If you believe…they will believe.

So often I say to my students…..sing like you believe it! Make me believe you! What exactly does that mean? I just finished watching American Idol and Usher says to a few singers that if they can connect with the audience, make the audience believe, then they have done their job. Yes, point taken. I agree. But how do you get the audience to believe you, if you don’t believe yourself?

Number one, without a doubt, is self belief. The audience can see it, you can feel it. Is it real or is it fake? If it is fake then maybe you are trying to hard. Sing to yourself, sing for yourself, believe in yourself……..

You can always learn to sing better…

This is for all the adults who were too shy to sing as a kid, and now as a adult you love singing along with the radio, but you wish you could to it better. Here are a few tips to try…

1. Use a set of good headphones to listen to an easy song by one of your favourite artists.

2. Listen intently and try to mimic the words and expressions but without making a sound. In other words, pretend you are that performer and articulate every word with clarity and preciseness.

3. When you are ready to add your voice, take one side of the headphone off and leave the other side on. You must be able to yourself as well as the performer. 

4. Now sing quietly but intently with the performer. Make sure you are enunciating the words clearly and with expression. Be careful to be on exact pitch as the performer. Remember, you are not trying to mimic your interpretation of the performer’s sound, you are mimicing the consonants, vowels and phrasing.

5.  Remember you are doing this quietly, but not quiet like a whisper, but quiet like you are talking…..just like talking on pitch.

6.  If you find yourself needing to be louder as you go higher, then you are not approaching this exercise correctly. The voice needs stay at the same volume on the low notes as the high notes.

7.  To help find what the high notes will feel like, try a “cry” approach, or a dog whimper to the pitch of the high note. Notice the thinness of your voice when you are in your head voice. Remember, your goal is not to match to “sound” of the performer, but rather the “pitch” of the performer. Sometimes just lightening up on the high notes will usually create the correct connection. This may be very breathy but you are going in the right direction.

9. Now with practise you can start to “lean” into the notes. This should help eliminate any extra air getting through. 

10. One last tip — be true to your voice. It should not be your goal to sound like the performer in the song, it should be your goal to sing the song with your voice to the best of your ability.

Let me know how this exercise worked for you. Do you have any questions?

Celebrating 30 years…early childhood music education at its’ best.

Wow, what a day! Just finished a marathon birthday party celebrating Music for Young Children’s 30th birthday party. There were approximately 100 kids with their parents and teachers from London, Ontario and surrounding areas. We spent an hour and a half together of drumming, singing, keyboard playing and music concept games. I don’t know about you, but my music lessons as a kid were never like this!

Music for Young Children (MYC) is a music educational program for young children. How young? Well, the keyboard level starts at 3 1/2 to 4.  The founder of the program is Frances Belodis. In the last 30 years her program has blossomed all over the world with over 900 teachers.

The MYC way is intent on teaching the elements of music at the introductory level that will build a solid music foundation for an entire lifetime. I’ve listed below some of the many building blocks built into the program.

*note reading – The MYC way is not to memorize a phrase like “every good boy deserves fudge” or “FACE”. Students learn note reading with stories, songs, and games that are a fundamental part of the program.

*sight reading – Sight reading is an extremely important, yet challenging part, of being a good musician. Students at MYC learn patterning to help with note reading from the very beginning. Patterns are reinforced weekly when analyzing songs. Patterns are reinforced with games and sight-reading exercises.

*singing – Singing is used to reinforce concepts and rhythms. Most children love to sing, so it’s an easy and enjoyable way to learn about music.

*solfege – Solfege is built right into the program. For those of you who don’t know what solfege is, it is hand signs that match the major scale….just think of The Sound of Music movie, and the famous song Do-Re-Mi by Julie Andrews. This song is all about solfege. MYC has terrific solfege songs for all levels. Children do actions mixed with solfege to build skills necessary for playing music by ear (without music).

*rhythm – There is an entire section in the MYC music books at each level geared to rhythm ensembles. Children learn how to play music together in mulitple parts.

*composition – Children at all ages write music in MYC. MYC teaches writing techniques that help the students put songs together for submission to a yearly worldwide composition festival.

