I’ve been putting off writing this post for awhile because it is the most intimidating to me. There are so many different approaches to songwriting–song forms, styles, etc–and there really is no wrong way to write a song because it depends on what works for each individual musician. With all the elements that make up songwriting, this can be a potentially daunting topic. I’m not a professional songwriter, but I am a vocalist and a performer, continuously trying to find new ways to connect with the audience. Although I’m no expert, if my songwriting approach can help at least a couple individuals get their ideas out easier, then I’m okay with that.

Tips for Lyric Writing

Here are a few quick suggestions to help get started in the process of lyric writing (something that I am fairly more comfortable with). Again, these are some of my strategies for getting my ideas out; you can pick and choose what you like from each to create your own original sound.

1. Always have a notebook/paper and pen handy.
Sometimes ideas hit you at the weirdest, most in-opportune times. Make sure you’re ready to jot it down before you forget that phrase or idea.

2. Have something that you can record with handy.
One of the great things about cell phones is the fact that almost every mobile phone comes with a recording device built into the phone; both video and audio. It’s always easier for me to write lyrics if I have a melody already in my head. When that random melodic idea hits you, you need something to record it so you won’t forget it.

3. Pick a theme or main idea for the song you’re writing.
Are you writing about love? Friendship? Loss? Enjoying life? Whatever it is, focus on that theme and think about what phrases, images, sayings come to mind when you think or talk about this idea. I tend to go the writer’s route on this one: make a bubble chart. These allow you to see what some of the key elements are of the theme you picked and what other things are associated with it, helping you to keep a central focus and develop more ideas.

4. Listen to some of your favorite singers and/or groups. Then listen to different and new artists.
They can help you get ideas for song form and approaches to writing lyrics. Are their verses literal or filled with imagery? Do they just have one verse that they repeat multiple times or do they choose the classic “verse/chorus/verse/chorus” route? It’s okay to emulate something that you hear when first starting out; just make sure to give credit where credit is due.

5. Listening to looped tracks on Garage Band, Sibelius, or even Youtube helps.
Seriously it does. I like to create melodies and lyrics that have come to me while listening to looped tracks and have even used some of these ideas in my own songwriting. This can also help with your improvisation skills because you learn how to create words and melodic phrases on the spot.

This post mainly focuses on the lyrical aspect of songwriting, but there is also the harmonic and melodic side of it. I will admit, I am seriously lacking when it comes to composing and arranging, so I will leave a link here to check out a great post at themusicorum.com, called “Song Writing 101: Part 1–Getting Started,” where David Castañeda writes about tools and hacks when it comes to composing and arranging. There are also other great resources that you can find in that post that will aide you in your compositions.

I hope that this post helped you get started in your creative process. However you choose to write, remember that there is no real right or wrong way to write songs, as long as it is something that is your own voice.

When talking to other musicians about shedding (practicing), many drummers, percussionists, and horn players tend to brag about being in a room for 6 to 8 hours straight with their instrument. However, as a vocalist, there have been very few times for myself where I practice more than 2 hours of singing because once you damage your vocal cords, you not only damage your singing voice, but your speaking voice as well.

Common Problems That Result From Overuse or Misuse

As stated in a blog post on themusicorum.com site, misuse of the vocal cords and overuse (or not resting and practicing too much) results in “Overuse Injuries, a term used to describe injuries that can present as anything from decreased range of motion to pain.” For singers, this manifests in several ways: 

1. Laryngitis: When you get a viral infection, you can lose your voice or become hoarse. Vocal cords swell and vibrate differently, resulting in laryngitis; the remedy is to drink lots of water and REST your voice. Even worse problems can occur if you don’t rest (which is why singers shouldn’t sing when they’re sick).

2. Vocal Nodules, Polyps or Cysts: These bumps or lesions can also lead to hoarseness; vocal nodules can be cured with vocal therapy, as well as vocal rest to remedy the damage. Polyps or cysts, however, could possibly lead to minor surgery along with therapy and rest. 

3. Vocal Cord Hemorrhage: When you suddenly lose your voice after shouting (or possibly straining your voice while singing) a blood vessel could rupture on the surface of one of the vocal cords, resulting in the tissue of the cord filling with blood. This is considered an emergency and you should consult a doctor immediately. 

4. Other Problems: Vocal Paralysis (a rare problem) is usually a neurological condition which can sometimes go away within months. 

