Table of Contents

Advanced Book

CHAPTER 1. LEARNING A SONG: THE FIRST FOUR STEPS 2

STEP 1. DETERMINING DO WITH KEY SIGNATURES 2

AN EXCEPTION TO THE DO STANDARDS: MINOR KEYS 3
1. NO KEY SIGNATURE 3
2. THE RULE FOR FLATS 4
3. THE RULE FOR SHARPS 4
STEP 2. INGRAIN DO IN YOUR MEMORY 5
STEP 3. UNDERSTANDING THE SONG’S MEANING 6
STEP 4. FIGURE OUT THE RHYTHM AND TEMPO 7
RHYTHM 7
TEMPO 8
EXERCISES 8
SONG #1: RED RIVER VALLEY 8
SONG #2: MOR 9
SONG #3: THE SWEET NIGHTINGALE 9

CHAPTER 2. THE NEXT FOUR STEPS TO LEARNING A SONG 11

STEP 5. MARKING UP THE LYRICS 11

SONG STRUCTURE 11
LYRICAL EMPHASES 12
BREATHING 12
STEP 6. HITTING THE RIGHT NOTES 13
EXERCISES 14
SONG #1: RED RIVER VALLEY 14
SONG #2: MOR 15
SONG #3: THE SWEET NIGHTINGALE 15
STEP 7. DYNAMICS AND STYLE 16
DYNAMICS 16
STYLE 17
NOW SING! 18
STEP 8. PERSONALIZE YOUR SONG 18
TECHNICAL CHANGES 19
STYLISTIC CHANGES 19
REVIEW 21
EXERCISES 23
SONG #1: SHENANDOAH 23
SONG #2: DREAM SONG 24

CHAPTER 3. SINGING WITH A BAND 25

TIPS FOR A SUCCESSFUL REHEARSAL 25

i
CHAPTER 4. HARMONY 27

CHORDS 27
CHORD PROGRESSIONS 30
AUTHENTIC CADENCE 30
PLAGAL CADENCE 31
HALF CADENCE 32
DECEPTIVE CADENCE 33
SINGING A PART BY EAR 34

CHAPTER 5. SINGING ON STAGE 36

MICROPHONES 36
BUYING A MIKE 36
MICROPHONE MISTAKES 36
HOLDING A MICROPHONE 37
STAGE PRESENCE 37
STAGE MOVEMENTS 38
STAGE FRIGHT 39

CHAPTER 6. AUDITIONS 41

PREPARATION 41
FIRST IMPRESSIONS MATTER 42
CHOOSING A SONG 43
AFTER THE AUDITION 44

CHAPTER 7. CHOOSING A SINGING TEACHER 45

FINDING A TEACHER 45
DIFFERENCE BETWEEN A VOICE TEACHER AND A VOICE COACH 46
WHAT YOU SHOULD EXPECT FROM A VOICE TEACHER 46

Copyright © 2005 Barosco Ltd.

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, scanning, or otherwise, without the prior written permission
of the publisher.

ii
Welcome to the SINGORAMA! Advanced Book! By this time you’ve probably
mastered all your vocal warm-ups … are well on your way to developing the best
breathing, articulation, and range for you … and are ready to apply everything you’ve
learned to an actual song!

Now that your voice and singing apparatus are finely tuned, I’m going to teach you
exactly how to break down a song into its vocal components. You’ll learn about
dynamics, phrasing, rhythm, style, and more. You’ll get to practice on original music
rather than songs you’ve heard before. Audio tracks ( ) give you audio illustrations
of the concepts.

But you won’t just learn about how to sing a song with heart and originality. From
there, I’ll take you into even more advanced material about singing in a band,
harmonizing, and singing on stage. You’ll even learn great tips about how to
audition and how to choose a singing teacher!

Be advised! I wasn’t kidding when I said that this was an Advanced Book. If talk of
quarter notes, treble clefs, and keys leave you confused, you may want to review the
information in The Ultimate Guide To Reading Music the BONUS e-Book included
with this book. You’ll discover simple explanations, diagrams, and exercises on a
variety of aspects of music theory, including the Solfeggio method and the chromatic
scale.

So … are YOU ready?

1
CHAPTER 1. Learning a Song: The First Four Steps

Singing a song isn’t as easy as following the notes. In addition to all the vocal
training a singer must do to get his or her voice to produce the best possible sounds,
a singer must study a piece of music like an actor would study a script! Not only
must you figure out the key that the music is written in, you must figure out its tempo,
dynamics, and style. You must figure out the meaning of the lyrics, where to
emphasize certain words or sounds, and where to take a breath.

You may wonder … why bother with all this, when I can just listen to a recording of
the song and copy it? That’s perfectly fine—if you don’t want to become a real
singer. Could you imagine someone playing Hamlet by copying other actors’
performances rather than reading and understanding the play?

You need to understand what makes a song tick, where its heart lies, and where it
offers un-mined opportunities for your unique vocal qualities to shine. By breaking
down a song yourself, you’ll become the expert—rather than passing the buck on to
another singer. As a result, your vocal interpretation will be creative, unique, and
entirely your own.

Fortunately, there’s a simple 8-step process you can use. You’ll need to have the
sheet music or musical score for the song first. Starting with figuring out the root Do,
you’ll study the lyrics, the rhythm, the phrasing … all the way down to adding your
own creative spin to the song.

Step 1. Determining Do with Key Signatures

Remember the Solfeggio method from the Interval on Mastering Pitch in the
Beginner’s Book? You’re going to have to use it again, this time to determine the
tonal center of a song. The tonal center of a song is the “home base” of a song, and
it is determined by the key signature at the start of each musical score.

Let’s refresh your memory just a bit. The key note Do in the scale Do, Re, Mi, Fa,
So, La, Ti, Do is the starting note from which you can reach all the other notes in any
song, as long as you have practiced your intervals.

In addition to the website mentioned before, you can practice recognizing

musical intervals (as well as much, much more!) using the Interval Ear Trainer
at Ricci Adams’ Musictheory.net website http://www.musictheory.net/.

Do changes depending on the key of the song. Major keys are named by the letter
representing Do followed by the word “Major” or “Minor.” For example, a key may be
C Major, E-flat Major, or G Major.

2
The key signature tells you exactly what scale a song is written in … and what series
of notes you’ll be required to sing. The key signature can be found to the right of the
clef symbol (treble or bass) at the beginning of a musical score. It appears as a
group of flat or sharp symbols (or, in the case of C Major, nothing at all).

An Exception to the Do Standards: Minor Keys

Minor keys are a bit different, though, because they do not actually have Do as the
tonal center. If the key signature is in one note, and the song seems to be based
around another note, then the song may be in a minor key. You can easily
distinguish tunes that are in a minor key once you hear them, as they have a
melancholy or ancient feel about them.

In the musical score, one clue that the song is in a minor key is the regular
appearance of accidentals, or sharp or flat marks next to notes.

In the case of minor keys, the base note shifts from Do to La (e.g., the sixth step of
the relative major scale). You can find this note in several ways. You can sing down
the major scale, starting on Do (sing Do → Ti → La), or you can sing up the major
scale from Do to La. If you’re not sure if you’re singing all the intervals of the scale
correctly, you can use the SINGORAMA! Virtual Piano to find La. Play Do, then
count three keys (three half steps) down to find La. This La indicates the minor key
relative to the major key which starts on Do. Every major key has a relative minor
which has the same key signature. This will make much more sense when you take
a look at a few examples of major and minor keys.

1. No Key Signature

Look at the staff below:

A blank staff always indicates C major (or its relative minor, A minor).

3
2. The Rule for Flats ()

Study the key signature below:

Look at the next to the last flat. No matter how many flats are in the group (as long
as there are more than one), the next to the last flat will be your baseline Do.


The Do in the above example is E. So, the key could either be E major or its

relative minor, C minor.

If there is just one flat in the group, Do will always be F.

The order of flats in a key signature is: B, E, A, D, G, C, F.

3. The Rule for Sharps ()

Study the key signature below:

Look one half-step up (one space OR one line up) from the right-most sharp. That
line or space indicates the note upon which you will base Do.

The Do in the above example is B. So, the key could either be B major or its relative
minor, G minor.

The order of sharps in a key signature is F, C, G, D, A, E, B.

Did you notice that the order of sharps is the same as the order for flats … but in
reverse?

4
Step 2. Ingrain Do in your memory

Now that you know which note Do falls on, you still have to memorize it. Play the
note on the SINGORAMA! Virtual Piano and sing along. (If you can’t do this,
practice your note-reading ability with the JAYDE MUSICA PRO MUSIC THEORY
GAME included as a free BONUS with this book!)

