"If you want to make it in the recording business, you have to have a break."
"You have to de discovered by someone or you will never make it."
"The odds are so high that you won't make it, you might as well not even try."
"Keep your day job."
Have you heard these things? I have. I've also heard that success happens when preparation meets opportunity. Many people are not prepared for success. They are not ready. If there was ever a holistic thing, that thing would be about a singer who has "made it." A singer has to have preparedness as an artist, a technician, a business person, and also have the emotional maturity and control beyond almost everyone else to be able to not only persevere long enough to get some place, but also to sustain and grow and go from there.
It takes work and dedication consistently to arrive at the point of opportunity in a prepared state. It is more "mental" than you might imagine. Confidence doesn't come from rotely going through exercises or singing songs nonchalantly. There has to be mental preparation prior to practice, during practice, and after practice. It takes a big goal and it takes sufficient faith that it is possible and attainable.
Can you imagine the preparation and the work Michelangelo did to paint the ceiling of the Sistine Chapel? I have been there and stood there and looked up at it, marveling at the work. To see it in person is to appreciate it to its fullest. Seeing it in person also makes this quote from Michelangelo hit with more impact: "The greater danger for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it."
When it comes to the business side of music, the first thing to know is that it is business. Business has its own set of rules. Many singers may not have had experience in business or finance. This is evidenced by some of the horror stories of personal bankruptcies of singers who (oddly enough) have highly successful CDs. How can this happen? Easily, unfortunately. It is very easy to misunderstand contracts, if you haven't read any before. Attorneys outside of the entertainment field often do not understand the ins and outs of the music business.
It takes a team and great leadership to launch a career in music but it first takes a singer who is mentally prepared and musically prepared. Oddly enough without such preparation, the opportunities seem to either run away or never even show up.
Monday, September 14, 2009
Monday, July 27, 2009
Multifactorial Approch
Singing is made up of several sets of skills.
The primary essential skill is that of musicianship. The strength of this or the weakness of it will always show up (often unbeknownst to the singer) and will be obvious to those educated in music. Education simply means, in this sense, that the singer hears music and his/herself knows what was heard, indentifies it, relates to it, understands it, could re-sing it or even write it down AND this has occurred from having somehow learned these skills. Inadequate musicianship always results in an inadequate singer. This is nor a fatal flaw, however. This is something which can be improved and doesn't necessarily have to take a long time.
There are several skills making up musicianship, some of which were mentioned above. Most music majors in college have a major instrument and a minor instrument. Most singing majors major in voice and minor in piano. Knowing piano is very useful in learning chords, harmony, and music theory. Voice majors take music theory. I teach music theory (I prefer the term harmonic technique because it is more precise and clear). Rather than a broad and general approach to the subject, I teach it from the perspective of a singer. This relationship from voice to musicianship builds more quickly due to the application of whatever musicianship initially exists being built to the expansion of knowledge and skill, as it directly relates to singing.
The primary essential skill is that of musicianship. The strength of this or the weakness of it will always show up (often unbeknownst to the singer) and will be obvious to those educated in music. Education simply means, in this sense, that the singer hears music and his/herself knows what was heard, indentifies it, relates to it, understands it, could re-sing it or even write it down AND this has occurred from having somehow learned these skills. Inadequate musicianship always results in an inadequate singer. This is nor a fatal flaw, however. This is something which can be improved and doesn't necessarily have to take a long time.
There are several skills making up musicianship, some of which were mentioned above. Most music majors in college have a major instrument and a minor instrument. Most singing majors major in voice and minor in piano. Knowing piano is very useful in learning chords, harmony, and music theory. Voice majors take music theory. I teach music theory (I prefer the term harmonic technique because it is more precise and clear). Rather than a broad and general approach to the subject, I teach it from the perspective of a singer. This relationship from voice to musicianship builds more quickly due to the application of whatever musicianship initially exists being built to the expansion of knowledge and skill, as it directly relates to singing.
Sunday, April 19, 2009
On Being A GREAT Singer
When you have sung professionally for nearly forty years, have been a vocal coach for 35 years, you have been exposed to a veritable myriad of problems, all of which have begged or screamed for solutions.
Being a student of the voice, music, arranging, composing, songwriting, etc. has been and will be continuously studying the science and the art of the aforementioned. There have been debates through the years as to whether it is possible or even prudent to “mix art with science”. In actuality, one may well discover that the two are inseparable, in that one cannot exist without the other.
Acoustics, being the science of sound, has played an integral part in the development of better wind instruments. They are better in sound quality and in playability. Just ask a true professional musician about the difference between the trumpets of the 40s and the ones of today, such as the trumpets of Chris Botti, Wynton Marsalis, or Arturo Sandoval.
Acoustics as regards voice is alive and well on many levels. The interior of the singer’s pharo-maxo-naso-laryngeal cavities varies from one singer to another and all result in contributing to the unique sound of each singer. Inside are several variables including a unique shape and size in which will be the absorption, reflection, resonance, diffusion, and reverberation of sound. All of these affect the tone quality, timbre, sound level, projection, and the overtones of the sound that is emitted.
We could say that we can ignore all of this because we are “just singing” and that is true to an extent. Definitely we need to ignore specific things as we perform because the distraction will detract from our performance in various ways. When the problem arises of a singer attempting to sound or sing a certain way which is contrary to the natural “equipment” of the singer, a solution or solutions may be addressed and explored. Science may hold some keys to the solutions.
For years anatomy, medicine, and physics were largely ignored by singing teachers and vocal coaches. People’s tongues, teeth, lips and the interior resonating chambers are as individual as a fingerprint. How do you think you can identify the uniqueness of a speaking voice or a singing voice? These factors all play a part. Singers will tend to work for or against the natural equipment they are born with. As a vocal coach who has studied the variables listed above, I can assist in finding the natural road of least resistance to a person’s own unique sound. This is one area where it is not nice to try to fool mother nature. And this is not to say that things cannot be manipulated, such as doing character voices, but there is a right way and a wrong way to do this. The wrong way may lead to vocal injury.
Singing is a hearing art. The audience hears the art but the singer hears so much more. After years of singing, many things transcend mere thought and occur on an intuitive level. To arrive at this level, we may learn several things at a profound level along the way.
Singing is musical. The best singers I have heard know music. They may or may not know the nomenclature or the terminology of music, but they still know music. It is purported that the great drummer Buddy Rich did not read music. This hasn’t been verified but I recommend seeking out some clips on You Tube and listen to his playing. Musicianship can be achieved at a very high level without getting past musical illiteracy. I am not sure if Frank Sinatra could read or write music. If not, that didn’t get in the way of his long career.
Musicianship is a vast subject, when broken down into all the component parts, and therefore is a subject unto itself. It will be noticeable in the results of hearing all the components of music which include: rhythm, time, pitch, dynamics, tone, timbre, style, form, structure and much more. If we could all at once “download” this and the rest of what makes a great singer, I think your head would explode because there is much more to this than what meets the superficial ear and eye. Musicianship is huge. There is no getting around the importance of it as a singer.
Acting may lead to being able to more easily perform as a singer but if the singer doesn’t move past acting, the performance will look like the singer is a “fake”, or even worse, a liar. The emotions have to be freed up and express-able with appropriate levels of intensity. Great singers perform to their audiences and are not a “parody of a singer”. Still there is the factor of “communication”. A great singer will make each person in the audience feel as if he or she is in the conversation, not just observing it. I personally felt this from a distance of perhaps 200 feet. The singer was, in fact, Frank Sinatra. People do not go to concerts to simply listen to a singer. They can do that on an I-pod or with a radio. Something else happens at a live performance and although lip synching may sound about the same, an almost magical phenomenon happens at a concert and it has everything to do with the live performance. You cannot scientifically measure it but you can definitely feel it, unless there is something wrong with you at some level.
