TMV World Team

Much is written and talked about breath control for classical singing, and the related tension it can lead to in the abdomen, the jaw and the tongue. I have many enquiries and new students who talk about learning the control required for singing. They seem surprised when I start by getting them to release and de-control. They can be scared of it at first, but many go on to find it an exhilirating experience. So, where does this idea of control come from? Surely it must be all of those old texts, translated from Italian, that seem to hold no place for singing in the modern world? Well, here are a couple of snippets from Giovanni Battista Lamperti (of course translated into English) that may not be what many expect. The degree of loudness of tone depends on the quantity of breath released by letting go muscularly. There is no attack, no mouth position, no tongue control, no voice placing,no fixed chest, no relaxing this or that muscle, no stiffening any part of the body, in fact, nothing that would not spring from instinctive utterance. And, from Mathilde Marchesi on the concept of Coup de Glotte It should be understood that the Coup de Glotte is a natural movement of the vocal organs, and that the pupil has only to bring under the control of the will this spontaneous action which has been developing since the first cry at the moment of birth. It is, in fact, the possession of this same natural faculty that enables us to form unconsciously all the vowels in speaking. So, there is mention of release, of instinctiveness, and of relating singing to being as easy as talking. So, maybe the concept of control came with the well intentioned introduction of science into vocal teaching. Well, Oren L Brown, teacher for 19 years at the Juilliard School in New York, was always held up as being someone who kept up with the latest research into voice science. His book Discover Your Voice contains chapters on resonance, overtones, vocal registers, laryngeal anatomy, and perhaps most interestingly Neurology and the Brain. Because, after all, we may sing with our bodies, but the impulses to do so come from our mind. When it comes to teaching how to sing, rather than what is happening in the body, what does Brown instruct us to do. The opening of the chapter on program thoughts reads Your voice knows how to sing. it knows how to sing better than you do. Think the music and your voice will sing it for you. Elsewhere he states that an efficient and natural supply of air is needed for voice production. I would emphasize natural  here, because the fact is that we all breathe. We all need to breathe, and we breathe without thinking about it. From the moment we let out our first cry after birth, our diaphragms descended to draw in breath, and then relaxed to let it out. It will continue doing the same until we breathe our last, and it is mostly unconscious precisely so that we don't need to keep thinking about it. So, why would we want to artificially control that which nature has provided for so well? It seems that much of it surrounds trust, and vulnerability. Our breathing is bound up in our emotions, and by freeing our breath we often free emotions that many of us would prefer remain hidden. However, it is those very emotions that move audiences, and so by freeing our breath we will increase our communication with the audience. By controlling the breath we put an artifical barrier between ourselves and the audience. Finding the connection between our voices and our emotions is not always an easy journey. Some are more comfortable than others in laying their emotions bare for all to see. However, it is this connection that many great singers display. Pavarotti had it, Callas too, and Ponselle, Flagstad, and many others. Their singing grabbed our guts and had us on the edge of our seats. It's not just classical singers either. Sinatra could excite and sway, as could Billie Holiday, reaching directly into our emotions and pulling at them. In order to do this, they had to let their voices and breath be guided by their bodies and emotions, rather than imposing control upon them. I'll leave a last couple of thoughts to my late teacher Howard Milner. Joining is what singing does for us. It joins us with the audience, with each other and inside ourselves. The diaphragm, breathing, works beyond volition, doing what the body feels rather than what the mind thinks. The only thing you can consciously do to breathing is to mess it up. The only way to make it better is to let go of it more, to de-control it, to agree to let it take its course. This is the principal of allowing. It is about setting free the unconscious movement that enables us to sing. Your job is to find where and what it is and connect with it.

I talk to a ton of artists, wanna-be artists, young aspiring artists, indie artists and established artists. It seems they all struggle with commitment. It's either commitment to their craft, their art or their longevity. I think it could be a human dilemma My experience has taught me that human beings resist Commitment and Completion (and Love, but that's another article). But today I want to talk about Commitment and Completion - two forces that put Resistance into motion. Today I spoke to an artist who has yet to get her music off the ground but is passionate and loves performing. She often gets audience members commenting on how her songs touch them and yet she is still questioning whether she should pursue her music. She hasn't even really given it a shot and she's asking me my opinion of whether she should give it up or not? We've talked over the past year several times (I have NO idea why I jump on the phone with her usually no one can get me on the phone more than once) but something is calling me to talk to her however I can't make the decision for her; she must make it herself. She even said to me today that she is listening to too many people and not holding high council with herself. I agreed and sent her off to consult the oracle and come back to me with an answer. Either way, I'm here for her. But is she there for herself? But it calls me to speak to the dilemma of Commitment that so many of us, artists or entrepreneurs alike, struggle with. And without it, nothing happens. Nothing. Crazy how that works huh? I can't tell you how many times I have talked to people about artists (everyone's an expert now thanks to American Idol) who are so incredibly talented, but still nothing seems to happen for them. Or the lucky bastards who magically seem to manifest connections and opportunities even when they're not that artistically talented. But every time, with a little digging, when we get down underneath the surface and talk about the truth, it's always an issue of Commitment. So you have an inkling.. a desire is born (rocket of desire, as Abraham-Hicks says). Don't give up before you start. Just stand behind it know that if you want it, it can be yours, but not without Effort a lot of it. And ask yourself the question: Imagine you are in your Golden Years looking back at your life and you never followed through on your desire to pursue your music. Could you live with that? The answer is your answer. Don't give up. Be strong master Commitment. The world needs YOUR music.

The voice is an acoustic instrument. Like a fine Steinway or Stradivarius, your sound results from the basic tone produced by the actuator (the vocal folds in this case) being enhanced by resonating inside a box (the throat and head cavities). The instrument should be built to optimize the resonance that will give the finished tone warmth, projection, and beauty well as your unique timbre. This comes through thoughtful and systematic training. We must understand the workings of our instrument to get the most mileage from it. Nonclassical singing does rely on amplification but that should not mean that singers shouldn't develop their natural tone to its optimal level before stepping to the mic. A pianist will know the spectrum of tonal qualities she can get from her axe through sheer technical facility and musicianship without the crutch of gadgets. We singers should have the same standard. Singers, we need to drop the quick fix mentality and commit to excellence and mastery on our instrument. Whether you sing opera, pop, metal, Latin jazz, R&B, hip-hop, country, or blues shouldn't matter. MASTER YOUR VOICE!! Let's not let technology keep us mediocre!!!