Once you feel as if you can sing the base note Do right on pitch, practice scales.
Keep in mind that minor scales sound different than major ones, so there are
different exercises for each type of scale.

• Try this exercise.

Using the correct base note for Do, hum or sing:

Do Re Mi Fa So La Ti Do

Do Mi So Mi Do So Do Ti Do

Do this for both the major and minor scale.

For a minor key, start on Do (corresponding to the key signature in the music)
and sing down the scale to La. Now hum or sing:

La Ti Do Re Mi Fa So La

La Do Mi Do La Mi La So La

Be careful when you’re singing the exercise for the minor scale! The intervals
are different than the major scale, since the starting note is different. Make
sure your jump down from La to So is a whole step (2 piano keys), instead of
just a half-step as it is from Do down to Ti.

Are you finding this hard? Let’s take an example. Say that the key signature of a
song is:

What note should Do fall on? _______ (To hear the note, play Track01.)

Listen to Track02 to hear the above exercise performed on the D major scale.

Now, listen to Track03 for the same exercise performed on the B minor scale.

5
B minor is the relative minor to D major. You can find this by singing down the D
major scale: D → C → B, or by playing three half steps down on the piano.

Step 3. Understanding the Song’s Meaning

Now that you have determined Do, you need to understand what the song is about.
Read the lyrics as if you were an English student studying them for meaning.
Answer the following questions:

What is the song about?

__________________________________________________________________

__________________________________________________________________

Who is the song being sung for?

__________________________________________________________________

Who is the song being sung by?

__________________________________________________________________

What message is the singer trying to get across?

__________________________________________________________________

__________________________________________________________________

You may find it easier to do this exercise if you imagine that you are an actor trying
to get inside the head of the “character” you are about to play. In many ways,
singing is similar to acting. Each song can be seen as a unique story that the singer
is trying to tell. Even if the song is narrated from the first person (“I”), don’t make the
mistake of singing the song as if you personally were the narrator. Great singers
sing in the persona of the song’s narrator in order to express the range of emotions
and feelings intended by the songwriter.

6
Step 4. Figure out the Rhythm and Tempo

Rhythm

Figuring out the rhythm is easy if you have the sheet music. The time signature at
the beginning of each score tells you how many beats there will be to the measure.

You may not have had much experience with rhythm before. If you have, you can
skip the following explanation. If not, prepare to grasp some rather difficult but
important concepts!

“Common time,” or the standard form, is o time. This means that there are four
quarter notes to the measure. Common time is marked on a treble clef scale like
this:

The top number in the time signature indicates how many beats per measure, while
the bottom number indicates for how long each beat will last.

(If there is no time signature indicated at all, then the music is also in common time.)

When it comes to actually singing a rhythm, you may wish to use a metronome to
provide a steady, rhythmic sound. Another way of giving yourself a sense of the
rhythm is to clap along. When you clap along to a song, you will usually clap on the
upbeat. The upbeat is the second (and fourth) beat in o time, while the first (and
third) beat is the downbeat. This means that you will clap on the second beat and
every other beat thereafter. (You will sing on every beat, however!)

There are a variety of other rhythms that you may encounter. For example, if there
are three quarter notes to the measure, the time signature will have a 3 above the 4.
If there are three eighth notes per measure, the time signature will have a 3 on top
and an 8 on bottom. These are all examples of simple meters. The most common
are o (common time), h and k.

Simple meters are “felt” in the number of beats of the top number. This seems
obvious, but there are some time signatures which are “felt” in a different time than
which they are written in. These are called compound meters. Commonly used
compound meters are u and v.

Instead of being felt as six separate beats, u time is divided into two groups of three
notes each, and v into three groups, and so on. Each “group” of notes gets treated
as one beat. So the downbeats in u time are on the first and fourth notes, not the

7
first, third and fifth notes as in a simple meter. All of this talk of compound meters
will make more sense when you practice a song later on which is written in this time
signature.

Tempo

Now, look for an indication of the tempo, or speed, at which the songwriter intended
the song to be sung. You’ll find any tempo markings at the top left of the musical
score.

Unfortunately, like so many things in music, the tempo of a musical piece is not
described in English, but rather in Italian. Use the handy guide on the following page
to translate the most common tempos from Italian into English.
presto very fast
vivace quick and lively
andante moderate (literally, walking pace)
legato smooth
largo slow and stately
adagio slow

There may also be a number indicating the tempo. This may be written as q = 60, if
the song is in o time and each beat (or quarter note) is worth one second (1/60 of a
minute).

• Try this exercise.

Once you have found the rhythm and tempo of your piece of music, clap a few
measures to get a sense of how it sounds. Now, speak the lyrics in
conjunction with your clapping hands (or tapping toe). This will give you
familiarity with the song’s pacing and speed.

Exercises
Song #1: Red River Valley

“Red River Valley” is a short piece of music with a relatively easy rhythm. Since
there is no time signature indicated, the piece is in common time (o).

Start by clapping in o time at a steady pace. Say, “One, two, three, four,” on each
clap, so you get a feel for the downbeats and upbeats. (Remember to emphasize
beats #1 and #3.) Then, speak the rhythm of the song with the sound “tah.” You
may want to continue to clap while you speak the rhythm.

If you are having difficulty with this, start by speaking each note according to its
number. The score below has the numbers written above each note. When there is
an off-beat, a note in between two beats, say “and.” Then you can try to speak the
rhythm on “tah.” Don’t worry about the pitches until later.

8
Listen to the following rhythm for “Red River Valley.” On Track04, the rhythm is
spoken according to the numbers of the beats. On Track05, the rhythm is spoken
on “tah.”

Red River Valley

4 and 2 and 3 4 and 4 and 2 and 3 4 and
   
1 1 2 1
  
           
 
5 2 and 3 4 and 1 2 and 3 4 and 1 2 and 3 4 and 1
 
1 2 4 1 3
      
      
Once you’re comfortable with the rhythm, try to speak the rhythm yourself.

Song #2: Mor

“Mor” is written in a different time signature than the above piece. Remember that u
time has six beats per measure, where each beat is an eighth note, but the music is
felt as though there are two beats per measure. Try speaking this rhythm,
emphasizing beats 1 and 4 as the downbeats (instead of beats 1 and 3, as in
common time).

Mor


                   
    
 
6

               
 
Now listen to the rhythm being spoken for “Mor” by playing Track06 and check
that you spoke the rhythm correctly.

Song #3: The Sweet Nightingale

The above two pieces have rhythms which allow you to emphasize the downbeats.
The rhythm in “The Sweet Nightingale” is a little bit more complex because there is
syncopation. Syncopation is when you stress beats that are normally not stressed.
For example, the music could emphasize beats 2 and 4 instead of the usual beats 1

9
and 3, or a whole measure could be shifted by an eighth note in order to emphasize
the off-beats.

The other potential trouble spot in this piece is in measure 6—a triplet. Triplets have
three notes each with an equal length. The tricky part is that the three notes take up
the space of two beats in the measure.

Try speaking the rhythm of “The Sweet Nightingale.” Be ready for the syncopation
and the triplet!

The Sweet Nightingale


                
 

 
5

         
3
      

If you get tripped up, listen to the correct rhythm being spoken and practice the hard
part until you get it right. Then practice the same part a few more times, until you are
confident and can get it right at least three times in a row. This is the best way to
ingrain what you have just learned in your memory.

Play Track07. Listen to the rhythm while each beat receives one clap. This way,
you will easily be able to hear which notes are syncopated.

Now, play Track08 to hear the rhythm being spoken just on “tah,” without the
clapping.

10
CHAPTER 2. The Next Four Steps to Learning a Song
The process of learning a song can be a long one! However, now you’re getting into
the fun part … actually getting to sing and interpret the song.

Step 5. Marking up the Lyrics

For good phrasing, you must understand the song you’re singing. As I said before, a
song isn’t just words set to music: it’s a story that you, as the singer, will tell.

Song Structure

In order to tell their musical story, songwriters employ three lyrical devices: the
verse, the chorus, and the bridge. These three sections can be put together in a
variety of ways to add contrast or the familiarity of repetition, and one or more may
be eliminated entirely.

• The verse is the story-telling vehicle of the song that gives information. There
may be several verses in a row, but each contains different words.

• The chorus is a section that tends to be repeated without modification in the

lyrics. It is often the most memorable or catchy part of a song.

• The bridge serves as a break in the middle of a piece. It is usually

completely different from either the verse or chorus.

