Karen Farnum Surmani - Rock Singing Techniques PDF [PDF]

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Rock Singing Techniques Karen Farnum Surmani Kevin M. Mitchell

Get Do1wn to BASIX™ ! BASIX™is all you need to take off with your instrument. Alfred has worked hard to help you begin !learning today with our easy-touse, compn!hensive series. It won't frustrate you by moving too fast, or let you get bored by moving too slow! You'll notice pies of many great 1performers; we added those to fire your imagination and help you stay focused on becoming a star yourself! To top it off, you can put what you learn to work when you play along with the companion CD. Set your sights high by beginning with BASIX™... the series tlhat will get you there!

Copyright © MCMXCVll Alfred Publishing Co., Inc. All rights reserved. Printed in USA. Cover pflotos: Ken Settle

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CONTENTS Part I • The Singer Within The Process of Singing ....................... 3 Tools of Development ........ .... . . ... .. ... .3 Practicing . ..... ... .... ... ..... .. ..... .. . .4 Vocal Health .............................. 4 Vocal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 How This Book Works ... . .. . .... ... ..... . . .. 5 About the CD ... . .......................... 5 Reading Music ........................... . .6 The Symbols for Rhythm ... .. ...... . . . ..... . .8 Note-Reading Exercises ......................9 Part n • The Basics of Singing Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Physical Exercises ......................... 12 Vocalizing ............................... 13 Warming Up the Voice . .. . .. ..... . .. . .. . . .. . 13 Vowels . .............................. . .14 Exercise Set No. 1 ...... . ... .. ......... . .. 15 Oh, How Lovely Is the Evening . .... .. .... .. .16 All Th rough the Night .................... 16 Singing Posture . . . . . . . . . . . . . . . . . . . . . . . . . . .17 The Tongue .. .. ....... .. ..... .... .... .. .. 18 Exercise Set No. 2 .... .. .................. 18 All Night, All Day . ..... .... ..... ........ 19 Home On the Range .. .. . . .. . . .. ..... . . .. 20 The j aw ........ . .............. . ......... 21 Exercise Set No. 3 ........... .... ......... 21 Singing Vowels and Consonants ............... 22 Exercise Set No. 4 ........................ 22 Introducin g 6/8 Time ..... .... .. ..... . . .. ... 23 Greensleeves . ... ..... .. .... . . ... .... .. .23 Aura Lee ........ .. .... ..... .......... 24 Matching Pitches .......................... 25 Exercise Set No. 5 .............. . ......... 25 Go, Tell It On the Mountain ............... 26 Part ID • Advanced Rock-Singing Concepts and Techniques Vocal Space .................... . ... .. .. . . 27 Exercise Set No. 6 ........................ 28 C. C. Rider . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Energy .................................. 30 Exercise Set No. 7 ........................ 31 My Bonnie lies Over the Ocean ... . ...... . .. 32 Scarborough Fair ..... .. ..... . . . . . ... .. .33 More Breathing Strategies . . . . . . . . . . . . . . . . . . . .34 Exercise Set No. 8 ........................ 35 The Sloop 'Joh n B ." ...................... 36

Vocal Resonance . . . . . . . . . . . . . ............ .37 Exercise Set No. 9 ........................ 38

Goin' Down the Roa d Fee/in ' Bad ............39 Fear of Flying: Approaching High er Pitches ...... 40 Belting (for Women) ........ . ............. .41 Falsetto (for Men) .... . . .. . . . .. . ..... . .... .41 Exercise Set No. 10 ........ . ....... . ...... 42 ·

House of the Rising Sun .................. 43 Musical Exp ressio n ... .. ..... . .... . ....... . .44 Phrasing ................................ 44

Red River Valley ........................ 44 Key to the High way ...... . . . ............ .45 Dynamics .. ............. ................46 Exercise Set No. 11 . . ....... . .............46

j ingle Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Legato and Staccato ........................48 Exercise Set No. 12 . . ................... . .48

One Dime Blues .. . ... . ................ .49 Part IV • Making It Happen: Singing Uve with a B:and The Practice . ....... . .................... .SO Know What You're Going to Do .... .......... .51 "What Did You Say?" .. . ........... . ....... .51 Equipment for Singing w ith a Band

........... .52

P.A. Equipment .................. . ....... .53 The Day of the Gig . . .. .................. . .54

Part V • Making It Happen: Singing in the Studio Why Are You Doing This? .... . .............. 55 How Do You Know When You're Ready? ....... .55 Studio Shopping-Looks Can Be Deceiving . . . . . .56 The Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Arranging Your Music ..... ........ ....... . . .59 Lean Is Mean . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 The Whole Is Greater than the Sunn . . . . . . . . . . . ..59 Background Vocals ........ . ...... . ........60 Preparing Yourself . . ......... . .............61 Overdubbing Versus Live .... . . . ..... . . . .....62 Pacing Yourself ........................... 63 Studio Do's and Don'ts ................ . .... .63 What to Expect When Yo u're Recording ........ .63 Headphones .......... ..... . ............. 64 The Final Mix .. . ... . ...... ... ............. 64 Final Word ....... . ... . ... . ......... . ...... 64

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PART I: THE SINGER WITHIN "If you can walk, you can sing," said Michael Stipe, lead singer of the rock band R.E.M. His belief that anyone has the ability to sing and express themselves musically is especially true in rock music. It's what rock music is about.

are trying to sound like a certain singer or have a preconceived idea of how they should sound. They miss the point. The real goal for each singer is to discover his or her own free, natural singing voice. Some voices may be characteristically "small" or "light," others "big" or "heavy." Trying to change a part of your voice can lead to problems. The key is to take what you have and work to refine that. Singers, as with any artists, cannot be free to develop their own abilities to the fullest while trying to copy · someone else. This is not to say that we can't learn from great rock singers like Tina Turner, Robert Plant, Tori Amos, Bono, etc., but we must reali:ze that each person is unique, each with his or her own individual physiology and emotional makeup. These factors combine to produce a person's own exclusive sound. Of course you won't sound just like someone else, just as you can't have the same fingerprint as anyone else. You're unique. What could be better or more satisfying than finding your own distinct, natural sound? Every big performer today wouldn't be big if they didn't have their own, unique style. They had to explore and develop their own strengths, talents and individual sound, just as you will.

Tools of Development Michael Stipe (second from right), singer and co-songwriter of A.E.M., has an emotional, powerful vocal style. His singing technique combined with his songwriting ability and his stage presence makes him one of the most admired rock performers today.

Some might try to argue that rockers like Neil Young, Bob Dylan, Patti Smith and many others "can't sing." Anyone who is a fan of these great performers and has been moved by their convictions and their singing would certainly say otherwise. Each of these rockers has developed their own style and technique and their own way of expressing themselves, just as you're starting to do. Everyone has the ability to sing rock. If you have the desire, you can sing-it's that simple. Rock singing is about standing in front of the microphone and expressing yourself in a meaningful way-you don't need anyone or anything to help you do that. The goal of this book is to help you do it better, with greater range and without damaging your vocal chords.

Some who are learning to sing have had great success by keeping a notebook or journal. The notebook will allow you to record your observations of the learning process. When something works that helps you in your singing, write it down in the notebook. Describe what it was that you liked, and what you did to achieve it. This way, you can develop your own troubleshooting checklist. Then, when you experience problems, you can go through your checklist to help pinpoint what it is you are forgetting to dcr-or not to do. Also, use a mirror in specific exercises in this book to see the movements of the tongue and mouth, and to check vowel positions while singing. Since no one is really able to hear the sound of their own singing voice as others hear it, a tape recorder is helpful. (Later on, you'll probably want to sing to a mirror to check out how you'll appear on stage when you're fronting a band.)

Singing is a simple process. It's a matter of speaking on pitch, and trusting that our bodies know what to do. Even though many of us know this instinctively, we still need to go through a re-education process in order to let go of any muscular tension in our singing so that we may fully achieve this state of simplicity and trust.

The tape recorder allows you to record yourself singing the exercises and then play them back. When doing this, your job is to be an impartial detective, noticing and evaluating everything going on. Do not be too critical of your recordings! Think of it as an opportunity to listen and objectively correct problems, not as a time to be judgmental. Record some of the early lessons and save the tape for later comparison. It is often difficult to note progress, and this tape will help you hear your own singing development.

In search of their best singing voice, many amateur singers fail to realize their full potential because they

A_piano or keyboard of any kind is helpful for matching pitches. A properly tuned guitar can do this as well.

You supply the heart, soul and desire. We'll supply the technique.

The Process of Singing

4

Practicing Improving your singing voice cakes a willingness to experiment and the discipline to practice what you learn. It's not rocket science--it just cakes time to build new vocal habits and the ability to make your singing a priority.

after 15 or 20 minutes, the average beginner's concentration begins to go out the window. Whatever you do, don't cram for your lessons! OCt is much better for your voice and your development to sing a little every day than to blow it off for six days and suddenly practice for two hours.

What we are going to do is cake old habits and replace them with new patterns that are more useful as a rock singer. In order to produce healthy, controlled tones, singers must develop all the factors associated with their singing: for example, the voc~l

Try to scay relaxed during practice: sessions, but if there are any signs of vocal stress or pain, stop immediately. When discomfort occurs, to continue singing would only reinforce bad habits, so stop and resume singing later. Voice training is a journey of psychological as well as physical development. Struggles :are inevicable, but without them, no true progress can be made. If you keep working at it, you will be continually improving each day, sometimes in small ways, sometimes in big ways. The point is, a rock singer's technique continually evolves, and each day you will be a little better than you were the previous day. And that's the point after all, isn't it?

