Recently, I’ve come across several people (both musician and not) who have told me, “Oh you sing?! I’ve been wanting to learn how to sing. Teach me how to sing like Beyonce,” or “Can you make me sound more like him/her?” I’m always left not knowing what to say because on the one hand, these individuals want to learn how to sing–meaning learning how to breathe, have proper posture, produce an efficient sound, etc.–yet, they are clearly wanting to sound, stylistically like someone else, an aspect of singing that is different from vocal technique. To be fair, some instructors use these names conversely, making it hard for new singers to find an instructor who fits their specific needs and goals. This confusion has led me to want to clarify the difference between a voice teacher and a vocal coach.

A vocal coach is an instructor that focuses on musical style, performance tradition and practice. They help singers with things like diction, pronunciation (especially when the song is in a different language), melodic phrasing, riffs, melismas, and where to breathe throughout a song.  They also frequently suggest musicians or groups to listen to for the student to get a better feel for the genre or style and also suggest songs to add to the repertoire of that student.  Another key component that a vocal coach works with students on is the act of visualization and internalization of a song–aspects that really help you to almost “claim the song as your own.”

A voice teacher is an instructor who focuses more on the technical aspect of singing. They help singers with things such as breathing technique, learning and maintaining proper posture, becoming aware of and expanding vocal range, understanding the anatomy of the voice and how to sing more efficiently.  They teach how to utilize all of these different elements of technique in different vocal exercises that include scales and intervalic leaps or skips. Voice teachers usually have specific genres of music that they specialize in and have basic piano skills.

It is crucial that anyone out there looking to take vocal lessons do their research because many instructors cover much of the criteria listed above. Make sure to have a positive working relationship with your instructor as well because not only will this person help shape who you are as a musician and person, but you want to make sure that you enjoy your musical experience during each lesson. I hope that this helps to clear up some of the confusion that people out there may be having and that this helps you in picking an instructor more tailored towards your specific goals.

When having conversations with other musicians, I always hear them talk about their favorite drummer, horn player, bassist, etc., and why they love that musician. There are many different aspects  that make up a great musician–how they connect with the audience, performance-style, improvisation.  After being asked this question multiple times in regards to singers, I figured I would compile my own thoughts into a blog post for you guys.  This post can, of course, be read in conjunction with another post I wrote awhile back about different influences that have shaped me as a singer because what you admire most in your favorite musicians, tends to influence who you are as a musician.

1. A Powerful Voice. This one is really simple, but it is the most inspiring and attention-grabbing for me. A powerful voice that can fill up a theater or stadium (with or without a mic).  This can be achieved by years of study and practice, but sometimes some vocalists are naturally gifted with a big voice. Some singers that are great examples of this are: Jennifer Hudson, Whitney Houston, and Celia Cruz.

2. Rhythmic Timing & the Ability to Play with Rhythm. Singers that have a good concept of time and how to play with it definitely make for a more interesting, groovy performance.  When you feel the vocalist really “getting into it,” they start to improvise, making you more invested in the music. Great examples of this are: Ella Fitzgerald, Djavan, Joao Gilberto, Celia Cruz, and Oscar D’León.

3. Melodic & Lyrical Improvisation. These both tie in to #2 because when you play with the rhythm in a song, melodic and lyrical improvisation tends to follow since they’re all connected. Because of this, many of the singers mentioned above are also included in this section, along with Donny Hathaway and Erykah Badu.

4. Connecting with the audience.  Singers tend to naturally communicate with the audience better since the voice is such an immediate instrument that everyone has and uses on a daily basis.  Singers mentioned above have this aspect of connecting with the audience, but I haven’t seen a better example  of this than that of Gregory Porter and Celine Dion. Both have a type of charisma that may be practiced, but can’t really be emulated. The natural way that Porter communicates with his audience, both in song and speech, makes you feel right at home.

5. “Performer Appeal.” These are singers who put on a great performance–singing, dancing, costumes, etc. Many who think of this would automatically think Elvis Presley or Michael Jackson, but I actually think that Oscar D’León emulates this image very well.  I’ve seen live performances (both in person and on video) of Oscar dressed in costume, performing choreographed dance moves, singing and improvising, while playing bass at the same time.  He is truly, in my opinion, one of the last few great performers.