Some common song structures are as follows:

Structure: verse 1
verse 2
chorus
verse 3
chorus

Examples: Live’s “Lightning Crashes,” Bob Marley’s “Ain’t No Sunshine,” James

Brown’s “Papa’s Got A Brand New Bag”

Structure: verse 1
chorus
verse 2
chorus
bridge
(chorus)

Examples: Madonna’s “Lucky Star,” Paul Simon’s “Bridge Over Troubled Water,”
Carole King’s “A Natural Woman”

11
Some songs may begin with the chorus, such as Chaka Khan’s “I’m Every Woman.”
Other songs may be entirely made up of verses with no chorus or bridge, such as
Bette Midler’s “The Rose.”

Lyrical Emphases

Determining the phrasing of a song involves everything from deciding where to place
your lyrical emphases to where to take your breaths. The lyrical emphases are the
places where emphasis should naturally fall in the “musical sentence.”

For example, take the first line of Robert Burns’ poem “Red, Red Rose”:

¾ O my love's like a red, red rose…

Where would you naturally put the emphasis? Clearly, words like “my,” “like,” and
“a” will be passed over quickly, while words like “love” and “rose” are more important.

Go through the lyrics and look at the meaning of each musical sentence. Ask
yourself which words are the most important or essential to understanding the lyrics
as a whole. Underline those words to remind yourself of their importance.

Breathing

Good phrasing depends on breath control. You need to have enough air to finish
each lyrical sentence solidly, rather than letting the note fade away. You don’t want
to have to take more breaths than necessary, however. Focusing your air will keep
you from wasting your breath and enable you to deliver a powerful tone right through
to the end.

Breaths act like musical commas. You should take a breath where there is room for
a pause in the musical phrase. Usually, you will take your breaths:

• where there is a pause in the lyrics, or

• at the end of any long notes.

Make sure to write your breaths into the music as apostrophes so that you don’t
forget to breathe. It may sound silly, but it can easily be done! Some music, usually
choral arrangements, may already have breath marks written in the score. But if you
forget one breath, the music won’t slow down for you to take another one, and you
don’t want to have to catch up with the music.

You may be interested to know that once you are a soloist with a band or
piano, you will control the movements of the music, as the accompaniment
always follows the vocal lead.

12
Step 6. Hitting the Right Notes

Can you still sing the Do you memorized back in Step 1? If not, go back to the
SINGORAMA! Virtual Piano to play the key and check it against the sound in your
head. You need to have the key note memorized to be able to hit the other notes
perfectly.

It may help to write the Solfeg notation (Do, Re, Mi, et cetera) below each note to
help you hit the correct intervals. Write in all the Dos first, then fill in the rest with
respect to that root Do.

Beware of accidentals. Again, these are notes that are not in the major or minor
scale in which the song was written. There will be a flat ““, a sharp “”, or a natural
sign ““ next to the note, which signifies that the pitch should be lowered or raised a
half-step. An accidental applies to every same note following it and lasts for the
entire measure, even though the symbol will not be repeated. This always applies
unless there is another symbol (usually a ) indicating that the note is to return to its
initial state within the original key.

Now, you will sing the song at least five times, each time focusing on a different
aspect of the song.

1. Sound out (i.e., hum or sing) each note, paying no attention to rhythm or
lyrics.

2. After you feel like you have a good grasp on each interval, sound out the
notes again, this time following the correct rhythm. Emphasize the downbeats
at first to make sure you get the correct rhythm. Repeat until you feel you
know the notes completely.

3. Armed with a good grasp of the notes and rhythm, sing the notes using the
sound “ah.” Visualize elongating your “ah” sound throughout the phrase; see
your starting note and end note, and making your breath continuously smooth
and flowing. Make sure to focus your breath.

4. Sing only the vowel sounds of the song. Make sure that your mouth is in a
relaxed oval shape.

5. Now, you are ready to sing the full lyrics, consonants included.

As you sing, you should focus on any problem areas that you might have. These
may include:

¾ Articulation, intervals, and breathing

¾ Any places where your voice wants to break. You should be able to
sing the entire range required by the song in a smooth and unbroken

13
 manner. If some notes are a stretch, try changing the key of the song
into a range that suits your voice.

¾ Whether you are on pitch and in tune. Check this periodically by

playing your last note on the SINGORAMA! Virtual Piano and making
sure that your voice matches up.

Exercises
Song #1: Red River Valley

Use the steps you have learned so far to sightsing the following three songs. You
have already learned the rhythm to both of these songs, so focus on learning the
notes and putting into practice the method in Step 6. Don’t worry about style or
personalizing the songs yet, until you have mastered the technical side of the music.

“Red River Valley” has a relatively easy melody if you have practiced your scale and
arpeggio warm-ups! Most of the intervals in the song follow a scale or arpeggio,
which makes the melody much easier to learn. Try to find where there is a scale or
arpeggio in the music and write this in along with the Solfeg notation. It will help you
when you come to sing the music.

Start by playing Do for “Red River Valley” on the SINGORAMA! Virtual Piano. (The
song starts and ends on Do.)

Red River Valley


            
 
From this val - ley they say you are go - ing We will

4 
               
  
miss your bright eyes and sweet sm - ile For they say you are tak - ing the

7 
           
sun - shine That bright ens our path - way a whi - le

Now listen to Track09 to hear ”Red River Valley” being sung.

14
Song #2: Mor

“Mor” is written in a minor key, so make sure you are ingraining the correct Do in
your musical memory (it will actually be La in the key signature). If you want some
extra help, play the E minor scale on the SINGORAMA! Virtual Piano. Nearly the
entire song is composed of scales and arpeggios, so if you get stuck on an interval,
just sing the arpeggio. Watch out for the accidental in measure 8.

Mor

  
                   
    
Creak and shudder of old old wood slick we - ed hea - ved on moun - ta - in of

6
  
                

trash buck - shot peb - blesgoose - bump pri - ckles cold co - ld skin

Now, play Track10 to hear “Mor” being sung.

Song #3: The Sweet Nightingale

“The Sweet Nightingale” has a melody which may look difficult, but it is not that
difficult if you know your scales and arpeggios. Besides, you have already learned
the challenging syncopated rhythm, so this time ‘round, focus on the notes.

If there is an interval you are having trouble with, sing up or down the scale until you
find the note, or think back to the songs that remind you of the correct intervals.
(Check out Chapter 4 of the previous book if you don’t remember.) If you are still not
sure that you are getting it right, play the interval on the SINGORAMA! Virtual
Piano, then commit it to your musical memory.

15
 The Sweet Nightingale

        
        
 
My sweet - he - a - rt come a - long Don’t you he - ar the

  
5

         
3
    
fond song The swe- et notes of thenight - in - ga - le flow

Now, play Track11 to hear “The Sweet Nightingale” being sung.

Step 7. Dynamics and Style

Here is where you can begin putting your own interpretation, feeling, and emotion
into the music. Now that you have technically mastered the song, you need to
convince your audience that you feel the emotions in the lyrics. If you sing your song
in a wooden way, no matter how technically perfect it was, your audience won’t
respond. To get the applause you deserve, believe what you’re singing … feel the
song’s message in every inch of your body … and use dynamics and style to your
advantage!

Dynamics

Dynamics refers to the volume of a piece of music. Some dynamics may actually be
written into the music (see the abbreviations below).

Loud Soft
fortissimo(ff) forte (f) mezzo-forte (mf) mezzo-piano (mp) piano (p) pianissimo(pp)

A song should never be sung at the same volume from start to finish. Just as a
monotone voice is uninteresting to listen to, so a song with no dynamics can become
boring quickly. Usually, a musical phrase will begin smoothly, build to a climax on
the highest pitch or most important lyrical emphasis, then finish with less intensity.

In order to build your dynamics, look at the “climaxes” in the music. You may want to
sing the song on an “ah” sound again, while trying to get a feel for places where the
music could increase in intensity, speed up or slow down. Think about the meaning

16
of the words and put in the appropriate musical emphases in order to best express
them. You may want to try several different musical emphases to see what you think
best gets the meaning of the song across.

There are so many things to remember when singing a song! This is why it is
important to mark the sheet music with these “notes” to yourself to remember
how you intend to sing each musical phrase.

There are additional notations that add interest and intensity to a song:

accelerando (accel) gradually faster

a tempo back to the original tempo
ritardando (rit) gradually slower
sforzando (sfz) strongly accented
crescendo (cresc) getting louder
decrescendo (decresc) getting softer
diminuendo (dim) gradually becoming softer
tacit silent, cut out

Style

Style will enable you to sense the emotions of each word or musical phrase.
Although you can use the English terms, you may find the following Italian words
useful.

grazioso gracefully
soave gently
affettuoso tenderly, with feeling
dolce sweetly
amoroso lovingly
dolente sadly
morendo dying away
bravura with spirit
risoluto boldly
maestoso majestic
giocoso happy
vivo animated
con fuoco with fire

These are only a few of the stylistic terms which may be used in a piece of music. To
make it more complicated, you may even encounter French or German words.

