Académique Documents
Professionnel Documents
Culture Documents
Tools of Development
Michael Stipe (second from right), singer and co-songwriter of Some who are learning to sing have had great success
A.E.M., has an emotional, powerful vocal style. His singing by keeping a notebook or journal. The notebook will
technique combined with his songwriting ability and his stage
presence makes him one of the most admired rock performers today. allow you to record your observations of the learning
process. When something works that helps you in
Some might try to argue that rockers like Neil Young, your singing, write it down in the notebook. Describe
Bob Dylan, Patti Smith and many others "can't sing." what it was that you liked, and what you did to
Anyone who is a fan of these great performers and has achieve it. This way, you can develop your own
been moved by their convictions and their singing troubleshooting checklist. Then, when you experience
would certainly say otherwise. Each of these rockers problems, you can go through your checklist to help
has developed their own style and technique and their pinpoint what it is you are forgetting to dcr-or not to
own way of expressing themselves, just as you're do.
starting to do.
Also, use a mirror in specific exercises in this book to see
Everyone has the ability to sing rock. If you have the the movements of the tongue and mouth, and to check
desire, you can sing-it's that simple. Rock singing is vowel positions while singing. Since no one is really able
about standing in front of the microphone and to hear the sound of their own singing voice as others
expressing yourself in a meaningful way-you don't hear it, a tape recorder is helpful. (Later on, you'll
need anyone or anything to help you do that. The goal
probably want to sing to a mirror to check out how you'll
of this book is to help you do it better, with greater
appear on stage when you're fronting a band.)
range and without damaging your vocal chords.
The tape recorder allows you to record yourself
You supply the heart, soul and desire. We'll supply
singing the exercises and then play them back. When
the technique.
doing this, your job is to be an impartial detective,
The Process of Singing noticing and evaluating everything going on. Do not
Singing is a simple process. It's a matter of speaking be too critical of your recordings! Think of it as an
on pitch, and trusting that our bodies know what to do. opportunity to listen and objectively correct problems,
Even though many of us know this instinctively, we still not as a time to be judgmental. Record some of the
need to go through a re-education process in order to early lessons and save the tape for later comparison. It
let go of any muscular tension in our singing so that we is often difficult to note progress, and this tape will
may fully achieve this state of simplicity and trust. help you hear your own singing development.
In search of their best singing voice, many amateur A_piano or keyboard of any kind is helpful for matching
singers fail to realize their full potential because they pitches. A properly tuned guitar can do this as well.
4
Vocal Health
Guicarists put their guicars in a case for protection when
they aren't playing. Singers don't have that luxury.
A singer's instrument is the body, and it is affected by
all aspects of the singer's life. Drinking lots of water
helps to keep the vocal cords in good working order.
Lack of sleep will show up in the voice and can cause
a fatigued sound. Excessive coughing, clearing the
throat and sneezing can be harmful by placing a
Courtney Love of the band Hole has a raw, distinctive vocal
style. While perhaps best-known as the late Kurt Cobain's sudden strain on the vocal cords. Even laughing a lot
wife, she has earned respect and admiration through her can strain them! Smoking causes 1the membranes of
intellegent, hard-hitting music. Hole promises to be an the vocal cords to swell, resulting in poor vocal
influential band of the era. production and clarity (and what's: that other thing
smoking does? ... oh, yeah-it also kills you).
cords, breath, the posture of the body and so on.
With concentration and determination it is possible to So follow our advice, and a clearer tone and general
change these habits. However, this coordination may vocal improvement will be noticed within a few weeks.
only be achieved through the steady use and practice
of the voice, similar to achieving the strength and skill Vocal Range
gained from a regular exercise program. Your vocal range is determined by two things: 1) the
Think of practicing as exploring, and the best place to highest and lowest notes you can :sing and 2) where
do your exploring as a quiet room away from distrac- you are most comfortable singing. In classical music,
tions where you feel free to experiment. Sing at a your voice type (soprano or alto for women; tenor,
comfortable volume (when practicing by yourself, you baritone, or bass for men) is also determined by the
don't need to sing into a microphone). Also, it's best quality or tone of your voice (i.e. bright vs. dark, light
to practice while standing. vs. heavy). These distinctions are not so strict in rock
singing, but they do influence what kind of voice you
The exercises should be repeated until you are easily have.
able to sing the exercise at the correct tempo with no
straining or tension, and accomplish the goals of the It's important that you determine the extremes of your
exercise. But once you've mastered an exercise, keep range before you start singing with a band or in the
doing it. studio (see page 40 for exercises). After you find your
absolute highest and lowest notes, fmd the highest
At the beginning, you should practice no longer than pitch you can sing comfortably and that you consider
15 to 20 minutes at a time. The reasoning behind this good enough to sing in public. Tl]:en do the same for
is that the exercises demand total concentration, and your low range.
5
You will probably find that your highest "perfor-
. mance" pitch is a few notes lower than the highest
note you can sing, and your lowest performance pitch
is a few notes higher than your absolute lowest note.
That's not only OK, it's typical for all singers. As your
voice grows and develops, you should re-test these
limits from time to time. Most adults will probably
find that the absolute extremes won't change too
drastically. What is important is that your
performance range grows.
Once you know the limits note-wise, search for the
area of your range that you are most comfortable
singing in. You may already have a good idea of
where this part of your voice is. (If you don't, pick a
song that you know well, maybe even "Happy
Birthday," and just start singing. Chances are, you will
go straight to your most comfortable range out of
instinct.)
It would be a good idea at this point to go to a
keyboard or guitar and figure out exactly what pitches
are in that area. That way, you will know how to tell
your bandmates why a song is too high or too low for
you to sing well. Don't let anybody make you sing
out of your range! Make the band either raise or
lower the key so that you're comfortable singing.
Whether it's a rock cover or an original song, you're
not going to do it any justice if it's not in a range you
can tackle comfortably.
John Me/lencamp's years of smoking and bad rvocal habits led
Remember: the key of the song can be changed a lot him to the point of nearly ruining his voice (and caused a small
easier than your range, and singing out of your range heart attack). Under the advice of doctors and v.ocal coaches, he
is a great way to damage your voice. Your voice is was able to unlearn some bad habits and his voice became
your instrument, so you need to know what it's stronger than ever.
capable of and what requests are unreasonable. with some of your favorite exercises. Never just step
in front of a microphone and start belting unless
How This Book Works you've properly warmed up your voice!
Rock Singing Techniques won't pigeon-hole you into Parts IV and V will cover the basics you need to know
any specific style. "Rock" is such a diverse term and for singing with a band and in a recording studio,
means so many things to so many people that we respectively.
decided it would be best to give you the foundations
of the technique, some traditional songs that everyone
knows to explore those foundations, and then
About the CD
The CD includes all the exercises, demonstrated by a
encourage you to sing the songs that inspired you to
professional singer, and all the traditional! songs (some
study rock singing in the first place.
even rocked up a bit), with a melody line for you to
Parts I through Ill will introduce a vocal vocabulary to follow. The track number o n the CD corTesponds
you and take you through some basic exercises. You with the track numbers listed throughout the book.
should work through them all slowly and diligently, The right channel of the recordings can be turned off,
and one at a time. After spending cwo-thirds of your so you can sing with only the piano or band
practice time with this book, you should spend the accompaniment.
last third singing with your favorite CD, singing your
Before each exercise, you will hear the starting pitch
own songs, or whatever you want to get good at.
and tempo (speed of the song) played by the piano.
Again, in the beginning, no more than 15 or 20
Sing the exercises in the octave most comfortable to
minutes is necessary. After a month or so, you may
you. Although some have a limited amount of
slowly increase that practice time.
repetitions, you're encouraged to continue the
Eventually, before you go to sing at a performance, a patterns upward to the higher parts and down to the
band practice, or in the studio, you should warm up lower parts of your vocal range.
6
READING MUSIC
Although many rock singers don't read music, those who can are better off. They can
do more, learn more and, perhaps most importantly, communicate more. Singer/
songwriters like Sting, Joni Mitchell, etc., are better able to express themselves musically
because they know how to read and write the language.
You may already know that as notes on the staff travel upward, the sounding pitches get
higher, and as the notes on the staff descend, the sounding pitches get lower. But by
studying and learning the language, you'll be a better, more well-rounded rock singer.
Clefs ;_
Most vocal music is written using one of two musical clef signs. The treble clef ~ is used mostly for notes in
higher ranges, and the bass clef 9: (pronounced "base") is used mostly for notes in the lower ranges. Clefs help
to organize the notes into an easily readable format. Most popular and standard vocal copies available in music
stores have the vocal line written in the treble clef.
0
0
0
I
11
Ii
ii
II
E G B D F F A c E
0
0
II
.,
0
0
0
ii
II
II
G B D F A A c E G
--
'
~
LEGER UNE ~
-- ...,.
r "D E
••
F
-
G A B c 10 E F G
--·.. -. -- ••
- ••
I
-. --
"F G A B C D E F G A B
7
Flats b, Sharps #and Naturals q
lowers the pitch of B-tlat raises the pitch of C-sharp cancels the effect B-natural
a note a half step. a note a half step. of a flat or sharp.