Ask any singer what their number 1 concern is and it'll probably be high notes. Simple, direct, understandable. Achieving dependable and comfortable high notes is a worthy goal in any singer's quest for vocal mastery. Why are high notes such a nemesis? The answer may surprise you: what is natural and intuitive is the exact opposite of what really works! When we think high notes, they think up. Makes sense right? The problem is that thinking up results in a high voice-box, clenched jaw, lifted chin and tweaked head. Not exactly the ideal set-up for a free and easy sound. Free and easy is the goal just because it's so unusual to achieve. Think of a ballet dancer doing a pirouette. No self-respecting prima ballerina wants to tremble and perspire visibly during their job. Their goal (and ours) is to make the difficult look easy, to make the unnatural look totally natural. Guitarists, pianists, drummers, any accomplished instrumentalist, know first-hand how repetition with good technique allows speed and ease in execution. Fingers, hands and legs acquire their own memory and seem to work effortlessly all by themselves. The problem for singers is that, unlike instrumentalists, we already sing. Everyone can do it without knowing how. For some reason, when trying to produce confident and thrilling high notes, intuition leads us astray. It tells us to reach, lift, strain, squeeze, panic. So what's the answer? Like many problems in life, it's all about having the right problem-solving strategies. Here are some of my best: 1) Think down for high notes. 2) Actively pull your voice-box down (the feeling at the beginning of a yawn) as you sing higher. 3) Gently push your chin down, opening your mouth in a downward direction. 4) Look into the distance...thinking of high notes as further away can be helpful. 5) Your lower belly (navel and below) is your high note helper. Pull it in extra as you sing higher. 6) The higher you go, the more you gotta blow. Higher notes require more pressurized air than lower notes. 7) You must stretch and thin your vocal folds as you sing higher. Imagine that you're pulling a rubber band behind your neck- stretching your vocal folds from the rear helps them thin, making high notes more comfortable and in tune. Any one or all of these techniques can make a huge difference in your ability to sing high notes with newfound ease and consistency. One last thought: high singing shouldn't necessarily mean loud singing. Try adding support (upper belly out, lower belly in) while reducing volume as you ascend into your own personal stratosphere. This will allow you to sing higher without pushing, tweaking and worrying.

The Oxford Handbook of Singing survey: http://app.fluidsurveys.com/s/oxfordhandbookofsinging/ It's 6 questions and is aimed at people who teach singers (singing teachers, vocal coaches etc). We want as many answers as possible to get as broad a range as we can. Thank you for your participation. Oxford & The Modern Vocalist.com

Ever hear that voice in your head? When are you going to get it right? followed by a for once in your life Probably about a million times if you are over 21. It's not your fault, it's one of those conditioned responses that we are taught from early on just one-of-those-things we say to ourselves. But it's not the voice you want to hear in your ear for psychological wellness reasons, but that's another article. Today I want to talk about how getting it right is not so good for Creative Types, like me and you. If you are anything like the artists I work with, myself included, you probably work pretty hard at getting it right. Whatever your bigger goals are, I'm pretty sure you're pretty driven to get it right. Most of us are. You want to get it right, do it right, and have it turn out right. But in the domain of being an artist, getting it right doesn't really work. You're probably wondering what the heck I'm talking about right? Well, as it turns out, getting it right is actually more for the left-brain dominant type the mechanic, the accountant, the math whiz, and less for the right creative brain dominant artist. You see, creativity is not linear it doesn't show up in order. Like songwriting. You can't sit down to write a song and expect the verse and the pre-chorus, chorus and bridge to all come in order (and if you do you might want to rethink that). Because you might write the second verse first (without knowing it at until you write the second one and realize it is the first) or you might write what you think is a chorus and it's really the verse, or the other way around. And if you are not open to that you'll miss your own creativity trying to show up for you. Your career is like that too. Things won't show up in order exactly. An opportunity may come your way before you are ready or it may come at a bad time when you are leaving town or going on a business trip. And if you don't know yourself and know your course, you'll say yes at the wrong times. That's why being aware of where you are on your journey is so important and critical to progress. I love this picture that's been plastered on so many FB walls lately it so perfectly represents what I mean. I call it Organized Chaos. Non-linear organized chaos. And there's something too about getting it right that seals the lid on creativity. By nature, the act of getting it right makes you try too hard, over-reach, and be too self-conscious. And let's face it, it doesn't look good up in lights. It comes across as trying too hard because you want to get it right, be perfect. Why? So you won't be criticized? But by its very nature, you won't be in your element, free and clear of your own judgment, so what comes out of you but self-consciousness, insecurity. I know, I've been there. Not only that, but probably no one will tell you that unless you have one of those friends who tells you when you have spinach in your teeth or too much makeup on (or a coach like me) and even then there's a limit to what you can comment on when it's a matter of style or opinion. That's why I tell my students the hard stuff. I tell them in a non-judgmental way so it is useful information to them. Because I know they need that information to better themselves. You can tell almost anyone almost anything if you know how to say it. So here are my seven tips to mastering the flow, while you're working your steps, and climbing the ladder just know it won't be straight up! Seven Tips to Mastering the Flow of Organized Chaos Be Open. Stay open-minded, be flexible. Steps don't necessarily come in order. Be Aware. Be aware of where you are on your journey so you can respond appropriately. Think First, React Second. Think through everything you say, write (email) and do. Everything is an opportunity, what kind of energy are you feeding into the stream? Be a Solution-finder, not a Victim of your Problems. There are always problems and challenges. When one arises, look for a solution it won't magically appear you have to look for it. Schedule brain dumps and brainstorming time. Be Resilient Crap happens. Process it and bounce back quickly. A sudden downturn is a part of the squiggly line to success. Let Go Often. Sometimes your brain will stay in lockdown when it needs to release its hold. Don't worry if things don't work out as you planned, it's all part of the flow. Stay Positive. Every now and again you'll have to give yourself a pep talk you can do it or find someone you trust to give you one (btw meditating 5 minutes a day or doing Louise Hay's positive talk (affirmations) from her book You Can Live An Exceptional Life is great brain medicine. FREE STUFF: Get your free Dreamer to Diva Triple Pack here. MORE FREE STUFF: Check out my new Free Vocal Instructional Videos here 34 of them! www.caricole.com/videos Let me know what you think! ©2011 Cari Cole, Vocal Mag, Inc. All Rights Reserved.

How often have you heard a good singer, and thought "they were born with abilities and special vocal cords, etc. that I simply don't have." Is this really true, or do we all have a chance to become good singers? Here are some thoughts on this subject: All of us are born with ten fingers and ten toes and a bunch of other stuff which is needed to keep us alive while on this earth. A very small percent of us come into the world with the special physical equipment to make us great singers. A small percent of these special people become opera or classical singers. However, for those of us who want to become good (or even great) pop, rock, country singers, no special physical equipment is needed. All that is needed are normal healthy vocal cords, lungs, diaphragm, etc. The same as almost everyone else. So if practically everyone possesses the physical equipment to become a good singer, why aren't all of us on American Idol, or touring with a top selling cd? (Answer) The great pop-rock-country singer has personality, charisma, attitude and the strong desire and drive to follow their dream. These attributes are are combination of their parental and educational influences, their love of music and entertaining others, and the guts to get out there on stage and "bare it all" in front of others. Of course some top entertainers carried some of these traits into the world at birth, but many did not. You don't have to be "born with it." (the ability to sing well). When I use the term "pop" I'm speaking of any music which isn't operatic or classical. This includes rock, country, musical theatre, gospel and many other genres other than opera-classical. So why do so few of us actually become good pop singers? 1. This isn't a strong enough desire in our priorities. 2. We are shy, inhibited and unable to communicate our feelings. (This can be fixed) 3. We believe that we can never sing well. (This can be changed) 4. We simply don't enjoy sharing our feelings with others. (This is hard to overcome, but most things can be changed with practice.) 5. We justify our failure by believing we had to be "born with it" (This is a cop-out) 6. Your voice sounds "terrible," and you can't sing on pitch. (Take some lessons) To sum this up: If you possess normal, healthy vocal equipment, can learn to be an outgoing, charismatic person who is not afraid to share feelings and emotions with strangers, don't mind working and studying to improve your singing you can become a good singer of pop music. So get with it. Al Koehn (I invite you to download my free ebook, SINGNG IS SERIOUSLY SIMPLE, available on my website: http://vocalvision.com)

