 Do I really love to sing?

___________________

 How do u know if you love to sing?

You Sing All the Time

Natural-born singers feel an urge to sing all the time. Whenever they fell in love with a perfect song, they sing it all the time by
following the song's flow. They even sing with the right feeling. If singing feels natural to you, then this is the most significant sign that
you are a singer.

 How do I know that I can really sing?

To know if you can sing, try taking an online tone-deaf test to see if you struggle with pitch, tone, and rhythm. You can also try asking
a friend or family member you trust to listen to your singing voice and give you their honest opinion.

 Is singing is a skill or a talent?

Singing falls into the same category. Some people are born with a natural ability due to genetics and seem to find a perfect pitch
easily. But broadly speaking, singing is more of a learned skill than a natural one. Most people who can sing well learn how to do so at
some point in their lives.

 Can I learn to sing even if I have no talent?

With enough practice and hard work, anyone with a voice can learn how to sing really well. Of course, talent plays a major role in how
quickly and easily you are going to learn. But that doesn't mean you're not able to become a great singer if you're not born with great
singing talent.

7 Signs You Will Become A Good Singer

1. You Find Yourself Singing Most of the Time

Are you singing in the shower, while making breakfast, packing your clothes or even when you are out with your friends? That could
be your natural passion. You find yourself unable to stop yourself singing whether you are in the car, in the bedroom or walking down
the street. It’s a clear sign that it is time to hone your skills and learn to sing.

2. You Love Performing In Front of Others

While public speaking is the number one fear for most people, you have no trouble singing, not to mention speaking in front of a
crowd. You love to be in the centre of attention. When it comes to becoming a good singer, beating out that fear of performing in
public is one big battle won.

3. Singing Makes You Feel Lifted

Singing makes you feel emotionally lifted as if you are on another plane. You may even feel as if you are out of the body when you
are singing, while at other times you may feel deep within, being aware of every sensation and movement of your body. While this
may not happen all the time that you sing, if you can feel this joy emanating from within when you sing 80 to 90 percent of the time,
it’s a sign you should start chasing this feeling.

4. Singing Doesn’t Feel Like Work

We all know the feeling - being able to do what we love doesn’t feel like it’s work. Even in the worst of circumstances, when you have
to balance work and school, somehow, learning to sing does not make it feel like work. It feels enjoyable and it makes you happy.

5. You Are Fully Committed

We shrink from commitments especially when it comes to something we aren’t sure about - it could be work, financial, and
relationships. But if you are committed to learning how to sing, even if you are tone-deaf, you can be sure that becoming a
professional or a good singer is somewhere in your stars. You are one step closer to becoming the singer you have always wanted to
be.
6. Constructive Criticism Is Not A Problem For You

None of us likes to be criticized, even if it is constructive criticism. But it is important to get positive and helpful criticism if we want to
improve on something. If you are passionate and serious about improving your singing, and you are not averse to receiving feedback
or positive criticism, it is a sure sign of your impending success as a singer. Being able to handle criticism is a big sign that you are on
track to improving yourself to becoming a good singer.

7. Singing Lessons Are Really Fun For You

If going for singing lessons bore you, it is a definite sign that singing is not for you. But if you find singing lessons fun and can’t get
enough of it, chances are this is something you enjoy. Although sometimes, the bad experience you get in a lesson could be because
you are not enjoying the repertoire or the teacher is not a good fit for you. Though passionate singers, they would be able to get
through difficult routines and even tough teachers.

Why Singers Get Nervous

Why do singers get nervous on stage? While the reasons might be many, at the root of those nerves are a host of feelings, thoughts,
expectations, and insecurities that stem from the personality of the individual, a lack of training and/or preparedness, and misdirected
focus.

Though they are often used as such, 'nervousness' and 'stage freight' are not synonyms. Stage freight refers to extreme anxiety
related to being (performing, speaking) in front of an audience. Typically, an individual with genuine stage freight would not find
himself/herself on a stage - he/she would not voluntarily set foot on one - but if the individual manages to convince himself/herself to
give it a try (or is forced to), he/she 'freezes' (or runs off stage) and is unable to speak or perform. When a singer is suffering from
nervousness, he/she may experience a pounding heart (rapid heart rate/palpitations/fluttering), sweaty palms, 'butterflies' in the
stomach, a 'lump' in the throat, etc. in response to stress and excitement, but the symptoms are milder than they are with stage
freight. The nerves might cause the singer to lose his/her place in the song, forget lyrics, engage in an ongoing internal dialogue, or
demonstrate poor technical execution of the song, but the show still goes on.

