JPF Home Page Forums Musician Gear and Techniques Microphone and Vocalist Forum How do you let loose?

Hi All:

I'm told that I have a really great voice but I have a huge problem. It seems I have trouble turning it loose and really belting out a tune. My best friend (and songwriting partner) probably said it best. He told me that I'm pretty much on key and I clearly have talent but it sounds as if I'm apologizing for being able to sing well.

I'm sure we all can have this problem occasionally during live performances but my problem is even worse. I hold back even when I'm alone in my basement. I know it's a mental thing but I was hoping to see if anyone here has experienced this and if any of you have suggestions for what I can do to quit mind-f***ing myself.

thanks,

Van

Hi Van,
I've been told this many times, so I'm also hoping for some good tips. Anyone?

Mel

I know what you mean. It is always difficult to get up and belt your ass off in front of people because even though you know you rock, there's always that little diablo on your shoulder telling you people hate you for it, or that you really do suck. I made myself get over that a long time ago when I read this quote from Marvin Gaye - 'To be an artist is a blessing and a privilege. Artists must never betray their true hearts.' It always kicks me in the ass & makes me appreciate the gift I have, and helps me want and need to share it with others.

Anyway, might I suggest singing in the shower? I find it's a little easier to warm up this way - the noise of the water covers up some of the singing 'noise,' the steam helps open up the vocal cords, and it's much more relaxing than just standing in the middle of your basement or living room. I also find it easier to sing in the house when there are lots of photos or knicknacks around to gaze at when singing. That way you can 'lose yourself' in the song and/or the photo and before you know it, you're belting your ass off without even thinking about it.

Hope this helps at all. Good luck!

Maggie Daly
Jackson Daly
Chicago

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Angie Jackson/Maggie Daly
Jackson Daly
Chicago/Los Angeles
www.mp3.com/JacksonDaly

Boy, can I relate to that. Your message prompted me to think about "how have I overcome that?" (BTW I don't know if anyone ever really completely overcomes it!) This is what came to mind:

--sing often. Daily.
--sing in front of people you trust, even if it's one friend at a time.
--when you hear a compliment, accept it. Don't try and negate it!
--take baby steps. Once you get comfortable with the delivery of a song, try adding something more daring.
--voice lessons. Whatever you can afford. Join a choir.
--really, really know your material. Then you won't have to worry about things like "can I hit that note?"
--find songs to sing that you can identify with or "own."
--remember that the vocal recording you hear on the radio has been processed, and yes, sometimes pitch-corrected as well. Important to remember if you start making comparisons.

Fear is evident in the voice. Are you afraid to be heard? Why? Apply those questions to yourself, not just to your singing. Difficult, yes, but worth the asking and certainly worth the searching.

Finally, don't be hard on yourself. This takes time. Singing is a very vulnerable thing to do!

I wish you the best of luck with this. And I really like Jackson's Marvin Gaye quote. Don't betray your true heart!

Brenda

I agree (I think) with everything that's been said previously. I'd add a couple more. Stand up if you're not already doing it when you sing; it lets you project your voice better. (Another reason why singing in the shower is good for you.) Sing when nobody's around; if the only opinion you have to worry about is your own, hey, Diablo-on-the-shoulder's not going to have much to work with. (I practice singing a lot when I'm driving.) You *know* what sounds good when you hear it.

Lastly, you might try to de-focus your eyes when you're playing in public. Audiences aren't near as intimidating if you can't see them. Learned this from some opthamolgy grad students a number of years ago; they were trying to correct deteriorating vision (mine) and had figured out the cause was deteriorating eye *muscles*, so they gave me eye exercises to do. So I can de-focus my eyes. (The flip side of making things clearer, right?) Great performing tool (for me), 'cause I'm scared of crowds. So I can look right at 'em (and look *like* I'm lookin' right at 'em), and not see 'em at all. Oh, I know they're out there--I can hear the applause, and so forth--but they don't bother me because theyn don't *have* to.

And lately, I've noticed I've become *interested* in those faces out there, because I'm interested in their reactions to the things I'm doing and the way I'm doing them. So now they don't bother me because they're being *tools* that are helping me get better at what I do. And why should I be bothered by something like that?

Above all, have fun.

Joe

Thanks for the replies folks. I knew I wasn't alone in this.