17
Now Sing!

Once you have marked your music score with all these notes to yourself, try singing
the song once again, adding dynamics and style to the rhythm and notes that you
have already practiced. Sing with intensity; sing with feeling!

Step 8. Personalize Your Song

A good singer must be able to understand a song from the inside out and be able to
sing it well technically. But what makes a great singer a step apart from the rest is
his or her personal interpretation of the song. You have probably heard judges in
singing competitions, or singers themselves, talk about “making a song your own.”

If you’re singing a song that’s already been performed before, copying everything the
original singer did verbatim would be uninteresting and repetitive. You need to sing
a song in your own style and add your own touches to it. The best way to do so is to
learn the song from scratch, using the musical score rather than listening to previous
performances of it. If you haven’t heard how the original singer interpreted the song,
you will have a completely fresh mind.

Don’t start adding twists and turns to a song until you feel comfortable singing it as it
was written, however! Changing a song into your own interpretation before you
understand it completely can only confuse you.

Your interpretation will be based on your knowledge of your own voice as well as the
technical requirements of the song. It is completely subjective, so not everyone may
agree with how you think the song should be performed. Don’t worry! That’s what
personalization is about: it’s an artistic choice that you make for yourself rather than
for others.

Making a song your own can be done in several ways. You can make technical
changes to the song itself, such as syncopation, changing the key, or increasing or
decreasing the tempo. Second, you can make stylistic changes. For example, you
can sing a country song as a pop tune, or change an upbeat song into a ballad. For
example, think of Whitney Houston’s 1993 pop/R&B remake of Dolly Parton’s
country song, “I Will Always Love You.” Whitney Houston’s remake became the one
of the best-selling singles of all time, despite the fact that everyone had already
heard the song before!

Looking at the remakes of previous songs can help you think of ways in you can
personalize your song. Think of old songs that have been reproduced by other
artists and ask yourself how the versions differ. Besides musical qualities (such as
instruments and style), analyze the singer’s own style.

In the process of personalization, not only will you create a unique interpretation of
the song itself, but you will also develop your own personal musical style. Have you

18
ever noticed how you can recognize who sings a song you’ve never heard before,
simply by the way in which they sing and the songs they choose, as well as their
vocal qualities? A distinctive singer makes any tune immediately recognizable as his
or her own. This may take some time. You may feel at first as if you are copying
your favorite singers and creating a hodgepodge of their styles. Nevertheless, don’t
despair! Doing this is actually a great way to practice. The more you sing, the more
you’ll discover what you can do best, those things that other singers can’t.

Technical Changes

If you are singing a song that is already recorded and well-known, one easy way to
make it “new” and interesting is to experiment with technical changes, or changing
the technical elements of the song. You can make technical changes through
improvisation, or simply playing around and altering the written musical score.

For example, you can make changes to:

• Timing (or tempo). Make the song faster or slower.

• Key. Make it higher or lower to suit your voice.

• Rhythm. You can use syncopation of a phrase. For example, instead of

having each word sung on a beat, sing them every beat and a half. You can
also hold notes longer, or cut them off to shorten them.

• Entries into phrases. You can start singing a phrase late (e.g., come in on
beat #2 rather than beat #1) or come into a phrase early.

• Lyrical emphases. This can change both the technical sounds of a song, as
well as its meaning.

• Notes. In most pop music, singers take great liberties with the notes! For
example, they will embellish the end of a song by singing notes that are not
written in the melody, but yet fit in with the chords being played. Singing
around an extended note is called a melisma. Artists like Celine Dion and
Mariah Carey make extensive use of the melisma.

Stylistic Changes

When you choose a song, you need to spend some time thinking about its meaning.
Is it a sad ballad? An excited, upbeat pop tune? Once you have found your own
overall style, then you can make each song your own, depending on what type of
song you are singing.

Style is the genre to which a certain type of music belongs: classical, opera, choral,
pop, rock, punk, grunge, country, jazz, blues, gospel, soul, R&B, etc. Although many

19
singing books give you descriptions of each of these types, I’m going to assume that
you know what they are! Unless you’ve been living under a rock for the last century,
you’ll know what real rock ‘n roll sounds like … and probably have a good idea about
the difference between punk and grunge, or classical and opera. If you don’t, visit
your local music store and listen to some samples in each section.

When you begin singing, you may want to leap immediately into the style that you
enjoy listening to most. Use a style which suits your voice! Don’t force your voice
into a style that doesn’t sound right. For example, a low, rich voice would be great
for jazz or blues, but it may not sound as nice in a classical opera style. Pop music
can suit almost any voice, because there are pop versions of all the other styles,
e.g., jazz pop, pop opera, pop country.

Although you should focus on one genre in the beginning, you should note that great
singers aren’t limited by style. Think of the number of crossover artists who achieve
success in multiple genres, such as Madonna or Garth Brooks. Versatility and an
open mind will keep you from restricting yourself as a singer … and may lead you to
discover a genre that you’d never considered singing before, but which suits your
voice to a T.

Once you’ve decided on a genre of music that you want to focus on, it always helps
to study a few singers in that genre to learn the common stylistic tendencies. Study
the musical variations each singer uses in order to take the song from technically
good to musically great.

Remember: although you may focus on the style you like best for your voice, you will
still have to be able to sing all different kinds of songs—slow, fast, angry, happy, sad,
etc. The best way to make a song memorable is to pour your emotion into it!

20
Review

Whew, you’ve just learned a lot! Now, can you remember what the first step of
learning a new song is? If you can’t, don’t worry. Use the handy review below.

STEP 1. Determine Do from the Key Signature

• Reading the key signature:

o For flats: look at the next to the last flat. If there is just one flat in the
group, Do will always be F.
o For sharps: look one space OR one line up from the topmost sharp to
find Do.
o If there is no key signature, Do will fall on C.

• Exception: Minor keys.

o In the case of minor keys, the base note shifts from Do to La.

STEP 2. Ingrain Do in Your Memory

STEP 3. Understand the Song’s Meaning

• Ask yourself:
o What is the song about?
o Who is the song being sung for/by?
o What message is the singer trying to get across?

STEP 4. Figure out the Rhythm and Tempo

STEP 5. Mark up the Lyrics

• Add in:
o Lyrical emphases
o Places where you will take a breath

STEP 6. Practice the Notes

• Write the Solfeg notation (Do, Re, Mi, et cetera) below each note
o Beware of accidentals (sharps and flats).

• Practice getting the notes right.

o Sound out (i.e., hum or sing) each note, staying on pitch.
o Sound out the notes again, this time following the correct rhythm.
o Sing the notes using the sound “ah.”
o Sing only the vowel sounds of the song.
o Sing the full lyrics, consonants included.

21
STEP 7. Dynamics and Style

• Build your dynamics from the “climaxes” in the music and mark them into the
music.

• Sing the song again, adding dynamics and style to the rhythm and notes.

STEP 8. Personalize Your Song

• Consider technical changes in:

o Timing
o Key
o Rhythm
o Entries into phrases
o Notes

• Consider stylistic changes (from country to pop, for example)

22
Exercises

Song #1: Shenandoah

Here are two songs you can practice over and over again. First, learn the notes and
rhythm. Then, personalizing each song to suit your own style.

You can listen to examples of these songs being sung, but remember that it is best
to find your own style rather than emulating another.

“Shenandoah” is a traditional folk song that is frequently used as either an audition

piece or as a song for four-part harmony.

Shenandoah

 
 
  
     
    

Shen - an - doah I long to hear you A - way you roll - ing
Oh

5
  
    
          
riv - er Oh Shen - an - doah I long to hear you A - way

8
 
    
 
   
  

I’m bound a - way ’cross the wide Mis - sour - i

Track12 includes one version of the song. Listen to it only AFTER you’ve tried to
figure out the rhythm, notes, and meaning of the music yourself.

23
Song #2: Dream Song

“Dream Song” is an original musical composition with traditional folk lyrics. It is

written in a minor key, and its technical elements are fairly simple. This gives you
the opportunity to focus on bringing out the emotions in the lyrics and investing it with
personal feeling.

Dream Song

     
        
     
It is I who trav - els in the wi - nds It is I who


   
8

              
whis - pers in the breeze I sha - ke the trees I shake the

14
 
              
earth I trou - ble the wat - ers on the land

Play Track13 for one version of “Dream Song.” However, it is best if you can
create your own personal version first.