Vocal Health Guicarists put their guicars in a case for protection when they aren't playing. Singers don't have that luxury.

Courtney Love of the band Hole has a raw, distinctive vocal style. While perhaps best-known as the late Kurt Cobain's wife, she has earned respect and admiration through her intellegent, hard-hitting music. Hole promises to be an influential band of the era.

cords, breath, the posture of the body and so on. With concentration and determination it is possible to change these habits. However, this coordination may only be achieved through the steady use and practice of the voice, similar to achieving the strength and skill gained from a regular exercise program. Think of practicing as exploring, and the best place to do your exploring as a quiet room away from distractions where you feel free to experiment. Sing at a comfortable volume (when practicing by yourself, you don't need to sing into a microphone). Also, it's best to practice while standing. The exercises should be repeated until you are easily able to sing the exercise at the correct tempo with no straining or tension, and accomplish the goals of the exercise. But once you've mastered an exercise, keep doing it. At the beginning, you should practice no longer than 15 to 20 minutes at a time. The reasoning behind this is that the exercises demand total concentration, and

A singer's instrument is the body, and it is affected by all aspects of the singer's life. Drinking lots of water helps to keep the vocal cords in good working order. Lack of sleep will show up in the voice and can cause a fatigued sound. Excessive coughing, clearing the throat and sneezing can be harmful by placing a sudden strain on the vocal cords. Even laughing a lot can strain them! Smoking causes 1the membranes of the vocal cords to swell, resulting in poor vocal production and clarity (and what's: that other thing smoking does? ... oh, yeah-it also kills you). So follow our advice, and a clearer tone and general vocal improvement will be noticed within a few weeks.

Vocal Range Your vocal range is determined by two things: 1) the highest and lowest notes you can :sing and 2) where you are most comfortable singing. In classical music, your voice type (soprano or alto for women; tenor, baritone, or bass for men) is also determined by the quality or tone of your voice (i.e. bright vs. dark, light vs. heavy). These distinctions are not so strict in rock singing, but they do influence what kind of voice you have. It's important that you determine the extremes of your range before you start singing with a band or in the studio (see page 40 for exercises). After you find your absolute highest and lowest notes, fmd the highest pitch you can sing comfortably and that you consider good enough to sing in public. Tl]:en do the same for your low range.

5 You will probably find that your highest "perfor. mance" pitch is a few notes lower than the highest note you can sing, and your lowest performance pitch is a few notes higher than your absolute lowest note. That's not only OK, it's typical for all singers. As your voice grows and develops, you should re-test these limits from time to time. Most adults will probably find that the absolute extremes won't change too drastically. What is important is that your performance range grows. Once you know the limits note-wise, search for the area of your range that you are most comfortable singing in. You may already have a good idea of where this part of your voice is. (If you don't, pick a song that you know well, maybe even "Happy Birthday," and just start singing. Chances are, you will go straight to your most comfortable range out of instinct.) It would be a good idea at this point to go to a keyboard or guitar and figure out exactly what pitches are in that area. That way, you will know how to tell your bandmates why a song is too high or too low for you to sing well. Don't let anybody make you sing out of your range! Make the band either raise or lower the key so that you're comfortable singing. Whether it's a rock cover or an original song, you're not going to do it any justice if it's not in a range you can tackle comfortably. Remember: the key of the song can be changed a lot easier than your range, and singing out of your range is a great way to damage your voice. Your voice is your instrument, so you need to know what it's capable of and what requests are unreasonable.

How This Book Works Rock Singing Techniques won't pigeon-hole you into any specific style. "Rock" is such a diverse term and means so many things to so many people that we decided it would be best to give you the foundations of the technique, some traditional songs that everyone knows to explore those foundations, and then encourage you to sing the songs that inspired you to study rock singing in the first place.

Parts I through Ill will introduce a vocal vocabulary to you and take you through some basic exercises. You should work through them all slowly and diligently, and one at a time. After spending cwo-thirds of your practice time with this book, you should spend the last third singing with your favorite CD, singing your own songs, or whatever you want to get good at. Again, in the beginning, no more than 15 or 20 minutes is necessary. After a month or so, you may slowly increase that practice time. Eventually, before you go to sing at a performance, a band practice, or in the studio, you should warm up

John Me/lencamp's years of smoking and bad rvocal habits led him to the point of nearly ruining his voice (and caused a small heart attack). Under the advice of doctors and v.ocal coaches, he was able to unlearn some bad habits and his voice became stronger than ever.

with some of your favorite exercises. Never just step in front of a microphone and start belting unless you've properly warmed up your voice! Parts IV and V will cover the basics you need to know for singing with a band and in a recording studio, respectively.

About the CD The CD includes all the exercises, demonstrated by a professional singer, and all the traditional! songs (some even rocked up a bit), with a melody line for you to follow. The track number o n the CD corTesponds with the track numbers listed throughout the book. The right channel of the recordings can be turned off, so you can sing with only the piano or band accompaniment. Before each exercise, you will hear the starting pitch and tempo (speed of the song) played by the piano. Sing the exercises in the octave most comfortable to you. Although some have a limited amount of repetitions, you're encouraged to continue the patterns upward to the higher parts and down to the lower parts of your vocal range.

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READING MUSIC Although many rock singers don't read music, those who can are better off. They can do more, learn more and, perhaps most importantly, communicate more. Singer/ songwriters like Sting, Joni Mitchell, etc., are better able to express themselves musically because they know how to read and write the language. You may already know that as notes on the staff travel upward, the sounding pitches get higher, and as the notes on the staff descend, the sounding pitches get lower. But by studying and learning the language, you'll be a better, more well-rounded rock singer.

The Musical Staff BAR LIN ES

The musical staff is made up of five horizontal lines. Notes are placed on the lines and in the spaces between them to represent the pitches to be sung or played. The vertical lines divide the staff into sections and are called bar lines. The areas between the bar lines are called measures.

J. ..._MEASURE ....._ ..... . - MEASURE ....._

Clefs

;_

Most vocal music is written using one of two musical clef signs. The treble clef ~ is used mostly for notes in higher ranges, and the bass clef 9: (pronounced "base") is used mostly for notes in the lower ranges. Clefs help to organize the notes into an easily readable format. Most popular and standard vocal copies available in music stores have the vocal line written in the treble clef.

The Names of t he Notes on the Staff Musical notes are named in a repeating fashion utilizing the first seven letters of the alphabet, A to G. In the treble clef the notes placed on the lines are, from bottom to top, E, G, B, D, F (the saying "Every Good Boy Does Fine" is conunonly used to remember the names of these notes), and the names of the notes in the spaces spell out F, A, C, E. The line notes in the bass clef are, from bottom to top, G, B, D, F, A ("Good Boys Do Fine Always"), and the spaces are A, C, E, G ("All Cows Eat Grass"). Line Notes

Space Notes

0

I

B

D

F

F

Line Notes

II

ii

Ii

11

G

E

0

0

0

A

c

E

II

.,

E

G

Space Notes 0

0

II

ii

B

G

0

0

0

D

F

A

c

A

II

II

The Names of t he Notes on t he Grand Staff A line through a note, called a LEGER (pronounced ledger) LINE, is used to extend the range of a staff either up or down as necessary. ... '

".

~

LEGER UNE ~

--·..

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I

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G

A

-B

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--

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C

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r

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E

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7

Flats b, Sharps #and Naturals q A FLAT SIGN

A SHARP SIGN B-tlat

lowers the pitch of a note a half step.

raises the pitch of a note a half step.

A NATURAL SIGN C-sharp

B-natural

cancels the effect of a flat or sharp.

The Major Scale The major scale is comprised of eight consecutive tones in 8 alphabetical order.

c

If we start at C and go up the keyboard playing the white notes, we see that all of the to nes in the C scale are separated by a whole step with the exception of E to F and B to C, which are half steps.

do

The pattern of whole and half steps that we saw in the key of C is the same for any major scale, no matter which note you start on. If, for example, we started on the note G, the scale would look like this: Half Step

Half Step

~

~

G A B 1 2 3 '--../'--../

C D E ~ 4 5 6 7 '--../'--../'-../

G 8

Whole Step

You can see that the note F has been changed to F#.

Key Signatures To make the writing process easier, we can indicate the flats or sharps to be used in a composition at the beginning of the piece. This is called a key signature and tells the performer that the accidentals (flats and sharps) indicated are in effect throughout the piece. For example the F# in this key signature, which appears on the top line of the staff immediately following the clef, indicates that all of the F's in this composition are to be played f#. Key Signature of G Major

+

~ First with the Police, then later with his solo career, singer/songwriter

Sting explored different musical styles like jazz, Caribbean and Latin music in his songs. By always expanding his musical horizons, he's been able to stay at the forefront of the pop music world.

Hr;,~ ~\P

Half Step ~

C

D

/"-....

E

F

G

A

1 2 3 '--../'--../

4

s

s

Whole Whole Step Step

B 1

'--../~/~

Whole Whol•e Whole Step Step· Step

C

·a

a

THE SYMBOLS FOR RHYTHM Now that we know how to read the pitches, we also need to know how fast the notes are in relation to the beat. This is the function of rhythm.

J

J

Quarter notes are equal to one count or beat. Speak the syllable "ta" to help you count quarter notes. Quarter Notes

Half notes are equal to two counts. Say "ta-ah" to count these notes.

Whole notes o are equal to four counts. Say "ta-ah-ah-ah" for counting purposes.

Eighth notes j) are equal to one-half count. Use the syllable "ti" to help count these notes.