So, why can't you cover (sing the songs made famous by) any singer you like? You can, if you don't force your voice to sound exactly like them. Most top singers do cover songs. But they do them their way. We already have one Elton, or Jerry Cantrell, or Maria Cary. We don't need another. We need a YOU! With that fact in mind, let's explore why you can damage your physical voice by trying to exactly cover other singers. "If everybody has a set of vocal chords, they should be able to sound like any other singer. Right?" WRONG. The problem lies in the fact that everyone's' vocal chords and singing muscles uniquely different, much like fingerprints. They come in different sizes. Guys' vocal cords are approximately twice the size of girls'. This means that the sound of the female voice is a lot higher in pitch. (Think about the size of a flute, as compared to a tuba.) Then, to further complicate matters, vocal chords come in at least two sizes for both girls and guys large (low sounding) and small (high sounding). The quality and range of voices are governed by their size and the size and shapes of the neck, sinuses and other parts of the body. It's usually very difficult, if not dangerous, for guys to sing girl's song - or visa-versa in their original keys without pushing and straining. These songs usually need to be put in another key that is best for your voice. The most important thing to remember about changing keys is that you need to sound the best you can. Singing a song in the wrong key for you will not do that. So it boils down to this: you'll never be able to sound exactly like another singer, so stop trying. You might consider emulating some of their unique style (the way they pronounce words or drop the ends of phrases, or growl, etc.) but that's as far as you should go unless your natural sound is very close to theirs. We have a "them" We need a "YOU". Al Koehn

Ever wonder why stars get vocal problems? Why they lose their voices after years of being in the business? So do I. It doesn't have to happen. But what does it take to avoid vocal problems and maintain vocal health? So many are still unaware that there's another way. Wouldn't you think they'd consult the best in the business to keep their voices at their peak? Yeah, me too. And sometimes, even if they do, they do not heed the warnings, forfeiting health for rock and roll sigh. But the simple truth is, the voice is not an instrument to screw with. The vocal cords are not replaceable. You only have one set of cords and the way you treat them and your body will determine whether you go down the road of deterioration that befalls the working singer, or be smarter and preserve your voice for your future forever. Right now I am struck by how many stars are suffering. John Mayer just announced that he has a granuloma and had to cancel his birthday concert in two weeks with Tony Bennett plus the next few months of touring. He doesn't know yet when he'll be better because granuloma's can take a long time to dissolve. One thing is for sure he has to completely stop singing and talking for at least 3-4 weeks or longer and it could be quite a while before he recovers enough to sing, let alone tour again. If surgery is the last resort, his voice may never be the same. That's a scary thing in the career of a famous performing and recording artist. Adele (as I wrote about last week) had to cancel her tour as well (hopefully just temporarily), but is also suffering from vocal issues. Christina Perri just recovered from nodules and there are many more, I assure you. It's just not easy to be out on the road singing for a living and keeping your voice in great shape. Here's my tips on my holistic recommendations to stay healthy in my Vocal Road Warrior Formula, but today I want to talk about vocal technique and preserving your voice while you sing. I want to teach you how to master your instrument and the key things to do to ensure that you never have to experience vocal problems of this magnitude. Of course there is MUCH more than what I can present in this article, but I picked out the biggest culprits that cause issues as it relates to the technical voice. Just quickly let's take a quick peek at what some of these problems are and how they develop. Vocal abuse or misuse, such as excessive use of the voice when singing, talking, smoking, coughing, yelling, or inhaling irritants can cause abnormalities of the vocal cords, such as nodules, granulomas, polyps, or cysts. The difference between these abnormalities is mostly a function of what kind of tissue is involved. Symptoms of throat granuloma (and nodules & cysts) can be hoarseness, chronic throat clearing, throat pain, cough (sometimes with a little blood), and the feeling of having a lump in your throat. Surgery is a less optimal treatment for throat granuloma than vocal therapy, although granulomas are often slow to regress, according to NYU Voice Center's Website. Most disorders of vocal abuse and misuse are reversible. The best treatment is to identify and eliminate the vocal behavior that created the voice disorder. In many cases, a brief period of voice therapy is helpful so the individual can learn good vocal techniques, such as proper breath support for speech or eliminating high pressure at the vocal mechanism. What do to: Avoid coughing. Coughing shreds your vocal cords. When you have an infection, the body will naturally cough to get rid of it. The best remedy for this on the market is Bronchial Soothe with ivy leaf (available at Whole Foods). It's the only remedy I've ever found that actually stops a vicious cough. And see my Vocal Road Warrior Formula to avoid getting sick in the first place. Don't glottal. Glottal's happen when the edges of the vocal cords bang together in over-closure. This results from poor vocal technique. The way to avoid it is to add a soft h to the onset of words that begin with vowels, i.e.; hh-everyone, hh-; hh-always. It can happen in the middle of a word too: st-ay. A really good vocal coach can teach you more about how not to glottal, however the operative word is really good vocal coach most mid-level coaches do not have this kind of expertise and can even cause vocal problems like these. Get your voice out of your throat. Speaking low in your throat can cause nodules and granuloma. Associate your voice with less pressure and move it higher into your mouth or head cavity. Speak higher in pitch and raise the soft palate to move out of the throat (learn how to raise the palate in my Singers Gift Warmups). Don't yell or talk excessively for long periods of time. Yelling and speaking for a long time (especially over loud music) is an immediate burnout and can ruin your singing voice. But whispering is just as bad. If you know your speaking voice is a problem, find a speech therapist, or vocal coach that understands speech therapy to help you get back on track. Study vocal & breathing technique. Find a great (not just a good) professional vocal coach who specializes in vocal disorders and knows a thing or two about holistic approaches to speed you back to health (like me). This is non-negotiable if you want to have a professional career and keep your speaking and singing voice healthy for life. Best wishes for a speedy recovery, John Mayer, Adele, Christina Perri and all the other Vocal Road Warriors out there on the mend ~ stay healthy! We need you and your music! To keep your voice healthy and prevent damage, experience my Singers Gift Warm ups and Cool Downs and do it right from the start! www.caricole.com/singersgift ©2011 Cari Cole, Vocal Mag, Inc. All Rights Reserved.

Vocal practice can be a way to heal emotional trauma. Emotional trauma can be healed faster by learning to sing better. You have to learn to feel the air as it moves through the voice and connect and surrender to the feeling of the vibration. If you are delicate enough with the process, it can unravel unconscious emotions trapped in the body. It is way faster than therapy. That is one of the incredible gifts of a life in the arts. If you want to show up and be totally present, you have to clear any emotional stuff in the way of a free expression.