24
CHAPTER 3. Singing with a Band

Once you start singing with a band, you’ll find that you need to know a lot more than
just how to sing. You need to know how to communicate with your band members,
how to adjust your vocals to the accompaniment, and how to rehearse effectively.
Additionally, if you’re the backup singer, you’ll need to know how to harmonize.

Tips for a Successful Rehearsal

¾ Set things up so that everyone can see each other. When you are
learning a new song together, eye contact is helpful in getting your cue right
and sorting out chord changes.

¾ Mark down changes. If you make changes in the sheet music, make sure
that everyone marks them down so that your band members aren’t surprised
when you take that long note or speed up the pace.

¾ Set up your P.A. equipment properly so that you don’t have to fight to hear
yourself above the accompaniment. Your voice should not have to compete
with electronically-amplified instruments. When you do your initial sound
check before rehearsal, make sure that your band members set their
instrument volume levels beneath the level of your quietest vocal. If you can,
have a sound engineer check the sound levels. Otherwise, you should place
the P.A. speakers behind the band or use a monitor for a clearer picture of the
overall sound.

¾ Volume levels should be adjusted for each song to create interest and
impact. Although it may be tempting to rock out at the same high volume
throughout your song set, lowering the volume at appropriate points in a song
or for certain songs will draw your audience in. Remember the importance of
dynamics!

¾ Use ear protection. Today’s equipment can reach record levels, so whether
you are in the practice room or at the gig, protect your ears. Music equipment
stores stock a variety of forms of ear protection.

¾ Don’t strain your voice by oversinging. If you are learning a demanding

song that requires reaching difficult notes or performing at high intensity, sing
it at a lower sound level than required, or hum the melody line for a few run-
throughs, until the band gets it together. Only then should you sing the song
ONCE at full volume and intensity—and then move onto the next song.
Remember that unlike the instruments played by your band members, your
voice can wear out.

25
¾ Practice good vocal technique … don’t get stressed out, relax those nerves,
and don’t force the sound out! It may be tempting to throw good technique to
the wind when you are with a band, as you’ll be conscious of the performance
aspect of your singing. You may want to grab the mic stand, dance and jump,
tense your face into a grimace, or wave your hands.

Resist the temptation. If you are a beginning singer and performing with a
band for the first time, much higher demands will be placed on your voice. If
your technique is not at its best, you may find that your vocal quality will be
hard to sustain over the long period required by a performance. Although
your singing may not be as visually interesting as those singers on MTV, it is
much more important at this stage to stand upright with good posture, keep
your hands loose at your sides (using fewer hand gestures for impact), and
keep your face relaxed and expressive. Most of all, don’t stress! Remember
the negative impact of nerves and tension.

¾ If your voice hurts or feels uncomfortable during or after rehearsing,

stop. There’s no excuse for straining or overusing your voice. The band can
keep on practicing without you.

¾ Be patient. When you are rehearsing, you often must sing the same song or
part over and over and over again. Hitting it right each time, or making the
minute modifications you need, can be trying. Practice isn’t going to be
glamorous … but you probably know that already after all your vocal training!

¾ Be flexible. Singing in a band requires coordination of schedules,

personalities, styles, tastes, and a whole lot more. The more flexible you are,
the more likely it is that your band will grow, develop, and stay together.

¾ Set goals as a band. Bands often split up because they have not
established common goals from the onset. Talk about goals from the
beginning. Discuss what each of you wants to get out of your participation in
the band. As a result, you will avoid shifting direction or allowing one
personality to determine the course of the band.

26
CHAPTER 4. Harmony

Few singing books deal with harmony, as it is not as easy as it sounds. You should
already know the basics about chords and harmony at this point, as well as be able
to read music. If you don’t, you may want to skip this section until you have more
musical experience.

A harmony part can be above or below the melody. For example, for female singers,
if the soprano part sings the melody, there may be an alto part, singing harmony
below the melody, and/or a descant part, singing harmony above the melody.

Chords

Once you know the key of your song (and the base note Do), you can figure out the
chords within that key. Chords can be triads or seventh chords.

Triads are made up of three notes: the root, third and fifth. Depending on the
intervals between each note, the triad will be major, minor, augmented or diminished.
Seventh chords are triads, plus a note which is a major 7th interval above the root.

Both major and minor triads have a root at the base, with a perfect fifth at the top.
(Think of the interval from Do to So.) What sets these two chords apart is the third in
the triad. Major triads have a major third above the root and a perfect fifth, while the
third above the root in a minor triad is, of course, minor. You can also think of the
intervals in the triads as being “stacked” upon each other:


Major triad Fifth
] Minor 3
]

rd

(M):   Third

   Root ] Major 3 rd Perfect 5th



Minor triad Fifth
] Major 3
]

rd

(m):   Third

   Root ] Minor 3 rd Perfect 5th


27
Play Track14 for an example of a major triad. The notes will be played singly
first, then as a chord.

Now compare the sound of the major triad in the previous track to the following minor
triad, played in Track15.

Augmented and diminished triads are different again, since there is not a perfect fifth
from the root to the top note.

To explain briefly, intervals of four and five notes in a scale are called perfect. When
these intervals are raised or lowered by a half-step, they are called augmented or
diminished. For example, a perfect fifth that is raised a half-step is an augmented
fifth interval. The same interval is diminished if lowered a half-step.

Thus, an augmented triad starts out the same as a major triad, except with an
augmented fifth. A diminished triad will be the same as a minor triad, but with a
diminished fifth. Augmented and diminished triads can also be understood as
stacking two intervals on top of each other. An augmented triad is composed of two
major third intervals; a diminished triad is the opposite, with two minor third intervals.

Augmented  Fifth
] Major 3
]
rd

triad (A):  Third


   Root ] Major 3 rd Augmented
 5th


Diminished Fifth
] Minor 3
]
rd

triad (d):  Third


   Root ] Minor 3 rd Diminished
 5th

28
Play Track16 for an example of an augmented triad. The first interval sounds the
same as a major triad, but the second interval is greater because it has been raised
a half-step.

Now listen to Track17, a diminished triad that initially sounds like a minor triad.

All of this is important to know when it comes to learning the chords within a key.

For each note in a major or minor scale, there is a corresponding triad. If you want
to know which chords to play and sing, you need to understand what the numbers
mean that identify them.

Chords are often referred to by numbers. Each triad has a corresponding Roman
numeral relating to its order in the scale. Each Roman numeral is again
distinguished depending on what type of triad the chord is. Numbers for major triads
are capitalized, while minor triad numbers remain in lower case.

For example:

Major scale: Do Re Mi Fa So La Ti Do

I ii iii IV V vi vii° I

The first, fourth, and fifth chords are major triads, while the second, third, and sixth
chords are minor. The seventh chord is the odd one out, however. The ° sign
indicates that it is a diminished chord. If a chord is augmented, then there will be a
& sign to the right of the chord number.

Play Track18 to hear the C major chords being played in order. Pay close
attention to which are major, minor and diminished.

29
Keep in mind that the chords are different when a song is in a minor key. Listen to
Track19 to hear the chords for A minor (the relative minor to C major).

Minor scale: La Ti Do Re Mi Fa So La

i ii° III iv v VI VII i

Chord Progressions

There are certain series of chords which are commonly used as chord progressions
within music. Musical phrases will generally be resolved with a two-chord
progression, called a cadence. When a phrase is resolved, it sounds complete, like
it has come to an end.

Since a song written in a major key is based around Do, the strongest chord is I,
where Do is the root. You will know by now that many melodies end on Do, and this
is no different when it comes to looking at entire chords of songs. The two cadences
which are used to resolve phrases both end on a I chord.

Authentic Cadence

The strongest of these is the authentic cadence, which is a progression from a

dominant chord to I. The two dominant chords in a scale are V and vii°, and when
you hear them played you almost expect to hear a I chord to follow. The roots of
these chords (So in a V chord and Ti in a vii° chord) want to lead to Do, which is
strongest of course in a I chord. The authentic cadence is most commonly found at
the very end of a song, because it sounds so final.

Listen to the following examples of authentic cadences played in the C major scale.
Before you hear the V or vii° chord resolve, try to guess the next chord in your head.

Authentic cadence starting on a V chord:

Track20

30
Now in SATB:

Track21

Authentic cadence starting on a vii° Chord:

Track22
Now in SATB:

Track23

The 6 symbol means that the chord is in first inversion, so the third is in the bass.
When there is a t the chord is in second inversion, so the fifth is in the bass.

