So classy. Love this era of music. All about telling the story, quality first.
Peabo Bryson – Show and Tell
Peabo Bryson is a monster vocalist who I believe still performs regularly out in Vegas.
He studied/studies with Seth Riggs and has an incredible instrument. Very full and very intense, and even when he bends the rules he’s not bending them that much – he tends to sing fairly emotive ballads and the like, but even if you’re not into that kind of music, it’s well worth checking out to hear what this guy can turn out. It’s awesome.
Rival Sons Burn Down Los Angeles – Live Performance
Hey folks
Here’s one of my favourite bands. They are a proper old school hard rock band called ‘Rival Sons’. I’ve blogged about them before, but this is to illustrate a particular point.
Watch the video below. It’s essentially just recorded “in the room”. There is some mixing that has gone on (as evidenced by the comments on the Youtube page), but it is essentially just recorded straight to disk.
What’s so impressive about that? LISTEN to it. Listen to how tight the whole performance is. Note and timing perfect. It’s incredibly close to the album version.
Why should you find that amazing? Very few bands are capable of delivering what they do on albums in the real world. There’s almost always shortcuts taken in the studio to make the album sound cool, but that aren’t replicable live.
THIS (in my opinion) is a really high standard of live performance, and if you are a live performer, you would do well to aspire to THAT level of professionalism.
But even if you’re not performing live (well, even if you are!) above all, enjoy the track!
Muscle Memory and Singing
Muscle memory is a big topic, and we’ll only be scratching the surface of it here today, specifically in relation to practice and vocal development.
Those of you who know me, know I tend to ask a lot of questions. Ever since I was a kid I would ask questions about things. I always wanted to know how things worked, what certain things were, and why things were the way they were.
I think that the power of the last question – why things are the way they are – is something that still fascinates me to this day. Things rarely happen for no reason. They might happen for reasons that are unclear to us, but they are rarely without causation.
There is a GREAT book on why things happen in the way that they do, called ‘Freakonomics’, and is a fabulous book on incentives and understanding the way people think and behave. It really sharpened and renewed my desire to understand the ‘why’ behind situations, as it is amazing what information you can glean when you always look to answer the question ‘why’.
So what’s the ‘why’ on my mind?
Something has come up a lot in the last few years is in relation to students that I work with. In particular, that there is a discernible difference between those that have lessons once a week (or more!) and those who have them once a fortnight (or less frequently)…
Once upon a time, I advised new students to have the first 3-5 lessons weekly so we can have the most impact on their voice, and then they are welcome to move to fortnightly lessons, as the convenience of fortnightly lessons works well for many. I still advise something similar…
But I noticed something. I noticed a HUGE difference between those who had lessons EVERY week without fail, and those who had them fortnightly without fail. Surely the difference is that those who have them weekly are twice as good as those who have them fortnightly? They have them twice as often, so they get twice as good… right?
WRONG
They were three, four, five times better. Sometimes even more so. The difference of having weekly lessons compounded their progress such that their development vastly outstripped the progress of those who were having lessons fortnightly. That’s even over those who were practicing diligently between fortnightly lessons.
This experience actually resulted in me completely re-engineering the way I run lessons, and the general recommendations I make when people start out working with me. The muscle memory these singers were creating was/is rock solid, and was developed incredibly quickly.
The majority of my clients do practice regularly, as you can hear the constant development in their voice lesson to lesson… however, those who have lessons weekly are dramatically overtaking those who have lessons less frequently. That’s not to say there are not big improvements across the board, but there is a substantial difference in quality of rate of development in the voices of those who are in weekly.
This is a combination of having regular contact time to work on and tweak the weekly exercise workouts for the student, and also because of the discipline that is clearly evident in those who make the time for weekly lessons.
So what’s your point here Mark?
My point is not to beat people up for not being in as often as once a week. My point is not to make people feel bad for not practicing as often as they feel they should. At the end of the day, everyone is different, and we don’t all have the time to work on our voices weekly with a teacher.
My point, if I am making any point at all, is that if you care deeply about something – such as your vocal development – then making regular weekly time for it is essential to develop that necessary muscle memory. I have seen bigger improvements in 3 months with some students who are in weekly, than I have in 12 months with those who are in less frequently. Again, that is not to say those who are in less frequently are not seeing big improvements, but we are seeing ENORMOUS improvements in those weekly students who commit the time in and out of lessons. It’s startling what that regular contact time can create in your voice.