Below, I've listed some common reasons why singers get nervous before and during performances:

1. THEY CARE.
Singers get nervous because they want to do well; to do their best. They take pride in their work and they desire to succeed. They
don't want to disappoint their audience, their fans. They want to win over new fans. They want the reviews and on-line comments to
be positive because they know that their reputation and the future of their careers are on the line. Sometimes nervousness isn't about
anxiety so much as it is about being conscientious, and conscientiousness can be harnessed to make the singer's performance truly
great.

2. THEY LACK PERFORMANCE EXPERIENCE.

It is human nature to experience some degree of anxiety and stress whenever we are trying something for the first time, and perhaps
some residual nervousness in subsequent early attempts. Most singers find that they feel very nervous before and during their first
performances, but that their nervousness lessens in intensity with the more performances they have under their belts. This principle
tends to apply to most new experiences in life. The more we do it, the more confident and comfortable we become when doing it. If
too much time passes between performances, the singer may feel as though he/she is starting all over, so it's important to find
opportunities to perform regularly (e.g, on a church worship team, open mic nights, etc.).

3. THEIR TECHNIQUE IS NOT SECURE.

When singers are uncertain of their vocal abilities and when their voices lack consistency and control, they tend to get nervous. This is
because they fear what might happen on stage and don't trust their voices to cooperate when it counts most. In their minds, they play
out all the possible mistakes they might make and the worst case scenarios, and they focus their attention on the problem areas of
their technique or that part of the song that they don't yet sing well or consistently. Will they be able to sing that high note? Will their
voice 'break' or crack? How will the audience react? How embarrassing will it be? Will it lead to bad comments and/or reviews, or the
inability to play at that venue again? When the singer's technique is not secure - when it has not been developed to a certain degree
through training, to the point where it is consistent and predictable - he/she feels a sense of heightened anxiety surrounding
performances because vocal control feels evasive and mysterious, as though it's a matter of luck.

When the requisite vocal skills have been mastered, they can be skillfully applied to repertoire. Only when the singer has complete
trust in his/her voice - that it will 'cooperate' fully during the performance - will he/she feel confident in his/her ability to perform well.
 Technical consistency builds confidence in the singer, and this consistency is the manifestation of the preparation, dedication, and
hard work that takes place in the months and years prior to the performance - during the singer's vocal training. When he/she is able
to consistently sustain that high note with the desired quality, is not worried about running out of air during that long vocal phrase or
whether his/her pitch will be correct on that vocal riff or interval, etc. the performance becomes much less mentally and emotionally
daunting.

4. THEY ARE NOT FULLY PREPARED.

Preparedness implies more than simply picking the right gown/outfit and getting one's 'look' just right for the show. Preparedness
entails learning the melody, memorizing the lyrics, and knowing the planned song arrangement well, and then singing the song or
rehearsing the set over and over again. Preparation also involves wisely selecting songs that suit the singer's voice, and sometimes
making some changes to repertoire to match the singer's current abilities. Sometimes it means that the key is lowered, a vocal riff is
simplified, a note is sung lighter, a song is removed from the set list, etc.. If any part of the song is going to cause anxiety, it only
makes sense to remove the source of anxiety when time doesn't permit further technical development. (Otherwise, developing his/her
technique so that these modifications or simplifications are not necessary is the first step in preparing for the performance.)

Some coaching on how to present themselves and effectively engage an audience (e.g., attending boot camps or receiving some
private coaching from Tom Jackson Productions can do wonders for singers who feel awkward on stage and don't know what do with
themselves when all eyes are on them. It provides the singer with training in 'creating moments, which will prevent emotional
misdirection - when the audience members are distracted by the performer's awkwardness or nervousness, to the point where they
feel awkward or embarrassed for the singer, which prevents them from experiencing the desired emotional response to the
performance.

5. THEY HAVE NERVOUS (ANXIOUS) PERSONALITIES.

In my line of work, I encounter individuals of every personality type, all striving to achieve the same goal: to share their voices with
others. Oftentimes, one imagines the singer as being poised and confident, fitting the extroverted personality profile, and even wildly
charismatic. However, countless vocalists are actually shy, reserved, introverted, socially anxious, or otherwise uncomfortable within
their own skin. And yet they share with their more outgoing peers an insuppressible, unquenchable, burning passion to sing and to
perform in front of an audience.

