TMV World Team

On Monday, Nov. 30th, 2009 at 1-2 pm ET I will have the distinct honor of interviewing Margie Hauser. Don't know that name? That's OK because you certainly know her music. Armed with a hot song catalog, Margie Hauser has burst onto the music scene in a startling way. Writing professionally for less than four years, 2008 alone produced 19 published songs. Margie was Music Supervisor and collaborated on most of the music in Alice Upside Down starring Alyson Stoner (Camp Rock) and Lucas Grabeel (High School Musical). Alyson and Lucas each sang two of Margie's songs. Her hit single Higher rose to top 20 on Billboard Dance/Club charts after a ten-week run, setting a career record for 80's pop princess, Tiffany. The follow-up single, Just Another Day was also #1 Billboard breakout and enjoyed an even longer chart appearance. Higher was in the top 10 for 2008 at Perfect Beat! While voting for this years Grammy awards, as a member of NARAS, Margie saw her own song, Road Of Peace included in the nominating process. The Fall was on Taylor Dayne's album, Satisfied. Something Out Of Nothing was recorded by Lost Tricks and written with Eliot Sloan (Blessid Union Of Souls). Bryce Palisser recorded City To City for his debut album. Some other artists that Margie has recorded with are: Lucas Prada, Chris Korblien, Ace Young, Miriamm, Henri, Eliot Sloan, Chris Doran, Taja Sevelle, Shenkar, and Jaakko. Because she works best in short, intense, bursts, living in Cincinnati with her husband and four children is an asset for Margie, not a liability. Typically she travels monthly to LA, jamming two or three sessions and meetings a day into a four day trip. She thrives on the creative milieu and fellow collaborators on those trips, but is equally comfortable composing solo at her piano/keyboards at home. Join us for a fascinating hour as I pick Margie's brain about her writing process, working with the best of the best and balancing all this with being the mother of 4 teenagers! For guest list and to sign up visit http://vocalpowertools.com/singers_key_notes.htm

I was asked on my Youtube channel by a subscriber about how he could be more confident when performing in front of people. I thought it would make a great newsletter subject...so here goes. Confidence is something anyone can acquire. It just comes with self knowledge and self awareness. If you know who you are - good and bad - you can become a confident performer. I was a VERY withdrawn, shy kid. Very introverted. If you had known me back then, you would have NEVER figured I was the sort that would end up teaching dozens of people in a seminar class for singing. Public speaking? OMG! are you kidding me? I would have rather drank bleach than speak in front four people I knew - let alone a room full of strangers. There's an old showbiz saying "Sincerity - if you can fake that you've got it made". Though confusing, its point is well made. Some of the greatest performers look exactly the same, night after night, show after show. How? Because even if they feel like crap, are hung over, have a cold or are just plain fed up - "the show must go on". They've learned how to "fake it". Now, you don't want to be a phony but we're all human and we have our "bad days". If you can set it aside and "put on a happy face" and fake your sincerity well, the audience never knows the difference. I've done shows where I was arguing with a band member 5min before we went onstage. But we were both professional enough to set it aside, smile and put on a good show for the people who paid money to see us. We continued the argument after the show. (I won by the way) As I found myself becoming the singer in my post high school bands, I realized I had an avenue to become someone else on stage. I became "him" - that guy other people see on stage, not necessarily the guy I am at home with friends and family. Little by little, that confident guy I was on stage crept into who I am offstage. Back in his "Beatle days" John Lennon used to throw up before their performances he was so nervous. So you're not alone if you get nervous before a show - you're in good company. Building confidence just takes stepping outside yourself for a while. Imagine being someone else and you'll find it easier to get through performing in front of people. But make it "somewhat" genuine. Don't be an obvious fake - people can spot a fake right away. Just be who you wished you could be - a confident, in your face performer. Before you know it you are that person Keep practicing and Rock On! Kevin Richards www.rockthestagenyc.com

GENERAL VIEW The most well-known area for overtone singing is found in Central Asia, more specifically Western Tuva and Northwestern Mongolia. A great number of singers practice overtone singing, a tradition going back to the time of the Silk Road trade, according to some references in Tuvan songs. There is a rich culture of overtone singing, as demonstrated by many different styles, the great regional and even personal differences and the number of singers. In Tuva four basic styles exist: called kargyraa, borbannadyr, sygyt, and ezengileer. Borbannadyr was called in some regions, but the latter indicated in orther regions the general term for overtonesinging. Nowadays, it still has this function, but xoomej can at the same time be the name for a separate style, apart from borbannadyr. In addition to these styles some sub styles exist, such as folk and middle sygyt, steppe and mountain kargyraa, and the "stil Oidupa". The latter is a substyle of kargyraa named after the singer who invented it , and it is considered as the first city style. The parametres for this emic - or folk classification, seem to be the melody of the fundamental, the melody of the overtones and the sound colour or over all sound. The Mongols did not have a traditional, general classification of their styles of overtone singing. The late folklore specialis Badraa and the singer Tserendavaa attempted to make such a classification of Mongolian xoomij. Their results seem to be based on two criteria: the places of origin and the palce of resonance in the body when singing xoomii. they cameup with six different styles: uruulyn (labial) xoomii, tagnain (palatal) xoomii, xamryn (nasal) xoomii, bagalzuuryn (glottal or throat) xoomii, tseejiin xondiin or xevliin (chest cavity or stomach) xoomii and xarxiraa. The latter style is somewhat controversial, since different singers have different opinions about what constitutes it, and whether or not it is xoomii. In addition to Tuvan and Mongolian styles Khakassian "xaj" and Gorno-Altaian "kaj" overtone singing, usually accompanying epic songs, should be mentioned. while Tuvan and to a lesser extent Mongolian musicians travel around the world performing their xoomej, little is known about other Central Asian styles. A special case is the "uzliau" or "tamak kurai" of Bashkirs, who live in the european part of Russia, some few thousand kilometers from Tuva. It is the name for their overtonesinging, with melodies similar to those of ordinary folksongs. The Baskirs are a Turkic people, who moved from Central Asia or Saiano Altai in the first millennium. Wainshtein advanced the opinion that they could have taken with them this peculiar singing style when moving westward from Central Asia. If this is so, he writes, then xoomej existed before their migration, i.e. in the second harl of the first millennium. The Tuvan vocal phenomenon Khamei (literally Throat) since the last ten years has thrilled World music audiences around the world from the USA to Holland, from Canada to Germany, Sweden, from France, Spain to Japan, Australia. In 1969,I started my overtone research with Mongolian xmij style which was very closed to Tuvan Sygyt style.Then, I wrote an article on my "discovery of this split-tone singing style" on the acoustical point of view, in cooperation with Denis Guillou in a book published by Japan Foundation in 1980. Another important article with Hugo Zemp on my experimental research on overtones was published in Geneva in 1991. The film the Song of Harmonics, made by Hugo Zemp in 1989 with me as co-author was released in 1989 in Paris. Only in 1977 I heard the Tuvan overtones for the first time from the LP edited by Melodia GOCT 5289-68 "Pesni i Instrumental Nye Melodii Tuvy " (Songs and Instrumental Melodies of Tuva) with the cover notes by G. Tchourov. Lebedinskij ,in 1948, wrote : "It is unnatural for a person to be able sing two notes at the same time. The timbre is alreasy unnatural, not to mention the principal notes and the harmonics, or overtones, and what is downright unnatural is the length of time the breath is sustained ". Aksenov, the first Russian researcher, wrote an important article on Tuvin Folk music in 1964 (an English version was published in Asian Music Journal - New York, USA, in 1973). Since the years of Perestroika and with the disparition of the USSR at the end of the '80s, Tuva has rebuilt the traditional music and Tibetan Buddhism. The "cultural rebirth" has started since. Competitions, Khamei Song Contests were organized in 1992 and 1995 in Kyzyl, capital of Republic of Tuva.By chance I was invited in Tuva in 1995 and was nominated as President of the 2nd International Symposium and Festival of Throat-Singers from 19 to 21June 1995. The Tuvan singers generally use overtones from 6th to 13th. Renowned singers can reach overtone 18. During the Russian domination, throat singing was not encouraged by the Soviet authorities, but it survived. In the ancient time, overtone singers specialized in a single style or two related styles. Nowadays, it is frequent to see singers perform several styles arranged in short segments.If an overtone singer cannot master the five basic styles (khoomei, sygyt, borbannadyr, ezengileer, kargyraa ), he is not considered a good singer. Young singers like combining throat singing with rock, pop, punk and disco music. National Khoomei competititons have been taking place for severel years, in which often more than thirty to forty singers take part. Young talent is discovered like the 11year old Schaktar Schulban has taught himself throat singing by listening to Khoomei singers on radio and Television since he was five. He can sing kargyraa style with 70Hz as fundamental pitch and changes to sygyt style (H1=240Hz) during the same song and raises his overtones to H12= 2880Hz (it is very difficult for an adult throat singer to reach that overtone pitch). Onda Mongun-Ool (17 years old) is a virtuoso of sygyt style, and Bujan Dondak (20 years old) is a specialist of kargyraa style. Sommaire FIVE STYLES OF OVERTONES IN TUVA It is necessary to have a clear idea about the five basic vocal styles of Tuvan overtone singing before analyzing the different items recorded in these 2 compact discs reviewed in this paper. Khoomei is a vocal style which enables the singer to produce two sometimes three simultaneous voices: one fundamental with low sound considered as a drone, and the other(s) with overtones giving one or two formantic melody (ies). In acoustics, harmonics are sounds the frequencies of which are integral multiples. If the singer sings the fundamental pitch of 200Hz (written H1=200Hz), harmonics 2 (written H2) will be 400Hz, H3=600Hz, etc...In this paper, whenever I mention H2, H3, that means overtone 2, overtone 3. Khoomei is the common term for overtone singing, the origin of all styles. It means literally "throat, pharynx". It is considered as the oldest style by many Tuvan singers. It sounds like the sygyt style with high pitch fundamental, but less tension, softer overtones in the mouth. The use of rhythmic ornamentation accentuates the beat of the song. Nowadays khoomei is often faster and louder. Grace notes become tremolos as in borbannadyr style (after Mark Van Tongeren) Sygyt (also written Sigit ) is a high overtone singing sounding like a flute, a whistle, mostly combined with text. The term sygyt means "whistle". Songs in sygyt style start without overtones. At the end of a line, the melody ends with a sustained fundamental on which the singer surimposes a second melody with overtones (generally H9,H10 and H12, sometimes with H8,H9,H10,H12,H13). The best singers in Sygyt are Mongush Mergen, Tumat Kara-ool, Chuldum-ool Andrej Borbannadyr is sung from a fundamental in bass or baritone range. It is characterized by a pulsating asymmetrical rhythm and is not normally sung with text. The term is derived from the verb borbanna (to roll over). The singer employs the tremolo of overtones, and can create the triphonic effect with the fundamental , the first overtone level in fifth parallel (harmonic 3 : one octave + a fifth higher), and the second overtone level which gives the melody. This style is sung in a higher register than the one used in kargyraa with more nasal resonance. Mikhail Dopchun, Tumat Kara-ool, Anatolii Kuular are the best exponents of this style. Ezengileer is produced by rapid vibrations of the lips, and is sung over a low fundamental. It creates soft shimmering overtone melodies.Both the high (nasal) and low (throat) sounds are important. The alternation of the two different sounds seem to define the style. It is characterized by a pulsating galloping asymmetrical rhythm which suggests riding on horseback. Ezengi means strirrup the metal parts of a bridle. Songs in ezengileer style were usually sung when riding on horseback. To-day the ezengileer style is rarely performed and is considered rather difficult. Mongush Mergen and Ondar Marzhymal are the best singers of this style. Kargyraa is a very low overtone, singing with long breath and open vowels (u, o, a ) used in songs in which texts are sung. The term kargyraa is a homonym of the onomatopoetic verb kargyraa which means "to expectorate". The pitch of the fundamental varies from 55 Hz to 65 Hz. Apart from the five main styles, we can find other sub-categories: Opei-khoomei is a lullaby khoomei, similar to the rhythm of rocking a baby to sleep. It is sometimes called tаnmes khoomei (never ending khoomei). Khovu-kargyraa is a steppe kargyraa practised when riding a horse on the steppe with the wind blowing at the right angle into the mouth with lips curled. The wind amplifies overtones.(this style can be heard in the compact disc Tuva - Voices from the Center of Asia - Smithsonian Folkways CD SF 40017, track 1) Dag-kargyraa is a mountain kargyraa, practised in the mountains, producing an echo and singing with it. Tempo and timbre have a different rhythm than khovu-kargyraa. Chelbig-kargyraa is a fan kargyraa, sung while continuously moving a fan in front of the mouth. The air circulation produced by the fan genereates different kargyraa effects. Sygytting borbannadyr is sygyt singing in borbannadyr style, also known as the Gennadi Tumat style because he has developed it. Chilandyk is a combination of sygyt and kargyraa alternating between high and low registers. It is named after the chilandyk (cricket) which produces the same sound. Dumchuktaar (from the nose) means khoomei singing through the nose, with mouth almost or completely closed. It can be combined with other styles such as kargyraa, sygyt, khoomei with nasal character. Kangzyp is a special kind of overtone singing for someone who is depressed or sad. The word kangzyp is probably derived from the verb kangzyyr which means "to wail" (like a dog) or figuratively " to annoy". Xаrekteer (xаrek means breast). It refers to singing with the breast of the melody before or in between actual overtone singing style. It is sung with words. If it is sung in the lower register, it is called xаrekteer. Gennadi Tumat has sung it. Sommaire OVERTONES IN TIBET Also famous for its mysterious harmnoic sounds are some Tibetan monasteries, namely those of Gyuto and Gyume, where "tantras" (Buddhist scriptures) are intoned in such a way that two or more harmonics are audible. Probably this technique was introduced by Je Tzong-khapa in the 15th century A.D. The words of these tantras cannot be logically understood, since they do not contain ordinary Tibetan language. Rather, they carry symbolic meanings, and the multiplicity of their words gives them a magical character. this magical character is reinforced by the overtones by means of this special singing technique. Here, overtones can in a very real way be seen as an extension of language, since they are uttered only when the tantras are sung, and thus they becom associated with the magical meaning of the words. The style these monks sing to some extent resembles Tuvan "borbanndyr" on account of its sound and mouth position. The use and function of their singing is yet so different from that of the Central Aisan nomads, that it is unclear to this moment whether or not they shared a common tradition. Sommaire OVERTONES IN SOUTH AFRICA: UMNGQOKOLO NGOMQANGI The South African case demands special attention, since it stands alone in the African continent, and at the same time shows a highly evolved and unique culture of overtone music. The peoples in question are the Xhosa, living in the South-Eastern part of the Republic of South Africa, where the musicologist Dave Dargie undertook intensive research. All material concerning the Xhosa can be found in his book "Xhosa Music" (1988). Listening to instrumental music of South Africa and adjacent countries the number and diversity of instruemnts producing strong overtones are striking. Of course there is the Jew's harp, among the Xhosa called "isitolotolo" using the same principles as the Tuvan "xomus", but played in a very rhythmical fashion. An equivalent of the Tuvan "igil" or Mongolian "morin xuur" can be found in Namibia and Botswana. A wealth of other chordophones exist, using harmonics as basic melodic material, such as a gut pluriarc from Botswana and the friction bow "chizmabi from Zimbawe. A more universal instrument is the Xhosa mouth bow umrubhe, bowed with a stick while being held against the mouth. By changing the shape of the mouth cavity, overtones are resonated, and the performer may whistle at the same time. Until the beginning of this century such an instrument, called "ca" (bow) could be found in Tuva as well. Besides some similarities in instrumental music, Xhosa and Tuvan music have overtone singing in common. In 1980 Dave Dargie discovered this remarkable way of singing by Xhosa women, with a sound quality somewhat similar to the Tuvan "kargiraa". It is called "umngqokolo" (the q standing for a typical African clicksound made with the tongue) and the overtones are purposely produced with any of four different fundamentals (F,G,D,F). This general style does not resonate the harmonics very clear, but one Xhosa woman, Mrs. NoWayyilethi Mbizweni, has a very clear personal style, that she claims to have found all by herself. Her singing, called "umngqokolo ngomqangi" strongly reminds one of the sounds of the umrubhe mouthbow. she claims to have been inspired by the playing of an "umqangi" beetle, though. Boys pin this beetle down on a thorn, hold the buzzing insect in front of their mouth, and resonate the overtones with their mouth cavity. As far as is known now, this technique is not widespread in Africa. there is at least one other area in South Africa where overtone singing is performed, but it has not yet been sufficiently investigated. Last but not least, overtone singing may occur while singers do not really know that they produce harmonics. The scientists "etic" or analytical evaluation may speak of overtone singing, while the singers themselves are not conscious of this feature of their singing. Hopefully fieldwork will give us a deeper insight in the conceptions and psychoacoustical experiences of these singers. Trаn Quang Hai (National Center for Scientific Research, UMR 9957, Paris, France). Bibliography and discography OVERTONES IN CENTRAL ASIA AND IN SOUTH AFRICA Annual Symposium on Ethnomusicology / CONFLUENCES CAPE TOWN UNIVERSITY, SOUTH AFRICA 16-19 JULY 1997. By TRAN QUANG HAI (CNRS- Paris-FRANCE) * GENERAL VIEW * FIVE STYLES OF OVERTONES IN TUVA * OVERTONES IN TIBET * OVERTONES IN SOUTH AFRICA: UMNGQOKOLO NGOMQANGI * Bibliography and discography