The state of mind of the singer can make or break the greatness of the singer. I saw two famous singers one New Year Eve in Las Vegas practically fall flat. You would think that their integrity as professional artists and singers would have been sufficient to not affect the performance but they obviously failed to do their best that evening. It was disappointing, annoying, sad and sometimes even funny to watch them make fools of themselves (in comparison to their usual levels of performance). The disappointment was that the audience paid and the performers were paid to perform. They did perform but they brought the effects of their argument to the stage with them. I felt cheated. I felt that they betrayed the audience. I had seen them many times before but not one time after that ridiculous and immature debacle of a show.
The overall physical health of a singer will affect the greatness of a singer. You can think of examples of this yourself. Tiredness, illness, or injury will all affect singing. I am of the belief that there are levels of health which are above what is considered normal or healthy. There are optimal levels of health which, since we use our bodies to sing, will make subtle or even great differences in our ability to “do our best”.
Talent and intelligence will affect the greatness of a singer because ability and intellect are the areas from which we draw for singing at a star quality professional echelon. We cannot pretend that these factors have nothing to do with greatness. We also cannot necessarily create these things of intelligence and talent if they do not appear to be present. We can work harder at developing other strengths and improving weaknesses, though. If a person has a passion and an ability for singing, many things can be overcome but there may need to be compromises made as to how and where singing is done.
Work which is done in a diligent and educated manner will produce improvement as long as all other factors of greatness are present in the singer. Work done in a slipshod manner will produce no or little improvement. Work done in the presence of misinformation or false information regarding and of the factors of greatness will produce no results or even bad results. Singers can, have, and will injure their voices or if not that, never ever reach their full potential.
Greatness doesn’t take forever but at the same time it doesn’t happen overnight. It doesn’t happen without preparation, correct knowledge, talent, ability, and the application of true, tried and tested techniques. It takes courage to be great and courage to persevere and near perfect discipline to consistently work toward a goal with high integrity to achieve greatness.
Being a student of the voice, music, arranging, composing, songwriting, etc. has been and will be continuously studying the science and the art of the aforementioned. There have been debates through the years as to whether it is possible or even prudent to “mix art with science”. In actuality, one may well discover that the two are inseparable, in that one cannot exist without the other.
Acoustics, being the science of sound, has played an integral part in the development of better wind instruments. They are better in sound quality and in playability. Just ask a true professional musician about the difference between the trumpets of the 40s and the ones of today, such as the trumpets of Chris Botti, Wynton Marsalis, or Arturo Sandoval.
Acoustics as regards voice is alive and well on many levels. The interior of the singer’s pharo-maxo-naso-laryngeal cavities varies from one singer to another and all result in contributing to the unique sound of each singer. Inside are several variables including a unique shape and size in which will be the absorption, reflection, resonance, diffusion, and reverberation of sound. All of these affect the tone quality, timbre, sound level, projection, and the overtones of the sound that is emitted.
We could say that we can ignore all of this because we are “just singing” and that is true to an extent. Definitely we need to ignore specific things as we perform because the distraction will detract from our performance in various ways. When the problem arises of a singer attempting to sound or sing a certain way which is contrary to the natural “equipment” of the singer, a solution or solutions may be addressed and explored. Science may hold some keys to the solutions.
For years anatomy, medicine, and physics were largely ignored by singing teachers and vocal coaches. People’s tongues, teeth, lips and the interior resonating chambers are as individual as a fingerprint. How do you think you can identify the uniqueness of a speaking voice or a singing voice? These factors all play a part. Singers will tend to work for or against the natural equipment they are born with. As a vocal coach who has studied the variables listed above, I can assist in finding the natural road of least resistance to a person’s own unique sound. This is one area where it is not nice to try to fool mother nature. And this is not to say that things cannot be manipulated, such as doing character voices, but there is a right way and a wrong way to do this. The wrong way may lead to vocal injury.
Singing is a hearing art. The audience hears the art but the singer hears so much more. After years of singing, many things transcend mere thought and occur on an intuitive level. To arrive at this level, we may learn several things at a profound level along the way.
Singing is musical. The best singers I have heard know music. They may or may not know the nomenclature or the terminology of music, but they still know music. It is purported that the great drummer Buddy Rich did not read music. This hasn’t been verified but I recommend seeking out some clips on You Tube and listen to his playing. Musicianship can be achieved at a very high level without getting past musical illiteracy. I am not sure if Frank Sinatra could read or write music. If not, that didn’t get in the way of his long career.
Musicianship is a vast subject, when broken down into all the component parts, and therefore is a subject unto itself. It will be noticeable in the results of hearing all the components of music which include: rhythm, time, pitch, dynamics, tone, timbre, style, form, structure and much more. If we could all at once “download” this and the rest of what makes a great singer, I think your head would explode because there is much more to this than what meets the superficial ear and eye. Musicianship is huge. There is no getting around the importance of it as a singer.
Acting may lead to being able to more easily perform as a singer but if the singer doesn’t move past acting, the performance will look like the singer is a “fake”, or even worse, a liar. The emotions have to be freed up and express-able with appropriate levels of intensity. Great singers perform to their audiences and are not a “parody of a singer”. Still there is the factor of “communication”. A great singer will make each person in the audience feel as if he or she is in the conversation, not just observing it. I personally felt this from a distance of perhaps 200 feet. The singer was, in fact, Frank Sinatra. People do not go to concerts to simply listen to a singer. They can do that on an I-pod or with a radio. Something else happens at a live performance and although lip synching may sound about the same, an almost magical phenomenon happens at a concert and it has everything to do with the live performance. You cannot scientifically measure it but you can definitely feel it, unless there is something wrong with you at some level.
The state of mind of the singer can make or break the greatness of the singer. I saw two famous singers one New Year Eve in Las Vegas practically fall flat. You would think that their integrity as professional artists and singers would have been sufficient to not affect the performance but they obviously failed to do their best that evening. It was disappointing, annoying, sad and sometimes even funny to watch them make fools of themselves (in comparison to their usual levels of performance). The disappointment was that the audience paid and the performers were paid to perform. They did perform but they brought the effects of their argument to the stage with them. I felt cheated. I felt that they betrayed the audience. I had seen them many times before but not one time after that ridiculous and immature debacle of a show.
The overall physical health of a singer will affect the greatness of a singer. You can think of examples of this yourself. Tiredness, illness, or injury will all affect singing. I am of the belief that there are levels of health which are above what is considered normal or healthy. There are optimal levels of health which, since we use our bodies to sing, will make subtle or even great differences in our ability to “do our best”.
Talent and intelligence will affect the greatness of a singer because ability and intellect are the areas from which we draw for singing at a star quality professional echelon. We cannot pretend that these factors have nothing to do with greatness. We also cannot necessarily create these things of intelligence and talent if they do not appear to be present. We can work harder at developing other strengths and improving weaknesses, though. If a person has a passion and an ability for singing, many things can be overcome but there may need to be compromises made as to how and where singing is done.
Work which is done in a diligent and educated manner will produce improvement as long as all other factors of greatness are present in the singer. Work done in a slipshod manner will produce no or little improvement. Work done in the presence of misinformation or false information regarding and of the factors of greatness will produce no results or even bad results. Singers can, have, and will injure their voices or if not that, never ever reach their full potential.
Greatness doesn’t take forever but at the same time it doesn’t happen overnight. It doesn’t happen without preparation, correct knowledge, talent, ability, and the application of true, tried and tested techniques. It takes courage to be great and courage to persevere and near perfect discipline to consistently work toward a goal with high integrity to achieve greatness.
Monday, April 13, 2009
TAKE 100%
"Take 100% responsibility for your life." - Jack Canfield
This is enormous. It's not a joke. It's not a superficial cursory assessment. It may take a few days or weeks to get this into perspective, to back up far enough away to get objective. It may not even be possible to do but it puts you in the driver's seat with your hands on the wheel and your foot on the accelerator.