PA few weeks ago I posted a Blog about Commitment (Are You Commitment Phobic?). In my conversation about Commitment I also talked about how most people in addition to side-stepping Commitment, resist Completion too. It seems that it's a human dilemma.Is it the stars in our eyes like this little pooch here? Probably, because, left to our own illustrious fantasies, we'd be famous overnight, win J.Lo's approval and become the next American Idol, or become a purpose-driven cooler-than-heck rockstar who changes the world in one year's time (reasonable amount of time -no?). But without the power of Completion we procrastinate, crawl under the covers, suck our thumbs and wonder why our vision of ourselves does not match reality. We have the best of intentions!? and talent to boot! My big sister is the Editor and Publisher of a weekly newspaper in Telluride, CO, The Telluride Watch with her husband Seth. For the past 21 years, their lives have revolved around deadlines. One of my younger sisters is a healer. She sets her own hours (like me) and her work is all self-motivated. I fall somewhere in between but more and more appreciate deadlines, and I find, while stressful, are actually easier to function under and a ton more content gets created and a ton more people get served. A deadline at least forces you to deliver whether or not you think it's good enough it has to be, you're under deadline. So I've learned the power in finishing- it makes for progress and longer term, for better work. Because when you force yourself to deliver you exercise a different muscle the muscle of Completion. Finishing is a skill and it is perhaps the key to writing great songs or hit songs and really making a career for yourself. At the ASCAP Conference last April in LA, I heard Josh Kear/songwriter (Before He Cheats/ Carrie Underwood, Need You Now/Lady Antebellum) say that the biggest thing you could do as a songwriter is to finish your songs. Maybe you don't have the skillset to finish that song the way you need, but if you write 30-40 more songs, then suddenly you know how to finish them. Write a BUNCH of songs and FINISH them even if you don't love them because then you have finished songs. One of the hardest disciplines to learn is to finish. Starting a song is simple, you've got an idea, the first verse and chorus will come fast and then you hit that wall. Sometimes you don't finish it at all. Part of the habit of becoming a professional songwriter is learning how to finish. But in the early stages finishing doesn't mean it has to be great you just have to finish the song and then write another one and another one and another one(listen to Josh talk about it on the ASCAPExpo videos from 2011, The Hitmakers Cookbook: Recipes for Success at 60:00 at www.ascap.com (look for the link to purchase the vids from the 2011 conference way worth the price). Another way we resist Completion is to not finish projects or agreements. One of my past students, Shawna was a very talented girl. She had a beautiful voice, and effervescent bubbly spirit, and a knack for writing rhyming lyrics. When she first came to me, her voice was weak and she had no clue how to put her career together. During our 9 months together we created a powerful singing voice, co-wrote 6 songs, developed her performance and stage presence, built her confidence and got off to a great start. However, just as we started to make progress, she stopped coming unfortunately for her because we were JUST getting started, there was so much left to do. One of her problems was that she had money issues. She had a terrible habit of paying late (none of my students pay late, it's not professional and I am teaching them responsibility), but she was always promising she would get up to speed, and I took her at her word, but she never did. When she called me to let me know she had other plans, she said the reason was mainly financial, and it's not that I don't believe her, but it was what she chose to spend her money on that was sapping her dry. Every week she came in with new clothes, new hair and one time even talking about her vacation, what she didn't realize is, that it was blaringly clear where her bigger commitment was. She, like many others, was caught up with the idea of stardom, got distracted by the bright shiny objects, the allure of the lights, instead of the real work. But the truth is, careers happen by doing the work, investing in one's career and building relationships with people in the business. From her vantage point and lack of experience, she didn't realize. It's okay, I've been there that's the only way I learned. Hopefully she will. Either way, it's too bad she doesn't realize the mistake she's making. Karma's a bee-aa-tch. You see, what makes someone successful has as much to do with their personality, their integrity, intelligence-smarts, self-perception and awareness, ability to grow good relationships, loyalty, their own personal growth and choices they make as it does their talent. It's the truth. Ask anyone in the industry and they'll say the same thing. And people in the business can see it, smell it. No one wants to do business with someone who has trouble with commitment or completion or is a fair weather kind of person. If you are one of those people who flit about from person to person in the industry and you don't build relationships it's kind of not your fault, at first. Lots of people have a tendency to do that thinking the next person will be the one to make their career turn out but it doesn't work.Because it isn't other people that make your career happen, it's you, the way you conduct yourself and the choices you make. And the industry is waaay too small Many times I've seen it come back around and slam people in the face, it's happened to me too. There you are, ready to sign a deal and someone that you blew off (who is friends with the label) gives you thumbs down and bam there it goes, down the river. It can happen all the time. I'm also not saying to stay in a relationship that isn't working either, because I see a lot of artists doing that too. Working with people who are promising the moon but can't deliver or are taking them down the wrong road. And even if you've made mistakes in the past, it's okay as long as you learn, grow and change. People will respect you when you do. You have to use your smarts. But once you find a true mentor, guidance, support, someone who can take you there someone who cares enough about who you are as well as your talent, someone who is as serious about your career as you are then be smart enough to know it and value it. Work with them, stay in touch with them, nurture your relationship because when you are ready, they'll be there to open doors for you. The Your Professionally Fit List for the Music Biz: Keep Your Word. When you give your word, keep it for YOU. Do what you say you're going to do and you will not only be empowered, others will knock down the door to work with you. Build Relationships don't Break them. A great relationship is built over time. People work with people they know, like and trust. Don't be so quick to jump ship it could be you who's not ready. Keep your Commitments, you will be tested. Be Good at Completion. Finish projects, finish songs, do your work, that's what becoming a professional musician is all about. Respect Your Money. Every artist today who is successful, invests in their own career. Learning how to handle money and respecting your financial interactions is important. You are building or breaking your reputation by the way you do business. Get a pair of Sunglasses with Stars like your BFF dog toy above, to remind yourself when you're full of it! FREE STUFF: Get your free Dreamer to Diva Triple Pack here. MORE FREE STUFF: Check out my new Free Vocal Instructional Videos here 34 of them! Let me know what you think!

I'm often contacted by singers asking how to make their voices stronger. Weak or breathy singing can be corrected. Read on. There are two outstanding reasons for always singing with a weak or breathy sound. 1. Shyness. Often, when people who are shy sing, their sound is also shy. Since shyness comes from a fear of being judged by others, or a fear of standing out from the crowd, singing in front of people puts a shy person in a very uncomfortable position. Singing softly is reflexive for very shy people. This is interesting, since the reason that person is up there singing is to be noticed and appreciated by others. It might help to know that many top performers suffer from extreme shyness, and yet have been able to overcome the problem, at least while they are performing. One technique which can help this is for you to assume a different, more aggressive personality ("acting" a part) while singing. Usually, shyness can't just be overcome by trying not to be shy. It often takes extensive therapy and much dedication to change from shy to brave. So, why not just work on being a good actor. This way you can take the pressure off while you are performing by doing what all good actors do, acting. Of course you have to practice doing this, and it takes dedication and work, but as your "character" emerges in songs, your voice will become stronger. 2. The second major cause of weak singing sound is much easier to fix breathiness. This is just what the term describes: singing with a "whispering" sound. Letting too much breath come through the vocal cords along with sound. If this is your problem, work with these vocal exercises daily: Sing some short scales or a series of notes using the sound "ka". "Ka-ka-ka-ka-ka-ka" ("Feel" this sound up in your forehead, not down in your throat.) Then follow this up by singing the same notes using just an "ah" sound. Try to make the "ah" scale sound as bright and punchy as the "ka" scale. Then sing this again, starting with the "ka"s and finishing with another vowel. "ka-ka-ka-ka---EE.........., etc. Make sure your throat remains very open when you sing the pure vowel. Don't push the range on this. Guys stop around middle C, girls an octave higher. The exercise should start around an octave lower. Stop when you feel any stress. Then, sing a short song like "Happy Birthday" trying to continue the more solid sound you should have been getting with the exercises. Do this often and your voice should become more solid and powerful.

