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The 7 Keys For Great Singing
The 7 Keys For Great Singing
TO GREAT
SINGING
BY
JOHN FORD
$29.95
Arsenio Hall Show, as well as most pop radio stations throughout the
world.
TABLE OF CONTENTS
Introduction
PART 1: SINGING BETTER THAN
YOU EVER THOUGHT POSSIBLE
Chapter 1
Chapter 2
Chapter 3
Chapter 4
What it Takes
The Top 10 Myths About Singing
Why the Standard Approaches Fail
Chapter 5
Chapter 7
Chapter 8
Chapter 6
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Final Thoughts
INTRODUCTION
Singing is fun! Singing feels good! That's why we do it. But most
people can't sing well without some help. That's where I come in. For the
past 25 years, my staff and I have helped many people like yourself become
good, often great singers. This book will help YOU become a good, maybe
even a great singer! One of my clients came to me unemployed, and went
on to earn millions as a singer.
When you learn The 7 Keys to Great Singing, you'll sing like never
before. I know this, because in my job as a singing coach, I see it happen
every week. People come to me unable to sing at all, and next thing I
know, they're giving me goosebumps!
Read this book, and do the exercises on the Vocal Workout CD, and
there's a 95% chance you will become a good or a great singer! That's all
there is to it. Read on and have fun! Get ready for one of the greatest
emotional experiences of your life!
PART 1
SINGING BETTER
THAN YOU EVER
THOUGHT
POSSIBLE
CHAPTER 1
I thought they had seen my shaky knees and would boo me off the stage,
but they loved us!
The second song was easier. I lifted my head and watched the
audience move to our music. I began to play guitar with power and
authority. I sang with passion. I was expressing! The audience was
responding! It was quite an experience.
We finished our last song and the audience was screaming louder than
ever. I was hooked. I wanted this feeling again.
The only problem was that I didn't really know how to sing very
well. The main reason I got the singing gig in my first band was that I was
willing to do it.
It then became my mission to improve myself as a singer. I began
taking voice lessons from various teachers. However, the lessons didn't
improve my singing at all. I was frustrated and disappointed, and thought
maybe the problem was that I really wasn't cut out to be a singer.
But I loved singing and continued to record and perform in different
bands. I quit my day job so I could devote my life to my music. At this
point I was singing for at least three hours a day, and my voice improved
because of the sheer number of hours I was devoting to singing. Also,
through trial and error, I had discovered some of The 7 Keys to Great
Singing.
Eventually I found a teacher who taught me more of The 7 Keys to
Great Singing, and my voice improved dramatically. I was in complete
command of my voice and loving it.
I sang in many bands, wrote a lot of songs, and received radio air
play. I've recorded in world class studios and worked with famous singers
and musicians. It's been a wild ride, and I wouldn't have missed it for
anything.
You really can learn to sing
In my teaching practice, I have seen many students succeed, and they
weren't always the ones who started out with great voices. They succeeded
because they loved singing, and were willing to put in the time to learn the
craft. You don't need to be born with a great voice in order to succeed as a
singer. All you need is an intense desire to sing, and the willingness to
CHAPTER 2
WHAT IT TAKES
In order for you to become a professional singer, there are two
requirements. Here's what they are:
1. Can you sing on key at least 70% of the time?
In case you don't know what singing on key actually is, I'll explain.
Let's say I play a "C" note on the piano. If you can sing the "C" note as I
am playing it, you are singing on key. If you sing any note besides the "C"
note, you are not singing on key.
Singing on key is very important because even the most musically
ignorant audience member will know when a singer is singing off key.
They might not be able to explain exactly what is wrong with the singer,
but they'll know something is!
Fortunately, singing on key comes naturally to most people. That's
why any group of people at a restaurant or party can sing Happy Birthday
with relatively no problem.
Most beginning singers sing on key fairly well, but not perfectly.
Being even slightly off key sounds awful, so you'll need to learn to sing on
key all the time. For now, if you can sing on key 70% of the time you're
in good shape.
Singing on key is a matter of getting your ear, your brain and your
vocal cords to work together. This just takes practice. Eventually you'll
sing on key without even thinking about it.
2. Do you have healthy vocal cords?
The other thing you need in order to sing well is healthy vocal cords.
If you can produce a loud and clear sound, your vocal cords are healthy and
will work for you when you are singing. Most people can pass this part of
The Vocal Assessment because most people have healthy vocal cords.
But about one out of a thousand people have vocal cords that have
been damaged by incorrect singing or speaking, and they cannot produce
this loud and clear tone. These people cannot be trained unless they heal
their vocal cords first. In most cases, this just means a good rest for the
vocal cords.
There are some people who have naturally raspy voices, who can still
learn to sing well. In fact, these singer's end up with very interesting
voices, as long as they can learn to to apply good technique.
I know most beginning singers worry about whether they will be able
to sing well or not. Don't worry! There is a 95% chance you can become a
professional level singer.
CHAPTER 3
THE TOP-10
MYTHS ABOUT SINGING
Okay, we've got the big myth out of the way: singers are made, not
born! Now you know that most people can learn to sing. But there are
other myths that could get in your way, so let's deal with them right now!
Myth #1: It will take many years for a total beginner to learn to sing.
The Truth: Most beginning singers who learn The 7 Keys to Great Singing
and practice on a daily basis are ready to perform in entry level nightclubs
within a year or two. Occasionally it will take a singer more than two years
to reach "nightclub level," but that's rare.
Myth #2: Singers have to be able to read music in order to succeed.
The Truth: Most nightclub singers and recording artists never need to read
music, so they dont bother learning. They sing by ear, just like you do
when you sing "Jingle Bells" or "Happy Birthday." Paul McCartney never
learned to read or write music. He never found the need to. The only
singers who need to read music are opera singers, or in some cases, singers
who sing on TV and radio commercials.
Myth #3: If you can't sing high notes now, you just don't have the kind of
voice that could ever sing high notes.
The Truth: High notes are difficult, and most of us have to be trained to
sing them well. But, if you learn The 7 Keys to Great Singing, and practice
the Vocal Exercises, you have a 95% chance of being able to sing high
notes with the best of them.
Myth #4: If you're scared to perform in front of people now, you'll never
be able to be a confident performer.
The Truth: Your fear is normal. Most people who get up in front of an
audience are afraid. My first performances were so scary that my knees
shook. However, learning to perform is a skill that anyone can learn.
Every one of my students who wanted to learn to perform became an
excellent performer. Once you learn The 7 Keys to Great Performing, you'll
become a confident and charismatic performer.
Myth #5: If you drink milk or orange juice before singing, you won't be
able to sing well.
The Truth: Drinking milk or orange juice doesn't limit your singing
ability. When you learn The 7 Keys to Great Singing, you'll sing well no
matter what you eat or drink.
Myth #6: If you smoke cigarettes, you'll never become a great singer.
The Truth: There are many famous singers who smoke and it doesn't hurt
their singing at all. They may die young, but they sing just fine. So, stop
smoking for your health, not your singing.
Myth #7: Drinking warm tea before singing will help you sing better.
The Truth: If that was all you had to do to sing better you wouldn't need
to read this book. Unfortunately, drinking warm tea doesn't improve your
singing at all. It may make you feel better, which is a good thing, but it
won't help you sing better.
Myth #8: If you sing in a place where it's very cold, you won't be able to
sing that well.
The Truth: Maybe if it was 80 degrees below zero your singing would be
affected, but otherwise don't worry about it. Sing away!
Myth #9: If you didn't start taking voice lessons at age five, you have very
little chance of succeeding.
The Truth: I've had students well over 50 who began lessons with me, and
they did just fine. Remember, many successful singers are in their seventies
and still sing well. If you start at 50 or 60, so what?
Myth #10: Singing is genetic. If your parents weren't great singers, you
won't be either.
The Truth: Your singing potential isn't dependent on your parents ability.
It's dependent on your willingness to learn The 7 Keys to Great Singing,
and practice.
Those are the deadly myths that stop many people from ever trying
to sing. Now that we've killed those myths, they can't stop you. You can
learn to sing!
CHAPTER 4
millions of records. Never! College classes are ok for messing around, but
for people who really want to learn to sing, they're usually not that
effective.
Standard Approach #4. Joining a choir in high school, college,
or church.
Success rate: About 25%
This is perhaps the worst way to learn to sing. The main problem is
that in choirs, singers are rarely encouraged to really belt it out. The choir
singers I see are very quiet and timid in their singing. They're told by the
choir directors to be quiet and blend in. It's as if all the life was beaten out
of them.
Now, there is one exception. African American churches have
produced some incredible singers.
In those churches, singers are
encouraged to express, which allows natural voices to develop.
Don't freak out, there's a better approach to learning to sing
With the dismal success rates of the common approaches, it's no
wonder that many singers become discouraged and quit. But don't lose
heart. There is an approach which has a 90% success rate. Read on!
CHAPTER 5
A BETTER WAY
There is a better way to learn to sing. It's simple and effective. Most
of the students who use this method become excellent singers.
This better way can be stated in one sentence: IF YOU WANT TO
SING WELL, DO WHAT THE GREATEST SINGERS IN THE WORLD
ARE DOING.
You're probably thinking, "Well if I could do what the greatest
singers in the world are doing, of course I'd sing well, but I can't just DO
what they are doing. If it was that easy I'd be singing well already."
You're right! You can't just DO what they are doing. You need to
learn to do what they are doing, gradually. You'll do this by learning and
experiencing The 7 Keys to Great Singing.
The reason professional singers sing so well is that they are using
these 7 Keys. By reading this book and connecting with a singing teacher,
who knows The 7 Keys to Great Singing, you'll sing better than you ever
dreamed possible!
Anecdote
I used to play golf with a guy who had been golfing for 20 years. I'd
been playing for just two years, and I beat him almost every time we
played. The reason I beat him was because I took dozens of lessons and
learned the right way to swing my clubs. I learned the same techniques the
greatest golfers in the world were using.
