Saturday, 26 December 2015
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Wednesday, 23 December 2015
WHY YOU SHOULD LEARN AN INSTRUMENT
1. Improves Performance On Cognitive Tasks
People with music training often outperform non-musical people on cognitive tasks. You can teach an old dog new tricks: in people over the age of 65, after 4 or 5 months of playing a musical instrument for an hour a week there were strong changes in the brain—the parts that control hearing, memory and the part that controls the hands, among others all become more active. The effects are long-lasting too: for adults aged 65-80, the more years a person had spent playing an instrument, the better they performed on tests of word recall, nonverbal memory, and cognitive flexibility. Other results show that playing an instrument can help your IQ increase by seven points.
2. Increases the Capacity of Your Memory
Adults and children can both benefit from learning to play an instrument because it helps the mind to be alert and remain active eventually helping to sharpen the memory. This makes learning a foreign language easier and makes you more perceptive to interpreting the emotions of others. This is due to the fact that learning an instrument requires you to learn about tones and scores which increases your ability to store audio information. Therefore it becomes easier to pick up other languages and have a better verbal memory in your own language.
3. Refines your Time Management and Organizational Skills
In order to learn an instrument successfully you have to learn how to be organized and manage your time wisely. To progress quicker, a musician will learn how to use their time efficiently and plan different challenges to work on. When you see yourself continuously improving, you will be motivated and ready to take on those new challenges.
4. Enhances Your Coordination
If you learn how to play an instrument, the parts of your brain that control motor skills actually grow and become more active. By reading musical notes on a page, your brain must convert that note into specific motor patterns while also controlling breathing and rhythm as well. Also for most instruments, you have to be able to have your fingers and/or limbs each performing different tasks simultaneously. Therefore playing music requires a lot of hand-eye coordination and if you’re anything like me (always picked last to play dodge ball but I’m not bitter or anything) then any improvement would be greatly appreciated!
5. Betters Your Mathematical Ability
In order to read music you have to count notes and rhythms, which has the effect of improving your math skills. Learning music theory includes many mathematical aspects so it’s not surprising that it can help you understand things like fractions more effectively. So if you’re still in school, does that mean you don’t need to pick up a guitar instead of a calculator? Hm…
6. Fosters Your Self-Expression
The more advanced you become on an instrument, you’ll begin to be able to play what you want and however you want. Since music is an art form, you can easily play a piece and use it as an outlet for your emotions. Playing an instrument of your own will not only help you relax, but can help build confidence and give you a sense of achievement. How cool is it to discover a talent you thought you never had? Music can also provide a sense of independence and individuality, which in turn contributes to one’s own self-discovery and sense of identity.
7. Provides Health Benefits
Playing music acts as a form of therapy, having calming effects on the mind and body. In particular, music has been found to reduce blood-pressure levels while other studies suggest that music therapy helps children and teens with Attention Deficit Disorder, insomnia, and depression. Oh and it can also be exercise occasionally: 90 minutes of drumming burns as many as 500 calories. That sounds so much better than jogging!
8.Teaches You Discipline, Responsibility And Perseverance
Learning to play an instrument takes time and effort, which results in your learning patience and perseverance. To get a musical phrase or entire song down with as few mistakes as possible takes great focus and repetition since most people will not be able to play a piece of music perfectly the first time. In fact, the majority of musicians have to work difficult sections of music multiple times in a row before they can play it correctly. Since it is such a challenge, this teaches you self-discipline and the importance of maintaining a steady practice schedule.
9. Relieves Stress
Music naturally can soothe not only others but the musician as well. The sound combined with the release of creativity and emotion, as well as the simple vibration of an instrument against a player’s body can significantly lower a musician’s stress level. Playing any instrument can actually help release the endorphins in your body, which will also result in reduced levels of stress.
10. It’s Just Fun
Even after learning the simplest three chords, you have the ability to write your own song. Bob Dylan has written several well-known songs using only a few chords and there is nothing like playing a song you just learned or wrote for a friend or playing it with friends. You don’t have to be Beethoven or Mozart here, you just have to have a desire to learn!