It pretty much goes without saying that practicing is essential to mastery of any endeavor. Anyone who is serious about his singing recognizes this fact. It goes with the territory. What I see as a problem is that students often just don't know HOW to practice efficiently. They blindly jump in without a game plan that will allow them to optimize their practice room time. Well, not to worry- that's why I'm writing this little entry. Here are some helpful guidelines to make your hard work more effective. 1) Set goals for the practice session. Go in knowing what you will be working on. What songs will you tackle? Will you be rehearsing songs you've already learned well? Are you just running problem areas? You can always tweak your plan as the session goes on, but have a plan to start with. 2) You should ALWAYS start your practice time with warming up. Do some physical stretches as well as tongue stretches before launching into your vocal exercises. Humming, lip trills, and 'ng' sounds should start out the workout. 3) If learning new songs, you need to break them down and learn them incrementally. Don't start out trying to sing the tune full blast with words. This can be taxing to the instrument. Begin by vocalizing the melody on a lip or tongue trill, hum, exercise syllables (goog, mum, wun, nay), or a single vowel (I like 'oo') so that the vocal muscles can get used to creating the pitches accurately. Learn the lyrics independently of making pitch. Let the articulators get used to making all your word sounds efficiently. Only then should you start singing on the text. 4) If you are working on numbers that you have already learned but have problems, take the trouble passages and phonate them on exercise sounds to get your vocal coordination back on track. Then add the words back in. 5) Record yourself often as you practice. The immediate feedback you get from hearing yourself goes a long way in fixing problem spots in your songs and in your technique. 6) Practice in front of a mirror. This goes for technical exercises as well as songs. Watch for undue facial tensions, bad vowel shapes, and high, shallow breathing. 7) If you've had a long or very intense session, wrap up with a vocal cooldown. You will essentially do a shortened version of your warmup in reverse. It's important to bring the vocal folds back to their normal speech state. These tips will help you to make your practice sessions more productive and, in the process, allow you to be a better artist.

Hello everyone, This week I wanted to ask a question about many different things that came to my mind. I will explain my situation and I am pretty sure that a lot of people will truly understand how I feel and what I think. recently at school I had to audition for a show and I was chosen to participate in the college session's concert. I was so happy, but yet, I am a classical singer, so pop song can be a little bit hard for me to switch sometimes. A lot of people in my class know that I am a classical singer and that I will be one of the only girls singing a hard 'pop/rock' song ( Woodstock by Joni Mitchell) and I feel like I am not (yet) able to give it my 100% in my singing. Like if it was really hard and I feel like I keep on pushing myself even if I know that I can sing it. I am afraid that it is going to break in front of everybody because of my ''lack of support'' in the pop singing. I always have to switch from chest to a really strong head voice and it is hard for me. My problem, in all of that, is that I am a little bit afraid of the judgment of others. I hear a lot of people telling me (and they don't even know how to sing properly) that classical singing is much more easier than pop (and them, they can not even hit the A4) and there are a lot of people who thinks that.... so I feel like I am the only one knowing the ''truth'' about singing (even if I don't know a lot yet) but more than them and that kind of hurts me. Any tricks about that? Have you ever felt like nobody understood how it was hard to sing this one song or anything like that? Each day I have to feel like this because I am studying in music. I can't wait to get to University and in a singing program where I'll be at my place. A lot of person make fun of opera because they think it's sounds funny and they say that it look easier to sing *sigh*. Please, just tell me what you think. I also wanted to know if you had any tricks to give me about performing in the public? I know that a lot of people have that ''issue'' about stress and wanting to give the best performance of their lives. Any tricks not to breakdown or anything? Thank you very much!

(Blues, Jazz singer Cheryl Hodge - author, is currently nominated for BEST BLUES SONG, 2011, at the Hollywood Music In Media Awards) People are always asking me about what my secrets have been for getting ahead in the music biz. It's almost like they think there is some magic answer that will help them move up the ladder. Well, in a funny way, maybe there is one. But you might not like the answer. There are basically three rules that I live by and have for 30 years. In order to succeed in the music biz (the simple answer), you need three basic ingredients. In time you will find that all three ingredients are inner-related, and that one hand scratches the other. You must have: 1.) A great musical product (it doesn't have to be original - but if you are going to do a cover, do it nothing like the original... avoid comparisons.) The first 20 seconds of the production have to be both innovative, infectious, and flawless. This has to be music so catchy that if you, yourself, had only enough money to buy one CD a year, this would be the one you would buy. Put yourself in the consumer's seat. Remember, we are presently in a devastating recession. Talk is cheap (there are lots of sales pitches out there), and money is dear. For someone to buy your music, they need to be really moved by you, in a way that no one else has. 2.) Relentless drive (unending belief in yourself). 99% of the artists who are successful did not "make it" over night. They knew, at the start, that they would most likely be in for a "long haul" before the public would become aware of them. The chances of being a huge success in the selling market are actually less than that of being kidnapped, believe it or not. When people see those odds, they tend to become daunted. The sooner you get started, the better. Look at former mouseketeers, Britney Spears, Justin Timberlake and Christine Aguilera. Starting early certainly gave them a "leg up" in the business. However, having said all this, it is truly never too late. At 56 years old, I am starting to be discovered in the biz. Why? Because I didn't give up. I believed in my music; I believed in myself. I knew my niche, as it were. I realized my market. The great Lou Rawls once said at a seminar that his golden rule for success was, "Never change your music to suit the public, and current trends. Do what YOU believe in. If you believe in your music, then sooner or later the public will, too." 3.) Business savvy. This is the one that some artists absolutely hate to acknowledge. Many believe that the words "business" and "artist" are polar opposites. Every year, a few songwriters approach me by saying that they feel that being a business-minded musician is the equivalent of "selling out". Interesting premise, but I beg to differ. Songs are a communication. If you believe in your art, then you will admit that you believe in communicating the message of the song with the most listeners you can possibly relay the song to. And now we get to the ultimate goal: exposure. You'll need to learn all about agents and managers. You will need to schedule out at least an hour per day of web work. You will need to know about tax shelters. You will need an office that includes: a computer, possibly (probably) a home studio, a phone/fax machine, a scanner, a filing cabinet, and a few absolutely great books about the music business. One of my personal favorites is Hal Galper's book, "The Touring Musician". The best way to find out what you like is to talk to some of the most successful people whom you have already made acquaintances with in the music business. Questions? Feel free to contact me at one of the following places: cherylhodge.com ,jazzboulevard.com, reverbnation.com, Jazz & Blues Artist, Cheryl Hodge (facebook) .

There's an epidemic in the music industry right now. Three major stars are all having throat surgery within weeks of each other. Adele had surgery last Thursday to stop a vocal hemorrhage a recurring problem for her that finally cancelled her world tour. Keith Urban just announced he will undergo throat surgery to remove a polyp growing on his vocal cords followed by extended vocal rest. John Mayer also had surgery recently to remove a granuloma (enlarged nodule) just above his vocal cord. He is now on complete vocal rest (no singing OR speaking) for one month, and unfortunately granuloma's tend to grow back ;(. Janet Jackson is having vocal troubles and is cancelling concerts, Christina Perri had vocal damage What on earth is going on? Why now? What's changed? Or is it simply more acceptable to blame the voice now than it used to be? It's true that singers have suffered from hemorrhages (Christina Aguilera had one a few years ago), nodules, polyps matter of fact, most singers in the biz eventually come face to face with the knife. Is this the fated outcome of years in the biz? As a vocal coach who specializes in vocal problems (well known ENT's send me artists to work some magic on), little do they know I resort to acupuncture, deep tissue massage of the throat and other alternative remedies simply because they work where drugs fail. Poor technique, tension and dehydration are always at the root and other maladies, among them laryngeal reflux, allergies, poor health and diet - and more often than not speaking voices that ruin singing voices. But I know that the bigger problem is that stars are not training the way they should be. And no one around them is supporting them to do so. I deal with labels every day that ignore their singer's vocal health it's the why-fix-it-if-it's-not-broken attitude. But I tell them, they are in for a major loss one-day and there will be millions of fans disappointed and ticket sales revoked. Let alone the healing and realignment process, which can be lengthy. That said it's not easy when your vocal cords are your instrument it's an art. It's one of the things I specialize in and most of the time, few are heeding the call. Who's next? I'll keep preaching until they HEAR me! Oh and if you've been living under a rock and missed my free video series check out the last of the free vids here you're not going to want to miss this!!