It's just sad to me that even when I'm alone and there is no one judging me but me, I still find myself holding back. I am indeed my harshest critic and I tend to analyze my singing too much while I'm recording (big mistake, I know). Even when I think I'm sounding good and I play back the recordings of several songs, I find that my singing still lacks that umph to really sell the song I'm singing.

For goodness sakes, when you have your own 8-track and can redo the vocals an unlimited number of times without paying by the hour, shouldn't you be as loose as a goose? That's an ideal situation to just belt it out and redo the vocals or punch in as much as you need but I still find myself recording multiple takes of songs I've been singing for years.

I brought this up mostly because I spent about six hours this past weekend recording vocal tracks for a demo/album my friend and I are working on and I really felt great and loose singing for the first time in a long time. And it definately shows when I play back the recordings. Yet, I can still detect myself holding back even though it doesn't feel that way while I'm singing (perhaps I only think that because it's as loose as I can get - so far).

The recordings came out very good overall but I also noticed that though they sound pretty good, my vocals seem bland and without much "personality." Even if they are technically correct, it just seems like I'm a good singer and there is nothing special to me about the songs I'm singing. That is definately not the feeling I'm trying to convey.

I want people to feel what my friend and I felt when we wrote the songs but I seem too emotionally detached. I've got to tap into my soul on each and every song. When I sing a touching song, I want people to cry when they hear it. When I sing a funny song, I want people to laugh and enjoy. I know y'all know what I'm talking about and I think your ideas will help me get there if I can just let it loose. It's just going to take a lot of practice at putting myself totally into it and ignoring that little red light that I allow to intimidate me.

Sometimes, I feel that it is easier to do live because I'm much more into the moment and trying to turn nerves into positive energy so I forget about scrutinizing everything and just sing. I know this is the right way to do it. I just have to shut off the part of my mind that keeps trying to worry me about every little thing.

Sorry this is so long. I just needed to get all this out. Thanks so much for all your suggestions.

Van

All good ideas. Let me suggest that if you want to put emotion in your voice, you should decide what emotion it is you want in which song, then actively work to put it in.

The old acting trick is to build a "catalog" of emotions...I remember the day my dog died, I recall how my cousin looked when his sister hit him with a pie, I think of my children. Make a list of emotions, then write memories in each category. These can and should be your secret emotional "keys." Practice really thinking about them, see if you can make yourself laugh, cry, tremble. Then think about these when you sing. The more you think about these, and the less you think about the notes, the more you will sound like you are "letting go."

All the Best,
Mike


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Mike Dunbar Music

Good suggestions Mike. Thanks.

Van

Buzz said: 'Sometimes, I feel that it is easier to do live because I'm much more into the moment and trying to turn nerves into positive energy so I forget about scrutinizing everything and just sing. I know this is the right way to do it. I just have to shut off the part of my mind that keeps trying to worry me about every little thing.'

WOW. You really just summed it up right there. That is exactly the difference between live performing and studio recording, exactly the issues we probably all have. Live performance HAS that crowd energy automatically built in, but you have to go within yourself to find the energy and attitude of the song when you are recording it.

I have had issues with this too, and have even used my acting skills to try and get into it, just as Mike said. It helps me to think about the frame of mind I was in or the emotions I went through when I actually wrote the song. However, sometimes that can be bad if your song is old and has bad memory association. If that happens, I just try not to think about who I wrote it for or about, and put it into context in my current life. This can be difficult sometimes as we all know that sounds and smells are some of the biggest memory triggers, but the more you play out the easier it gets. Good luck Buzz!

Maggie Daly
Chicago

Website: http://JacksonDaly.home.comcast.net



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Jackson Daly
Angie Jackson/Maggie Daly
Chicago/Los Angeles
http://JacksonDaly.home.comcast.net
(773) 405-4538

Maggie, thanks again for your input. You have a wonderful voice by the way and I hope that once I get a couple of projects completed, me, my wife and some friends can make one of your gigs. We've been meaning to but then I had hoped I'd have all my vocals satifactorily recorded a long time ago as well.

I'll see you out there somewhere along the way.

Van

Well....if you take ALL the advice you've been given so far, you may not improve your singing in the studio, but you WILL develop an interesting set of "ticks".

My advice...

Sing...then sing some more...then sing again....when you're all done with that..sing another one...Sing on the toilet..sing while you drive,,Sing while you're having sex (whether you're alone or not)..sing in traffic..sing while you walk..
sing your order to the waiter in a Chinese restaurant...and when you finish all that....do it all over again.