There are probably many other aspects to being a great, inspirational singer, but these are the things that I look for when watching or listening to a singer perform. These aspects have helped shaped me into the musician I am today and are things I strive to work on when practicing and performing.

What aspects do you think makes a great singer? Leave a comment below!

So I was scrolling through Twitter several weeks ago and I came across a video posted by a fellow vocalist on straw therapy. Throughout the years, I’ve come across this topic several times although my vocal instructors haven’t elaborated on it further in my lessons. So, after rediscovering this topic, I decided to take it upon myself to research and try this vocal exercise myself.

What is it?

Straw therapy–or, what many people call “straw phonation”– is a type of semi-occluded vocal tract exercise that specifically focuses on allowing the singer to create sound (phonate) without putting extra glottic tension on the vocal chords.

This, along with other exercises, such as humming and doing lip trills (lip buzz), are used not only by vocalists, but speech therapists. Straw therapy or phonation is typically practiced using a straw–you can sing a line of a song using the straw and vocal exercises such as scales. I’ve also seen some vocalists use the straw while blowing into a bottle with a small amount of water in it. Below is a video of Ingo Titze, a vocal scientist who helped pioneer the use of straw phonation in speech therapy, elaborating further on the topic and how to use it:

Benefits

Many vocalists and vocal instructors use semi-occluded vocal exercises (I like to call them work-outs because they really help the overall timbre and performance of your voice) like straw phonation to:

1. Helps vocalists to produce resonance or buzzing sensation in the face (many vocalists call this the “mask” because the area where resonance and sound occurs is felt in the mouth, sinus area and nose).
2. This, in turn, helps to lift the soft palate, and ultimately, the voice, reducing throaty singing and giving the vocalist’s overall timbre a lighter, brighter, fuller sound.
3. Help vocalists smooth out transitions between low (chest) to high (head) registers.
4. Help vocalists to create a more efficient sound that’s balanced with the air support required for singing.

I’m still experimenting with this vocal exercise, but from what I’ve learned and experienced so far, this technique is extremely helpful. Don’t underestimate it either folks: try to sing the melody line of a song you’ve been working on using a straw; it’s quite difficult (different straw diameters have different levels of interance so keep this in mind). I, myself, have been using this technique to sing through melodies with big intervals to help smooth out any breaks that I find between registers.

Have any of you tried this vocal exercise? Do you find it helpful or not? Let us know in the comments below!

This past Friday I was able to be a part of a school event that combined theater, Mariachi music, and Cuban music. The school put on a great production–costumes, stage design, a great narrator and actors that interacted with the audience–in the re-telling of the classic, romantic tragedy of Romeo and Juliet (except for the main characters were Rosalia y Juan). I’m not writing this to talk about the storyline or the actual show itself, however. I’m writing to talk about a great moment that happened while I was performing a lead song during the show. A thing I tend to describe as “everything clicking” or “everything falling into place.”

I had been practicing the song for months, performing it in front of my peers and professors multiple times. For some reason that night, though, I found myself getting nervous to perform the song (it probably didn’t help that I was going to be singing up on a raised platform due to the stage setup, in heels). The theater was completely packed–many of the audience members were either fans or players of Mariachi or Cuban music–and little camera flashes or random shouts of excitement would happen periodically throughout the night.

When the music started, however, all the insecurities fell away. Everything just felt right. The music was swinging–it wasn’t too fast or too slow. I remembered all the words–which happen to be the trickiest things to remember when your nerves are going crazy–and all of the things I improvised actually worked out pretty well. Hand gestures, vocal inflection, and facial expression all tied together, making the performance look and feel natural (something that I have a hard time pulling off). Most of all, I could feel and see the audience responding positively to my performance, which always feels really good for any musician.

I don’t say any of this to toot my horn, so to speak, but to try to give you a clearer picture of what that “everything clicking” sensation feels like. It’s one of those feelings and situations that every musician strives for because it doesn’t happen all the time. You hope that when you’re in that moment, that all of your training and practicing doesn’t go out the window, but at the same time, you realize that that’s not as important as what you experience in that moment. Connecting with your audience. Conveying the message in that one song to everyone around you, making them feel what you’re feeling in that moment. I hope that every vocalist out there, whether beginner or advanced, experiences this at least once in their lifetime. It’s an incredible moment.

Anyone out there ever experience anything similar to that “everything clicks” moment when performing? Do you call it something different? How did you feel when that happened?