*movement – In MYC we move! Students learn by moving!

*ear training – The ear is an important building block in the MYC family. An entire “listening” section is included in each MYC music book at each level. There is a weekly listening exercise.

*fingerplay techniques – Piano playing is about great fingers and hands. MYC knows this. From early on, fingerplay components help to build strong piano players.

*history – Yes, MYC teaches history! Children learn all about Beethoven and Bach and other famous composers! We play their songs and we learn about their lives!

*theory – This is probably the most phenomenal part of MYC in my opinion! I still can’t believe it when my 9-y-o students accomplish their Preliminary Rudiments exam with top honours. Students learn about major and minor intervals, rest replacement, circle of 5th’s, scale writing and terminology. Most piano teachers do not touch the elements of theory with their students until they reach the equivalent of Grade 5 piano.

*harmonizing a melody line – Last, but certainly not least, the children learn how to use left hand chord structures to harmonize with a melody line. As early as the first level, students start to learn “bridges” and “snowman chords” in I, IV and V7 degrees of most scales including C+, G+, D+, F+, a-, e- and in the higher levels B flat+, d- and g-. This goes hand-in-hand with ear training and solfege to show the children how to play familiar songs and engage them in the exploration of playing songs without the use of sheet music.

Well, I could go on and on…. If you want to learn about an MYC teacher in your area visit www.myc.com. If you are a music teacher and think this is the way you would like teach, then check out the teacher section at the same address!

Bye for now, would love to hear your comments!!

Kids and music go together like peanut butter and jam!

My son is 9 and he has been complaining more and more about his music lessons lately. Just last week he said to me that he wished his mother wasn’t a music teacher!  The comment wasn’t really a surprise to me. It’s not uncommon for kids to complain about the focus, discipline, and energy that is needed to stick at learning a musical instrument. So, I did some rearranging in his practise schedule and tried to come up with some interesting ways to get his mind back in the reading music mode. One thing that seemed to work was chocolate-covered peanuts, his favourite!  He played two measures of a new song, hands separate, three times on each hand. He could eat a chocolate covered peanut after he played the RH three times. Then he switched to the left hand and played the two measures three times. I just popped the chocolate peanuts right into his mouth so he didn’t get chocolate on his hands.  If I thought it was done well enough we moved on to the next two measures hands separate, and so on. It worked very well and he consumed an entire box of Glosettes!

This was well worth the effort because he could now actually play the song quite well hands separate, and it made him want to go back to the piano and review it regularly. The investment made early in the week of practising took a lot of pressure off as the week progressed. He was able to start putting the song hands together, two measures at a time, easily on his own. He was motivated to do it. He had learned the parts separate and now he wanted to put it all together….to finish what he started.

So you want to be a singer…

Learning to sing is no different than learning to play the guitar or the piano. It requires a great deal of discipline and practise to get your vocal cords working to the best of their ability. Copying other singers can be a good thing, but it can also be a bad thing. If you are not approaching the pitches correctly, or not using the appropriate mix of head and chest voice for the song, then it can be problem. This can create some very bad habits, and lead to hoarseness and possible damage.

Bottom line is, if it hurts or if you are straining for notes, then you are doing it wrong. Singing should feel easy and free. If you are grimacing and singing loudly during high notes then you are not singing freely.

Everyone’s vocal cords are different. That’s the fascinating thing about the vocal instrument. No two sound alike. Some voices are automatically pleasing, and some not so pleasing. Of course, this is all subjective. What’s pleasing to my ear may not be pleasing to your ear.

If you’re not sure how to make your singing better, then it’s a good idea to see a vocal coach with a reputable background to learn exercises that will help you build strength, endurance and better tone.

How I Learned Not to “Pull Chest”

Do you automatically sing louder as you sing higher? If you do, then you are likely a “chest-puller”. The vocal cords will keep stretching and stretching as you sing higher and higher, and you end up just blowing a lot of breath through a very wide space. This is not a good thing. Not only will it cause damage  but it causes your voice to lack luster, crispness and presence.