That's what ya' do !

Bob

Bob,

Great advice given, as usual, in your own unique way. You know, I think I need to be a little more like William Hung and not worry about how it may look to other people singing while driving down the road.

thanks,
Van

Hi Van!!!

As a singer who sings in lower keys, which I believe you do also, I have to point out something that I have realized. The higher one sings, the more "emotional" and "alive" it sounds. It is IMPOSSIBLE to sing really low and have it sound as exiciting as someone hitting the high ones. That's just a physical thing. There's nothing we can do. I also know I lack that excitement and emotion you're speaking of, but sing adequately. I believe our choices are limited. I have tried having a second person who sings higher sing with me (a fifth above me) and the difference is huge. I am going to try a vocal harmonizer also which would put the fifth in automatically, and could even add the octave when i want it to. I don't know if it'll sound good or hokey! I need to play with one. Listen to Aaron Tippin or Lenoard Cohen or another lower register singer, then compare to say Vince Gill or Queen or Styx. Those high one are just more exciting (and emotional) sounding, to me any way.

Yes, we can improve on our lower tone emotion, but it will never be like a high singer. Do I make sense?

Herbie

Herbie,

To a degree, you make sense. The more excited one is, the higher the pitch of their voice goes. Just listen to Howard Dean. (sorry bob)

Still, with all those examples you gave, Old Johnny Cash can hang with them and more.

All the Best,
Mike

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Mike Dunbar Music

Hi there, Herbie!

You can sing low notes with a "mix" of head voice and chest voice - meaning:
Even low notes can have some "lightness" and sweetness to them. Some of the best "low" voices do just that! In fact, it is healthier for the vocal cords to produce low notes without belting...it's all "how you use what you've got" !

Just my opinion...good luck- and keep singing!

Emily

[This message has been edited by Emily Sanders (edited 02-21-2004).]

[This message has been edited by Emily Sanders (edited 02-21-2004).]

Hi guys- hey Emily, got an example of someone who sings like that? I'd like to hear!! It's hard for me to visualize what you're saying without hearing!!

Mike- Johnny DOES kick butt, but if he sang acapella it would NOT sound as exciting as someone belting out in a high register, that's all I'm saying, voice emotion only

Herbie

We are all conditioned to accept popular music in a tenor or alto range for vocals, and expect the important parts to be higher in pitch. Consider these examples where the pitch is pretty low, yet the songs are still interesting, filled with emotion, and popular:

Material Girl (Madonna) - and the chorus actually goes down in pitch if I recall.

Sk8erboi (Avril Lavigne) - never goes above a Bb. This is the same Bb that is resident in 'Lifestyles of the Rich and Famous' by Good Charlotte. High for them, low for her.

Stupid Girl (Garbage) - The seething low vocals hang in the air like honey.

Why Can't I (Liz Phair) - Again, Bb is the limit. It *sounds* like she is singing higher because of the way that she is presenting the words. This would be a good one to listen to if you are concerned that low notes can't be emotional and alive. It's all relative.

FWIW



[This message has been edited by Sk8boi (edited 02-23-2004).]

Hey Van, thanks for the compliment on my voice. We would love to see you guys at one of our gigs - thanks!

As a soprano, of course I love hitting those high notes, but I can still belt in my lower range too, and I don't find much of a difference in the 'emotionality' of either, so I don't know how much the range affects that. I usually disagree with Bob's input on these boards, but I'd have to agree with him on this one. The 'just sing ALL the time - any chance you get' attitude will do nothing but help you let loose more in rehearsing and on stage (as long as you don't push too hard & strain your vocal cords).

Thanks again Van, and Good Luck!

Maggie

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Jackson Daly
Angie Jackson/Maggie Daly
Chicago/Los Angeles
http://JacksonDaly.home.comcast.net
(773) 405-4538