You can see that the note F has been changed to F#.
Key Signatures
To make the writing process easier, we can indicate
the flats or sharps to be used in a composition at the
beginning of the piece. This is called a key signature
and tells the performer that the accidentals (flats and
sharps) indicated are in effect throughout the piece.
For example the F# in this key signature, which
appears on the top line of the staff immediately
following the clef, indicates that all of the F's in this
composition are to be played f#.
Key Signature
of G Major
+
~
First with the Police, then later with his solo career, singer/songwriter
Sting explored different musical styles like jazz, Caribbean and Latin
music in his songs. By always expanding his musical horizons, he's
been able to stay at the forefront of the pop music world.
a
~I ~ ~ ~ ~ I~ ~ I~ ~ I~ ~ ~ ~ ~
}
I11 ~ I
Ta ta ta ta ta - ah ta - ah ta - ah ah ah ti ti ti lti ti ti ti ti
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
~I J~ ~ ~ ~ ~ ~ ~ J ~ ~ ~ ~ ~ ~ ~ II J II J. Ji II
Ti- ri ti - ri ti - ri ti - ri ti - ri ti - ri ti - ri ti- ri. 1 - 2 - 3 1 & 2 & 3 & 4 &
1 2 3 4
The Silences
Silences in music, called rests, are just as important as one beat of silence, a half rest gets two beats of
the sounds, because the two accentuate each other. silence, a whole rest has four, and so on. Count the
Rests have durations equal to the values of the rests silently. Ot may help to think of the syllable "sh"
equivalent note symbols. Therefore, a quarter rest has on each beat.)
-
Quarter Rest Half Rest Whole Rest Eighth Rest Sixteenth Rest
-
Time Signatures which type of rhythmic pulse gets one beat.
The time signature, or meter, of a musical piece is 4/ 4 time means that there are four beats in each
represented by the stacked numbers after the clef measure and the quarter note gets one beat--or in
sign. The top number tells the musician the number other words, there is the rhythmic equivalent of four
of beats in each measure. The bottom number tells quarter notes in each measure.
Time Signature
t
~I J J J J II~ J J J l mJ J J J J J Iii .J J II
The Tie
A tie is a curved line that connects two notes of the same pitch. A tie is necessary if you wish to hold a note
beyond the bar line. Sing the first note and hold it for the combined count of two notes.
J~J - 2 beats
j~j = 3 beats
J J
j
~
j
= 4 beats
= 4 beats
4
4
Count: 1
0
-. _l-.._..}._
Tap: M. " ' M. " ' M. " ' M. .-~
--
I J= 5 beats
.-.......__.....,
4 1
""'
9
NOTE-READING EXERCISES
Identify the following notes and write their names in the spaces provided below.
0
0
0
0 0
II
!)1 ,, II
0
0
n 0
0 II
u 0 II 0 0 0
II
0
0 0
0 0
0 0
0 0
0 u
II
0 0 0 0 0
II
0 0
0
0
II
Liz Phair has a clean, honest singing style that has won her a legion of fans and great critical acclaim. Starting with her first album in
1992, she's made use of a unique songwriting approach with bare-bones production tricks to emphasize her singing and her lyrics.
Trying to control the breathing muscles is counter- Usually the fear of taking an inadequate breath comes
productive. The extra tension exerted in the body will from a feeling of insecurity, not an actual physical
affect the vocal cords, causing them to tense and shortfall! In a deep breathing process such as is used
strain. Conscious manipulation of the breathing in singing, even though we may exhale a large
process is truly unnecessary, because the abdominal quantity of air, a good amount of residual air remains
muscles and diaphragm will naturally work together to in the lungs which generally goes unused. Trust your
regulate airflow. To achieve this, stand tall with good body to breathe for you.
posture. Do not allow the chest to collapse; keep it
Try to create a balance between the action of the
comfortable, but high. When done properly, these
breathing muscles and the amount of air inhaled for
breathing elements will do their job for you.
singing.
A huge gulp of air does not help you to sing better.
Just as anything in excess tends to be detrimental, too
much air often causes rigidity and tension in the
throat, and in the lower abdominal region. The key is
to sip the air. You will be surprised how far a small
amount will take you.
12
Physical Exercises
Most people do not need special exercises to 4. The "Rag Doll" exercise is an excellent exercise for
strengthen their breathing muscles. The muscles allowing the air to act correctly on the inhalation
involved are generally in good shape to function for process. To do this exercise, bend over from the
your singing needs. Often, however, there is a lack of waist and allow the upper half of your body to
awareness of how the body operates. hang loosely like a rag doll. Allow your muscles to
completely relax and take some deep, relaxing
Air breaths. After a minute or two of this, slowly stand
up. As you rise, try to imagine that you are
Air
•
Chest
remains
comfortably
high
Diaphragm descends
during inhalation
Vocalizing
S. From a standing position, remember the feeling of One of the best ways for singers to build better
taking in a breath for a sigh, and feel as if the singing technique is through vocalization exercises.
breath is descending to the lowest part of your Vocalization exercises are designed to help condition
abdomen. You have to let go of your stomach the vocal chords and improve the range and flexibility
muscles (there's no room for vanity here) and let of the vocal mechanism. You might want to think of
them act on their own. You may feel as if your them as vocal aerobics.
stomach expands out during the inhalation process.
This is the diaphragm moving down as you inhale.
It is natural and correct. Warming Up ths Voice
It is always a good idea to warm up before singing.
After exhaling, maintain an upright posture and Singers of all musical styles, from rock to opera,
slowly expel the air. You may feel the abdominal require vocal warm-up exercises to get their voices
muscles moving inward a bit. This is not something moving through their entire range, proltect themselves
that you should help with; the body can take care from vocal strain and to prepare for the rigors of rock
of it just fine. Place your hands on your abdomen performing. Vocal exercises warm up 1the voice just
and monitor the movement of the muscles. Repeat like stretching movements warm up the body before
10 times. When you are able to allow the body to running or other physical exertion.
take over and move smoothly on its own, an even
singing tone is possible.
6. Draw in a gentle, low and full
breath to a count of three. Stand
about two feet away from a wall,
facing it. Exhale the air slowly in
a controlled hiss. The throat .. -~.
should be relaxed, acting only as
a passageway for the air. Try to
maintain an even intensity in the
hiss, and imagine that the power
of the quiet, steady energy
contained in the hiss will slowly
push back the wall. Extend the
hiss as long as possible, then
repeat.
7. Breath control involves
developing both agility and
flexibility in the muscles used for
the breathing process. The
action of the diaphragm and lungs
can be felt in one's back, so place
your hands on your back at the
waist level. Imagine that you are
a cylinder filling up with air.
Breathe deeply and feel your
back expand as you fill the area
under your hands. Complete, full
breathing should include this area Inhalation Exhalationi
of the back.
Muscle action during breathing
14
Vowels
Because vocalists sing words and want these to be vowel, whisper "Hah." Feel where t:he tip of the
understood, a lo t of time is spent perfecting the way tongue is, what the sides and back of the tongue are
they sing vowels. The tongue and mouth form the doing. The tongue should be relaxed, with the tip
vowel shape, and the breath flows through the vocal touching the back of the bottom teeth as you whisper
cords into the mouth. This creates the vowel sounds the word. Remember the way it feels.
which we recognize as:
Singing is based o n speech, so afte1r we investigate the
Ah as in "father" feeling of the vowels by whispering, the next step is
to speak them. With the jaw relaxed, and the upper
Ay as in "say"
and lower back molars slightly apait, very gently say
Ee as in "beet" "Hah." Everything in the mouth should remain still.
Eh as in "red" Repeat "Hah" several times, experiencing the
sensation of stillness. Whisper "Mm. " Still relaxing
I as in "tie" the jaw, and with space in the mouth, gently say
Oh as in "so" "Mm." On the "Mm" there should be a feeling of
vibration in the mouth, but the tongue remains still.
Oo as in "loom" This is the beginning of a hum.
Vowels which are made up of two sounds, such as "I" Now, try something called the speech-chant. Combine
(Ah+ Ee) and "Ay" (Eh + Ee) are called diphthongs. the two sounds above, saying "Hah-Mm," prolonging
The second sound in each diphthong, known as the the sound, allowing two beats for the "Hah" part and
vanish, should never be emphasized. The vanish is three beats for the "Mm" part. Sustaining the sound as
only lightly articulated just as the sound fades away. if chanting, keep the tone going through the entire
In the case of a word containing an "Uh" sound, such five-beat duration of the "Hah-Mm. " Make sure that
as love, dove, because, or the "Ow" sound as in the there is space between the back teeth. Repeat "Hah-
words round, down, town, the preferred Mm," not allowing it to die out too soon.
pronunciatio n for singing is to slightly modify the Singing is essentially sustained speech.
vowel toward the "Ah" sound, creating a rounder,
more o pen tone.