This information is not here to scare you, but to make you more aware. Since we also use our voices to speak, we need to make sure we are extra careful when singing, whether practicing or performing. If you feel any pain or discomfort when singing, stop immediately and seek medical attention. 

Prevention is Key 
The way that we prevent injury is by learning proper technique and learning how to take breaks when practicing. Make sure to seek out a local vocal instructor or coach when learning the basics: proper breathing technique, proper posture, good vocal exercises, etc. Learning how to release all tension from your body, breath properly, and stand properly can prevent injury and problems such as the ones listed above. Also, knowing and listening to your own body can help you know, not only where you need to improve, but when to slow down or rest. 

Did this information help? Have you experienced any other types of problems when practicing too much or straining your voice?

One great thing about the holidays is all of the great holiday music that you get to listen to and all of the different interpretations of these holiday classics. Hey, I’m a vocalist and I love the holiday season–this was bound to be brought up at one point or another. Lately, I’ve found myself trying to actively listen to the music that I’ve been exposed to in regards to the musical taste of the musician or musicians performing.

What is taste?
The term isn’t normally something that is referred to when you talk about your favorite vocalist or band with others, though it is something that you talk about, unknowingly. Many musicians take about this on a daily basis, but coming up with an actual definition can be tricky since it is so hard to define. For the purpose of this post, though, here is a basic definition. Taste is each individual’s musical instinct–when to add vocal affectations, dynamics, inflections on certain words, how you interact with different members of your band or audience, etc–that gives that musician their own unique sound or quality. This can differ slightly from song to song, set, or performance, but that underlying quality is always present. So, in other words, taste is choosing what and what isn’t appropriate for each musical situation.

I believe that the most successful singers out there know just when and how to add the right amount of affectation, dynamics, or vocal riffs to their performance. Some of the most successful performers have made their career on exaggerating certain elements of their singing or performance–Celine Dion, Christina Aguilera, Madonna. However, there are also some very successful singers who stuck to their guns when it came to developing their own taste and sound: James Brown, Aretha Franklin, and Prince.

Too Little or Too Much?

Knowing when to add that extra note, hold a note longer than expected, or even add inflection on a word that normally wouldn’t have any in a phrase is tricky.

1. Does it feel forced? If it doesn’t feel comfortable, then it’s probably too much. That being said, if you’ve never really performed, or even sung before, everything you try might feel weird. Which leads me to my next point.

2. Listen & Experiment. Find multiple versions of the song you’re working on and take what you like from the singers you admire. Everyone copies or emulates others. After practicing the affectations or riffs that you’ve heard, try adding (or subtracting) your own ideas. Eventually, you’ll find your own unique sound.

3. Remember that you’re trying to connect and convey a message. First, try speaking the words before you sing them. What words do you put more emphasis on? Where do you naturally pause while speaking the words? Remember that, ultimately, you are trying to connect to others; to convey a message.

What musicians or groups do you think have great musical taste? Leave a comment below!

Communicating is something that we, as people, do on a daily basis. When you were small and you were hungry, you would say to your mom, “Mom, I’m hungry. What’s for dinner?” With your friends, if you got mad for whatever reason, you would say, “I’m mad,” or “I’m upset,” and then list the reasons why you were mad, hoping that you could find a solution to the problem. The reason why I’m giving you everyday examples of how we communicate everyday is to illuminate how similar it is to communicating in a band and why you should do more of it in a musical setting.

There’s two important times to make sure you’re communicating with your bandmates: during rehearsal (preparation) and actual gigs (performances). Both are equally important because, at any time unexpected things can happen–the pianist comes in a measure early, you forget the lyrics to the second verse, a band member shows up late or not at all, etc.  Getting to know your band members and how they operate before, during, and after a gig will help you to better prepare for those really important performances.

Types of Communication

Something that develops with your bandmates are gestures or looks that are exchanged during gigs and/or rehearsals, and can either be verbal or non-verbal. Some of these are:

-making eye-contact with a particular band member

-either subtle or exaggerated nodding of the head

-holding up a small fist or a finger

-looking back at other musicians (for soloists or times when vocalist sings without music)

-giving verbal cues, like, “head,” “solo,” or “verse.”

All of these can be done to cue a certain section of a song or when you want to add or change something at the last minute.