Wow! What a hot topic. I can't disagree with what has been said so far, but I think there's something more. Aside from being a solo singer/songwriter, I also am a board-certified music therapist, so I'm not just speaking off the cuff -- I really have an interest in this, and it sounds like it's important to you. I suggest that you invest in a few sessions with a good voice teacher (one with an excellent word-of-mouth reputation), or a qualified music therapist who specializes in working with adults. Just like working with a music teacher or psychotherapist, it's a lot easier to change our habits when we work with a professional. If you can't find a good coach or can't afford one, then I have two additional suggestions. First, listen carefully to every CD you own. Find the singers that have the emotion and the "looseness" in their voice that move you personally...these are the artists you want to learn from. Listen to everything they do, every phrase, every nuance of meaning. Try to copy exactly what they do, then once you "get it", try to use the same approach in one of your songs and see what happens. See the artists' live shows if possible, and watch and listen intently. Soak up the information, replicate, emulate, and eventually the techniques will find their way into your own style. Secondly, similar to the "acting" suggestion, I recommend you pay attention to how you and other people say things when they're expressing something emotional. People whisper, yell, accent certain words, trail off, and they often MOVE their bodies. Do you move your body when you sing? I don't mean acting, I mean the real way people move when they have something to say. Think about this -- on a day-to-day basis, how good are you at feeling and communicating your true emotions? Oh yeah, and relax and have fun.

My 2 cents:

You're not having fun.

Until you learn to ENJOY using your gift, you're going to keep trying to repress it.

I'd recommend having a talk with those demons of doubt (or whichever demons are holding you back) and telling them to "sod off".

Your voice will obey what your mind tells it to do. So--what ARE you afraid of? (We usually make more out of things than they really are. Most people don't care HALF as much about stuff as we THINK they do...)

So FACE whatever it is; tell it who's boss; and then go have FUN with what God has blessed you with!!!

I'm pullin' for you!!!

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www.dianatyler.com

WOW, more great replies. I think Diana hit it closer than anyone though Mick has some great advice. Actually all of you made a great contribution to this thread but for brevity's sake, I won't list all your names. You know who you are...

It's kind of a two-headed monster actually. Diana is right. I don't feel like I'm having fun when I sing. Instead, I am constantly monitoring what I'm doing rather than living in the moment and allowing myself to express the emotions. I am trying so hard not to make mistakes that I lose the ability to just turn it loose. Hmmm, can anybody say, practice your ass off, then practice some more? Maybe then, I can get rid of that demon.

I'm also not a person who easily expresses emotion to people I don't know very well. This fact alone is probably my biggest problem but the two issues together are probably more responsible for making me sound more like a "technician" than a singer.

I'm going to try to take all this great advice and see if I can work it out. Mick might be right in that I need to seek out a good voice teacher or therapist.

I'll keep working on it but I've been this way a long time. I've just gotta get out there and do it.

Thanks all,

Van

[This message has been edited by Buzz Grudge (edited 03-09-2004).]

Praying is the only way I can really let loose when I sing.

I would advise what Bob Young did, sing everywhere. Also, make sure you're really warmed up beforehand. Talk nicely to yourself while you're singing and afterwards and before. Tell yourself that you'll always do better next time, but for now your best IS good enough. Experience should reduce a lot of that choking up, but you probably will have to force yourself to live through it at first. Lots of good advice above.

Good luck! --Jean

[This message has been edited by JL (edited 03-10-2004).]

[This message has been edited by JL (edited 03-10-2004).]

Warming up in the car usually helps.. Others things that have helped me is breathing techniques.. taking deep breaths help you relax and not tense up

I have to agree with all the agreeing and add more. I have this problem too...I hear myself sometimes when I am alone and think wow listen to me...but then when i do i am TERRIFIED by my own good sound. vocal coach and therapist might be the best way around it...lol i dont know, i think that singing around people u trust is helpful...singing is so close to your heart and makes u vunerable, at least that's how i feel, like i am on display...now that is if i sing alone...if i am with one other person or a group i am belting and doing everything...its all psychological, in the group i guess i feel as though people may not know if it is me or not so i am not scared...also try focusing more on singing your own stuff and not someone elses. if u r singing someone else's song u know how they sounded and will compare yourself whereas if u r singing something u wrote u know where u want what and how u want it to sound...i guess the key is to dig deep sing what u love, where u feel good, and to who is accepting and caring to your voice....and NEVER stop no matter what

[This message has been edited by soulfulqween (edited 03-14-2004).]

I'm a brand new member, so I'm joining this thread late.

I think all the comments so far have been excellent. I also wanted to put in a plug for Alexander Technique work.

I've had years of vocal training and have a music degree. I too have sufferred from not being able to let loose. I always sing in tune, but never really delivered an authentic or emotive performance. I started taking Alexander technique classes at a local acting school and noticed almost immediate improvement in my vocal freedom. I was able to connect more with my emotions and sing more from my heart. My high range also increased by a major third within a month, as well.