Art Alexakis of Everclear is a true rock and roll survivor. The charismatic frontman and driving force behind the multiplatinum selling band is as focused and committed to making great music today as he was when his Portland-based band broke into the scene 15 years ago. Their latest record, A Different Light, features new songs along with reinterpreted versions of Everclear's classics. As an artist, he continually challenges himself, and this record is no different. He notes that this record has a new band line-up, and a live acoustic feel. "It makes sense because I recorded those (songs) 10-15 years ago and I've changed..." As an artist and songwriter, he says, "I wanted to document how these songs have evolved." He did this by having the new line-up play live in the studio and then overdubbing the additional tracks. Alexakis takes his vocals seriously and notes, "it's hard.. I'm on the road..." He has studied with vocal coaches, but also suffered some vocal problems as well with the grueling demands of touring. Contrary to some singers he knows, says Alexakis, "it's really important for me to warm up before I sing." And... he bends his knees to release on high notes! "I sort of found this out naturally, and it does work; it helps." I asked him if he sings differently now than when he started his career. He thought for a moment and said, "in a way, I do sing differently now, because I have more chops and have developed more as a singer over the years." When he started, he became the band's lead singer out of default, and has grown into his role as a singer over the years. On the new record, he notes, "it's a showcase for my voice in a lower register, it's more gravelly... I really like the way it sounds 'cos it's honest." Also, there's no a lot of autotuning (if any) on the record. Below he shares some tips garnered over his long successful career: Art Alexakis' Tips 1. Warm up before you sing! Don't push your voice to open up before it's ready (especially in the studio). Alexakis drinks room temperature water and does lip rolls, among other exercises, to warm up (take note!). He even suggests doing cool down exercises after you perform. 2. Stretch and keep your body in shape. Yoga (when he's home) is a favorite. 3. Continue to challenge yourself as an artist. Change things up to get a fresh take. Alexakis invited guest artists to perform on this record. 4. Use your own life experience as inspiration (although everything inspires him!). His last record was mostly autobiographical. 5. Be honest in your art. Document where you are now. 6. As a songwriter, try storytelling. Alexakis is very much into this. Also, use different approaches to writing songs. He notes, "I don't want to get into a rut with this (songwriting)." 7. Work with a coach. The demands of singing change as you get older, are on the road, etc... 8. Get your own unique sound. Alexakis is inspired by unique voices and worked hard to get his own unique style and sound. 9. Get a connected range. Do the work necessary to be able to sing from the lowest part of your range to the highest. Everclear is working on a new record with all new songs. About his journey, Alexakis reflects, "I've got some mileage on my voice as well as my life, but I'm still here, enjoying new ways to look at the great things we've done in the past and looking forward to Everclear's next adventures." For Everclear, the afterglow still shines bright. Cool note: Alexakis and I were both in San Francisco at the same time (late 80's, early 90's) in totally different scenes- our paths never crossed! He was in alternative country, and I had my house/club hit. By Teri Danz, LA's premier vocal coach and recording artist Sign up for The Singer's Newsletter free - vocalcoach@teridanz.com, monthly vocal tips and guest tips. www.teridanz.com

Since pushing is another one of those I know it when I hear its words, I thought it was about time to examine what happens when vocalists push. To begin, I'd like to use the analogy of sailing to help describe what happens when extreme air pressure hits the closed vocal cords. Imagine being on a calm lake in a tiny sailboat. The air is fairly still makes your sail 'luff' or move inefficiently so your boat isn't going anywhere. This is akin to singers under-supporting; not giving the vocal fold sails adequate wind speed. Back to our sailing experience... the wind picks up and your sail fills out and you start speeding across the lake. The windspeed is matched to the size of your sail and the weight of the boat and the result is a smooth, easy ride. This action we could call perfect support, meaning the matching of windspeed (pressured air from your lungs) to the pitch and volume requirements of your vocal folds. In this configuration, your vocal folds work easily and will obey the demands of your brain and your ear. But what happens when a hurricane appears and hits your little sail with a blast of high-velocity air? The sails stiffen in a futile attempt to resist the onslaught and the boat capsizes. This is what pushing is: forcing too much pressurized air against the penny-sized vocal folds (each is as big as a half-penny). Not only do the folds tend to stiffen in response to over-pressure, but many other laryngeal muscles and even neck muscles can begin squeezing in a vain attempt to get the vocal folds to work well. We've all seen the red-in-the-face, blood vessels a-poppin', "get the paramedics and quick" kind of singer. Those are the signs of extreme pushing. The more you push, the worse the problem gets. The goal? Use only as much pressure as you need to get the folds to do their work and they will reward you with a long and happy vocal life.

