I'm always happy when a client emails me with something positive to say about taking voice lessons with me. Here's the latest from Nancy D...
Jennifer, you make voice lessons fun with the right balance of drills and real songs. Your large library of karaoke tracks to apply exercises to singing is very helpful. I think you appreciate the learning process, and you do a good job of articulating what is needed. I also think you have a great voice, so I have respect for how you teach. I have a 30 minute drive in the midst of a busy day, but I always look forward to my lessons.
Thanks, Nancy D., Metuchen, NJ
More testimonials can be found on my website: www.asharpvoice.net/testimonials
12/30/09
12/28/09
Enunciation and Speech in Singing
Singing isn't just about staying on pitch, proper breathing, etc. Believe it or not, the way we pronounce and enunciate syllables can have a huge impact on the way we sound singing.
It's as simple as this: whatever shapes you make with your mouth muscles, tongue, and teeth will determine not only what comes out, but how it comes out. Making these adjustments drastically changes a person's performance.
I once had a student who had a VERY strong and loud voice. But she tended to go off pitch. We did exercises to get her to use the muscles in her face and mouth working to reshape these notes as they came out. Believe it or not, this corrected her pitch. It was as if someone took a knob and tuned it properly with her moving her muscles in this new way.
I teach that it's much more than the vocals themselves. There's much more surrounding them that can make or break the sound. Of course I teach in such a way that it always sounds great :)
It's as simple as this: whatever shapes you make with your mouth muscles, tongue, and teeth will determine not only what comes out, but how it comes out. Making these adjustments drastically changes a person's performance.
I once had a student who had a VERY strong and loud voice. But she tended to go off pitch. We did exercises to get her to use the muscles in her face and mouth working to reshape these notes as they came out. Believe it or not, this corrected her pitch. It was as if someone took a knob and tuned it properly with her moving her muscles in this new way.
I teach that it's much more than the vocals themselves. There's much more surrounding them that can make or break the sound. Of course I teach in such a way that it always sounds great :)
12/23/09
Managing Frustration
Frustration comes with the territory with any skill in life. If it's not properly managed, it can destroy one's desire to sing or play. This has happened to me with guitar numerous times. So many times I want to turn my guitar into a baseball bat! When that happens, I put it down, walk away, and come back a day or two later. I tell myself "DO NOT QUIT!"
The desire to quit can be overwhelming. But once I pick up the guitar again, I am almost always a little further along than previously. This is why it's so important to never give up. You may feel like it, but coming back with an improvement is proof that you should work through that feeling.
When I have vocal students who are struggling with a concept, I watch for a rise in their frustration level. Once I see this, I redirect them. When frustration boils over, it can lead to a desire to quit, which we can not have! Once I redirect, we find a way to work around whatever is causing the stumbling block. We are then able to fix the issue or find a way to manage it.
Below is a humorous account of how I sometimes feel when I'm musically frustrated, and I show this to my students to take the edge off for them. As you will see, where there is a problem, there is a solution.
The desire to quit can be overwhelming. But once I pick up the guitar again, I am almost always a little further along than previously. This is why it's so important to never give up. You may feel like it, but coming back with an improvement is proof that you should work through that feeling.
When I have vocal students who are struggling with a concept, I watch for a rise in their frustration level. Once I see this, I redirect them. When frustration boils over, it can lead to a desire to quit, which we can not have! Once I redirect, we find a way to work around whatever is causing the stumbling block. We are then able to fix the issue or find a way to manage it.
Below is a humorous account of how I sometimes feel when I'm musically frustrated, and I show this to my students to take the edge off for them. As you will see, where there is a problem, there is a solution.
12/19/09
Progress and Expectations
Yesterday I had a student who admitted to me that she wasn't practicing in between sessions. She has come a long way vocally, but she could be so much stronger with more practice. This should be obvious to people, but sadly, we don't always do things that might benefit us.