The first thing to let go of is "blame".
If that seems too hard, then start with this: "When you complain, your power goes down the drain." - Yours Truly (Chuck Stewart)
This is enormous. It's not a joke. It's not a superficial cursory assessment. It may take a few days or weeks to get this into perspective, to back up far enough away to get objective. It may not even be possible to do but it puts you in the driver's seat with your hands on the wheel and your foot on the accelerator.
The first thing to let go of is "blame".
If that seems too hard, then start with this: "When you complain, your power goes down the drain." - Yours Truly (Chuck Stewart)
Thursday, March 19, 2009
Free Advice
So, you're a singer. Singers sing. Right? Do you sing along with singers you love? Who doesn't? But, how far will that get you to sounding as good as your favorite or sounding even better than her/him?
Granted, you can make some progress by trying to duplicate style, pitch, and so forth, but that only takes you so far. As you know, singers sing with music and they don't have someone else to carry the tune for them. This kind of practice of singing with a singer can act like a crutch and actually put you on a plateau of no progress. The first step on up that mountain is to do a solo flight. First try it with silence. Sing it a capella (with no music).
Speaking of "a capella", did you know that is Italian, as is most music terminology? "Capella" is Italian for chapel. Chapels usually are so small that they don't have pianos or organs in them. So we don't mean to sing small, we just mean to sing without any instruments and we call that a capella. It is a great way to discover what you really know and what you are faking or are mistaking. I just had to make that rhyme!
Granted, you can make some progress by trying to duplicate style, pitch, and so forth, but that only takes you so far. As you know, singers sing with music and they don't have someone else to carry the tune for them. This kind of practice of singing with a singer can act like a crutch and actually put you on a plateau of no progress. The first step on up that mountain is to do a solo flight. First try it with silence. Sing it a capella (with no music).
Speaking of "a capella", did you know that is Italian, as is most music terminology? "Capella" is Italian for chapel. Chapels usually are so small that they don't have pianos or organs in them. So we don't mean to sing small, we just mean to sing without any instruments and we call that a capella. It is a great way to discover what you really know and what you are faking or are mistaking. I just had to make that rhyme!
Friday, March 06, 2009
Philosophy Of A Singer
What are we all after with the art of singing--our singing? In the final analysis, aren't we living as singers to share our art and in doing so to uplift the spirits of others or to take people on a journey through emotions, thoughts, feelings, and ideas which we want to share? We want to do this without it being impeded by our own musical or technical shortcomings. We want to be up to the task. We actually want to have more skill ability, endurance, range, artistic expression, and artistic imagination than what is required to make an impact, to change lives, to bring happiness, or to have others experience or know us to the core of our very souls.
We want to have overcome the impediments and barriers and just be able to thrive as artists and make the world a better place. Isn't that what art is about? Because of these issues, I have created a group on this very site. It is called "Singers Solutions". This group is what that is all about. What are our tools? Which ones are we missing? How do we use the ones we have and gain the others so that we can achieve our goals? Let us explore the possibilities and the potentialities which may lie beyond our present awareness. Let's find the things in ourselves to turn dreams into realities.
We want to have overcome the impediments and barriers and just be able to thrive as artists and make the world a better place. Isn't that what art is about? Because of these issues, I have created a group on this very site. It is called "Singers Solutions". This group is what that is all about. What are our tools? Which ones are we missing? How do we use the ones we have and gain the others so that we can achieve our goals? Let us explore the possibilities and the potentialities which may lie beyond our present awareness. Let's find the things in ourselves to turn dreams into realities.
Saturday, February 21, 2009
How I Evaluate Singers
The number one vocal skill is actually a combination of several skills and is collectively known as "musicianship". If you are lucky enough to have gained it from osmosis, then God bless you! Most people have no idea why they cannot sing in tune, do great riffs, understand style, form, structure and hear and know melodic and harmonic intervals and more. The audience hears that something isn't quite right but may not know what to call it or how to analyze it. Musicianship goes far beyond merely singing in tune and merely having a great sense of tonality. There is so much more!
Sometimes vocal technique has not been fully developed and there are problems with register transitions, or breaks in tone production quality. Sometimes vocal technique is inadequate for endurance or range or even to sing a specific style competently.
Some singers have problems "finding their own voice" or developing a unique style.
Many singers are musically illiterate; unable to read or write music or to sight sing. Such things can be taught and may even be nonessential, if the levels of musicianship with hearing and executing are sufficiently developed. Knowing chords, scales, chord progressions and being able to write music (or at least to do sequencing) would place a singer in the position of more easily interfacing with musicians. Professional musicians may are usually so advanced as to know and perform such things as second nature. Some musicians think singers are not musicians at all and have little respect for them, treating them (in person OR behind their backs) as if they are severely deficient in musical knowledge.
Recording experience is invaluable and irreplaceable because without it, a singer never has complete objectivity. What do you sound like to others?
For the vast majority, the multitudinous skills of singing do not come naturally and do not come without some help and/or without countless hours of practice.
Take a peek at www.vocaleasy.com.
Sometimes vocal technique has not been fully developed and there are problems with register transitions, or breaks in tone production quality. Sometimes vocal technique is inadequate for endurance or range or even to sing a specific style competently.
Some singers have problems "finding their own voice" or developing a unique style.
Many singers are musically illiterate; unable to read or write music or to sight sing. Such things can be taught and may even be nonessential, if the levels of musicianship with hearing and executing are sufficiently developed. Knowing chords, scales, chord progressions and being able to write music (or at least to do sequencing) would place a singer in the position of more easily interfacing with musicians. Professional musicians may are usually so advanced as to know and perform such things as second nature. Some musicians think singers are not musicians at all and have little respect for them, treating them (in person OR behind their backs) as if they are severely deficient in musical knowledge.
Recording experience is invaluable and irreplaceable because without it, a singer never has complete objectivity. What do you sound like to others?
For the vast majority, the multitudinous skills of singing do not come naturally and do not come without some help and/or without countless hours of practice.
Take a peek at www.vocaleasy.com.
Tuesday, February 03, 2009
The Economy
The thing to do in a bad economy is to promote and advertise more than is normal. Now is the time to make connections and to have promotional material going out to appropriate places and people. Networking is essential to these times, so be careful about burning bridges. There can be long term effects.
Things are slow but they have not stopped. We may have already hit bottom and the upswing will be gradual at first but our stopping at this point could prove disasterous. The strong will survive this. Be strong.
Things are slow but they have not stopped. We may have already hit bottom and the upswing will be gradual at first but our stopping at this point could prove disasterous. The strong will survive this. Be strong.
Wednesday, July 16, 2008
MUSICAL LITERACY
Literacy has been defined as the ability to read and write and to understand what has been read and/or written. The CIA has a publication you can access online called The World Factbook. It states that 99% of the United States is now literate, being those over the age of 15, who can read and write. The worldwide number is not so good with an average of only 82%. There are more facts and figures as to location and the sex of the indiviuals but the average is 82% worldwide.
I don't believe that the CIA has studied the musical literacy of singers but I have made a few non-scientific observations. I have noticed that some of the great singers I know are also great musicians. One of those singers is a man who sings extremely well in tune and has also written, produced, and performed his music AND is also a great jazz pianist. It turns out that the late Nat King Cole also was a great jazz pianist. I never recall hearing him sing off-pitch, out of tune, "pitchy" or anything less than singing at a consummate professional level and consistently so. I believe that his level of musicianship transferred over from the instrument to the voice.
On television competition shows I hear singers all over the place with pitch and with other intonation problems. You can have all the vocal technique in the world and have a voice which never cracks and never tires and STILL be an average or even a terrible singer. If you can not sing in tune with yourself and with accompaniment, you need help. The help comes in the forms of melodic and harmonic ear training and in learning modern harmonic technique. Most singers are not musically literate enough to even start this kind of training and many singers have no inkling of their own problem, and if they are, they don't know where to even start to straighten it out.