My friend never took a lesson. He just got up and hit the ball the
same way he had been hitting it for 20 years. Poorly! Then he'd act
surprised when his ball went into the forest instead of onto the green. He
had bad technique and he never improved.
Learning to do what the pro's are doing is the key
When you learn the techniques the pro's are using, and then practice,
your singing voice will improve dramatically. That's what this book is
about; teaching you correct technique with The 7 Keys to Great Singing,
and giving you powerful Vocal Exercises to practice.
I found that following The 7 Keys to Great Singing made me a better
singer than I ever imagined I could become. Before I discovered these
techniques, my singing ability was limited and I felt permanently stuck.
Now I have control of my voice. It does what I want, when I want.
How do you learn The 7 Keys to Great Singing?
First, read the next chapter to gain an understanding of The 7 Keys to
Great Singing. Next, you can begin applying these techniques to your
singing on your own, or even better, you can begin looking for a qualified
singing teacher. A good singing teacher will teach you how to incorporate
The 7 Keys to Great Singing into your singing AUTOMATICALLY!
That's the beauty of this system. It's almost impossible to fail.
You have in your hands a method THAT WORKS. If you've always
dreamed of singing well, now you can!
Learning on your own, or finding a good singing teacher.
You can learn most of The 7 Keys to Great Singing on your own. If
you can find a good singing teacher to help you, that is better. There are
some Keys that are difficult to learn without help.
Good coaches are expensive. They charge between $300-$1000 per
hour. But an amateur coach who charges $50 per hour and teaches you
learn from someone who has been where you want to go. If they haven't
worked professionally, stay away.
Ask to hear some of their recordings. If they don't have a demo or
CD of their own singing, they probably aren't experienced enough to be a
great coach.
5. Do you understand the techniques the great singers of the world are
using?
Be sure the coach is familiar with and can demonstrate most of The 7
Keys to Great Singing. If they don't understand what you're talking about
when you mention keeping the cords together, keeping the larynx neutral,
or using a blend to get above your chest voice, look for another coach.
6. Do you help your students work towards specific goals, vocally and
professionally?
If a coach asks you to write out your goals and bring them to
your first lesson, great! When a coach sees a student's goals written
out, they will work harder to help the student reach those goals.
Without specific goals, it's easy to wander aimlessly through lessons
and achieve little or nothing.
Perhaps the most important thing you can do, is to have the coach
sing for you. If they are singing in a way that you want to emulate, then
they can probably be of help to you. If they cannot demonstrate techniques
do you want to learn, you will probably be disappointed.
Do not be intimidated by voice teachers. Some of them can be very
arrogant. Ask the questions, interview all the teachers, you can, and don't
be afraid to pay high rates for a great teacher.
progress, be sure the coach continues to deliver. Some coaches are great in
the beginning but as time goes by they slack off. A great way to keep
coaches on their toes and to document your progress is to tape the sessions.
Coaches tend to work harder when theyre being recorded.
If you live in an area where are you can find a good voice coach, I
recommend trying them for awhile. If you need to learn on your own,
remember many great singers have done so. This book contains valuable
information on the techniques of good singing. Apply what you learn here,
and make sure the teachers understand and can teach what this book
contains.
PART 2
THE 7 KEYS TO
GREAT SINGING
CHAPTER 6
KEY 1:
USE SINGERS' POSTURE
AND ENJOY FREEDOM
AND CONFIDENCE
Singers' Posture lays the foundation for powerful, effortless and
passionate singing. It's like the foundation of a house. There's
nothing glamorous about a foundation, but you sure need one if you're
building a big house, or a big voice.
Singer's Posture consists of four simple parts:
Standing straight and strong puts your body into a good position so that
instrument of yours can sound as good as possible. It will also boost your
confidence and help you look great on stage.
Try this now:
Stand with your back to a wall, with your entire body and head
touching the wall. Look straight ahead and unlock your knees. Next, step
away from the wall, relax, and try to keep this posture. Now you have a
good straight and strong posture. Your posture may slip a little bit as you
step away from the wall. That's just fine. What we are looking for is a
combination of a relatively straight body, while remaining relaxed.
The ideal singing position
When you're in the ideal singing position, your body is straight and
relaxed, with your weight on both feet and your knees unlocked. You're
not slumped, nor do you push your head forward like a turtle. You'll feel
feel comfortable, balanced, and ready to move.
Standing straight and strong makes the difficult notes much easier
When you're trying to sing that tough-to-reach note, if your posture
is good, the note will be much easier to sing. Imagine your favorite singer
trying to wail on a high note while slumped over. Even she probably
couldn't pull that off.
Standing straight and strong helps you to feel better
If you're standing straight and strong, you'll feel stronger and more
confident emotionally. Our posture has real impact on what we feel.
Try this now:
Stand in a slumped, defeated position with your eyes closed. Now go
inside of yourself and see what you're feeling emotionally. Do you feel
your body is your instrument, and when your chest is open, your instrument
has a good shape. Opening your chest also opens your heart to yourself and
the world. When your heart and body are open your voice and emotions
can be released.
Try this now:
Put a firm but small pillow on the floor. Lie down on your back with
the pillow under your shoulder blades. As you lie on the pillow, your chest
will naturally open. Really relax your body. Extend your arms over your
head and really stretch. Breathe deeply. As you breathe you'll notice how
your chest expands. Continue this exercise for five minutes.
This exercise will show you what it feels like to really open your
chest, and will help stretch open your chest, so you can do it while you are
standing and singing. I recommend that you do this exercise before each
practice session.
fear.
Tips for mastering Part 4 of Singers' Posture: Keeping Your Head Level
1. Spend half your practice time singing in front of a mirror, and
if you find yourself raising your chin, bring it back down.
2. Sing with your back to the wall, while looking straight
ahead, and keeping the back of your head touching the
wall. This
is the same exercise we did in Part 1, but now the focus is on
keeping your head level. This is an exaggerated position. You will not
feel relaxed, but your voice will be released as a result of
keeping
your head more level.
Summary of Key 1:
Confidence
CHAPTER 7
KEY 2
KEEP YOUR VOCAL
CORDS TOGETHER
AND EXPERIENCE TOTAL
CONTROL
One of the most important things you will learn is how to sing
with your vocal cords close together. I know, you have no idea of what
I am talking about! RELAX, DON'T FREAK OUT!! You're not
supposed to know what I'm talking about, not yet anyway.
Your vocal cords, located in your throat, are two flaps of flesh that
can be moved close together or pulled far apart. When they are moved
close together, they vibrate against each other, and produce a loud,
resonant, edgy sound. Whey they are far apart they have nothing to vibrate
against so they produce a quiet and airy sound.
When you whisper, your vocal cords are far apart. When you shout
or talk in a normal voice, their are fairly close together.
Try this now:
Take a big breath and sigh, with your mouth open That's what it
feels like when your vocal cords are far apart. Try it a couple of more
times, just to see what it feels like.
Now take a big breath and say "awe" as in awesome and hold it for
five seconds. At this point, your cords are closer together, and you produce
a louder sound.
When you're singing, the goal is to learn to keep your cords close
together all of the time. When you do this, you'll produce a powerful
sound with very little effort.
A beginners' vocal cords will come together and go apart randomly.
These random happenings will make a beginning singer feel out control, as
indeed he or she is.
The first thing to do, is to go to youtube.com and search for vocal
cord videos. You can type in vocal cords, or Video Stroboscopy of the
Vocal Cords. Once you see, the vocal cords in action, you'll be amazed at
how simple their function is.
Anecdote
Jeaneen came to one of her lessons and she was sounding terrible.
Her vocal cords were coming apart and she had no control. She couldn't
even do the most basic Vocal Exercises..
I gave her an exercise which forced her to keep her cords together.
Her singing improved instantly. When she sang her first song, she took my
breath away. She was powerful, confident and expressive. She had total
control of her voice.
My experience:
When I used to sing songs with my cords apart, I could never trust my
voice. I had to work hard to produce any volume. Now that I know how to
keep my cords together, singing is much easier. I know I'll hit the notes I
go for, and if I want to sing with alot of power, I can.
CHAPTER 8
KEY 3
OPEN YOUR THROAT
TO ADD RICHNESS TO
YOUR VOICE
Opening your throat will have a huge effect on the sound of your
voice. Most untrained singers don't know how to open their throat.
I'm going to teach you how.
You open your throat by lowering your larynx. Your larynx (or
Adams apple) is that grape-sized bump on the front of your throat.
As you drop your larynx, your throat opens and you produce a richer,
deeper, more expressive sound. The key to opening your throat is
learning to lower your larynx.
talking.
2. Up, when you're swallowing.
3. Down, when you're yawning.
Your goal is to keep your larynx neutral or slightly down when
you're singing. You'll learn to control your larynx by doing the larynx
exercises that follow. Eventually you'll be controlling your larynx when
you're singing songs.
Why do I need to control my larynx?
Good question!
automatically be controlling how open our closed your throat is. Your
throat has different degrees of openness. When your larynx is up, your
throat is somewhat closed, and the air and sound pass through an opening
about the size of a dime. Your sound will be thin, wimpy and potentially
obnoxious. Your voice will tend to "break" or "warble."
When your larynx is in a neutral position, your throat opening is
about the size of a quarter. Your sound will be much fuller now and you
won't feel like your straining or about to choke on the note. Singing will
be easier.
If you take this further and drop your larynx to its lowest position,
your throat will open to the size of a half dollar. At this point your sound
will be even louder, deeper and somewhat operatic in nature. We usually
won't take it all the way down in pop singing because we don't want to
sound like opera singers. But singers like David Bowie take it down pretty
far, which is why he has that somewhat operatic sound.
When you have complete control over your larynx, you'll be able to
control the richness, depth and volume of your sound. Sometimes you'll
want a sound with alot of authority and power. Well, just drop your larynx
slightly and you'll get that big sound.
