some Karaoke at her graduation party. She sang several great songs but her shining vocal moment came when she sang a song to her mother. She was emotional, but not nervous. Her dad passed away a couple of years ago, but his spirit must have been listening to his daughter and smiling.

Gifts are for giving. That's how they shine best!