Worship Leader Vocal Training – How NOT to kill your voice and those of the congregation
I’ve written a few articles that cover how the voice is built in a particular way, as well as worship leader vocal training. As a result of the way the voice is built, putting songs in certain keys can really wreak havoc on the correct operation of the voice. It’s therefore important to put songs in a key that, aside from actually sounding good, are not killing people’s voices.
Now, the majority of artists or performers (whether professional or amateur) outside of the church or corporate singing (e.g. choirs) don’t have to worry about the keys of their songs causing other people to strain or hurt their voices. They put the song wherever they like, and people usually just listen, or mumble along or shout out their favourite lines. No big deal. However, within certain contexts, there are people whose roles mean that their key choice is forced on those around them…
Worship Leaders
One of the biggest problems I’ve encountered with students coming to me from a background of being a worship leader, or from singing in church, is heavily ingrained bad habits. These bad habits are reinforced by hours and hours of singing songs in keys that is not appropriate for their voice, or those around them.
There are bridges in the voices, passageways (if used correctly) that connect different parts of the voices together. Singing right on a bridge or one note either side of it is harder than singing in the ‘island’ between these bridges. This means, if you can sing a song where the top notes are ‘on’ one of your bridges, it will always be easier to sing and sound better if you sing the song in a key where the top notes are placed ‘away’ from your bridges.
For the average singer, particularly males, it is possible-to-probable that they have not learned to move through their first bridge yet, and so you cannot put the song in a key where the notes are higher than first bridge (E4) and expect them to find that easy or even doable… yet worship leaders worldwide insist on placing songs in keys where the top note IS E4 or just slightly higher. I have regularly played with in bands with worship leaders who insist this is where their voice sounds best and that the song ‘lacks something’ if it is not put in this key. They themselves pull, strain and push to get to those notes, and expect the same of the congregation. Except that they have a microphone and PA behind them, the congregants do not.
Moving a song away from one of your bridges can help with singability and tonal quality no end. For example, if there is a song with a single top note of E4 in the key of E, simply moving it to the key of D places that single top note away from the bridge to D4. Or in another example, where the top note is a repeated or sustained top note, making it a C#4 or a C4 can make things soooo much easier for everyone.
This kind of approach makes songs much easier to sing and will actually make the worship leader AND congregation sound better, as the voice is more in balance and in less of a strained condition.
Not convinced? We’ve only looked at the issue of bridges affecting male singers. Let’s look at female singers.
Double or Quits
Many female singers find that they simply cannot sing men’s parts in the original octave, but also struggle to sing it in the octave above. They often revert to a harmony line, which allows them to sing somewhere in between the original octave and the upper one.
This is because if a top note is E4, the octave above is E5, which is right on their second bridge. This is tough. Even changing the key to make the top note D5 is still tough just because the higher you go, the more of a teetering tower of cards the voice can become without a decent level of vocal training. In such scenarios, placing the top note on a C#, C or B is recommended for women.
For the equivalent octave for men, this can sometimes feel a touch low, so I generally recommend D, C# or C as the top note. You can see there is a good deal of overlap there.
What’s wrong with harmony?
Absolutely nothing, but if people are having to change what they’re singing because the key isn’t sustainable for them, then I would argue the key is poorly chosen for corporate singing. I mentioned that female singers often revert to a harmony so as not to struggle with the melody. A harmony is just another melody that complements the original melody. It often closely mirrors the original melody.
What female singers learn to do is sing a harmony that sits more or less halfway between where two octaves of the melody would sit, i.e. if the top note is an E4 / E5 (depending on the octave), females often revert to around B4 to make it singable. This tells us a lot about the comfort zone of the female voice, and we would do well to take that into consideration.
So what do I suggest?
Worship leaders – if you get comments of ‘that was tough to sing’, if you find your own voice is shot after just a few songs, if you find that people drop out for the high notes or women are reverting to harmonies out of comfort, then you are killing people’s voices, including your own. Find better keys for your keys and you will find that people become far less distracted by the discomfort in their own throat during a worship time, and you’ll ALSO start getting a LOT more compliments on how good you sound.
It All Starts And Ends With Chest Voice, Part 1
I have regular lessons myself, (because all voice coaches should be having regular ongoing lessons themselves, period – no-one knows everything, and we can all improve), and recently I have returned to regular study with Greg Enriquez. Greg is an extremely knowledgeable and incredibly experienced voice coach out in Las Vegas.
Greg is a longtime friend and student (both as a singer and a coach) of Seth Riggs. For those who don’t know, Seth is responsible for what is arguably the greatest revitalisation, rediscovering, and refocusing of voice technique in the 20th Century. So when Seth or Greg stop to talk about various concepts, quite frankly it’s worth your time to lose the ego and listen.
