I AM NOT A GREAT SINGER BUT I SOUND GOOD. WHAT YOU MUST TRY TO DO IS SIND FROM YOUR DIAPHRAM .
THE FOLLOWING ARE VOCAL LESSONS
Vocal Lesson 1: Anatomy
Singing starts with an inhale. Most people know this action requires the diaphragm but are not aware of its location or how it works. Place your hand over your belly button. This area is NOT your diaphragm; it is the abdominal wall. The diaphragm is a dome-shaped muscle which divides your torso, separating the lungs and heart above (thoracic cavity) from the digestive organs below (abdominal cavity). To locate, place your finger at the bottom of your sternum bone (breast plate); the diaphragm crosses directly behind. Notice it is fairly high up inside the rib cage. Now place your hands on your chest, fingers facing up, with the base of the palms on your nipples. This provides a good visual of the size of your lungs. Made of thousands of tiny air sacks called alveoli, the lungs resemble dense sponges more than balloons. They do not draw in air themselves; they are enlarged as the diaphragm descends (inhale) and reduced as the diaphragm returns (exhale). When you hear the term ‘support’ in relation to singing, it means the diaphragm is able to move up and down freely and make minute adjustments in air pressure. It does not mean to push from the abdominal wall.
The larynx is in the middle of the throat, sitting on top of the windpipe and is the vibrator of the instrument. Its inside diameter is about the size of a quarter. There are two horizontal flaps within the larynx, called vocal folds, which can partially cover the windpipe and vibrate when air passes through. These folds are similar to eyelids in size and shape but are covered by mucus membranes and need to be kept lubricated. There is a network of muscles in and around the folds which manipulate their tension for pitch change, thickness for volume and their position for a variety of tonal qualities. These muscles operate reflexively, like those of the eye, and work best when provided with an appropriate amount of air pressure.
There is a short stretch of throat above the larynx called the pharynx. It is the main resonator of the voice. Most of us imagine this area as having a large diameter; yet we know better than to swallow a penny. The pharynx is lined with sensitive muscles which narrow the internal space further in response to contractions of the abdominal wall. The pharynx connects to the mouth and nasal cavities, also important resonators. The muscles of the tongue and jaw are the strongest in the body, and both brace instinctively to provide extra rigidity to the throat. All these closing actions greatly reduce the potential for overtones. Another reason not to over-drive your air pressure.
Every instrument requires a specific touch and the voice is no exception. Visualizing how small the parts of your instrument really are will help balance muscle activity. What I have provided is a very basic overview. Do yourself a favor and explore an anatomy book. The more you know about the functions of each part, the easier it is to make any instrument sing.
Vocal Lesson 2: Posture
Posture
Good posture is essential for a singer. Quite apart from wanting to appear, and feel, poised and confident in front of an audience, there are technical reasons why good posture is the most fundamental requirement in singing.
What is good posture?
Good posture is optimal vertical alignment of the various parts of the body, with minimum tension. A concept used in jazz and ballet is that of having an imaginary string attached to the top of the head. The string pulls straight up, causing head, shoulders, hips, knees and ankles to become vertically aligned. A similar result is sought by the Alexander Technique's 'forward and up' direction for the head. We want the body to be erect, but as relaxed as possible.
For singing, the sternum is also slightly lifted to expand and elevate the ribcage, and rotate the lowest ribs downward and outward.
Probably the most common student faults are a forward slump of the shoulders and sternum, which collapses the ribcage, and elevation of the chin, which pulls the larynx out of position.
Why is it important? Three reasons:
1) Correct vertical alignment with minimum tension leaves the vocal mechanism (the larynx and surrounding musculature) in as relaxed a state as possible. The larynx is suspended in a web of muscles which are attached to the skull and chin above, and the sternum and collar-bones below. Any unusual tension or alteration in the position of these muscles (such as lifting the chin) affects the functioning of the larynx itself.
2) Having the ribcage lifted and expanded frees the diaphragm to contract and descend as fully as possible with a minimum of resistance. This means you get a maximum inhalation with the least possible strain, and your breathing is as swift, easy and silent as possible.