Plagal Cadence

The second cadence which ends on a I chord is the plagal cadence. Since it is not
as “final” sounding as an authentic cadence, the plagal cadence may often be used
to lead into another musical phrase, or even another cadence. The chord
progression moves from a pre-dominant IV chord to a I chord. A pre-dominant chord
leads nicely into a dominant chord, so you may find a plagal cadence frequently
followed by an authentic cadence. This usually occurs only at the end of a song or
an important musical phrase.

31
Listen to a plagal cadence played in the C major scale.

Track24

Now in SATB:

Track25

Now listen to the same chord progression, but this time, it will be followed by an
authentic cadence. This is moving from pre-dominant to dominant.

Track26

There are two other cadences which are also used at the end of a musical phrase.
However, unlike an authentic cadence or a plagal cadence, they both leave the
phrase unresolved. So the chord progression sounds like it should lead on to
something else.

Half Cadence

A half cadence is any chord progression which ends with a V chord. It is usually
located, just as you’d expect, halfway through a phrase. Often a half cadence will
start from a I or IV chord and lead into V, yet there are no real restrictions. However,
any type of cadence will only occur where there is a musical “punctuation mark.” In

32
other words, a half cadence is equivalent to having a comma in the middle of the
musical sentence.

Here are two different half cadences. Listen for the difference when the cadence
starts on a major or minor chord.

Starting on a major chord, a I chord:

Track27

Now starting on a minor chord, a ii chord:

Track28

The first chord progression moved from IV to V (pre-dominant to dominant again),

while the second progression started on the minor chord ii. This movement from ii
to V is the strongest approach to the V chord, since a ii chord contains two of the
same notes as V.

Deceptive Cadence

Finally, there is a progression called a deceptive cadence, which tricks you into
thinking that you are heading to a I chord, although you never actually make it there.
It begins on a V chord, but instead of resolving, it progresses to a minor vi chord.

Listen to a deceptive cadence in C major.

Track29

33
Singing a Part by Ear

Once you get familiar with the different chord progressions and cadences, hearing
melodies and their harmonies within the chords will eventually become like second
nature. Singing a harmony part is as easy as choosing any note within the correct
chord, but there are a few tips you can follow in order to make your harmony sound
like a true professional. To understand them, though, you need to be able to follow
the explanation of triads, perfect 5ths, and chord progressions.

The easiest harmony part to sing is to stick to the roots of the chords, since the root
is in every chord and may even be repeated within the chord for emphasis. This task
will often be taken up by the lowest singers in the group, the basses, as a way to
“ground” the vocals. Bass singers can lead the chord progression in this way, which
is important because it strengthens each cadence. However, this can get boring for
the singer, especially when the same two or three chords are repeated continuously
throughout a song.

If you want to make your harmony part a little more interesting, try to sing notes
which are a third away from the melody line. This may be a third below or above,
depending on which note the melody is within the chord. So, if a soprano sings “Do
Re Mi,” a tenor could harmonize by singing “Mi Fa So”, in the octave below the
soprano. Make sure that you are still singing a note which is within the chord,
however!

Let me give you an example. If the chord is I (Do, Mi and So) and the melody is on
Do, you don’t want to be singing a third below the melody, because La is not in the I
chord. Try this out during a rehearsal, just so you can hear what it sounds like and
understand why it doesn’t work as harmony.

This technique of singing harmony is not too hard to master after enough practice,
but it, too, can get repetitive after a while. If you want a challenge and are confident
enough, you may want to try something that is called contrary motion. You have
likely heard this technique used before, most commonly in duets, where neither part
is dominant. Contrary motion can be hard to pick out by ear but can easily be done
by visualizing the chord progressions in your head.

Think of the sheet music as divided in half by a mirror, with the melody on one side
reflecting into the mirror to get the harmony. When the melody moves in one
direction, the harmony is reflected and moves in the contrary direction. So instead of
following the pattern of the melody line, the harmony may travel either much lower or
much higher. This technique can be useful for chord progressions in a song, as a
way to emphasize the cadences.

Listen to the example of contrary motion in SATB on the following page. Try to pick
your part and sing along. While you are doing this, pay attention to the movement of
the other parts which are above or below you.

34
 Track30

Last of all, there are a few rules that you have to stick to when you sing harmony. In
each chord, there must always be one part singing the root, because it is important
to ground each chord throughout a piece of music. If there are notes within the chord
that are not going to be sung, it is best to leave out the 5th of the chord.

There are a couple of reasons for this. If the root is left out, the chord is not
grounded; if the 3rd is left out, you are unable to tell whether the chord is major or
minor. However, if there are only two parts singing, then it is OK to let this rule slide
every now and then.

Another piece of advice is to avoid singing any note which is not also being played
by an accompanying instrument or sung by another part. Sometimes a note within a
chord is intentionally left out of a phrase by the composer, for a desired effect.
However, if your part is singing eighth notes while the other parts just have half
notes, you will end up singing some notes which may not belong in the chord, but
which end up resolving to a note in the chord. This way there will be no clashing
between parts. You can see this in the example below.

Listen to this short piece written in three part harmony.

Track31

35
CHAPTER 5. Singing on Stage

The moment you begin singing with accompaniment or in a music hall, you’ll find that
you need some sort of voice projection. Your voice will have to compete with other
instruments and the coughing or whispers of the audience, as well as fill that
enormous space! You may feel quite small when you step onto a stage and realize
that the huge task of holding everyone’s attention is on your shoulders.

Never fear! In this chapter I’ll discuss how to use microphone, how to develop an
effective stage presence, as well as give you some tips on dealing with stage fright.

Microphones
Buying a Mike

If you’re starting a band with your buddies, the first thing you DON’T want to do is
pick up a cheap microphone at Radio Shack. A cheap microphone will make you
sound bad, even if your singing is flawless. It is much better to pick up a good
quality dynamic microphone (even if you’re out a hundred bucks!) than try to perfect
your singing with imperfect amplification. The industry standard is a Shure SM58.

On the other hand, condenser mikes and wireless mikes are more expensive than
they’re worth. Condenser mikes are commonly found in recording studios and
require a separate power source. Wireless mikes can be hard to connect to existing
sound systems and may have problems with radio frequency interference.

Microphone Mistakes

When using a microphone, you may be tempted to make it look cool by switching the
mike from hand to hand, grabbing the mike stand and tipping it, or putting your hand
over the “ball” of the mike. DON’T do any of the above! ALWAYS hold your
microphone in the middle of the shaft, as that is where most microphones are made
to balance. If you put your hand over the ball, it will affect the sound quality.
Switching the mike from hand to hand and fiddling with the mike stand can make you
look like an amateur and affect your sound.

Another mistake that people often make is blowing into a microphone to see if it is
on. This can send damaging moisture into the microphone. It is preferable to tap it
or say something. Don’t allow it to dangle or swing it by the cable, either. When not
in use, hold the microphone upright, as allowing it to droop may cause it to point
inadvertently towards a speaker, causing unpleasant feedback.

When you sing, don’t sing to the microphone. Sing to the audience! The
microphone is there to amplify your voice, but beyond that it is not the most
interesting prop. Project your voice beyond the mike.

36
Holding a Microphone

Holding a microphone can be tricky. Always keep the microphone in line with your
body. If you turn your head, you don’t want to turn away from the mike. Instead,
keep the microphone between your mouth and your line of sight at all times.

How do you know at what distance from your mouth to hold the microphone?
Usually, it should be held between 3 and 8 inches away from your mouth, and
approximately 3 to 4 inches under your chin. You may find that sounds from
acoustic instruments or other singers tend to bleed into your microphone; holding the
mike a bit closer and singing directly into it will decrease this problem. Sound
engineers often prefer that singers hold the microphone at a stable distance from
them, as this creates less variation in volume levels.

However, varying the distance at which you hold the microphone can create distinct
effects. If you want a warm, intimate tone, hold the microphone close to your mouth.
This will allow the microphone to pick up your low tones. If you are belting out a
song with full intensity, hold the microphone back a bit from your mouth. Too much
volume fed through the mike can cause feedback and distortion. Some singers will
even use the microphone to finish strong on long notes, holding it away from them
during the first powerful sounds and bringing it closer as their intensity runs out at the
end of the note.

Finally, watch out for consonant sounds like P, B, F, K, S, and T. These consonants
send a blast of air into the mike, creating a popping, percussive sound. Point the
microphone towards your chin (others suggest singing just to the side of the mike or
just over the top) to send the air blasts away from the microphone’s path and avoid
“popping Ps.”

Stage Presence

The number one rule of developing a strong stage presence is to be confident!