I tend to be unsure when to come in with the verse or bridge of a song after another musician takes a solo, so I always ask the soloist to give me a nod when they are finishing their solo. Some musicians would argue that a good musician always knows where they’re at in a song, at all times, but I have seen some really great players either lose themselves in the moment because of the music or they just mess up. It’s always better to be prepared for when those “uh-oh” moments happen, so you can transition out of them smoothly.

Learning how to communicate with other musicians helps you connect better with those other musicians, in turn creating better musical experiences. Don’t feel bad asking one of your bandmates to help you with your starting note for a song or asking the drummer to give you a cue when to come in after a solo. You all are supposed to be helping each other out so that that musical experience can not only sound good to the audience, but be a fun experience for those performing as well

This is something that is more important to vocalists than you would think. Practicing basic vocal technique and knowing the words and melody of a song are all things that you should be doing to prepare for a performance. However, knowing what key you should sing a song in (whether the key is too high or low) can also make or break a great performance of a song. If you’re not singing in the right key, you can become nervous, overcompensating in other parts of your body–this can lead to not only intonation issues, but injury from strain as well.

1. Practice & Experiment
In order to know what key you should sing a song in, you should have a general idea and comfortability with your range. I say “comfortability,” because some singers that I have come across can give you the exact starting and ending pitches of their range, but have never actually sang through their whole range. In order to know and feel that, you should be practicing scales and singing songs that utilize different parts of your range regularly; both on your own and with a vocal instructor. If your goal is to expand your range, then practice exercises and songs that push you to expand that range. If you are very comfortable singing in the lower part of your range and you want to show it off during performances, practice exercises and songs that strengthen that part of your range. Point is, practice, so that you are comfortable enough to know what feels wrong and right with your voice.

2. Try the Song in Different Keys
Knowing the range of your voice, you can then test out several different keys for a song that you are learning. I would encourage you to learn the melody of the song like the back of your hand first so that you can easily move the whole melody up or down a half-step and sing through it, instead of having to re-learn the entire melody when you change the key (I, unfortunately, have made this mistake several times). A great tool to aide in this is the program, iReal Book–or iReal b, as many call it–which has a feature that lets you pick a certain key and it plays through the song chart for you so you can sing along. It’s available for iPad or iPhone too, so you can even be on-the-go while you practice!

3. Keep Two of the Keys For That One Song Memorized. The lower key may allow you to belt the melody at certain points (if you are able to do so without strain), giving the performance a different character than, say, a higher key, which could change the overall timbre of your voice entirely. I know several vocalists who have recorded songs in the studio in a higher key so that they can give a “wow” performance for the recording, and then sing it in a lower key during live shows for loyal fans. The more strategies you have that can aide you in connecting with your audience in different ways, the better.

I hope that this helps in trying to find the right key for a song. This is always the hardest step in the song-learning process for me because I always feel like I might have picked the wrong key to sing the song in. Remember to also have fun. Music allows you to connect with people and ultimately, whatever key you sing a song in, if you’re enjoying yourself, everyone around you will truly appreciate your performance too.

This past Saturday I performed in a piece created by Susan Silton and my vocal teacher, Juliana Snapper.  The piece, “A Sublime Madness in the Soul,” features a libretto that centers on issues such as gentrification, greed, and the pros and cons of living in a capitalist society, inspired by the real-life, rapidly changing landscape of downtown Los Angeles.  Four vocalists, including myself, stood in the windows of Susan Stilton’s studio–which was recently sold–and sang to an audience that stood on the iconic 6th Street Bridge in downtown (a structure that will be demolished soon).  The experience was definitely something that I’d never done before, using singing styles that more closely resembled the classical, operatic style.

 (Viewpoint from where the vocalists performed in the Silton’s studio)

(Viewpoint from where the audience stood on 6th Street Bridge)  

I’m writing this post to not only discuss the piece, “A Sublime Madness of the Soul,” but to broach an important topic that should be discussed among singers, musicians, and anyone in any profession that desires to grow or progress: Do something that scares you. Do something that makes you simultaneously almost doubt your abilities yet, at the same time, pushes you to take risks.

Many people might say that this is, yet again, another “duh” moment in terms of being a musician or artist of any kind–ideally we are always trying to push the limits of what we are able to do with our craft.  I’ve heard this time and time again, yet it didn’t even really hit me until Saturday night, when I stepped up onto the platform to sing out a window to people standing on a bridge a couple hundred of feet away from me. I was terrified.