No but really, apparently the YouTube community who have found my videos can't decide if they love me or hate me. My comments are split down the middle with pretty much no middle ground. It's weird, after receiving nasty comments from people, I realized that I don't think I've ever left someone a nasty comment. Typically, If I don't like something, I do this crazy thing called stopping the video and browsing away. There are millions of videos on YouTube, finding an alternative is very easy. I've listened to my fair share of awful singers on YouTube and mediocre and some amazing ones. I always try to compliment the wonderful ones and let the mediocre ones know when they get something spot on. But I think the only time I comment negatively on someone's video is if they ask for critique or seem generally open to it and then I try to be as constructive as I can. Maybe I'm missing out on this supposed joy some people get by tearing into people with rude comments but I honestly don't care. I was raised that if you have nothing nice to say, then don't say anything at all. And truly, telling someone "you suck" or "omfg plz stop singing" or, my favorite, (direct quote!) "Stop raping the song, you c*nt!" doesn't really do any good for either side. Really, I hope you feel awful if you have the nerve to tell someone that, especially if you wouldn't dare put yourself out there and sing in front of anyone unless you were drunk as hell as is so often the case. And putting someone down is never ok. That doesn't help them improve. And you really want to stop someone from singing? I mean, there are some people's singing that I will never listen to for pleasure, no denying, but I would never ever tell someone to stop altogether. They may never be a professional or even rock a karaoke bar or even be able to harmonize Happy Birthday. So what? So long as they're having fun, why ruin that? No one's hurting you. Oh, your precious ears, I'm sorry! *cue tiniest violin* But wait, here's a novel idea, did you ever think to close the window? No one's forcing you to listen to anyone or watch their videos. Or even use the internet. There's sooooo much out there to do in the world. You cannot tell me that you can't find anything better to do with your time than to ruin someone's day. Read a book. Do your laundry. Eat a pickle. Go weed your garden. Don't have one? Go weed your neighbor's garden. Or weed the park. Any of those are significantly more productive and, I garuntee you, more useful to society than your bullying. And now that I've let out that annoyance, I'm going to take my own advice and go do something more productive than rant about cowards on the internet. Like my homework. Anyone else had experience with negativity on the internet? How have you dealt with it?

Singing is one of the most important means of communication that we are blessed to experience. It is the means by which we express our innermost thoughts and feelings in a language shared by the whole world. We sing songs as worship...as symbols of patriotism...as words to inspire change...to amuse...to romance....to uplift. Often, it is forgotten how integral singing is to our existence. When at play, children seem to almost instinctively sing as part of their games. These same young voices are instruments capable of producing a wide array of tones and timbres. In order to access this wide range of sounds, though, the sounds produced at play are not enough. Proper training in healthy vocal production is needed. Recently, I have been asked quite a bit about the appropriate age to begin voice lessons for children. Parents realize that their kids have either an overwhelming enthusiasm for singing or some substantial native talent that they want to properly nurture. They just wonder if formal lessons are safe for the youngster to undertake and worth the financial investment. First of all, I stress that the most important issue with kids is their attention span and not the perceived talent level. I've had some clearly gifted 7 year olds come in but they did not have the focus and maturity that is needed. Once that is explained, I relay that I believe lessons can successfully begin at age 8. I have trained a couple of 7 year olds, though, because they had the requisite focus, attention span, and teachability in addition to natural musical instincts. As long as the training is based in healthy technical habits and applied correctly to songs, there are no inherent dangers. Many people wonder what young singers can actually learn in private voice lessons. Some have believed that their physically immature instruments cannot acquire any real technical skills until their voices fully develop at puberty. But I am one of many who work with kids on a regular basis who believe that these voices can develop quite a lot of facility if guided correctly. We must remember that singing is an intricate psychomotor skill, not so different from the learning of piano, dance, or athletic moves. It's all about the systematic training of correct muscle memory which builds healthy technique that will strengthen and protect the voice. And if the goal of vocal study is establishment of good vocal habits that will carry over into adulthood, vocal technique has to be of primary importance! Of course, this must be balanced with singing good songs, but it will be difficult to expand repertoire if the instrument is limited in the sounds it can produce. The very same technical issues that need to be taught to adult singers need to be taught to kids. The building of tone production practices is essential. Child singers need to develop the ability to produce tones without undue tension and restriction. They must be taught proper breathing techniques and good body posture and alignment. Range extension is still important for kids, even though it must be applied relative to their still-growing voices. Many of the exercises that I use with my adult clients are used in the sessions with my youngsters, though sometimes with modifications. I also make sure that I introduce them to correct terminology concerning how the voice is put together and how it works. They learn about head and chest voice, the larynx, vocal folds, diaphragm, and resonance. They need to start learning a singer's vocabulary from the start of their study. We are seeing some fine examples of superstar singers who have become elite vocal athletes because of some fantastic vocal training starting at a young age- Beyonce Knowles, Kelly Rowland, Adam Lambert among others. It is a worthwhile investment to begin lessons with a child who has the love for singing coupled with a sense of focus and discipline. The teacher must have a great knowledge of vocal pedagogy and a personality that can provide a safe, nurturing environment for the young singer to embark on this great journey of singing study.

HOW TO KEEP YOUR VOICE HEALTHY DURING COLD AND FLU SEASON! I am often asked by my students "How can I keep from getting sick, or if I do catch a cold, how can I get my voice back to normal as soon as possible?" During the winter months, good hand washing and sanitizing are even more important. Germs are transmitted from the hands to the mucous membranes any time you touch your eyes or your nose. Carry a portable hand sanitizer with you at all times and use it frequently throughout the day. Sneeze and cough into the crook of your arm, rather than your hands, and encourage others to do likewise, to prevent the spread of germs. Anything that can affect your health, body, skin or mood can affect your singing. The most important element (other than good technique) is WATER. The vocal cords need to remain hydrated (wet) in order to function optimally. Most people do not drink enough plain water, and singers need to drink more water than the average person in order to maintain vocal health. The motto is "pee pale". That's right, the more clearly you tinkle, the happier your vocal cords are! Air conditioning and heating units take moisture out of the air, affecting the hydration of the cords. Inhaling steam or cool mist will help replace the lost water. You should also be aware that, because of the functioning of the epiglottis, nothing you drink actually touches the vocal cords, so the old "tea and honey" remedy, while it might feel nice, does not affect the vocal cords (although it may provide a soothing effect to the tissues of the throat). The only way to affect the vocal cords is to inhale steam or mist onto them. Steam or mist, if inhaled, will hydrate the cords and help minimize swelling. I encourage singers to invest in a portable facial steamer (found at any drug store) and inhale steam several times a day if you are dealing with swollen vocal cords. (Make sure you sanitize the unit daily). I also recommend using a "NETI POT" to clear out sinus cavities. The use of a neti pot requires mixing up a saline solution that will be poured through the nasal passages. The neti pot used with a saline solution has been shown to be an effective treatment for hay fever, sinusitis, and other nasal conditions. Nasal irrigation is used by many professional singers to remedy sinus dripping. Humidity, steam, mist, drinking water, and warmth are good for the vocal cords; smoke, pollen, dry air, air conditioning and heating, caffeine, alcohol and drugs are dehydrating and therefore BAD for them! Some singers find that dairy products like milk or cheese cause thick mucus, so these products should be avoided on performance days. Allergies are also mucus producing, but you should avoid most antihistamines because they are too drying. If you must take them, counter the dehydrating effects with plenty of water and steam. Breathing through a warm wet towel will do in an emergency, as will inhaling steam from boiling water, or the local gym's steam room. Acid reflux is a problem many people do not even know they have. It occurs when stomach acid regurgitates up onto your esophagus, touching your vocal cords and damaging the cords and surrounding tissue. You can address this common problem by avoiding late night eating and by sleeping with your head elevated. Check with your physician- there are new medications that may alleviate this issue for you. If you are sick or vocally tired, you need rest. Avoid talking or even whispering. Whispering is not a healthful solution when your vocal cords are swollen. Never talk loudly or sing when your vocal cords are swollen- you may be encouraging vocal nodules. Instead, silence, rest, and steam will get you on the road to recovery. Lip and tongue trills can be helpful once you are on the road to recovery. Generally, instead of singing during this time, just listen to your old voice lessons. In that way, you are training "aurally" instead of "orally". HERE'S TO A HAPPY AND HEALTHY FALL AND WINTER!

