How To Sing: Style

What makes a song interesting?

In this video you will learn how to add style to your singing by developing dynamic and tempo contrast.

Learn the 5 Elements of Style in my X FACTOR VIDEO SERIES

Share on Facebook

How To Sing: Discovering Your Range

I Want A Bigger Range!

This statement is one that I have heard many times as a vocal coach.  In this video you will learn how to increase your range safely.

Develop your range further by enrolling in my FREE MINI COURSE

Share on Facebook

How To Sing: Develop Vocal Flexibility

Vocal Flexibility

In this video you will learn how to add agility and flexibility in pitch and rythym.  Flexibility is a vital ingredient when it comes to contemporary singing.

Access my FREE Mini Course HERE and receive 5 video lessons.

Share on Facebook

How To Sing: Power

The Secret to Singing With Power!

In this video you will learn how to use the cavities of your throat and head to add power to your voice.  Are you sick of having a tired voice trying to belt the sound?  Do you tire easily?  Develop resonance to solve your problems.

Learn more about your voice by enrolling in my FREE Mini Course

Share on Facebook

Energy And Pyschology. A Singers Secret Weapon.

So, you have a solid technique, you have developed style to your singing.  You have done everything ”vocally” to master your voice.  There is however another aspect of singing that is overlooked.  An aspect of singing that sets apart the amateur singer to the professional singer.

ENERGY

An energized body will lead to an energized voice!

Exercise: Walk into a room with your shoulders slumped, head down, yawning and feeling very lethargic.  Notice your energy levels.  Now sing.  What do you notice? What is often lacking is certain “spark”.  A singer may be technically great, but a technically great singer may sometimes appear robotic and lack intensity.

So how can we create energy?

• Light exercise before you sing
• Move while doing vocal exercises.

Motion leads to Emotion

This leads me to my next point, physiology. As a singer, your instrument is your body.  By now you should realize that nearly every muscle in your body contributes to the way you sing.  The way you present your instrument (body) can alter your energy levels and also the way people perceive you. Let’s take the first example again.  Remember, lethargic, slumped….. Now walk into a room with energy and vitality.  Chest high, head up, smiling.  Now sing.  Is there a difference to your voice?  How differently will people perceive you? I can tell within seconds in my private coaching sessions how well a student will perform that day just by the way they walk into the room.  Your physiology, the way you move, the way you hold yourself directly affects your state of mind, your Psychology.

Psychology and Singing

A singer can have the most talent in the world but unless they have the mindset to take full advantage of their talent, it will go to waste.

The mind has the ability to create or destroy.

3 examples of successful singers:

1. Natural talent and positive mindset.  This singer is very rare.  They become the superstars we know today.
2. Learned talent and positive mindset.  This singer is very common in the classical world.  A singer may spend 10 years studying and a couple of years trying to get a break.  They never give up and eventually “make it”.
3. No outstanding talent but a positive mindset.  This singer probably won’t win any singing competitions yet somehow is able to make a living out of singing.  I’m sure you can think of examples in today’s pop music.

3 examples of unsuccessful singers:

1. Natural talent and no mindset.  This singer has all the talent in the world.  Unfortunately they are full of excuses as to why they haven’t “made it” as a singer.  Confidence and self esteem issues are usually the problem.
2. Learned talent and no mindset.  This type of singer will give up easily.  They often fear rejection.
3. No talent and no mindset.  Occasionally I come across a student who doesn’t possess any talent and who is hesitant to learn anything new.  This singer is often under the illusion they are a good singer yet when they are told otherwise they become defensive and angry.  I’m sure you will have seen this on a popular prime time singing competition.

Talent can only take you so far.

Technique can only take you so far

The singer’s mindset will determine how successful they will be.

Which category do you fit into?

The Learning Process

As a singing student you must realize that learning to sing is a lifetime of study.  You cannot master singing in a month, a year, or even five years.  Remember that your body is your instrument and it will change throughout your life.  With that in mind, patience is the key.  Build skills slowly and add to your technique on block at a time.  The more time you spend laying the foundations, the more skills you will be able to add over time.

Don’t rush it!