I believe Alexander technique is a truly remarkable work and anyone could benefit from it. For pop/rock singers, I might even go as far as to recommend taking Alexander instead of voice lessons, if you can only afford to do one or the other.

I hope this helps.

Peace,
Eric

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Eric Goetz
(206) 818-2546
http://www.ericgoetz.com

I thought this thread was dead...

Thanks for the other good replies. It helps to know I'm not alone.

Eric, what exactly is this Alexander technique? Is it something that teaches actors how to express emotion?

thanks,

Van

Nah..Buzz....

Ya' see, a couple of us heard you sing and put the word out !

Just kiddin' !

Bob

Truly an interesting thread, very informative answers.
Buzz... I do like the answers regarding "acting" and such, along with the suggestion of adopting some stylings from singers you admire. I'm trying to work on my own vocals and suffer similarly, and know plenty of others with the same issue.
I'm thinking a deliberate attempt to "exaggerate" might be an effective suggestion while practicing.
Seems you did relate strongly to the suggestion you are not having fun. You might look deeper into that one. I imagine you actually are having fun, maybe just not as much as you'd like. Might be a simple matter that you are too self-conscious and worried about control or perfection.
Couldn't it be said that controlling yourself also controls the audience?
I'm only guessing here: as soon as you hit the "record button" at home, everything goes to hell in a handbag? Common.
I think Mike's suggestion to sing and sing and sing comes into focus here, it needs to become second nature and something we don't fuss about within ourselves. It must be given freely.
While I realize I'm rambling... I'll also continue with a bit of psychology. Are you in front of the audience to fulfill your own personal need to be heard, or are you there to fulfill the desires of others..aka the audience's need to be entertained? Whatever the answer is,(and it will be one of the two) the directional flow of your energy is critical, as it must flow from you to the crowd before you receive your just desserts. Right?
Give energy.

-gary

Damn Bob, I knew I should have spent more time kissing up to you, Sandy and the others...

Gary, thanks for the insights. I think I met you at one of the Chicago showcases last August. Do you play piano/keyboard?

Anyway, I do appreciate all the insights. It's probably a cliche nowadays but it does help to know that I'm not the only one who struggles with these things.

HiDee Buzz! Miss seein' ya at Board 2, Amigo!

So far ya've got TONS of Great Advice..I'll add just a Scosh to it.

I allus liked Mick Jagger's view on Cuttin' Loose Onstage: (Quoted as best I can Recollect "People LIKE me to play The Fool onstage"...

Now get out there and ROCK the Place, Buddy!

Big Guy-Hug,
Stan

I have always had the same problem as you. Lately I have been doing better by paying attention to some of the things I mention below.

I agree with the idea of getting a voice teacher. Find one that has a good reputation, who has plenty of students (and therefore won't be tempted to prolong your lessons unnecssarily.) All the techniques in the world are not going to help you unless you have some foundation for confidence. A good teacher can help you build that. Once you are convinced you will feel more able to exude that confidence in your singing.

It is important to support and energize your notes more with proper breath control. Even the softest notes have to be supported well.

You do have to be careful when it comes to self critique. Even the best singers could probably tell you where they could have done better. I think people listen more to phrases than individual notes, so perhaps work on the song, a phrase at a time and avoid thinking of them as a bunch of individual notes next to each other.

Try recording yourself and then play it back with the lyrics or sheet music in front of you and underline the places where you thought you did well. Then look at the places that are left and work at those. Find out why and where the notes didn't combine as well as the others. Perhaps you needed to sneak in a little extra air here or there. Perhaps you needed to slow down or speed up etc. Perhaps you just needed to relax your throat and open up your mouth a little more. Work on the notes in context of the phrases.

Listen to some good artists who are singing the same songs. How did they make the song their own? It's all in the phrasing. Listen to woodwind players. Our voices are very much like woodwind instruments, the ones with reeds in particular like the oboe. Remember that the sound is caused by air passing by and vibrating the vocal chords. Don't think of it as originating in your throat. It happens along the way.

As was mentioned before, you need to enjoy your singing. If you listen to some of the singers of the 30s and 40s who sang with the Big Bands and also some blues and jazz singers, you may notice that some practically make love to the song. There are no throw away notes. No getting to the "good" part. Every part is a good part. They sound like they are enjoying every moment of it. If there are passages you are afraid of, work on them and make them your own. Give yourself permission to enjoy them. Give yourself permission to believe that others will enjoy them too. Ham it up. Have a good time. You can always tone it down later if necessary.

