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. :<

Music career info, news

Hi everyone...

Here is a very interesting website if you are looking into music careers: http://musicians.about.com/.

I left a comment after one of the articles on Internet radio residuals. I think Internet radio should pay something for the rights to play people's music, but people can get too greedy. There's got to be a balance! They also bring up the web-neutral concept (not allowing people to buy webpage ranking.) I think it's important to keep the web as independent as possible; keep the playing field level and allowing small business (including indie music) to effectively compete against the majors.

There's all kinds of other useful information on this site... check the sidebars for titles of articles.

If you have sources of info you'd like to share with the community here, please leave a comment on any post. I feel very strongly that it is important to share our journeys with each other. Not just a touchy-feely sentiment, I know from experience that no one makes it alone and sharing successes and setbacks makes the struggles worthwhile.

As for me... I'm busy in the studio this summer with students and clients working on new projects. The latest one was my 15 year old Mississippi girl Jordyn Mallory. We put some awesome vocals on her unusually seasoned voice (for such a puppy). She's got a major Nashville music attorney interested in her. It's only a matter of time.

I'm also working on the big revision of our play "Runaway Home". New script, new songs... and there are some fantastic plans for it. I'll tell ya when it's time...

Happy father's day for all you singing dads out there. I'm going to Mississippi to be with mine. He wants me to play piano and sing the soprano version of "The Lord's Prayer" in his little country church. I told him I will, but that it will undermine all my country credentials :) He said a little high brow was good for them! Coming from my dad, a traditional bluegrass mandolin player, I had to smile. Wish me luck, that sucker gets high and I've never been much of a morning person. You can bet I'll be using PPP techniques!

Vocal Performance: Reveal... don't display!

There is a classical voice training textbook series by Van A. Christy called "Expressive Singing". In the Third Edition, Volume #1, Christy recommends this excellent suggestion for any performance in any genre:

"Meaning must be REVEALED, never DISPLAYED in a theatrical manner."

I can't tell you how very much I agree with this. There is a fine line between over- and under- acting. If you REALLY want to sing or speak in such a way as to cause an emotional response from your audience, learn how to master authentic delivery- the kind you can't fake!.

Authentic delivery balances several things:

• Vocal technique is definitely a major factor.
• The message (song or monologue) is a huge factor.
• Other factors include: The size and feel of the venue or room, the state of your own inner self, the cheeseburger you had for lunch, the label rep in the audience. Hey, it's amazing we can focus at all :)

Nevertheless, there must be such a balance in your mind-body-voice connection that you make it look almost effortless to get and hold the attention of the listener.

Here's an example to help you understand the power of revealing instead of displaying meaning:

When I was a recording artist on MTM Records, Alan Bernard (the CEO) let me in on one of his secrets at "meet & greet" events. Alan had been around. Among other things, he had managed Andy Williams and Dusty Springfield. Instead of going up to people to introduce himself and begin a conversation, he would often just sit or stand alone. People were drawn to his cool confidence, and soon were coming over to where he was to meet HIM.

Now think about this: Alan quite openly revealed who he was to people who had been drawn his way. He didn't put on a forward display to try to gain attention. I think this is a psychological tool we need to understand as performers.

Bottom line: Draw people in. Don't be a space invader! Reveal by... being real.

Runaway Home- New Musical wraps up first run

Well, it's either over or it's just beginning.

Runaway Home the Musical finished its first run today. It was a spirited performance by eleven actors I have come to love with all my heart. We hope to take it to New York's Fringe Festival, we hope to get it distributed far and wide, but I tell you the truth... if this was it, it was more than worth the time, travel, money, songwriting, track producing, vocal teaching and music directing I had the great privilege to do. (Thank you for trusting me with this music, Darren!)

My students Maria Standing Rock and her mother Esther Brown, Michelle Bunch and her husband and Kendall, my husband John and my son Peter were in the audience, which gave it the standing O. Michelle has done a lot of major theater. In her words, "This belongs on Broadway". Your mouth to God's ears, Michelle! Thanks to everyone of my friends and students who made their way to Decatur, Alabama to see this October 2006 thru February 2007 performance run. I am honored to share these memories with you.

The play benefitted greatly by the revisions made to the script and the music during the workshop performances. It was an awesome experience to see the play undergo such transformation. The actors always brought fresh fire. This last performance, I believe, was the best. What a cast.

In an emotional after-performance meeting, Darren Butler (the play's book writer and acting director) gave us all plaques with some of his journal notes during the making and workshoping of the play. Two of our precious actors spoke of how the play had changed their lives. Darren and I were presented by the cast with two stuffed teddy bears. Upon squeezing an arm, the song "Runaway Home", began to play, recorded in a bathroom by the cast at the store where they bought the bears. My bear will sit in my studio, where he will listen to students, and sing to me from time to time.

Did I cry? Duh. Yeah. I squeezed my sister's and my neice's hands (they were part of the cast) and whispered "This is why it's worth it".

Here's what I say: Sing. Write songs. Act. Make music, and every other kind of art you feel called to pursue. It is my firm belief that if we act upon our talents with all the excellence we can muster, we can trust God to make it mean something.

I'll let everyone know if and when "Runaway Home the Musical" is performed again. If you came to one of the first run workshop performances, please leave a comment by clicking on "comment" link below this post.

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!

Runaway Home- New Musical

Runaway Home- A New Musical
Book and lyrics by Darren J. Butler
Music and lyrics by Judy Rodman
additional songs by Will Fincher

I have taken part in songwriting, producing and directing music for a new contemporary rock play named “Runaway Home”, script written and play directed by acting coach/author Darren Butler. The opening performance of the play was October 8th at the Studio One Playhouse in Decatur, Alabama. After great feedback from the initial workshop performances, and positive reviews for the play and the cast from some major theater sources, (and some revisions based on the feedback we got), I think it's a play you will want to see. We are awaiting adjudication from the Richard Rogers Award, we're submitting it to other contests and will probably be taking it to New York for the Fringe Festival. I am very excited as we present the final initial run of this play in Darren's dinner theater.

It will run in Decatur, Alabama through this end of this February, Friday and Saturday nights at 6:30pm. Come see it and tell us what you think!

The music runs the gamut from hip-hop, pop, rock, latino, r&b, to punk rock and other cool weirdness. We cut the tracks for the play at engineer Ronny Light’s studio, Nashville. For details, log onto http://www.studioonedecatur.com/RunawayHome/index.htm .

For reservations, Contact
By Phone: 256.308.2300 or (Toll Free) 888.420.8879
By Email:
Caroline Duffey (Manager)- CarolineDuffey@CharterInternet.com
Darren J. Butler (Director)- DarrenJButler@aol.com

Venue:
Studio One Playhouse

Synopsis: Runaway Home tells the story of Pyper, Steve, The Preacher and Aleah, four runaways that have banded together to form a family, depending on one another for survival. When Pyper’s friend Catie comes looking for her, she challenges them to face their past and confront their demons, which villian Gracie likes to stir up. Runaway Home is filled with laughter, drama and a fast paced musical score! Call 308-2300 to make your reservation!
http://studioonedecatur.com/index.htm

Dinner & Show............... $25.00 per person
General Admission……... $10.00 per person

Remember... playing most Friday and Saturday evenings thru February of this year!