Won't my larynx stay neutral all by itself?
No. When you sing low notes, your larynx will remain neutral all by
itself. But as you start to sing higher notes, your larynx will gradually
begin to rise, and as it does, the opening in your throat becomes smaller.
This is a reflex that happens automatically with most beginning and
untrained singers.
Anecdote
When Emily started taking lessons with me, she had a tiny, quiet
voice. When she learned to control her larynx, (which caused her throat to
be more open), she began belting like a great blues or gospel singer. Now
her voice is big, open and full of expression and soul. I've had many other
students like Emily who had quiet voices to begin with, who developed
first.
Spend five minutes a day talking "hooty." If you're unclear about
what talking "hooty" sounds like, listen to the examples on the Vocal
Workout CD.
Note: These larynx exercises are difficult and it takes many students
up to three months before they really master them.
My experience:
I was in the recording studio having trouble with a high note. This
note was unstable and felt like it was about to break. Then I realized that
my larynx was rising on that note. I lowered my larynx to a neutral position
and tried again. I was amazed. The note was now easy to sing.
Tips for mastering Key 3:
1. Practice moving your larynx throughout your day, at work, in
the car, while watching TV.
Summary
It will take a few months for you to have enough control over
your larynx to really control the openness of your throat. But if you
start practicing the larynx exercises now, you'll be very grateful when
you start singing songs.
CHAPTER 9
KEY 4
USE YOUR 3 VOICES
AND ENJOY A HUGE
RANGE
The only way to have a huge range, is to use your three voices.
You're about to learn what your three voices are, and how to use
them.
What are your three voices?
There are three voices that singers have available to them: the Chest
Voice, the Blended Voice, and the Head Voice. Many singers have built
successful careers by just using the chest voice, but there are advantages to
sound like opera singers trying to sing pop music. The blended voice is
ideal for singing the higher notes that the chest voice just can't hit easily.
3. Head Voice (sometimes called falsetto):
Your head voice is what you will use to sing the super-high notes. It
has kind of an operatic quality so you won't use it all that often.
Try this now:
Count to ten in a voice like Mickey Mouse. That's your head voice.
Now count to ten in your regular voice. That's your chest voice. Try your
head voice again. It feels and sounds much different than your chest voice.
Learning the lip bubble
The lip bubble gets your vocal cords doing the right thing, through
most or all of your range, automatically! It makes it easy to work through
all of your voices, and most importantly it helps you get your vocal cords
close together! Once your cords learn what to do with the lip bubble, it
will become easier to sing correctly with open vowels.
How to do the lip bubble:
1. Place your thumb and forefinger of either hand gently on the
corners of your mouth. Now, barely grazing the skin, slide your thumb and
forefinger down half an inch, then spread them one quarter to half an inch
wide. This is your starting position.
2. Squeeze your fingers together as if you were picking up an egg
and push your fingers up to where your teeth come together. This is your
bubbling position.
3. Separate your teeth about a quarter of an inch, keeping your jaw
totally relaxed.
4. Now blow through your lips and make a sound like a horse
snorting. Be sure to keep your lips relaxed.
5. With your fingers still in place, make the sound "buh" as in
butter. You now have the lip bubble.
Troubleshooting:
If your lips aren't bubbling, you are either tightening your lips, or
your fingers aren't in the right place. The solution is to keep your lips very
relaxed while making the "buh" sound, and play around with finger
placement until your lips do bubble. If your lips bubble at all, you're on the
right track. It takes a month or two for most people to become consistent.
It took me 3 months to get my lips to bubble, so be patient.
Doing the lip bubble without using your fingers
Some of my students find it easier to do the lip bubble without using
their fingers. If you find this to be the case, that's fine. Just be sure that
you are producing the slow bubbling. Sometimes when my students don't
use their fingers, their lips bubble too fast and too much air escapes. When
this happens, the benefits of the lip bubble are erased.
Summary
That's it! Only three voices, and they are all accessible to you.
This key will be a lot easier with the help of a good singing
teacher. If the teacher cannot demonstrate the blended voice, keep
looking for a better teacher.
CHAPTER 10
KEY 5
USE SINGERS'
BREATHING
TO RELEASE YOUR
MAXIMUM POWER
Singers' Breathing is quite different than the breathing you're
doing right now. When you learn how to do it you'll sing with more
power and less effort. Singers' Breathing consists of 3 simple parts:
again. This is what releasing feels like, when your vocal cords are apart.
When you're singing you'll be letting go in the same way, but with
your vocal cords close together. When you are sighing your vocal chords
are far apart. Let's try releasing with the vocal cords closer together.
Try this now:
Take a full breath and sing the word "Ho" with the same sense of
release you had when you sighed. Really open your mouth and let go.
Hold the note for at least five seconds.
2. Holding back
When a singer holds back, their voice sounds weak and lacks passion.
Therefore, I don't want you to hold back. But I do want you to know what
holding back feels like so you can avoid doing it.
Try this now:
Go ahead and sing "Ho" like you did before, only this time really
hold the sound back. You won't be as loud and it won't feel as good.
Why do singers hold back?
Most beginners hold back their voice because they're afraid of
sounding bad. But holding back is guaranteed to make them sound bad.
When you're singing, let all of your voice out. Yes, you'll sound bad some
of the time, but you will be building a good voice. When you hold back
you're not building anything.
The rule for holding back is simple: DON'T HOLD BACK!!!
3. Pushing
When you learn to push, you'll feel like you're at the wheel of a
CHAPTER 11
KEY 6
SHAPE YOUR MOUTH
AND CREATE A BIG OPEN
SOUND
There are two parts to this key. First, you'll learn how to shape
your mouth, then you'll learn what to do with your tongue.
over a megaphone with a truck and then trying to use it. The sound would
become trapped inside the megaphone.
How sound is created
The actual sound you make when singing or talking starts with your
vocal cords vibrating in your throat, producing a tiny buzzing sound. This
buzzing sound then vibrates the bones in your chest and/or head. This bone
vibration amplifies the sound so that by the time it reaches your mouth it's
much louder. The sound is then amplified even more by your open mouth.
If your mouth is shaped like a barely opened smile, your sound will
be thin and lacking in volume. The sound becomes trapped. If you open
your mouth to a relaxed "O" shape, the sound becomes richer, and much
louder because it's amplified by the mouth, which is now acting like a
megaphone.
Try this now:
Drop your jaw into the "O" position, now, while you aren't singing.
Pretend you're yawning. That's the "open mouth" position we're looking
for.
Keeping your mouth open
When you start singing, you'll notice that keeping your mouth open
is not that easy. Even if you start with a fully open mouth, as soon as your
attention wanders, your mouth may begin to close.
Tip: Practice singing in front of a mirror and watch your mouth. Try to
keep your mouth as open as possible.
How to sing an "EE" sound with an open mouth
One exception to the "O" shaped mouth is when you're singing an
"EE" sound. Your mouth should still be as open and relaxed as possible,
but it won't be an "O" shape anymore. Your mouth will in the shape of a
very relaxed smile, with about half of an inch of space between your teeth.
If you can separate your teeth more than half an inch and still keep the pure
"EE" sound, do it. The space between your teeth will give you the volume
you need, and your "EE" sound will actually sound like "EE". It's tough to
get a good "EE" sound with an "O" shaped mouth.
Try this now:
Take a full breath and sing "WE", with your mouth in the shape of a
wide smile, and your teeth slightly clenched. Hold the note for about five
seconds. Now, take another breath and as you are singing the "WE" sound,
open your mouth a little wider and separate your teeth at least half an inch.
Notice the difference in the sound? As you open your mouth and separate
your teeth, the sound becomes louder and richer.
Most people have a hard time opening their mouths fully when
singing. That's because the jaw muscles are tight. By stretching your jaw
muscles, you can learn to open your mouth wider which will give you more
volume. It will also help you to keep your mouth fully opened while
keeping it relaxed.
Jaw stretch exercise:
You can do this exercise in your car or while you're watching TV.
Simply open your mouth as wide as you can, keeping your jaw very relaxed,
and hold it for ten seconds. Relax and repeat the procedure for a total of
five times. Be sure to really stretch while your mouth is open, but don't
stretch so much that you hurt yourself. Be careful!
It will take time and experience to train your jaw to drop to the
correct position. But when you learn to do this, your sound will improve
tremendously, and it will feel so good to sing!
Keep in mind, that you don't want your mouse and a large old shape
all the time. You would sound very strange, if you did that. You just want
to generally keep your mouth, more open then you would when you are
talking. You can be the judge of how much sound you want to create.
When you want more sound opener mouth wider. When you want less,
close it more.
Part 2:
forward
Now that we've got your mouth open we need to work on your
tongue. If your tongue gets in the way, you'll block some of the sound.
Again, looking at the mouth as a megaphone, it's possible for the
tongue to get in the way and block the sound, even though your mouth is
open. Imagine what would happen if you stuck a pillow in a megaphone.
The sound would be muffled. When your tongue gets in the way, it's like
putting a pillow in a megaphone.
There are two things you'll do to keep your tongue out of the way.
First, the tip of your tongue should be touching the back of your bottom
teeth. Second, keep your tongue as flat as possible.
Warning:
One common problem singers have while keeping their tongue flat
and forward is that the words they sing get distorted. Be sure to keep your
vowels pure. In other words, if you're singing the word "free" be sure it
sound like "free" and not "fray".
Keeping your tongue flat and forward is harder than you think. It's
easy enough to do when you are not singing, but when you start singing
your tongue will want to pull back, hump up, and block the sound.
Note: This Key only applies to singing vowels; you know, a, e, i, o,
and u. When you sing consonants let your mouth and tongue do
whatever it wants.