There I was, having to sing lines reflecting the angering economic and social situation of that moment, with no notes or sheet music of any kind except the script with the text and Susan conducting from a roof below. Would I start on the right note that could lead to a powerful melodic phrase or would I completely bomb it? Would my voice crack just as I decided to go up into my upper register? Would I be able to put just the right amount of infection in my voice so that the original intention of that phrase would be felt by the audience?  I realized I should be asking myself questions like this all of the time. For every performance. And that, slightly unsure feeling let me know that in that moment, that was exactly what I was supposed to be doing.

When you put yourself into situations that make you uncomfortable or that scare you, you grow. You discover things about yourself that you didn’t know before as an individual, musician, and performer. Pushing yourself beyond your limitations, you can experiment, finding what works and doesn’t work for you. I would encourage everyone to do at least one thing that scares them and pushes them in their life because in those moments you get to know yourself better and you feel the most alive. I know I did.

Receiving advice from others who have experienced more than you can be helpful and rewarding. However, people can sometimes give their advice and opinions, even when it’s not needed or wanted. Unfortunately, many of these statements that you’ll read below are still told to myself and other musicians, even long after we’ve earned degrees and gained much valuable experience in our chosen profession

1.”Oh you sing? How fun!”

This is one of the most off-putting statements I get. A lot. It seems harmless, but it’s followed by “I didn’t know that people actually went to school for music.” Some people assume that music doesn’t require as much discipline or work as an engineer, athlete, or doctor. A musician keeps learning long after everyone else has established their full-time or part-time careers. That’s part of the fun.

2.”You’re too old to get your career off the ground.”

This one is entirely not true. There are plenty of musicians–and other people in other professions for that matter–who have started their careers and become very successful when they are well into their late 30’s, even 40’s. There are all types of music for everyone and tons of different career options involved or related to music, so it is never too late to achieve your goals.

3.”Don’t go to school for music.” 

I remember when I was back in high school, getting ready to graduate and looking for college music programs. There were many people telling me that studying music would make me lose my artistic edge, change my tastes, or even change my voice completely. My tastes have changed and my voice changed, but I believe for the better. Studying music helps you to understand it better by teaching you how to read and write music, exposing you to musics that you might not necessarily be exposed to if you hadn’t gone to school, and begin your network of musicians that could lead to rewarding music experiences, gigs, and career opportunities. Going to school for music was the best thing that ever happened to me.

4.”If music is your profession, you need to go to school.”

This is another one that gets under my skin. Unfortunately, some people think that music, or being a musician, isn’t considered a “real job.” The only way they think you can make any type of decent money is through becoming a music professor. Although I, myself, am going the route of becoming a music professor, I don’t believe this statement to be true. There are plenty of musicians who gig on a consistent basis or have private students, and are very successful and happy. Like I said before: there are many different career paths that a musician can choose from. It all depends on you.

5.”Music teachers/professors are disillusioned, musicians who didn’t make it.”

This statement and notion is entirely misguided as well. Although there are some professors that I’ve met who seem to be very bitter about their careers and are not very pleasant individuals to interact with, there are plenty who are “doing it” in my opinion. These professors teach either full-time or part-time and still gig and travel, participating in their own meaningful, musical projects both inside and outside of the classroom. Making generalizations based off of a few sour apples gives the rest of the population bad ideas about certain professions.

Many of these people who say these things mean well and most of the time, they are just misinformed. However, it could give potential future musicians and/or companies or programs a slightly slanted view of music and being a musician. For those who have encountered situations similar to this should understand that, again, every person has their own life path so whether or not you choose to make music or try being a professional musician shouldn’t be dependent on the opinions or advice of others.

What kind of advice or statements have you heard in the past in regards to music or being a musician? Was it helpful or hurtful? Leave a comment below!

I wanted to talk about something that I’ve had issues with since I first started singing. It’s something that many people, musicians or not, deal with, but I see it manifest in many different ways, not only with students, but with fellow musicians.  Self-doubt can be a serious obstacle; something so potentially debilitating that it can cause problems on a physical level. Singers especially can suffer from self-doubt, causing the throat and rest of the body to tense up, literally cutting off sound, making you forget lyrics and phrasing you’ve practiced. Many musicians miss out on great musical opportunities when they doubt themselves–not hitting that high note in a phrase, not playing that solo the way you wanted, or not introducing yourself to that person who could potentially get you more gigs. I’ve always said that singing, along with playing other types of instruments, is 80% mental, so it’s good to recognize certain behaviors that might not be so beneficial to you not only as a musician, but as a person.