ARE YOU REALLY SERIOUS ABOUT HAVING A MUSIC BAND?
The primary excuse I hear for not starting a band is “I’m not good enough.” That’s actually an advantage; the less experience you have, the more musicians there are to choose from. Face it; it’s a lot easier finding inexperienced players than top-notch professionals. Start a band of equals and grow in experience together. The sooner you get started the faster you’ll achieve your dream.
Creating a Rehearsal Space
Rehearsal space? Isn’t that putting “the cart before the horse?” No, if you’re going to audition members for your band you’re going to need someplace to hold rehearsals. If you’re lucky enough to live in a city that rents rehearsal space that’s great. Otherwise, pull out your toolkit because you’re building a soundproof room.
I’ve rehearsed in basements, garages, storage spaces, apartment clubhouses, church recreation centers, and professional rehearsal studios. It’s not difficult to find a rehearsal space; what’s difficult is keeping it. About the third time a neighbor calls the police because you’re playing too loud, you’re out. To keep this from happening you need to soundproof the room. Real soundproofing is expensive, so improvise; used carpet works well, is cheap, and can be found at a local carpet outlet. You may even be able to get carpet that’s been removed from a previous installation free of charge. If not, purchase inexpensive carpet remnants. It ain’t pretty but it’s cheap.
To soundproof a room it’s necessary to create a room within a room. The air space between rooms is effective for deadening sound. Use this same technique with carpet – try to separate layers of carpet with air spaces. The carpet will also act to deaden reverberation so you’ll be able to clearly hear what everyone is playing. If you practice in a large empty room where sound reverberates, musicians can even hit wrong chords and you’ll never hear it.
Once the rehearsal space is secure it’s time to find the right musicians. This is the most important aspect of the entire process. It’s important to find musicians that are on your level of playing experience. For example, a great bass player who is more skilled than the rest of the group won’t stick around for long. Other important considerations are to find people with similar goals, who are in your age group, who are dedicated, with the same musical taste, and who are available for rehearsal.
How To Start a Band – Advertise for Band Members
How do you find these people? Advertise! Advertising works, that’s probably how you found me. Most people are aware of my guitar lessons from guitar magazine ads and Internet advertising. Your band ad must speak directly to prospective band members. They must feel that this ad “has their name on it.”
You probably already have a good idea of where to advertise for musicians. If not, check out the classified section of local papers to see where musicians advertise. You should post flyers in music stores, clubs, and schools. Also, take advantage of the Internet to connect with like-minded musicians.
How To Start a Band – Creating an Ad
The most common mistake people make when writing an ad is to misrepresent their level of experience. An inexperienced musician often tries to appear experienced to attract better players. The problem is, those better players won’t be interested in playing with a less experienced musician for long. Believe me, I’ve been on both sides of the fence. I’ve auditioned people that were way beneath the level I was seeking, and I’ve been auditioned by more experienced musicians. So, begin with an honest evaluation of your skills and your level of commitment to include in the ad.
You must create an ad that clearly expresses who you are and the type of musicians that you’re seeking. The ad should state your musical taste, level of experience, dedication, and goals. If there’s anything else that distinguishes you from other musicians mention that too. This might include your recording equipment, contacts, and rehearsal space.
I prefer to advertise for one musician at a time so it appears as if I already have a group. It’s much easier to find musicians who want to join a group than to attract people interested in forming a new band. Get started by looking for another guitar player, bass player, or drummer. After that position is filled, find the next musician. Don’t look for a lead vocalist until last. More on that later.
Usually it’s easiest to find another guitarist. Face it guys, we guitar players are a dime a dozen. The hardest position to fill is the bass guitarist. My suggestion – find a guitarist and you two begin by taking turns playing pass. Eventually you’ll either find a bass player or one of you will become the bass player. Yes, that’s where bass players come from. It’s a lot easier joining your first band as a bass player than a lead guitarist.