I am compiling the solution to these issues in such a way that singers can handle their lack of musicianship once and for all. Help is on the way...
I don't believe that the CIA has studied the musical literacy of singers but I have made a few non-scientific observations. I have noticed that some of the great singers I know are also great musicians. One of those singers is a man who sings extremely well in tune and has also written, produced, and performed his music AND is also a great jazz pianist. It turns out that the late Nat King Cole also was a great jazz pianist. I never recall hearing him sing off-pitch, out of tune, "pitchy" or anything less than singing at a consummate professional level and consistently so. I believe that his level of musicianship transferred over from the instrument to the voice.
On television competition shows I hear singers all over the place with pitch and with other intonation problems. You can have all the vocal technique in the world and have a voice which never cracks and never tires and STILL be an average or even a terrible singer. If you can not sing in tune with yourself and with accompaniment, you need help. The help comes in the forms of melodic and harmonic ear training and in learning modern harmonic technique. Most singers are not musically literate enough to even start this kind of training and many singers have no inkling of their own problem, and if they are, they don't know where to even start to straighten it out.
I am compiling the solution to these issues in such a way that singers can handle their lack of musicianship once and for all. Help is on the way...
Tuesday, July 15, 2008
DEATH OF A SINGING CAREER
What are the things which will potentially kill a singing career? These shouldn't be a secret but you would think so when you listen to all the competition TV shows.
The first is no musicianship (or poor musicianship). What CAUSES singers to sing out of tune, off pitch, or even worse: change keys? You may not know what to call it but it sure does sound amateurish or bad and it is sooooooooo irritating to hear. What is that singer NOT hearing and NOT identifying and why don't they know it?
The second is not being able to use the voice without it cracking or breaking. "Air" is not the answer to this but if you think it is, well...you're going to keep cracking.
There are more factors, but a third one is that a singer has no concept of how his or her own voice truly sounds. This can be emotional, mental, physical, or simply a lack of experience and/or training. Get recorded and try to be objective when you hear the playback
The solutions are not so complicated but they do go beneath the superficial and that is also where a true artist goes to improve and learn and thrive and succeed.
The first is no musicianship (or poor musicianship). What CAUSES singers to sing out of tune, off pitch, or even worse: change keys? You may not know what to call it but it sure does sound amateurish or bad and it is sooooooooo irritating to hear. What is that singer NOT hearing and NOT identifying and why don't they know it?
The second is not being able to use the voice without it cracking or breaking. "Air" is not the answer to this but if you think it is, well...you're going to keep cracking.
There are more factors, but a third one is that a singer has no concept of how his or her own voice truly sounds. This can be emotional, mental, physical, or simply a lack of experience and/or training. Get recorded and try to be objective when you hear the playback
The solutions are not so complicated but they do go beneath the superficial and that is also where a true artist goes to improve and learn and thrive and succeed.
Thursday, May 29, 2008
WELCOME TO EARTH!
This is a test! But, it's not only a test. It is a trial. It is an adventure. It is a proving ground. It is life as we currently know it. People will admire you, hate you, love you, judge you, help you, hurt you, so, it is up to you to very wisely choose your friends and associates. Most people will never see your "big picture" as you will also never fully see another's "big picture". So, from time to time, you will be judged and it won't be based on your entirety. It could be that you will be judged on one word or one sentence or one project or on several. You can be judged on how you look, talk, walk, act, think, and on your product in life and even on your production methods, procedures and the expeditiousness of those, or the lack thereof.
All of the above is why friends and family can be so valuable. We need a support group much more than we need harsh criticism. Being a teacher, I have to see as much of the picture as a student will allow me to see or hear. When a student holds back, the student is also not revealing the best. Why the best is also held back never makes any sense. The more criticism a person has been hit with, the more the person tends to hold back or be careful or withdraw or even eventually relinquish the dreams and goals which are so much a part of the person.
How could we handle criticism so that it doesn't squash the very life out of ourselves? We could always prepare and always seek to improve every facet of our life's products. We could always speak as if we are going to see ourselves on YouTube, as will the entire world. We could work on the nearly lost art of good manners and start to have more consideration, tolerance, compassion, understanding, and love for others. If karma is real or if simply the "law of attraction" is real, we may well get back what we give. If your integrity is intact and you have done enough to feel good about how your product measures up to the industry standard, then criticism has little effect BUT be sure that the product IS at the industry standard.
If you run into a person who is mostly or even nothing but a critic, realize that the person most likely could not stand up or measure up to his or her criticism imposed upon others. The most critical seem to also be the least competent. Remember this: It takes a few seconds to criticize but it takes days, weeks, months, and years to be a great artist. When you hear that four minute song, you do not see or hear the time, all of the time, that made it what it is.
All of the above is why friends and family can be so valuable. We need a support group much more than we need harsh criticism. Being a teacher, I have to see as much of the picture as a student will allow me to see or hear. When a student holds back, the student is also not revealing the best. Why the best is also held back never makes any sense. The more criticism a person has been hit with, the more the person tends to hold back or be careful or withdraw or even eventually relinquish the dreams and goals which are so much a part of the person.
How could we handle criticism so that it doesn't squash the very life out of ourselves? We could always prepare and always seek to improve every facet of our life's products. We could always speak as if we are going to see ourselves on YouTube, as will the entire world. We could work on the nearly lost art of good manners and start to have more consideration, tolerance, compassion, understanding, and love for others. If karma is real or if simply the "law of attraction" is real, we may well get back what we give. If your integrity is intact and you have done enough to feel good about how your product measures up to the industry standard, then criticism has little effect BUT be sure that the product IS at the industry standard.
If you run into a person who is mostly or even nothing but a critic, realize that the person most likely could not stand up or measure up to his or her criticism imposed upon others. The most critical seem to also be the least competent. Remember this: It takes a few seconds to criticize but it takes days, weeks, months, and years to be a great artist. When you hear that four minute song, you do not see or hear the time, all of the time, that made it what it is.
Wednesday, May 21, 2008
E G O
As a teacher, there are many times you learn some valuable lessons. Sometimes these lessons come from the oddest circumstances. There is a saying in Karate that you should enter the dojo (karate studio) with your cup empty. Why is this? Because, when your cup is full, there is no room to add even a drop more, without overflowing. Therefor, you will leave with the same as when you arrived and there will be nothing new for you to take with yourself.
So, how would this relate to a singer? Before I answer my own question, I'll say this: I had a friend when I was a teenager who broke his leg in a motorcycle accident. He told me that "once you feel you have mastered the bike, it is time to stop riding." I had a student recently whose ego was so far beyond the skill level that it had become more than just an impediment to improvement and learning. The student's cup was beyond full and it wasn't water that was in that cup.
What is a teacher to do? Be patient and either the student will enter with an empty cup or will never return and reality will hit hard and painfully, when it is least expected. Sad but true.
What is the student to do? Figure out how to be honest and objective.
You have to have confidence and skill and artistry and even ego BUT when the ego is beyond everything else, you are living in your own "Truman Show" and you can't see the world around you but the "world" is watching and listening to you. It is a hard reality and there is no sugar coating it, no excusing it, therefor, it may be time to reassess
So, how would this relate to a singer? Before I answer my own question, I'll say this: I had a friend when I was a teenager who broke his leg in a motorcycle accident. He told me that "once you feel you have mastered the bike, it is time to stop riding." I had a student recently whose ego was so far beyond the skill level that it had become more than just an impediment to improvement and learning. The student's cup was beyond full and it wasn't water that was in that cup.
What is a teacher to do? Be patient and either the student will enter with an empty cup or will never return and reality will hit hard and painfully, when it is least expected. Sad but true.
What is the student to do? Figure out how to be honest and objective.