Behavior Related to Self-Doubt

1. Comparing yourself to others.

Gauging where you’re at as a musician and person based on someone else’s accomplishments or proficiency level isn’t realistic. Each person has their own set of goals, their own musical preferences, and their own life path. You should always compare yourself and what you’ve done to who you were, not someone else.

2. Doubting whether you can do something just because it seems hard.

Just because you may not be able to do something now, doesn’t mean you won’t be able to do it down the road. I’ve seen many musicians pass on great musical opportunities because of this factor. For example, I have the worst time trying to make lead sheets or charts because I’m not very good at music theory. However, I try not to let the fact that I’m not good at making charts now keep me from transcribing some really great music because I know that with enough practice, I will eventually be proficient.

3. Not being able to let yourself try and fail.

This one sounds really scary and it is, but it is the most beneficial in the growth process of being a musician. This one also ties in with #2 because when you try something, you are bound to mess up–you’re learning. You have to be willing to put yourself in uncomfortable situations and possibly fail because from those failures, we learn what mistakes were made and how we can improve for next time. Plus, the next time it happens, it won’t feel as scary or horrible because you’ve already experienced it before!

Ultimately, we have to learn to enjoy the process; not just the destination. Don’t take yourself too seriously–the main reason why you started doing music to begin with was because it was fun. Learn to relax and enjoy the moments of uncertainty (being randomly called up to sing at a jam session or learning a song for a gig at the end of the week). Some of the most beautiful musical moments result from randomness and mistakes.

Do you have any modes of thinking or behaviors related to self-doubt? Have these behaviors or thoughts hindered your performance or practice? Let us know in the comments below!

I have a feeling that I might have already written a post similar to this before–or a post related to this–but I have been noticing some annoying habits of vocalists lately. Though these might not necessarily be related to your health, or be considered the “typical” bad habits of vocalists, these bad habits could potentially be detrimental to your reputation as not only a musician, but as a professional.

1. “The Flakes”

I have encountered this with not only many of my vocal students, but other musicians as well. Students will plan and confirm that they are coming to lessons, but cancel at the last minute, or not even show up at all. Same for fellow musicians–they will say they can rehearse or play for a gig and either not show, cancel and/or find a better paying gig. This is detrimental because it makes others think that you are not reliable or responsible. Teachers and fellow musicians lose out on money and all lose out on a potentially rewarding musical experience.

2. Not Practicing

Whether for an actual paying gig or a fellow musician’s recital or project, I’ve seen vocalists repeatedly show up, having not prepared or practiced. Practicing, either for your vocal instructor or fellow musician, shows that you respect them enough to invest in whatever you’re working on with them and that you respect yourself enough to want to improve your abilities, bringing your best to the table.

3. Not Being Supportive of Other Fellow Musicians

Music, like any other profession, can be very competitive. While we hustle to get gigs and advance our careers, we as musicians tend to forget why we started doing music to begin with: to connect with people using music. When you see a fellow musician being successful, you should appreciate and congratulate; not say anything negative behind their backs. When we support and look out for each other–giving a gig to a more qualified musician or attending an extra rehearsal for a friend–we help build each other up. This is a great way to network, building great personal and professional relationships.

4. Not Trying to Sharpen Your Musical Theory Skills

I have been guilty of this one myself, numerous times, because my music theory skills aren’t that strong. However, not trying to improve your skills can potentially hinder your musical career. The more theory you know, the more you are better able to create the type of music you want to create. You are also able to make yourself more marketable as well–a vocalist who can arrange, compose and play piano is more likely to get a job than a vocalist who can only sing (depending on their past experience).

5. Not Trying to Contribute More During Rehearsals

I’ve witnessed several vocalists who were leading a band do this. Not having the confidence to contribute your own musical ideas or suggestions to a band for a project or performance can keep you from growing as a musician. When you speak up, you assert yourself as an actual creative part of that group and you sharpen your leadership and team working skills.

Although these issues don’t have anything to do with vocal technique or performance practice per se, these are still things that any vocalist needs to keep in mind when building their music career. I hope these tips help you to better yourselves as musicians and people.

Do you have any other bad habits that vocalists or other musicians do? Leave a comment below!