How to Start a Band – Holding Auditions
Be prepared for the first few responses you get to your ad. Make a list of questions beforehand and keep track of how each musician responds. If a person seems interesting, set up an audition. Give them a couple of songs to learn so you’ll have music that both of you are capable of performing. Take command of the situation by selecting songs that will showcase your ability. Even so, don’t choose music that is so difficult that it makes you nervous to perform. I like to choose pieces that allow me to improvise during the more difficult sections so I can perform with confidence. If I’m too nervous, I lighten up on the sixty-fourth note triplets.
Don’t wait until the entire band is formed to rehearse. Remember, the tighter you and the other musician play together, the better musicians you’ll attract to complete the band. It’s necessary to build confidence; everyone involved must realize if you stick together this actually will become a band. A positive attitude is essential.
How to Start a Band – Begin Rehearsals
How do you rehearse with a band that doesn’t have a bass player or drummer? Play along with a drum machine or pre-recorded tracks. For example, if you don’t have a bass player but you do have a drummer record the bass parts yourself. If you don’t own a bass borrow one or maybe talk a local musician into recording the parts even if they’re not interested in joining your band. Be sure to record a click-track (for timing) along with the bass. The click-track can come from a metronome or drum machine and should be a single sound like a hi-hat or wood block. Start off with a four-count so you and the other musicians will know when the song begins. It will probably be difficult for the drummer to hear the track so they should listen to it through headphones. Consider purchasing a headphone amplifier that will distribute the sound to several sets of headphones. Record the rehearsal tracks as MP3 files and hook your MP3 player up to the amplifier.
It’s a good idea to create a multi-track recording of every song that you learn. That way, if someone can’t make it to a rehearsal you can mute all of the tracks but their performance and the click-track. This recording is also useful for learning new songs. Give each member of the group a recording minus their instrument for them to use as a practice tool.
The is the answer to the biggest problem bands face – people not showing up for rehearsal. As an adult you’ll need to do homework. Take the jam track (minus your instrument) home and practice with the band. If other members have this same self discipline the band can move forward with very little actual group rehearsal. Everybody must know their parts when they arrive at rehearsal.
Before long your group will be ready to find a lead vocalist (unless group members already handle the vocals). The singer is the main link between the band and the audience. A great vocalist is essential for success. That’s why I saved the vocalist for last. Rehearse the group until you’re able to play several songs perfectly without vocals, otherwise it will be difficult to audition singers. I know this sounds difficult, but the band will be much tighter if you learn songs without listening to vocals. There are two other advantages to rehearsing without a singer. One, if you learn to depend on the vocalist for the arrangement, when the vocalist makes a mistake the band will follow which can be disasterous. Two, if the band needs the singer to sing every song at rehearsal, the singer’s voice will be shot when it’s time to play gigs. Plus, vocalists are notorious for being difficult to manage. So, when they throw a temper tantrum and storm out of the room you can continue to rehearse without them.
Dividing Responsibility
Once the group is formed, various duties must be divided among band members. Be sure everyone in the group has certain responsibilities, but no one should handle too much of the load. One person must be the bandleader. The leader oversees the whole operation. They must be sure that each member is doing their job and that the “band effort” is organized. Booking agents and club owners only want to deal with one individual, not the entire group. So, the leader must act as the group representative. The leader is also responsible for hiring and firing. Although the group usually decides who is to be hired or fired,the leader often has the responsibility to carry out the band’s wishes. And let me tell you, that’s not fun.
Rehearsal Director
The group leader may also handle this responsibility. The rehearsal director organizes practice sessions to be as efficient as possible. The director keep everyone informed about what songs will be learned in the future and set rehearsal goals. If the band wants to learn a new song every day, and practice previously learned material, the director organizes a schedule to accomplish this. This person also makes notes on song arrangements and may be in charge of harmony practice. Before moving on, I’d like to mention a couple of things about choosing material. Take turns choosing songs. If anybody in the band doesn’t like a song, drop it. There is enough good material available that you should be able to find songs that are acceptable to everyone. Also, choose material that fits the venue that you intend to play. Check out these places and see what songs are getting good crowd reaction. Keep your material current; don’t learn too many oldies, because your song list will become dated. If you have a good song list of current material you can start learning original material without feeling the need to constantly learn new cover tunes.