The vocal cords need to thin as you go higher. It’s the same for EVERYBODY! You must allow this to happen. You may not like the sound at first, and this probably means the vocal cords are not adducting (closing) the way they need to. Test yourself, can you do a quiet whine or cry in your head voice. Does it have an edge and crispness, or is it flat and dull?

Here is how I learned to stop pulling so much chest. First of all, you need to know I started playing music and singing as a teenager in rock and country bands, like so many kids do. Gig after gig I would sing hard and continually lose my voice. This all stopped the day I got a solo gig in a very small but quaint bar in a restaurant. I was basically “live” elevator music, if you know what I mean. I was able to really practise the skill of leaning into my notes, because I had to create dynamics, variations and presence at a low volume. My voice was amplified and I used a crisp reverb effect for ballads, and a short delay and slight reverb for fast songs. When I did need to pull chest, I would always work the “lean” as well. They work very well together.

Hope this post is helpful. All you singers out there, let me know what you think. Susan

How far did you go with your piano lessons?

Boy, times have changed! I don’t recall a lot of exciting times at my music lessons while I was growing up.  How about you? Did you take music lessons? Did you continue? Did you enjoy them?

A very high percentage of people are going to say they took music lessons for a few years and then quit. Why did you quit? The majority will say the process was difficult and boring. It continued to get more challenging and you didn’t have the motivation to keep at it.

Today children can learn music in a very different way. This CBC news video of a Music for Young Children class in Summerside, PEI, Canada, is a good example of how kids are learning today. http://www.cbc.ca/video/#/News/Canada/PEI/ID=1430244648

OK, so get this. This video is level 1 students as young as 3 and 4 years old learning music and piano. Each year these kids move up the ranks of the MYC curriculum and around age 8 and 9 they reach the top level and graduate with Grade 1 piano and Preliminary Rudiments! This is highly unusual unless you are a Music for Young Children student!  Visit www.myc.com for more information.

Your comments are welcome. Let me know what you think!  Susan

We all want smart kids…

My kids are almost 9 and 12 now. I wanted them to have many experiences as a baby and toddler that would stimulate their brains and help make them smarter. You know, that “window of opportunity”. Research has proven that exposure to music in the first years of life has a very positive effect on the brain. Here are a few ways to encourage stimulation through music.

1. Singing with sounds…not words. For instance, ba, ba, ba or do do do, bup bup bup…….sounds like these that a baby can imitate. Do them high, do them low.

2. Touching to the beat or rhythm of a song.

3. Smiling and moving while they watch you sing.

4. Using an instrument such as an egg shaker or bell. Drumming with a kitchen utensil.

5. Creative movement to the beat….swinging, crawling, jumping.

A highly-acclaimed music program for babies and todders originates in Atlanta, Georgia called “The Music Class”. www.themusicclass.com They have teachers who are qualified to teach early childhood music education all over the world, and the curriculum is superb. Sessions run for 8 to 10 weeks at a time, and the parent and child meet with other parents and children in a circle setting.

In this video watch Roy Sayer of  The Music Class with one of his classes. http://www.youtube.com/watch?v=humOI4FzYrY

What does it mean to “Get In the Mix”?

When we talk, we are using our chest voice. If you put your hand on your chest and talk, you can feel the sound vibrations. The higher in pitch you go (try talking like a whiny baby), you should feel the vibrations leave your chest and resonate in your nose, eye and top of your head area. I get amazed sometimes when I meet people who can’t find their head voice because they’ve  never tried to find it before, and they don’t know the feeling or how to get it. Then when they finally do use their head voice, it is usually very airy and weak at first because the vocal cords have never produced these sounds before. Getting to know your “head voice” and exercising it is a good good first step to getting in the mix.

The mixed voice is simply that…a mix of chest voice and head voice. Some singers will have more chest voice  in the mix, while others may have more head voice in the mix. You may find these variances in the style of music they are singing. Belt singers like Celion Dion, Aretha Franklin, Barbra Striesand,  Adam Lambert, for instance have a strong chest mix that they can produce and carry up through their bridges. Classical singers are most likely to have a stronger head voice in the mix allowing for a more even, balanced sound.

Regardless of your preference of style, exercising the chest, mix and head voice in the proper way is crucial to developing a strong healthy voice.