CHAPTER 12
KEY 7
USE VIBRATO
TO ADD BEAUTY TO
YOUR VOICE
Key 7 will teach you how to add vibrato to your voice, if you
want to. Vibrato is that wavering or pulsating sound that singers add
to the notes they hold. It is used in most styles of music with the
exception of some rock or alternative songs.
You don't have to use
vibrato. Many successful singers never use vibrato when they sing, but
most do. I recommend you learn it so you then have the choice.
The benefits of vibrato
1.
Vibrato improves the sound of the notes you hold. When you
need to hold a note, it's tough to make it sound good without vibrato.
Sustained notes without vibrato usually sound stark and unprofessional.
(Sting is one of the few singers I've seen get away with it.) When you add
vibrato, you produce a better sound.
2. Vibrato helps the voice to release fully. Something amazing
happens when vibrato is added. The voice seems to relax, and singers are
able to really let go. This produces a fuller and richer sound. It also feels
really good to add vibrato. You'll see what I mean.
Can anyone learn vibrato?
So far, in my teaching practice, all my students who have wanted to
have a good vibrato have been able to develop it. If you don't have fire
brought on naturally in your voice, you will probably need the help of a
good teacher to help you develop it. Many times after learning the other
keys, a natural vibrato begins to appear
Do some people have vibrato in their voice naturally?
Yes. About 40% of my new students have vibrato with no training
or practice. They are the lucky ones. The rest of us have to learn it.
How long does it take?
It takes up to a year for most people to develop a good vibrato. It
took me two years! Be patient.
Should you learn to use a vibrato?
That's up to you. If you like the sound, learn it. If you're singing a
style of music that doesn't use it, and you're TOTALLY POSITIVE you
don't want to learn it, don't learn it.
PART 3
SONGS
CHAPTER 13
SINGING SONGS
LIKE A PRO
Now will start working on singing songs. This is where it gets fun.
Your voice, body, and emotions all come into play. This is where you get
a chance to be great!
Using Karaoke tapes and CD's
I know the word "Karaoke" has a bad connotation with serious
singers, but Karaoke tapes and CD's are a fantastic way to develop your
voice and learn songs.
Karaoke tapes and CD's have the full version of the song (with the
karaoke singer), as well as another version of the same song which has no
singer, just the band. Singing with Karaoke tapes and CD's is better than
singing with the original artist, because when you sing with the original
artist, you can't really hear what you sound like because you're blending
with them. With a karaoke tape or CD, you can follow the Karaoke singer
in order to learn the song, then once you feel comfortable, you can sing
with the band, minus the Karaoke singer. This will allow YOUR VOICE
to fully develop.
These tapes and CD's are fun and inspirational because most of them
sound great! You can purchase them at many record stores and on the
Internet. Most large cities have stores that sell nothing but karaoke tapes.
Get some songs, and start practicing. You'll have a great time!
Practicing your songs
There are three phases singers go through in learning a song. A song
should not be performed publicly until you have gotten to Phase 3.
Phase 1. Memorizing the melody and lyrics
The best way to memorize the melody is to sing along with the
Karaoke singer. Once you know the melody, practice the song without the
singer.
Memorize the lyrics by reading them while you're singing the song.
Then put them aside and try to sing them from memory. If you get stuck,
refer back to the lyric sheet.
Don't expect to sound good at this stage. You're just learning the
song.
Step 2. Practicing the song
When you're first learning a song, you have to think about it. It
doesn't come automatically. The only way to have a song become second
nature is to sing it over and over again. I need to sing a song at least 100
times before I really know it. You probably will too.
The song will sound better at this point, but not fantastic.
Step 3. Owning the song
There will come a time when you really own the song. At this point
it's really easy for you to sing. You know it so well that you can start to
play with it. You can hold notes, belt notes, or get very quiet in parts.
You can also start to put your heart into the song.
about that later.
At this point you'll be confident, you'll sound great and you're ready
to perform the song.
without the audience even knowing there was a problem. The key here is to
keep singing no matter what. Repeat lyrics you've already sung. Make up
lyrics. Scat. Just keep going. The audience will probably think your
creative genius is coming out. Remember the audience isn't sitting their
with lyric sheets in their hands. If you sing the wrong verse they usually
won't notice. As you practice "faking it", it will become easier and easier
for you to do.
Learning new songs
Keeping your practice sessions fun is very important. Learn new
songs so you dont get tired of your old ones. You should try to learn at
least two to four new songs per month.
In order to keep track of the status of your songs, I suggest putting
all songs into one of the following categories, and using the form below:
Category 1.
Songs to buy are songs you want to learn, but are not
yet singing.
Category 2.
Category 3.
Songs to buy
1.
2.
3.
4.
Songs to learn
5.
6.
7.
CHAPTER 14
DEVELOPING YOUR
OWN UNIQUE STYLE
My goal is to help you develop the most interesting, passionate,
unique voice possible. Inside of you is a new voice that no one has ever
heard.
The first thing you need in order to develop that unique voice is the
total willingness to crash and burn. If you're not willing to do that, you'll
develop a safe, white-bread, boring voice. If you want soul, you have to be
willing to take risks.
Taking chances and making mistakes is the key
You've probably had moments where you heard something in your
head that you wanted to sing, but didn't, because you didn't want to sound
foolish. So you held it in. The baby never got a chance to be born. The
flower never got a chance to bloom.
Well those days are over! You can't afford to hold in your wild ideas
anymore. Yes, as you begin taking chances, you'll sound foolish, quite
often. But so did all the great singers, in the beginning.
In fact, the more wild and out of control you sound now, the more
creative and interesting you'll be when your voice develops. If you have a
connect with a part of myself that doesn't get to come out in my normal
life. I experience physical and emotional pleasure and satisfaction.
When you're experiencing the real pleasure of singing, you won't be
worrying about how you look or sound. You'll simply be expressing.
You'll feel great and so will your audience!
There is no quick way to find this dreamy world of singing ecstasy.
Time, work and experience will bring it to you. Pleasure is your payoff
and the payoff is HUGE!
Summary
Developing your own style is what singing is all about. Cloning
other famous singers can bring limited pleasure for awhile, but eventually
you'll become bored and so will your audiences. Audiences and record
companies are interested in hearing unique voices. Let out that raw, rough
voice from the bottom of your soul. With time, it will mature into a voice
that will bring you the greatest pleasure and success.
Remember, your voice and the life experiences and emotions that you
express through your singing are unique to you. Share your real self with
the world and experience a bliss you can't imagine.
CHAPTER 15
A TROUBLESHOOTING
GUIDE
Sometimes a song just wont "feel right." Following are solutions to
common problems you may encounter while singing songs.
in a higher key. If not, pick another song, or buy the sheet music and hire
a keyboardist to record the song in a better key.
Symptom: I dont enjoy singing the song.
Solution: If a particular song doesnt inspire you or you cant relate to the
lyrics, dont sing it. There are thousands of songs, so pick songs you like.
It's common for a singer to like a song they heard on the radio, but dislike
singing it themselves.
Symptom: I am getting bored with certain songs.
Solution: If you spend six months singing one or two songs, you will
become bored. The key is to bring new songs into your practice sessions so
you dont become tired of the others. Once you know a particular song and
can perform it well, you only need to sing it a couple of times a week. Try
to learn two to four new songs per month.
CHAPTER 16
The best time to do these exercises is right before you sing. In this
way, you'll be preparing your body by releasing any constrictions that could
be getting in the way of your singing.
Use common sense while practicing these exercises. Do not stretch
beyond where you feel comfortable. The goal is to stretch muscles, not pull
them.
Drink lots of liquids
Singing dries out your throat. So while you're singing, be sure to
have a glass of water, juice or tea by your side so you can keep your throat
well lubricated. Never go to practice or a gig without something to drink.
Alcohol is not good to drink because it dehydrates you. Remember
how dry your mouth gets after a night of drinking? Your vocal cords get
dry also. When that happens, it's like driving your car with no motor oil.
So keep your liquids non-alcoholic. Besides, most of the professionals I
know are incredibly clean and sober. The profession is too competitive for
you to be wearing yourself down with drugs and alcohol.
4 Ways to avoid damaging your voice
It's difficult to damage your voice, but it is possible. Here are the
best ways to prevent that from happening:
1. Use correct technique
When someone sings without using any of The 7 Keys to Great
Singing, they are using bad technique and will frequently end up damaging
their voice. These singers often become chronically hoarse and are unable
to hit any high notes.
The solution is simple: use The 7 Keys. When you use good
technique you run little risk of damaging your voice.
2. Don't sing when you're real sick
Fortunately, most people don't sing when they're sick because they
just don't feel like it. You probably won't either. But, if you're one of
those diehards, who tried to lead a normal life, even when you feel like
you're near death, stay away from singing. You could hurt yourself.
If you're just a little sick, and you have an important gig, and you
can still sing fairly well, go ahead and do the gig. Singing when you're
slightly sick is fairly safe, as long as you don't have laryngitis.
3. Don't overuse your voice
Let's say you're used to singing for an hour a day. At the end of that
time your voice feels tired and you really don't feel like singing anymore.
Now, if you were to sing for three or four hours the next day, you would
be overusing your voice.
If you're going to increase your singing time, do it gradually. Going
from an hour a day to an hour and fifteen minutes a day is just fine. After a
couple of weeks you could move up to an hour and a half. Just go slow.
4. Keep shouting to a minimum
I've had students blow their voices out because they had non-singing
jobs where they were shouting for practically eight hours straight. After
work they'd try to sing but couldn't because their vocal cords were so
inflamed. The only solution for these students was to quit shouting or find
other jobs.
I've also had students lose their voices after shouting for hours at a
ball game. They came to their lessons and just couldn't sing.
The solution is to keep shouting to a minimum. Shouting
occasionally is no problem, but shouting for long periods of time will cause
your vocal cords to become inflamed and limit your ability to sing.