3) Having the ribcage lifted is also optimal for the contraction of the oblique abdominal muscles and internal intercostal muscles. In combination with the natural elasticity of the ribcage, these muscles exert pressure upon the contents of the torso, and give the singer control of the air pressure being applied to the vocal cords. This control of air pressure is sometimes referred to as 'Support'.
How do I teach good posture?
Good posture is crucial because without it, the singer cannot breathe or support efficiently. I use demonstration, some simple exercises and continuous feedback to encourage the singer to adopt good posture. The student's best friend while working on this area is a mirror and/or video camera with which to monitor themselves, in addition to the teacher's correction and feedback, and all of these are provided in my studio.
Vocal Lesson 3: Breathing
What is proper breathing?
Breathing must be swift (sometimes a piece doesn't allow much time to take breath) and quiet (the sound of a singer gasping for air is distracting for the audience). In addition, breathing must involve minimum disturbance of a balanced, relaxed posture.
The mechanism of breathing
To induce air to enter the lungs, the air pressure inside them must be reduced. This is done by expanding the lungs themselves, which are elastic and attached to the inside of the ribcage and to the diaphragm at its base. Any expansion of the space within the ribcage causes an increase in the space within the lungs: lifting the sternum, expanding the ribs or lowering the diaphragm all expand the lungs, and therefore decrease the air pressure within them, causing an inflow of air.
Breathing for singing
Good posture for singing already includes a lifted sternum and expanded ribcage, therefore for singing purposes the diaphragm is the chief muscle of inhalation. The diaphragm is a dome-shaped horizontal muscle attached to the spine, the ribs and the sternum. When it contracts it descends, decreasing pressure in the lungs and causing air to flow in. Due to displacement of the liver, stomach, etc. by the descending diaphragm, the abdominal wall tends to protrude forward slightly, and maximum descent of the diaphragm is accomplished by allowing it to do so, leaving the abdominal muscles relaxed. This is called "diaphragmatic breathing", and you can satisfy yourself as to the naturalness of this way of breathing by lying on your back and simply observing how the breathing mechanism behaves when you are completely relaxed.
Exhalation can be accomplished by elasticity alone. All of the body parts described have a natural tendency to return to their original position, including the lungs themselves. However, singing demands greater levels of air pressure, and greater control of those levels, than speech. The internal intercostal muscles, in combination with the oblique abdominal muscles, are able to contract progressively and, with practice, provide this fine control of air pressure in the lungs. This control of air pressure is called 'Support'.
How do I teach proper breathing?
New students in my studio are often startled, within a few lessons, by being requested to lie down on the floor. In this position, the natural breathing mechanism of the body at rest can be observed. Getting that same mechanism functioning in an upright position can take minutes, or weeks, depending upon the student. I use a number of exercises to help those in difficulty, including yoga-type breath-counting exercises, breath suspension without closing the glottis, and the support of a convenient wall as an intermediate step. Good posture is a prerequisite, as is the ability to relax the abdominal muscles (sometimes a problem for dancers).
Vocal Lesson 4: Support
What is support?
Support is the control of air pressure in such a way as to maintain accurate pitch, consistent volume and tone quality, and to sustain these to meet the requirements of any given phrase of music. Appoggio is an Italian term used to mean the same thing, except that this term embraces issues of resonance at the same time.
How is it achieved?
Air pressure is influenced by how much air is in the lungs, and the extent to which it is being 'squeezed', either by the forces of elasticity or by active contraction of certain muscles.
The internal intercostal muscles (muscles connecting the insides of the ribs) are able to 'squeeze' the air in the lungs, as are the abdominal muscles. However, the central rectus abdominis muscle (the one you use for sit-ups) is too large and powerful for fine control, and the smaller, layered oblique abdominal muscles at the side are used in preference. Contraction of these muscles will cause the stomach wall to remain forward for quite some time during the exhalation/singing process.
A common error in beginners striving for 'more support' is to pull in on the stomach wall (i.e. using the large central muscle). This produces an abrupt burst of air pressure which is then difficult to maintain.
How do I teach support?
It is probably true to say that I avoid 'teaching' support, because I believe that it is a fairly natural phenomenon for most students. If the beginning singer has good posture and is breathing correctly, there will usually be enough support for the modest technical difficulties encountered in the early stages of training.