When people come and ask me if they will be able to sing xyz by the time they are done, I tell them it's up to them. The techniques are sound and they work. I've developed and fine tuned them over a period of five years. I also tell them I am not a magician, meaning ultimately it's up to them.
My program is a 10 session program. People can start with 1 to make sure it's a good fit. Then they make a commitment for the remaining 9 sessions. Results depend on three things: where they were vocally when they came in, how much work is needed to correct problems, and of course, their own efforts.
I had a student last year who had a problem processing pitch. Processing pitch is a function of the brain. We specifically focused on this. He used the bricks on my fireplace as a visual to help him measure the even distance between notes. Doing this lead to his ability to sing do-re-mi all the way up to the top on pitch. I was ecstatic!
Students always have the option of continuing on for another 10 sessions. It's up to them. Progress is a function of where we're starting at and time. Some people come in more advanced and only need 10 sessions. Others may choose to develop their skill further.
When people come and ask me if they will be able to sing xyz by the time they are done, I tell them it's up to them. The techniques are sound and they work. I've developed and fine tuned them over a period of five years. I also tell them I am not a magician, meaning ultimately it's up to them.
My program is a 10 session program. People can start with 1 to make sure it's a good fit. Then they make a commitment for the remaining 9 sessions. Results depend on three things: where they were vocally when they came in, how much work is needed to correct problems, and of course, their own efforts.
I had a student last year who had a problem processing pitch. Processing pitch is a function of the brain. We specifically focused on this. He used the bricks on my fireplace as a visual to help him measure the even distance between notes. Doing this lead to his ability to sing do-re-mi all the way up to the top on pitch. I was ecstatic!
Students always have the option of continuing on for another 10 sessions. It's up to them. Progress is a function of where we're starting at and time. Some people come in more advanced and only need 10 sessions. Others may choose to develop their skill further.
12/14/09
The Techniques Work!
I ran into the parents of one of my students today. This kid happens to be my favorite student. She's actually my favorite kid, period. We would get more done if she wasn't so giggly, but the important thing is her progress. Despite the fact that she tries to give me electric shocks by shuffling her feet on the carpet and then touching me, pushes the buttons on my electric piano, and has tried to poke holes in the insulation over my windows, she is absorbing the material. Her mom told me that when she hears her singing now, she hears passion in her voice.
My point is, these are good techniques. They work if you work them! Students who take lessons with me learn to approach singing with a different mindset than they would expect. I asked her to tell me ways in which she thought she was making progress. I was afraid maybe she wasn't getting enough out of it, and I wanted to make sure I was the best teacher I could be.
I was happy to hear from her that she is no longer singing directly with her vocal cords. This probably sounds very strange to someone with no training. How can you possibly sing without vocal cords? You need them to create the sound, but not to make the sound. She assured me that her abdominal support was helping her support her vocals. She's been getting up over high notes more often, because she is remembering the importance of using the lower abdominal muscles. I have told my students that for singing purposes, the lower abdominal muscles are the most important muscles in the body.
What we have to tackle now is her enunciation. I never would have believed it before I taught it, but the way you enunciate when you sing drastically changes the quality of what comes out. Her tendancy is to sound a little bit nasally. I noticed when she sings, some of her consonant sounds aren't happening. So the syllable isn't completely closed. The effect is a sort of muddled sound. So now that she has the basics down, we can tackle the more specific details...if she doesn't electrocute me first :)
My point is, these are good techniques. They work if you work them! Students who take lessons with me learn to approach singing with a different mindset than they would expect. I asked her to tell me ways in which she thought she was making progress. I was afraid maybe she wasn't getting enough out of it, and I wanted to make sure I was the best teacher I could be.
I was happy to hear from her that she is no longer singing directly with her vocal cords. This probably sounds very strange to someone with no training. How can you possibly sing without vocal cords? You need them to create the sound, but not to make the sound. She assured me that her abdominal support was helping her support her vocals. She's been getting up over high notes more often, because she is remembering the importance of using the lower abdominal muscles. I have told my students that for singing purposes, the lower abdominal muscles are the most important muscles in the body.