Half Notes

Whole Note

Eighth Notes

I

I~ ~

~I ~

Ta

ta

ta

ta

ta

1

2

3

4

1

~ ~ ~ I~

-

~

11

ah

ta

- ah

ta

2

3

4

1

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ah

ah 3

2

ah

ti 1

4

ti

~

I~ ~ ~ ~ ~

ti

lti

}

ti

2

ti

ti

I

ti

4

3

Dotted notes are notes that are followed by a dot. The dot means that the note value is equal to the original value of the note plus half again. For example: dotted half note = half note (2 beats) + 1 beat = 3 beats.

Sixteenth notes ~ are equal to one-quarter count each. Say the syllables "ti-ri" to help count these. Sixteenth Notes

Dotted Quart•er Notes and Eighth Notes

Dotted Half Note

~I J~ ~ ~ ~ ~ ~ ~ J ~ ~ ~ ~ ~ ~ ~ II J Ti- ri ti - ri ti - ri ti - ri ti - ri ti - ri ti - ri ti- ri. 2 4 1 3

1 -

II J. 2 -

3

1

Ji II &

2

&

3

&

4

&

The Silences Silences in music, called rests, are just as important as the sounds, because the two accentuate each other. Rests have durations equal to the values of the equivalent note symbols. Therefore, a quarter rest has Quarter Rest

Half Rest

one beat of silence, a half rest gets two beats of silence, a whole rest has four, and so on. Count the rests silently. Ot may help to think of the syllable "sh" on each beat.)

-

Whole Rest

Time Signatures

Eighth Rest

Sixteenth Rest

which type of rhythmic pulse gets one beat. 4/ 4 time means that there are four beats in each measure and the quarter note gets one beat--or in other words, there is the rhythmic equivalent of four quarter notes in each measure.

The time signature, or meter, of a musical piece is represented by the stacked numbers after the clef sign. The top number tells the musician the number of beats in each measure. The bottom number tells Time Signature

t

~I J J J J

II~

J J J l mJ J J J J J Iii

J

.J

The Tie A tie is a curved line that connects two notes of the same pitch. A tie is necessary if you wish to hold a note beyond the bar line. Sing the first note and hold it for the combined count of two notes.

J~J - 2 beats j~j

=

3 beats

J J

= 4 beats

~

j

j ~

4 4

Count: 1 =

4 beats

-.

--

I J= 5 beats

0

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4 1 .-.......__.....,

Tap: M. " ' M. " ' M. " ' M. .-~

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II

9

NOTE-READING EXERCISES Identify the following notes and write their names in the spaces provided below. 1. The notes on the lines: 0

0

0

0

0

0

0

0

0

0

II

0

0

II

0

2. The notes in the spaces: 0

0

!)1 ,,

0

0

II

n

0

0

II

0

0

II

II

0

3. The notes in order:

0

u

0

II

0

0

0

0

0

0

0

0

0

0

0

0

0

0

II

0

0

0

u

II

4. In random order: What do they spell? 0

0

,'lllllr-----------.....,,r------------+---------o---------------+---'~'----. . . . ,-,------oe------+ill . , u

0

0

0

0

II

4. Answers:

·aas: 'aaad 'avD 'SV'.) 'DD3: 'ava

0

0

0

0

0

0

II

10

PART II: THE BASICS OF SINGING The more rock singers know about the process of singing, the better they'll be and the stronger they'll sound. This section is important because it'll get you started on the right foot so you won't damage your voice before your career even begins.

or we'd have to spend all of our time trying to remember to breathe! When air is taken in through the mouth or nose, it travels down the windpipe or trachea.. The trachea divides at the lungs into two bronchi,, one for each lung (see diagram), which branch out again 15 or 20 times forming thousands of tiny bronchioles.

Study this section carefully, learn the exercises and sing the songs (we've chosen traditional songs to illustrate these techniques because everyone knows them). For best results, practice a little everyday and. don't overdo it in the beginning.

The lungs are made up of spongy tissue. Their main purpose is to provide the blood with oxygen upon inhalation and relieve it of carbon dioxide at the time of exhalation.

Breathing

It is important that the throat be a relaxed, open channel through which the air can flow unencumbered.

One of the least understood parts of singing is the act of breathing. It would seem that we should all be experts at this, having been required to practice it for all our lives. But for rock singers it's not quite so simple. Proper breathing is important in singing, because the breath being exhaled works with the vocal cords to create the tone. Correct breathing uses the muscles in the lower abdominal region and allows the voice to gain its strength and agility from this area, taking the pressure off the throat muscles. This allows your true, clear, natural voice to be produced. Since the abdominal muscles are proportionately larger and stronger than the delicate throat muscles, it makes sense to allow them to do the heavy work.

Trachea (windpipe)

Bronchiole

This makes a natural approach for singing. Your body already knows how to do it. All you have to do is relax and cooperate. The deep, relaxed intake of air before a sigh is the feeling that you want to have Respiratory system when you take in your breath. The intake of air should activate muscles all the way to the lower abdominal region.

If you have a tight throat, the air will not be able to function freely and can cause vocal st:Jress.

The normal breathing process begins when the brain sends a message to the respiratory system that oxygen is required. The diaphragm, a large, dome-shaped layer of muscle which separates the abdominal cavity from the chest cavity, is positioned just under the lungs and aids them in the breathing process. Upon inhalation, the diaphragm lowers, and the rib muscles lift the rib cage. This enlarges the chest cavity, creating a vacuum in the lungs, which expand as they fill with air. Then on exhalation, the diaphragm repositions itself, and the rib muscles relax, aiding the lungs in pushing out the air. Thankfully, the diaphragm is an involuntary muscle

Take a few moments and focus on the breathing process and your body. Take a deep, medium-sized breath and don't allow your shoulders to rise as you draw the breath. Shoulders should stay in a relaxed position, down and back, resting into the body, thus opening up the chest area. It is necessary for the chest to remain comfortably high and open for optimal lung expansion. When singing, this postufle should be maintained throughout the inhalation and exhalation process so that the air is not pushed out of the lungs prematurely and the amount of air sent to the vocal cords may be regulated.

11

Liz Phair has a clean, honest singing style that has won her a legion of fans and great critical acclaim. Starting with her first album in 1992, she's made use of a unique songwriting approach with bare-bones production tricks to emphasize her singing and her lyrics.

Trying to control the breathing muscles is counterproductive. The extra tension exerted in the body will affect the vocal cords, causing them to tense and strain. Conscious manipulation of the breathing process is truly unnecessary, because the abdominal muscles and diaphragm will naturally work together to regulate airflow. To achieve this, stand tall with good posture. Do not allow the chest to collapse; keep it comfortable, but high. When done properly, these breathing elements will do their job for you. A huge gulp of air does not help you to sing better. Just as anything in excess tends to be detrimental, too much air often causes rigidity and tension in the throat, and in the lower abdominal region. The key is to sip the air. You will be surprised how far a small amount will take you.

Usually the fear of taking an inadequate breath comes from a feeling of insecurity, not an actual physical shortfall! In a deep breathing process such as is used in singing, even though we may exhale a large quantity of air, a good amount of residual air remains in the lungs which generally goes unused. Trust your body to breathe for you. Try to create a balance between the action of the breathing muscles and the amount of air inhaled for singing.

12

Physical Exercises Most people do not need special exercises to strengthen their breathing muscles. The muscles involved are generally in good shape to function for your singing needs. Often, however, there is a lack of awareness of how the body operates. Air

4. The "Rag Doll" exercise is an excellent exercise for allowing the air to act correctly on the inhalation process. To do this exercise, bend over from the waist and allow the upper half of your body to hang loosely like a rag doll. Allow your muscles to completely relax and take some deep, relaxing breaths. After a minute or two of this, slowly stand up. As you rise, try to imagine that you are Air

•

Chest remains comfortably

high

Diaphragm descends during inhalation Inhalation during singing

1. To experience a natural breathing style, lie flat on your back on the floor and just breathe. The body really does know how to do this by itself. We can learn a lot by observing its technique. When we are on our backs we naturally breathe deeply and the diaphragm gets a full workout. Watch your stomach go up and down, relax and listen to your body. The great thing ·is that if anyone asks, you can tell them you are practicing. This is serious, strenuous work! Don't rush, give it several minutes, and when you feel you understand it, slowly stand up and see if you can recreate the experience from a standing position. 2. Panting is a good way to experience the action of the diaphragm muscles. Inhale and exhale several low, quick breaths in rapid succession. The abdominal muscles will move in and out with each breath. Do this for short stints only, or you will hyperventilate. 3. Exhaling little puffs of air through the nose will also engage the diaphragm. Do about 30 puffs, rest and then do 30 more, increasing the speed. Staying relaxed will enable you to draw in small amounts of air between puffs.

Diaphragm ascends during exhalation Exhalation during singing

stacking each vertebra of your back on top of the previous one in a straight line. The shoulders should fall back into place, and the head should come up last. Take a deep breath. Repeat this exercise, and before beginning to stand up, release all your breath. Don't breathe in again until you are in a fully upright position. T:ake several breaths while you are standing in this position, getting used to the feeling. The breath should naturally be full, and you will automatically use the muscles in the lower abdomen.

13

Vocalizing S. From a standing position, remember the feeling of taking in a breath for a sigh, and feel as if the breath is descending to the lowest part of your abdomen. You have to let go of your stomach muscles (there's no room for vanity here) and let them act on their own. You may feel as if your stomach expands out during the inhalation process. This is the diaphragm moving down as you inhale. It is natural and correct. After exhaling, maintain an upright posture and slowly expel the air. You may feel the abdominal muscles moving inward a bit. This is not something that you should help with; the body can take care of it just fine. Place your hands on your abdomen and monitor the movement of the muscles. Repeat 10 times. When you are able to allow the body to take over and move smoothly on its own, an even singing tone is possible.