You have to have confidence and skill and artistry and even ego BUT when the ego is beyond everything else, you are living in your own "Truman Show" and you can't see the world around you but the "world" is watching and listening to you. It is a hard reality and there is no sugar coating it, no excusing it, therefor, it may be time to reassess
Thursday, May 15, 2008
Sense and Sensibility
What is sense and what is sensibility and why should we care? A sensible answer might be the one based on thought, being sense, and on wisdom, being sensibility.
In terms of singing and of taking good care of one’s voice, it might be prudent to first determine where to find reliable and accurate sources of information so that we can make educated decisions on the best course of action. You would not want to do things which would harm your voice. You also wouldn’t want to do things which would make you sing worse than you do and you would want whatever you do to be safe and effective. You wouldn’t want to take forever to reach your singing goal. Forever can mean different things to different people but if we are being sensible, we wouldn’t want to spend the next 10 years preparing to perform if we were already in our twenties or older. Most people don’t want to wait that long and understandably so. That wouldn’t be sensible, would it? So, as singers, we want to be the best we can be and always have use of our voices on which we can rely.
This should be obvious but it isn’t and there are reasons that it isn’t. Here is why: there are people who believe that there are singing methods. There definitely are and some are effective while others are less effective, slightly harmful, and even dangerous. How would a singer make an informed decision? One way would be to examine the statistics of vocal pedagogues. A singer should find out the level and rates of success of the students of a pedagogue, find out the numbers of professionals in the music business (including opera, Broadway, Pop, R&B, Country, etc.) who have studied directly or indirectly with the instructor. Additionally, the advice and writings should be evaluated in relationship to the organizations of singing instructors and even of the medical profession, specifically E.N.Ts (ear, nose and throat specialists).
Why would such an approach not be so obvious as the one to take? Simply because there are several colleges, universities, high schools and lower level schools which are teaching some so-called "traditional methods" of singing, which are out-dated, useless, and some are even dangerous as far as the "catch phrases" they are using. These are over one hundred years behind the times, yet their methods and fabrications are so deeply fixed in their pedagogies that they are never questioned by the innocent, inexperienced, and naive.
If ever a student should find herself or himself in the presence of a teacher who tells them to “place their tone” somewhere, to “sing from the diaphragm”, or to visualize silly things while they sing, they would do well to hold tight to their money and run away very quickly. Many of us have wasted our time with teachers who never had the personal integrity or ethics to study such things as anatomy, acoustics, or physics. Just because they were taught at the university level the things with which they now infect others does not mean that they are correct or that it is a moral justification for so doing. This may sound intense or even harsh but the realities of vocal fold injuries from unknowing abuse can be even more harsh.
In terms of singing and of taking good care of one’s voice, it might be prudent to first determine where to find reliable and accurate sources of information so that we can make educated decisions on the best course of action. You would not want to do things which would harm your voice. You also wouldn’t want to do things which would make you sing worse than you do and you would want whatever you do to be safe and effective. You wouldn’t want to take forever to reach your singing goal. Forever can mean different things to different people but if we are being sensible, we wouldn’t want to spend the next 10 years preparing to perform if we were already in our twenties or older. Most people don’t want to wait that long and understandably so. That wouldn’t be sensible, would it? So, as singers, we want to be the best we can be and always have use of our voices on which we can rely.
This should be obvious but it isn’t and there are reasons that it isn’t. Here is why: there are people who believe that there are singing methods. There definitely are and some are effective while others are less effective, slightly harmful, and even dangerous. How would a singer make an informed decision? One way would be to examine the statistics of vocal pedagogues. A singer should find out the level and rates of success of the students of a pedagogue, find out the numbers of professionals in the music business (including opera, Broadway, Pop, R&B, Country, etc.) who have studied directly or indirectly with the instructor. Additionally, the advice and writings should be evaluated in relationship to the organizations of singing instructors and even of the medical profession, specifically E.N.Ts (ear, nose and throat specialists).
Why would such an approach not be so obvious as the one to take? Simply because there are several colleges, universities, high schools and lower level schools which are teaching some so-called "traditional methods" of singing, which are out-dated, useless, and some are even dangerous as far as the "catch phrases" they are using. These are over one hundred years behind the times, yet their methods and fabrications are so deeply fixed in their pedagogies that they are never questioned by the innocent, inexperienced, and naive.
If ever a student should find herself or himself in the presence of a teacher who tells them to “place their tone” somewhere, to “sing from the diaphragm”, or to visualize silly things while they sing, they would do well to hold tight to their money and run away very quickly. Many of us have wasted our time with teachers who never had the personal integrity or ethics to study such things as anatomy, acoustics, or physics. Just because they were taught at the university level the things with which they now infect others does not mean that they are correct or that it is a moral justification for so doing. This may sound intense or even harsh but the realities of vocal fold injuries from unknowing abuse can be even more harsh.
Monday, May 05, 2008
WHAT IS EXTRAORDINARY?
From the American Heritage dictionary extraordinary is "beyond what is ordinary or usual." If you look at the first definition of the word extraordinary, that is an interesting concept. As an experiment, I tried doing something that is just a little more than usual and it was quite interesting as far as the possibilities which popped up as a result.
What if every day a person would do just one thing that is above and beyond the usual? It doesn't have to be a big thing or a remarkable thing but just one thing "beyond what is ordinary". What could happen?
Look around where you are sitting as you read this and notice what is there that you had something to do with. I remember years ago being told that if "you keep doing what you are doing, then you will keep getting what you are getting." This is obviously and even painfully common sense when viewed superficially but when observed more profoundly, there lie greater truths to be discovered.
How many times have we all decided that we could set the world on fire with our talents and abilities, only to have the matches taken away for fear we may be pyromaniacs? The solution is to hold on to the dream and the goal and let the purpose be the fuel. Write out the reasons, maybe 100, for why you do what you do that you care about, your goal. When you do that, your grip on your matches will be far stronger than before and when you start the flame going, it will be too big to put out.
BUT where does it start? One match or one thing that is beyond the norm and beyond the ordinary and what do you gain from this? You immediately gain hope. The same thing carried out on a daily basis for a long enough period of time can lead to the second definition of extraordinary "highly exceptional; remarkable." It is almost like STEP ONE and STEP TWO in the order in which the definitions appear in the dictionary.
This is a good place to start because hope can lead to excitement, which leads to more action, which leads to enthusiasm and a new muscle is being developed and disciplne becomes easier and life goes beyond the ordinary. Who wants an ordinary life? True artists, ever seeking to improve, understand this very well.
What little extra thing are you going to do today?
What if every day a person would do just one thing that is above and beyond the usual? It doesn't have to be a big thing or a remarkable thing but just one thing "beyond what is ordinary". What could happen?
Look around where you are sitting as you read this and notice what is there that you had something to do with. I remember years ago being told that if "you keep doing what you are doing, then you will keep getting what you are getting." This is obviously and even painfully common sense when viewed superficially but when observed more profoundly, there lie greater truths to be discovered.
How many times have we all decided that we could set the world on fire with our talents and abilities, only to have the matches taken away for fear we may be pyromaniacs? The solution is to hold on to the dream and the goal and let the purpose be the fuel. Write out the reasons, maybe 100, for why you do what you do that you care about, your goal. When you do that, your grip on your matches will be far stronger than before and when you start the flame going, it will be too big to put out.
BUT where does it start? One match or one thing that is beyond the norm and beyond the ordinary and what do you gain from this? You immediately gain hope. The same thing carried out on a daily basis for a long enough period of time can lead to the second definition of extraordinary "highly exceptional; remarkable." It is almost like STEP ONE and STEP TWO in the order in which the definitions appear in the dictionary.
This is a good place to start because hope can lead to excitement, which leads to more action, which leads to enthusiasm and a new muscle is being developed and disciplne becomes easier and life goes beyond the ordinary. Who wants an ordinary life? True artists, ever seeking to improve, understand this very well.