Are singing exercises really mandatory? No, they are not. They are only mandatory if you want to become a successful singer with a long and important career. Sure, some singers may never have done a scale in their lives. But then again, some people win the Lottery with the first ticket they buy. Willie Nelson probably never warbled a mee-mee-mee in his whole life. (Only guessing here; I've never asked) But few people have the charisma and sincerity that we see in Willie. He is a poet who puts tunes to his poems when he reads them. For the rest of us, the answer to that question is a resounding "YES." Singing is an athletic endeavor. And just like any other athletic activity, in order to be most effective, a subtle combination of brain, body and voice needs to be coordinated. These elements should be awakened by singing exercises so they can work freely together. A singer needs to sing scales and exercises in order to practice the elements of the techniques they are learning in a "pure" form. By that, I mean, without being distracted by issues like words, rhythm and interpretation. This is the time a singer gets to totally concentrate on the body, brain and voice synergy. Singing exercises build a kind of muscle memory intended to allow the singer to forget about issues like breathing and support so they can concentrate on performance aspects when they are singing onstage or in the studio. It's too late to concentrate on breathing and support when you're standing onstage. That's when a singer must forget about the basics and perform. You have to rely on muscle memory. And the way to build that muscle memory is to do what every vocal coach hopes you will do, and that is to practice your exercises. Exercises. That sounds like a lot of work and not much fun, doesn't it? Well, you could be right, but think of them like you would physical training. Crunches aren't much fun either, but when you don't do them, it shows in your performance and in your body. Fabled violinist Jascha Heifetz made a good point when he said, "If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it." For singers, I recommend warm-ups that work like building blocks, starting with the number one, all-time fundamental building block, which is effortless breathing. If you get the breathing part right, you stand a good chance of doing well with the rest of it. If you fail to establish your breathing correctly you will always be off-kilter. The next step is to incorporate your method of support. Then focus on your resonating system and add it to the mix. I also recommend that as you go through your singing exercises, you begin with scales that are short and in a comfortable voice range for you. Build slowly by gradually lengthening the spread of the notes you sing and begin exploring the boundaries of both upper and lower registers. There is a temptation to view singing exercises as a mindless activity. Nothing could be farther from the truth. They are only worth doing if you concentrate on building a smooth working machine that incorporates body, brain, and voice. Record yourself and monitor your progress. If it's worth doing, it's worth doing right. To quote football coach Vincent Lombardi, "Practice does not make perfect. Only perfect practice makes perfect!" Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera... Author of "Voice Power" AMACOM (NY), Renee offers insider's information via on-line lessons, to receive her free weekly video News Lessons and an eBook "Answers to Singers' 7 Most Important Questions."http://cybervoicestudio.com

Hello everybody, This is pretty much the second part of my post ''singing through your eyes and through the public's eyes'' because I want to ask you all some advice on how to manage that stress you have because of too many questions in your head. I am pretty sure that won't only help me, but a lot of people too. Just to have some advice from people who have done this before. In my previous post, I talked about the solo I have to present in front of 200 people in about less than 2 weeks. Now, today, I had to practice it (I did it only once with the piano a long time ago, so I couldn't remember a lot of how the pianist used to play it) and it was IN FRONT OF EVERYBODY. I am a very nice person who isn't scared to play bass, to play french horn solos, or to talk in front of people.... but when it comes to singing, it's horrible how I am shy. When I got up on the stage, I was petrified and it totally showed in my voice. I started to lose my voice on the first verse, started to have the wrong pitch, started to have a shaky voice (so was my legs) and I ended up totally humiliating myself (from my point of view). A lot of people, when I opened my eyes, where looking at me like : Wow, is she ok? She look like she just saw a ghost. When the teacher stopped, she said : I'm sorry Myriam, I didn't let yourself warmup just before since the song goes high and then low and always moves. I was thankful that she said that, because I could tell she looked into my eyes and saw all the terror. The second time I tried, it was much better, I hitted the notes, tried to give a nice prestation and moving a little bit, but still I keep on thinking that the first impression was bad.... then came the third time, it was even better, but still, not as perfect as I wanted it to be. A lot of people said it was very good and even a girl cried (haha), but still those compliments.... I just feel like if there was something wrong about me. All the other soloist I see going up onto the stage and sing.... they hit their notes, they don't lose their voices... but why me? Could it be a problem of self-esteem? Because I know I have to work on that, like a lot of people. I also read a book about the prestation... where it says that when you do something you don't like and people say it was very good, they can't know how you sound when you are in the shower or at home or at the studio, so they can only judge by the prestation you gave them and if they thought it was nice, then good. But still, I feel like I am far from my dream and I don't understand why it happens to me, but not to the others... Would you guys have any advice? Any tricks? Any story that you would like to share? (So I can feel less alone haha!) Because this is just killing me and I don't want to stop, but I feel petrified each time I go on stage, because I feel like it's worse each time. Thank you very much!