The best way to practice the shape required for vowels
is to whisper each one. To practice using the "Ah"
Note: All e~e~cises in this book should be sung starting 'vith the notes
Exercise Set No. I shown and the~ progressively raising the notes iri the exercise by a
half-step on each repetition. For example, an exercise which begins
on the note C will progress to start on the note Cl. then in the next repetition, D, DI. and so on.
Continue to sing as high a pitch as is comfortable. Do exercise the upper ranges of your voice and
encourage it to grow, but do not attempt to sing the exercises when you are experiencing vocal strain.
The number of each exercise refers to the number of the musical example below.
•1. Keeping the same gentle, no-pressure feeling used for the speech-chant, sirlg "Hah-Mm," suistaining it on
the given pitch. Keep feeding the breath into the _tone, main~g a smooth exhalation.
·2. The very tiny distances between the notes in this exercise have a mas8age-like effect on the: vocal·cords,
making this an excellent way to start the warm-up process. Whisper the vowels, be very sensitive and ·
note the minute movements inside the mouth. Begin slowly, then do the exercise several times, varying
the tempo(or speed). Start with"Ah" the first time you sing the exercise, then "O." Finally combine the
sound as "Ah-0."
3. This exercise uses the humming sound "Mm." The lips are together, but the back molars should be
slightly apart Keep the space open in the throat. The tone should be placed in the mouth; try aiming
the sound at the lips. Be careful not to allo~ it to become ~ nasal. Keep a consistent enc~ level.
' . '
4. ·Whisper the vowel first, then sing the exercise. Try to match the vowel on each note to the' vowel
preceding it.
5. No singing! Just speak this one on pitch, saying the numbers.
®rack I
J ------n---~--~
-+>l---l~tr---&---..---1 - -
II#~ I~
1.
II
----- - - Mm
Hah- - - - -- Hah Mm
Ah 0 Ah 0 Ah
J lj J n=1:J - II
J J
Mm-- - - -- - - - -- - -- - - -------- - -- -
a.OO-- - -- - - - -- - -- - - - -- -
b. 0------------------~
1 2
J
3
J
4
IJ
5
J
4
J
3
?f =*:J
2 1
- I
16
Slur: ~ or ......___...,
First, just say the words to these folk songs, SLURS mean to sing legato.
then sing them in the same simple way you l.EGATO means SMOOIBLY CONNECI'ED.
spoke them.
6
Oh, How Lovely Is the Evening $rac1c Traditional Round
,•• ~j
D
Oh, how
J I~
love
J
ly
I~
G
is
~
the
I~
eve
D
~
JJ
- ning,
G
I~
is
~
the
D
I~
-..._::::
eve
JJI
- ning,
,.H D
When
J
the
1J
bells
J
are
1d
sweet
G
-
~
ly
D
14 - J
ring
J jJ
ing,
G
sweet -
~
ly
13
D
ring
*="
JJI
- ing,
,• J. D
Ding,
IJ.
dong,
G
IJ.
ding,
D
IJ.
dong,
G
IJ.
ding,
IJ.
D
dong.
II
7
All Through the Night $rack
Welsh
Slowly
,•11 J. D
Sleep,
G
J J J IJ.
my Jove , and
Em
peace
E
) j
at - tend
A
J 14
thee,
G
All
A7
j.
through
J I
the
D
u
night;
D G E7 A7 G A D
, •• J. Ji J J IJ. ) j 14 j. J I
Guard - ian an - gels God will send
J
thee, All through the
u
night.
,.BJ G
Soft
J J
the drow - sy
~ 1J ~
hours are
J J IJ J J J IJ J J
creep - ing,
Em
,• J. D
I, my lov
G
Ji J J IJ.
- ing
E7
vig
}' j
il
A
keep - ing
J 14
G
all
A
j.
through
J I
the
D
u
night.
II
17
Trent Reznor of Nine Inch Nails typically is all over the stage when he sings, hunched over sometimes, jumping
other times, letting proper posture pretty much go out the window. The energy and emotion he puts into his
performances take precedence over proper "posturen for good reason.
18
The Tongue
All the components of the vocal mechanism must be balanced so that they are allowed to function freely without
interference from unwanted tension. The tongue is essential to a singer for articulation purp<0ses, but since the
tongue often harbors tension which interferes with singing freely, it must be trained to lie relaxed and still in the
bottom of the mouth.
The tongue should be free of tension during singing.
3. Say "Ah" ·Wifu a fat, .still· tongue. say·the vowel for one secOnd; then rwo, ·and ~ yOli itt able;tq do
that without any tonguej nterference, say it for tbtee ~- and~ so on; .until }'O'l are able ~ mainCain a
motionless tongue for.at least five seconds at a tigle. ~
4.· Singing.is SUstained speech. Prom speech. ~ the;~? Sftta.·M~. c>q.'a ~ortable pitch ·in the
· · same easy way you sp6ke it. Repeat.until die :t~e l$ ab1'' io' ~i.b' rl1Qdontes8 in thC~~bottom Of the" ' ~
mouth during singing. . · · ''. ~ .; ~ · · ~ · ·
~,, ri' f .. i.\: ... ~ -
5. and 6. Sing the exercises below. The tongue~ at~ ·
7. Whisper "Ah," then ·"O." :The vowel change should be~~~ 'as litde. ~emcnt ~possible mde
the mouth. . · · .. I • ,.._. " ·· ·
$mk8
s. 'I j
Ah
~ J ~ IJ - I
$ radt9
6. '~ H J
1
0
~ j ~ IJ - I
19
Bb7 Eb
';' i. 1'me,
J.
my
J"------'J.
Lord.
14
All
J
night,
Bb7 Eb Fine
';'·i. € all
T'
-;J3
._./ J
day,
Ir
An -
J
gels
J J J J
watch - ing 0 - ver
10
me.
II
Eb Ab
'~IiiZJ j J J I@ J J I; J J D J J
Now lay me down_ to sleep, An - gels watch- ing 0 - ver
0b1 Eb
';'·i. J;
me,
J.
my
J J.
Lord.
-....._;:: 'u
Pray
j
the Lord
J J
my
me.
I
20
Incomplete Measures
Not every piece of music begins on the first beat. Music sometimes begins
with an incomplete measure, called the UPBEAT or PICKUP.
If the upbeat is one beat, the last measure will sometimes have only three beats
in 4/ 4, or two beats in 3/4 to make up for the extra beat at the beginning.
$rackl2
Home On the Range
American
,.I! J I J J J I J IJ. J I J J
D
j j
G
~ ~
,., J J IJ J J I J. IJ J
Oh, give me a home where the buf - fa - lo roam, Where the
D A7
,.I J J J J I J. J I J J
deer and the an te lope play; Where
D G
j j ~ ~
,.I J. w J I J J J I J. -IJ.
sel - dom is heard a dis - cour ag - ing word, And the
D A7 D
,.I I J J. I f J
skies are not cloud y all day.
A7 D
~. ) ~.= J j
,.I J J IJ J J I J. IJ J
Home, home on the range, Where the
Bm E A7
,., J J J I J I J. J I J J
deer and the an te lope play; Where
D G
j j ~ ~
,., J. 1' J I J J J I J. -
sel dom is heard a dis - cour ag - ing word, And the
D A7 D
lj 11
skies are not cloud y all day.
21
The jaw
From the neck up a singer's muscles should be fa irly with the extra room that they can use. It also places
loose and relaxed. This includes the jaw. A tight jaw much less strain o n the jaw.
will limit your ability to sing freely. The jaw is needed
To loosen up the jaw area, o pen the mouth and allow
for articulation, but even then must be used in a
the jaw to hang loosely from the hinge. This is
relaxed manner.
sometimes referred to as a "dumb" jaw . Remember,
As you sing higher, your jaw naturally lowers. The idea you are getting used to a new, relaxed feeling, and
is to lower the jaw in a way that will result in increased during the exercises in this section, relaxation is far
space for the tone, and actually help your singing. more important than a precise articulation of the
words. While singing, try for as little movement of the
If the jaw is lowered at the point of the chin, the only
jaw area as possible. Allow the tongue and lips to do
extra space gained is at the front of the mouth.
their jobs in pronouncing the vowels and consonants.
Opening the mouth in this way may also result in
Check your progress by observing yourself in a mirror
tension in the jaw area. The most beneficial method
and placing your index finger lightly on the chin.
of opening the mouth for singing is to lower the jaw
from the back, at the hinge, around the molar area. A relaxed jaw is essential for good sing:ing.