What we have to tackle now is her enunciation. I never would have believed it before I taught it, but the way you enunciate when you sing drastically changes the quality of what comes out. Her tendancy is to sound a little bit nasally. I noticed when she sings, some of her consonant sounds aren't happening. So the syllable isn't completely closed. The effect is a sort of muddled sound. So now that she has the basics down, we can tackle the more specific details...if she doesn't electrocute me first :)
12/9/09
Decreasing the Nerves
I had a little girl (I think she's 11 or 12) over today who experiences stage fright. She's fine at home in front of family members. But there's something about singing in front of me, as well as singing in choir at school.
So we decided to invite her mom in to sit in on one of the songs we were working on. I wanted her to get used to performing in front of a mix of people. Her mother was a less threatening audience than just me. At first, my student's heart was pounding out of her chest. So we did the visual we'd talked about the prior week.
Her rapid heartbeat was represented by bumps in the road that she was riding over. We changed the visual to waves in the road. The waves would get more shallow as time went on. Finally, we were on a flat road. Combined with slow breaths to make her calmer, she was then able to sing without shaking.
Positive self-talk is also very important for nerve and fear reduction. We begin each session by reminding her that the audience loves her, has come to see her, and knows she has a talent. They are looking to her to fill a need that they know she can fill. She owns the stage. Then she can get into feeling the song. Feeling the song helps it come out more naturally.
Stage fright is something I specialize in. The power of the brain is extreme. We can trick one part of the brain into believing something else. This is particularly useful in attacking stage fright, as well as many limitations in our lives. Engaging the brain in different ways has helped my students calm their nerves, sing with more power, attack higher notes, and improve their pitch.
So we decided to invite her mom in to sit in on one of the songs we were working on. I wanted her to get used to performing in front of a mix of people. Her mother was a less threatening audience than just me. At first, my student's heart was pounding out of her chest. So we did the visual we'd talked about the prior week.
Her rapid heartbeat was represented by bumps in the road that she was riding over. We changed the visual to waves in the road. The waves would get more shallow as time went on. Finally, we were on a flat road. Combined with slow breaths to make her calmer, she was then able to sing without shaking.
Positive self-talk is also very important for nerve and fear reduction. We begin each session by reminding her that the audience loves her, has come to see her, and knows she has a talent. They are looking to her to fill a need that they know she can fill. She owns the stage. Then she can get into feeling the song. Feeling the song helps it come out more naturally.
Stage fright is something I specialize in. The power of the brain is extreme. We can trick one part of the brain into believing something else. This is particularly useful in attacking stage fright, as well as many limitations in our lives. Engaging the brain in different ways has helped my students calm their nerves, sing with more power, attack higher notes, and improve their pitch.
12/5/09
Proper Breathing for Singing
I teach breathing in a pretty specific way. It's regimented during regular vocal exercises. The exercises I do work their way up and down the keyboard in regular patterns. So students are supposed to breathe a specific way in between intervals.
I then teach that when we go to regular songs, the breathing process becomes more personalized. It really depends on what the student is singing. There are songs with long lines of lyric, sometimes getting higher toward the end. Students are encouraged to breathe at least once during this line. This is so they don't run out of breath, but it servces another purpose. If a high note is coming up, sneaking an extra breath in can help get you up over the high note. Not taking this breath can cause a student to be off pitch because they didn't get that extra "oomph" they needed by taking an extra breath. Getting this extra energy gives the next note strength, because of the extra volume and energy that was needed to sing it properly.
In general, I approach breathing from a "less is more" viewpoint. You want to take what you need, but not in excess, or you end up literally waisting your breath (no pun intended). Timing is everything. This paragraph seems to be full of puns and plays on words! Taking too large a breath in the beginning means you might run out toward the end when you really need it. Then you end up taking a breath that you might not have needed in the first place.
Breathing should be approached carefully. Don't overdo it, get training first from a professional who knows how to do it properly, and take slow, relaxing breaths in between. As with any kind of exercise, approach it with care.