I just recently worked on the Star Spangled Banner and taught both my students grades 1-6 and my self to sing it fairly well. Once I figured out the breathing and taught that to the kids, it wasn't so daunting. Even on the high notes. We sang it at our Veteran's Day assembly. The kids had learned to enjoy it and they have been asking to sing it as a reward song. Can you imagine? Begging to sing the Star Spangled Banner?

Anyway, these things have been helpful to me. Here's a little anecdote you may find amusing. At the beginning of our Star Spangled Banner lesson, I asked the kids (3rd or 4th grade) to tell me the name of our national anthem.
Brains working. Nothing. Then suddenly, "Ooh, ooh!" and a little boy's hand was waving at me.
The answer?

The Star Strangled Banner.

Hmmm ... I wish I'd been around on JPF back when this topic was started, but I wasn't. And, though there is certainly some excellent advice above, I was surprised to find one huge one omitted.

It goes along with acting and having fun, but it flies somewhat in the face of "formal training", and all the focus on "Am I breathing correctly?", "Is my posture OK?" etc., etc. I think, for someone who is experiencing inhibition, yet who has pitch ability in place, trying to focus on ALL of those things can tend to add to the insecurity.

So here's my addition (or possibly replacement):

Sing purposefully loud and off key.

Yep. That's it!

You see, the problem is often that people are afraid of losing control. If you permit yourself to sing off key -- i.e., that is the actual goal right now -- then you allow yourself to get the volume and emotion without having to think about how you sound (or, rather, being able to PURPOSEFULLY sound bad). Then it is not a factor.

Pretend you are that karaoke singer who thinks she can sing -- the one that is kinda-sorta-almost in the ball park, but yet so "not on" that she winds up being actually entertaining because of how bad she is. Practice the song this way, making it your goal to sound as dreadful and loud, overwrought in your emotion-vs.-sound, as possible.

Don't scream and distort your voice. Just sing slightly offkey on purpose. Make that your GOAL. Sing the song with all the emotion of that karaoke girl who thinks she's on key. Use facial expressions. In short -- mock her in your singing. Do this to radio songs. Sing along, imitating that friend who sings along, but is (eeeeek) not quite on tune.

Once you can sing really awfully on purpose, and nice and loud with emotion, and can do so for a couple friends ("as a joke", of course), then work on repeat performances, keeping the volume and expression, but bringing yourself back into pitch (which has always been totally within your control, just not expressed fully).

Make the goal being REALLY BAD, and you may find it helps you become quite good.

I'd love to know how this works for those who take me up on it.

Baz / Erik
www.eriktyler.com
www.soundclick.com/eriktyler

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"The only way to get anywhere is to cross a few lines."

[This message has been edited by TheBaz (edited 11-30-2004).]

Wow, I thought this thread was among the dearly departed months ago. I check back and what do I see...? More great advice.

Stan, Howdy bud. I'm hoping to start becoming a more consistent contributor on the lyrics 2 board but find that my ability to do so is... shall we say... erratic?
Anyway, big guy hug to you and thanks for the input.

Jean, more great advise. Thanks for that.

Baz, I must admit, no one has ever suggested that I sing off key on purpose. I have done this a few times just goofing around and I think you may have something there. It does seem like when you're being purposely bad, you're not worried about how you sound and you tend not to hold back. Very astute observation on your part. But now that I know I'm trying to sound bad on purpose, I wonder if I'll hold back...?

Baz--Have you tried this? --Jean

I honestly don't have any trouble "holding back" personally. Never have. If I hold back, it's because I chose to for a particular song or project.

But, yes, I do this all the time "for fun"; and I have used it as a teaching technique for years, with great success. It has been virtually sure-fire so far in getting people to open up, gain confidence and explore vocal dynamics for live performance.

Baz / Erik
www.eriktyler.com
www.soundclick.com/eriktyler

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"The only way to get anywhere is to cross a few lines."

So a year has gone by since this post was started.. has anyone learned to let loose?

Brian

Bumping some useful older posts

Thanks, Brian, I'd missed this one and I tend to have the same problem.
My personal weirdness is I do better singing live for 500+ people (say, at church) than in my own living room with my kids/spouse around (who all like my voice & support me) or in front of my mic with the record button flashing. (I like the off-key idea--that should work!)