Anecdote
Jean began studying with me about a year ago. She'd been singing in
a band for some time and was using terrible technique. She was thrashing
her voice at every rehearsal and gig. She'd come to her lessons very hoarse,
and I had a hard time getting her through the Vocal Exercises. She also
had a job where she was frequently shouting, which meant her voice never
had a chance to rest.
I told her she needed to rest her voice completely before we could do
any real work. She tried, but was unable to stop shouting at work and she
continued to use bad technique with her band. We were making very slow
progress, and we were both frustrated.
Then a miracle happened. She got pregnant and had a baby. Right
after having the baby, she had a month to rest her voice completely,
because she couldn't sing or work at her job.
When she came back to her lessons, her voice was completely healed.
At that point it was easy to get her to use The 7 Keys. Her singing
improved dramatically in just a few weeks. Now she's one of the best
singers I've ever worked with. We're working towards building her an
international career where she'll be selling albums and performing in
concert.
A tip for singing with musicians
When you first start singing with a band or musicians, be sure they
don't drown out your voice. If you can't hear yourself during parts of a
song, and your microphone is already at maximum volume, ask them to
simplify what they are playing or play quieter. Remember, you are the focal
point. You are supposed to be heard and need to be heard. If the keyboard
player or guitar player is overpowering you, you need to ask them to back
off.
Be very tactful when making this request. Don't say "I am the focal
point and you are here to just back me up." Instead try something like "You
guys sound fantastic loud, but I can't hear myself and I am starting to strain
my voice. Could you please try turning down a little to see if this helps."
Musicians have fun playing real loud. I am a guitar player and I like
my amp turned to to ten. I love to blast the neighborhood. It feels good!
But when I am singing I need to turn it down.
This issue will probably follow you through all your bands, but if you
are polite and tactful, you'll come out fine, and you won't blow your voice
out.
PART 4
FROM UPTIGHT
SINGER TO BLOWEM AWAY
PERFORMER
CHAPTER 17
THE 7 SECRETS OF
GREAT PERFORMING
Learning to perform is a skill that can be learned by anyone! Every
one of my students who practice The 7 Secrets to Great Performing
become good performers.
You may have a voice in your head saying "Well, this may apply to
other singers, but I'm not sure I could ever learn to perform." I'll tell you
right now, you can learn to perform. Just read this book and do the work.
You'll become a confident, skilled and exciting performer!
The 4 Steps to learning The 7 Secrets to Great Performing:
Step 1: Read this chapter to get a general understanding of The 7 Secrets
to Great Performing.
Step 2: Begin studying and practicing each Performance Secret on your
own.
Step 3: Join or form a Performance Team. This will help you to develop
your performance skills in a supportive group setting. I'll explain all about
Performance Teams in the next chapter.
Step 4: Perform at "Open Mics" and Karaoke bars at least twice a week,
practicing the skills you learned in your Performance Team.
By the time you finish Step 4, you'll be awesome. You'll be able to
get up on any stage and look and feel like a professional singer.
The 7 Secrets to Great Performing work!
When you watch a great performer, you are seeing The 7 Secrets to
Great Performing in action. Their performance is alive, captivating and
energizing. The next day you feel compelled to tell all your friends about
this performer.
The 7 Secrets to Great Performing are powerful, and will help you
become a confident, exciting and charismatic performer.
on stage. What I actually felt was tremendous fear. So there I was, trying
to feel confident, when I was really feeling scared. I was in major
disharmony! I looked uncomfortable to my audiences.
When I learned to be honest with my emotions by allowing myself to
feel my fear, my performances got much better. I didn't feel so blocked
and confined. I felt freer.
Learning from kids
If you want to learn about emotional honesty, watch a two-year-old.
They can go through happiness, sadness, fear and anger all in a matter of
minutes.
As singers, we need the same emotional freedom the two-year-old
has. When you allow yourself to feel and express what you're really
feeling, you'll be convincing to your audience. If you're feeling one thing
but trying to feel another, the audience won't know what's going on.
Dealing with fear
Most of us don't even like to admit we have fears, let alone
experience them. However, in order to give an honest and convincing
performance, you need to accept and experience your fears.
When you fight your fear, your performance will be limited, because
you'll be using so much energy trying to push away that emotion. You
need to be able to focus your energy on the song and all your emotions.
When you close the door to your fear, to some degree you close the door to
the other emotions. When you let yourself feel the fear, all emotions are
accessible.
Remember that it's normal to feel fear when you start performing.
The steps to dealing with it are as follows:
1. Become aware of it. This shouldn't be too hard. Just sing in
front of someone. You'll probably be somewhat afraid. Just be aware of it.
2. Accept it. This isn't so easy because you'll probably want to deny
it or push it away somehow. However, you can deny and push all day and
the fear will probably remain.
3. Let yourself feel it. When you feel the fear, it can go through
you. You're stuck with it for only as long as you hide it or try to push it
away. Think of a quart bottle, full of fear. As you feel the fear, you're
pouring out the bottle. You may never empty the bottle completely, but if
you cut your fear by 50%, you'll feel a whole lot better!
You'll probably always have some fear
Most singers, even ones who have been singing professionally for
years, still have some fear before each performance. But, the fear doesn't
disable them. It becomes "excitement", which they use to give their
performance energy and life.
The best way to lessen your fear is to perform in front of people alot.
If you get in front of audiences once or twice a week, in a couple of
months, you'll have a new found confidence.
I recommend forming or joining a Performance Team. There you'll
be performing in front of a group, which will activate your fear, but you'll
be in a safe place where you can talk about and diffuse it.
Then when you do get on stage in a nightclub, your fear will be
diminished because you'll have dumped alot of in in your Performance
Team. You'll also have less fear and more confidence because you'll have
learned The 7 Secrets to Great Performing.
My experience with fear
I was feeling really scared one day, I don't remember about what,
and I decided to try facing the fear head on. I sat in a chair, closed my eyes
and focused on how scared I was. I imagined every terrible scenario and
took each one to the limit. I felt really scared.
Then a surprising thing began to happen. As I let the fear run it's
course, I began to see fear as a paper tiger. It had a big roar, but no real
power. Fear tried to be big and mean, but was really quite powerless. It
reminded me of the Wizard of Oz who turned out to be meek and harmless.
At the end of that experience I was no longer afraid and I felt lighter
and kind of happy. It was a great feeling and a relief to see that fear wasn't
so "all powerful."
Today, fear is still very uncomfortable for me, but it's much more
bearable when I remember that it is simply a paper tiger that can't really
harm or control me.
The following ancient Hindu scripture gives us another way to look
at fear:
The content of fear may be intense and gripping,
so much so that it overwhelms us completely.
But when we look beyond that content of fear itself,
what do we find?
Pure energy, energy which, if we focus on it directly,
will begin to reveal its real nature.
Then, instead of filling us with agitation,
the energy of fear can actually lead us
to a state of exhilaration, or intense concentration,
or love.
Most of what we fear never happens
Fear is generally not a messenger of truth. Most of what we worry
about never comes to pass. But when we are feeling the fear, it sure seems
like the terrible events we're stewing about will happen. I love the
following quote by Mark Twain:
I am an old man and have a great many troubles,
but most of them never happened.
I'm really glad that most of my worries never came to pass. If they
did, I would have died along time ago.
Feeling your emotions helps your body relax and frees your voice
When you hold back emotions, your body tenses up. That's the way
humans work! If your body is tense, your you won't be able to sing your
best. When you feel your emotions, your body relaxes, and your voice
becomes freer.
Try this before singing:
Here's an exercise that should help connect you to your body and
your emotions. Before you start singing, stand in a relaxed position, close
your eyes, and take some deep breaths. As you're breathing, pay attention
to any body tensions and let those muscles relax. Then notice what you're
feeling emotionally. Are you scared, angry, or maybe you're feeling a
combination of many emotions? Remember it's normal for people to feel
these emotions. In our culture we are taught not to express them. You're
not crazy or weird for having human feelings!
Now, when you start to sing, keep this physical and emotional
awareness going. When you let your feelings go as you are singing, you'll
experience a freedom in your voice and body that will feel fantastic.
An example of how emotional honesty works
One night, in a performance class I taught, Kevin sang a song which
totally bored myself and the rest of the class. He looked spaced out and
unfocused.
After his performance, he told us that he was feeling angry, but
didn't want to let it show. He was using his energy to keep us from seeing
that he was angry, which is why he looked so spaced out.
I suggested he allow himself to feel the anger and perform another
song. He did and this time I found myself captivated by his performance.
He had strength and integrity. He looked and sounded great. Because he
let himself feel the anger and any other emotions that were there, he was
able to give an honest performance. He freed up a tremendous amount of
energy. The class loved him.
This happens often in my teaching practice. When my students allow
2. Talk about what the song means to you, in your own words. Be
specific and relate the song to your own life experiences. Emotions will
probably be stronger at this point. That's great! Let them flow!
3. Sing the whole song, while trying to feel each line intensely.
Forget about how you sound or look. Just feel each lyrics and your
emotions.
This exercise can be done alone, but it's most effective when you do it
with someone. Ask a trusted friend to do this exercise with you. You'll both
have a powerful and rewarding experience.
Resistance is normal
You may find some resistance to really feeling the lyrics because you
may be avoiding a painful place within yourself. If I am singing a song
about a woman who left me, it will be painful for me to remember the
women who really did leave me. In my normal "non-singer" life, I try not
to remember those painful experiences. But as a singer I need those
feelings. I may shed some tears while singing the song but I'll sound better
and feel better afterwards.
Tips for mastering this Secret:
1. Go through each song, one line at a time and find ways to tie
your life experiences and emotions into each line in each song.
Maintain eye
Almost every time I get a new student to move while they are
singing, their voice improves instantly. It makes sense, because moving
loosens them up physically and emotionally, which helps them to sing
better.