In order to increase the singer's awareness of the mechanism in preparation for the greater demands which will later follow, there are a number of available exercises. These include sustained hissing exercises which develop to a delightful degree the ability to alarm one's cat (described in some detail in James C. McKinney's "The Diagnosis and Correction of Vocal Faults"). The onset exercises referred to in the phonation section are also an excellent way of discovering the correct mechanism.
A good reference work for the anatomy of the mechanisms of breathing, support and phonation is Richard Miller's "The Structure of Singing".
Please read my note regarding the different approaches to posture and breathing taken by the various national schools of vocal pedagogy, in the Posture section.
A technical note
There has historically been disagreement as to whether support is achieved by the abdominal muscles alone, or by a combination of the diaphragm and the abdominal muscles working against one another (sometimes called 'co-contraction'). Recent research (Leanderson, Sundberg & von Euler, 1987)suggests that the diaphragm may co-contract, particularly in the early stage of exhalation, but that this varies from one professional singer to another, so no definitive prescription can be given.
As a practical matter, without the benefit of biofeedback a singer has no way of knowing for certain whether the diaphragm is contracting or not, since it is one of those parts of the body without the necessary nerve receptors. I address this issue by establishing clearly understood objectives in terms of the resulting sound, and letting each individual discover their own personal means of achieving them.
Vocal Lesson 5: Phonation
What is phonation?
Phonation is a fancy term for the making of sound. In other words, as soon as the vocal cords come together and air flows between them causing them to vibrate, you are phonating.
What is good phonation?
As in so many areas of vocal technique, the objective is to discover a happy medium between two extremes, 'pressed' phonation and 'breathy' phonation. In pressed phonation the vocal cords are brought together with excessive muscular effort, and this makes it harder to set them vibrating, so that a great deal of air pressure is needed to force them apart. This results in a forced, shouty quality to the voice, and is very tiring for the singer. The opposite extreme is breathy phonation, where the vocal cords are not brought together vigorously enough, and air escapes audibly between the cords as they are vibrating. The sound is lacking in tone, volume and vibrancy.
The happy medium ("just right", said Goldilocks) is called 'flow' phonation. This occurs when the balance between the muscular activity of the vocal cords and the air pressure beneath them is exactly right for easy, efficient production of high-quality sound.
How do I teach good phonation?
One of the main tools available to achieve this happy state is work on the onset (the very beginning of the sound). The onset should be neither breathy nor glottal (the cough-like sound at onset which is indicative of pressed phonation). These exercises are important because the way that a sound begins is generally the way it continues. A breathy onset will generally result in breathy phonation, and a glottal onset in pressed, or shouty phonation
Exercises designed specifically for this are included in Richard Miller's "The Structure of Singing" , and students in my studio use them regularly. Over time, coordination between the breathing mechanism and the laryngeal mechanism is developed so that every sound begins in a state of flow phonation.
By means of these exercises, and direct feedback, I endeavour to make singers aware of the quality of their phonation. To obtain the desired result, I subscribe to Cornelius Reid's principle of using directions as to pitch, vowel and dynamic level. In other words, by choices made by me as to these three variables, we arrive at a configuration of the voice in which continuous flow phonation is taking place. Then, gradually, this state is extended out to other pitches, vowels and dynamic levels. (See "The Free Voice" by Cornelius Reid.)
Vocal Lesson 6: Registers
What is a register?
Unfortunately the subject of registers is one which suffers from wide differences of opinion, and even worse, wide variations in terminology. It is not even clear, at this point in voice science research, to what extent registers are a physical, as opposed to an acoustic phenomenon. The two appear to be inextricably linked.
A simple practical definition might be that a register is a part of the range of the voice which is characterised by a particular timbre (quality of sound). To give extreme examples, a low pitch in a loud, heavy timbre might be referred to as being in the 'chest' register. A high pitch in a lighter, softer sound might be regarded as in "head" register.