One of the best ways for singers to build better singing technique is through vocalization exercises. Vocalization exercises are designed to help condition the vocal chords and improve the range and flexibility of the vocal mechanism. You might want to think of them as vocal aerobics.

Warming Up ths Voice It is always a good idea to warm up before singing. Singers of all musical styles, from rock to opera, require vocal warm-up exercises to get their voices moving through their entire range, proltect themselves from vocal strain and to prepare for the rigors of rock performing. Vocal exercises warm up 1the voice just like stretching movements warm up the body before running or other physical exertion.

6. Draw in a gentle, low and full breath to a count of three. Stand about two feet away from a wall, facing it. Exhale the air slowly in a controlled hiss. The throat should be relaxed, acting only as a passageway for the air. Try to maintain an even intensity in the hiss, and imagine that the power of the quiet, steady energy contained in the hiss will slowly push back the wall. Extend the hiss as long as possible, then repeat. 7. Breath control involves developing both agility and flexibility in the muscles used for the breathing process. The action of the diaphragm and lungs can be felt in one's back, so place your hands on your back at the waist level. Imagine that you are a cylinder filling up with air. Breathe deeply and feel your back expand as you fill the area under your hands. Complete, full breathing should include this area of the back.

.. -~.

Inhalation Muscle action during breathing

Exhalationi

14

Vowels Because vocalists sing words and want these to be understood, a lo t of time is spent perfecting the way they sing vowels. The tongue and mouth form the vowel shape, and the breath flows through the vocal cords into the mouth. This creates the vowel sounds which we recognize as: Ah

as in "father"

Ay

as in "say"

Ee

as in "beet"

Eh

as in "red"

I

as in "tie"

Oh

as in "so"

Oo

as in "loom"

Vowels which are made up of two sounds, such as "I" (Ah+ Ee) and "Ay" (Eh + Ee) are called diphthongs. The second sound in each diphthong, known as the vanish, should never be emphasized. The vanish is only lightly articulated just as the sound fades away. In the case of a word containing an "Uh" sound, such as love, dove, because, or the "Ow" sound as in the words round, down, town, the preferred pronunciatio n for singing is to slightly modify the vowel toward the "Ah" sound, creating a rounder, more o pen tone.

vowel, whisper "Hah." Feel where t:he tip of the tongue is, what the sides and back of the tongue are doing. The tongue should be relaxed, with the tip touching the back of the bottom teeth as you whisper the word. Remember the way it feels. Singing is based o n speech, so afte1r we investigate the feeling of the vowels by whispering, the next step is to speak them. With the jaw relaxed, and the upper and lower back molars slightly apait, very gently say "Hah." Everything in the mouth should remain still. Repeat "Hah" several times, experiencing the sensation of stillness. Whisper "Mm. " Still relaxing the jaw, and with space in the mouth, gently say "Mm." On the "Mm" there should be a feeling of vibration in the mouth, but the tongue remains still. This is the beginning of a hum. Now, try something called the speech-chant. Combine the two sounds above, saying "Hah-Mm," prolonging the sound, allowing two beats for the "Hah" part and three beats for the "Mm" part. Sustaining the sound as if chanting, keep the tone going through the entire five-beat duration of the "Hah-Mm. " Make sure that there is space between the back teeth. Repeat "HahMm," not allowing it to die out too soon. Singing is essentially sustained speech.

The best way to practice the shape required for vowels is to whisper each one. To practice using the "Ah"

Bono of the supergroup U2 has amazing power and range, making his singing one of the most instamrly recognizable in the pop world.

15

Note: All e~e~cises in this book should be sung starting 'vith the notes shown and the~ progressively raising the notes iri the exercise by a half-step on each repetition. For example, an exercise which begins on the note C will progress to start on the note Cl. then in the next repetition, D, DI. and so on. Continue to sing as high a pitch as is comfortable. Do exercise the upper ranges of your voice and encourage it to grow, but do not attempt to sing the exercises when you are experiencing vocal strain. The number of each exercise refers to the number of the musical example below.

Exercise Set No. I

•1. Keeping the same gentle, no-pressure feeling used for the speech-chant, sirlg "Hah-Mm," suistaining it on the given pitch. Keep feeding the breath into the _tone, main~g a smooth exhalation. ·2. The very tiny distances between the notes in this exercise have a mas8age-like effect on the: vocal·cords, making this an excellent way to start the warm-up process. Whisper the vowels, be very sensitive and · note the minute movements inside the mouth. Begin slowly, then do the exercise several times, varying the tempo(or speed). Start with"Ah" the first time you sing the exercise, then "O." Finally combine the

sound as "Ah-0." 3. This exercise uses the humming sound "Mm." The lips are together, but the back molars should be slightly apart Keep the space open in the throat. The tone should be placed in the mouth; try aiming the sound at the lips. Be careful not to allo~ it to become ~ nasal. Keep a consistent enc~ level. . 4. ·Whisper the vowel first, then sing the exercise. Try to match the vowel on each note to the' vowel preceding it. '

'

5. No singing! Just speak this one on pitch, saying the numbers.

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16

Slur: First, just say the words to these folk songs, then sing them in the same simple way you spoke them.

l.EGATO means SMOOIBLY CONNECI'ED.

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17

Singing Posture When you're singing rock, you'll probably be doing it with a guitar around your neck, or hunched over a keyboard, or with mike in hand, running around the stage. So good posture is going to be a luxury. After all, it would be better for his vocalizations if Mick )aggar stood still, feet spread apart slightly, with his spinal chord properly aligned when he sings Can 't Get No Satisfaction to arena-size crowds, but that ain't rock 'n' roll. Yet when starting off, and when Good posture practicing in the privacy of your own bedroom or rehearsal space, it's good to begin with decent posture when singing. (Also, you'll definitely want to practice standing correctly when you're singing in the studio.) A correct alignment of the body is important to singers, as it helps them to manage their breathing more easily, thus making it easier to produce good singing tones. The goal is co achieve an upright posture that is relaxed and open so that your breath flows in and out of the body as effortlessly as possible. This helps the body manage the breathing process by being aligned instead of bent, just as a straight straw is easier to sip through than a crooked one. Incorrect posture also causes

tension, and any tens.ion in the body is easily transmitted to the vocal mechanism and may cause vocal strain. First, the feet should be planted fmnly on the floor, approximately a shoulder's width apa11t. Imagine that your stance is drawing stabi.lity and strength from the center of the earth itself. Knees are relaxed, never locked. Locking the knees reduces blood circulation and you could find yourself face-down on the floor if you attempt to do this while singing. The spine is as straight as possiblenot rigid, with shoulders down and back- but relaxed. Keep a watchful eye on the shoulders as they may have a tendency to creep up around the ears. This doesn't help your singing and doesn't look great, either. The chest should be open to allow for full expansion of the lungs, the arms hanging loosely at the sides with elbows relaxed and slightly bent. It is aEso important to try to alleviate any tension in the neck a:rea, both front and back, as this may cause tightness in the throat. There is a comfortable uprightness co this posture. A singer's posture is flexible but stable, allowing the vocal mechanism co function freely.

Trent Reznor of Nine Inch Nails typically is all over the stage when he sings, hunched over sometimes, jumping other times, letting proper posture pretty much go out the window. The energy and emotion he puts into his performances take precedence over proper "posturen for good reason.

18

The Tongue All the components of the vocal mechanism must be balanced so that they are allowed to function freely without interference from unwanted tension. The tongue is essential to a singer for articulation purpft8Ue in a ~, Jileqd.y L'QUOl IO ~ , . . without die too,ue movin~ The too.gue ~·l~i{~! • i ry!silat . . ..~ ..' .. " : , , . . · · and low~ the moo~. .~go of ~y. -~;, . · ·.....!sho'1lders ;anst jaw. Jtepeac this eiercise Until tile fQrtgue iS ieJued and stjll.. , . should renlain motioruCM. ~ ~ ~~.and relaDlion: .. '.)i;_;·~~~--·' '_.i~. ,.,;~_ . 2. ·'\Vhisper ·Ah" with a fat, still tongue·. Watc~ aintm:>r, ~ the •.Ai1•·uma1MI ~"' ·Mf~~~· ~thout any rippling or other reactioil fr91n!the tongue. . · . . ,, . ' ' 3. Say "Ah" a fat, .still· tongue. say·the vowel for one secOnd; then rwo, ·and ~ yOli itt able;tq do that without any tonguej nterference, say it for tbtee ~- and~ so on; .until }'O'l are able ~ mainCain a motionless tongue for.at least five seconds at a tigle. ~

Exercise Set No. 2

hi

~

·~

·Wifu

~

4.· Singing.is SUstained speech. Prom speech. ~ the;~? Sftta.·M~. c>q.'a ~ortable pitch ·in the · · same easy way you sp6ke it. Repeat.until die :t~e l$ ab1'' io' ~i.b' rl1Qdontes8 in thC~~bottom Of the" ' ~ mouth during singing. . · · ''. ~ .; ~ · · ~ · · ~,, ri'

5. and 6. Sing the exercises below. The tongue~ at~

f

..

i.\:

...

~

-

·

7. Whisper "Ah," then ·"O." :The vowel change should be~~~ 'as litde. ~emcnt ~possible mde the mouth. ·· · . · · .. I • ,.._. "

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19

First just speak the words without being concerned about pitch, then sing the songs on the correct pitches. Be very aware of saying pure vowels as you sing them.

All Night, All Day

D.C. al Fine or Do Capo al Fine: This sign indicates to go ba:ck to the beginning and sing to the Fine (end) sign.