This opens up the proper areas that provide the singer
$ r ackl3
1. ~I J J J J I; *
Plop plop plop plop plop
- I
$rackl4
2. ~I J
Ya
J
ya
J
ya ya
J IJ
ya
J
ya
J
ya
J
ya
IJ
ya
- I
$ rack IS
~~bl J J J IJ
Jza J J J IJ II
3.
za za za za za za za za
:t J
za za
$ rack l6
4. ~I :t J J J IJ J J J IJ - I
Fa la fa la fa la fa la la
$ r ack 17
s. ~I :t :t J :t IJ J J J IJ :t :t :t I~l - I
La la la la ta ta ta ca da da da da da
22
only the vowels are sung. out of the tone until the very last
Consonants, which are formed by
using various combinations of the
lips, teeth, tongue and soft palate,
interrupt the flow of the tone.
( moment, then inunediately go on
to the next vowel.
Singing is comp1rised of sustained
vowel sounds which are briefly
Consonants are simply "flicked" without allowing the consonants
interrupted by short consonant
off the tongue to make way for to interfere. In singing a word
sounds.
the next vowel. Sing the vowel on two notes like va-lley, pretend
all the way through the note, that there are two words, "va"
"' · ri
3,' 4 and -5, .. ~ wbisper the vowels in these CS:eidses. then say the words. Decide ~t vowel shoWd
,be sung fa{ ~ch ~8lC· Now sing the .exercises slowly) taking· to ·sing.only the•vow.els; the ' ' ."- care
'' eo~nants are shon.
®nck18
1. ~~ I ~ ~ I
Hel lo!
2. ~~~I 14 I
J J
lo,
J J J u
day?
Hel how are you to
®nckl9
3. ~I J J J J
'---"" ~
J J ~ IJ - I~
Val ley, sal ly.
®ncklO
4. ~I J J lt__!JJ J J IQ ~ J J I
Sing - ing , Tra La --- La Tra La.
®rackll
s. ~I J J J J IJ J J J IJ J J J IJ J I
Glo - ry, lor - ry, Iii - y, dil ly, cho - ral, lau - rel, sor rel.
23
Speak the words to the songs that follow, giving special attention to the vowels, then sing them.
~Ti;ack22
Greensleeves ~
English
j Moderately Em G D Em
~ Hl I J
I.
F I~
...
~ r§t Jl J. j J I J
~
J) J. a J I
....___,:::
A las, my love,_ you do me wrong_ to cast me off_ _ dis-
Em G Bm
Jl
...
IJ J1 J., ~ J
cour - teous - Iy,
J And have lov ed you so
. ______.,,,
Ioing,__ de-
Em 87 Em G
'i J. --J J
light •EV
oe::::::: J IJ
- ing m your
J)
com - pan - y.
J !/ II r·
Green
EA Fsleeves _ was
D 8m Em 8m
~-
-...
~
all
Jl
my
JJJ
joy,
J <:::::::::::
Green
)J J. ~
sleeves _ _
JJ
was
I
my
J ; J ...
de - light,
7. 1·
G D 8m Em 87 Ern
~- r· r· ~ F I ~ ;p
-...
J. j J I J. 3 J1@J I
~
JI. J II
Green - sleeves was my heart of gold _ and who but my la - dy Gre•en - sleeves?
24
Repeat Signs
II= =II
The repeat sign indicates that the section of music
between the double bars is to be repeated.
~~i II: J J j J Ij J ~ IJ j J j I J. *
l. As the black - bird in the spring, 'neath the wil low tree,
2. In her blush the rose was born, mu - sic when she spoke.
F G7 C7 F
~~ J J j J Ij J ~ IJ j J j I J.
Sat
In
and
her
piped,
eyes the
heard
light
him
of
sing,
morn,
sing
in -
of
to
Au - ra
splen - dor
Lee.
broke.
*
F A7 Om F7 ab F
~~ ~ ~ ~ I~ ~ ~ I~ j J j I ~. *
Au - ra Lee, Au - ra Lee, maid with gold - en hair,
eb G7 IF
~~ ~
C7
-...
~ ~ Ij J j. )1 IJ j ~. ~ I .J :I I
Sun - shine
F
came a long with thee, And swat - lows in the a.ir.
*
Elvis Presley is often called the King of Rock 'n' Roll. While he
probably should share that title with Chuck Berry, Little Richard
and others, he certainly is one of the most inflCJential singers in
rock's history. Also impressive was his skill wi th the rock ballad,
and when he turned the traditional folk song "Aura Lee" into "Love
Me Tender" it became one of his early hits.
25
Matching Pitches
Some people think they can't sing rock because of an Never "make" pitches from the throat. The singer's
inability to accurately match musical pitches (tone of thought is what creates the pitch, so think the to nes.
the melody) using their singing voice. But know that Learn to listen to the tone you're crea1ting-not just
it is possible! When a singer is accused of singing off- hear it. And don't be discouraged if you sing off-key .
key it's because he or she isn't singing on pitch. for a while in the beginning. Keep practicing and
While a lot of great rock singers don't sing exactly on keep working on the following exercise. Remember:
pitch all the time (Bob Dylan, Ne il Young, Courtney singing on key is the most important part of being a
Love, etc.), it's still important to know how to do it. good rock singer. You may sometimes choose to sing
a little off for a certain effect, but let that be done on
Rock singers singing off pitch are either singing sharp
purpose and not by accident!
(slightly above the pitch) o r flat (slightly below the
pitch) on any given note. A beginning singer may Concentratio n and focus are essential parts of all
have mastered a certain style but not be able to match singing, but are especially crucial to the pitch-
pitches consistently. Singers aren't like keyboardists, matching process.
who simply push a key down to get the right pitch-
they must rely on their ears to guide them.
'c J J J
Mer - ri - ly
J IJ
we roll
J J
a - long,
IJ
G7
o'er
J J J
the deep blue
c
&
sea.
11
-
3.
'I J
C§;irack26 1
J J J IJ
2 3 2 1
II
4. '~bl J J J J I J J J J I J - II
1 2 3 4 5 4 3 2 1
5.
'I J J *
1 2
~
4
IJ ~
5 4
* J
Play the notes or listen to the recording of each of the following songs. Then when you are su:re you know
2
&
1
II
each tune, sing them. Imagine that each note is a bull's-eye, and hit the mark directly in the center of the pitch
every time from the first instant you sing the tone. It is easy to get into a habit of always singing the notes in a
"scooping" manner-sliding up or down to the pitch. Too much of this effect is annoying to the listener and can
be a difficult habit to break.
Spiritual
F F
F F r Ir J J IJ J J J I ,J. J
1. When I was a seek - er, sought both night and day. I
2. He made me a watch- man up on the cit - y wall. And
3. In the time of Da - vid, some said he was a king. And
F
F F F IF j J IJ J J J IJ.......____J II
asked the Lord to help me, and He shows me the way. _ __
if I serve Him tru - ly, I am the least of all. _ __
if a child is true born, the Lord will hear him sing. _ __
1e a j
F F
,~ j AJ. JIJ j Il J J
Go, cell it on the moun - tain, 0 - ver the hills and ev 'ry - where.
F c1 F
J. j J. j I J J J J I J. :II
Go, tell it on che moun - tain that Je - SUS Christ_ is born.
27
Now that you have the basics down, it's time to move singers describe their singing as having "space" or being
on to more advanced concepts and techniques--vocally "open," they mean that everything is relaxed and free in
and mentally! the column of the throat and in the mouth.)
Rock singing is onJy partially about having a good The feeling of a yawn is a great way to get a feeling for
voice. It's also about anitude, persona, expanding your what we're talking about. The beginning of a yawn
range and understanding advanced techniques like allows us to feel the space inside the mouth and throat.
creating vocal space, vocal resonance, etc. The jaw is relaxed, and it is as if there is a large,
So as you work your way through these more advanced. imaginary orange in the back of the mouth. The space
exercises and traditional songs, make sure you check is flexible, never rigid. Be careful that the tongue
any inhibitions at the door. Move around while you're doesn't pull back into the yawn space. It should lay
singing as if you're on stage in front of your band. Hear low and still in the mouth. The space o ccurs without
how you're singing and enunciating, making sure your the tongue's help or interference.
energy level is consistent. Start practicing singing into a
microphone (at least holding one-it doesn't need to be There must be energy in that space as w ell. It is the
plugged in). And most of all, sing out and sing strong! energy that is present when you take in a breath for a
phrase of a song; it has a purpose and it has space. The
Vocal Space singer's intent (the intention to sing a phrase of music)
Having enough space available for the tone inside the provides the energy.
mouth is important to good rock singing. (When The singing tone must be surrounded by space.
II
Ah _ _ _ __ _ Q _ _ _ __ _ _
® nck29
3. f ~l·1 J J J IJ J J
Sigh _ __ _ _ _ __ _ _ _ _
II
® nck30
4.f~klJ:fu J IJ J J J IJ - II
a.0-------------------------~
b.00-- - - -- - - - - -- - - - - - - -- - - -- -
~ck31
5. ,~kl
J_J
a. Ah _ _
b. Q__
~
Hah
Ho
~
Hah
Ho
I ~~
Ah
0
~ ~ ~
w
Hah
Ho
II
29
~Tr;ackll
C. C. Rider \S:I
This traditional song was first rocked out by the Spencer Davis Group in the 1960s. Many others have covered
this great song, including Bruce Springsteen.