Manuel Garcia's definition
Manuel Garcia defined a register as a series of homogeneous (sounding the same) sounds produced by one mechanism, as distinct from another series of sounds equally homogeneous, produced by a different mechanism. He was observing the vocal cords during phonation with the first laryngoscope, and by 'mechanism' he meant the configuration of the vocal cords. In other words, as a singer sang a scale the configuration of the cords would remain approximately the same up until a certain point, then alter visibly. When Garcia observed this, and at the same time heard a change in the tone quality of the sound, he concluded that he was hearing a change in register. This definition is still in use, and as useful as any in my view.
Why are registers important?
About the only thing that most teachers do agree upon is that register 'breaks', or audible transitions between registers, are undesirable. One of the chief objectives in developing the voice is to eliminate breaks and achieve a smooth consistent sound throughout the range. When a voice 'cracks', what we are hearing is an abrupt register change.
How do I handle registers?
In my teaching I try to keep this as simple as possible, unless I am working with people who are teachers themselves and need a detailed understanding.
William Vennard (in "Singing: The Mechanism and the Technic") proposed the concept of only two muscular mechanisms affecting registration, the heavy and the light. I think this is as useful a model as any.
The heavy mechanism is dominated by the activity of the vocalis muscles (in the vocal cords themselves). A sound produced principally by this mechanism would be referred to by some as 'chest' voice. The light mechanism is dominated by the activity of the crico-thyroid muscles, which cause the vocal cords to thin and stretch. A sound produced principally by this mechanism might be referred to as 'head' voice.
The point is that in good singing both mechanisms should be in use (with the possible exception of high coloratura in the female voice, and the special case of the male alto, or countertenor singer). The balance between the two mechanisms determines the quality of sound, and the ease of production. In a skillful, singer the balance between the two mechanisms is constantly changing in response to the demands of pitch, vowel and dynamics, and this is called 'dynamic' registration. No two pitches are sung identically.
I concentrate on creating the conditions under which the voice can be permitted to make these continuous and subtle adjustments, eliminating breaks. Consistent support, or control of air pressure, is essential. A break can be caused by insufficient support, allowing an abrupt change to a lighter configuration, or by excessive support, sometimes called 'pressing'. Correct phonation, resulting from a balance between muscular activity in the larynx, and air pressure beneath it, is also necessary. Finally, the resonance adjustment needs to be appropriate so that an excessive 'load' is not being placed on the instrument. When these conditions are met, the issue of registers ceases to be problematic.
The Passaggio
Passaggio is an Italian term for a series of notes in which a transition is being made between registers. Or, in the terms used above, from an area of the voice in which the heavy mechanism tends to dominate, to an area in which the light mechanism tends to dominate.
The necessity for 'dynamic' (constantly changing) registration has given rise to some of the more interesting theories of registration, for example the concept that every note is a register, or conversely, that there is only one register, both perfectly logical ideas. Of course, from the point of view of a 'one-register' theorist, the phenomenon of a passaggio should not exist. However, especially with beginners, these passaggi are predictable points at which the singer is likely to experience difficulties.
Vocal Lesson 7: Resonance
What is resonance?
Almost everyone, at some point in their artistic career, has picked up a bottle and blown across the opening, making it sound like a small foghorn (this seems to be a particularly popular activity with beer bottles, for some reason). The pitch of the foghorn changes as the level of liquid goes down ¬ or, more importantly, as the amount of airspace inside the bottle increases. This is a simple example of a resonator, and of its natural resonant frequency changing as the resonant space is altered.
John Backus, in 'The Acoustical Foundations of Music', gave a precise definition of the phenomenon:
"Whenever a system that can vibrate with a certain frequency is acted upon from the outside by a periodic disturbance that has the same frequency, vibrations of large amplitude can be produced in the system. This situation is called resonance."
What do these observations have to do with singing?
The human voice consists of a sound source (or periodic disturbance), and a resonator. The sound source is the vibration of the vocal cords as air flows between them, inside the larynx. This could be considered roughly analogous to playing the reed and mouthpiece of a saxophone (and sounds equally horrible if heard in isolation from the rest of the instrument).
The rest of the vocal tract above the vocal cords ¬ the upper part of the larynx, the pharynx (throat), the mouth and perhaps the nose ¬ constitutes a complex resonator. The size and shape of this resonator can be altered by various means (movement of the jaw, lips, tongue, soft palate, or the larynx itself) in order to change the frequencies at which the space will naturally resonate.