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Calmly

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J

IJ.

night,

all

Ab

..

I; J J

Jl J

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·~;.

.

:. 1. ,Sirig thi8 'exercise t~to, connecting all th~ ~. To help .yoµ -: ·: enfuion :tlle kirit'.r dHtilia 200.nection need~ foi uil.s style of ·. · . ·:·'.~'" ;.s~~g'.·~;~e7~~~~ ~tc!1ffig a~q a:1>iec€·af ch.~~:

· 2: -Singtbe same exetcise, laugh it and keep the· riotes~~oit ~d ~ed. ..

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4

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.

.

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l

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exer:cise ·combines ~staccato and legato singing. ·,.. ·. · '· .· · ~

~d 5.-. ·Si~g du.~: ex~c~s _as i.~dicat~ b; th~~ p~su\g.

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a. A h - - - - - - - - - - - - - - - - - - - - - b. Laugh - ing, sing - ing, laugh - ing o - ver the way.

49

$rackss

One Dime Blues

Rockers like The Rolling Stones, the Beatles and many others have taken old blues standards and rocked them up. One Di.me Blues, attributed to blues great Blind Lemon Jefferson, is done fast and fun-which is exactly how you should sing it. •

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# Fast blues

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Verse 3: You want your friend to be bad like Jesse James (3x) Git two six shooters, highway some passenger train.

gets

in

E

-

some - time.-- -

Verse 2: I was standin' on East Cairo Street one day (3x) One dime was all I had.

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Verse 4: One lonely dime was just all I had (3x) And that was the meal before the last.

F

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50

PART IV: MAKING IT HAPPEN: SINGING LIVE WITH A BAND Singing live with a band can be a pretty harrowing experience. There are so many variables involvedhow warmed up your voice is, how tight the band is, how well the band can hear itself, the acoustics of the dub, just to name a few. There will be times when you'll feel overwhelmed. But don't throw up your hands and give up. It's all just a matter of preparation. And a great gig is the result of a good, organized band practice.

The Practice Rehearsing is more than learning the lyrics and chord changes and being able to get through the tune without a major screw-up. It's about playing in synch, getting tight and fine-tuning, and how your set-up can influence those important aspects. If space is limited, then you'll be cramming the drums in one corner of the garage while the guitarist sets his or her amp on top of the rusted-out patio furniture on the other side. But if it's possible, you may want to try a "circle" set-up for rehearsals; that is, the band sets up in a circle so that everyone can see each other. This will help everyone get really tight and blend, sounding like a band-not just separate musicians playing at the same time.

The last point is important because the rhytbm, harmony and instrumentation mus't all support the lead vocal line and the vocalist muist be able to hear him or herself well. Never forget that no matter how awesome your guitarist is or how incredible your keyboardist is, when people go to listen to your music, they will be mainly listening to the lead melody-that is, the vocals. Important Safety Tip: Don't let tlhe band put you in a position where you scream all the time! You can always turn your amp up or down, but vocals can usually be turned up only so high because they are often the main source of feedback problems. Your vocal instrument is fragile-so just turn all else down! A feedback problem will rear its ugly head in every environment. Experiment with amp positioning to eliminate feedback loops. If feedback problems persist, you may want to invest in a little cheap 6- or 9-band equalizer. With a little experimentation with this simple device, you can eliminate a lot of feedback problems. The Feedback Loo,r-how it's caused

1.

Set up with these points in mind:

Vocalist sings into mike

• When you're learning a new song, having eye contact is helpful in learning cues. Seeing where the chord changes happen can make singing a new song easier. • Be dose enough together so volume can be low and everyone will still be able to hear each other without the overall band distortion that happens when everyone has to crank. • The bass amp should always be next to the drummer, ideally by his or her hi-hat. This is the key that locks the rhythm of a band down. When the bass and the drums are in synch, the rest of the band can rely on them for the song's pulse (the bass and drums are considered the rhythm section of a pop band). This will help create a tight, powerful sound. • Your vocals must be way up in the mix so they can be heard by everyone in the band. While they are the most important component of your band, vocals are often the first thing to get lost.

3.

2. Sound tr avels to P.A. board (or amp) where it Is amplified and sent to speaker

Speaker

P.A. board (or amp)

Eventually, when you get comfortable with the material, you'll want to arrange the band :as you will be playing on stage. While it may not be advantageous or possible at first, it's important to do this sometime before your first gig.

5I

Know What You're Going to Do

"What Did You Say?"

It's also recommended to try to keep the volume of Take ten minutes the day of a rehearsal to jot down on your rehearsals at something less than a mind-numbing a piece of paper what you want to accomplish. Make decibel, not just for the sake of the parents, roommates note of which songs need the most work, which new or neighbors that happen to exist in the same zip code songs you want to introduce, the song order, etc. Never you're rehearsing in, but because everyone in the band forget you're dealing with a group of people in which needs to be able to hear everyone else. Your ears will there is a group dynamic and a group energy. Now, be bombarded with high volume enough-there will be we're certainly not going to explore the psychological plenty of time to crank it up later. But for now, keep it ramifications of a group of musicians who gather two to . down. When you're trying to listen, concentrate and four times a week (that would be another book; work things out, if the whole thing becomes a wall of besides, some things are better left to the unknown ... ). loud, you're not going to be able to work on the But you do need to tune yourself to the mood of the particulars of the tunes. band and work to keep things moving and on track. Creeping Volume Every band is going to be different, so experiment with Be aware of the "Creeping Volume Syndrome," both in different ways to organize your rehearsal time. In the rehearsals and especially when performing. meantime, here's an idea that works: Divide the Creeping volume syndrome is when you all do a sound rehearsal time in thirds. check, and it sounds good, balanced and everyone can 1) The first third of the rehearsal often ends up being hear themselves well. Then you play a few songs, and the "warm-up" period. Play some fun tunes, the drummer's adrenaline gets going, and he starts hitting the skins a little harder. Then the bass player maybe an old, simple rock 'n' roll cover-maybe moves her volume up. Then the keyboardist changes to even one you never intend to do live. Or play a different sound-a sound that has a higher frequency through the songs that the band knows well and and tone quality, thus sounding louder without ever likes to play. touching the volume knob. Then the guitarist has a 2) The second part will probably have the most great solo, and turns up for it-forgetting 1:0 tum it energy, so take advantage of it. The band memdown when the solo's over. .. and then ... and then ... bers will be warmed up, in tune, and concentraSoon, someone's head just explodes. tion will be high. This is the time to take songs A couple of times a night, you're going to have to stop apart; play the bridge section of that love song everything and get everyone to scale back the volume. that hasn't felt right-and play it, just the bridge, a Do it. Generally, most bands are going to be loud, but dozen times. Stop songs when the intro isn't do what you can to keep it from spinning out of conright. Talk about different ways to end that other trol, for the sake of your music and your hearing. tune. This is the time to work things out. Do small sections over and over again~at's how Ear Plugs you'll get tight and sound professional. Ear plugs are strongly recommended. 3) Toward the end of a rehearsal, the energy often They have great sinks. This is the time to run through songs you ones these days-already know well, keeping them tight and those that don't familiar. Practice playing songs in the order you'll "plug up" the music, be doing it live. When you're working to play the but act as filters to clubs, everything has to be practiced. Say, "Okay, cut down all sound we're going to play through these next five songs frequemcies equally. back-to-back," thus getting the feel of what it will You're still able to A couple of bucks for earplugs is a be like to sing songs without stopping. small investment to protect something hear everything, just as important as your hearing. less of it. Trust us-This is also a good time to introduce new material. if you're looking at 'We'll work on this one at our next practice, but here's being in music for the long haul, there will be plenty of how it goes." Then at the next rehearsal, they will have unavoidable damage co your ears. Remember this: On at least heard the tune. (Ideally, you would also prothe 1990 tour of the reunited Who, Pete Towneshend vide a cassette of your new song so that they will have had co hire another guitarist to play all his electric guitar had time to work out their part.) parts, while he just strummed on an acoustic guitar because his hearing was too damaged to pllay electric Different rehearsal strategies will work for different and sing. Sure, he made a ton of money that tour, but bands. Try different formats to see what will work best he didn't gee to hear it ... for you. Do whatever it takes to get the most out of your rehearsal time. Take care of your ears.

52

Equipment for Singing with a Band Using a Microphone For the record, a microphone takes the sound waves of your voice and amplifies them, electronically enhancing the volume of your voice as it goes through the speaker. It is your tool, and you need to know as much about how it works and what it can and can't do as a guitarist needs to know about his or her ax.

When using a microphone, sing in your regular voice and don't hold back. However, don't make the microphone do all the work for you. It is a tool to enhance your voice's volume, not a way for the singer to become lazy and slip into bad habits. Don't "eat" the mike. Microphones are sensitive instruments and will work best if held a few inches from your mouth. Audiences should be able to see your face without the mike covering it up. Besides, you've done all that dramatic preparation, most of which will be conveyed by your face.

If you are using a corded microphone , be very aware of what your hands are doing. Don't play with the cable; it is very distracting. You want the audience to focus on your face and the song, not the hand that is fidgeting with the mike cord. If you plan to use a micropho ne regularly for your performing, it is advisable to get some practice using one offstage. As previously mentioned, be sure to do some experimenting to find out the best way a micro phone can enhance your performance. Equipment for the Band Everyone in your band needs to have their own gear, their own guitars, mikes, amps for the instruments, etc. If you're just starting out, you may be overwhelmed when you start going to music stores and checking out equipment. New P.A. gear is expensive, no doubt about it. Mikes, mike and guitar stands, cables, cabinets, horns, monitors, power amps .. .it adds up quickly.