Singing on American Idol is a dream that has spawned an international obsession with talent contests, primarily for singers. Still going strong after a decade, the genre got its modern-day start in 1983 with Ed McMahon, host of the popular talent show Star Search. When David Letterman mentioned the phenomenon on the Late Show, he appeared bewildered as he said, "You know, I didn't realize we had a shortage of stars." But American Idol and its clones are more than just wildly successful television. They are like tuition-free classrooms for up-and-coming singers. In fact, I feel watching these shows should be required viewing for anyone who wants to become a professional entertainer. Aspiring singers can learn valuable lessons from these phenomenal hit shows. The advice given on voice control, body-support, appearance, branding, and other vital aspects of performance is about as good as you can get anywhere -- and it's tuition-free to boot! Shows like American Idol are the Super Bowl for the kids who didn't play sports in high school. They were the guys who were busy practicing their instruments or playing in the marching band. As competitors, singing on American Idol, The Voice, The X-Factor or America's Got Talent helps young singers get a sense of what real-world professionals are looking for and what the American public responds to. Singers can learn from the critiques what works and what doesn't, and then apply that to their own performance. I give the American Idol panel of commentators high marks for generally right-on advice. But, strangely, I find that I have agreed most often with Simon Cowell, who has usually been the harshest. I've noticed though he seems to be a bit kinder and, dare one say, gentler? since he has taken the helm at The X-Factor. If you think Simon is tough, try convincing a roomful of label executives that they should gamble a million dollars on your career. There have been episodes where the contestants who are singing on American Idol received criticism for choosing material that plays to their strength. The following week, the same singer was pilloried for making a song choice outside his comfort zone. And that's something every singer should think twice about -- stepping outside of your safety zone. Sometimes it's simply best to do what you do best. Choosing the right material is important and it's wonderful when the perfect song and the perfect singer come together. But the qualities we hear in a great singer would come through if they were singing the phone book. One caution I would give to the contestants is to guard against over-singing. Those who end up singing on American Idol and its clones seem to be obsessed with "LOUD." Many of them belt the songs out so loudly that the words don't seem to matter. It's becomes a shouting contest. Singing should be more subtle than just slinging a lot of voice around. When you sing with a thundering voice, you sacrifice the honesty, intimacy, and integrity of the lyrics. Yet, this style is presented to millions of television viewers as desirable. Does being in the final top ten guarantee you a spot in the hearts and pocketbooks of an adoring public? No, but it sure beats rehearsing in the garage, or sitting around thinking about becoming a big star. Singing on American Idol, The Voice, The X-Factor or America's Got Talent just might be your ticket to success. Or not... Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera... Click here www.cybervoicestudio.com to receive her free weekly video NewsLessons and PDF of "Answers to Singers' 7 Most Important Questions." Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons atwww.cybervoicestudio.com.

BRIDGES IN SINGING In vocal study, you often hear terms like registration, head voice, middle voice, chest voice, mix, breaks, bridges. All of these terms refer to the coordinating of the voice as a singer ascends or descends in pitch. Bridges reveal changes in vocal coordination and occur in relatively predictable parts of the scale. If the bridges are not negotiated smoothly there may be an abrupt disconnection and interruption of vocal tone, known as cracking or breaking. Here's how it works: the chest voice is your lower voice, which most people use for speaking. It feels as though the tones are coming straight out of your mouth when you sing, and you if you place your hand on your chest as you sing a note, you will feel vibration in your chest. As you sing a scale starting from your lowest note ascending upward, you will notice at a certain point that you will begin to feel a sense of reaching for the note, or perhaps a feeling of straining to reach the pitch. You are now in your first passage area, or bridge. Think of this area as the passageway to your high notes. This first bridge is a critical area of the voice because this is where your outer muscles are most likely to try to help the process, by pulling and tightening in order to stretch the vocal cords to reach the higher pitch. Or else, they let go completely and the result is a weak, breathy sound. However with correct vocal training, you can overcome these issues completely. Good vocal training will enable you to build a strong connection between the lower and upper registers, resulting in a smooth transition from the chest voice upward. With a good mix, or middle voice, you will ultimately be able to go up and down the entire range of your voice no with breaks, no uncomfortable weakening of volume or intensity, and best of all, a healthy flexible voice that will enable you to sing in any style! Learning how to mix and transition through the bridges is one of the most important aspects of good vocal production. Getting through the bridges requires a very subtle coordination between opposing muscle groups. This coordination is difficult if not impossible to teach yourself, since you cannot hear yourself correctly, due to the design of our hearing mechanism. You absolutely need a qualified teacher who can develop this vocal coordination in your voice! To register for your professional vocal evaluation and consultation at Sing Like a Star Studios, please visit www.singlikeastar.com and click the Get Started tab. Lessons are available in person, or by Skype, speakerphone, or Facetime. For more free singing tips and voice lessons, please subscribe to our You Tube channel athttp://www.youtube.com/triciagrey

Singing kids. Do you have one? I mean one of those kids who just won't stop, who goes around singing to themselves or to anyone they can trap and tie down. This is an all-too-familiar scenario; Mom and Dad aren't musically inclined, but their kid has talent. How do they know whether their child has what it takes to be a success? How does a parent know if they should consider taking out a second mortgage on the house to support little Suzie's big ambitions? Parents of singing kids must be honest with themselves before committing to the expensive and time-intensive job of organizer/chauffer/private assistant to their offspring's pursuits. Are they ready for that kind of commitment? Even more importantly, parents of talented singing kids need to be absolutely certain that the driving force behind the dream of superstardom is their child and not them. Fortunately, in my experience, it's more often the kids. When I asked young Taylor Ware, the national Yahoo yodeling champion and America's Got Talentrunner-up, what she wanted for Christmas that year, she solemnly told me that she had written to Santa asking him to bring her a tour bus. I would say this girl is clearly in the driver's seat. When Miley Cyrus first came to work with me, she was the consummate professional at the tender age of 12, complete with her own assistant. She had great parenting and was one of the most balanced and happy of all the singing kids I have taught. I did not get the sense that her childhood had been compromised in any way by her career. As a place to start, parents should consider the following ten issues in order to gain valuable insight into their child's potential for stardom. The evaluations will help parents make the right decision about what to do when their child announces they want to be a superstar. This list addresses motivation and talent -- both of which are essential to a successful career in music. You might have a winner on your hands if your child: 1. Is motivated more by making music than by the promise of stardom 2. Willingly passes up other activities in order to practice music lessons 3. Learns from shows like American Idol and America's Got Talent 4. Seems passionate about singing, always looking for places to perform 5. Handles constructive criticism and rejection by learning from it 6. Sings as well a cappella as they do singing along with the radio 7. Personalizes popular songs by adding their own special touches 8. Sounds as good to music professionals as the singers on the radio 9. Feels at ease in the spotlight and comfortable relating to an audience 10.Gets frequent requests to perform in public If the answer was 'no' to several of these questions, don't rush off to the bank for that second mortgage. Your child may be talented, but most likely may not have everything it takes to have a successful career. Be encouraging and give them time to explore their talent. Revisit these ten issues in a year or two and assess your child's progress. If there has not been substantial improvement, consider that your child may be destined to use their talent in the church choir or in a local band for fun, rather than for profit as a music professional. On the other hand, parents who answer "yes" to most of these questions should seriously consider their child's future as a musician. Be aware that taking a leap into a full-fledged vocal/musical regimen will involve the whole family and dominate their offspring's childhood years in the same way young gymnasts with Olympic aspirations forego many of the typical social and personal pursuits common to the formative years. Encourage your singing kids and support them as best you can. Seek professional guidance for responsible ways to help them grow musically. Remember, the drive for a music career must always be theirs, not yours. Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera... Click here www.cybervoicestudio.com to receive her free weekly video NewsLessons and PDF of "Answers to Singers' 7 Most Important Questions." Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons atwww.cybervoicestudio.com

Nothing makes sense and it's all fucked up Nothing makes sense and it's all fucked Just keep quiet, just keep quiet (2nd vocal) Just SHUT UP Nothing makes sense and it's all fucked up Nothing makes sense and it's all fucked Just keep quiet, just keep quiet Just SHUT UP I try to keep lovin but your makin it hard Every time I turn around make a brand new start I know my words are hurtful this is just too much you better settle down, step back and SHUT UP I don;t think you know where my pain is at every thing you do and say, makes me want to snap I don't want to leave you, but your pushin too hard keep it up babe, gonna have to walk I don't want to leave you, but your pushin too hard keep it up babe, gonna have to walk solo Nothing makes sense and it's all fucked up Nothing makes sense and it's all fucked Just keep quiet, just keep quiet (2nd vocal) Just SHUT UP all lyrics © Socan 2011