Audiences can sense if you’re afraid or doubtful about your performance. However,
audiences will often forgive anything as long as you appear to know what you’re
doing—they’ll think it is part of the act!

Plus, a sense of confidence will give you the loose, relaxed, retracted (non-
constricted) vocal cords that you need to deliver a stunning performance.

The following tips can help you develop the professional stage presence you need to
sweep your audience along with your soaring vocals.

• Familiarize yourself with the venue beforehand and test the acoustics. If you
can, rehearse. Check for blind spots.

• Avoid wearing anything that restricts your throat, such as a tight collar or
scarf.

37
 • Avoid wearing any footwear that will clatter on the stage.

• When selecting an outfit, think of what will look good under the lights and
highlight your face. Your outfit should not compete with your voice for
attention. Many musicians prefer black clothing, because it is both uniform
and neutral.

• Practice vocal warm-ups before you go on stage … and rehearsing songs

don’t count!

• Get down to business. There’s no reason to waffle about once you walk on
stage. Acknowledge the audience and get down to why they came: the
music!

• Project energy and enthusiasm

• Express your music facially, with genuine emotion and conviction.

• Smile. Be at ease!

• Enjoy yourself on stage. Have fun and the audience will have fun along with
you!

• Know your audience and give them what they want … even if it means
improvisation.

• If your audience is small—or too close for comfort—you can look just above
their heads rather than at them directly. Singing directly to an individual, if
you don’t know that person, can make that person feel uncomfortable, so use
this kind of eye contact sparingly.

• Know your stuff so well that even if your accompanist stumbles, you can carry
on.

• Have a “plan B” in case you forget the lyrics … in case the audience breaks
into spontaneous applause that lasts into your next section … in case the
band takes off in a different direction … in short, for any contingency you can
imagine!

Stage Movements

When you’re on stage, you’re not expected to stay in one place. The audience
surrounds the stage, and if you only sing to those in front of you, those on the side
will not feel connected to your performance.

38
For this reason, many singers follow a simple pattern of stage movement.

1. Start the song in center stage.

2. At the first mood shift in the song, move to the right of the stage. (You may
wish to reverse this and move first to the left.)
3. At the next shift in the song, move to the left.
4. At the next shift, move back to center stage.
5. As the song concludes, move upstage to the “power position,” front and
center, near the crowd.

You should remember the following tips about stage movements:

• Just as you would stand still and smile when being introduced to someone, so
you should stand still for few moments when you begin your first song (center
position), so that the audience can get a good look at you and get to know
you.

• Your movements should not be random. Rather, they should match the shifts
within the music—or break up particularly long bits with visual interest.

• Make sure that, as you move, you do not turn away from any part of the
crowd. Everyone should be able to see part of your face at all times.

Stage Fright

You wouldn’t have made it this far in the book if you weren’t serious about singing.
Serious singers don’t just sing for themselves; they sing for others. Sometimes,
serious singers get paralyzed at the thought of performance. When they get up on
stage, it is just them, their voice, and the crowd. What if they forget their lines?
What if they trip? What if the audience boos? So much could go wrong!

Stop that line of thought. The power of positive thinking has been well documented.
Visualizing a perfect performance the night before—or even minutes before—you go
on stage can actually help you relax and pour your heart into performing without
worrying whether you’re doing it right.

If positive thinking just won’t do it for you, practice will! Get started singing at your
local karaoke bar. Try out some of the performance ideas that have been floating
about in your head. If you’re worried about what people will think, wait until close to
closing. I promise that most people won’t be sober enough to remember much of
your singing the next day!

The more you practice and get used to performing, the easier it will become.
Karaoke bars give you a great forum to get out there, perform, and make mistakes
… and see what happens when you do. Karaoke audiences are much more
forgiving than concert crowds. If you can handle yourself well at karaoke, you’ll

39
know what to do when you flub up at a concert—and if you’re confident enough the
audience may not even notice.

If you’re worried about making mistakes, there’s only one thing to do: prepare,
prepare, prepare. The more you prepare for a performance before you go on, the
less you’ll have to think once you’re on stage, and the more likely your vocal and
physical “autopilot” will come on and take you through the performance. If you have
specific fears, create backup plans to deal with them. Don’t get caught in a situation
where you don’t know what to do. Once you’re confident in your ability to deal with
anything, you CAN deal with anything, so why worry?

You may even find that a small dose of stage fright will give you an edge, a burst of
adrenalin that enables you to deliver your top performance. Many top singers,
including Barbra Streisand and Bruce Springsteen, consistently feel stage fright
before going on stage. Yet they go anyway AND consistently deliver great
performances.

If none of these suggestions seem to help, you may want to try deep breathing
exercises, yoga, even hypnotism. DO NOT try alcohol or drugs. Alcohol can
interfere with your vocal cords, and both will impact your performance.

40
CHAPTER 6. Auditions

If you’re dreaming of becoming the next American Idol or making it big on Star
Search, you need to learn a thing or two about auditions.

Every professional singer must go through auditions at some stage in their life. Just
like a job interview, interviews provide potential employers proof of your singing skills
as well as an indication of your suitability for the gig they have in mind. You can
deliver a stunning audition and still not get the gig because you weren’t tall enough,
blond enough, wearing the right clothes, or just didn’t match the image they had in
their heads.

In the commercial arena, singing is not just about vocal talent. It is about
appearances as well. Your auditors (or auditioning panel) often know exactly what
they have in mind for the spot, and they’ll know if you have that quality from the
moment you walk in. For that reason, you shouldn’t feel bad if you don’t get a spot
after one audition … or two … or a hundred! Auditioning is valuable experience in
and of itself.

You should take every opportunity to audition that you can. Not only will you get
feedback about your commercial potential and where you can improve, but auditions
will make your voice, style, and abilities visible to the people in the music industry.
Even if you don’t get the spot, the auditors may remember you and look up your
name next time they need someone with your qualities.

Take auditions seriously. Make sure that you are prompt, gracious, and well-
prepared, and give each interview your all. You never know who might notice!
Never cancel or fail to show up, even if you have a cold, even if you’re tired, even if
something else comes up. It may be the one audition that you weren’t going to
bother with that gives you your big break.

Preparation

You should have a game plan going into each interview.

9 Make sure that you know exactly what the part is for and why you want it.

9 Make sure that you fit in the category they’re looking for. If they’re looking for
a young, good-looking female R&B vocalist, and you show up dressed in blue
jeans and sing a country western tune, they may not be very happy at your
waste of their time!

9 Make sure that your audition piece is appropriate and well rehearsed.

41
 9 Make sure that you rest well the night before, drink lots of water, and avoid
alcohol.

9 Make sure that your dress is clean, neat, and professional. Whatever you
wear, it will ideally reflect the project you are auditioning for as well as your
personality. Business casual dress is preferable for general auditions.

9 Make sure that you’ve warmed up your vocal cords and are relaxed and
confident.

9 Make sure that you bring along a good-quality envelope or folder containing
an 8 x 10” head shot. This is a photo of yourself with your résumé of artistic
accomplishments and music courses/teachers printed on the back. You may
also wish to include a business card and any demo tape or CD you may have
made.

9 Make sure that you do not forget multiple copies of the music you’ll be
performing (at least three in number: one for yourself, one for any live
accompanist you may have, and one for the auditors). Bring music for
additional songs in case you’re asked to perform another.

First Impressions Matter

Arrive early. This will give you time to get a feel for the place and the people running
the auditions, as well as be ready in case someone else cancels, or in case the
venue has changed.

People will begin noticing you from the moment you walk in. Be confident (but not
arrogant) and courteous to everyone. No one wants to work with a “difficult” artist,
so avoid displaying any diva tendencies!

Don’t feel as if you have to make conversation with the others waiting to audition.
Any advice they give you will reflect their own auditioning experience and may
distract, discourage, or mislead you when it comes to your own audition.

You may feel disheartened by the number of people waiting to audition. Remember
that numbers are no indication of quality. For example, one auditor found that out of
100 people auditioning for him, only 10 of those tended to be any good, and of those
only 2 would display star quality. So remind yourself again why you’re the best
person for the part and ignore everyone else in the room!

When you meet your auditors, remember the following:

• Walk into the room with self-assurance, good posture, and a slight smile.

• Shake their hands firmly, looking at them in the eyes.

42
 • Answer any questions they have clearly and to the point. Do not ramble or try
to make conversation.

• Don’t point out any disadvantages unless they ask you directly. If you lack
experience, or haven’t studied with a music teacher, they’ll know this from
your résumé.