Then you run into an enthusiastic sales rep who says something like, "Hey, don't even get a P.A. board unless it's 24 channels. You'll want something to grow into." Remember that it is their job to sell you as much equipment as they can. Your job is to get the most for your money and equipment that will suit your needs. New Equipment When you buy new equipment, it comes under warranty, and that can save you major headaches down the road. The latest equipment is more sophisticated, capable of doing more, and sales reps are usually knowledgeable and helpful in showing you how to operate it properly. There has been a trend in the manufacturing of P.A. equipment to go to lighter, smaller units-more bang for your buck, so to speak. When moving, storing or setting up, space will often be an issue, and so this is a big advantage. Also, many music stores offer financing programs.

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Mikes, P.A. board, speakers and monitors are the bastes ofyour sound sys~m. ~

The Shure SM 58 is one of the most widely used mikes in rock. Peavey makes an inexpensive line ofquality mikes as well Still too expensive? Try your local Radio Shack. They have mikes as low as $20, and though the quality isn't up to Shure or Peavey, they will work in small clubs, particularly for miking other instruments.

The only disadvantage is that the stuff is expensive. The price difference of new vs. used is three to four times higher in most markets. It's much like the.new car thing- something magical happens when you drive it off the lot and it loses a lot of i1ts resale value. Many people get excited about a band, go out and buy a lot of equipment, then end up selling it for onethird of what they paid for it six months earlier. If you go the new equipment route, don 't pay retail! Rarely will you have to pay their asking price. Ask for the sale price and barter with them. In most instances, music stores can cut at least 5 to 10% off a given product. Don't hesitate to offer a lower price. It never hurts to ask. Used Equipment

Used equipment is a great way to start •out. Check the classified ads often found on music store bulletin boards. Some areas have a whole newspaper devoted to want ads. Check out local pawn shops.

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A P.A. boards come in as few as 4 channels to as many as 48. For bands starting out, the six- to twelve-channel range is more than enough. There are two kinds ofP.A. boards: powered and unpowered. .... A powered board is more convenient because it's an all-in-one unit, while an unpowered board with a separate amp offers greater, cleaner power.

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Stereo power amps offer greater flexibility for a growing band.

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The Day of the Gig You wouldn't run a marathon without stretching your legs, eating right and drinking some juice, right? Singing with a band is just as strenuous, so you need to take care of yourself. On the day you're to sing, make sure you've warmed up vocally. Some rock singers find it helpful to also do mental and physical warm-ups prior to a performance. (Vocally, have a set of three to five of your favorite exercises from this book to run through before taking the stage.) Knowing you are warmed up and have done your preparation will give you some control over the situation and increase your selfassurance on stage. Taking the stage with a band can be one of the most exciting experiences of your life. It can also be way frightening. Confidence makes the difference. If you don't feel confident, just act like you're confident.

Just by pretending we are confident, some of that sureness slips into our being and will make us better on stage. Audiences are generally on the siqe of the performer, wanting them to do well. Everyone knows what it is like to watch someone uncomfortable on stage struggle through their piece. Their uneasiness affects everyone in the audience , which subsequently ends up sharing the agony along with the performer. Practicing every element of your performance is the best way to gain confidence. Rehearse everything, from start to finish. Practice the way you will walk out onto the stage, all the nuances, gestures and movements during the song, and finally how you will leave the stage. Practice how you will hold the microphone (or how you will stand at the microphone with your guitar or at your keyboard). Study your body language in a min-or to make sure you are giving the effect you want. Stand confidently as if you own the stage and act like you really want to be there. Go over this until you feel comfortable with it. Take it one step farther, and visualize yourself all the way through a successful gig. Consider videotaping your performance (or even your band practice) so that you can see yourself as the audience sees you. Study it carefully and make any necessary adjustments you want. The two most important aspects when singing with a band are confidence and energy. When you have both, you'll be well on your way to being a great rock singer.

No rock singer exudes energy and confidence like Mick .Jagger of The Rolling Stones. Since being one of the leaders of the British Invasion of the early 1960s, Jagger has continuou.sly rocked audiences with his great voice and playful stage antics.

SS

PART V: MAKING IT HAPPEN: SINGING IN THE STUDIO Singing with a band at parties or in clubs is a completely different animal from singing in the studio. It's usually an expensive process, and singers in particular have a lot riding on a decent recording. You've got to know what you're getting into so that it's a positive experience. The number one thing to remember about the studio is that recording tape is ruthlessly honest. It records exactly what you're doing ... so you better try to have every phrase, every dynamic, every detail down pat before you crawl in that vocal booth! We'll help you get there. But first, let's back up a bit ...

Why Are You Doing This? There are many reasons to record your music. Maybe you want to sell your songs to a music publisher. Maybe your band wanes to make a standard threesong demo tape to use in getting a record contract. Maybe your band is doing so well that you want to produce and manufacture your own tape to sell at gigs and local record sto res. Maybe you just want to record yourself singing for fun or to capture the sounds you hear in your head. Whatever the reason, there are few things as musically satisfying as getting a great recording of your music. Recording will force you to tighten up your act and make you a better singer. It will also give you the opportunity to take a hard look at your tunes, making you a better arranger. You're an artist, and you should document your work for your personal satisfaction-never mind that it's the way to further your musical career. The recording studio is an integral part of this process. Making a great recording of your music and listening to it six months later in your living room alone will teach you more about your music than you ever thought possible. The problem is making a great recording. It's not easy. Many rock singers wander into the studio with high expectations, ready for that studio magic to make them sound like a star, and thinking they can knock the whole project out in an hour or two. These are

usually the same first-timers who get halfway through their now way-over-budget project before they realize they're clueless as to what is going o n, and it's all they can do to keep from laying their head inside their drummer's bass drum and crying hysterically. A demo is important. Doing it rlght--kl!lowing your goals and limitations, how the process happens and what to expect-is the most important tlhing you'll do in your musical life. Preparation is the key.

How Do You Know When You're Ready? If you think you're ready to start recording, and

you've never done it, think again. Many people make the fatal, frustrating assumption that the studio will make their music perfect-tighten it up, polish it, make it better. It can certainly do those things, but only when your act is together -tight, ptolished and better than you've ever been. Reality check: there is no magic studio dust that falls on you, hides your weaknesses, covers your inadequacies and makes you sound like a roclk star. Go into the studio with the attitude of a samurai warrior. Think of it as it is--a monster that, if you get on itS bad side, can stomp your musical dreams into the ground. The studio records exactly how you sing: not how good your song is, not your good intentions. It doesn't take into account your winning personality or your charming smile. It's reality, and it's ruthless. When you're singing around your living room, you sound great. You have a decent voice and you're singing your heart out. The living room is generous. The studio isn't. Normally, if your vocal chops are a little sloppy and you're not exactly on pitch, or if you struggle with that high F-no biggie. That all goes unnoticed when you're performing live. But when you're recording, any sloppiness or previously unnoticed flaw can be glaring and can quickly transform you into a studio nerd. Before you think about going into the recording studio, get as good as you possibly can.

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Studio Shopping-Looks Can Be Deceiving Studios are a lot like roaches: just because there are only a few that are visible doesn't mean there aren't a million lurking behind the walls. Allow yourself up to a couple of months to find the right recording studio. Any decent-sized city will have several professional studios. They will be well-known and even listed in the yellow pages. Once a year, Mix magazine, a magazine devoted solely to the art of recording, publishes a listing of studios for every area of the country. The list contains many commercial studios that arc big, wonderful and expensive-probably $200 an hour and up. These studios often record many bigger bands, have lots of commercial clients and sometimes double as a sound stage. Mix also lists relatively inexpensive, smaller studios and so is a good place to start looking. Check out as many studios as you can, even if the bigger ones are way over your budget. For one thing, most of these places have special weekend and latenight rates that could bring their prices within your reach (assuming you have a long reach). As part of your studio education, go look at everything, even though you probably won't be recording at one of these big studios.

There are probably many "underground" studios in your town. These won't be listed in the yellow pages. They are elaborate and not-so-elaborate home and semiprofessional studios located in somebody's basement, garage or bedroom. They have anywhere from 4 to 32 cracks and vary wildly in price and quality. Mose beginning rock singers and bands do their recording in these studios. You'll find them through notices on the bulletin board of your local music store. If there's an alternative magazine or newspaper in your area that appeals to musicians (distributed in clubs, used record and clothing stores, etc.), you can bet they will be listed there. You'll even find some in the classifieds of your daily paper. Keep an open mind-and be suspicious at the same time. Nice-looking studios with smooth-talking owners can actually be run by people who don't know what they're doing. Just because they own a studio and have a great bunch of shiny new equipment doesn't mean that they know !how to use it.

So much for the "visible roaches." Now it's time to look beneath the surface.

Where the big boys and girls play: Abbey Road Studios, England.

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Sometimes the least impressive looking place can be the best place in town. When we were studio shopping, we heard about a guy who turned his little house into a studio. It was in a run-down neighborhood-a real demilitarized zone-and his house was a one-room shack.

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But he had it crammed with top-notch equipment. An ugly, torn-up couch took up what little room there was (he slept on the floor-he was terribly bohemian). Because of his low overhead and because he lived in a location where running water was considered a luxury, he could cut a ridiculously good deal. He turned out to be one of the best engineers we've ever worked with. He was incredible and produced high-quality recordings for dirt cheap-you just didn't want to drink from his coffee mugs. So how do you know? Obviously, finances are going to dictate a lot. But when you go shopping for studios, remember these points: • Check out a sampling of projects that have been recorded there. Don't spend money on a studio without hearing previous results. Sit and listen carefully. Does the music sound good? Can they do your type of music? Trust your ears. Plus, for whatever they choose to show you, find out how long it took, how much the group spent on the project and if you'll get to use the same engineer. • More than any other person outside yourself, the engineer will make or break your project. In most instances, semipro and home studios will be engineered by the owner. Is this person competent? Do you like this person? Is this someone you feel comfortable with? You can record with great engineers who are jerks and get bad recordings. You can also record with really great people who don't know what they are doing and get bad recordings. You want someone who knows what he or she is doing and is easy to get along with. The engineer is as important, if not more, than the studio or the gear it offers.