What little extra thing are you going to do today?
Monday, April 28, 2008
Answers TO A STUDENT PROJECT
Below are the answers to questions for which I participated to help out a student doing a project for school:
1. In your own words, define what singing means to you.
Singing means being able to artistically and musically communicate with an audience while expressing creativity and doing it in such away that there is an exchange between myself and the audience. I give them a song and my attention and they give me attention and a response, when I am finished, and sometimes even before that. It is a very personal "gift", if you will, in both directions.
2. What are the education requirements? (courses you need to take, degree, etc.)
Many great singers have had little or no education. Many great singers have studied voice, either at the university level or in private study. Most singers, who we perceive as amateurish or are "not great" have problems of which they may or may not be aware. The deficiencies can be either a single problem or multifactorial but will lie in one of the following: vocal technique, musicianship, artistry, appropriateness of style, talent, or the level of ability of interfacing and working with others.
Many great singers have studied music in high school and college. All universities are not the same, by any stretch of imagination, and each has its own stylistic bent. Berklee School of Music in Boston, MA is quite different from Juliard or Eastman School of Music. Many universities are geared toward making educators instead of performers.
3. What tasks or jobs are performed?
Singing, sight singing, live performance, recording the voice. Some singers are also required to move and/or dance, such as in most stage performance. Some singers are also songwriters. Some are also arrangers.
4. What is a typical day of work like?
A singer at a theme park has a work day much different from a singer in a Las Vegas show or a singer on Broadway. A typical day would include individual practicing, rehearsals are a possibility, performance may include makeup and costumes. Prior to the performance there is usually some nervousness but afterwards is usually a great sense of accomplishment beyond many other "jobs". A "job" in a theme park can mean having to be present for an eight hour shift but not singing for those eight hours. Shows, once set, usually require no rehearsal after the show is running but there are exceptions to that, A person in a show may have the entire day free and only have to arrive early for the show and is free to do whatever afterwards.
Some singers are recording artists or work in local groups, which changes all the aforementioned variables.
5. What will the future be like for people in this career?
The future for a singer is potentially limited (or enhanced) by the singer's level of performance, the ability to sell, market, do public relations, keep current, find out what is desired by directors, venues, record companies, etc. A career can run for a short time or for decades, depending on the above and the attitude and mental physical health of the singer.
6. What types of advancement or promotions are there?
A singer can go from a local artist to a national or even international artist. Background singers for name acts can advance to solo artists. Most careers are self-directed until signed by a label. Chorus singers in plays may potentially advance to being soloists.
7. What titles could a worker possibly hold?
Singer, singer/songwriter, diva, recording artist, stage performer, chorus singer, singer/director, American Idol.
8. Where does a person who has this job work?
There is work for singers in nearly every city in the U.S. but many singers will not make a living singing unless they learn the business side of music very well.
9. What is the environment like?
The environment is like all work environment but the intensity of emotion may be higher. Every workplace problem can be present and many can be added having to do with sound support or recording equipment technical difficulties or failure, in worse case scenario. When singing is at semi-celebrity level, or celebrity level, the "job" could be one of the most enjoyable in the world.
10. What are the hours?
These can vary around the clock. Most shows are at night but at theme parks can be all day and at night. Some people do weddings (usually receptions) and the time and date are typically either afternoon or evening. Those type performances are between two and four hours.
11. Do you think singers make a good salary for this job?
Singers may or may not be salaried. They can perform in many ways and at many levels, they can (some) teach. Most singing positions are for the duration of a show or for a recording contract. Some singers make many millions and at the bottom of the industry, there are singers who cannot make enough money to support themselves financially and must take other work, possibly outside of music, to be able to make a living.
www.vocaleasy.com
www.singinglessonslive.com
1. In your own words, define what singing means to you.
Singing means being able to artistically and musically communicate with an audience while expressing creativity and doing it in such away that there is an exchange between myself and the audience. I give them a song and my attention and they give me attention and a response, when I am finished, and sometimes even before that. It is a very personal "gift", if you will, in both directions.
2. What are the education requirements? (courses you need to take, degree, etc.)
Many great singers have had little or no education. Many great singers have studied voice, either at the university level or in private study. Most singers, who we perceive as amateurish or are "not great" have problems of which they may or may not be aware. The deficiencies can be either a single problem or multifactorial but will lie in one of the following: vocal technique, musicianship, artistry, appropriateness of style, talent, or the level of ability of interfacing and working with others.
Many great singers have studied music in high school and college. All universities are not the same, by any stretch of imagination, and each has its own stylistic bent. Berklee School of Music in Boston, MA is quite different from Juliard or Eastman School of Music. Many universities are geared toward making educators instead of performers.
3. What tasks or jobs are performed?
Singing, sight singing, live performance, recording the voice. Some singers are also required to move and/or dance, such as in most stage performance. Some singers are also songwriters. Some are also arrangers.
4. What is a typical day of work like?
A singer at a theme park has a work day much different from a singer in a Las Vegas show or a singer on Broadway. A typical day would include individual practicing, rehearsals are a possibility, performance may include makeup and costumes. Prior to the performance there is usually some nervousness but afterwards is usually a great sense of accomplishment beyond many other "jobs". A "job" in a theme park can mean having to be present for an eight hour shift but not singing for those eight hours. Shows, once set, usually require no rehearsal after the show is running but there are exceptions to that, A person in a show may have the entire day free and only have to arrive early for the show and is free to do whatever afterwards.
Some singers are recording artists or work in local groups, which changes all the aforementioned variables.
5. What will the future be like for people in this career?
The future for a singer is potentially limited (or enhanced) by the singer's level of performance, the ability to sell, market, do public relations, keep current, find out what is desired by directors, venues, record companies, etc. A career can run for a short time or for decades, depending on the above and the attitude and mental physical health of the singer.
6. What types of advancement or promotions are there?
A singer can go from a local artist to a national or even international artist. Background singers for name acts can advance to solo artists. Most careers are self-directed until signed by a label. Chorus singers in plays may potentially advance to being soloists.
7. What titles could a worker possibly hold?
Singer, singer/songwriter, diva, recording artist, stage performer, chorus singer, singer/director, American Idol.
8. Where does a person who has this job work?
There is work for singers in nearly every city in the U.S. but many singers will not make a living singing unless they learn the business side of music very well.
9. What is the environment like?
The environment is like all work environment but the intensity of emotion may be higher. Every workplace problem can be present and many can be added having to do with sound support or recording equipment technical difficulties or failure, in worse case scenario. When singing is at semi-celebrity level, or celebrity level, the "job" could be one of the most enjoyable in the world.
10. What are the hours?
These can vary around the clock. Most shows are at night but at theme parks can be all day and at night. Some people do weddings (usually receptions) and the time and date are typically either afternoon or evening. Those type performances are between two and four hours.
11. Do you think singers make a good salary for this job?
Singers may or may not be salaried. They can perform in many ways and at many levels, they can (some) teach. Most singing positions are for the duration of a show or for a recording contract. Some singers make many millions and at the bottom of the industry, there are singers who cannot make enough money to support themselves financially and must take other work, possibly outside of music, to be able to make a living.
www.vocaleasy.com
www.singinglessonslive.com
Saturday, April 26, 2008
THE BIGGEST LIE
The Biggest Lie
Category: Life
The biggest lie I ever told is, "I am doing the best I can."
How would anyone know their best? The main thing is, is it good enough? Is it better than is required or needed? Is it based upon the effort of one? Is it based upon the effort of many but is organized by and directed by one? Is it a goup activity but I have not put together the group? What is the reality of it, or more accurately, the actuality of it? Things to ponder.
Maybe the best is not what is important as much as: is it enough or is it better than enough? If you look at this as a professional, the 'enough' part is the part that is the standard of the industry or the state of the art. So, how does it compare and what is needed in knowledge or in skill to bring it to the level and beyond? Things to learn and/or things to practice. Are you doing the best you can do?