Beliefs. Beliefs form a big part of the learning process.  There are two types of beliefs:

1. 1. Empowering Beliefs
2. 2. Disempowering Beliefs

Empowering Belief	Disempowering Belief
I CAN do it	I CAN’T do it
I AM a good singer	I am NOT a good singer
I LOVE singing high notes	I CAN’T sing high notes

Disempowering beliefs are dangerous when learning how to sing.  If a student believes they can’t do something even before they have even attempted it, they will be in a constant battle with themselves.  This will result in frustration.  As a student you need to be open minded and free of any preconceived ideas and beliefs when learning how to sing.

Mistakes

As a society we have been conditioned to believe that mistakes are bad.  In the schooling system a student is punished for making a mistake.  Mistakes = Failure.  It is no wonder that when a student of mine makes a mistake, their first reaction is one of anger and frustration.

Mistakes are a singer’s best friend.

Mistakes are the quickest way to learn.  Mistakes do not equal failure.

Mistakes = opportunity to learn and grow.

When you hit a “wrong” note or have a moment of “cracking”, have a laugh about it and don’t take it to heart or get embarrassed.  The more mistakes you make, the more you will learn.

Evaluate

As a student it is often hard to gauge how much you have improved.  There are certain things you can do to keep track of your progress.

1. Keep a journal and take it to your lessons.  Write down anything you are struggling with, and any small breakthroughs you have.
2. If possible arrange to have your lessons video recorded.  You will be able to view your progress over weeks, months and years.
3. Set yourself goals and evaluate yourself monthly.  I have included a handy chart which will aid you in this area.

A well rounded Voice.  Equally developed in all areas.

A Poorly Trained Voice

Strong in some areas, but weak in others.

Imagine that this is a wheel on your car.  How smooth would your car feel when driving?  How efficient would it be?  How long would it last? Your voice will behave in the same way.  Singing will seem hard, frustrating, and unpredictable.  Your voice will tire easily.  The truth is most singers start out like this.  By evaluating what your strengths and weaknesses are you will know which areas of your voice to focus on.

Aim to be equally strong in all of the areas.

I hope this article has been useful to you.

Ian Castle

Share on Facebook

Learn How Sound Is Produced

How Is Sound Produced?

To view this article as a video click here.

Sound is produced by the vocal folds which are two matched folds of tissue positioned on the right and left sides of your larynx.  Your larynx is the “Bump” you can see and feel in the lower part of your neck.  When the vocal chords are at rest they form a “V” shape.

When inhaling they expand to allow air in.  They remain open when exhaling.

When making sound, the chords are drawn together.  Pressurized air flows up from your lungs creating a ripple effect on the chords that travels through your vocal tract (throat) and out through your mouth.

In my article on breathing I discussed the use of the silent breath. The way you breathe has an impact on your vocal chords.  If you take a loud audible breath, the sound that you are hearing is the air rushing past your vocal chords creating unnecessary tension.  If your vocal chords are tense during the inhalation process, they will be in a tense position when you vocalize.  The use of a silent breath eliminates this unnecessary tension.  The vocal chords remain in a relaxed state during inhalation and therefore are in a relaxed state to vocalize.

Think of the relationship between your breathing technique and vocal chords as a garden hose!  Let me explain:

• Pressurized water is pumped through a garden hose to an adjustable nozzle.  The nozzle can determine how much water to let through.  It controls the pressure.
• Pressurized air is pumped (by the diaphragm) through our windpipe to our vocal chords.  The vocal chords determine how much air to let through.  They control the pressure.

Now that you know the role of the vocal chords in producing sound, let’s discuss the onset of sound.

A good beginning to the tone is vital to the rest of the phrase that you sing.

There are 3 ways we can position our vocal chords to make sound:

1. The Hard Onset
2. The Soft Onset
3. The Balanced Onset

The Hard Onset

During the hard onset, the vocal chords close fully after the inhalation of air.  This creates a large build up of pressure. When the chords are open, the air rushes though causing an exploding sound.  This sound is quite harsh and not very pleasant on the ears or the vocal chords!

Try it….