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One of my clients had a breakthrough yesterday. With her permission, I'd like to share her story with you. Katherine doesn't consider herself a singer. She works in finance, but heard about me through a friend and thought doing some singing would help to open her up to deeper creative and personal expression. As many of you know, I've found over the years that vocal tension for both the amateur and professional more often than not comes from or is exacerbated by non-vocal issues; lack of faith in self, unresolved or unaddressed emotional concerns, insecurities, fears of failure and success, and the like. With this in mind, as she struggled through a song, I asked Katherine to focus not on how she was sounding, but rather, to concentrate on the meaning of the words and music. To feel the voice coming from a deeper place. To stop listening to and trying to manage every note, and instead, focus on the process of the sound being born, formed, resonating in, and leaving her body. I asked her to sing from her soul. To which she replied, "I don't know where my soul is..." We sat there together for a long while in silence, as Katherine consciously confronted an issue she'd been trying so hard to avoid- one I'd so carefully been trying to lead her to. Bringing her back to the song, I shared this with her: You don't have to know where your soul is to sing. By singing, the journey toward your soul begins. And it's a never-ending journey... a leisurely, sensory walk deeper and deeper into yourself and the world. But the journey of finding and celebrating your soul can't begin until you relinquish judgment and expectation. The soul and the voice don't care how you sound or look. They don't have an idea of how your heart song 'should' go. There is no music they call 'good' or 'bad', no notes they call 'too high' or 'too low', no feelings or ideas or imaginings they call 'wrong' or 'right'. The soul only asks one thing... the voice only asks one thing... ... to sing. Katherine sat still, eyes closed, hand on her stomach, tears in her eyes, and as all of the muscles in her face and body released in childlike surrender made some of the most beautiful sounds I've ever heard. Please visit http://jenniferhamady.blogspot.com/ to read more of Jennifer's Blog

Do you get more if you are up? Dunno. I think so. I think when we are down, when we are negative, we send out vibes that are closed, dark, dreary. Yet, at the same time, I think it's natural that there is an ebb and flow of light and dark in our lives. It's all about balance, I think. Finding things to be grateful for. Feeling that we have a purpose in what we do or who we are. At least that's how I feel as an artist / teacher / composer / human. If what I do or say or share is the catalyst for someone else's hope or inspiration, then my purpose is fulfilled in that moment. If I can witness to the process of someone else's journey, then my purpose is fulfilled in that moment. As I watch my students struggle with their doubts and programming, I see myself reflected in them. And that has been one of the greatest foundations to my healing from shyness. As I began to work with my first students, I began to see that I was not alone. That I was not an alien. That a great many people struggle with self-esteem and stage fright. That many people have had their voices silenced in profound ways. One gentleman, when 7 or 8, was singing with his class in school. In front of everyone, the teacher told him that he couldn't sing and he should just mouth the words. Shamed in front of his peers, snickered at, sitting on the sidelines while everyone else participated in music he grew up to be someone who could not even sing happy birthday in a group of friends, or sing a hymn at church. And he is not alone. At seven years old, when the brain is still developing and vocal chords are not fully developed, some of my students were told they should not and could not sing. Others experience silencing without direct application to singing. Perhaps they were consistently criticized at home. They were told that they were flawed. They were told, if they couldn't be perfect at something, they should not attempt it. They were not allowed to start and grow through a process of learning. Adult competency was expected of inaccurate, growing, innocent children. And of course those who were silenced carry that into adulthood and deny process, expecting themselves (and others) to show proficency instantly... thinking their lack of skill or lack of coordination means lack of talent. I don't know where this harsh view of others came from, really. But we integrate all these messages and repeat them to ourselves on a daily basis. Who am I kidding, I can't learn to do this, I am too old, etc etc. Dr Wayne Dyer [ http://www.drwaynedyer.com/ ] has a new book out, called Excuses Begone where he talks about this issue. Julia Cameron, in The Artist's Way talks about identifying the blurts we tell ourselves, and turning them around. All I know is if you stick to it, if you are willing to keep going even when everything in you screams that you are useless, it's hopeless, you're too old, etc etc etc then you will come out the other side. You will rise above your programming. You will become the architect of your own life. You will learn to sing on key. You will write that book, that album, take that trip. It will only be one step on a journey of thousands of steps. But every step forward you take, shines a light for others. Gives hope to those struggling with the same things. Your positive forward motion creates a path for others to follow. Even if you never know you've been one of the catalysts for their evolution. And perhaps that is your purpose. To grow beyond what is safe and what is known. To challenge and explore your own final frontier. And find there is more in you and of you than you ever dreamed could be. © 2009 V.L. Flawith. All Rights Reserved.

This is an entry from my blog. 12/28/09 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.

I hear so much complaining about this subject, I just wanted to lay my practical experience on you. Free. First, three pre-conditions: 1. if you are a very materialistic person, skip this article, I don't think you are going to like what it says. 2. if you don't have the music where you want it art-wise, you might want to go work on that, this article isn't going to help you much either. You will be better off by practicing and studying and working on your music instead. you will need to get the art pretty close to where you want it, before you should worry about making much of a living out of it. 3. determine if you are actually called to be a musician. If you aren't called, all the gyrations in the world, won't make it work. If you are called, no matter what you do, it's going to work. this determination will solve most of the problems you are going to encounter. Assuming these three conditions are met, you are financially workable and you have the music where you want it and you are surely called into the art, here goes, in no particular order as i am want: a. keep your expenses very low. read that one again. move someplace cheap. drive a good used car. do all the things it takes to be a secure un-monied person. you have to have health insurance. you have to have a reliable car [unless you live in nyc or something]. You have to have some money in savings. You have to pay your taxes. don't have a big expense of alcohol or drugs or any drag on your system like that. I wouldn't even smoke. Use your head. Spend very little, save as much as you can and don't get into any big expenditure until you can afford it, maybe never. Buy your gear used. research as much as you can. Think about it really hard before you part with a dollar. Learn how to honestly add and subtract without emotion. If you spend more than you take in, you lost money. I can't tell you how many folks that I run into that have trouble with this. If you bring in more that went out guess what? You just made money. Stick to this low-overhead model, if you end up making a bunch of dough, you already know how to deal with it. If not, you still get to keep working because you don't have a bunch of stuff that you have to dust and pay for. The more overhead you tack on, the harder it's going to be. And the easier it is to get knocked off course. b. however, don't be a cheapskate. Tithe or donate faithfully whatever your heart tells you to do. Pay your band as much as you can. Never withhold a laborers wages. Tip well. Give street musicians money. Become involved in charity work. c. be totally square on your taxes. render unto caesar that which is caesar's. if you try to fudge on this, it will come back to bite you every time. get receipts for everything, 1099 everyone no matter what, unless they are a corporation. be totally on top of this or you are burning money in a pile on the lawn. claim every dollar you make and take every deduction. otherwise you are a drag on the system. keep perfect records. d. your basic infrastructure will have to consist of these things: a good lawyer, bookkeeper, cpa, doctor, a mechanic, an instrument repair person, web person, and someone in your circle that will always tell you the truth. Maybe a backup of each one. And do what they say. These are all musts, even for solo acts. Then later you can add a good agent. Then maybe a manager if you have lots of stuff to deal with like a label. You can grow from there. If you don't assemble a good team of the first eight people on that list, you are likely to have problems every time you turn around and you might not have a way to fix them. e. if you are going into a deal with any entity, seek two things: 1. the arrangement must be win/win. win/lose is ultimately lose/lose. avoid that. 2. make an agreement that either one of you can walk away at any time and everything is cool. f. keep working on your art. Keep taking lessons and studying and working. this is the main art strategy. Research, learn, study, experiment, develop, edit. g. don't be afraid to do other things to make money in the short term. This can be a very rewarding experience. Historically musicians have been barbers and bartenders and all kinds of stuff to make ends meet. This is totally fine. don't worry about it. It's cool. Do what you need to do. Waiting tables will give you lots of stuff to write songs about. I used to call myself the king of the part time job, because I could get up out of my chair at any time and go get a job of some sort. Not that it would be the greatest job of course, but I could go and get something going. I've cleaned pools, painted apartments, done maintenance work, taught music, worked in a factory, threw newspapers, drove a delivery truck, cooked, all kinds of stuff, and none of it killed me. through it all i was able to keep practicing and writing music and studying what i was doing. bills? Hey no problem, go flip a few burgers and I can pay that and get back to playing the banjo. Get a job in a dance band whatever I have to do. Just live within your means and you can avoid so many hassles. Hassles interrupt your practice routine. h. keep your art the main focus. It isn't about you it's about your art. Do what's good for your art and don't draw attention to yourself as much as the art. If your main focus is on the art, waiting tables is no big deal because you are doing it to support your art. If your main focus is you, you are not going to like waiting tables. you will feel like you are way too good for that. i. avoid the performance mentality. I know this sounds ridiculous in a performance based industry. But think about this. Here is a recipe for disaster. my value = my performance + other people's opinions The reason why, is that someday, you are going to have an off day and/or someone is going to criticize you. If you put your value in the world like that, you are going to have a bad time of it. I speak from experience. i only learned this at the age of 46. Finding my true value fixed this for me. [Write me if you want to know what it is.] But establish your value outside of how well you did on the gig and what the papers said about you. Otherwise you are going to be miserable and you are going to make everyone else miserable. Somedays you play better than others. This doesn't make you a great person. Somedays you make lots of errors, this doesn't make you a bad person. h. don't gossip. gossip means you aren't in the problem or the solution, you are just talking about someone and probably gaining pleasure from something bad not happening to you or envying something good that happened to someone else. spend your energy on getting better at your art. i. record labels. they can help or they can drag you down. Here's the scoop. If they expect you to be the primary distributor of the product, don't sign the deal. The typical deal is a 90/10 split, you get the ten minus every expense related to the project. Thus you are paying for everything and giving the label 90 percent of the gross. read that sentence again. If they aren't really really offering you something good in terms of promotion, or something....some tangible quantitized tie-in to something bigger, skip it. You can hire that stuff yourself easier. Talk to other artists on the roster and ask them what they think. any more, if you are an emerging artist, it's going to be hard to find a label home. They are losing so much dough they only want for sure money makers or somewhat less money losers on the roster, and they are dropping folks right and left. this is all good for you. Take heart. It's a 90/10 deal and you get the 10 and they want you to be the primary distributor of the product plus pay for the whole deal, those are not very good terms. In addition they will charge you eight bucks plus shipping for your own cds that you can make for either zero or one dollar. And they might complain about every little detail. Again if they really have an idea for a bang up thing they are thinking of, by all means have a go. If they are motivated and have a track record and have ideas and are workable, they can really help. however, you might want to have an out. have an out clause in there. shooting from the hip, i'd tell you to avoid the whole thing and do it yourself. It's very likely that the person that brings your act into the label fold will get fired. then you can get stuck with four years left on the deal and no one will return your calls. then they just hope you will get another deal and someone will buy out the rest of the contract. lot of bands close up shop at this point. there are some labels that operate with different models. i have had very good success with them. they tend to be more punk rock style outfits. you might want to investigate that. the standard deal referred to in the preceeding paragraph is pretty hard to profit from unless the contract is on your letterhead. the punk rock deal goes something like this, all the black ink goes in a list, all the red ink goes in a list, find the difference, split what's left if it's a positive number. fifty fifty. these are really the only deals i ever made money on. the point is, there are some other ways to look at stuff contractually. if the deal is win/win, great. if it's win/lose, skip it. if the label in question is locked into doing contractual things a certain way, this won't be for your benefit. you are creative, your business arrangements can be creative. j. the main business strategy is to build your own audience. if you have a draw, agents, labels or investors [which i do not recommend] and stuff will come to you. if you skip this step and start trying to talk to industry people and you don't have a draw yet, you are going to be sorry [unless you are really hot looking or have a famous parent and/or willing to sign away the rights to the whole thing of course]. build your own audience. if you can sell your own records that you make yourself and do your own shows, you can attract the attention of industry folks and get your calls returned. then you probably won't need them unless you want them. that's a better bargaining position for you. work on your draw. if you don't have a draw, these are some likely things to look at: where you are playing isn't the right place the music isn't there yet the time isn't right in any case, the answer is to forge ahead. keep doing it. always keep writing and practicing. keep working on finding more and better places to play. and new contexts within which to place your work. if something feels right, it probably is right. if you are having to bang your head against the wall in regard to something, it may be better to drop it sooner. the longer you work on something that isn't going to work out job-wise, i think the more time we waste. i wouldn't get too hung up about opening slots. they are okay and you can increase your draw, but as far as that being the principle strategy you are using, it may not work. the old model of thinking that if you open for someone and do a good job you can get some of their audience interested in your work is not really that reliable. find a new model. if you meet someone who wants to work on your team, and you are thinking of hiring them and they offer this as the main strategy, this is not a creative workable person. they are working on business models that are decades old. this ploy will work sometimes, but it should be part of an overall deal, not the main thing. just like if you went to interview a financial advisor and he said, "what we are going to try to do is to buy low and sell high," and behaves as though he has just isolated the plutonium isotope. you might need a little more horsepower upstairs than that if you get my drift. i work for free when it's kind of my idea to do so. if someone else suggests it, i tend to pass. i also pass on a job where they say they aren't going to pay you but you'll sell lots of cds. and when i did not adhere to this, i was sorry. i'm not really a self promotion person, and find that sort of distasteful. in my experience the strong self promotion vibe alienates people or attracts folks that you don't want to work with. maybe i just didn't do it right but this did not work for me. i've had much better results endeavoring to let the art speak for itself. k. don't expect to get paid more than you can bring in. if you draw ten people, and the cover is ten bucks a head, you gross one hundred dollars. not five hundred. don't get mad at the agent, club owner or whatever because of simple math. you drew ten folks. guess what? that's better than nine. if you want a raise, figure out how to draw more folks. this is not as mysterious as some would suggest. but you can't ask for more than you bring in the door. if you don't believe this, try producing some concerts of your own. l. you may not want to hire sidemen that get too worked up about money, it can be hard to make these folks happy. also when it comes to hiring musicians, you may have to live with them at arm's length for a long time and be involved with them about emotional issues like money and life problems and stuff. you may want a person that's easy to get along with even if they are a little less sharp musically. of course getting both is best, but if you have to take one or the other, take the one you get along with a little better. if you are in a place where you don't have a lot of choice, you may be forced into hiring someone that's tough to be around. replace them when you can. really the best players i know are also the nicest folks. except for one or two. many times, in that world of musicians that are struggling to make a living, but haven't really gotten there yet with the music or with the people skills or what have you, they will be the most difficult to deal with. they over-compensate by talking too much, or acting like they know everything, or showing up drunk or being really critical or whatever. when folks have it together, they are at ease and play great, and know when to lay out and stuff. they are also more expensive. it's totally fine and many times necessary to use different players on the recordings than in the shows. if you are a leader, do this with no guilt. if you are a sideman, get ready for it and don't complain. it has to be this way. if you don't believe it, trying putting out your own record. you'll soon see why when you go to record. sidemen, you can always practice and take lessons and get your tuning and timing together. leaders again, get their tax id and report every dollar that transacts. if someone is upset about this, you can't use them. period. never fudge on taxes. m. you really won't be able to work that much in the town where you live. and there will probably be a morass of musicians in your hometown that aren't really committed to the lifestyle that haven't really developed their art that will be complaining loudly about how hard it is to make a living and whatnot and you can easily get sucked into their trip. you'll be better off traveling to various places and developing that. use local shows to try out new stuff, play with different folks, have fun, play for the home town crowd, etc. but typically you won't be able to work that often at home. maybe twice a year or something. don't worry about that. your market is the whole world, not your hometown. negativity is a sign to alter the course. n. don't let anyone tell you that you can't make money playing music. six of my pretty good musician friends are millionaires. three of them multi. three of them play music that most folks would surely comment, "you can't make any money playing that." don't tell those guys. five of them are the nicest people you would ever want to meet. one of them is as mean as a snake. there you go. o. i would suggest being able to do different things. if you write songs, maybe you can sing on other folk's demos. maybe play guitar in someone else's band. for years i taught music lessons in a music store. many folks i work with have a little studio and also play in someone's band. or they are a chef or tax person on the side. this is all very healthy. i know several folks that are sidemen but have their own writing deal or what have you. this is a good course to take. that way you can take a hit and keep moving. the world doesn't grind to a halt because your label went under. p. be wary of someone that talks about gear a lot. also be wary of folks that tell you how great they are. Stay away from complainers and folks that don't have their lives somewhat together. sometimes folks need some ministering, which is certainly what we are called to do, but if you take someone out on the road with a big jones, you are going to be sorry... or otherwise get involved financially, look out. don't make your own problems or agree to be in a messed up deal. drama is always bad. never make a financial agreement with someone that has no problem getting paid for not working. q. all the trouble in the world is going to come for you in two ways. The things you say, and the things you agree to do. Be very careful about these items. p. build alliances. Let's say you play some weird kind of music, make contact with someone in another city that does something similar and offer to set up a concert for them in your town. maybe they will later help you to play their city or something. Work it out with them. If you can't get into a particular festival, why not have your own festival? Get some like minded bands together, the venues would love to turn over the night to you to produce your own gig, and do it yourself. sometimes you can do stuff like that yourself easier than you can talk someone else into doing it for you and then paying you, think about that. going to that big music conference is out of the question for some reason? Why not have your own conference? It might be cheaper to fly the guy in you are wanting to have see your band. That way you only have to put one guy up, rather than having the expense of flying a six piece band to los angeles and have one guy come out out to the show that lives there. He may blow you off anyway. it would probably be cheaper to fly in six a and r guys to where you are and put them up and have them come to the show, than it would be to take the band out to them because of the gear and salary. You also could have their undivided attention, within reason. Don't keep saying "well if I had a label or agent or manager, then I could be happy." Forget that. Forge ahead with your music. Keep working. develop the music. Come up with different ways to do an end run around conventional wisdom. If you are really called to be in music, the right people will present themselves at the right time. Build those alliances of simpatico musicians, writers, studio guys, label guys, radio guys. Be nice and help others. I have been fortunate enough to be close friends with lots of folks that are way better at music than I am. I take constant inspiration and encouragement from these folks. I think this has been really good for my work. r. if for one second you think you aren't getting the recognition your talent deserves, banish this thought immediately. If others tell you this, ignore it. Just keep working on the music. You are probably right where you are supposed to be, learning and doing what you are supposed to be learning and doing. s. if there's no social context for the music you are making, don't be mad if no one comes to the shows or buys the music. Or if only very few people do. In that case the reward has to be the music. Hey that's a great deal. Also you have lots of freedom to do different stuff. There's no one to alienate. Let's face it, sometimes having no one at the show is a great indicator that you are onto something. I'm serious. t. robert keen told me he never regretted firing anybody that he fired, and i agree. If someone is a problem, and they won't fix it, get rid of them. It's okay. You both will be happier. u. don't waste materials and time giving a cd to someone unless you are fairly sure they will actually listen. v. avoid folks that make your job harder. Sometimes people gum up the works, even when they have a smile on their face. You'll get more done the less of this type you deal with. When you ask someone a direct question and they go into a convoluted story about something else, get ready for the hassle. w. we are all blessed with different talents. This is as it should be. don't be upset with someone that doesn't have your talent for something, and don't feel bad because someone else got some talent that you think you want. Move towards grace. x. I have a system, where if I sense that the gig is going to get weird before i even get there, I cancel the show and walk away. In my experience, if something goes awry before you even get there, it won't magically get better if you commit a bunch of dollars and time towards it. Because of this, I can't remember the last bad gig I've had. Example, let's say I've booked a show next year with a person that I don't really know that well. And as time goes by, he keeps wanting to chisel away at our arrangement, or add stuff for me to do, or whine or complain about the situation, I would cancel the show. time and time again I learned that it only gets weirder and more difficult when you get there. This is better for the buyer too because then he or she doesn't have to worry about my show anymore. If the buyer isn't really into it, or at least somewhat into it, seriously consider passing on the show. y. have interests outside of your art. Especially if you can do this on a non-performance basis, where you can just enjoy the activity and not analyze it to death and be real critical of your own work and stuff. It's so easy to burn out if you do one overwhelming thing for about twenty or thirty years. Sometimes, I just don't play at all and don't think about work and mess around with my sailboat, or work in the yard, or something. Ride the motorcycle. Giving myself a break from the pass/fail mentality. I like just being a regular person. z. think of your art as a work in progress. That takes the heat off of it having to be perfect all the time. Keep working on your art, your vision, your catalog. Dedicate your work life to that, and things will work out. Okay I'm out of letters. [These are all just ideas, and you may have your own way. Good. Also these are different components and you have to make a sort of stew of them. Maybe you have a little more of one, use a little less of the other or whatever it takes to make it come out right. I've made all these mistakes myself in the trial and error process, which is a fine way of doing things except for the error part.] Barnes