Image Coordinator
The next job pertains to creating the group’s image. Usually the lead vocalist is the most image conscious person in the group. If so, let the singer be in charge of the group’s stage appearance because a single person should coordinate this. If everyone dresses and looks as they please, chances are the band won’t look like they belong in the same group.
Each song you learn should have some organized stage movement. It’s necessary to arrange some of the movement on stage to add impact to the show. That way, even when the band is having an “off night,” you can still expect the two guitarists to meet at a certain place on stage and at the very least acknowledge each other’s existence. Often, just by looking like you’re having a good time you’ll start having a good time. Without a certain amount of organized stage movement the band will be too inconsistent – some nights will be great (lots of movement) while other nights will be boring (the band will appear uninterested and listless). I just noticed that I wrote twice as much about the person in charge of image as I did about the bandleader. I’m not sure if that’s a good thing.
Bookkeeper
It’s a dirty job but someone’s got to do it. The band should open a checking account to keep accurate financial records for income tax purposes. That’s if you actually make enough money to file taxes. All income should be deposited to the band’s account, and all expenses should be paid by check. The bookkeeper should keep receipts and records of income and expenses. This can be accomplished by simply keeping records in the check ledger. This person should also establish a good relationship with the bank because you may need to borrow money for equipment. While I’m talking about borrowing money, let me make a point – good credit is extremely important when you’re in a band. Establish your credit and guard it like you do your axe. When the band’s truck breaks down and you need seven hundred dollars for engine repairs before the next gig, you’ll realize the importance of good credit. Once you start touring it’s almost impossible to establish credit so keep your record clean. Banks are reluctant to loan money to transients, the self-employed, and musicians (yes, bankers have found me amusing). If you become a successful musician working on the club circuit you’ll fall into all three categories of credit risk. If you can show the bank that you have a good credit history they might stand behind you through difficult times. Before you “hit the road” make it a point to establish your credit by securing a credit card and pay the outstanding balance in full every month.
Public relations
Someone must be in charge of public relations. This person should be sure that the band’s photos and bio are up to date. Public relations work also entails promoting individual gigs – make your audience aware of each performance. This person should work closely with an artist on t-shirts, flyers, ads, and business cards. It is also important to organize newspaper clippings into a press kit and accumulate an e-mailing list of fans.
Band rehearsals
Rehearsals are a job, not a party. That means no drugs, drinking, or friends at rehearsals. If your “significant other” has a job, you probably don’t hang around where they work. Your partner needs to understand that anyone at a rehearsal other than band members is a distraction. When you have an audience there’s too much of a tendency to perform all of your best material instead of learning new material. Too many people hanging around your rehearsal space causes problems with neighbors and police. Also, some people that start “hanging around” may eventually decide to rip you off or he may spread the word about where you’re rehearsing and someone else will do the job. Still, it’s okay to occasionally have a “dress” rehearsal for close friends. This is a performance of your set from beginning to end without disruption.
As mentioned before, everyone should know their parts before they arrive at rehearsal. That’s to be done at home instead of wasting everyone else’s time at a group rehearsal. The rehearsal director should see to it that everyone has a copy of new material. Rehearsals should be recorded and the director should see to it that all members have copies of the recordings. The best way to rehearse new material is to first practice songs as a group at a very low volume level then let the bass player and drummer go over their parts together a few times. After that, add rhythm guitar, then lead guitar, lead vocal, and last harmonies. Harmonies should be rehearsed at low volume over rhythm guitar or keyboards.
Learning material at low volume is important for two reasons. One, it’s much easier to hear each part distinctly at a low volume level. Two, once you’re on the road it’s a great advantage to be able to learn tunes in your motel room because many clubs won’t allow rehearsals. You can even learn new material by rehearsing through headphones. The one problem with rehearsing at a low volume level is, the drummer will need to improvise a drum set, play pads, or an electronic kit.
During each step of the rehearsal process, record and listen to playbacks. Usually, if someone’s playing a part incorrectly, the musician will hear the mistake on the recording before the mistake needs to be corrected by another band member.