Playing in a band, small combo, or ensemble can provide valuable experience both on and offstage. You gain exposure during actual gigs and network with your bandmates to try to get more work outside of that musical experience, possibly even gaining more friends while doing this. On top of all of that, you can learn more about yourself as a musician, performer, and person. Having been a part of several small combos and ensembles over the years, I would like to offer some rehearsal tips on how to sing when in a band or large ensemble for anyone who wants to get their feet wet or for those who need a refresher.

1. Make sure to have your own copies of music for your band’s set. Whether it is on an iPad or printed out on regular sheets of paper. Personally, I prefer the latter so that I’m able to write notes down on the chart (changes in song form, corrections of notes or harmonies, addition of musical licks or lyrics, etc). This is also something to have for yourself during your own personal practice time and/or to go over with your vocal instructor.

2. Practice BEFORE rehearsal AND the gig. This one seems like a no-brainer and sometimes it’s hard to get in extra practice time between rehearsals and gigs. I’ve seen this happen time and time again with musicians in a group, singer or not. If you want the material that you’ve learned to stick, you need to practice. Rehearsal time should not be time for you to practice–this is time for everyone to run through the set list briefly and fix kinks that are happening collectively with the band.

3. Try not to sing full-out during a rehearsal. This is especially true of a rehearsal that happens right before a gig and when you have a large horn and/or percussion section in the group you are a part of. If other members in the group cannot hear you sing, turn up your mic slightly. You should not be yelling over a band. It is not worth the possibility of damaging your vocal chords just so that you can be heard for a rehearsal.

4. Practice good singing habits. Whether it is for a Rock group, chamber ensemble or Latin-Jazz combo, always practice things like proper breathing technique, posture, and vowel shaping. Just because you’re not singing full-out, doesn’t mean you start practicing bad singing habits. What you do in rehearsal will most likely be done in performance, so try to practice the proper way.

5. Have respect for the music and for the band. Try not to show up late or talk during times when other bandmates or the band director is trying to talk. Get to know your band members, how they work and what their limitations are so that everyone can plan accordingly and work towards improving together. Another aspect of this is knowing what the goal of the band or ensemble is: Does this band compete or is it just for fun? Is it an academic group or a professional band? Is the group serious about the music they are playing?

6. Try an idea out first before shooting it down. If you hear a melody that sounds weird to you or an unusual harmony that you’ve never sung before, try practicing singing it how it is written first before saying no. This will keep the band and band director (and possibly composer) in good spirits. However, if the song or melody is completely out of your vocal range, either hand it off to another singer or ask for the key to be changed. You don’t want to put strain on or damage your vocal chords for the sake of a band.

7. Bring a recording device. This is for your own practice time outside rehearsal so that you can remember what the band or ensemble specifically did for each song in the set. However, if you have a band director, make sure to ask them first before you start recording.

I hope that these tips help some of you to improve your experience rehearsing (and playing) in a band or ensemble. Having respect for yourself, the music, and other musicians are very important, but if you’re not enjoying yourself, all of these things will be very hard to keep in mind. Make sure to find music you enjoy and band members who are of a similar mindset to make it more fun for everyone.

If you have any additional tips or stories to share, feel free to leave a comment below!

“Practice makes perfect.” Practicing is the only way in which someone can improve their craft. Drummers, percussionists, and horn-players alike will tell you that shedding or practicing for hours at a time make them feel physically and mentally great. Though singers really shouldn’t be singing for 8 or 9 hours like a drummer does, the concept of practicing is still the same for a vocalist.

Where you practice is just as important as how you practice and the length of which you practice. Here is a list of things that you should be conscious of and have in your practice space when singing.

1. Make sure you have some type of mirror. You want to be able to check your posture, your body when you’re practicing breathing technique, mouth shape when you’re producing vowels shapes or singing in different languages, and practicing performance technique. The best way to check this is to see yourself doing this. A floor-length mirror would be a good size so you can see how your whole body reacts when you sing, including your feet and legs.

2. Try to practice with a piano or keyboard. If you’re anything like me, it is very hard to pull a pitch out of thin air. It is always best to practice with a piano so you can gauge your pitch with an actual instrument.

3. Have a recording device. Either audio, visual, or both. This is another way to check your progress in warm-ups and run-throughs of songs. You can check any nervous ticks you might have in your hands or face, intonation issues, and even mispronunciation of words or lack of inflection in a phrase.