Aloha, my name is Joseph Donaghy, better know as Keola though it's not my legal name. I'm from the island of Maui in Hawaii, though have been living and working in Hilo on Hawaii island for the past 15 years. I'm an assistant professor of Hawaiian Studies at the University of Hawaii at Hilo; I teach Hawaiian and Polynesian music, sometimes Hawaiian language, and coordinate all technology, distance learning and media initiatives for Ka Haka Ula O Keelikalani College of Hawaiian Language. I've played music since "hanabata days" (small kid time as we call it in Hawaii), and sung almost that long, but very poorly. I remember the first time I heard myself singing after recording some song I heard on the Monkees show back in the late-60s (boy did I ever date myself there). It was terrible. The funny part is I could not figure out how to get the tape recorder to erase the recording, so I threw the tape away out of fear that someone else might actually hear it. Fortunately my technology skills have improved since then. From that point on, I absolutely hated the sound of my own voice, and assumed, like many, that you are either born with a great singing voice or you weren't. In the 1980s I was part of a duo which performed Hawaiian and contemporary music at the Maui Prince Hotel in Makena, Maui. I took a few voice lessons from a Julliard-trained voice instructor, and whose primary advice I recall being "more support" and "sing at that picture on the wall". Needless to say I didn't get much better. It wasn't just his fault - I was pretty bad at keeping a consistent practice schedule. Scales bored me, I didn't see the quick results I expected, and abandoned the lessons after a few months. The belief that you are either born with a great singing voice or you weren't was reinforced. Fast-forward twenty years. I'm married with two adult children. I've gotten a BA, MA, am working on my Ph.d., and have a tenure track faculty position. Not bad for someone who didn't start college until he was 30. I've written about 60 Hawaiian language compositions, about half of which have been recorded by prominent Hawaii recording artists. I no longer believe that you are born with or without a gift to sing or to do anything. Like nearly everything else, it is achievable with hard work, right resources, and patience. So I now refocus on that goal that I had as a child and convinced myself for close to 40 years that I would never achieve - to sing. Not just to sing, but to sing well. To sing GREAT. Who knows about it? My family, who puts up with me doing vocal exercises every night, and a few friends in the recording industry who I can trust to keep their mouths shut (I hope). My neighbor may be suspicious, or just thinks that we're torturing cats for an hour every night. I know that someday soon the secret will be out, but it will be when I'm good and ready. If I ever get around to writing Part II, I'll talk about discovering some wonderful instruction material and inspiring instructors, and what I've learned from them during my six month secret life as a vocal student, or perhaps as Robert Lunte would prefer, a vocal athlete in training.