Category: Life
The biggest lie I ever told is, "I am doing the best I can."
How would anyone know their best? The main thing is, is it good enough? Is it better than is required or needed? Is it based upon the effort of one? Is it based upon the effort of many but is organized by and directed by one? Is it a goup activity but I have not put together the group? What is the reality of it, or more accurately, the actuality of it? Things to ponder.
Maybe the best is not what is important as much as: is it enough or is it better than enough? If you look at this as a professional, the 'enough' part is the part that is the standard of the industry or the state of the art. So, how does it compare and what is needed in knowledge or in skill to bring it to the level and beyond? Things to learn and/or things to practice. Are you doing the best you can do?
Friday, April 25, 2008
EFFORT AND BEING CREATIVE
Sometimes we are so caught up in our own worlds or our own lives that we can't back away far enough to get some perspective and be objective. Sometimes seeing something through another's eyes, or in this case another activity of an art, can be oblique enough to cut through the clutter and enlighten oneself. I wrote the following but it is from a different perspective than music but it applies because it deals with the creative process and may well be applied to the writing of a song or a play or even of doing a performance.
How much effort does it take to start something?
When the ideas are fresh and the goal is new, it seems to be the most exciting and things roll right along. Seeing the goal and none of the obstacles is something that should be perhaps captured in some way. Writing about it, describing it, sketching it out, clipping pictures from magazines, or getting pictures from online (non-copyrighted ones) can all go together to make what John Assaraf might call a "vision board". Not a bad idea to go from mental images to the ones that can be seen daily as a reminder.
In architecture, in the design of a house, there may be many sketches, pictures, clippings, product brochures, a plot plan with the survey (maybe a soils test report?) and many written notes in the interview with the client. This is when the excitement and enthusiasm seem to be the highest in this design development phase.
How much effort does it take to keep something going?
The law of inertia, having to do with remaining in motion comes into play. All sorts of friction and resistance may come into play: The worst for me has been lacking information or lacking certainty that the information is correct. Other little things, which are part of the creation, can feel like friction or resistance but may, in fact, merely be part of the process. Sometimes unrelated problems, demanding to be solved, may blind side the project and stop it completely until the "fire is put out". Looking at the game from a broader perspective of it all being part of life can help to not react to the situation as if it were devastating, even though it is just a little bump in the road. Look back at the "vision board" and those wonderful creative feelings will start up again.
How much effort does it take to finish something?
The excitement and the enthusiasm may have waned. The goal may have faded and may have lost some of its clarity. Near the attainment of the goal is the imminent let down like the kind you feel when you are a kid and you are playing outside and the baseball game in the alley is all that there is in the entire world and it is so real in your mind that you can actually see the fans, the umpire, the stands with the crowd screaming for you and you smell the popcorn in the air and the hot dogs and the grass and the dirt on the field itself and you have just run out of the dugout because it is your turn to bat and the crowd is roaring and you are pumped and your mom yells for you to come in for dinner as the reality of the alley smacks away the imaginary one which was so much better but but but... You are hungry and dinner is going to be great! What just happened? You were a major league ball player and your imagination is beyond excellent and yet you are ok. You have a new goal and that goal is dinner.
In a design project, for example, is the goal the finished flawless beautiful set of plans and specifications that the builder will follow to bring the idea from the mind to the paper to the reality of it finished and completed? The final push is the new goal to see the creation of the house as it turns into a home for the people, who are ecstatic to live and enjoy their new environment, which is a work of art both inside and out. When it is up, that house is seeing all the puzzle pieces fitting together and working perfectly for many many years to come.
But wait. There's more. What? A new goal? Right. The new clients are scheduled and they are such nice people and not only do you get to design their new home, but they are also such appreciative people that they become your friends for life. You are their Michelangelo and you are scuplting their home around their ideas and their lifestyle (at least thy think of you that way) and you are very fortunate that your lives interfaced and left a lasting friendship in the wake of the project.
How much effort does it take to start something?
When the ideas are fresh and the goal is new, it seems to be the most exciting and things roll right along. Seeing the goal and none of the obstacles is something that should be perhaps captured in some way. Writing about it, describing it, sketching it out, clipping pictures from magazines, or getting pictures from online (non-copyrighted ones) can all go together to make what John Assaraf might call a "vision board". Not a bad idea to go from mental images to the ones that can be seen daily as a reminder.
In architecture, in the design of a house, there may be many sketches, pictures, clippings, product brochures, a plot plan with the survey (maybe a soils test report?) and many written notes in the interview with the client. This is when the excitement and enthusiasm seem to be the highest in this design development phase.
How much effort does it take to keep something going?
The law of inertia, having to do with remaining in motion comes into play. All sorts of friction and resistance may come into play: The worst for me has been lacking information or lacking certainty that the information is correct. Other little things, which are part of the creation, can feel like friction or resistance but may, in fact, merely be part of the process. Sometimes unrelated problems, demanding to be solved, may blind side the project and stop it completely until the "fire is put out". Looking at the game from a broader perspective of it all being part of life can help to not react to the situation as if it were devastating, even though it is just a little bump in the road. Look back at the "vision board" and those wonderful creative feelings will start up again.
How much effort does it take to finish something?
The excitement and the enthusiasm may have waned. The goal may have faded and may have lost some of its clarity. Near the attainment of the goal is the imminent let down like the kind you feel when you are a kid and you are playing outside and the baseball game in the alley is all that there is in the entire world and it is so real in your mind that you can actually see the fans, the umpire, the stands with the crowd screaming for you and you smell the popcorn in the air and the hot dogs and the grass and the dirt on the field itself and you have just run out of the dugout because it is your turn to bat and the crowd is roaring and you are pumped and your mom yells for you to come in for dinner as the reality of the alley smacks away the imaginary one which was so much better but but but... You are hungry and dinner is going to be great! What just happened? You were a major league ball player and your imagination is beyond excellent and yet you are ok. You have a new goal and that goal is dinner.
In a design project, for example, is the goal the finished flawless beautiful set of plans and specifications that the builder will follow to bring the idea from the mind to the paper to the reality of it finished and completed? The final push is the new goal to see the creation of the house as it turns into a home for the people, who are ecstatic to live and enjoy their new environment, which is a work of art both inside and out. When it is up, that house is seeing all the puzzle pieces fitting together and working perfectly for many many years to come.
But wait. There's more. What? A new goal? Right. The new clients are scheduled and they are such nice people and not only do you get to design their new home, but they are also such appreciative people that they become your friends for life. You are their Michelangelo and you are scuplting their home around their ideas and their lifestyle (at least thy think of you that way) and you are very fortunate that your lives interfaced and left a lasting friendship in the wake of the project.
Tuesday, April 22, 2008
YOUR CHOICE
"If you think you can, you will.
If you think you can't, you won't." - Chuck Stewart
So, it's a choice, it's a decision, it is followed with a plan and the plan is carried out. OR it never starts and another dream dies.
If you think you can't, you won't." - Chuck Stewart
So, it's a choice, it's a decision, it is followed with a plan and the plan is carried out. OR it never starts and another dream dies.
Sunday, April 20, 2008
WINNING
What if you try to do something and you fail? Does it hurt? Does it make you want to quit or does it make you want to try harder? What if you fail twice or five times or ten or twenty times? Do you say things to yourself like: I am not cut out for this. I am not good at this. This always happens to me. Who am I kidding? I need to try something else. I need to stop being stupid. Or worse.
Having a passion for something includes perseverance. It includes learning more. It includes being the best you can be and continuing to study, practice, and improve.
There are only two things that stand between us and our goals: Correct knowledge and correct practice. Deficiencies in these will result in failure. Failure is temporary. It doesn't last. It happens and it is over. It is in the past and it isn't permanent. It doesn't have to be a setback. It can be a blessing or a wakeup call. It is a signal to change something. If you are not at the top of your game, forget about blaming yourself or others and get to work learning and doing more.