Why is resonance important?
Resonance is responsible for the accuracy of vowels, and for the overall tone quality of the vocal sound. (This section may be difficult for those with slight knowledge of musical acoustics).
A well-produced periodic disturbance (vocal sound originating in the larynx) contains not only the fundamental frequency (the pitch being sung), but also a series of harmonic overtones above it. In other words, a number of different frequencies are present in the sound, although the fundamental pitch is the one chiefly recognised by the human ear. The complex shape of the vocal tract resonator causes some of these frequencies to be amplified, because the vocal tract has been adjusted to resonate at those frequencies (like a complicated beer bottle). Other frequencies are reduced in volume due to lack of resonance. The sound which we hear outside has been filtered in this way so that some frequencies are stronger than others, and whether we hear an 'oo' or an 'ee' depends upon which frequencies have been become dominant.
If the frequencies which are being amplified, or resonated, are reasonable balanced between high and low frequencies, the sound will have a combination of dark and bright qualities (the Italian chiaroscuro), and be pleasing to the ear. An imbalance will cause the sound to be either too dark or too bright. Thus resonance determines the overall quality of the voice sound, as well as the vowel sounds.
Resonance also affects sound production. If the resonator is correctly adjusted for the vowel, pitch and dynamic (volume), then producing the sound is relatively easy. The vowel sounds correct, and a rich, beautiful tone can be obtained. If the resonator is adjusted for some other set of frequencies, the vowel sound will be incorrect, and producing the sound will be hard work, or perhaps even impossible. Having to work too hard to produce a sound results in a forced, shouty tone, and is stressful on the instrument. Continued singing in this manner may eventually cause damage.
How do I teach resonance?
By example, feedback and correction. A resonant sound is louder, richer, easier to produce and altogether more satisfying to the singer (and the teacher), so there is never any absence of motivation. As the principles are understood and the singer improves the control of the resonator, optimal coordination between support, phonation and resonance can be approached. The mirror, the video camera, the taping of lessons are indispensible.
Vocal Lesson 8: Expression
What is expression?
Expression is the variation of vocal sound to convey emotion, or to communicate more vividly the meaning of a text.
What does expression consist of?
The variables include dynamics, tone colour, tempo and diction.
How do I teach expression?
Expression is a highly individual matter. A great deal of the work in this area is done in specific pieces, and the motivation to sing any given piece with expression must come from the emotional commitment of the singer's interpretation. In addition I encourage my students to listen to good vocal models, and I include expressive variables in vocalises (vocal exercises) when possible. Tonal and dynamic variation can be built into any vocal exercise.
An example of an exercise specifically for dynamic control, which many consider the utimate vocal exercise because of its extreme technical difficulty, is the messa di voce. In this exercise the singer begins a note pianissimo (very soft), slowly increases the volume to fortissimo (very loud), and then returns to pianissimo. In theory a singer should be able to perform this exercise on any pitch in their range, and on any vowel. This is an exercise for those whose technique is already fairly advanced, but can be useful for intermediate singers if confined to comfortable pitches.
Vocal Lesson 9: Interpretation
What is interpretation?
Interpretation consists of emotional and intellectual commitment to the text of a piece of music. This is the aspect which makes every singer's performance uniquely their own, and indeed, an audience will overlook many a technical imperfection if this part of the singer's performance is convincing, and satisfying. Conversely, a technically perfect performance can be quite uninteresting in the absence of personal involvement.
How do I teach interpretation?
I have two favourite ways of approaching interpretation, and often use both on the same piece. The first is to treat the text of the piece as a monologue. Just as in an acting class, the singer must reach decisions regarding the "who, what, when, where, why and to whom" in order to perform the text as a speech. There are no right or wrong answers here, merely stronger or weaker choices. When the text makes perfect sense to the singer, and that sense is being communicated clearly, the task is done, and when the text is once again used in song, the performance has usually been transformed.