Moving on stage will help you to feel better and look better. It's not
that hard to learn, even though you might be a little scared in the
beginning. Here are three approaches you can take with your movement:
1. Moving with intent: This involves planning or choreographing
moves to go with each song. For example there could be a line in a song
that talked about heaven. At that point you could look and point up to the
sky. It would be a planned move that you did every time you sang that
song.
2. Moving from inspiration: This is what most singers do. They
don't have moves worked out, they just move as they feel inspired, but
they're always moving.
3. Aimless wandering. Most beginners aimlessly wander because
they are nervous. It often involves shuffling from one foot to the other, or
wandering around stage with a very weak posture. It looks amateurish and
isn't very fun to do.
Anecdote
I remember a time when one of my students did the Wild Woman
exercise during her lesson.
At first she was very restrained and
uncomfortable. She described it as an unpleasant and awkward experience.
She wanted to stop, but I encouraged her to keep going.
As the lesson progressed, she became more comfortable and began to
really express herself with her body. At that point she began to enjoy
moving and came up with some great moves.
By the end of the lesson her body was loose and free and she had a
big smile on her face. She was also singing much better!
accomplished. This is definitely true with moving while singing Now it's
time for you to incorporate movement into your singing routine. No longer
can you just stand there like a student giving a recital.
Every time you sing a song, do the Wild Man or Wild Woman
exercise while singing. It's okay if you feel like you're overdoing it. That's
what you need to do. You've probably been under doing it up to this point
so it's time to break out of old habits and go wild!
Tip: Using your hands and arms
Use your hands and arms to express what you are saying. You do it
when you talk. It's no different when you're singing. If your hands are just
hanging at your side, you'll look totally amateurish.
Watch video performances and learn what the pros do
You can learn a tremendous amount from watching video
performances. By the time a singer gets to the level of performing on
video, they usually have their movement down. You can learn some good
techniques by watching these singers.
Walking backwards while singing
When you are actually singing, it's fine to move from one side of the
stage to the other, or from back to front, but not from front to back. You
want to avoid this move because it looks incredibly weak. If you need to
move towards the back of the stage, do it during a time when you are not
singing.
Once you're at the back of the stage, you can create a powerful effect
by moving forward while you're singing. Just don't move backwards while
you're singing.
Using the whole stage
Most of the time a beginning student will use a very small portion of
the stage. It looks non-professional. Use the whole stage, and when
possible, the whole room. It will make your performance more fun for you
Talk to your
you.
Talking to your audience can be great fun. The easiest way to talk to
your audience is to give introductions to some of your songs. A good
introduction can double the effectiveness of a singer's performance because:
1. It helps the singer to understand and feel the lyrics.
2. It breaks down the wall between "performer" and "audience," by
helping the audience to know the singer a little better.
3. It makes the audience want to listen to the lyrics.
What is a good intro?
1. A good intro allows singers to share themselves personally.
Example: "When I was little, I grew up on a farm, and every summer
we spent our days on the lake swimming and fishing. This song reminds
me of those times."
2. A good intro tells the audience what the song is about.
Example: "When my wife left me, I thought my life was over. But
I just met someone new, and now I feel like my life is just beginning. This
song is dedicated to the new love of my life."
Summary
Talking to your audience is a skill that is easy to learn, as long as
you keep practicing. I recommend practicing many times before
getting on stage. Then, when you are on stage, you'll find a good intro
comes more easily.
Summary
Mastering this Performance Secret will begin at home.
Experiment with letting all your voice and emotions out. In the
beginning you'll crash, but with time you'll stabilize.
You won't be able to give 100% in your first few months of
singing, because your voice won't be able to handle it. But as your
voice grows stronger, you'll be able to give more and more. The more
you give the better singing will feel!
Many people believe that great singers just don't make mistakes.
Well that's not true. ALL SINGERS MAKE MISTAKES! The pros learn
to get through their mistakes gracefully.
Here's the key to dealing with mistakes: When you do make a
mistake, DONT STOP! DONT MAKE FACES! JUST KEEP SINGING.
If you forget some lyrics in a particular verse, sing lyrics from a verse you
remember. If you come into a verse too early or too late, keep singing. The
band should be able to follow you. If you keep singing, the audience
usually wont notice your mistakes.
Many of my beginning students will roll their eyes when they make a
mistake as if to say "Did you all see that huge mistake I just made." It is as
if they had a gigantic neon sign on stage behind them that said"I GOOFED
UP! I GOOFED UP!" When you do make a mistake, play it cool. Don't
turn on that neon sign.
When you're practicing at home and you make a mistake, try to fake
your way out. This will help you develop the skill of "faking it." Then
when you get on stage, you'll have some skills that will help you out when
you make mistakes in public.
Tips for mastering this Secret:
Summary
The only way to learn this Secret is to perform, first at home
and then in public. With time, you'll get through your mistakes as
gracefully as the pros.
CHAPTER 14
I didn't have the skills or confidence to do a good job. Now I look forward
to performing.
The skills I learned in the class came from singing in front of my
classmates every week for a year, and receiving honest, loving and
supportive feedback. Never once did I feel criticized in a competitive or
cruel way. In a class like that there is a built-in safety valve. Since every
student has to perform, all feedback is underscored with compassion and
understanding, because the person giving the feedback has been through, or
is about to go through what you're going through.
The class was hard. I kicked and screamed and resisted facing my
internal demons. I thought I would die before doing some of the exercises.
But I grew and changed, and came out with a self-confidence and selfrespect that will stay with me for the rest of my life.
What is a Performance Team?
If you want to receive the benefits I received from the performance
class, put together a Performance Team. A Performance Team is a group
of five to ten singers who meet once a week and help each other learn The 7
Secrets to Great Performing through experience. Experience is the only
way to really learn these Secrets.
The structure is simple. You'll meet once a week for three hours per
meeting. Every week you'll sing for each other, do The Performance
Exercises, and give feedback. Each person commits to the team for a
minimum of one year. You can meet in a garage or a living room. You
don't need a big stage or fancy sound equipment. Your progress comes
from performing, practicing 7 Performance Secrets, and receiving
feedback.
The rewards you receive from your Performance Team will blow
you away. You'll have so much fun and you'll grow beyond where you
ever thought you could.
How to form a Performance Team
Wherever you live in the world, there are other singers nearby who
want to overcome their fear of performing and become great performers.
You're not the only one! Put up flyers, place ads in newspapers, talk to
your friends, and call vocal teachers. Before you know it you'll have a
team.
What do you do once you have your team?
You'll meet with your team each week and work on one or more of
The 24 Performance Exercises. I suggest using the Basic Performance
Exercise every other week, and using different Exercises on the alternate
weeks. The variation of formats will help you develop many skills, and
will keep the sessions interesting.
Part 1: You talk about your goals and the group asks "What's the
problem?" You talk about what's holding you back from achieving your
goals. If you get stuck, the group again asks "What's the problem?"
Time: 5 minutes per person.
Part 2: The group gives solutions for the problem or problems.
Time: 5 minutes per person.
After you're finished with the exercise, the next person takes his or
her turn.
Part 1: You talk for 5 minutes explaining why you are so bad as a
person, a singer, etc. There is no response from your team members. Be
honest. Go wild! Don't hold back. You'll be surprised at the outcome of
this exercise.
Time: 5 minutes per person.
Part 2: The whole group comes together and discusses their own
experience.
Time: 20 minutes.
Part 3. Everybody in the group has something good said about
Each team of 2-4 people make up a song, rehearse it, and perform
it for the entire group.
I've done most all of these exercises, and they are incredible. They
changed me as a person and as a singer. They brought out skills I didn't
know I had. Give them a try. You'll be amazed with the results.
Going to Karaoke bars and open mics on your own
After working with your Performance Team for a few months, you'll
be ready to begin regular performances in front of live audiences. After
several months of performing in clubs, you'll be a solid performer, able to
get on any stage and give a great performance. A good place to begin
performing publicly is Karaoke bars and open mics. I know that Karaoke
bars have an amateurish reputation, but they're a fantastic place for you to
hone your performance skills in a low pressure environment.
Most large cities have Karaoke bars and nightclubs which feature
"open mic nights." Either of these places will give you the opportunity to
practice your performance skills. My students who take advantage of these
performance venues really benefit. I suggest you do it as often as possible.
You'll become a better singer and performer.
Singing the national anthem at ball games
Another great way to try out your performance skills is to sing the
national anthem at ball games. Believe it or not, this is one of the easiest
singing jobs to get, because there are so many ball games on any given
night, and they often are in great need of qualified singers.
All you have to do is go into any recording studio and record
yourself singing the anthem. This should take about an hour at most. Once
you have your demo, make a bunch of copies and send them to ball clubs in
your area. Start with the minor league and college teams, then when you
get some experience go for the majors. My students who have done this
rave about how easy it was to get hired, and how much fun they had
singing in front of such a large crowd.
You'll be gaining valuable performing experience, and when you
start looking for jobs as a singer, this will add to your credibility. When
you tell people you've sung the national anthem at ball games, they'll
assume you're a real singer.
microphone is too far away and your voice is quieter than the music, the
audience won't be able to hear you. If the microphone is too close and your
voice is much louder than the music, the audience will be blasted out of
their chairs.
You'll need to be careful when pronouncing words that start with the
letter "p." When you sing these words into a microphone, they tend to pop.
In other words, you hear a mini-explosion every time you sing a word that
begins with "p." What you need to do is hold back on the "p." Don't let it
explode as it comes out of your mouth. Some singers have trouble with
other consonants such as "t" or "b." Use the same repair technique for these
consonants.
Learning to use a microphone is just a matter of practice. Most
beginners need about 20 hours of microphone use before they master mic
technique.
Summary
Learning to perform is just like anything else in life. You need to
do it in order to become good at it. Allow yourself to make mistakes.
Your favorite performers made them as they were learning.
Many famous singer's began their careers as the shaky
performers. Once they gained experience, they developed into great
performers. You can do the same.