Moderately G7
G G G
- - I r· J I ~lJ. I F
J J J I qJ ~r J J
c. c. Rid-er, - see what you have done, Lord, Lord, Lord,
c1 c1 c1
,. J. J I f J~J . IJ J J J I
G
J. J J
c. C. Rid - er,-- see what you have done. Now you
c1 c1
,. 07
F ~F
...
-Jj
J. IJ J ~ J
G
e _ ~J
G 07
~
•~ J ~ J II
1:
made me love you, now your man's done come. * Now worn-an you
,. r· G
J I
G
J J. I
G
f
J J J I qJ ~r
G7
J J
raised your win - <low, raised your win - <low high, Lord, Lord, Lord,
c1 c1 c1
,. J. J I ~-
J'=-'J . I J ~ ~ J JlJJ.
G
J JI
raised your win- dow,-- raised your win - <low high.-- But I
G (second time
c1
,. 07
E r ~r -Jj
...
J. I l j. ~r ~- J,
r.":'..·
l....o
only)
:I I
should - a' kept walk - in', walk - in' right on by.
*The sign 17'\ is called a fermata and means to hold the note over which it is placed for approximately twice the normal value.
30
Energy
Energy is what makes it rock. You've got to be present, even in this children's song. Now, imagine
excited by what you're singing about, because if that you are in a parade and sing the song in this
you're not, the rest of the band, the audience and the style, marching to the beat. The energy will be
A&R people sure won't be. If you're not going to let different in the song, and subsequently your body
the energy inside you get out into your music, you energy will change to match it.
may as well take it to the lounge. After all, what Rock is the greatest source of energy and movement.
would singers like Mick Jagger, Eddie Vedder of Pearl The tempo, rhythm and vitality of the music serve as
Jam, Chrissie Hynde of the Pretenders or Bruce inspiration for the singer's energy. The emotion
Springsteen be without the incredible amount of spirit contained in the music also provides great impetus for
they bring to their music? the singer. Ideally, the singer will be motivated to
A rock good singer is able to include energy in a song synchronize his or her energy with the energy and
and maintain it at a consistently high level while excitement contained in the music. This is inherent in
engaging in the act of singing. When performing, the all great singing.
singer must be absolutely rocking with energy even And a word about self-confidence: you need to
while still or silent. The energy that a singer develop it. Nothing sucks the energy out of a song
maintains is primarily mental. It is a combination of like a singer who questions internally what he or she
concentration, excitement, awareness and intent. The is doing. It's easier said than done, to be sure, but
tone must be constantly refreshed with that energy at you've got to believe you can do this. While you're on
each new note. stage with a band or (much scarier!) in a vocal booth
It helps to visualize movement to create energy in in a recording studio, you've got to express every note
your singing. Take a little walk around the room. If as if no one else on the planet can do it as well as
you think "l - 2 - 3 - 4" as you walk at an easy pace, you.
you physically feel rhythm. Add the words of a The musical energy of tempo, rhythm, emotion, self-
simple song like "Twinkle, Twinkle, Little Star," and confidence and movement all inspire the singer's
walk to the tempo of the music. There is energy energy. You need it all.
eal
:g
(.)
Ill
·r::
.c
(.)
~
.c
a..
Pearl Jam, led by the dynamic Eddie Vedder, is a great example of an energy-driven band-the kind we should an
aspire to. Since starting out in small clubs in their hometown of Seattle in the 1980s, they continue to overwhelm
audiences with their vitality and spirit.
3I
Imagine m.ovement a.s you shis the exercises below. 1n YC>\Jf nilitd·s ~e.
Exercise Set No. 7 see yourself physically moving through the ~· ~b$il:u~e. your oym
meaningful image to keep the energy in the phrase moYinl~· Which
image creates the mo& vitality in your singing? Try several and decide which idea works best for you.
1. Say the vowel and keep the music flowing in~ exercise.
2. Even ~ges which .contain little musical motion must~ be infused with eneigy::
an image that will help you keep the momentum going. '
3. Allow this exercise to bubble over witJi the eneqw of laughter.
4. Sing this exerc,ise smoothly. Take a breath at the_comma a~ve the staff.
5. Experiment with movement to thiS exercise. Dance it.
$ rack33
1. ~~bl J J J J lg J J J J J J J 14 - II
~
a.E------- A-Y--
-===::::===============::::::=---=--
b.Ah------ 0--------------
j IJ J J II
a.Ah _ _ _ _ _ _ _ __
b.Q _ _ _ _ _ _ _ __
a. Fa__ la _ __ fa la la
b. l..oO- - TO O - - Loo Loo Loo
$ r ack3'4
'
4. ~&bi J_ij) I~ II
Nah _ _ _ _ _
Nah- - - - - - -
$ r ack35
5. ~&bl J1~J J J J I
,_,
a.Ah----------------~
b.0----------------~
is the time
c. Now_ to sing_ and play.
32
$irack36
My Bonnie Lies O ver t he Ocean
The Beatles did a rockin' version of this traditional folk song in the early 1960s. Now you have a go at it-and
remember: sing it with a lot of energy and drive.
Slowly A D A
~111~ J I r· p ~ IF ~ J IJ J IJ * J
My Bon nie lies OV - er the 0 - cean, my
87 E A
87 A
D A E r.-..
~131 Jl J - JIJ I J J J I ~ II
I.
r· IJ J ~
F
OV - er the o - cean, Oh bring back my Bon - nie to me.
Fast! A D A
~Un#! II: - -
*JIr F
j
IF j J I J J. - *JI
My Bon - nie lies ov - er the o- cean, my
87 E A
*•11 r F
J Ij J J 0
- * F I r F
J
Bon - nie lies ov - er the sea, -
my Boin nie lies
A 87 E7
J J I J J. - *JIJ F
J I (J J J
ov - er the o - cean, Oh bring back my Bon - nie to
A D
II - 0
I J - Ii
87 E7 A E A
J I J J J IJ J J ,;z- - JI
F *
back, Oh bring. back my Bon - nie to me.
(Repeat 3 times-
D 87 E7 2n.d time guitar solo)
A
~·11 0 I j - II J J I J J JI II :II
Bring back, bring back, Oh bring back my Bon - nie to me.
33
Energy doesn't always mean volum~ and force. When Simon and Garfunkel recorded this traditional gentle
English folk song, they sang it with heart and soul.
English
With motion G A
Om c Dm
'e Are
J ; J J J I J.
you
...
go - ing to
j J J.
Scar - bor-ough Fair? Pars - ley, sage, rose - mar - y and thyme; Re
Om . Am Om .. Gm Am Om
r 0F Jl IJ J J tJ IJ Jl J ;fl' IJ J J J.
' mem - ber me
Om
to one who lives there, _
c Om
she once was a
G
true love of mine.
A
.
J JJ ~ ~ ~ I J. ~ J J. I~ r DI
~ JJ ~ ~
Om Am Om Gm Am Om
.. ..
r Il
...
pF Jl J J lJ I J Jl J Jl IJ J J J.
' out
Om
a seam or nee
c
die work,_
Om
She once was a
G
true love of mine.
A
..
J JJ J J J I J. Q J J. I J r I J J JJ Jl
' Tell
Om
her to wash it in
~
Am Om
D
Gm
D
Pars - ley, sage, rose - mar - y
Am
and thyme; Where
Om
.. ..
F p F i1 I i J J J ='
i1 IJ J =a J. II
tJ IJ Jl
' nev - er rain or wa ter fell, _ she once was a true love of mine.
3.f
1 and 2. Take in your breath as if you were able to draw in the air
Exercise Set No. 8 through every pore in your face. Sing the "Ah" as in. the word
"father." Relax the jaw, provide the open space in the mouth and
drop into the "Ah," as if you are dunking a tea bag. It is a feeling of resting into the body, not a forced,
upward motion.
3, 4 and 5. First speak the words to these exercises. Try different inflections in your vofoe: happy,
sad, que~tioning, authoritative. Now sing the exercises, starting from speech. Keep it :s imple-speak
them on pitch.
Gently
J J 2.
~I J ~ I~ ~ ~ j
$ r ack 38
"CJ"
II
Ah
--- J II
3. ~~~~~-,--I -__./-J---.----.----------.-----..
J -
0 J J I
J J II
Here_ IS che
'
4.~1 LO I~ J JJ) J I Q£ J. J J II
$ rack 39
Qh _ __ No Oh No ----
. ~~#~#~~~~~~,E§~~~~~
j s. Cf I t J J) J J IU U t_IJ - 1
· a. What can I say a - It_ is- grand. _ _ _
b. So, tell_ me a - They_ are_ green. _ _
The Beach Boys weren't the first to add vocal harmonies to pop/rock music, but they did virtually perfect it. Through their early surf-
music days to their ground-breaking Pet Sounds album, their great vocals influenced generations of singers.