Many singers are naturally inclined to fear the worst, especially in social situations. They fear something bad or unpleasant happening
while performing the feared activity - whether that's talking with a stranger on the phone, meeting new people, filling out forms, or
singing in public. When on stage, anxious individuals often engage in an ongoing, distracting, and detrimental internal dialogue
throughout their performance. Not only do they analyze their vocals in real time, but they might ruminate on the mistakes, continually
remind themselves of what they should be doing, etc. during the performance, which doesn't free them up to engage the audience or
enjoy the experience.

Some singers are naturally inclined to focus on details - some even become obsessed over details. They are very concerned with
making sure that all their 'ducks are in a row,' and they feel a sense of uneasiness when they are not. There is a risk, however, in
getting too caught up in the details, as the singer may fail to see the bigger picture and miss out on the experience.

6. THEY THINK OF THEIR VOICES AS SOMETHING TO BE GUARDED - BECAUSE THEY ARE PROTECTING THEIR DELICATE
EGOS.
Because we care, we want to sound good when people hear us. We fear their judgment and criticism. We fear their scoffing and
laughter. We fear being flawed and having it pointed out to us because our voices emanate from deep within us, and they represent
who we are on the inside. Our voices are highly personal and sharing them with others is an intimate activity. So, we have a natural
instinct to want to protect ourselves from criticism and the emotional pain that it triggers. We guard our sound, and in so doing, we are
guarding our delicate egos - protecting them from further damage.

More and more, I'm convinced that our earliest experiences with voice use play a powerful role in how we think about our singing
voices today, as adults. Those who grew up in an environment where 'children should be seen and not heard,' or where they were
constantly being reminded to use their 'inside voices' and to keep their tone, volume, and choice of words in check tend to feel a
strong need to control their sound. They fear the consequences of 'inappropriate' voice use. Those who were encouraged to vocally
express themselves and who were not shamed for being too loud and boisterous as children tend to grow up feeling like they have
permission - the 'right' - to use their voices as they please, and they do so unapologetically. They view their voices as useful and
powerful tools (or weapons!), rather than delicate ornaments or knick-knacks that are only to be taken off the shelf occasionally and
treated very carefully and gently for fear that they'll break or 'offend' someone. (Of course, these are just generalizations based on
many of the students that I've worked with over the years, not hard and fast rules.)

7. THEIR FOCUS IS MISDIRECTED.

Singers get nervous because they care. But is their caring misdirected (i.e., caring about the wrong things)? Most singers are woefully
egocentric - they are convinced that the performance is all about them. They forget (or don't realize) that giving a performance is
about so much more than just their impressive vocals, their popularity or 'coolness,' their 'hot' bodies or attractive faces, their personal
style, whether or not they've successfully branded or marketed themselves, whether they look and sound the part, etc.. (This is
especially true when the singer is part of a band, as the other musicians on stage are also key contributors to the overall
performance.) It isn't that these concerns don't matter at all: They do factor into the overall 'package,' and they are part of the singer's
unique identity.

8. THEY HOLD THEMSELVES TO HIGHER AND DIFFERENT STANDARDS THAN THEIR AUDIENCES DO.
As artists, vocalists invest a great deal of 'blood, sweat, and tears' (not to mention time and money) into developing their skills and
building a unique sound. They understand that honing their technique and giving a stellar vocal performance are critical to the
success of their performances and careers. Singers focus on their vocals because they are the one element of the performance over
which they have the most control. Sometimes, however, singers hinge too much on the perfection of their vocal performances, and in
so doing, they place unnecessary pressure on themselves. Of course, no one wants to give an embarrassing vocal performance, and
no one wants to sit through a performance that is painful to listen to or watch. (The standards of a more seasoned vocalist whose
performances are 'higher stakes' should be higher than those of the new singer who is just getting his/her feet wet and still has a lot of
vocal development ahead of him/her. The standards for recorded vocals must also be higher.) We should aim to impress with our
vocals, certainly.

9. THEY ARE PURSUING THE WRONG GOAL.

Serious singers are driven by an urge to reach their full potential as vocalists and as artists and performers. They don't want to settle
for mediocrity - for just 'getting by' - and 'average' is simply not good enough. We analyze and nitpick, and find (and dwell on) every
possible mistake that we make as vocalists so that we can keep improving and offer our best. We practise, and repeat, and refuse to
stop practising until our voices are sounding like the ideal that we have imagined. And then we practise some more.