Of course, I have to say the obligatory check with your doctor thing before beginning this or any other kind of exercise. Only do this kind of breathing after you are properly trained.
I then teach that when we go to regular songs, the breathing process becomes more personalized. It really depends on what the student is singing. There are songs with long lines of lyric, sometimes getting higher toward the end. Students are encouraged to breathe at least once during this line. This is so they don't run out of breath, but it servces another purpose. If a high note is coming up, sneaking an extra breath in can help get you up over the high note. Not taking this breath can cause a student to be off pitch because they didn't get that extra "oomph" they needed by taking an extra breath. Getting this extra energy gives the next note strength, because of the extra volume and energy that was needed to sing it properly.
In general, I approach breathing from a "less is more" viewpoint. You want to take what you need, but not in excess, or you end up literally waisting your breath (no pun intended). Timing is everything. This paragraph seems to be full of puns and plays on words! Taking too large a breath in the beginning means you might run out toward the end when you really need it. Then you end up taking a breath that you might not have needed in the first place.
Breathing should be approached carefully. Don't overdo it, get training first from a professional who knows how to do it properly, and take slow, relaxing breaths in between. As with any kind of exercise, approach it with care.
Of course, I have to say the obligatory check with your doctor thing before beginning this or any other kind of exercise. Only do this kind of breathing after you are properly trained.
12/3/09
Principles of Success in Music (or Any Skill for That Matter)
I learn from my students all the time. My students make me a better teacher. I've grown so much as an instructor over the past 5 years, thanks to my clients providing me new experiences. What frustrated me about trying to get students over the humps of their vocal challenges, are now opportunities for me to help them in new ways.
I wrote down these principles, and I refer to them with my students. They are:
One client developed a particularly bad habit. He was in the habit of starting to sing incorrectly, having me correct him, and then singing correctly. His brain was conditioned to do this. Once he realized this, he began to take ownership of the process, and we saw an immediate improvement.
I now explain to my clients that I give them the tools to build the house. I give them the concrete foundation and initially help them build. It's up to them to complete the process and keep the house standing. This method of teaching has improved my clients' progress exponentially.
In addition, I ask questions. I often get answers that I do not expect, and am then able to redirect my approach. The teaching process is a give and take. It's important for me to understand my clients, and for them to understand me. This results in far more progress than a simple "do this because I say so" exchange.
I wrote down these principles, and I refer to them with my students. They are:
- Deep focussed attention
- Commitment to the task at hand that very second
- Concentration on a deeper conscious level while singing and before and after singing
- Self awareness and personal responsibility
- Self monitoring (a biggie)
- Repetition and memorization to eliminate confusion of some of the more abstract concepts
One client developed a particularly bad habit. He was in the habit of starting to sing incorrectly, having me correct him, and then singing correctly. His brain was conditioned to do this. Once he realized this, he began to take ownership of the process, and we saw an immediate improvement.
I now explain to my clients that I give them the tools to build the house. I give them the concrete foundation and initially help them build. It's up to them to complete the process and keep the house standing. This method of teaching has improved my clients' progress exponentially.
In addition, I ask questions. I often get answers that I do not expect, and am then able to redirect my approach. The teaching process is a give and take. It's important for me to understand my clients, and for them to understand me. This results in far more progress than a simple "do this because I say so" exchange.
12/1/09
Voice Lessons with Me
If you are in the Central NJ area and are interested in voice lessons, please call me at 732-868-1725.
Check out this mini-lesson:
You can visit my website at A Sharp Voice
Check out this mini-lesson:
You can visit my website at A Sharp Voice
11/30/09
Stage Fright
Many people come to me for lessons that have issues with self confidence. They may be otherwise very talented, but the emotional blocks seriously impact their performance. To combat this, students must make a commitment to check their stress and low self esteem at the door, at least for the 45 minutes they are with me.