36
~·le - 11: - *J ..
Jl J Jl
..
J J I .I * -
We come on the sloop "John B. "
G D G D
.. ..
~··
~~
Jl J Jl
loo
J J IJ - Jl J J I J. J2@ I
My grand - fath - er and me. * A- round the Nas - sau town we- do-
A7 D D7
~·· J - I j
J: f-1 j I J * -
roam. * * .._...
Drink - ing all night, Got in- to a
G D
~•1 J * * J I J * * J1 I J SJ J I * J J_fQ J I
fight. (yeah, yeah) Well I feel so broke- up, I want- to go
D G D Chorus
G D
~·· j - - J J~ J J~ J J IJ -
home. So hoist up the John B. sails,
G D G D
~·I J J J I J. J2; J I
...
J~ J Jl J J IJ*- J~
See how the main sail set, Send for the Cap- tain a shore , Let- me go
A7 D
~·· J - Jtf'JJ I J -
home. * Oh, let- me go home. Oh, let- me go
G D
Vocal Resonance
Resonance is defined as the result of intensifying and chest resonance becomes less and head resonance
prolonging a sound. Of course, we use resonance increases, ultimately reaching the very highest range of
every day when we speak, otherwise no one could the voice, which should use mostly head resonance
hear or understand us. The vocal cords begin the tone with very little chest voice present.
by vibrating, using breath expelled by the lungs. Next, Ideally, the singing voice is a mixture of the head and
the sound is intensified and modified by the resonators. chest resonances in varying degrees, depending upon
The throat, mouth and facial bones are the primary the pitch.
resonators for the voice. Singers generally focus on
two types of resonance used in singing: chest Primary
resonance (chest voice) and head resonance (head Resonators
voice).
Head Resonance Vocal:
Chest resonance can
be felt by placing a High-range
hand on the
Vocal Source of
breastbone (sternum) Mid-range Exhaled Air
Cords ---__...1..
and singing a note in
one's lowest register. Low-range
You should feel a Chest Resonance
vibration in the chest
area. As you can see from this experiment, our bodies
work much like the body of an instrument, a violin for
example, by providing a resonating chamber for the
tone.
Head resonance may be sensed by humming a tone in
the upper range of the voice. Head resonance mainly
utilizes the bone structure in the front of
the face and other areas inside the head to
conduct its vibrations.
Beginners tend to use vocal tones which
are either purely head resonance or chest
resonance. The goal is to achieve a blend
of these resonances, always having some
mixture of the two in varying amounts,
depending on the pitch.
As you can see from the resonance
diagram, when the voice is in the lower
range, most of the resonance should be in
the chest, with just a little head resonance
present. Ideally, as the notes get higher, the
1
~~ '1 J J J J
1.
---------
Mm~~----~-
u 11
C§;irack'41
2. ~ 11i J J J J I J J J J I j - I
a. Fa la, fa la, fa la, fa la, la
b. Oo - loo, oo - loo, oo - loo, oo - loo, oo
c. Ea - sy, ea - sy, ea - sy, ea - sy, ee
The road
IQ J)
j5 _ __ _
J
low.
II
IJJJJJ II
a . A~~~~--~~~~-
b.Q _ _ __ _ _ __ _ _
5. ~V't J ~ ~ ~ I~ ~ ~ ~ IJ -
a. A
b. O
c. Oo
39
43
Goin' Down the Road Feelin' Bad $rack
This great blues song has been covered by many blues, rhythm & blues and rock 'n' roll artists. Sing it with a
strong sense of rhythmic drive-and make it rock.
Traditional
- - - -
c F7 c c1
~II: J J J J I j J J I J. - J J
Go - in' down the road feel - in' bad, * yes, I'm
F7 F7 c c1
~ J- J J J
go in' down the
I j
road
J- J
feel in'
I J.
bad.
*
- J J
Oh, I'm
F7 07 c Am
~ J- J J J
go in' down this
I j
road
J
feel
J IJ
in' bad,
J
Lord,
I J.
Lord, and
J
i c G7 c F7 c
I
I ~J J JJJ I J J J J &
I~ - :II
I ain't -
gon - na be treat - ed this a way.
Additional Words
2. Goin' where the climate fits my clothes, (3x)
And I ain't gonna be treated this-a way.
3. Down in the jail-house on my knees ...
4. Goin' but I ain't a-comin' back .. .
5. Goin' down the road feelin' bad .. .
40
Belting (for Women) venture into their head voices (the late Janis Joplin is
Belting refers to the singing technique of bringing also a great example of this). Others singers like k.d.
more chest resonance up into the head voice than Jang, Ann Wilson of Heart and Joan Osborne have
usual. (It is sometimes interpreted as pushing the developed their technique to the point where they can
chest voice up as high as possible, but that is an easily switch between belting and head voice. Pop
unhealthy way to sing, and it will ruin your voice.) If and R&B singers like Whitney Houston, Celine Dion,
this is a technique you want to incorporate into your and Mariah Carey use a lot of high, "virtuosic belting,"
own rock singing style, you need to really spend time a style that comes out of gospel and soul music.
learning how to do it properly so you don't damage You can bypass the question of belting altogether by
your voice. either keeping the range of your material low (E and
Most voices are capable of belting to some degree, below) like Fiona Apple, Tracey Chapman and many
and you should treat your voice like the unique other great singers do. Another option is to use the
instrument it is when trying it out. Above all, be break between head and chest as part of your style.
honest with yourself-if you find that a certain This seems to be the approach of women like Bjork,
exercise hurts, or if you're losing your voice after only Tori Amos and Alanis Morrisette, who llet their voices
a few minutes of singing, then you need to find crack occasionally and aren't afraid to sing in a soft
another way of doing it, or skip it altogether. head voice. For them to attempt Aretha-type belting
wouldn't be worthwhile, since it doesn't suit their
Never belt with your throat-that is, don't sing so that natural voices. Instead, they've developed their own
it feels like all the energy and support are coming styles, which is the whole point of singing rock music.
from your vocal chords. If that happens, try singing Just sing honestly, and your voice will take care of the
the same passage with lower support and more chest rest.
resonance. Steady support from the strong muscles of
the lower abdomen is essential to achieving a healthy
Falsetto (for Men)
belting style. Or, try placing the resonance higher, so
you feel it vibrating in your face. Many high belters Falsetto is singing in the high range of :a man's voice.
use a lot of head resonance with just enough chest to It's pure head resonance, produced mostly in the
keep from sounding operatic, so don't be afraid to upper throat and nasal cavity, and is unconnected to
experiment and find what suits you best. the rest of the male voice. Again, abdominal support
is very important in accomplishing this effect. When
In the sections on Vocal Range (p. 4) and Vocal singing falsetto, try aiming the sound vibrations
Resonance (p. 37) we talked about different parts of between the eyes or out the top of the head to
the voice, or registers, like chest and head voice. achieve a maximum "high." Falsetto is not as
Chest voice is typically more powerful, while head powerful or loud as the rest of the voice, and it's not
..•
voice is usually thought of as lighter and prettier. For used in rock singing very often, but one of rock's
I greatest male vocalists, Roy Orbinson, made his
falsetto singing his trademark. (Check out not o nly
1$ .•
Chest Range
:
Prime
:
Complete Head Range
Roy's early hits like "Only the Lonely," lbut also his
great falsetto work as a member of the Traveling
Wilburys.)
(or however low Belting Mixed (or however high Falsetto was used a lot in 1950s doo-wop groups,
your voice goes) Range Range your voice goes) most notably in The Tokens' hit song "The Lion Sleeps
Tonight." Art Garfunkel, especially when singing with
most women, a natural transition between these Paul Simon in the 1960s and early 1970s, made great
registers starts around the E above middle c. use of this technique, most effectively in his harmoni-
zations and background vocals. More r•ecently, Prince
As the pitch is raised, more head voice should be used it effectively in hits like "The Most Beautiful Girl
brought in note-by-note. An octave above the in the World."
transition is the point where the resonance should be
almost entirely head, with very little chest. Belting Not too many contemporary rock male singers use
attempts to carry some of the power of chest falsetto, but many rhythm & blues groups do. Yet for
resonance higher than the natural transition, which those rock singers who can pull it off and use it
can result in a thrilling, impassioned effect. tastefully, it can be very effective-just ask Bono.
Women rockers like Melissa Etheridge rely on their (Note: Don't confuse high rock-tenors lillce Sting,
chest and belting voices almost exclusively, and rarely Robert Plant, etc., with falsetto. Falsetto is a high range
that is completely unrelated to a man's speaking voice.)
42
Exercise Set No. I 0 1: Explore ·the ranges of your voice~ Using the men c2tl on •bi,• ~-
. follow the shape·of the dia~ bek>.w- ~~ :1~, .~··•ff-· .