As singers, we strive for excellence in our vocal performances. However, many singers confuse the pursuit of excellence with the goal
of perfection. 'Perfection,' is an unrealistic and impossible goal (if not a bit of a vague and elusive one when it comes to the Arts).
Humans are inherently imperfect. Perfectionism is characterized by pressure, doubt, judgment, criticism, a need (and demand) for
control, fear of (and focus on) failure, 'all or nothing' thinking and inflexible attitudes (e.g., it refuses to accept anything shy of
perfection), and it views criticism as a pointing out of the fact that it is 'missing the mark' (failing at achieving its goal of utter
perfection). For perfectionists, their identity and the value that they place on their own self-worth are tied (wrapped) up in what they do
and how well they perform, so every mistake is viewed as a reflection of how imperfect and inadequate they are. Perfection as a
personal standard stalls progress because it focuses not on the little successes along the journey or on how much has already been
accomplished, but on the imperfect state of the singer's vocal technique and how far from its goal it is. Perfection, when not attained,
leaves singers feeling defeated and devastated.

Excellence is a quality or skill that surpasses ordinary standards - it demonstrates consistently high performance - but is not
necessarily characterized by 'perfection.' Pursuers of excellence enjoy meeting high standards that are within reach, are satisfied with
a job well done (knowing that they have done their best), and value themselves by who they are, not by what they do or how well they
perform. Excellence is characterized by confidence and acceptance, and it is encouraging, adaptable, dynamic. It is open to accepting
criticism (from which it grows and improves), and it learns from failure as much as it learns from success. The pursuit of excellence is
a continuous process, not an accident, 'luck,' or a 'natural gift,' and it reflects consistent daily habit.

Instead of striving for perfection (however that might look and sound to the individual), singers should strive for excellence in what we
do. Having a prevailing attitude of excellence means that when we make a mistake - as we inevitably will at some point - we will not
beat ourselves up about it (especially while still in front of the audience) and we find a way to learn from it. A healthy mental attitude
will help us keep our inherent imperfection in perspective. We are all works in progress, and anyone who claims to be perfect is
fooling only himself/herself.

HOW CAN SINGERS STOP FEELING SO NERVOUS?

Apart from being adequately trained and fully prepared, (which will boost their self-confidence and remove many of their doubts and
concerns), and adjusting their mindset and expectations, there are a few tools that singers can use to help them deal with the ongoing
psychological aspects of nervousness:

1. VISUALIZATION (MENTAL REHEARSAL).

No, I'm not talking about imaging the audience members in their underwear. I doubt that this strategy has ever worked for anyone.
What I am suggesting is that the power of the mind to steer the singer toward a favourable outcome is impressive and should be
harnessed. Visualizing the upcoming performance, mentally walking yourself through each song and how you'd like it to go - from the
vocals to your movement to your interactions with other musicians on stage to your thoughts and feelings, to the sounds that you
hear, etc. - can really help you feel more prepared. Just make sure that you are not being so specific that you might be thrown off
during the actual performance if things are not precisely as you imagined them. Envision all the actions through a first person
perspective, rather than as though you're having an out-of-body experience. If your imagination starts to steer you toward mistakes or
misdirected focus (e.g. feelings of anxiety, unfavourable reactions from the audience, singing flat on that troublesome note, etc.), stop
the mental rehearsal and go back. Don't reinforce the negative thoughts as they will only strengthen your feelings of nervousness.

Mental rehearsal can also help improve your performance. A frequently cited classic study (Vandell RA, Davis RA, Clugston HA: The
function of mental practice in the acquisition of motor skills. J Gen Psychol 29:243-250,1943) showed the impressive benefits of
mental rehearsal. For one month, the first test study group practised shooting basketballs into hoops for one hour a day, those in the
second group merely visualized themselves making free throws, and those in the third group did nothing to improve their skills. Not
surprisingly, those who neither practised nor visualized showed no improvement in their performance. Both those who physically shot
hoops every day and those who envisioned themselves successfully making the shots, however, demonstrated near equal
improvement (24% and 23%, respectively).

It is not being suggested that the singer skip vocalizing and simply rely on mental rehearsal to improve his/her vocals. Instead,
combining physical practice and visualization, in which the singer hones his/her vocal skills through daily practice and also imagines a
poised, confident, successful performance, can go a long way in changing the emotional and mental patterns that tend to cause
nervousness and lead to mistakes during performances.