AH                  AH                  AH                  AH                  AH

The Soft Onset

During the soft onset, the vocal chords remain partially open after the inhalation of air.  There is a lack of pressure because the air is flowing before the chords come together.  This will result in a “breathy” sound.  Some artists use this sound for stylized purposes, but generally it is not an efficient way to produce a decent tone.  During the exercise add a “H” before you vocalize the “AH”

Try it….

HAH               HAH               HAH               HAH               HAH

The hard onset and soft onset should not be used for skilled singing.  They are demonstrated here to give you an understanding of how sounds are created.  There is a more efficient way to make sound.

The Balanced Onset

The problem with the hard onset is too much pressure, and the problem with the soft onset is not enough pressure.  The balanced onset is somewhere between the two.  The vocal chords remain relaxed in a partially closed position.  There is still enough pressure to project the sound, but unlike the hard onset the sound will not explode.  It is a more gradual release of the pressure.

Try it….

AH                  AH                  AH                  AH                  AH

It is useful to practice this exercise with the use of vocal fry at the start of each “AH”.  Vocal fry is the vibration of the vocal chords at their slowest vibrating rate.  It is very easy on the voice.  If you are having trouble with the sound try and imitate the “creepy sound” in the movie “The Grudge”, or the sound cartoon character “Elmer Fudd” makes when talking.

The balanced onset is vital to the development of your tone.  It is important that you take the time to get comfortable with vocal fry.  You can download an exercise to develop vocal fry in my article How To Develop Your Tone.

To view this article as a video click here.

I hope you have learned something about your voice from this article.

Ian Castle

Share on Facebook

How To Sing: What are Vocal Chords?

How is sound produced?

In this video you will learn how sound is produced, what your vocal chords are, and the most efficient way to coordinate your vocal chords to produce a great sound.  You will also learn about the improper ways that singers create sound.

Ian Castle

Share on Facebook

Why Breathing Is Important For Singing

What does breathing and posture have to do with the way you sing?

Your breathing muscles are attached to your skeletal frame.  If your body is out of balance or alignment you cannot perform skilled breathing which is necessary for singing.  It makes sense to create a balanced body before learning anything else.

What is the difference between breathing and skilled breathing?

You already know how to breathe, it is one very important element of sustaining life!  The way we are taught to breathe from an early age is adequate to oxygenate our bodies and to support everyday speech.  This type of breathing is called “tidal” breathing.  It is very shallow and high in the lungs.  It isn’t adequate however to sustain skilled singing.

There are 4 types of breathing co-ordinations.

1. 1. Ceiling Breathing

This is another way to describe “tidal” breathing.  It is called ceiling breathing because the air fills up in the top half of the lungs.  This causes the chest and shoulders to move vertically when breathing.  This type of breathing causes unnecessary muscles in your throat to contract, affecting vocal efficiency.

Do this….

Pretend you have just gone for a quick run (or actually do it!).  Notice what happens to your chest and shoulders.  Are you using any neck and throat muscles?

1. 2. Floor Breathing

You may have heard the expression “breathe from the diaphragm”.  This is a very common phrase used by many vocal coaches.  It is slightly misleading to use this phrase when learning how to sing because you can’t actually “fill” your diaphragm with air.  It is quite common for a singer (and sometimes teacher!) to take a breath in and say “that’s my diaphragm” while pointing to their expanded abdominal area.  This is untrue because you can’t actually see or even sense your diaphragm.  So what is this “mysterious” muscle?

The diaphragm is a domed shaped muscle that is attached to the bottom of your lungs.  As you breathe in, the diaphragm descends so that it “flattens out” at the bottom of your rib cage.  It is this action that terms “floor breathing”, as the air is sent to the bottom of your lungs.  As the diaphragm returns to its resting position air is exhaled.

When the diaphragm “flattens out” it pushes the contents of your abdomen down and out.  This expansion of the abdomen gives the effect of the stomach filling up with air.

Do this….

Stand with proper posture.  Put your hand over your stomach.  Do a series of short “sh” sounds.  The goal is to make your stomach move your hand.  See if you can now do the same exercise doing a pant.  Gradually increase the speed of the pant.  It is important that you relax your abdominal muscles.  If you tighten these muscles the diaphragm cannot descend and flatten out.  This is a very common reason students struggle to develop floor breathing.  As a result ceiling and wall breathing will occur.