It seems as though artists achieve their greatest deeds when they are in the midst of personal or societal turmoil. Certainly, this is apparent when looking at the history of American popular music. I have often written about iconic artists who have experienced pain, deprivation, and/or physical challenges; yet overcame these impediments to achieve greatness. I had always viewed these achievers in a heroic way. I believed that their fame came out of an ability to be resilient. That may be true in some cases, but there is another side to this that I hadn't considered originally. Some of these artists may live with the pain but deal with it through their artistry. In these cases, the creative process is almost like a narcotic. Unfortunately, for some, the art isn't enough. However, whether it's about resiliency, achievement, painkilling, or looking for approval, a need for change is often the genesis of art. If you accept that, there is a wealth of creative potential in ghettos. Moreover, there is a way to create lasting social change by positively affecting the lives of those children. The National Association for Music Education (NAMC), educators, and scientists are making the case that music education should be part of every child's core academic curriculum. The reasons for this go well beyond music training. The contention is that music education is a critical element for success in society, success in school, success in developing intelligence, and success in life. Scientific evidence proves that arts education makes better math and science students, boosts spatial intelligence in newborns, and can be a solution to teen violence. There is a movement in America and other countries to change the educational focus. Things are beginning to happen. Curiously, the model wasn't developed in America or another country is typically associated with exporting music. Over thirty years ago, one man did something that about the concept of using music to change the future for children. He has done that and much more. His vision was to use music as a vehicle to overcome poverty and hopelessness. He was particularly qualified to see the advantages of using music to improve socioeconomic conditions in his country. Jose Antonio Abreu is a pianist, economist, educator, activist, and politician from Venezuela. He focused his energies on the dangerous and poverty-stricken shantytowns of Caracas. His aim was to absorb youngsters from poor families into the world of music; giving them prospects in a climate where drugs, disillusionment, and crime were endemic. In a story that almost sounds like a fairytale, the system has had outstanding results. He called his project, El Sistema (the system). The Simon Bolivar Orchestra (watch this video) is a symbol of Abreu's dream. One of its double bass players, Edicson Ruiz, is now a member of the Berlin Philharmonic. At 17, Ruiz is the youngest musician ever to join the Berlin Philharmonic! Today, quite a few of the system's young graduates are now among the most sought after young musicians in Europe. Gustavo Dudamel has become the musical director of the Los Angeles Symphony at 28. He is exciting and carries the aura of a rock star. Dudamel is just what the classical music world needs to energize and build new audiences. You must be wondering how this system works. It's actually elegantly simple! Many of the children in the program start as early as age two, learning the basics of pitch, rhythm, and harmony. These children are taught by highly dedicated teachers. Many of these teachers are El Sistema trained themselves. By age 7 or 8, they are already becoming accomplished young musicians, having started learning to play instruments or sing in chorus by age 4 or 5. The children in The System develop at an astonishing pace, through 12 hours per day of classes, lessons and guided rehearsals, Monday through Saturday, leaving Sunday off for individual practice time. Classes and lessons are taught at 90 System Centers scattered throughout the country. Ironically, many of these centers were part of the nearly non-existent public school system in Venezuela. The philosophy behind El Sistema is unique because of its unrestricted ideals. The philosophy is built around a progressive concept of the role of art plays in society. The El Sistema viewpoint on their website is very enlightening. It describes the concept that art began as minorities conveying to minorities. Over time, it then became minorities creating art for majorities. Their concept is to change that paradigm so that majorities create for majorities. They believe that change becomes building block for educating and facilitating successful integration of the disadvantaged into society. El Sistema employs the collaborative nature of classical music to help youngsters understand what it means to work together while creating something that is both spiritually and socially uplifting. Every child learns that their contribution is a vital element in an experience that is more than just the sum of its parts. When children experience the beauty and harmony of playing music together, that experience helps them realize that same kind of beauty and harmony in the wider world. Classical music becomes a metaphor for life and opens doors for the young musicians. The lessons learned are transformative. No matter what path they choose to follow in the future, classical music conveys a powerful lesson. They develop self-control, intellectual stimulation, social abilities, and teamwork principles that serve them as they grow older. The interesting thing is that many don't become professional musicians, but have gone on to thriving careers in law, business, medicine, education, and other pursuits. Naturally, the most talented and dedicated are chosen to perform with Venezuela's most prestigious orchestra, the Simon Bolivar Youth Orchestra of Venezuela (SBYOV). Selection for the SBYOV is the pinnacle. It represents years of painstaking work. These children, between the ages of 12 and 17, realize that intense training has transformed them into master musicians, whose skills rival that of many professional musicians. Abreu's astonishing ideas have gained worldwide recognition and awards including as the subject of a CBS 60 Minutes segment in 2008 and a PBS special. Given that, his concepts have the potential of transforming poverty beyond the Argentinean borders. This notoriety has caused many countries to reassess their early childhood education policies and a number of universities are either evaluating or emulating the El Sistema model including our New England Conservatory. One day, Jose Antonio Abreu may be viewed as one of the most influential people of his generation. If you want further information, you can write to one of our extremely involved members, Jaime Austria: [Link] Friends of El Sistema on Facebook: [Link] 60 Minutes link: [Link] The Wikipedia article is: [Link] New England Conservatory: [Link] Michael Stokes Mike is the founder of Makin' Music NY, which is a music community in the NY area. The network has grown to include musicians and fans the world over. Many of these musicians are renowned. To visit this site, go to http://www.makinmusicny.com/.

So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 5 - SET LISTS AND LEAD SHEETS Once you've rehearsed, make four or five set lists of the tunes you will perform on gigs. Keep the program interesting by alternating between ballads, blues, sambas and up-tempo (swing or rhythm & blues) songs. Lead sheets may be two kinds: 1) complete with melody, chords and lyrics; or 2) just the chord changes for the piano, bass and horns. The tempo may change according to how you would like to sing the song. For instance, you may decide to sing a swing song in a samba tempo to make it a little different. You will write this at the top of the chart in the left hand corner or just call the tempo samba before counting it off. Put your lead sheets in a book in alphabetical order. Have copies of each song for the pianist, bassist and any horns you may be working with. Most singers do not understand that trumpets and saxophones play in different keys than pianos and basses, but they are usually responsible for transposing their music to their specific key. If you have a gig scheduled, put the sheet music in the order of performance before you go on stage, so you are not sorting through the music during the show. This is where the set list comes in handy. The piano player will know just what song to set up for you, as the performance progresses. Always ask the piano player to give you an introduction to each song so you avoid singing in the wrong key. A set list can be three, four, five or six songs. They can have a theme [see AstroJazz] or they can be about a certain subject like the season (Spring, Autumn) or holiday (Valentine's Day, Christmas). Be sure to put the key of each song on the list, so there's no confusion about what key you are singing in. Remember, rehearsal is the time to determine the right keys for you to sing in. After working with a pianist for some time, she or he can generally tell you which key is best for you. When you make the list, try not to do two songs in the same key. You can make your list as follows: Song #1 Ab Up tempo swing Song #2 G Slow Blues Song #3 C Samba Song #4 F Ballad Song #5 Bb Bounce VERY IMPORTANT NOTE: When working in a foreign country like Italy or Spain, you may call a song in Ab, but the musicians think you mean Eb because they pronounce E as A. This can be disastrous for the singer, because Ab is five whole steps below Eb or four whole steps above Ab. Musicians use sign language for keys. Usually, they use the signs for keys with flats, so there is NO discrepancy. They may also use the signs for E and A, so as not to confuse the musicians who speak French, Italian or Spanish. [see p. 12] The sign for the key of F would be one pointer finger downward, meaning one flat ( The sign for the key of Bb is two fingers down The sign for the key of Eb is three fingers down and Ab is four fingers down The key of G would be one finger up, meaning one sharp. But you can say G without any misunderstanding. E would be four fingers up for four sharps A would be three fingers up for three sharps When I was working a lot with many different musicians, I kept a list of 25 songs I sing in the original key the song was written in. This is a good list to keep as you begin to rehearse with musicians. They really appreciate it when singers sing in the original key because they don't have to spend time transposing the song on paper, in their head and on the instrument. Transposition is a good skill to develop. It pays to know how to transpose songs from one key to the next. This can be part of your music theory lessons. It takes practice, but it's easy, once you get the hang of it. For example, to take a song from Bb to C is just transposing all the chords up one whole step. From Bb to F is up a fifth. From F to Bb is up a fourth. From Eb to C and Bb to G is down a minor third. Knowing how to transpose will make your life with musicians much easier and they will respect you for having this skill. It's up to you to make the show interesting and keep it flowing. Without the set list, you may get confused and waste valuable time, thereby losing your audience's attention. You can put them to sleep, if you sing two ballads in a row. Likewise, you may get them overly agitated if you sing too many swing tunes one right after the other. Pace yourself so you and the band don't get tired before the set is over. Remember, the musicians probably played one, two or even three numbers before you came onstage. Don't go over the set time. Take your breaks. Usual set time is 45 minutes onstage and 15 minutes off. Links: Purchase the book in its entirety: So, You Want To Be A Singer? by Joan Cartwright More books by Joan Cartwright Official website of Joan Cartwright Joan's online radio show: MUSICWOMAN Women in Jazz South Florida, Inc.

1/14 Blog Post: My student Nancy came to see me yesterday. Nancy has a very nice, powerful quality to her voice. Her technique has improved. She's been with me for a few months now, and I'd love to see her break through her remaining barrier. It's preventing her from really taking over her skill. The one thing alone that is preventing her vocals from developing past the point they are, is fear. In order to get a good sound, you must move when you sing. You don't have to go crazy with elaborate choreography, but you can't stand frozen, with your hands at your sides, standing perfectly still. The energy in our bodies can not come out correctly if it's not forced out properly. It results in a weak, off key sound. I demonstrated to Nancy what I wanted her to do, and she became overwhelmed when she saw me do it. I forced her to do a simple step together step together with her arms and legs. This was a great start, because when she went to sing again, she did sound better. I no longer heard the trembling in her voice. Her voice automatically took on a relaxed quality, which greatly improved the sound. Once she felt more relaxed, I saw the expression on her face change to one of really getting in to what she was singing. Also improving sound quality is how one varies one's voice and movements. The song we were working on had some quiet parts where instruments dropped out and then got louder again. I showed her how she might change her volume and increase or decrease the way she was moving to convey what she was singing. Doing these things might seem theatrical, but they make all the difference in the world in the quality of the vocals. I'm looking forward to continuing to work with Nancy with this new found insight.

Promotions = Networking + Lots of work! There is NOTHING quick and easy about promoting yourself or your product. Many creative types are not so great at selling themselves - they can achieve wonderful creative projects, but applying themselves to the bare-bones, and often boring tasks of promotions, thwarts them. However, nowadays, we have many tools that we can use, and if we apply ourselves, we can achieve a certain level of success in "Spreading the Word". With the help of all those social networking sites, including Twitter, one can build up a contact base. There are drawbacks to these sites - you have to be extremely careful about what personal information you include and also avoid adding the time-wasting applications that many offer. (You are there strictly to network and self promote - you don't need to add the "buy a drink" or "what movie star am I" apps!) Something you need to consider carefully is whether you should have your own website. Having your own website and domain name is fun, but requires the ability to build it, and maintain it, or the money to hire someone to do these things. If you are a musician, you have the luxury of being able to get yourself on a wide variety of music sites for free. Several of these offer you the opportunity to build a "fan" base interlinked with Facebook and Myspace. Today I'm going to hone in on MySpace. For arguments sake lets agree that you will set yourself up a free music profile on MySpace ......you load up a few pics, a few songs (you can load up to 10 now), add some bio information .....this is the first step ......now you need to get some people visiting the page. You need to build up your "friends". When you get started at MySpace they suggest that you should add your address book, which will in turn load in your various contacts and send out invites to join you .....you CAN do that, but I like to add email addresses manually. You may not want all your contacts added. Next you begin "trolling" Myspace for new contacts. I like to add other bands - this is a good way to build up a network - and others will add you when they see you have various friends. I also like to add regular users - but this takes more time, since you need to check their profiles to make sure they have music interests and are not for example, some kitty just looking for a big cat. You are probably wondering why you would add a band if you are a musician. Rule number 1 - there is no such thing as a bad contact. I make it a rule to add 50 new contacts 2 to three times/weekly to each of my profiles. The more contacts you have - the more people will visit your page and possibly play your music, if you get enough plays, you may place in the "charts". Every bit of exposure helps. Make sure you visit the pages of people you have linked to if they send you an invite to visit and listen - make sure you take time to listen and comment - this usually results in a recipricol visit and listen. Once you have a few hundred "friends" you need to start pumping out bulletins and maintaining a blog. You can write your blog about anything you like, but its best if you have some useful content in there - something others would like to read. Once you have posted a blog, now send out a Bulletin to your friends tell them you have a new blog, the subject and post the link so they can go directly to it. Post bulletins to let people know where you are playing, or if you have a new product coming out. Tell people about special events, give useful links to good articles or helpful sites. Sometimes it's nice just to send out a bulletin saying hello to everyone and wishing them a good upcoming week ...the point is to keep your name fresh in their minds. This is one small link in a long chain of networking tools you will need to employ to get connected and to get your name out there.

The Modern Vocalist.com has over 450 Subject Matter Experts and professionals that are waiting for you to reach out to them and ask them questions and network. Accelerate your career and make contacts, that is why The Modern Vocalist.com is here. The best way to reach out to our Subject Matter Experts on TMV: 1). Go to The Directory of Experts: http://www.themodernvocalist.com/page/how-to-join-the-directory-of 2). Click on "Members", then click on "View All" under Featured Members... Here there are 428 Subject Matter Experts from around the world for you to reach out to! "Freshman"? http://www.themodernvocalist.com/profiles/friend/listFeatured 3). Go to "Members" on the navigation bar and click on "Past Featured Members". http://www.themodernvocalist.com/notes/index/allNotes 4). Contact the owner of any group you want to join and they will get back to you. 5). Register for the TMV Forum, some of the best advise and discussions are happening on the TMV Forum. It requires another short registration. http://www.punbb-hosting.com/forums/themodernvocalist/index.php *** If you are a Subject Matter Expert on voice and are not currently "featured", but would like to be recognized as an SME on The Modern Vocalist.com, it may be because you have not uploaded a profile photo for your profile page. We can not "feature" members that do not have a profile photo, (do not use the default question mark man). Once your profile photo is up, notify us. If you have a profile photo uploaded and you still feel you should recognized as an SME, let us know and we will give it a consideration.