2. BECOME AN ACTOR/ACTRESS.
Many singers find that playing the role of a confident rock star or poised, self-assured opera diva (i.e., as though they are actors
playing parts in a theatre production) helps them to feel more comfortable on stage. It helps them feel less vulnerable when they feel
as though they are taking on a character - the kind of 'character' that they envision themselves being - rather than feeling like they are
being themselves (nervous, awkward, inexperienced, imperfect, etc.). Now, this might seem like a bad idea to pretend to be
something that you are not. After all, isn't the audience interested in who YOU are as singer and artist? This is true. I would never
suggest that a singer be something that he/she is not. Instead, the singer should base his/her 'character' on who he/she imagines
he/she would be if nerves were not an issue - on his/her potential self - uninhibited, undistracted, poised, confident, self-assured,
'cool,' experienced, not concerned about anything but connecting with the audience, enjoying the moment, someone whom the
audience already adores, etc.. When the singer stops thinking that he/she hasn't yet earned the privilege to be on stage - many
singers who are not technically perfect, physically attractive, etc. feel like they are undeserving of the attention, frauds, imposters, etc.
- they give themselves permission to act as though they deserve the attention and recognition. Many inward-drawn singers find that
they are able to become energetic, outward-focused performers who lights up the stage when they use this tool.

3. REHEARSE MORE OFTEN IN FRONT OF OTHERS.

Letting others hear you sing, even the most unpolished version of your vocals, is another way to help take some of the pressure off
yourself to be perfect, as well as another way of gaining more experience. Invite friends and family members into your rehearsal
space, or bring your rehearsal into the living space that you share with others. This may mean singing within earshot of others (e.g.,
perhaps a neighbour on the other side of the apartment wall). Encourage the doors to be open and others to 'audit' your sound
checks.

I've known perfectionists who were so concerned about making mistakes or imperfect sounds in front of their singing teachers that
they wasted a lot of time during lessons that could have been spent receiving helpful feedback that would facilitate their growth as
vocalists. Think of the voice studio as a safe place where you are going not to be judged and criticized for making unpolished,
imperfect sounds but for getting help along your journey toward achieving your goals. You are taking lessons not because you are
perfect but because you still have more to learn and need further vocal development, and that's what your teacher is there to help you
with.

So, sing aloud as you're walking through your neighbourhood, the grocery store, or the shopping mall. Sing aloud while you're
washing your hands in a public bathroom. Here, you are not performing, so the pressure for you to be 'perfect' or 'excellent' is off. And
very likely, your singing with abandon, (even if it's not perfect), will bring unexpected joy to someone else who overhears you.

4. PERFORM IN LOW-PRESSURE ENVIRONMENTS.

Perform in places where the audience is filled with people rooting for you: family reunions, church, etc.. Post unlisted videos to
YouTube or recordings on Sound Cloud and send the direct links only to those on your friends and family lists. If you are truly
interested in pursuing excellence and growing and improving, invite their objective feedback. The people who love you will be honest
but kind because they want to help you reach your goals. (And it would be in your best interest to listen with an open mind, without
taking the criticism personally.)

Find other, unconventional places for gaining more performance experience. Another singing teacher whom I know once took his wife
and four children into the centre of the city in which they live to do some busking. They were not singing for their food, and no one was
likely to later write reviews of their performance, so there was no pressure to be amazing, other than whatever pressure they might
have placed on themselves to perform well. The audience didn't even know their names. When busking, performing at small open mic
nights, local cafés, etc, the listeners' responses to the music that they are hearing can help the singer both work through his/her fears
and understand in which areas of performance he/she needs further growth and development.
 5. AVOID EYE CONTACT.
When developing social skills we are always instructed to make eye contact with others. Singing is about communication, and the
same rule applies. However, it is also an activity that leaves the individual feeling very vulnerable and emotionally 'naked,' exposed.
Making eye contact with strangers while singing from your heart may increase your level of nervousness, and cause you to lose your
concentration. In this situation, it often helps to look indirectly at the audience members - at their foreheads or chins, for example. The
listeners will be convinced that you are looking directly at them - looking them in their eyes - but you won't find the experience as
intimidating.

6. COLLECT YOURSELF.
Taking a few quiet minutes immediately before stepping out on stage to focus your mind, take some deep breaths, meditate, pray,
compose yourself, stretch, etc. can make a world of difference in terms of how mentally prepared and calm (excited but not anxious)
you'll feel when you step out onto the stage. If there are others around (e.g., fellow bandmates or accompanists, other performers)
who are talking or trying to start conversations with you, step away to a quieter place and take your moment to compose yourself and
focus.

Some might view nervousness as a 'rite of passage' that all singers must experience early on in their performance careers. The good
news is that, in time, the singer's confidence grows and his/her nervousness does tend to dissipate over time, especially as his/her
vocal technique improves, as he/she performs more, and as he/she begins to change his/her thinking and attitudes about performing.
The more inward-drawn singer and even the introverted or anxious singer may soon start to call the stage 'home' and the audience
'family.'