~~ording to the-directjon of the line&. ' ·_. · • , ·t·
<.
2 and 3. Imagine a piano ·keyboard. All the keys are on the same plane. The..,.
!Or.die ''bi8h"' plebes ~
aren't higher than the others, they are on the same level with. all the rest Of the keys, anchhe same is true
~·
· for the "lower" pitches. · Sing the following exercises aDd imagine that '°'1f ....,.. 9 • • phlce on • -
. keyi>Qard. .. .. ' . ~
~ ,; • • •• : ~ ~ . , , : 'Jf • • - •
4. Sing the ·next exercise and use the image of fiship.g-castJhe line~ and the }'>la<:e-ahead ofyou that you
cast it' to is the S<>cillea "high" n~e. . . . . . . •
5 and 6. In these exeroses, try an image of Mscendlngto the "high" note. Even though you are
approaching the .note from below (the reason it seems high), imagine that you arc alreadf above the note,
so singing it ~ just a maJter of coming down to that pitch. Make sure that yo\I are acdvetycsaying the
word$ with ~ d~ire tq, ~ommunicate. This will also help With singing a ~er pitch.
Afteryou·have experimented with each approach, decide which one 'work.5 beSt for you, ancll tuc::k i~ into
your bag of tricks so you will have it to help you resolve ·any future difficulties.
2. ~I J J J IJ J J JJ II
~ck +4
----
a. Ah
b. Oo
-------------
----
3. ~I J J J J - II
J J IJ
'-....._J! ~
J J II
lo, _ _ so lo.
IJ J J J II
a. Ah _ _ __ _-_-_-_-_-_-_-_-_
-_-_
- _-_-_- _-_-_
- _-_ - ---
- _-_--_ -_ -_-_ -_-_ __ __
---
b. The lark sweec - ly sings in _ _ her _ _ nest.
j
a. The rose
I
lLD
is red.
J II
b. The song is sweet
43
'e - - - - - - -
There
Am c D
J $ I J. l I J. J ;p
' ~.
is a house
J
in New Or
F Am c
I.. I..
J1 I J. J Jl I J. - _J J)
' J.
leans, * they call the Ris ing
E7 Am
J. I ' J J I J. J
' Sun, *' And it's been
D
the
c D F
4
I.. I..
F" F D Ip J J1 I J. J J1
ruin of man - y * poor girls/boys, and
Am E7 Am
~. ~ I~.
I..
-iJ I •t@J J
' D =1 1
~
Lord know I'm one.
Musical Expression
To sing well, the muscles in the throat, jaw and Phrasing adds clarity to the lyrics of a song, just as it
mouth should be relaxed and free. This is true does to our speech. As in speech, commas, periods
since, as we've discussed, the abdominal muscles do and sometimes other punctuation usually imply the
the bulk of the work. Some words of caution, end of a phrase. Within reason, if there is a comma
however: Rock singing takes an incredible amount or a period in a sentence, that is where the singer may
of energy, on a level with that required by an breathe unless the composer has indicated otherwise.
athlete. Don't mistake a lack of energy as the type
When beginning to work out the phrasing of a song,
of relaxation we have described. The challenge for
speak the text and take a breath every place the
singers is to keep their energy flowing in a
punctuation indicates. This method of phrasing will
productive way and not allow it to manifest itself as
probably result in some inappropriat•e or unnecessary
tension.
breaths. Of course, you must use good judgment and
Phrasing not overindulge in breathing if there are several
The best way to add expression to singing is to begin commas in a sentence. The singer may not need all
with the words. They will tell you how to sing the the breaths they have available to them, or the
song. When a singer can say the words convincingly reverse, they may need to seek out a place to breathe
and demonstrate an understanding of the text, then he when one is not readily available. When singing rock,
or she will know how to sing the song. just as in speech, one would never breathe in the
middle of a word. Speak the phrase you intend, try it
When the words are separated from the music, they out and make sure that the meaning of the words will
may seem trivial. The singer's job is to find the
not be misconstrued in any way by your breathing.
emotional impetus to justify the music. Practice telling Finally, enter in your music all the breaths you have
the story in your own words, so that you may gain a
decided upon as commas or check marks above the
thorough understanding of the words and emotions music. Essentially, breathe where it makes the most
behind them. sense.
Before singing the following songs, speak the words
with feeling and plan your breathing.
Red River Valley
American
j Gracefully G G7 c
F
J IJ J J IJ J. l
1. From this val ley they say you are go ing,
2. Come and sit by my side if you love me,
G 07
~·J J J Ir J F IF r F
n <::::: J
We will miss your bright eyes and sweet smile,
Do not has ten to bid me a dieu,
G G7 c
~· ~ ~ IJ ~ r· ~
.:::::
v J J Ir F F IF
For they say you are tak ing the sun - shine,
But re mem ber the Red Riv - er Val - ley
07 G c G
~·=r +i
That
Ij
bright -
J J I~
ens our path
F
way
~
a
e
while.
I<J :II
And the one that has loved you so true.
45
C7 G D7
~· J.
go. Gon - na
IF F &p r
leave here run - ojn'
D
'cause
Ip
walk- in's
J. ~Elf} J
much-3 - .
J, i
too slow. -
G7 c1 Ob7 07 G 3
.
J
I
I
!.
07 c1 c1
~· ~ ~. "="
moun- tain, --
Ir
hon - ey
r r
I'll
F
be
r
on
~r
my
IJ
way.
E f -~
I'm goo - na
~
J
G 07 G G7 Go Cm6 G
2. ~ ~'· 1 J J J J 14 - II
I will do it now.
a. mf d. mp
b. f e. p
c. ff f. pp
$nck49
3. ~~ • I
1
LJ iJ IJ'-----'J J~J 14 - II
Nah- Nah- Nah - Nah - Nah
a. f c. pp
b. mp d. mf
$nckSO - ======== f =======-- p
t-t~-~,
p
~I - - - -
c
~ F F r IF r ~ r IJ
F I F F
Jin - gle bells! Jin - gle bells! Jin - gle all the way!
F c 07 G
~ r r r F Ir
Oh, what fun it is
F F
to ride
rrIF r r
in -
a one horse 0
F
pen
F
sleigh,
~
hey!
c
~ r r r Ir ~ r n
F F I F F
Jin - gle bells! Jin - gle bells! Jin - gle all the way!
F c G c
~ F F F F IF F r rrI~ ~ F r I
II
=I
Oh, what fun it is to ride in a one horse 0 - pen sleigh.
'
Exercise Set No. 12 :. 1. ,Sirig thi8 'exercise t~to, connecting all th~ ~. To help .yoµ
-: ·: enfuion :tlle kirit'.r dHtilia 200.nection need~ foi uil.s style of ·. ·
;:·r_;:··:,. -. ·.::,· ·.~·,';/ .,. : .,~··.;·>~> ·~;. . . ·:·'.~'" ;.s~~g'.·~;~e7~~~~ ~tc!1ffig a~q a:1>iec€·af ch.~~:
· 2: -Singtbe same exetcise, laugh it and keep the· riotes~~oit ~d ~ed.
.. ~.: ... ~ .. • . !< ... . . ~ • l • .) •. :. "... •• :(' '· .. '.
®rackS2
Legato
a. Ah~--------------~
b. Oh~--------------~
®rackS3
2. ---tt-~--r+r-~l,--,....-j- ]_j_..---_:J_e_Q--r--1J_j_l_*_____.,11
Staccato
~ . i . =t. . . ~
a. Ah--------------~
b. O h - - - - - - - - - - - -- - -
3.
~I J. J I J1 J. t@IJ J ~ II
* * Oh---- oh oh-- oh
- II
a. 00---------- - - - - - - - - - - - -
b. E---------------------~
J. 1w-S J J?t3 - II
a. A h - - - - - - - - - - - - - - - - - - - - - -
b. Laugh - ing, sing - ing, laugh - ing o - ver the way.
49
F
I'm
11 = r·
broke
F F I
an'
A
r
ain't
p J.
got a
,.,• E7
o-
dime,
1-r· F
I'm
,
A
broke
J. :d ;p.. Jl..
an'
,.1 1
• gJ
A7
ain't
...
Jl
got
J.
a
E
I J J.
dime,--- -J
E7
-
*
I'm
F
A A7
E 87
,.1•• J J. J
-
* c:J I p r·- -r E:J
d' ~
1me, Ev - 'ry bod - y gets in
E A E
J J - F =1 1
Verse 2: Verse 4:
I was standin' on East Cairo Street one day (3x) One lonely dime was just all I had (3x)
One dime was all I had. And that was the meal before the last.
Verse 3:
You want your friend to be bad like Jesse James (3x)
Git two six shooters, highway some passenger train.