My teaching approach is a little different. I zoom in on what's really going on. Often times, a person is off pitch with their singing because they are not singing with enough volume. The reason they don't have the proper volume is because they are holding back. They are holding back because they are afraid if they give it the proper volume, they aren't going to hit the note. I've brought to their attention that they have a better chance of hitting notes dead on if they give them the proper volume. The very thing they are afraid of is what's causing them to to not reach their potential.
Singing is very psychological. It should be approached not just from a technical standpoint, but an emotional and psychological one as well.
One very effective tool I use is visualization. When someone is tensing up getting ready to sing or give a speech, I give them a visual. First, we breath deeply and visualize the heart rate slowing down. Next, we envision a supportive audience looking on eagerly, not threateningly. I then tell the student that the audience loves him or her. This seems to help.
The power of the mind is an exceptional tool, and I use it extensively in my teachings. I'd love to hear from anyone who can relate to this.
My teaching approach is a little different. I zoom in on what's really going on. Often times, a person is off pitch with their singing because they are not singing with enough volume. The reason they don't have the proper volume is because they are holding back. They are holding back because they are afraid if they give it the proper volume, they aren't going to hit the note. I've brought to their attention that they have a better chance of hitting notes dead on if they give them the proper volume. The very thing they are afraid of is what's causing them to to not reach their potential.
Singing is very psychological. It should be approached not just from a technical standpoint, but an emotional and psychological one as well.
One very effective tool I use is visualization. When someone is tensing up getting ready to sing or give a speech, I give them a visual. First, we breath deeply and visualize the heart rate slowing down. Next, we envision a supportive audience looking on eagerly, not threateningly. I then tell the student that the audience loves him or her. This seems to help.
The power of the mind is an exceptional tool, and I use it extensively in my teachings. I'd love to hear from anyone who can relate to this.
NJ Residents: Learn to Sing!
If you are in the NJ area and would like to learn to sing or develop your public speaking ability, please contact me.
You can visit my website at www.asharpvoice.net.
You can visit my website at www.asharpvoice.net.
11/29/09
Musical Talent and Self Esteem
Being told that one has no musical talent can be emotionally and psychologically damaging to a person, and influence decisions to pursue music as a hobby or career. While there are other types of hobbies and careers that require skill and savvy, few seem to elicit the same negative emotional response as the belief that one is not musically talented or inclined.
There are those of us who are athletes, mathematicians, physicians, educators, scientists, business executives, etc. If a person is not good at math or is not able to run fast for example, there may be feelings of inadequacy that can affect the person’s viability in fields related to these skills. When someone is not good at music, particularly singing, there are the added components of ridicule and criticism (perceived or quite real).
This may have an even greater negative effect on one’s desire to pursue the arts than when deciding whether or not to pursue a traditional career discipline. Musical talent represents much more to people than just the ability to create attractive sounds. There’s a tremendous emotional component. Having musical talent vs. not having it may influence a person's feelings of self-worth due to talent being associated with a certain glory evident in our culture today.
In today’s culture, talent is associated with wealth and fame and being regarded as special and unique in some way. People who have obvious talent get attention and are viewed as having something special. When those who try to emulate this do not succeed or are told point blank that they have no talent, they may feel left out of receiving this special type of positive validation. Students seeking lessons often begin with feelings of trepidation and a lack of confidence due to preconceived notions about themselves. This can be more crippling than a student's actual level of ability.
This "no talent belief" often starts in childhood. Robert (a client) was in first grade and was asked along with the other children to individually come up and follow a melody the teacher played on the piano. According to what they sang, she separated them into the you can sing/you can't sing sides of the room, the latter being where he was sent. This incident convinced him that he had no talent, and was a major obstacle when he sought out and began voice lessons later in life. It was compounded even more by a thoughtless comment made in passing by his mother: “you’re tone deaf.” Let’s keep in mind that a true educator would never help a child discover their talents in such a callous, damaging way, and that his mother had no background in the performing arts. Yet these two comments made by those who probably didn’t have any malicious intent profoundly influenced Robert’s self-esteem.