PART 5
HOW TO GET PAID
AS A SINGER
CHAPTER 19
We'll look all these ways you can earn money, and just how much
you can earn in each venue. Let's begin with nightclubs:
1. SINGING IN NIGHTCLUBS
Singing in nightclubs is a lot of fun. First, you'll need some
musicians to back you up. You can either join a band or put your own
band together.
Joining a band
The easiest way to begin performing in nightclubs is to join an
existing band. Someone else has already put the show together, so all you
have to do is show up and learn their songs.
Most singers need to audition for several bands in order to find a
good match. Remember, you need to like them as well as having them like
you. Your first step is to advertise yourself as an available singer, and
respond to ads placed by bands looking for singers.
There are several publications where bands advertise. In Los Angeles
there is Music Connection Magazine, in San Francisco, BAM Magazine; in
New York, the Village Voice.
These publications have a classified section called something
"Musicians Wanted." That's where the bands looking for singers will
advertise. There is also a section called "Musicians Available." That's
where you will place your ad, letting the world know that you are available.
Networking can also be productive. Talk to musicians in the clubs
and music stores you frequent. Put up flyers. You would be surprised how
many singers find bands way.
When you find a band you like, play them your demo tape (explained
in the next chapter). If they like your demo, you wont feel such a need to
prove yourself when you actually sing with them.
If you get the gig, congratulations! If not, ask them why. It may be a
matter of style, or you may need to work on certain areas of your
After mailing your packages, wait a week or two, then call the person
who does the booking. Find out if they received your promo package and if
they have any performance dates in mind. If not, ask when you should call
them again.
Looking for work in nightclubs is much like looking for any other
job. Some clubs will hire you and some won't. Be persistent and you will
find work.
Working with agents
Some nightclubs only hire bands through booking agents. Often
these clubs are inside large hotels where the hotel managers don't want to
hassle with auditions, so they have agents bring in the bands. The agent
takes a percentage of what you earn in exchange for getting you gigs.
Their take ranges from 10%-25%, but you'll end up doing fine because the
hotel gigs generally pay better than other gigs.
To find agents, talk to the musicians in the hotel nightclubs, or look
in the yellow pages. Send them your promo package and call them in a
week.
What you'll earn: You earn $50-$300 per night singing in nightclubs.
2. PERFORMING AT "CASUAL" GIGS
Casuals are jobs where the musicians often meet each other for the
first time at the gig (job sight). The musicians either know the songs by
heart or read sheet music as they play. There are usually no rehearsals.
You may be singing at a medical convention, a local nightclub, a party or a
wedding reception.
You'll usually figure out what songs to play when you arrive at the
gig. This type of gig involves a high level of musicianship, so if you're just
starting out you may not be offered casual gigs. But once musicians get to
know you as a talented and reliable singer, you'll start getting the job
offers.
I remember a student who did nothing but casual gigs. She had more
job offers than she could handle, because she was a good singer, a nice
person, and very responsible. Musicians get sick of flaky singers with
attitudes, so when they find someone who shows up on time with a smile
and a positive attitude, they hire that singer again and again.
Casual gigs can be fun because you get to sing with so many different
musicians in all types of venue. You also get paid fairly well.
What you'll earn:
session.
every wedding planner within 100 miles of where you live. In this case
your demo will just be wedding songs.
One of the cool things about singing at weddings is that you can
often sing with Karaoke tapes, which means you don't have to split the
money with a keyboardist. Sometimes a piano player or keyboardist will
be provided by the wedding party at no charge to you, and sometimes you'll
be expected to bring your own. One thing about singing at weddings is that
every situation is different.
What you'll earn: You'll earn $100-$400 for singing 2-4 songs.
4. SINGING ON RADIO AND TV COMMERCIALS
Singing jingles and commercials requires a high degree of vocal
control, improvisational skills, and the ability to perform under pressure.
The work provides a fairly reliable source of income, once you break in,
but it does take time to break in.
The best way to get started is to record a jingle demo and present it
to the producers who do commercial work. A jingle demo is a recording of
you singing commercials. These can be jingles that you make up, or copies
of jingles on the radio or TV. The steps for recording your jingle demo are
the same as those for recording your song demo, except you record
commercials instead of songs. You'll learn how to record your demo in the
next chapter.
If you dont know anyone in the advertising field, get on the phone
and talk to recording studios and ad agencies. Ask who the producers are
and how to get in touch with them. Send the key people your demo, and
then call them at least once a month, letting them know you are interested
in working for them. Better yet, visit them in person. When an opening
occurs, they will be likely to remember your perseverance and honest
interest in working for them.
Breaking into this field often takes a year or more of phone calls and
knocking on doors. But when you're in, the money is good and the work is
exciting and satisfying.
When they showed up at the audition they were blown away. This
"band" turned out to be a major recording artist signed to CBS records.
They auditioned and two weeks later they were on stage, in front of a huge
audience. They had a great time singing with this artist, and I suspect they
were well paid.
Another one of my students recently had an interesting experience
when she auditioned as a back-up singer for a local band. She show up at
the audition with demo in hand. But they didn't even listen to her demo.
Instead they studio her in a recording studio and had her sing back-up to the
bands first single. She was shocked. It just goes to show that you never
know what will happen at an audition.
When you start looking for work, you might as well look for work as
a back-up singer, while you're looking for other kinds of work. It can pay
well, give you valuable experience, and be a whole lot of fun!
What you'll earn: With a small time band you'll probably work for free.
With a well know act you'll earn up to $200 per hour.
7. RECORDING AND SELLING CD'S
This is the most challenging and the best paying gig of all. You can
either record your own CD and sell it yourself, or you can try to get a
recording contract and have the record company sell your CD's. Most
artists go for the recording contract, because record companies can
generally sell alot more CD's than the average singer ever could. You'll
learn more about getting a recording contract later on in this book.
Annie DeFranko took the do-it-yourself approach and sold 300,000
CD's while touring the United States and singing in coffee houses. Let's
say she charged $12.00 per CD. Since she recorded her CD's in her living
room so her expenses were very little. That brings her earnings to well
over $3 million. That's pretty good. If she had sold 300,000 CD's while
signed to a record company, she would have been lucky to earn $500,000
and she could have been dropped by the record company, because they
don't consider sales of 300,000 to be very successful or profitable.
Which ever route you choose, you'll need high quality, radio oriented
CHAPTER 20
sounds great to you. If something is too loud or too soft, tell the engineer
to adjust it. If you are happy with the "headphone mix", you'll sing much
better.
Summary
Consider your first couple of times in the studio as learning
experiences. The mistakes you make will enable you to do better work
in the future. After many years of singing in recording studios, I still
learn something new each session.
Once you have your demo, you'll be able to enter a whole new
league in the music industry. You can send your CD or MP3 file to
bands, recording studios and record companies. Your opportunities
for success will be increased greatly because more high level people will
be able to hear you.
CHAPTER 21
GETTING
A RECORDING
CONTRACT
A recording contract is the ultimate dream of most singers and
musicians. It signifies a certain level of success. However, a recording
contract does not guarantee success. Many bands and singers have been
signed, but when their CDs didn't sell, the record companies dropped them
and they were never heard from again.
If you're interested in pursuing a recording contract, here's what you
need to know:
Music as a business
Music has an artistic side to it, and a business side.. If you want to
make money as a recording artist, you need to understand how the business
side works.
The music business is a multi-billion-dollar industry.
If you
understand where the money comes from, and where it goes, you'll have a
better chance of prospering as a singer.
The dollar flow starts with the consumer. They buy your recordings
and part of that money goes to the record company. The record company
then gives you a portion of what they get. The more people buy your
records, the more money you make. If nobody buys your CDs, the record
company will probably drop you because you aren't earning them any
money. If millions of people buy your CDs, the record company will treat
you like God.
The money you earn from concerts or club performances will be
little to none, in the beginning. Record companies look at concerts as a
way to promote record sales. Concerts usually aren't profitable until you've
been around for a few years and have a big following. When you're selling
out stadiums, the profits become significant. For example, The Rolling
Stones' Tours often earn over $300 million.
As you can see, it's a money game. The record companies are in
business to make money. They aren't in the business of developing talent.
They sign fully developed artists with the hopes of making huge profits.
The most important thing to remember is this. If you have a sound
that the public likes, you can't lose. They will buy your CDs and you'll get
paid.
What does it take to get a recording contract?
One of the most commonly asked questions I receive is "How do I
get a recording contract?" Believe it or not the answer is relatively simple.
Before a record company will sign a new artist, three elements must be
present. The artist must have a radio quality voice, contemporary hit songs,
and a good stage act.
If any of these elements are missing or
underdeveloped, you probably won't be able to interest a record company.
Let's look at each element:
1. Radio quality voice: This is what we've been working on. A
voice that is rich, powerful, emotional and unique. It's a voice that sounds
good on CD, and that people like. Your demo must show that you have a
radio quality voice. It takes most beginning singers five to ten years to
develop their voice to this level. However, I did have one student who got
a recording contract after singing for just three years.
The most important factor in this equation is how the public responds
when they hear your CD or see you perform. If most people get excited,
your success is inevitable. There's money to be made and somebody will
see that and invest in you. If the public likes you, you'll sell CDs and
concert tickets. If you do that, you are a money earner. Record companies
earn their money by signing money earners.
If the public doesn't respond well to you, you need to figure out why
and make some changes. If you please the public, the record companies
will eventually be banging on your door, making offers.
Summary
If you have the three elements described above, getting a record
deal isn't that difficult. Your challenge will be to develop yourself to the
point where the public and the record companies feel you are ready.
That's the hard part.
PART 6
INSPIRATIONAL
STUFF!
CHAPTER 22
HOW TO ACTUALLY
ACHIEVE YOUR GOALS
People who want milk should not seat themselves in the middle of a field in
hopes that a cow will back up to them.