50
Mikes, P.A. board, speakers The only disadvantage is that the stuff is expensive.
and monitors are the bastes The price difference of new vs. used is three to four
ofyour sound sys~m. times higher in most markets. It's much like the.new
car thing- something magical happens when you
~ The Shure SM 58 is one of drive it off the lot and it loses a lot of i1ts resale value.
the most widely used
mikes in rock. Peavey
Many people get excited about a band, go out and
makes an inexpensive line buy a lot of equipment, then end up selling it for one-
ofquality mikes as well third of what they paid for it six months earlier.
Still too expensive? Try
your local Radio Shack. If you go the new equipment route, don 't pay retail!
They have mikes as low as Rarely will you have to pay their asking price. Ask for
$20, and though the the sale price and barter with them. In most
quality isn't up to Shure instances, music stores can cut at least 5 to 10% off a
or Peavey, they will work given product. Don't hesitate to offer a lower price.
in small clubs, particular-
ly for miking other
It never hurts to ask.
instruments.
Used Equipment
Used equipment is a great way to start •out. Check the
classified ads often found on music store bulletin
boards. Some areas have a whole newspaper devoted
to want ads. Check out local pawn shops.
.... . . .. . . .. ....... ..
A P.A. boards come in
. . . . .J
..-----------~
., ........-
as few as 4 channels to as . . .
many as 48. For bands starting out,
the six- to twelve-channel range is more than
enough. There are two kinds ofP.A. boards:
powered and unpowered. .... ~
A powered board is more convenient because it's
an all-in-one unit, while an unpowered board
with a separate amp offers greater, cleaner power.
. -- ---,.,.· ·.--,
-
-- ..-
...
.
1
:.~~
- -
~ Stereo power amps
offer greater
flexibility for a
growing band.
good speakers out on
the market, and the
compact models are
great for playing Don't skimp on monitors! ....
smaller clubs. Just If the band can't hear
make sure the speakers themselves clearly, they
can take the amount of aren't going to sound good.
power from your amp The number one priority of
or powered board. a sound check is that the
vocalists hear themselves.
Position the monitors so
that everyone can hear
without causingfeedback. CounM.y of V:uooha
54
I
'
was (he slept on the floor-he was terribly bohemi-
an). Because of his low overhead and because he
lived in a location where running water was consid-
ered a luxury, he could cut a ridiculously good deal.
He turned out to be one of the best engineers we've
ever worked with. He was incredible and produced
high-quality recordings for dirt cheap-you just didn't
want to drink from his coffee mugs.
So how do you know? Obviously, finances are going
to dictate a lot. But when you go shopping for
studios, remember these points:
• Check out a sampling of projects that have been
recorded there. Don't spend money on a studio Evan Smalley is owner
without hearing previous results. Sit and listen and engineer of The
Studio, a 32-track studio in
carefully. Does the music sound good? Can they
Kansas City that records a
do your type of music? Trust your ears. Plus, for lot of low-budget demos.
whatever they choose to show you, find out how He says poor musicianship
long it took, how much the group spent on the is the most frequent cause
project and if you'll get to use the same engineer. of bad recording sessions.
ulf you suck, don't record
• More than any other person outside yourself, the yourself. Other than that,
engineer will make or break your project. In be as prepared as you
most instances, semipro and home studios will possibly can. Also, bring
an extra set of lyric sheets
be engineered by the owner. Is this person
complete with chord
competent? Do you like this person? Is this changes for the engineer.
someone you feel comfortable with? You can It can help when he or she
record with great engineers who are jerks and is recording you and
get bad recordings. You can also record with especially later during the
really great people who don't know what they editing process. n
The Producers
Most of the time, singer/songwriters or bands will be Friends may volunteer to produce your record. Even
doing everything on a ridiculously low budget. The if they aren't going to cost you anything, think long
question of a producer will come up. and hard before you give up any control on what is
Traditionally, a producer is a person hired to super- your (or your band's) project: If you're really comfort-
able with someone else and know they can help you
vise the entire recording process. He or she makes
the final decisions on sounds, effects and the mix, out, then give them "coproducer" s.tatus-with the
clear understanding that it is you who has the final
offers suggestions on arranging, etc. In the world of
word. Even if you have no idea about the details of
professional recording, producers do everything from
your music and the whole process intimidates you,
ordering pizza to playing on projects to even cowrit-
ing songs (on Alanis Morisette's ground-breaking you'll be surprised at how many definite ideas and
strong feelings you have about yom music once you
jagged Little Pill recording, producer Glen Ballad
cowrote all the music in addition to playing guitar.) get in the studio. And that's a good thing ...
You may know someone who's had studio experi- You really don't need to worry about trying to hire a
ence, who you respect and are comfortable with, and producer. No one knows your music like you do.
who's willing to come in and help you with your Even if you've never been in the studio before, if you
project for free. This is great if it happens, because an do your homework, you'll do fine without one. Also,
extra pair of ears-especially a pair that knows the many times the engineer will act as a coproducer.
turf-can be a great benefit. If you're lucky enough Ideally, he or she is a musician and songwriter as well
to fall into this situation, go for it, but know what and will be able to help you. Don't be afraid to take
you're expecting from each other ahead of time. the producer's reins into your own hands.
Singer/songwriter Stevie Wonder has been on the forefront of pop music since the 1960s. To get his vision of his music recorded
exactly the way he wants, Wonder has often produced his own best-selling albums.
59
Background Vocals
Background vocals add to most arrangements. Even Even though a lot of people can carry a tune, it's
heavy metal bands use background vocals effectively. important that you get people who can sing well.
For your recording, you need to consider them. But if This is tricky, because egos are involved. Sometimes
you choose to go with background vocals, they need the keyboardist can get by doing a small background
to be done right. Of course, having people who can vocal part playing live, but under the microscope of
sing can be a serious advantage. Many amateurs the studio, face it, he's not cutting it.
make two big mistakes with their background vocals: If you have to, look outside your band to get good
they use their friends or band members (whether they singers. Church and school choirs are good places to
can sing or not) and they don't rehearse. look, since many of these singers already know how to
I
0
~
::J
8 i.=a...:o.;.;..-...
The solid, rich vocal harmonies of Boyz II Men, combined with their ability to blend many musical
styles, have propelled them to the tops of several charts.
61
blend and harmonize. Also, another local band known Preparing Yourself
for their great vocals would be a good way to go.
No matter how long you've been singiing, your .
Background vocals are tricky, because a lot of people technique can always be improved-es pecially for
who record and sing lead don't sing exactly on key, recording.
and they get away with it. But background vocals
need to be on, or they make the music sound like it Practice alone (ideally, with a microphone) and sing
came from a novice. all the songs slowly. Now is the time to nail down the
subtleties of the music (dynamics, legato vs. staccato,
There have been instances of a well-intentio ned etc.). If you've ever thought of changing a key for a
performer bringing in background singers without a song so you can sing it better, now is the time to do it!
rehearsal. A simple background vocal on a simple (Often, for some reason, rock singers can sing a song
tune may seem like no big deal, but for maximum fine on stage, but when he or she goes to record it
efficiency, every detail needs to be wo rked out before under the microscopic environment of the recording
the tape rolls. Rehearse everything you can before studio, he or she needs to move it up or down a
you go into the studio. This certainly goes for "sim- key- a very expensive proposition if th e other
1
Final Word
We covered a lot in this book, and the more you're
able to absorb and put into practice the better a rock
singer you'll be. Refer back to it frequently, and keep
working through your favorite exercises and songs.
But if you don't remember anything else, remember
the following:
1) Take care of your voice. You've got to keep it
healthy and avoid straining it. llf you're ever doing
something that physically feels bad, then stop
immediately! Also, always warm-up before
practices, performances and recordings.
2) Sing in a comfortable range and make the band
change keys to suit your vocal needs. Singing too
Get used to singing while wearing headphones before low or too high can damage your voice, besides
going into the studio. make you sound bad.
Don't hesitate to change your mind. A mix may sound 3) Believe that you can sing. Sing with confidence,
just right, but when you start playing it can be all energy and conviction always.
wrong. Stop the track, and tell the engineer you need
4) Always bring plenty of duct tape to your gigs.
more of "x" and less of "y." Change it for every take if
(You'll need it-trust us.)
you must. (Believe me, engineers are used to this.)
Do whatever is needed to get a good mix in your head. 5) Be yourself and find your own style. Copying
others will only delay your own success.
One more pointer: Don't cover both your ears with
the headphones. Place one phone tightly against one Learn as much as you can about technique , singing,
of your ears and the other tightly against the side of performing, music, arranging and recording. The
your head. This way, you'll hear yourself singing in better musicians always know the most.
the room, which will help keep you on key and let
And remember: Singing is the first art, and the most
you concentrate on the real tone of your voice.
expressive of all the instruments. So trust your
instincts and sing with passion, and you'll never be
The Final Mix wrong-unless you trip on the mike: chord. So don't
The lead vocal is the most important part of a song. do that and you'll be great.
When people listen to a song for the first time, they
listen first to the melody. Since the melody is carried
by the vocal, it needs to be heard.