A second method is that of physicalisation, used by a number of teachers but demonstrated very effectively at a workshop here in Toronto in 1998 by Clayton Garrison. Here the text is translated into physical movement, which can range from simple imaginary staging to a complex dancelike choreography, all designed to clarify the meaning of the text for the student. The 'choreography' is a rehearsal device, not intended for performance. Physicalisation can also have application to technical problems, particularly those involving inadequate (or excessive) support.
Interpretation is a challenging area for a teacher, involving as it does the exploration of the inner feelings and associations of the singer regarding the text. Yet it is also highly rewarding. A great deal of trust is necessary in order for two people to work comfortably together on this aspect of performance.
Vocal Lesson 10: Treatment For Stage Fright
It made the Beatles vomit before their stadium shows. It kept Barbara Streisand from performing for over a decade. I watched it make Steven Tyler pace nervously in his dressing room before a show at the Boston Garden. From butterflies to panic attacks, stage fright is nothing more than a fear of the unknown. How will the audience react? Will I forget the lyrics or sing out of tune? Will my voice hold out? Since none of these questions can be answered before hand, anxiety builds.
Preparation can help. If you are well rehearsed and in good physical condition, any reasonable person would expect to perform well. But stage fright is not a rational fear, and performers are not reasonable people. It doesn’t matter if it’s all in the mind; dwelling on worst-case scenarios puts a real clamp on the voice. Trying to talk yourself out of these mental tail-spins only makes things worse. What’s important to remember is that anxiety means you care. Apprehension is good, positive, energy which heightens reflexes and expands our abilities. Your job before a gig is not to deny fear, but to manage its symptoms.
Fear triggers a fight or flight response, making the body rigid, shutting down digestion and increasing the heart rate. This creates a lousy environment for singing. At the first sign of nerves get your body moving. Swing your arms and legs like a wide-sweeping pendulum. Slow, steady, controlled movements are calming. For most of us, loading the equipment before the gig can serve as a good physical distraction, so focus on lifting properly -- don’t rush.
Nervous dry-mouth robs the vocal folds of vital lubrication, no matter how well you hydrate. When the digestive system shuts down, the saliva ducts close; the water you drink never reaches its target. Placing almost anything in your mouth should stimulate the saliva glands to reopen, but watch for counter-productive side effects. Forcing a meal on a nervous stomach causes cramps, gas and excessive mucus. Chewing gum can make it difficult to release your jaw later when singing. Sugar-free lozenges are okay, but I find it easier just to suck on my finger. The salt gets my mouth watering without coating the throat.
A rapid heart-rate shallows breathing. To reduce your pulse, inhale on a slow ten count, hold your breath for ten, then release for another ten counts. Incorporate your voice by singing long, low volume, single notes. The longer you sustain, the better the next breath will be. Repeat this until the voice stops shaking. Don’t rush the process by adding force. When single notes become steady, vocalize on scales or light phrases from songs, slowly challenging range and volume.
If you freak-out on stage, take command of your thoughts immediately. Barrage the irrational feelings with bits of reality. Recite your name and birthday to yourself. What is the date? This may seem ridiculous, but I’ve coached many people through panic attacks who could not recall how old they were for a minute or two. Most of all, remember that an audience is human. People will pull for you if you let them know how you feel. Missed lyrics and bad pitches are instantly forgiven if your heart is in the right place. Would you think any less of a performer who looked nervous? Of course not. So, give your audience the same credit and open up. Don’t let fear keep you off the stage.
Vocal Lesson 11: How to Sell Yourself in an Audition
What makes a successful audition? I’ve heard this question asked so many times. Within three installments, I am going to give you some very useful suggestions on how to sell yourself in an audition. After hundreds of auditions (both good and bad), this is what I have found.
If you think about it, the process begins with one thing: A great attitude! What do I mean by that? Before you audition, ask yourself the following questions:
• Why do I want this audition?
• How do I walk into the audition? Do I walk in thinking I already have the part or do I walk in saying, “Why on earth would they want to hire me?”
• Am I dressed for success?
• How do I walk out of the audition?
• What can I learn from this audition?
By asking yourself these questions, they can help put you in the right frame of mind. You are a product in a business, so you have to learn how to sell yourself! Learning how to sell product YOU is easy and can be done in a few steps. The first step is a positive attitude.
Why do I want this part?