People often allow incidents like this to discourage them from pursuing their musical dreams. More often than not, a lack of obvious talent has more to do with our belief system than our actual ability. While there are mechanics and a genetic predisposition that influence the ability to sing and play musical instruments, musical ability is largely emotional, psychological, and driven by desire.
Dispelling the belief that one has no ability can open the floodgates to talent that would otherwise not have the opportunity to emerge. New musicians should surround themselves with other likeminded people, not leave themselves open to criticism by asking those around them (particularly those with no music background) how they sound, send a clear message that their music is important to them, find supportive coaches whose teaching methods are self-esteem supporting, and not react to the jokes and snickering (often times people who are critical who are just trying to get a rise out of us) of others.
There are those of us who are athletes, mathematicians, physicians, educators, scientists, business executives, etc. If a person is not good at math or is not able to run fast for example, there may be feelings of inadequacy that can affect the person’s viability in fields related to these skills. When someone is not good at music, particularly singing, there are the added components of ridicule and criticism (perceived or quite real).
This may have an even greater negative effect on one’s desire to pursue the arts than when deciding whether or not to pursue a traditional career discipline. Musical talent represents much more to people than just the ability to create attractive sounds. There’s a tremendous emotional component. Having musical talent vs. not having it may influence a person's feelings of self-worth due to talent being associated with a certain glory evident in our culture today.
In today’s culture, talent is associated with wealth and fame and being regarded as special and unique in some way. People who have obvious talent get attention and are viewed as having something special. When those who try to emulate this do not succeed or are told point blank that they have no talent, they may feel left out of receiving this special type of positive validation. Students seeking lessons often begin with feelings of trepidation and a lack of confidence due to preconceived notions about themselves. This can be more crippling than a student's actual level of ability.
This "no talent belief" often starts in childhood. Robert (a client) was in first grade and was asked along with the other children to individually come up and follow a melody the teacher played on the piano. According to what they sang, she separated them into the you can sing/you can't sing sides of the room, the latter being where he was sent. This incident convinced him that he had no talent, and was a major obstacle when he sought out and began voice lessons later in life. It was compounded even more by a thoughtless comment made in passing by his mother: “you’re tone deaf.” Let’s keep in mind that a true educator would never help a child discover their talents in such a callous, damaging way, and that his mother had no background in the performing arts. Yet these two comments made by those who probably didn’t have any malicious intent profoundly influenced Robert’s self-esteem.
People often allow incidents like this to discourage them from pursuing their musical dreams. More often than not, a lack of obvious talent has more to do with our belief system than our actual ability. While there are mechanics and a genetic predisposition that influence the ability to sing and play musical instruments, musical ability is largely emotional, psychological, and driven by desire.
Dispelling the belief that one has no ability can open the floodgates to talent that would otherwise not have the opportunity to emerge. New musicians should surround themselves with other likeminded people, not leave themselves open to criticism by asking those around them (particularly those with no music background) how they sound, send a clear message that their music is important to them, find supportive coaches whose teaching methods are self-esteem supporting, and not react to the jokes and snickering (often times people who are critical who are just trying to get a rise out of us) of others.
11/25/09
Use Your Vocal Cords...Indirectly
Do you feel a tenseness or tightness in your throat while singing or speaking? That's because you're using your vocal cords directly when you sing or speak. The first thing I teach new students is how to sing or speak with another part of the throat called the soft palate. The soft palate is the part of the roof of your mouth that is soft and fleshy. It's toward the back. Engaging it can be challenging, but once you have it and begin to use it, you'll be able to sing more comfortably and for longer periods of time by pushing the sound through it.
For a hands-on demo of how this is done, please visit my "De-stress the Vocal Cords" mini-lesson on YouTube.
Mini-Voice Lesson: De-Stressing the Vocal Cords
For a hands-on demo of how this is done, please visit my "De-stress the Vocal Cords" mini-lesson on YouTube.
Mini-Voice Lesson: De-Stressing the Vocal Cords
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