It has always been my understanding that correct support of the diaphragmatic region is a direct result of right breathing. In my experience I've noticed that most instruction has been about manipulating this region of the body in attempts to control the flow of air, unaware that the vocal cords are responsible for controlling the flow and compression. The vocal folds, and proper placement in the mask, have just as much to do with support of the singing mechanism as the diaphragm. Through extensive study and research over the last 15 years, I have discovered a little-known secret. Proper use of the diaphragm is an automatic result of having learned how to inhale the air correctly. In my latest book, Vocal Strength and Power published and released by Hal Leonard Corp., I have included a glossary of the most commonly used words by instructors to describe how to employ and gain support with this region of the body. Frankly, when looking up some of these words, I was quite surprised myself by the true meanings. This forced me to change my own vernacular when instructing after realizing that all the faulty perception with regard to how to engage this region of the body properly came down to the true meaning of words. In my first two books, I purposely stayed away from instruction on the diaphragm and focused on how to get the other two support mechanisms (the cords and the mask) to work together. At the time, I still did not have the words to describe how to engage the diaphragm correctly. I only knew what was wrong: Singers were squeezing the neck and belly muscles, pushing up the belly muscles, and putting strain on the neck muscles. Squeezing of any kind only results in feeling like you must force and blow the air out for sound. This habit not only feels unnatural and strained, but after a few years of singing this way, many singers find themselves in doctor's offices trying to uncover the reasons why they are no longer able to sing like they once did. Unfortunately, some will require rehabilitation and in other cases, surgery. About the Inhale Air is already in the lungs and body from natural breathing and inhales. Because of this truth, it is a misconception that more is needed for singing. In fact, if you take in too much, the vocal folds will be unable to control the flow for sound and compression. There is an art to inhalation. Taking in heaps of air can be not only be damaging, but it also brings on fatigue. See for yourself. Take in as much air as you can and then exhale it. Repeat this action over and over again for about five minutes and you're bound to feel a little tired if you don't faint from hyperventilation in the meantime! Now imagine breathing heavily and hard like this, but with sound, over and over again between words and phrases of songs. A tired singer's instinct will say, I need to take in more air in order to keep that power going, hit those higher notes, and sustain the note (or notes) if needed. Not so. This is literally exhausting, especially on a gig. The more air you keep losing, your head will keep telling you to take more and more in. This will set you up for a no win cycle. Important to remember but not so easy to employ is the idea that the vocal folds do not need much air to produce a strong tone, or to prolong one. In my latest book I have created exercises to re-train how to take the air in properly through use of the staccato. This staccato is a bit different than most. It requires that you take tiny puffs of air between each note of the exercise. However, a tiny bit does not mean to hold the breath in any way. Nor does it mean to blow it all out on every phonated pitch. It's tricky but once learned, all three-support mechanisms will work as they should: naturally and automatically. You will not have to manipulate by tensing the muscles of any region of your body to achieve what you have wrongly perceived as support of the diaphragm. Natural and Automatic Going from one way of breathing to another is difficult; it takes the ability to focus one's efforts on re-training and requires repetitive practice of exactly how much air should be taken in for each phonation. For engaging natural support upon inhalation during a staccato run, the belly (below the navel) will automatically become firm. It should stay nearly unmoving until after you have finished the last tone of a run. You should not have to strain it for this region to remain firm. If you strain to hold the belly out, you'll be holding the breath. Because it is internal, it's hard to feel the movement of the diaphragm itself. The only part of your body you should feel moving is the upper abdomen (above the navel) jumping out and in as it is indirectly compressed by the moving diaphragm inside your rib cage. You can place your finger just below your breastbone to feel this movement. On an inhalation, the diaphragm will automatically move down a bit. As it goes down, it pushes the upper abdomen out. On exhale the diaphragm and upper abdominal muscles very slowly return to their starting positions. (There is no need to blow out the air for this. You only need to relax your belly and leftover air is automatically expelled. Try it. Take in a breath and then just relax the belly. You should feel the air having left by itself). Only when the diaphragm relaxes completely do the upper abdominal muscles move back into their normal position. Squeezing the lower belly muscles at this point only fights the diaphragm's natural action). Through the use of the new exercises I created to re-train the inhale/exhale action, the movement is much faster because the point of the repetitive exercises is to do everything in rapid succession. This will help to get the air and sound producing as if it is one continuous action, and working like a single unit. www.denamurray.com Books: Vocal Strength and Power, published by Hal Leoanrd Corp, 2009 Advanced Vocal Technique: Middle Voice, Placement and Styles, published by Hal Leonard Corp, 2008 Vocal Technique: FInding Your Real Voice published by Hal Leonartd Corp 2002

February 7, 2010 Sinatra Song Often Strikes Deadly Chord By NORIMITSU ONISHI GENERAL SANTOS, the Philippines After a day of barbering, Rodolfo Gregorio went to his neighborhood karaoke bar still smelling of talcum powder. Putting aside his glass of Red Horse Extra Strong beer, he grasped a microphone with a habitu's self-assuredness and briefly stilled the room with the Platters My Prayer. Next, he belted out crowd-pleasers by Tom Jones and Engelbert Humperdinck. But Mr. Gregorio, 63, a witness to countless fistfights and occasional stabbings erupting from disputes over karaoke singing, did not dare choose one beloved classic: Frank Sinatra's version of My Way I used to like My Way, but after all the trouble, I stopped singing it, he said. You can get killed. The authorities do not know exactly how many people have been killed warbling My Way in karaoke bars over the years in the Philippines, or how many fatal fights it has fueled. But the news media have recorded at least half a dozen victims in the past decade and includes them in a subcategory of crime dubbed the My Way Killings. The killings have produced urban legends about the song and left Filipinos groping for answers. Are the killings the natural byproduct of the country's culture of violence, drinking and machismo? Or is there something inherently sinister in the song? Whatever the reason, many karaoke bars have removed the song from their playbooks. And the country's many Sinatra lovers, like Mr. Gregorio here in this city in the southernmost Philippines, are practicing self-censorship out of perceived self-preservation. Karaoke-related killings are not limited to the Philippines. In the past two years alone, a Malaysian man was fatally stabbed for hogging the microphone at a bar and a Thai man killed eight of his neighbors in a rage after they sang John Denver's Take Me Home, Country Roads. Karaoke-related assaults have also occurred in the United States, including at a Seattle bar where a woman punched a man for singing Coldplay's Yellow after criticizing his version. Still, the odds of getting killed during karaoke may be higher in the Philippines, if only because of the ubiquity of the pastime. Social get-togethers invariably involve karaoke. Stand-alone karaoke machines can be found in the unlikeliest settings, including outdoors in rural areas where men can sometimes be seen singing early in the morning. And Filipinos, who pride themselves on their singing, may have a lower tolerance for bad singers. Indeed, most of the My Way killings have reportedly occurred after the singer sang out of tune, causing other patrons to laugh or jeer. The trouble with My Way, said Mr. Gregorio, is that everyone knows it and everyone has an opinion. Others, noting that other equally popular tunes have not provoked killings, point to the song itself. The lyrics, written by Paul Anka for Mr. Sinatra as an unapologetic summing up of his career, are about a tough guy who when there was doubt, simply ate it up and spit it out. Butch Albarracin, the owner of Center for Pop, a Manila-based singing school that has propelled the careers of many famous singers, was partial to what he called the existential explanation. I did it my way it's so arrogant, Mr. Albarracin said. The lyrics evoke feelings of pride and arrogance in the singer, as if you're somebody when you're really nobody. It covers up your failures. That's why it leads to fights. Defenders of My Way say it is a victim of its own popularity. Because it is sung more often than most songs, the thinking goes, karaoke-related violence is more likely to occur while people are singing it. The real reasons behind the violence are breaches of karaoke etiquette, like hogging the microphone, laughing at someone's singing or choosing a song that has already been sung. The Philippines is a very violent society, so karaoke only triggers what already exists here when certain social rules are broken, said Roland B. Tolentino, a pop culture expert at the University of the Philippines. But even he hedged, noting that the song's triumphalist nature might contribute to the violence. Some karaoke lovers are not taking chances, not even at family gatherings. In Manila, Alisa Escanlar, 33, and her relatives invariably gather before a karaoke machine, but they banned My Way after an uncle, listening to a friend sing the song at a bar, became enraged at the laughter coming from the next table. The uncle, who was a police officer, pulled out his revolver, after which the customers at the next table quietly paid their bill and left. Awash in more than one million illegal guns, the Philippines has long suffered from all manner of violence, from the political to the private. Wary middle-class patrons gravitate to karaoke clubs with cubicles that isolate them from strangers. But in karaoke bars where one song costs 5 pesos, or a tenth of a dollar, strangers often rub shoulders, sometimes uneasily. A subset of karaoke bars with G.R.O.s short for guest relations officers, a euphemism for female prostitutes often employ gay men, who are seen as neutral, to defuse the undercurrent of tension among the male patrons. Since the gay men are not considered rivals for the women's attention or rivals in singing, which karaoke machines score and rank they can use humor to forestall macho face-offs among the patrons. In one such bar in Quezon City, next to Manila, patrons sing karaoke at tables on the first floor and can accompany a G.R.O. upstairs. Fights often break out when customers at one table look at another table the wrong way, said Mark Lanada, 20, the manager. That's the biggest source of tension, Mr. Lanada said. That's why every place like this has a gay man like me.Ordinary karaoke bars, like the Nelson Carenderia here, a single room with bare plywood walls, mandate that a singer give up the microphone after three consecutive songs. On one recent evening, at the table closest to the karaoke machine, Edwin Lancaderas, 62, crooned a Tagalog song, Fight Temptation about a married man forgoing an affair with a woman while taking delight in their stolen moments. His friend Dindo Auxlero, 42, took the mike next, bawling songs by the Scorpions and Dire Straits. Several empty bottles of Red Horse crowded their table. In the Philippines, life is difficult, said Mr. Auxlero, who repairs watches from a street kiosk, as he railed about government corruption and a weak economy that has driven so many Filipinos to work overseas, including his wife, who is a maid in Lebanon. But, you know, we have a saying: Don't worry about your problems. Let your problems worry about you. The two men roared with laughter. That's why we come here every night to clear the excesses from our heads, Mr. Lancaderas said, adding, however, that the two always adhered to karaoke etiquette and, of course, refrained from singing MyWay.  Misunderstanding and jealousy, in his view, were behind the My Way killings. I just hope it doesn't happen here, he said. Copyright 2010 The New York Times Company

That is a very good question. I recently had a student come to me who was using a dvd he had purchased from a voice teacher online. I have no idea if that particular program is any good or not-but I can tell my readers what I told him. You can do those exercises until the cows come home but you won't know what you are doing right or wrong or sideways and backwards unless an actual teacher is listening to you doing them. Furthermore, you won't know what adjustments to make unless you get feedback and actual instruction. So, the value of that kind of thing is limited at best. You could use the cd/dvd exercises as a supplement to real study or for warm ups, I suppose, but in no way can that replace a real teacher/coach, which means a real pair of eyes, and ears, with which to watch and listen. A real teacher with education about the techniques of singing, sound production, performance, etc. and experience using those techniques is what the voice student requires. A teacher who, almost certainly, is also a singer, who is not only physically present but sensitive to what the student is doing physically, whether or not it works, and how it can be improved. There are any number of perils the beginning singer/performer may be subjecting him or herself to while executing vocalises without any actual feedback from an instructor, from simply singing out of tune repeatedly and thus reinforcing the negative, to straining and thus possibly injuring the voice. Please get a real teacher-PLEASE! Now how to choose one? To be continued.....