If you are a singer and you aren't great, you can blame a lack of talent when it is actually what you don't know and that you don't practice correctly or you don't practice enough. When you hear a great singer, you never see the work that the person put into it. If you think it is natural or just happens, then you have bought a HUGE lie.
You can approach life like a winner or a loser and your life will reflect your decision. What would YOU do if you tried and failed 50 times? Fifty is ridiculous, isn't it? Think about that. You try fifty times and you lose each time? What if on number 51 you win? Does this happen? Most people would quit. A race fan I am not but you have to admire Danica Patrick, who lost 50 times before winning once for not giving up. She cried in victory lane. No wonder.
She even didn't expect to win that day. But she did. She must have expected to win at some point in the past. People don't race to lose. They race to win. She evidently gave up on winning or she wouldn't have said she didn't expect to win. But she didn't give up on trying to win or on racing she persevered. 50 losses before a win. Most people would quit. Most people would give up. I do not want to be like most people in that regard. Do you?
Having a passion for something includes perseverance. It includes learning more. It includes being the best you can be and continuing to study, practice, and improve.
There are only two things that stand between us and our goals: Correct knowledge and correct practice. Deficiencies in these will result in failure. Failure is temporary. It doesn't last. It happens and it is over. It is in the past and it isn't permanent. It doesn't have to be a setback. It can be a blessing or a wakeup call. It is a signal to change something. If you are not at the top of your game, forget about blaming yourself or others and get to work learning and doing more.
If you are a singer and you aren't great, you can blame a lack of talent when it is actually what you don't know and that you don't practice correctly or you don't practice enough. When you hear a great singer, you never see the work that the person put into it. If you think it is natural or just happens, then you have bought a HUGE lie.
You can approach life like a winner or a loser and your life will reflect your decision. What would YOU do if you tried and failed 50 times? Fifty is ridiculous, isn't it? Think about that. You try fifty times and you lose each time? What if on number 51 you win? Does this happen? Most people would quit. A race fan I am not but you have to admire Danica Patrick, who lost 50 times before winning once for not giving up. She cried in victory lane. No wonder.
She even didn't expect to win that day. But she did. She must have expected to win at some point in the past. People don't race to lose. They race to win. She evidently gave up on winning or she wouldn't have said she didn't expect to win. But she didn't give up on trying to win or on racing she persevered. 50 losses before a win. Most people would quit. Most people would give up. I do not want to be like most people in that regard. Do you?
Saturday, April 12, 2008
Unique Singer Part 1
A singer writes:
I have a question for you. I have heard this comment made by several different people about several different people. The comment is "He/she has a nice voice but there is nothing unique or special about it, it doesn't captivate you." What are your thoughts about this comment? Can this be a valid comment? If it is a valid comment what are they looking for that seems to be missing? Is it something that can be taught or is it something that is just naturally there. If it is not a valid comment then why would someone make it?
This is not a short answer because the questions do not warrant a short answer.
Without hearing the voices the people are commenting about, it's impossible for me to say what the people meant by what they said and what is missing in the voices as is perceived by the commentors. I can make some guesses as to several things but I do know from being around many many working professional singers that nobody is born with it. People never see the huge amount of time singers practice who sound great. Because they don't see it, they assume that the hours and days of consistent hours are not happening.
I had nothing unique about my voice, in my estimation, but I did spend many many many hours singing and emulating and studying and recording on lots of bad to fair to good equipment and sometimes for 3 hours a day. So my voice was unique enough to get me singing in the 2nd biggest showroom at that time in Las Vegas. I did not get fired either. I sang in the show until it closed. BUT Is the comment valid? Again, without hearing the singer, I couldn't say. I have heard non-singers and non-musicians, such as Simon Cowell make statements like that and I usually have not agreed with him. Nothing with singing is natural. Nobody is born singing. Some people pay attention and duplicate the professional things they hear in other singers but they still have to work at it.
If a person sings without any feeling or without any attachment to a song and they sing the words on the correct notes at the correct time, then they might be ok in a chorus but I wouldn't want a chorus to be bland which is filled with that kind of uninvolved voice.
Every voice is as unique as fingerprints are from one individual to another. If a person thinks that they are not unique, then they need to work on style or on dynamics or on emotion or on interpretation. All those things can be and are taught and the results of it are obvious. Part of what is going on with American Idol is that the singers have vocal coaches and the ones with the bad ones don't make much change or or or the coaches are good and the singers are rebellious and don't take correction or they think they know best or they don't work hard enough or don't even know how to practice. The comment is no more or no less valid than a person saying that a person is beautiful--or ugly. It is an opinion. It is not a fact.
Great singers are great because they decided that they would not settle for less than greatness and then they worked at it to make it happen. It isn't innate and it isn't magic and it isn't that God is stopping people from being unique or giving them uniqueness. It takes a decision that leaves no other way out and the decision is followed up with the practice and perseverance to continue until it is achieved. Greatness comes from an unkillable desire and an impeccable work ethic. Then when preparation meets opportunity, great things can happen. But that's just my opinion BUT it's based on experience since 1962. Professional since 1972. Professionals know that professionals practice. We practice much more than the uninitiated could assume.
I have a question for you. I have heard this comment made by several different people about several different people. The comment is "He/she has a nice voice but there is nothing unique or special about it, it doesn't captivate you." What are your thoughts about this comment? Can this be a valid comment? If it is a valid comment what are they looking for that seems to be missing? Is it something that can be taught or is it something that is just naturally there. If it is not a valid comment then why would someone make it?
This is not a short answer because the questions do not warrant a short answer.
Without hearing the voices the people are commenting about, it's impossible for me to say what the people meant by what they said and what is missing in the voices as is perceived by the commentors. I can make some guesses as to several things but I do know from being around many many working professional singers that nobody is born with it. People never see the huge amount of time singers practice who sound great. Because they don't see it, they assume that the hours and days of consistent hours are not happening.
I had nothing unique about my voice, in my estimation, but I did spend many many many hours singing and emulating and studying and recording on lots of bad to fair to good equipment and sometimes for 3 hours a day. So my voice was unique enough to get me singing in the 2nd biggest showroom at that time in Las Vegas. I did not get fired either. I sang in the show until it closed. BUT Is the comment valid? Again, without hearing the singer, I couldn't say. I have heard non-singers and non-musicians, such as Simon Cowell make statements like that and I usually have not agreed with him. Nothing with singing is natural. Nobody is born singing. Some people pay attention and duplicate the professional things they hear in other singers but they still have to work at it.
If a person sings without any feeling or without any attachment to a song and they sing the words on the correct notes at the correct time, then they might be ok in a chorus but I wouldn't want a chorus to be bland which is filled with that kind of uninvolved voice.
Every voice is as unique as fingerprints are from one individual to another. If a person thinks that they are not unique, then they need to work on style or on dynamics or on emotion or on interpretation. All those things can be and are taught and the results of it are obvious. Part of what is going on with American Idol is that the singers have vocal coaches and the ones with the bad ones don't make much change or or or the coaches are good and the singers are rebellious and don't take correction or they think they know best or they don't work hard enough or don't even know how to practice. The comment is no more or no less valid than a person saying that a person is beautiful--or ugly. It is an opinion. It is not a fact.
Great singers are great because they decided that they would not settle for less than greatness and then they worked at it to make it happen. It isn't innate and it isn't magic and it isn't that God is stopping people from being unique or giving them uniqueness. It takes a decision that leaves no other way out and the decision is followed up with the practice and perseverance to continue until it is achieved. Greatness comes from an unkillable desire and an impeccable work ethic. Then when preparation meets opportunity, great things can happen. But that's just my opinion BUT it's based on experience since 1962. Professional since 1972. Professionals know that professionals practice. We practice much more than the uninitiated could assume.
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