Why is that? I have no idea.
I get shy even in the car, alone. Crazy.

Having good feedback about my singing here at JPF (by other singers & musicians) has helped.

How about an update, guys? Has this improved over the past 3 years?


Linda

I remember this thread! (My daughter is wrong--I still do have some long-term memory!) Just one additional thought:

Y'might practice with Gospel music. You will rarely get criticized (and even criticism is going to get phrased in encouraging terms) Folks remember what the Good Book says about "making a Joyful Noise"; note it doesn't say a word about having to be in tune or any of them other technical things. So go do your Aretha Franklin, or Little Richard, or Jerry Lee Lewis (they all got their starts in Gospel music, by the way)--and then take the good feedback you get, and what you've learned, and apply it to *secular* music. Because it works there, too. Tools are, well, tools.

Enjoy yourself.

Joe
www.soundclick.com/bands/7/joewrabek_music.htm
www.myspace.com/joewrabek
The Writer's Blog: http://nakedspacehamsters.blogspot.com

I realize this is an old post, but I believe the biggest drawback to singing out is a lack of confidence that comes from not knowing your own voice. If you do not know what it can do, it is intimidating to push it because you do not know what will happen.

You have to play with you own voice to discover the various tones you can produce, and how to control them and change them. Once you understand your own tone control, then adding volume and power to it comes more naturally.

Practicing dynamics also goes a long way to getting you there. Pick a song that starts in one place volume-wise and as you come to the chorus let it swell in volume and try to round your tones. Also practice with the individual syllables because certain syllabic sounds are easier to produce loud tones than others.

It is mostly a discovery process that will help to overcome a weak delivery. At least, this was my personal discovery.

Jack

I, too, am familiar with the technique of going off-key on purpose. My violin instructor in 1961 had all of us in the orchestra do just that with our (fretless) instruments. He called it "fishing" as we were just fishing around the note, rather than playing it straight.

In the same vein, I suggest you practice deliberately holding yourself back as a way to "undo" your habit. You are on the right track by identifying that you are holding yourself back. But just saying it is so does not make the habit go away. Now to get at exactly how you are doing it, just try consciously to "hold yourself back" when singing. Hold yourself back a little, hold yourself back a lot. I bet you will have some realizations as you do this thoroughly. And if you are really brave, make a list of some of the awful consequences that would certainly occur if you were not to hold yourself back. Give this list to a trusted friend. Then fasten your seatbelt and ask your friend to act out each of these consequences while you are singing.

These are just a couple of ways (along with the suggestion to sing, sing, sing, etc.) to gain familiarity with your voice and with using it as a tool to sing with. In my mind, there is no substitute for familiarity. Hope this helps.

Anyone who needs help using the above techniques can email me below and I will help in any way I can.

Oooh, yeah, I remember this thread, and am glad Brian bumped it, as more good info has been posted.

A comment on Joe's comment re. Gospel music - we have several Gospel blues songs or Gospel-type songs in our regular repertoire, and play them at any of our gigs, whether a festival, family event, or nightclub. Any of those songs will take me / us to a different place. It's like letting something beyond yourself and bigger than yourself take over. When you get the "little me" out of the way, things get easier.

You can say you're letting the Music drive, or the Spirit, either way -- same thing, really.

Brenda

Know your material, everyone sings gospel so well because everyone knows the words so well. You can get to that other place easier when you don't have to remember the words.
Also, baggy pants and boxer shorts, works for me...

I guess nobody can top that!!!!

[quote=Diana Tyler]My 2 cents:

You're not having fun.

Until you learn to ENJOY using your gift, you're going to keep trying to repress it.

I'd recommend having a talk with those demons of doubt (or whichever demons are holding you back) and telling them to "sod off".

Your voice will obey what your mind tells it to do. So--what ARE you afraid of? (We usually make more out of things than they really are. Most people don't care HALF as much about stuff as we THINK they do...)

So FACE whatever it is; tell it who's boss; and then go have FUN with what God has blessed you with!!!

I'm pullin' for you!!!

===========================================

You Rock!! And all this is echos the thoughts that have been racing through my mind (yes the same mental block I'm trying to ignore). Feelings are all tied up with the subconscious anyway.

Thanks for posting this!

~Michelle

www.michellehotaling.com
www.chainedbydreams.com

Welcome, Michelle!

Linda

Van,

Passion. Expression. Commitment to the lines.