Keep recordings of the band playing the entire repertoire. As you learn new tunes, add them to the collection. Keep an accurate record of the date of each recording and where the sound file can be found. It’s best to keep this record as a word document and the recordings as a collection of audio files on your computer. As you learn cover material keep copies of the original versions. One reason for this is, when a band member quits or must be replaced, new members will be able to learn the band’s material from these recordings. Nothing discourages a band quite so much as having to teach a new member old material. A band must always move forward and two or three weeks of going over the old stuff can drive everyone crazy. New members can learn the material from recordings while the rest of the band continues learning new stuff.
Showcase the band
After your group has learned about ten songs you should begin showcasing the band. This can mean playing at a friend’s backyard party or setting up a gig somewhere featuring two or three other bands. It is important to remember that you must be as professional at these showcase events as when you’re playing on the club circuit. First impressions are important; these opinions are difficult to change. If people get the wrong impression of your group, they probably won’t give you a second chance. When the audience hears your band’s name in the future, they’ll still say negative things about the group. For this reason, it may be a good idea to play these first few gigs before finalizing the band’s name.
How to choose a band name
I’m not going to spend much time on how to name a band because I don’t believe that a band’s name is critical. After a band becomes successful, regardless of what you call the group, it will sound like a good name. Until then, it’s just a name. I mean, are these really good names: Pink Floyd, The Goo Goo Dolls, Alice in Chains, or The Beatles?
Me in Buck Run… a few years ago.
Before you name the band Turbulent Overload, for example, look around the Internet to see how many other Turbulent Overload bands there are. You must find a name that doesn’t seem to be in use. The next step is to file a legal document to DBA (do business as) a fictitious name. You can learn about this process at your local city hall. If you later find that someone else is using the name Turbulent Overload the DBA document will be proof that you were using it first. Plus establishing a DBA is the first step in creating a business entity – you can do things like open a checking account in the name of the band. That might not seem important until you receive a check made out to Turbulent Overload and wonder how you’re going to cash the thing.
How to choose a booking agent
When you begin getting positive response from showcase appearances, it’s time to invite booking agents to take a look at your band. Although you may book your first few gigs independently, eventually all of your work will be secured through a booking agency. They’ll take from ten to twenty percent of the gross receipts from each performance. When choosing a booking agent it’s normally better to be with a small agency that loves you than a large agency that doesn’t give you adequate attention. All agencies have favorite bands that get the “lion’s share” of work. If you sincerely believe that you’re capable of becoming a large agency’s best band, it will probably be in your best interest to sign with that agency. On the other hand, if you opt to sign with a small agency, be sure that they’re aggressively finding work for clients. Since small independent agencies often work without an exclusive employment agreement this might be the best place to get started.
When you sign with an agency it is usually a multi-year deal. A mistake here has the potential to not only ruin your band but may also damage your music career because you sign as both a group and as individuals. This means that the agency has an exclusive employment contract with you as an individual even if you no longer play with the group. When it’s time to sign an employment agreement with the agency, have an attorney approve the contract before signing.
A band-agent relationship is a strange one. Technically the agent works for you but it’s almost as if you’re paying the agent to be your boss. If an agent offers criticism, you should seriously consider the message. If the agent constantly makes suggestions that you aren’t willing to follow, you’re with the wrong agent.
Making it work
- Mutual goals: Everyone in the band must agree on the outcome that you’re expecting from this collaboration.
- Personal relationships: (lovers, spouses, family, etc.) These relationships can be such a high priority for some members that it becomes difficult to find enough time to accomplish the band’s mutual goals.
- Interpersonal relationships: Do band members get along? Make it a point to regularly spend social time with each member alone. It will give you both an opportunity to discuss mutual concerns and ideas.
- Drug abuse and alcohol abuse: Negatively affects performance, reliability, mood, and motivation.
- Musical satisfaction: Members must enjoy the same type of music and appreciate each other’s musical contribution.
- Level of musical accomplishment: Members should progress at a somewhat equal pace. Otherwise, someone’s not going to continue with the program.