What I’m going to talk about here, is just one tiny slice of the stuff we’ve gone over in our sessions together.
One of the things that we’ve been looking is the importance of chest voice. The bottom end of the voice. The thing that beginner or under-confident singers often like to hide at the bottom of, and the thing that who think they are more advanced believe they’ve got sorted… and then forever seem to be running away from with every song in pursuit of high notes!
I know what you’re thinking “yea yea yea Mark, we GET that chest voice matters”… well, just hold your horses, because there’s even MORE to it than we’ve discussed thus far.
So critical is the role of chest voice in full and total development of the voice, that it would not be overstating it to say that when it comes to vocal technique and overall development…
“It all starts and ends with chest voice”
OK Mark, that’s a little dramatic.
Maybe. But so massive is the concept that we’re talking about here, that there’s no way I can do it all in one blog post. I’m going to break it up into three components that (I think) reflect the importance of chest voice.
1. “It all starts and ends with chest voice… sonically”
2. “It all starts and ends with chest voice… technically”
3. “It all starts and ends with chest voice… psychologically”
By the end of this series, you should have a clearer understanding of why your chest voice should NOT be neglected, and how understanding it is the key to unlocking great tone in every other area of your voice.
And today, we’re going to start with part 1…
“It all starts and ends with chest voice… sonically”
What do I mean by this?
Put simply, we are all “experts” or at the very least we are “experienced” when it comes to hearing other people’s voices. How so? We have been listening to people speak since the day we were born.
We hear fellow human beings speak in their normal speaking voices every single day. Some people having higher voices, some people having lower voices, but we all get used to hearing people speak. And where does everyone speak for the bulk of the day? Their chest voice.
Thus, we can argue we are all (at least on some level) experts in what people are supposed to sound like – what sounds good and normal, and what doesn’t… just by way of pure experience.
Unconscious Benchmark
Even if we don’t realise it, this creates an unconscious sonic benchmark in our own minds for what constitutes a “normal” or pleasing sounding voice, or whether we think a given voice wrong, weird, or just sounds out of place. This applies to both others and ourselves, because we so innately recognise the sound of chest voice.
Now, we should obviously clarify that though most people often can’t articulate why something is out of place, or they may even sometimes struggle to point out that something IS out of place, if they hear someone speaking/singing in a way that isn’t congruent with their unconscious benchmark, they will certainly FEEL like something isn’t adding up… and in the world of singing, that’s all that really matters.
Why is this such a big deal?
We’ve all got the quality of chest voice locked into our ears, our brains, our very psyches. It’s not that we don’t WANT to hear higher notes, nor that singing ONLY in chest voice is bad or good… I’m not trying to make such a sweeping statement. Instead, the point I’m making is simply that this idea of always hearing people speak in chest voice creates a sonic benchmark in people’s minds and ears for what constitutes an aesthetically pleasing and tonally consistent voice. We are ultimately judging singers based on whether their voice sounds congruent with our sonic benchmark of chest voice… more specifically, their chest voice.
Let’s take this example…
When we hear someone who goes to sing a high note, and it suddenly goes incredibly light, or it starts to become very shouty in quality, it sounds off and there’s a disconnect with the audience. Why? Because the sound has deviated from the benchmark in our minds. We don’t like it as much as someone that sounds like they’ve stuck to the same vocal quality throughout.
So why is it that some people can sing relatively high without it ever sounding like they are going that high? Well, they aren’t doing anything magical per se, they are simply playing by the rules of our own sonic benchmarks. They’ve made damn sure that when they hit a high note, it is congruent and consistent with their chest voice as you would hear it.
It’s about congruency, consistency, uniformity with chest voice. We are all consciously excited by high notes, but we are all mentally set up to look for consistency with chest voice – we can’t escape this.
It all starts and ends with chest voice
Irrespective of what arguments singers who want to sing high can make, once you depart from the true quality of someone’s natural chest voice, you’ve already lost… you’ve lost the quality, lost the tonal connection, AND lost the connection with the audience.
The overriding message here is not to compromise your chest voice just to get to the high notes. Those high notes are nothing without the bottom ones to ground them and impart depth. The results of approaching the voice in this way are totally worth it.
You can find part 2 right here…
Learn More: Related Articles
If you want to learn more about vocal technique and great singing, you may enjoy these related articles:
The Difference between Amateurs and Pros
The problem with trying to teach voice using ONLY voice science
Vocal Pedagogy: Past, present and future
Singers: The Difference Between Vocalists and Performers
Can vocal technique help laryngitis?
Vocal Tessitura: What is it?
What is vocal fach?
The Key to Vocal Consistency