1. 3. Wall Breathing

As the diaphragm flattens out it shifts the abdominal contents.  It also forces the lower ribs to expand.  This expansion and contraction of the rib cage is termed wall breathing.

Do this….

Place your hands under the bottom of your ribs.  Experiment by taking a couple of normal breaths, and then larger breaths.  During the larger breaths you should feel the lower ribs move out slightly.

So what breathing co-ordination is the best for singing?

1. 4. A combination of floor and wall breathing.

Do this….

Sit on a chair or on the floor.  Pull your knees up to your chest and wrap your arms around your legs for support.  Take a couple of normal breaths.  Focus the air to your pelvic area making sure that you relax your abs.  As the air fills up from the “floor” notice your lower ribs engage and expand.  You should also feel the muscles in your lower back stretch as well.  Now take a more energized breath.  As you exhale make a “sh” sound.  Repeat this process 3 times.

Return to a standing position.  Adopt your correct posture and try to emulate the combination breath while standing.  It is important to maintain a high sternum on the exhale.  Collapsing will force the air out.  Controlling the breath is the key to skilled breathing.

How did you go?

If you are having trouble, go back and repeat the other exercises.  Remember muscles have memory and if repeated enough the co-ordination will become automatic.  You don’t want to be thinking “what are my abs doing right now” in the middle of a performance!

Now is a great time to talk about breath inhalation.  Have you taken notice of how a singer breathes?  Hearing the breath can destroy a musical phrase.  Some singers use an audible breath to add an effect to their sound.  That is fine if it is used for style purposes, but generally it is pretty annoying.

Large audible breaths tend to activate “ceiling” breathing.  That breathy sound that you hear is air rushing through your vocal folds.  I will discuss the vocal folds in more depth in the next lesson.  This rush of air puts the folds under pressure.  Too much pressure and the use of unnecessary muscles in the throat will create tension.  Tension is the singer’s biggest enemy.

Learn to take a silent breath when singing.  Breathe in a relaxed and open manner.  This will:

1. Feel better
2. Sound better

Do this….

Take 3 large audible breaths.  Notice the feeling and the sound.

Now take 3 natural silent breaths.  Notice the sense of ease and openness.

This time inhale over a 5 second period.  You can choose to breathe through the nose or mouth or both.  It doesn’t matter which option you choose, just make sure it is silent and free.  Be aware that you are “filling up” from the floor first, and then your ribs will engage.

The Exhale

You can control the amount of air you exhale while singing.  It is commonly called “breath control”.

So far you have learnt how to co-ordinate your body to breathe, you have learnt to take a silent breath.  To complete the cycle you need to learn how to control the amount of air that is leaving your lungs.  You don’t have to push the air out.  Your body is already accustomed to exhaling air so no added force is needed to “push” it out.

Do this….

Adopt your correct posture.  Take a silent breath in over 5 seconds.  On the exhale, make a “shh” sound.  Make the exhale last as long as the inhale.  A common mistake that singers make is collapsing the sternum on the exhale.  This will force the air out quickly resulting in lack of breath.  Keep the sternum and chest high and resist the urge to collapse.

There are muscles that control the exhale.  They are located in the abdominal wall and rib cage.  You can condition these muscles to enhance your breath control by including stretching into your daily vocal regime.  A full vocal warm will be the topic in another article.

There is an exercise to develop breath control that has been used for centuries by famous classical singers.  I will refer to this exercise as “Breath Pacing”.  It is very similar to the exercise you have just learnt, but with a small addition.

Do this….

Inhale on a silent breath for 5 seconds.

Suspend the breath for 5 seconds.  When I say “suspend” I mean hold the breath with your mouth open.

Exhale using a “shh” for 5 seconds.

Repeat this cycle 3 times.

When you get comfortable with 5 seconds do the cycle with 10 second sections.  Over time you will be able to increase this up to 30 seconds and above.

I hope you enjoyed this Interactive Article on breathing.  I encourage you to invest your time mastering breathing and breath pacing.

Ian Castle

To download this article as a pdf click here.

To access my Free Vocal Course and learn more about breathing for singing click here.

Share on Facebook