Express the lyrics with passion and a belief in what they are trying to say, not just hit notes. Forget pitch, duration of notes, ect., until you can sing any given song from your emotions.

Sinatra, for example, was a great actor. Besides technique, he could act out a singing performance, expressing passion and commitment to the lyrics,,,word by word, (in face, body, and sound), to relay the meaning without question. He made any story "sound" important. That goes beyond having a nice voice and control and projection. There's a feel that also comes across in every word. Without feel, it's just a nice voice. The song and the performance of it will be void of realism and sincerity, and the "need" for the listener to keep listening with full attention and imagination. I wish for all that for myself. Once in a while I know when I have it for a given song, when I'm lost in the absolute meaning of each line, and the song's message. And I'm not a trained singer, nor could compete with "singers" on any stage. But if I have the passion tuned in for a song, I think I can communicate it well enough to have the listener pay attention the song. That lets their imagination take over, and any of us can sound better for that experience. Passion can say a lot, and can take over where the techniques leave off.

If you're just singing to be in pitch and be in proper form and all, (without that above points), you may be missing the song altogether.

Communicate your passion for the song. Mean what you sing. Feel it.

A lot of great advice here. One thing not mentioned (unless I'm blind, of course) is too not be overly critical of yourself. Yes, you want to listen to yourself for technique so you can clear up the clinkers but don't over do it. We can be our worst critics. I hate to hear my recorded voice. I think it stinks. Yet people constantly will compliment me on my singing. I've learned to take their word for it and just enjoy myself. I still have a herd of butterflies thundering through my stomach before I sing but once I get those first few notes out, they settle down to calmly graze and let me cut loose.

Something else that may inhibit people is getting too used to singing amplified. Almost all my singing is at small Renaissance Festivals where the stages are unamplified. Often, one doean't even perform on a stage. One has to belt it out to be heard. On the rare occasions in the past when an amplified band has asked me to join them in a song, since there was no time for the "engineer" to adjust levels for me, I've found I've had to hold back to keep from coming on too strong. Doing so takes some of the life out of my singing.

I just wrote a post on a similar topic over on muse's muse, so I'm going to post it here as I think it applies to "letting loose".

If you're defining 'letting loose' as 'sounding powerful', then IMO no voice, no matter what type it is, should be pushed to sound big. The correct way to work on achieving a more powerful sound is to learn the skill of singing so that you get the most sound for the least effort. That means...

- breathing naturally & normally yet with awareness for singing
- singing on a free breath with an absence of tension in the body (particularly the neck & jaw)
- learning to focus your awareness and energy into your lips, shaping the vowels effectively to focus the sound & resonance so the voice sounds stronger but there is no 'effort' in the body
- learning to let the pitches flow on a well-supported phrase (legato)
- learning to rethink the position & importance of the pitch - think of all the pitches in one place, on a smooth plane
- explore your potential & learn to release the authentic voice with good support (as described above)
- work diligently for 1 to 3 years in this manner and you will accessing your entire voice, and singing with ease, warmth, resonance & a sense of power.... and then you'll know what your voice is.

Within voice types, there are 5 weights of voice
- leggerio (light weight) - which doesn't mean thin, it just means the colour is silvery - like Enya
- lyric (mid weight)
- spinto (dramatic - heavier than lyric)
- colouratura (light, agile)
- Wagnerian (extra spinto)

It's extremely important for lighter voices not to push to sing larger, or we will a) stress the voice, lose our top notes, c) get nodes. Thus, I may, as a lyric, be able to sing one spinto aria in a concert, but I could never sing that role - I could lose my voice or damage it.

A good example of this is when, on American Idol, they tell someone "that song is too big for you". That means, instead of working with what they have & say, doing a great Norah Jones, they are attempting to do Christina or Kelly & the voice just isn't up to it. Just because you like a song, doesn't mean you're cut out to sing it. Knowing your voice & choosing appropriate music (or writing appropriate music) is key.

Beyond that, 'letting loose' is something every performer wants - to look & feel relaxed and in the moment when on stage. Good preparation helps immensely with that, as does having confidence in the voice, liking & knowing the song, and having practiced it effectively. Thinking about who the character in the song is, and who she/he is singing to, and why, is also important.

Alexander Technique can also help to eliminate tension and make you feel looser and more fluid in your movements (and also helps your singing & instrument playing be more natural).

Just some thoughts,
cheers
Hummin'bird