Evan Smalley is owner and engineer of The Studio, a 32-track studio in Kansas City that records a lot of low-budget demos. He says poor musicianship is the most frequent cause of bad recording sessions. ulf you suck, don't record yourself. Other than that, be as prepared as you possibly can. Also, bring an extra set of lyric sheets complete with chord changes for the engineer. It can help when he or she is recording you and especially later during the editing process. n

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The Producers Most of the time, singer/songwriters or bands will be doing everything on a ridiculously low budget. The question of a producer will come up. Traditionally, a producer is a person hired to supervise the entire recording process. He or she makes the final decisions on sounds, effects and the mix, offers suggestions on arranging, etc. In the world of professional recording, producers do everything from ordering pizza to playing on projects to even cowriting songs (on Alanis Morisette's ground-breaking jagged Little Pill recording, producer Glen Ballad cowrote all the music in addition to playing guitar.)

Friends may volunteer to produce your record. Even if they aren't going to cost you anything, think long and hard before you give up any control on what is your (or your band's) project: If you're really comfortable with someone else and know they can help you out, then give them "coproducer" s.tatus-with the clear understanding that it is you who has the final word. Even if you have no idea about the details of your music and the whole process intimidates you, you'll be surprised at how many definite ideas and strong feelings you have about yom music once you get in the studio. And that's a good thing ...

You may know someone who's had studio experience, who you respect and are comfortable with, and who's willing to come in and help you with your project for free. This is great if it happens, because an extra pair of ears-especially a pair that knows the turf-can be a great benefit. If you're lucky enough to fall into this situation, go for it, but know what you're expecting from each other ahead of time.

You really don't need to worry about trying to hire a producer. No one knows your music like you do. Even if you've never been in the studio before, if you do your homework, you'll do fine without one. Also, many times the engineer will act as a coproducer. Ideally, he or she is a musician and songwriter as well and will be able to help you. Don't be afraid to take the producer's reins into your own hands.

Singer/songwriter Stevie Wonder has been on the forefront of pop music since the 1960s. To get his vision of his music recorded exactly the way he wants, Wonder has often produced his own best-selling albums.

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Arranging Your Music

Lean Is Mean

If you're recording with a band, before you start, take a hard look at the arrangements of your songs. (An arrangement is essentially how a song works musically-that is, which instrument plays what part and when.) If your band is already playing the songs live, then you probably have parts worked out. If this is the case, you'll still want to rearrange. What works live doesn't always work in the studio (and vice versa).

A common problem with singer/ songwriters and, bands is that their music is way too busy. Some "busy" bands can almost get by playing: live, with the excitement and energy carrying them through. But being too busy-having a lot going on musically all the time-generally makes for bad music.

Maybe you're known as a hard-rocking, high-energy band, every one of whose songs is louder and faster than the previous one. That's great for playing clubs, where people love to bump and grind all night, but for a recording you will want to work in some musical subtleties and dynamic variations to make your sound musically interesting. Beating your fans and A&R people over the head with the proverbial sledgehammer of "loud" doesn't make for an impressive recording. (Take a listen to Nirvana's "Smells Like Teen Spirit." As loud and driving as that tune is, it becomes all the more compelling when it drops to the quiet bass, drum and two-note guitar part.) If you have a band, play every song you're even remotely thinking about recording live before you step into the studio. Often you'll write the Great American Song, work out a killer arrangement that has your heart throbbing all over the place, put it on tape and have it turn out to be a big ol' lame duck of a tune. If possible, play your songs live and experiment with the arrangements. Play them a couple of different ways, reworking until you've got them down. There are a million different ways to arrange a song, and part of getting a good recording is finding the way that's right.

This is especially true when you put music on tape. You want your recording to sound professional, and that means uncluttered. You want A&R: reps, fans and yourself to be able to hear the music come through, not be mowed over by a wall of sound. Before you go into the studio, listen hard to your music and look for places to trim it. "Less is more," and all that stuff.

The Whole Is Greater than the Sum To get a great sound, you need to take your music apart. Each instrument needs to act as a piece of the puzzle and fit together perfectly with th e others. 1

This is a typical situation: say the rhythm guitarist wrote the song. She's always strummed. all the chords on every beat. The keyboardist plays the full chord with lots of fills on every beat. The lead guitarist also strums all the chords on every beat. Since it's a rockin', driving song, the bassist plays fast quarter notes all the way through, and the drummer, to create a lot of excitement, adds a lot of fills and cymbal crashes. This is a common way songs come about, but if you're going to have a great sound, it's one you need to rethink. Each musician playing your material needs to think of making a pan-not just duplicate what the songwriter shows them.

If you don't have a working band and know some musicians, get together and jam on your tunes enough so that you can have a little party and play for people. Getting instant feedback--even in the form of body language~an help you decide what to record and what not. You never really know what's going to move an audience until you play in front of one. If there's any way you can play the full arrangement of your music in front of people, even if it's a select group of friends, do it.

For example, the rhythm guitarist might want to play half as much (say, half-note strumming instead of quarter-note strumming). The keyboardist might consider just holding part of the chord (s:ay, the root and the fifth) on the chorus to create tension and interest. The lead guitarist might want to accent the occasional chord, adding emphasis on important beats. The drummer might consider doing that big drum fill only once at the end, when it w ill really pay off. With everyone playing less, the bass player might still play her quarter notes, but now that the song is a lot less cluttered, it will really be driving.

Ideally, you'll have twice the number of songs in your repertoire that you want to record. By playing all of them live, you'll be able to gauge the best material and arrangements, and record the best of your best.

Experiment with different arrangements--but do it before you step into the studio. Never forget that the studio is not the place to try new things. Have it all worked out before you get there.

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Background Vocals Background vocals add to most arrangements. Even heavy metal bands use background vocals effectively. For your recording, you need to consider them. But if you choose to go with background vocals, they need to be done right. Of course, having people who can sing can be a serious advantage. Many amateurs make two big mistakes with their background vocals: they use their friends or band members (whether they can sing or not) and they don't rehearse.

Even though a lot of people can carry a tune, it's important that you get people who can sing well. This is tricky, because egos are involved. Sometimes the keyboardist can get by doing a small background vocal part playing live, but under the microscope of the studio, face it, he's not cutting it. If you have to, look outside your band to get good singers. Church and school choirs are good places to look, since many of these singers already know how to

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The solid, rich vocal harmonies of Boyz II Men, combined with their ability to blend many musical styles, have propelled them to the tops of several charts.

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blend and harmonize. Also, another local band known for their great vocals would be a good way to go. Background vocals are tricky, because a lot of people who record and sing lead don't sing exactly on key, and they get away with it. But background vocals need to be on, or they make the music sound like it came from a novice. There have been instances of a well-intentio ned performer bringing in background singers without a rehearsal. A simple background vocal on a simple tune may seem like no big deal, but for maximum efficiency, every detail needs to be wo rked out before the tape rolls. Rehearse everything you can before you go into the studio. This certainly goes for "simple" background vocals. How many singers do you need? If this is one of your first sessions in the studio, err on the side of caution and keep everything you plan to do as simple as possible with the fewest people involved. If possible, try to simulate the studio environment (let your vocalists listen to a recording of your music, even if it's just you singing or playing into a boom box). Find out what the engineer's preference is in terms of recording background vocals--whether it's wanting all the singers to sing into one or two mikes as a group or wanting to mike each singer individually. If the engineer gives you a choice, have your vocalists sing together into two mikes. It's simpler, it takes up fewer tracks, and you'll get a better blend. As the singer for the band, you may be tempted to do the background vocals yourself. Billy Joel, Joni Mitchell, Sting, The Artist (Formerly Known as Prince) and many others are known for overdubbing their background vocals successfully. When you have a few albums under your belt, by all means, knock yourself out. Even competent, multitalented musicians should avoid doing excessive overdubbing of any kind on their first trip into the studio. Overdubbing vocals is hard and frustrates the most talented and experienced musicians. Even if you sort of pull it off, you're not going to get the rich, full diversity that having other people sing background can provide. Finally, doing a bunch of single overdubs on anything will cost you more than if you just get a group together and lay it all down at o nce.

Preparing Yourself No matter how long you've been singiing, your . technique can always be improved-es pecially for recording. Practice alone (ideally, with a microphone) and sing all the songs slowly. Now is the time to nail down the subtleties of the music (dynamics, legato vs. staccato, etc.). If you've ever thought of changing a key for a song so you can sing it better, now is the time to do it! (Often, for some reason, rock singers can sing a song fine on stage, but when he or she goes to record it under the microscopic environment of the recording studio, he or she needs to move it up or down a key- a very expensive proposition if th e other instruments have already recorded their part!) 1

Singing your part alone is important because sometimes when you're practicing with a group (which, of course, you should continue doing), you listen to the whole of the song instead of your partwhich is what you should be doing. Buit the studio will dissect your music, so everyone needs to have every part down. One of the biggest miistakes is being unprepared, so practice smart. Sectional rehearsing is important, too. If you're singing background for someone else and they're singing background for you, get together and practice just the background singing.