- Financial Reward: The group must make enough money to support the needs of all members. If everyone has a full-time job and is performing with the group as a hobby, members don’t need to make a cent. On the other hand, if some members are trying to support a family on the band’s income, money is extremely important. Everyone must be on the same page.
- For professional groups, a good agent: You can’t survive without work.
Here are a few things that can keep your band happy. Have organized group meetings every couple of weeks. Take notes and run each meeting in a professional manner. Constantly learn new material, even when it doesn’t seem necessary; this will keep the group fresh and keep your performances from turning into boring routines. Most of all have fun. That’s why you started the band in the first place
10 TIPS TO BE A BETTER FEMALE SINGER
You hear them on the radio all the time - the likes of Mariah Carey, Celine Dion, Whitney Houston, Jennifer Hudson, Jordin Sparks, the list goes on and on. You want to sing like that, but you're not sure where to start. Don't worry! Here you'll learn how to build up your voice so you can belt it out just like they do.
Steps
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1Get familiar with terminology. "Powerhouse singing" is typically referred to by the general public as belting. Belting, however, doesn't always equal very loud vocals. Belting simply means pushing your chest voice into head voice range. Chest voice is the voice you typically use to speak in and resonates mostly in your chest. Head voice is the higher, lighter voice most people use when singing very softly and it resonates mostly in your head. For the purposes of this article, we will use the terms "powerhouse vocals" and "belting" interchangeably.
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2Keep in mind that everyone has a unique vocal timbre, or "color" of voice. In order from lightest to heaviest, they are soubrette, lyric, spinto, and dramatic.
- Soubrette is a term used for both color and range. Soubrette voices (such as Britney Spears) typically don't have much range or power, and therefore may not be able to belt.
- Lyric voices are light, but heavier than soubrettes and if their voices are used correctly they will easily overpower Dramatic singers. Lyric singers belt with ease and power, but sometimes the sound might be too thin for some to listen to all the time.(such as http://www.youtube.com/watch?v=-WhtxYxeZ6I&feature=related (Celine Dion), although their voices tend to have a thinner, possibly more nasal sound.
- Spinto is an Italian term that means "pushed." Spinto singers, such as Christina Aguilera, can handle belting at intermittent levels, and typically sound very edgy.
- Dramatic voices are the heaviest and fullest of all vocal timbres. [http://www.youtube.com/artist/laura-branigan?feature=watch_video_title[Laura Branigan is generally regarded as having a dramatic vocal timbre, she was able to belt for long periods of time and has an extremely strong resonance. People with dramatic voices can handle long periods of belting and can typically sing over loud orchestras.
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3Once you have figured out your vocal timbre, now's the time to figure out your range. There are three terms to describe range:
- The first is alto (or contralto) and it's the lowest voice of all female voices. Toni Braxton is an alto. Alto voices can typically sing from F3 to F5, although some can go much lower and higher.
- Next there is mezzo-soprano, or "middle soprano." Mezzo-soprano singers can typically sing from A3 to A5, although again, this can vary.
- The highest of the female voices is soprano. Sopranos can typically sing from C4 (also known as middle C) to A5 (also known as high A).
- These definitions are for classical vocalists though, and in pop/modern vocals, these definitions are just an estimate. To test your range, simply go to a piano or keyboard and find middle C. Just about anyone can vocalize a middle C. Sing against that, and see how high you can go above it and how low you can go below it. This will give you a general idea of which term describes your range.
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4Remember however, range is not everything and certainly doesn't say whether you can be a belter or not. Toni Braxton is an alto, which means she can't sing very high, but she does have a very powerful voice.
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5Become familiar with mixed voice. Simply put, mixed voice is just what it's called - a mix between chest voice and head voice, lying between those two registers. Learning to sing with mixed voice and strengthening mixed voice takes a great deal of strain off of your voice when belting, and it also enables you to belt even higher. Mixed voice has a tendency to sound slightly nasal because it resonates mostly in the nasal cavity. Don't worry about this. As long as it's only slightly nasal and not excessively so, it's OK.