The Pendulum of Fear vs Confidence, and the Music Industry Last week I was talking about childhood (narcissistic) wounding and how it shoots our self-esteem to shreds. But it's not just our childhoods. The industry will also give us a beating, if we don't know our core. Once you're in the music business, the industry starts to tell you what to do - if you haven't developed a strong sense of your identity as an artist - your genre, your style, your inner true authentic voice - it can become very confusing when you do start to work in the industry. Now, you may not have it all figured out but if you haven't really worked toward that, well . . . you may be in trouble. I've seen a lot of artists go down the wrong road, or start listening to advice outside of them that is incorrect - in terms of how they need to fight for what they believe in. As artists, you need to learn to be vulnerable and open but also to start to build a stronger core or center. What keeps many artists from doing that is that fear thing again - fear that they're not going to be good enough, fear that they're not love-able, fear because they've had these narcissistic childhood wounds. Fear that they can't make it. Big unknown. Very scary. I have students in my studio facing this all the time. Now most people don't want to admit to anyinsecurityand they try to cover it. But if they're not honest about it, they don't get the help they need. That's part of what I work with my students - we work on voice, we work on performance, we work on songs - but without the facing of fears and strengthening your identity and confidence -you are not ready to thrive in the music industry. So - how about you? Need to do some work ~recognize yourself here? [if so, you might want to check out my FREE CALL "Five Ways to Move from Dreamer to Diva" coming on Tues March 2nd, where I'll be addressing these elements - registration happens next week ... you'll find itannounced first to my readers of my Ezine "Standing in the Spotlight" About C A R I C O L E Cari Cole is a Grammy nominated singer / songerwriter and vocal coach to Grammy winners, American Idol's and legendary rock stars. Cari's studio is a haven in NYC where artists find vocal help, wisdom, health, strength and creative nurturing. Cari is committed to helping artists sustain strong and resilient voices for a lifelong career in music as well as keeping them creatively nurtured in their songwriting and careers. Cari also works with young artists and developing artists to find their true voice as singers and songwriters. Cari's Standing in the Spotlight weekly eZine ~ Empowering, Informing & Inspiring singers, songwriters & musicians ~ Stay current with the latest in techniques & style, holistic health, songwriting and artist development... comes out every Wednesday. Cari Cole's CIRCLE OF FIRE is inspired by the NY Times bestseller, The Four Agreements bydon Miguel Ruiz. "Cari's music inspires us to live the vision of a new dream: the dream of heaven on Earth", don Miguel Ruiz, author of the Four Agreements. CD, Purchase Circle of Fire at cdbaby.com or on iTunes, Cari's new record coming sometime in 2010!!! If you'd like to learn more about working with Cari, call her at 1-800-330-5250 or email her at info@caricole.com C A R I C O L E V O I C E & M U S I C C O M P A N Y 401 E. 34th St., Ste. N19K, New York, NY 10016 Become a Fan on Facebook / Follow Cari on Twitter WANT TO USE THIS ARTICLE IN YOUR E-ZINE OR WEB SITE? Please do! Just be sure to include this complete blurb with it: "Vocal coach, artist development specialist, songwriter & producer, and singer/ songwriter Cari Cole publishes her "Standing in the Spotlight" eZine with more than 2,500 subscribers. If you want to be the artist of your life and create authentic and lasting success, you can sign up for a FREE ." ~ click subscribe to Newsletter www.caricolevoiceandmusic.com

If I asked for a short list of the greatest female vocalists, I would probably get a variety of answers depending on the person's musical preference. A jazz lover would probably say Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Nina Simone, Dinah Washington, or Anita O'Day. If rock is your bias, Janis Joplin, Grace Slick, Stevie Nicks, Tina Turner, or Melissa Etheridge might top your list. Someone who listens to pop music might say Mariah Carey, Whitney Houston, Barbara Streisand, Bette Midler, or Christina Aguilera. If blues is your thing, you might answer Etta James, Ruth Brown, Katie Webster, or Shemekia Copeland. Last but certainly not least would be the R&B divas Aretha Franklin, Mavis Staples, Patti LaBelle, Gladys Knight, Chaka Khan, & Queen Latifa. I tried to include the most popular choices, but I'm certain I missed some great singers. However, you must admit, these ladies would make one heck of a choir. As I looked through lists of singers, I never seemed to see the name of one of my absolute favorites. So I started to mention her name whenever I spoke to someone about female vocalists. At times I got a confused look, but when someone knew of her, they were passionate! The woman I'm talking about is Phoebe Snow. After the departure of Art Garfunkel, Paul Simon had the foresight to expose the pop listening audience to reggae, gypsy jazz, Stephane Grapelli, Phoebe Snow, and Ladysmith Black Mambazo. His 1975 album, Still Crazy After All These Years, introduced me to Phoebe Snow was and the song was Gone At Last. I had heard of her before that album because she had a hit song (Poetry Man) around the same time. But I wasn't riveted until I heard her doing that quasi-Gospel tune with Paul Simon. She was obviously an alto, but could hit impossibly high notes (I later learned that she had a four octave range). Her power and range were breathtaking. I wasn't alone in my opinion because her first album was one of a hit and was nominated for a Grammy. After hearing Gone At Last, I had to know and hear more. When I bought the album It Looks Like Snow, I was riveted by her version of Teach Me Tonight. At least sixty artists have recorded this tune (including Ella, Etta, Frank, & Sarah Vaughan), yet her version had a profound affect on me and still does to this day. When I first discovered her, I thought she was black, as did many others. But I learned that Phoebe Snow was actually Jewish, born Phoebe Laub in NYC, & grew up in Teaneck, NJ. She got her start playing guitar and singing at open mics in the Village. When I like what I hear, I can be pretty compulsive and bought everything Phoebe recorded. But within a short time, new albums became fewer & farther apart. It seemed as though she just wasn't interested anymore or that her popularity had run its course. Recently, I found that I was right on both counts, but for reasons I didn't know thirty years ago. Now her story becomes compelling. Phoebe was presented with a tremendous personal challenge. The way she responded to that adversity had a devastating affect her career, but I'm certain that she would have done the same thing despite the impact on her career. Her life took an unexpected turn that defined her as a person. Right after her Grammy success, she gave birth to Valerie Rose who suffered severe brain trauma at birth. Family & medical experts urged her to institutionalize the baby, but she wouldn't. She was determined to care for her profoundly disabled child. That decision caused her to lose her marriage, money, fame, and damaged her health. The advice she received at the time was based on medical opinions that the baby wouldn't live very long. It turned out that the medical experts were very wrong. Valerie Rose lived until 2007 and died at the age of 31. Phoebe cared for her that whole time. Burying a child is probably the worst thing that can happen to a person. Valerie's death affected Snow deeply. Her loss is amplified because Phoebe was Valerie's lifetime caregiver. They had a bond that she can only describe by relating that, We were madly in love with each other. I guess that seems pretty unusual to those who have witnessed the immature, self-absorbed behavior of some celebrities. When you open Phoebe's Website, the first page you see is what is most important to her, the eulogy she read for her beloved daughter. She speaks of Valerie's courage, strength, & dignity. Now that I know the story, I recognize that Valerie inherited those traits from her mom. The good news is that Phoebe recovered enough to tour again, but her time has passed. After learning of her story, I am more impressed with her than if she had a string of platinum records. I respect her more for what is in her heart than any awardshe could have displayed on her mantle. Michael Stokes www.MakinMusicNY.com

Getting the word out about your product, which is your voice, your songs, your band is tough we admit it, but it's not impossible. In Spreading the Word - Part 1, we talked about using MySpace as an interim website, and to help get some contacts. We discussed some of the pros and cons of setting up your own personal website, and suggested that the MySpace solution can be a good entry level approach. In Part 2 we will talk about Facebook and Reverbnation. Facebook is not particularly useful as a personal/band website for you - but, it can be used to add more contacts, and get your name out there. It is primarily a Social Networking site. You can locate contacts from your past, sometimes it's useful to reconnect with old friends and acquaintances, and you can generate the start of a fan base. Just setting up an account in your name, looking for some friends/acquaintances on Facebook is a great start. Do be careful about what personal information you make public - like not your home address and phone number, or even your email address. And do try to avoid adding any of their annoying Applications - most of these cutesy looking apps are just mining your personal info, and do you REALLY need to be sending fake "presents" to your contacts, or "naming your tune"? Use Facebook as another contact base. You can search your own email address book for folks you might like to invite to join you on Facebook. I'll make a point here about what you do with email addresses. Do NOT randomly add EVERYONE in your address book. Yes, it will take longer, but you really need to go through those addresses one at a time and select only those people who might actually be interested in joining you on Facebook. It's a courtesy thing. People get bombarded by so much electronic communication these days that they get very frustrated and jaded when they get yet another annoying request to do something in which they are not interested. So not the bank manager, not your pharmacist not unless you have first spoken to them and asked them if they would be interested in giving you some support. Facebook will pop up lists of people it thinks you might know or wish to add based on your location, or some of your existing contacts. Many of these will be totally useless, but a few may be helpful - check the profile of any potential contact before adding them. Make sure you send them a nice little note with the friend request, explaining who you are and why you would love for them to join your friend list on FaceBook. Something like: "Hi, I see you're a music buff so I thought you might like to help support my band, please allow me to add you as a friend". This shows them that you actually took time to see who they are and what their areas of interest might be. Once you have built up a reasonable list of connections, you then have the additional option of starting a "group", or having an "event". Check the available groups on Facebook, and start a group that is different, interesting and relevant. You will find plenty of existing groups on Facebook, and some of them may be helpful to join. If you DO join a group that is relevant to your "product", don't just join and remain passive - get on there and post comments, join discussions and interact, or if there are no discussions ongoing, start one. Just make sure your name keeps showing up. Facebook "Events" are useful also - say you have a new CD - create a Facebook event to publicize it. Invite all your contacts on Facebook as well as other contacts you have at other sites. The event function on Facebook has limitations - it only allows you to enter a start and end date up to 30 days - so if you are hoping to publicize an ongoing event, you will need to add a new event each month. Facebook allows you to post your "status". Use this to post useful information about what you are doing, rather than "I'm Hungover" or "Taking a coffee break". Good things to post would be "Just completed the chorus on my new song - one more verse and we're done!" or "Going into the studio tomorrow!" It wont be a deal breaker if you occasionally post something non-serious, just keep the noise to a minimum. You can also add information on the "Wall". These are places for you to spread the word about things that you are doing in your professional life, and it's good to keep the page constantly changing. It's nice to post greetings to everyone at Christmas, New Years, Easter, St. Valentines' Day and other special days. When you post information to the "Wall" you can add a picture, a link or a video - add something which points to something "you". The user interface on Facebook can be annoying - they like to re-arrange the site periodically and move things around, and even remove things that were there in the past - making it tricky to find things that were there before. Even so, it is a useful tool and one which needs to be included in your promotional toolkit. It's useful add a profile picture - if you are a single artist, then post a promo photo of yourself - if you are a band, then post a nice band poster or photo. By all means add other photos to the Facebook page, but add ones that are useful in promoting your professional image - so stay away from photos of you at a wild party getting hammered, and ones of you were wearing Grannys' bloomers over your jeans and a potty on your head for a dare. So where does Reverbnation come in? Well, you have your account on Facebook, but now you want to have something there that shows your music - so people can listen.Facebook did at one point have a horrible app to add music, but fortunately that appears to have died - so, what you do is start an account (free) at Reverbnation. Once you have an account at Reverbnation, and have your various songs uploaded, now you can "add" your "band" page at Reverbnation to Facebook. This is far the easiest and best way to get your music onto your Facebook page. Reverbnation puts a player on your Facebook Band page which allows people to hear your music - PLUS..Reverbnation lets you add "fans" which you get from your Facebook (and Myspace) page. The really annoying thing with Facebook is that it seems to treat just about everything you try to do as potentially spamming people - so you can only invite a limited number of friends per day to be your "Fans". But in the end, you will be able to add them all, a laborious few at a time. Reverbnation is another useful place to set up an artist interim website - it is good to be able to point people to it. It is extremely complete and provides you with as many tools as you are able and willing to make use of. I copied in their list of Profile tools and their checklist of how the profile is doing to give you an idea of what you can do there. Its all part of the wonderful experience that is self-promotion. Reverbnation site excerpt Artist Info Update band info and bio. Customize Customize the modules displayed on your Profile. Status Update your status on Twitter, Facebook, MySpace, and RN. Songs & Videos Upload songs and add YouTube videos to your profile. Manage Shows (under Shows) Add new shows and manage your show schedule. Sync with MySpace Sync your MySpace profile with your ReverbNation profile. Sync with Facebook Sync your Facebook Musician Page with ReverbNation. Photos Upload band photos, cover art, and/or pics from your gigs. Press Let the Nation know when your band gets press. Blog Publish a blog here, or import your current one. Buzz Tracker Find out who is talking about your band on the web. Create Store Items (under Reverb Store) Sell merch and music right away without upfront costs. StoreLinks (under Earn Money) Add links to the online stores that sell your stuff. Fans View/Manage your Fans. Favorites Become a fan of other ReverbNation Artists. Comments Have your fans post comments on your ReverbNation Profile. My Links (under Promote) Link fans directly to parts of your ReverbNation profile. Profile Checklist Your Profile is 42% complete. After you Pull in Facebook Fans you will be 47% complete. Verify Your Account Upload Profile Picture Upload A Song Add Band Members Add Artist Bio Add/Link to Blog Pull in MySpace Fans Pull in Facebook Fans Sync Status Updates Update Status Promote on Facebook Enter Show Schedule Activate FanReach Add Press Items Activate FairShare Create a Reverb Store Add StoreLinks Make Recommendations Activate Referrals