4. Get a music stand. This is for any papers with lyrics and/or sheet music so that you can have your hands free when singing. It is always better to practice how you will sing onstage in the practice room–without sheet music in your hands.

5. Make sure the space is somewhere where you can make a lot of noise. I know this one sounds weird, but you don’t want to be worried about neighbors when you’re trying to hit that high note or belt that long note in a song. You should be worry free so that you can be free to work out weird notes, difficult melodies, and figure out the dynamics of a song for your voice.

Most importantly, don’t worry about making mistakes. Your practice space is your space and your time to improve and learn more about your instrument: your voice. You can never improve unless you make mistakes at least once in awhile so why not make them while practicing?

Do you guys have any other tips for finding a good practice space or any other essentials for practicing? Let us know in the comments below!

When working with a student awhile back, I noticed that not only his lips were getting in the way when running through vocal warmups, but his jaw was very tense. It caused his sound to be very strained, nasal-sounding, and it looked as if he was experiencing discomfort from the issue. I myself have had problems with tension, both in my jaw and other areas of the body, so I wanted to share some basic information on the jaw, its role in singing, and a few tips on troubleshooting jaw tension.

The Jaw & Its Effect On a Vocalist’s Sound

The jaw is an essential part of the mouth and can either help or hinder you when singing. The main jaw joint incorporated in the movements necessary for swallowing, eating, yawning, and talking is the temporomandibular joint (or TMJ). Although there are ligaments, muscles, and bones that make up this joint, singers should be primarily concerned with relieving tension in the muscles surrounding and supporting the hyoid bone and upper-neck region. For a more in-depth explanation and for images that show where these different ligaments, bones, and muscles are located, here is the link to a very informative site: physio-pedia.com The tongue, lips, and larynx work together to create different mouth shapes, postures, and sounds vocalists use for singing and can drastically effect how easy it is to manipulate your sound and the type of tone each individual singer can produce. Tension in the jaw or inexperience with moving your jaw when you sing can result in your tone, diction, and overall sound being unclear, unsupported, and can even lead to overcompensation in other parts of your body resulting in strain and discomfort. By making some minor adjustments and following some of the tips below, you can improve the quality of your tone.

Tips to Help Ease Jaw Tension

Make sure before you start applying these simple exercises to your vocal routine that there is no pain when you move your mouth open and closed. Pain could indicate a more serious issue with the joint. A good indicator of how much tension you have in your mouth and jaw is trying to fit three fingers into your mouth, between your teeth. Any less than this could indicate jaw tension or another issue.

1. While singing scales, incorporate a chewing motion. This could be as simple as opening your mouth (jaw movement up and down) or opening your mouth side to side (jaw movement side to side while moving up and down). Some of my vocal instructors have also told me to practice scales while moving the jaw in a circular motion (jutting out your jaw and then moving it back and forward in a circle).

2. While singing scales, try to make your ear touch your shoulder, first with your right and then your left. You can also practice this one with other simple vocal exercises too. This is a form of stretching for the sides of your neck and shoulders, which, when tense, can put more stress and tension on the jaw muscles. This exercise also helps to relieve tension in the tongue.

3. Massage your jaw and surrounding muscles. Using your fingers, gently massage the muscles surrounding your jaw to cause more blood to flow to this area, making everything more relaxed.

4. Try singing in front of a mirror. This not only helps you with performance technique, but aides in helping you become more aware of how much your jaw moves or doesn’t move when you sing.

5. Gently press downward on your chin to help lower your jaw more while singing. This exercise also helps you to become more aware of what it feels like to actually open your mouth (I have this issue as well) when you sing. As with all other tips and exercises, though, if you feel any pain or discomfort, stop. You don’t want to strain any muscles and this discomfort may be a clue to an issue with the jaw joint.

Just like different personalities, opening your mouth more is not an issue that every vocalist has to worry about. Every singer is different, bringing their own unique timbre and performance style to every musical situation. Articulation, forming vowel shapes, and even singing in different languages create room for many different techniques and approaches when utilizing the jaw in relation to singing. I hope that these basic tips help anyone out there who has issues with tension and/or jaw tension when performing.

If you have any other tips or techniques to try to relieve muscular tension for vocalists, please leave a comment below!