Of course the easy answer is that you want the part, but you have to think broader than that. Will this part be good for my career advancement? Is this a company that I want to work for? People audition for hundreds upon hundred of gigs all the time. I suggest you do some soul searching. What type of auditionee do I want to be? The one that auditions for everything and anything or the one that is more selective? If I do become more selective, then why?
How do I walk into an audition?
The first thing that the auditors notice when you walk in is your appearance. When you walk in, they immediately start examining you. How does she carry herself? Is she smiling? Do the clothes she wears exemplify her personality while maintaining professionalism? Even if they are not aware of the types of questions they are asking the auditors will immediately make a judgment on whether or not they like you.
I used to walk into an audition saying to myself, “I’m not good enough to get this gig. Why would they even hire me?” As awful as that is, it’s true! That’s what would run through my mind. And inevitably I would never get the gig. Why? Because I conveyed that attitude in my face and in my presence, without even knowing it. People immediately noticed it. Finally, someone (who later become a good friend) said to me, “Ja-Naé, with your attitude the way it is, you are never going to make it. Being humble is one thing and a great thing, but thinking that you are not even good enough for the gig. If you think you’re not good enough, then you’re not.” She was right! If I wanted to survive in this competitive field, I definitely had to have an attitude adjustment.
• Am I dressed for success?
What you wear to an audition says TONS about who you are as a person. You want a look that is professional, classy, yet shows off your personality. Though I’m a crossover artist, my primary genre is opera and those are the auditions that I have had the most experience with. Also, it is tricky with opera. You audition outfit changes with the season and the time of day. Here are some tips for both sexes in the opera world:
MEN
• Use the cut of the suit, color of the suit, and the color of the tie to show off your personality. The colors and style you wear can say a lot about you.
• Make sure your shoes are not scuffed. No one likes a well-dressed man with scuffed shoes.
• Make sure that the shirt is ironed and the suit is dry-cleaned.
• Auditors want to see you face, so clean-shaven is preferred.
WOMEN
• Keep it simple. Daytime/Nighttime (ANYTIME): black or gray is great!
• Unless it is a competition: NO EVENING GOWNS!!!!
• Mezzos: The general concensus is to wear a skirt, unless you are auditioning specifically for a pants role.
• Long or medium length skirts: NO MINIS! They distract from your voice.
• Try solid colors (prints distract the listener away from your face and especially your voice).
• Dark colors on the bottom with a lighter colored top (attracts more attention towards your face).
• If wearing dark on top and bottom, accentuate it with a colorful scarf or an accessory.
• Wear your hair away from your face and out of your eyes. This doesn’t mean that it has to be up, just out of the way.
• NEVER wear stockings with open-toed shoes. That is a big no-no!
Before you walk out that door, ask yourself: Am I dressed for success? Would I hire a person that is dressed like me? Remember: Your first impression on the auditors happens as you walk in the door, so be smart about it!
How do I walk out of an audition?
Walk out of the audition the same way you walked in: with confidence and a smile. Even if it was the worse audition that you have ever done, do not show it. Your audition ends when you are out of the building you auditioned in and no sooner. If it was a bad audition or if you did not like the people who you auditioned for, it is better to keep it to yourself. You never know who might be watching you.
What can I learn from this audition?
I would have to say the best thing that you can do for yourself during the audition process is to form a healthy objective attitude. No matter if you get the audition or not, after the audition is over, analyze it. Ask yourself the following questions:
•What could I have done better? No audition is perfect. It is the ability to learn from your experiences and other people’s experiences that will make every audition better than the last.
•Did I prepare myself well for the audition (we’ll get to preparation in the next installment)?
•What did I learn from other people? You can learn a great deal from observing the other auditionees. Things like: what to wear, what not to wear, what new repertoire you can use, how people prepare and conduct themselves right before they go into the audition, how people prepare and conduct themselves right after their audition, etc.
•Am I willing to learn? This is the biggest of them all. If you are not willing to learn from your mistakes along with your successes, then frankly speaking, you should get out of the business. You are a product, which means you are constantly changing, particularly your marketable angle. If you’re not willing to do that, then you’re not willing to do what it takes to sell yourself to your potential buyers: the auditors.