Your Voice As we've previously pointed out, since your voice is permanently attached to your body, you need to take special care to do whatever you can to avoid colds. Before you sing, avoid any dairy produclts, because these can cause unwanted mucus. Are you a day person or a night person? When does your voice sound best, and when do you most feel Bike singing? Schedule your vocal session for the time of day you're most comfortable singing. Singing can make you feel self-conscious, so remember, no request is too weird. Ask everyone to leave, or ask them into the vocal booth to hold your hand. Ask to sing in the dark or with a spotlight on you.

Final Preparation Don't overlook anything. Anticipate any potential problem and take care of it before it happens in the studio.

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Overdubbing Versus Live Overdubbing is the process by which tracks are laid down individually, one at a time. For example, the drummer first plays his part alone, then the bass player plays her part alone while listening to the drum track, then the guitarist, etc. The tracks are thus "layered" on top of one another. Recording "live," on the other hand, involves all the band members recording together at the same time.

Even in a live recording session, overdubbing is usually done-maybe it was a great take except the keyboardist made a major error on the second chorus. Through the magic of the studio, you can go back and fix that mistake without having to rerecord the entire part or song. Here's how this is typically handled: After the take, the keyboardist will listen to the recording, then play along with it alone. When they get to the flubbed part, the engineer will "punch in" and record over the mistake, then "punch o ut" and save the rest of the

recording. Of course, you don't want to count on this option-you want to get it right the first time--but it is a common way to fix things. Sometimes, because of the complexity of the part, punclhing in and out is not possible, in which case the keyboardist will have to do the whole part again by himself. Most sessions make use of both approaches. At the very least, the vocals are overdubbed after all the other tracks have been recorded. (Sometimes the band needs the vocals as a guide, in which case you may want to record what is called a "scratch vocal track"-a track you intend to erase, but that serves as a guide for the band.) If you have a well-rehearsed band or group, it is recommended that you record with as many of the instruments at one time as possible. This will save money (because it won't take as long) and will be easier on your needs.

Overdubbing every track can lead to a more technically precise recording. With this approach, the rhythm guitarist plays the song alone--0n just that part-and punches in and out until the part is perfect. Then the b:ass player sits down and JPlays until she makes it perfect, and so on. But unless you're a studio pro, the problem with this approach is that it can lead to a lifeless performance, void of any energy or excitement, even if everyone has overdubbed every part perfectly. And it's definitely more expensive. If you're on a budget and can rehearse your musicians, your recording will be better and more economical if you lay down as many tracks as yo~ can at once, overdubbing only for the occasional mistake, sweetening with an auxiliary instrument, and then recording the lead vocals.

On her album Fat City, Shawn Colvin was ahle to layer rich orchestrations: through overdubs without cluttering her tunes.

Pacing Yourself Under the category of "it's going to take longer than you think" falls the inevitable late-night session. Often musicians go into a session scheduled in the evening, say at 7 p.m., thinking something is only going to take three hours. Suddenly, it's 1 a.m. and you're just getting to what you need to do. Tense and stressed about going overtime after what may have already been a long day, plus thinking about what time you have to get up in the morning ... well, let's just say it's not conducive to doing your best singing. Even if it's a Saturday and you go in free of any time constraints, trying to do too much in o ne session can lead to weak performances. The problem is that there is usually pressure to get things done quickly (and cheaply), and the grind of the studio can create an atmosphere of hurry-up-and-wait that can be aggravating and creatively draining. Recording can be a draining experience, so try to break it up into several chunks of time. Don't schedule time slots that are too short to get anything accomplished (you need at least three hours). Don't do too much at once or let the session go hours longer than you had planned. Even if you try to avoid having late-night sessions, they are still going to have you. Often studios offer discount prices if you book big blocks of time, and often the cheapest time is late at night. There will be times when doing a long, late-night session is unavoidable. If this is the case, go in as well rested and "on" as possible. Not to sound like Mom, but get a good night's sleep and don't go into the studio until a full 30 minutes after you've eaten.

Studio Do's and Don'ts This important, expensive and time-consuming event shouldn't be taken casually. It's a serious business venture. To get the best recording and have everything go smoothly, consider the following: • Drink plenty of water! Keep your voice limber and warmed up and definitely do a few exercises from this book before you record. Don't talk more than you have to between takes ... and if your voice is becoming too stressed, then stop and rest. Reschedule the session if you have to. Nothing is more important than the health of your voice, in or out of the studio. • It's a session, not a party. Don't have anyone in the studio who doesn't absolutely have to be there, especially boyfriends and girlfriends. The recording studio has a certain mystique, but it can be one of the most boring places on earth. Having friends, well-wishers and significant

63 others around trying to keep themselves amused can be extremely disruptive, even if they want to come hang out under the guise of being "consultants." Remember the one about too many cooks? Well, after dinner, they ruined the session, too. • Don't keep beverages of an intoxicating nature around, even to "loosen you up." No one sings better under the influence of anything, especially in the studio. This is true for all drugs. Don't do them.

What to Expect When You're Recording A word about actually laying down you1r vocal track. The studio will probably be a new environment for you, and you'll feel awkward and nervous as a result. Even if you're recording in your own home, you won't be used to many of the miscellaneous studio trappings (headsets, click tracks, cables, etc.), so keep a couple of things in mind: • Make yourself as comfortable as possible. It sounds obvious, but often an engineer will have a chair set up for you. But maybe it's not comfortable, or you want to stand. One musician we knew always brought his own stool to the studio-that's what he practiced on, that's what he was comfortable with, and he didn't like the studio chairs. Some artists need to simulate a live environment and need to stand before a microphone (even if it's not plugged in), imagining an audience in front of them. Then there's the famous "shy vocalist" syndrome-when a vocalist needs aU the lights turned out, including those in the vocal booth, to belt one out. Legend has it one guy was only comfortable singing with all the lights out, buck naked. This is a little extreme and isn't advised, especially for really ugly singers. The point is this: do whatever you need to make yourself comfortable. Your personal comfort will add significantly to your performance. •Have fun. Too often musicians not used to recording get too nervous, too tense, too caught up in the details. Although it's important to work hard and pay attention to every note you sing, that's before you actually record. Once you're in the studio, you've done your homework. The more you relax and have fun, the better your recording will turn out. Recording is more than just getting the notes and parts right; i1t's creating a feeling. It needs to have soul and personality, so don't get uptight or nervous. People like to hear people having fun (yes, it does come across).

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Headphones You'll be sitting there ready to sing with a set of headphones on. The sound in your headphones can be mixed a number of ways, ranging from just the click track to the entire band, from whatever you're doing and hardly anyone else to everyone else but you. Before you start recording, the engineer will ask you about your "headphone mix." If you've never encountered this before, you won't be sure what to ask for. Getting the right mix in your headphones is crucial, and the right mix will be drastically different for everyone doing a part. A singer may want to hear a mix of all the instruments, while a rhythm guitarist may want to hear only the bass guitar. Getting a comfortable headphone mix will be crucial to your playing in synch and producing a good track. Often newcomers are intimidated by the studio and, in the rush to get things done quickly, settle for a mix that is difficult for them to sing or play along with.

A common error is this: The singer/ songwriter is also the sole producer. He really hears his voice for the first time in the mixdown and it makes him a little uncomfortabl~like it does any of us when we first hear our voice reproduced on tape. Consequently, the vocal track will seem loud to him, and he'll keep saying things like "Does the vocal have to be ·up that much in the mix?" The engineer will oblige him, and he'll accidentally bury the vocal in the mix-a sure sign of an amateur. Remember that as your recording goes from master to mixdown tape to cassette tape to car stereo speaker, the sound quality w ill degrade. Some of the higher frequencies will be lost, and most vocals are in the higher frequencies. So even when the vocal seems a little "too much," it really won 't be by the time you hear it three or four generations down the line. Keep your insecurities in check, and make sure the lead vocal is always prominent. If you have to bury it too much, you may as well bury the tune.

Final Word We covered a lot in this book, and the more you're able to absorb and put into practice the better a rock singer you'll be. Refer back to it frequently, and keep working through your favorite exercises and songs. But if you don't remember anything else, remember the following: 1) Take care of your voice. You've got to keep it

healthy and avoid straining it. llf you're ever doing something that physically feels bad, then stop immediately! Also, always warm-up before practices, performances and recordings.

Get used to singing while wearing headphones before going into the studio.

Don't hesitate to change your mind. A mix may sound just right, but when you start playing it can be all wrong. Stop the track, and tell the engineer you need more of "x" and less of "y." Change it for every take if you must. (Believe me, engineers are used to this.) Do whatever is needed to get a good mix in your head. One more pointer: Don't cover both your ears with the headphones. Place one phone tightly against one of your ears and the other tightly against the side of your head. This way, you'll hear yourself singing in the room, which will help keep you on key and let you concentrate on the real tone of your voice.

The Final Mix The lead vocal is the most important part of a song. When people listen to a song for the first time, they listen first to the melody. Since the melody is carried by the vocal, it needs to be heard.

2) Sing in a comfortable range and make the band change keys to suit your vocal needs. Singing too low or too high can damage your voice, besides make you sound bad. 3) Believe that you can sing. Sing with confidence, energy and conviction always. 4) Always bring plenty of duct tape to your gigs. (You'll need it-trust us.) 5) Be yourself and find your own style. Copying others will only delay your own success. Learn as much as you can about technique , singing, performing, music, arranging and recording. The better musicians always know the most. And remember: Singing is the first art, and the most expressive of all the instruments. So trust your instincts and sing with passion, and you'll never be wrong-unless you trip on the mike: chord. So don't do that and you'll be great.