• Never apologize! The worst thing you can do in an audition is apologize in

advance for your performance, your voice, or your lack of preparation. The
auditors don’t want to hear excuses. They want to see what you can do.

Choosing a Song

You will usually need to bring a piece to the interview to perform. When choosing a
song, keep the following tips in mind:

• Keep it short. Your song should be no longer than 2 minutes; otherwise, you’ll
get told to stop.

• Make sure that the song is interesting from the get-go. Many songs build
momentum so slowly that they don’t get fired up until the end, but the auditors
won’t hear that bit if they ask you to stop half-way through.

• Don’t sing a song that another well-known singer has done superbly, as you’ll
always be judged unfavorably. It is much better to choose a classic song and
add your own unique interpretation on it, so that it bears resemblance to no
one else’s version.

• Choose a song you care about! If you don’t feel 100% passionate about the
song you’re singing, the auditors will notice.

• Choose a song to suit your voice and particular vocal abilities. The biggest
mistake most people make when choosing a song with which to audition is
picking a song that they like rather than a song that they can sing well. Even
if you think you have the vocal pipes to keep up with Whitney Houston or
Mariah Carey, you should be wary of singing one of their songs in an audition.

• Make sure that you have more than one song rehearsed, in case you’re asked
to do another.

• You may be asked to sing something new from the sheet music or to try the
piece again with changes. Be flexible, and make sure that your sight-singing
skills are up to scratch!

43
After the Audition

No matter how you felt you did, leave the audition with the same quiet assurance
with which you walked in. Don’t display your emotions, whether you felt you did well
or badly. Remember that the only thing that ultimately matters is how the auditors
felt you did. If you’ve watched any of the talent competitions on television, you know
how subjective an assessment of a singing performance can be. So take heart …
you may not have done as poorly—or well!—as you thought.

Take a few moments after the audition to assess how you did and write down a few
notes about what you thought of the audition. You may want to think about:

• Whether what the auditors wanted matched up with what you thought they
wanted.
• What you did well.
• What you could have done better.
• What the others auditioning alongside you did well, that you might be able to
incorporate.
• How you could have prepared differently.

You may get called back to perform a set piece of music or dance. If you have
enough time, memorize the piece by heart. The auditors will judge you on your
preparation and interpretation, as well as your ability to take direction and
incorporate suggestions.

If you get the spot, congratulations! If not, don’t take it personally; accept it and
move on to the next audition, with everything you learned from the past audition in
mind. Auditioning is a lot like dating: you’re going to have to experience lots of
rejection before you find the one!

44
CHAPTER 7. Choosing a Singing Teacher

You may wonder why the last chapter in the SINGORAMA! Advanced Book is
about choosing a singing teacher. Why would you need anyone to teach you about
singing, when you’ve already completed this book? Quite frankly, if you are serious
about going further in your singing career, you have gone as far as you can go
without individual coaching. A book is an excellent introduction to the mechanics of
singing and can get you started on the path to become professional, but it is no
substitute for the personal attention of a voice teacher.

What this book has done for you is saved you all those introductory sessions with a
voice teacher. At $20 to $50 a lesson, getting the basics down can be expensive!
However, you will reach a point in your singing where you may find that you have
particular problems not addressed in this book. You may feel stalled in connecting
your head and chest voices, or you may want to move on to new material but don’t
know where to go. You may have lost the initial impetus to practice and find that you
let weeks go by with no vocal training.

A good voice teacher can help you with all that. The teacher can address your
specific concerns, while providing an objective ear. He or she will have a wealth of
background in other songs that may suit your style, in music resources, and in the
local network of musicians and singers.

Finding a Teacher

Selecting the right voice teacher should not be done haphazardly. Some singers
actually have more problems with their voices after they’ve studied with a voice
teacher for several years! This is because a voice teacher can pass on bad habits
as well as good ones. Some teachers will have you focus on breathing from your
diaphragm, exaggerating your pronunciation, or manipulating your larynx into place.
As you should have learned from this book, good vocal technique will allow your
breathing, pronunciation, and sound production to flow naturally.

Some voice teachers take advantage of the natural talent of their students while
actually doing little to improve their vocal technique. Others will want to train you in a
particular style rather than adapting to and developing the nuances of your own
individual voice. Be wary of independent performance studios claiming to produce
“star-quality” singers. Often, these studios churn out mini versions of Britney Spears
and Justin Timberlake, following the latest pop fads rather than investing in good
vocal technique and practice.

You may think that studying with a professional singer is the way to go. If a singer
has been a success in their professional career, they’ll be a great teacher … right?
Wrong. Knowing how to sing does not necessarily mean that a person will know
how to teach singing to someone else. In fact, often all that professionals can do for

45
aspiring singers is to teach how to sound like them. If you want to learn performance
and stage techniques, by all means study with a star! But if you want to learn good
vocal technique, go to someone who calls him- or herself a voice teacher first and a
performer second.

A voice teacher that meets the criteria above may be hard to find, especially if you
live at a distance from a main metropolitan area. One of the best places to look for a
music teacher is at a nearby college or university with a music department. If you
find yourself stuck, try out one of the following websites:

• Musicstaff.com at http://www.musicstaff.com/

• National Association of Teachers of Singing at

http://www.nats.org/teacherfind.html

• Find a Private Music Teacher at http://www.privatelessons.com/

Difference between a Voice Teacher and a Voice Coach

You may see advertisements for voice coaches alongside advertisements for voice
teachers. While a voice teacher will help you develop good vocal technique from the
ground up, a voice coach takes already established singers and helps them stay on
track and keep on developing throughout their musical careers. The voice coach will
assume that you already have good vocal technique and will work on nuances like
phrasing, interpretation, and clarity.

What You Should Expect from a Voice Teacher

• Your teacher should give you the grounding to sing in any style—not just
classical or folk. If your teacher claims that the classics are better training
ground than popular music, beg to differ. Popular music is a different genre
altogether, with highly personal song interpretations and its own stylistic
requirements. If you’re going to sing pop, learn how to sing pop.

• Your teacher should not require you to sing in a language foreign to you. How
will you know if your pronunciation is clear if it all sounds like gibberish?

• Your voice lesson should not just consist of following along as your teacher
plays notes on a piano, nor should you be content with lessons that do no
more than teach you new songs. Your voice teacher should teach you vocal
technique. In other words, he or she should not just ask you to sing a note,
but tell you how to reach that note.

• Your voice teacher is no substitute for regular practice sessions. You should
never come to depend on your voice teacher for everything. In between
lessons, you should continue to do voice exercises, practice, notice mistakes,

46
 and try to correct them. Your teacher is merely an aid; YOU are the only one
who can improve your voice.

• Your teacher should suit your lessons to your voice and vocal abilities rather
than impose a generic program on you. You should be encouraged to
develop all the unique qualities of your voice, NOT sound like your teacher.

• You should feel 100% comfortable and confident with your teacher. After all,
you are hiring this individual to give you lessons. If you’re not happy with your
progress, don’t feel that your personalities jive, or are suspicious about the
teacher’s qualifications, stop the lessons immediately! You are spending too
much money not to be entirely satisfied. Remember: a bad voice teacher can
hurt just as much as a good voice teacher can help.

47
Conclusion

You’ve made it! Now do you feel more confident about what it will take to become
the singer you’ve always wanted to be?

Take a moment to congratulate yourself for coming this far! It’s hard to maintain
dedication and interest in any book until its very end, especially one as technical as
this. If you’ve done all the exercises diligently, you deserve an extra round of
applause. That’s commitment!

The SINGORAMA! The Complete Guide to Singing Like a Professional series

has given you a realistic, practical view of the effort, understanding, and techniques
required to take your voice from the mundane to the magical. If you’re feeling a bit
downhearted about everything you’ve had to learn, just remember that the process
of learning something for the first time is the hardest part! Once you are familiar with
the ideas, you’ll find that the vocal exercises will come more easily. You’ll find that
you can understand professional singers with they give interviews about their voice
development and their process of interpreting songs. The whole world of music will
suddenly take on an insider’s glow, because you’ll understand it!

Whether your goal is to interview for American Idol, answer advertisements for lead
singers in local bands, or embark on a professional singing career, mastering the
basics in this book will give you a solid foundation. There’s so much more I haven’t
told you, so much still yet to discover! I am confident that completing this guide has
given you the knowledge you need to go off and explore the world of singing for
yourself. Besides, who wants a book to tell you everything? That’s what experience
is for!

Good luck on whatever singing goals you hope to achieve. I’m glad to have been
part of your life as you take your first steps on the road to singing mastery. If you
ever make it to Carnegie Hall, drop me a line!

Sincerely….

Emily Mander

48