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6Now the fun part - belting! Always remember to support your breath very well! If you don't, your belting will be very "pitchy" and generally just not sound good. Relax and trust your voice. Don't try to force it at all. Belting is not something that you can be good at overnight. It takes a lot of practice. Think of it as yelling over music, but don't actually yell! As said before, support that breath! Also, keep good posture. When belting, a good rule of thumb is to make sure you're not tightening your diaphragm up too much. You want your breathing when singing to be more in your stomach than in your chest. When breathing while singing, make sure your stomach is expanding.
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7Remember to breathe! Some people actually forget to take breaths when belting, resulting in them running out of breath mid-note.
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8Keep your jaw relaxed. Tightening up your jaw will compromise the sound of your belting, noticeably so.
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9Remember that not all voices are equipped to belt effectively, and this is OK. Some of the best singers out there can't sing over the sound of bombs, and that's OK. Just like range, power isn't everything. Just work what you have!
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10The most important thing to remember though is that if it hurts, STOP! Singing should never be a painful experience! If you experience pain while singing, that is your body telling you that you are doing something wrong or pushing it beyond it's limits. You should never be hoarse (or even worse, completely voiceless) after belting through a song, or even a whole set. If you find that you can't belt without pain or a loss of voice, consult with a voice teacher so you can learn to properly belt without risking your vocal health.
TIPS TO BE A BETTER MALE SINGER
However, there are elements of vocal technique and style which apply to different genres and voice types, and some singing tips for guys that are as important for the next budding Pavarotti as for the aspiring death-metal frontman. Vocal Range
The most basic and important thing to establish is your vocal range. Although voices can undergo considerable change as you mature, the basic sound and pitch of your speaking voice can give a good indication of where your voice might sit comfortably. For example, if you sound like you’ve gargled with gravel when you speak, no amount of training is going to
turn you into a high tenor! The basic classical voice types for guys are:
Tenor – the highest natural male voice range, and usually the hero in operas, or the young male lead in music theatre.
Baritone – the most common voice type for untrained male voices, often used for “everyman” roles.
Bass – the lowest male voice range. True basses are really quite rare, and bass roles are often cast with “baritones with low notes.”
Another less common male voice type is the male alto, or counter-tenor. Singing exclusively in the falsetto (high) range, this voice type can sound other-worldly, and is used to great effect in classical music, particularly in the baroque era.
It’s important not to force notes that you don’t really have. You can’t turn someone into something they’re not – again, use the colors in your singing voice as a clue. Even if your range is relatively limited, a brighter, lighter sound implies that with training, you’re likely to have a higher vocal range.
Additional Singing Tips For Guys
- Know your voice – not just your range, but how your voice works when you’re not feeling your best. Avoid singing when you’re sick if you can, but since we are our instruments, we all have days when we’re not 100%, but still have to produce the goods. Know what you can and can’t do comfortably on these days.
- Avoid anything that will damage your voice – this means smoking, some prescription medications (talk to your doctor), excessive alcohol consumption, and throat clearing. If this is a habit for you, break it as soon as you can.
- Get plenty of rest – not just for your voice, but for your body too.
- Exercise – again, not just scales and vocal exercises, but find a physical activity you enjoy, and stick to it. The fitter you are as a singer, the better your voice will work.
No discussion of singing tips for guys would be complete without considering artists who have taken their art form to a world-class level. Let’s consider probably two of the most distinctive male voices of the last century – the great Italian tenor, Luciano Pavarotti, and Freddie Mercury, the charismatic frontman of British rock supergroup Queen. Even though their musical genres couldn’t be further apart, they have more vocal similarities than they do differences. They both have extraordinary vocal
facility and freedom. Pavarotti’s golden, bright, rich-toned vocal style incorporated the Italian “sob” – a technique particularly used in verismo (“realistic”) operas. Mercury’s extraordinary vocal agility, attention to words, and stunning musicianship made an impression on many.
As you improve your singing skills, keep these tips in mind and always keep your particular vocal style in mind. You’ll begin to notice what works and what doesn’t for your range, and capitalizing on that will make you an even better singer!