Of course they do. Possitive affirmations apply in any area of life we wish to improve. Think of how easy it is to believe things about ourselves that are negative related to music: "I can't sing", "My kids tell me I suck", "I don't sound good", "People tell me to stop singing." Whether these things are true or not, we'll believe them because we've heard them. You don't necessarily have to believe something consciously for it to become a subconscious belief. Hearing it enough times programs the brain to believe it, and for us to act on those beliefs. Nancy is my student who struggles with a lack of positive affirmations. So we made a list things she could say to herself that she doesn't necessarily believe yet, but that could help her rework the wiring in her brain. The list consisted of: Of course I can sing I sound great Let's do it Absolutely I like the sound of my voice People who criticize me don't mean to hurt me Say these enough times, "act as if" you believe them, and they will start to penetrate. Don't expect miracles overnight. Repetition is the key to affirmations. Say them several times a day, including when you're about to begin singing. Over time, you may see a very positive change. It's working for Nancy. She's more relaxed looking, which helps her voice to not tremble. The nerves, rather than her vocal competence, is what was causing the less than desirable trembling sound.

Your Audience Connection by Jeannie Deva Point of View It helps to assume the point of view of the audience. In doing so it is easier to recognize what works and what doesn't as performer conduct on stage. When you have been an audience member, what has a performer done that has made you feel: uncomfortable, put off, bored, ridiculed or ignored? What has the performer done that has detracted from your image or impression of him? Okay now let's look at the flip side. What have you seen a performer do that has made you feel: excited, appreciated, important, amused, happy or interested to hear the next song. There are other reactions you may wish to add and explore. The point here is to correlate your experiences as an audience member to the specific things done by the performers. What you have experienced as an audience member, you can use as a performer to develop good stage manners. Traditional Rules You may be the type of person who likes to break rules. Being a nonconformer has its pluses (and minuses). Even the following rules can be broken IF you are doing it on purpose to create a pre-determined effect to charm your audience. But normally the following three rules are simply a guide of behavior that assists you to gain the confidence and openness of your audience to you and your performance. Resultantly, they are worth developing and employing. 1. Accept applause. This is the audience's acknowledgment of you and their way of giving back. You can bow, use hand gestures or other motions as long as you accept the applause without cutting them off, dodging or diminishing it. 2. Don't call attention to goofs. If you or another performer goofs, don't call attention to it. Ride over it and carry on. Very smooth performers, especially comedians, often spontaneously incorporate the goof into the routine. You don't have to do that as long as you don't look helpless or foolish and just ride over the error. 3. Maintain self-control. Even when you feel stage fright or anxiety, don't fidget or twist your hands, your clothes or the microphone cord. Physically assume a posture of confidence. You should always appear to be in control even if you aren't. Interestingly, if you assume the posture of control, it helps you BE in control. 4. Maintain the mood. During breaks or instrumental solos, try different postures that show you are still in control while letting the attention go to the soloist. Even while someone else is soloing or singing, you are still part of the whole stage scene and what you do will either detract or compliment. You can gesture toward the soloist, you can clap or dance unobtrusively or simply stand quietly. If you don't know what to do with your hands, let them hang comfortably at your sides. Don't fidget or move about nervously. Exercises When you can do the following things easily, comfortably and in a way that is natural for you, you will be well on your way to good stage manners. While playing the music of a song, Practice doing all of these in front of a mirror: walking onto stage, greeting the audience, Sing the song TO your audience. accept applause, riding over a goof, being on stage during an instrumental solo, continuing to add to the mood and not distracting from it. smile, bow, laugh, accept a standing ovation, doing some dance steps, Do these over and over until you feel completely comfortable with each. Command you space. This is an ability and a skill. It is the framework within which your performance will have power. Jeannie Deva is the Celebrity Vocal Coach seen on E! Entertainment and TV Guide Channels as well as many other television and radio talk shows. Author of the internationally acclaimed "Contemporary Vocalist" book and CD series, as well as the Deva Method Vocal Warm-Up CD, she is flown to recording studios worldwide for album vocal production and is endorsed y producers and engineers of the Rolling Stones, The Cars, Aerosmith, Fleetwood Mac and others. She is the Originator of The Deva Method® - Complete Vocal Technique for Stage and Studio and founder of Jeannie Deva® Voice Studios celebrating over 33 years of helping singers be outstanding. Past and present clients include Grammy Award Winners, American Idol finalists, members of the J. Geils Band, Foghat, Felecia Howse of Bone Thugs Harmony, Broadway leads in Fame, Color Purple, Lion King and Wicked, singers for Sting, Stevie Wonder, Pink, Joss Stone, Christina Aguilera and others. There is a growing network of certified Deva Method teachers in the US and Australia. Jeannie's private studio is located in Los Angeles. She teaches www.JeannieDeva.comin house and internationally via Internet web cam. c. 2010 All rights reserved. Jeannie Deva Enterprises, Inc.

For some time, I have wanted to post an essay on what I believe is an important topic that needs to be made public. This is in regards to the issue of emails that are targeting teachers with usually absurd solicitations to hire your services (voice teachers) that are clearly a scam. For those of you that are aware of these, you know what I'm talking about and it would be interesting to hear your experience in the comments section. Here is an example of one of these emails I recently received that is typical: Hello, My Name is Joe Pires, I'm 48 years old from.(UNITED KINGDOM). I read your description on Craigslist.org and i am highly impressed and Interested in your lessons.I need a Lessons Teacher for my Daughter (Sandra) and i got your advertisement on Craigslist when am searching via the Internet. My daughter will be coming down to your location for vacation and i don't want her to be less busy without doing something, and I have make decision that i instead of her being less busy, she should be attending your lessons.Sandra is 19 years old and she'll like to learn anything that come her way. So she will be coming for 2 hours a day (10am to 12pm) 3 times a weeks or at your leisure period, so I want you to calculate the cost for 4 weeks lessons.I want us to make an arrangement for a Hotel or Motel for her in your area where she will be staying for the period of the vacations. And let me know if i can make subsequent amount to show commitment in this lessons. If you are interested in Tutor my Daughter,... Kindly get back to me with this information below.... 1.She will be coming for lessons 3 times a week.... 2.Your Experienced In It.... 3.Charge for an Hour..... 4.Total Charges for 4 weeks..... Regards. Joe Pires, Now let us disect the anatomy of these scams so you can identify: 1. Poor English including poor spelling and punctuation. (In this example "Joe Pires" says he is from the UK, but his English is anything but proper) 2. Demands for a ridiculous teaching schedule: "one hour's lesson every day for 4 weeks"?! (obvious they do not know anything about the business and how it works realistically) 3. Strange travel and accommodation conditions usually involving an overseas pupil that is going to arrive to your town while on vacation for a limited period of time. 4. The overseas pupil is almost always referred to as a beginner and age 14 or above. 5. Always a question about your terms to include how much you charge. (This is so they can figure out how much money they can pinch from you) 6. No phone number and no request to call you. When you ask to have them call you, you get no answer. (Ok, let me get this straight, you want to send your child overseas to study for an hour every day for 6 weeks and you are prepared to spend that kind of money without every speaking to me in person? Ya, right...) 7. Discrepancies in their own name (What you do not see in this example is that "Joe Pires" sent me this email from an email address that says it came from "John Cain"? Ok, so is it Joe Pires or is it John Cain?) 8. Uses a hotmail, yahoo, mail or other disposable, web based email account. So how does it work? Essentially the scam works like this. The scammer will ask you to send them some money to cover thier students expenses to get to your location, but tells you that they are sending you some money to cover it. Essentially, you are to send them money in good faith and then receive reimbursement for the expense, plus the fees for the lessons. It is an effort to take advantage of your good faith. A funny story: I actually wanted to see what would happen if I played one of these guys out for a while and frustrated them to teach them a lesson. I pretended to take the bait and proceeded to get a lot of enthusiastic emails from the sender that described the next steps. He sent me $5000 of fraudulent MoneyGram money orders. (Believe me, they looked real! very real!). I took the money orders to Bank of America and they identified them as fraudulent immediately. In the meantime, the scammer is trying to get me to wire him $1500 over MoneyGram services and they have provided me with an ID # from MoneyGram for the wire transfer. They kept giving me the wire funds identifier numbers and I kept replying back, "... ok, I got the money now and I'm headed to MoneyGram now to wire the funds, the number I have for the wire transfer is 8675309 (my number was a different number he sent me). I then get a panicked, "No, that is not the right number its 8675310!"... Then I would say, "Ok, I got it, I'm now headed to Wells Fargo Bank to wire you the money! I can't wait to teach your student, this is so great!"... then he would say, "NO!!! You have to go to MoneyGram!"... I would always say I was running out the door to wire him the money with great excitement, but always had a mistake in my instructions. This went on for about six weeks and he got more and more frustrated. It was hilarious! Then one night at about 3:00am, I get a call from someone with a very bad English accent telling me to "send the money Mr. Robert, send the money Mr. Robert"... at that time I told him to stop ripping people off. I basically made him chase his tail for about 6 weeks and waste a lot of time. I am not advocating that you flirt with the scammer, but just wanted to share with you a story that I felt was pretty satisfying to teach these guys a lesson. Anyhow, the purpose of this article is to let those who have not come across these emails yet or have and are not sure what to make of it, that you need to avoid them and run like hell. It is a rip-off. Who should I notify about fraud or scam attempts? Non-emergency number for your local police department. If you suspect that an item posted for sale on craigslist may be part of a scam, please email the details to "abuse@craigslist.org". Be sure to include the URL (or 10-digit post ID number) in your message. Hope this helps... THE VOCALIST STUDIO Robert J. Lunte I 425.444.5053 Teacher I Coach I Artist Founder I The Vocalist Studio Founder I The Modern Vocalist.com Founder I TC-Helicon Voice Council www.thevocaliststudio.com www.themodernvocalist.com robert@thevocaliststudio.com www.skype.com : "rjlseagull"