Best “Ah-ha” moment

One of the best “ah-ha” moments about my voice came to me the summer I had a quaint little gig in the bar area of a classy restaurant. It was a quiet room that only sat about 6 people at the bar, and had six tables in a room approximately 20′ X 20′.

I had a small speaker system that was a perfect set-up for me and my digital piano. Now, the point I’m making here is how I learned to sing better that summer.

Prior to this, I always sang in bands. Loud bands. Big bands.

This experience was revolutionary for me.

You could hear a pin drop at times. My job was to entertaining the romantic couples who were waiting for their table, or who came in after dinner for a dance or two before going home. My job was to sing my heart out without being annoying loud.

Have you ever tried to sing/belt your heart out to a Celine Dion, Whitney Houston, or Kelly Clarkson tune, without being too loud? It’s an interesting combination, and one that is the key to your success as a strong singer.

I must say I did this well, and got better at it week after week.

The effort came from deep within. Almost deep within my soul, if that makes any sense. I had to take in huge breaths to build enough pressure to create the illusion of singing loud and belting. With careful play on the microphone, I was able to add emotional intimacy to my voice on the verses (usually the lowest pitches of a song), and then build intense dynamic power by increasing the strength and breath pressure in my body for the choruses.

Yes, the choruses were a bit louder, and I would simply back of the mic just enough to create that build up of intensity that matched the intensity of singing close to the microphone in the verse.

Does any of this make sense to you?

Questions? Comments? Please let me know below.

 

More on Belting

So, I used my cricoid muscle extensively on Saturday night. Yes, I was more shoutier than usual. Since my workshop a couple of weeks ago, I have been revisiting some of my repertoire in a beltier way. This is similar to the way I sang about ten years ago, but also much different. Yes, this time was much different. It was interesting to see how the audience reacted. I had one gentleman come and ask me if I had ever sang opera. He said that my voice reminded him of many textures…many subtleties.  The audience definitely seemed engaged in a different way…..or maybe it was just me….knowing that I was singing more on the edge….the edge of right and wrong….the edge of freedom.

What has changed?  Quite a few things. Knowledge is power.  For one thing I made sure the mic stand was a little higher, and the microphone was angled slightly downward so that I could tilt my head back for the belt. (I don’t hold the mic because I am playing keyboard).  I would usually do this angle with my head anyway, but now I know why I’m doing it and why the placement of the microphone is so important. I notice that it indeed is necessary to free the voice from constriction. My soft palate was raised as high as it could go. My tongue was well placed and my mouth was big. My body was engaged like at no other time in the song…..yes, that feeling of certainty and strength is a familiar posture that keeps me aligned with the phrases and momentum of the music.

I experienced no hoarseness, no raspiness, no uncertainty. I experienced the maximum energy my body and voice had to give that evening. I experienced an audience who reciprocated with applause and awe. I experienced a sensation of total release and freedom. I experienced the ability to be able to do it again tomorrow.