Elbert Hubbart
Writer, early 1900s
The most important thing you can do is to act. Do something! Get
started! Thinking about becoming a singer will not make you a singer.
Waiting to be discovered will not get you discovered.
The following three exercises will help you to reach your goals.
These exercises are as important as anything you will learn in this book.
1. Write down your goal.
When I take on a new student, I have them write out their goals and
bring them to their first lesson. My students often remark how difficult this
was to actually do. Some students aren't able to write down their goals at
all. It stirs up all kinds of emotions. Their old self is being challenged by
a new creative and brave person.
Get a 3X5 card and write down your goal as an "I am" or "I have"
statement. For example: "I am singing three nights a week for large
appreciative audiences and am earning $300 per night." Put down what
you really want to be doing, be realistic, and include the date by which you
expect to be accomplishing this goal. Most things we want to do we can
do, if we are willing to put in the work.
If the date arrives and you haven't achieved your goal, get another
3X5 card and write out your goal again with a new date. Keep doing this
until you reach your goal. My experience with this exercise is that I usually
reach my goals, but not on the first projected date.
2. Spend 15 minutes per day visualizing yourself having achieved your
goal.
Olympic athletes have successfully used visualization for years.
Here's what you do:
Find a quiet place and get comfortable. Imagine yourself where you
want to be, doing what you want to be doing. This is a fun exercise
because while visualizing, you are living your dream. See yourself on stage
and in the recording studio singing your heart out.
3. Replace all negative statements and thoughts with positive ones.
In our culture it is totally acceptable to whine and talk about how
inferior we are, how we keep getting bad breaks, etc.. Our friends usually
just nod their heads and try to give us comfort. The problem is that all of
this negative talking and thinking is very destructive. If we expect negative
results and events in our lives, we'll probably have them.
I understand this because I have been the king of whiners for most of
my life. However, once I began replacing my negative thoughts and
statements with positive ones, my life improved dramatically. I instantly
had more friends, and these new friends were also positive people who I
really enjoy. My daily life became much more satisfying and enjoyable.
The exercise works like this: Let's say a thought pops into your head
like "I could never be good enough to sing professionally." You need to
counteract that poison with a statement like "I am a powerful, successful
singer whom audiences love." Say it out loud. Make any statement you
like as long as you start with "I am" or "I have," and as long as it's a
positive statement.
You may feel a bit uncomfortable the first few times you do this, but
after awhile you'll probably begin to enjoy it. It feels much better to
verbalize your dream than to talk about how bad things are or will be.
Remember, you'll generally get what you expect, so expect the best!
If you can dream it, you can do it!
Last week as I was windsurfing under the Golden Gate Bridge, waves
crashing on the rocks behind me, I realized: Hey, I'm actually doing it!
Eight years earlier, I had a belief that I could never windsurf.
Someone told me that if I didn't start in my early twenties, I could never
learn and I believed them. But here I was, racing along, jumping waves,
and shouting with joy.
The first few times I tried windsurfing, I wasn't very good, but it was
so much fun that I kept doing it. Eventually I improved, through
experience and lessons.
That taught me something: I can learn most anything, if I find
someone to teach me, and then keep doing it. That sounds so simple it's
boring. But there is one more element here. I kept windsurfing because it
was fun! If I hadn't loved it so much I would have quit.
When I wrote my first book, I had the same experience. I wrote
because I had a strong desire to write, not because I thought I had to
practice writing, or should produce a book. I did it because I enjoyed
writing the book.
I believe that if we figure out what we really want, by listening to
those quiet voices in our minds and hearts, and then try it, the rest will take
care of itself. The hardest part for most of us is listening to the ideas, and
not killing them with negative thoughts like: "I could never do that," "I'm
too old," "I could never get the money," "people won't like me," etc.
When an idea comes up, nurture it like a tiny flower. If you stomp on all
your seedlings, you'll have no garden.
You won't be able to figure out all the angles and outcomes before
you start. So just start, and you'll discover solutions at each turn of the
road. The universe has an amazing way of solving problems for those who
jump in with both feet.
When I quit my safe corporate job to pursue my singing career, I
had no idea how I would be earning a living after my savings ran out. But
things always worked out. One opportunity led to another, and I was
forced to develop skills I would have never developed under the safe
umbrella of "The Corporation."
The more mistakes the better
Once there was a young man who desired success but had no idea
how to achieve it. He had a neighbor who lived up the hill who was very
successful. He owned houses, boats, planes and corporations. This young
man wanted to be rich like his neighbor, so he decided he'd pay him a visit
and find out how he became so successful.
When he arrived at the man's mansion, he was invited into the study.
The young man began his questions. "How did you achieve your high level
of success?"
Being a man of few words, the older man replied, "Good decisions."
"How did you learn to make good decisions?" the younger man
asked.
"Experience," the older gentleman answered calmly.
Feeling somewhat frustrated, he almost shouted, "Well how did you
get experience?"
He looked the younger man straight in the eye, paused for what
seemed like an eternity and spoke these two simple and powerful words.
"Bad decisions."
This left the younger man totally confused. "How could you achieve
so much by making bad decisions?"
Tho older man replied with great enthusiasm, "Bad decisions are my
greatest teachers. They hurt, emotionally and financially. Mistakes cause
me to do things differently the next time. We aren't born with all the
answers. We can rely on other peoples wisdom some of the time, but if we
are entering uncharted territory, we have to risk, fall and learn. There's no
other way! All great discoveries come from venturing into unexplored
territory. You cannot achieve greatness by following someone's safe path."
The younger man left the mansion somewhat dazed, but relieved. He
realized that all the effort he had been using to try to be perfect was in vain.
Mistakes were great teachers, and he vowed to live life in a way where
mistakes were frequent and honored. The younger man grew to be happy
and successful.
From now on, 20 mistakes per day
I've lived much of my life with the deadly disease called
perfectionism. In everything I did, I had to do it perfectly, or I would feel
like a failure. What ended up happening is I would always make mistakes
and then beat myself up for not being perfect. It was a hellish life and I
avoided doing new things in which I was sure to make mistakes.
One day I was on the phone with one of my most supportive friends,
an 89 year old woman of great wisdom. I was complaining about my latest
mistakes and how bad I felt about making them. What she told me changed
my life. She said "John, I'm giving you the assignment of making at least
20 mistakes per day. This is to be your goal and when you achieve that
goal you have succeeded."
I felt relieved after our conversation. The pressure was off. I didn't
have to be perfect anymore. I looked at mistakes as being good.
Now when I make my first mistake of the day, I say to myself "Good
job, only 19 more to go." I feel light and successful instead of heavy,
depressed and self-berating. I am willing to do more new and scary things.
I no longer feel the intense fear I used to feel. Life is much better!
So now, I am giving you the assignment of making at least 20
mistakes per day. When you've done that, you've had a good day, full of
risking and living.
Do you want to be comfortable or do you want to be happy?
While you're working towards your goals you'll probably experience
alot of discomfort. It isn't easy breaking out of a safe lifestyle. You will be
CHAPTER 23
Once there was a small boy who loved playing soccer more than
anything in the world. Everyday after school, he would get together with
his friends and practice. As he grew older, he dreamed of becoming a
professional soccer player. On his 18th birthday, his dream came true: he
was offered a position on a professional team. He was ecstatic. He played
well and his career progressed.
One night on the way home, his car had a blowout and he became
involved in a very serious accident. When he regained consciousness in the
hospital room, he discovered he was paralyzed from the neck down. He
was devastated, realizing his soccer career was over.
For three years he showed little sign of improvement, until one day
he began to move his fingers on his right hand. With time he regained the
use of both hands and arms. He began to have hope.
One of the nurses who had befriended him asked him if there was
anything he wanted, to help pass the time. He asked for a guitar. When
she brought it to him, he couldn't play. But he had 12 hours a day to
practice, and within 6 months he was playing and singing to other patients
and the staff. He found he really enjoyed this.
Miraculously, his paralysis disappeared. He regained use of his entire
body. Now it was time to leave the hospital and rebuild his life. He had to
ask himself what he wanted to do for the rest of his life. The only two
things he really enjoyed were soccer, and now singing. He wasn't able to
compete professionally in the soccer leagues so he decided to devote his
time to singing.
Now, what chances do you think he had of succeeding? He started
relatively late in life. He had kind of a strange voice. He had never been
properly trained.
15 years later, he has sold over 100 million albums. He is the most
successful male singer in the world. His name is Julio Inglesias.
The Apollo Theater in Harlem is a place where singers get started.
Once a week they have a talent contest, and up-and-coming singers go there
to test their skills. It's a huge place and performing there must be
intimidating. But what's really hard is that if the audience doesn't like you
they will start to boo, very loudly, until you're forced to leave the stage. I
don't know if I could handle that.
A young male singer decided to give it a try. He got on stage and
started to sing his song, and about 20 seconds in, the audience started to
boo. He was unable to finish the song because they were so loud. He left
the stage, humiliated.
He was down but not out. He could always go back and try again.
He did. Two weeks later he went back. This time he got halfway through
the song and the same thing happened.
Now I would have been very discouraged at this point. This young
man was certainly discouraged, but not ready to quit. He went back two
more times, only to have the same thing happen again. It wasn't until his
fifth attempt that he was able to get through the entire song without being
booed off the stage. Now that's perseverance.
If he had given up, we would not be able to enjoy his music today.
His name is Lionel Richie.
CONCLUSION
In my 25 years of teaching voice, I have seen a common denominator
among my successful students. It wasnt talent, great looks, or parents that
gave them singing lessons at age six. What they all had in common was a
strong desire to sing and the ability to keep on pushing, no matter what the
obstacles were.
I have seen singers with incredible voices who never succeeded
because they didnt have the perseverance necessary for success. Remember
the story about the race between the turtle and the hare. The hare had the
talent (speed) but the turtle had tenacity. The turtle won.
If you really want to be a singer, you will be! Good luck.