Voice Lesson CDs
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OK, You Can Sing, But - How Do You Look?
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by Jeannie Deva
July 2009
A performance is a multifaceted, multimedia creation. Many singers learn the songs but approach the actual performance (the show) in a haphazard way and just hope that “it works.” At the fully professional level, there is much pre-planning and development about the show prior to arriving in front of an audience. If you haven’t already done so, take a tip from the pros and learn how to do this yourself.
What’s the Point?
Contemplate the effect you want to have on your audience as a result of your songs. What is the mood, emotion, sentiment of each song you plan on performing? Aside from how you sing each song, the visual performance needs to convey the message as well, but first you have to decide what that message is.
Is it Solo or Ensemble?
Your energy from the stage to the audience is dependent not only on how well you sing each song but on how well the ensemble works together. The key word here is: Together. You need to LOOK and act like an ensemble with no one player appearing to be left out.
If you are performing with other singers or musicians, include in your rehearsals how the group will work together on stage, song by song. Having been a judge for many “battle of the bands,” I’ve seen this important aspect too often omitted.
Do You Dance?
Choreography can be included but is not always necessary. Even if there isn’t choreography, you can plot out specific movements and staging (whether or not you’re playing with other musicians) that would add to the excitement, drama or boldness of the performance of your songs.
Here’s an example: I began coaching a 3-girl group. They had excellent energetic songs and wonderful voices. However, in performance two of them had a tendency to play off each other but rarely interacted with the third. Adding to this separatism, the third performed as though she were on stage by herself. They did not perform as a united ensemble. This reduced the quality of the show and the impact of the songs on the audience.
No Fidgeting Please
Twisting or playing with the microphone cord in your hand; hanging onto the mike stand throughout the song; continually putting your hands on your stomach (some misguided singers have been told to do this by teachers to “check their support”) or any other physical movements or positions that have nothing to do with the performance of the song are distracting.
Your movements – including eye direction – must be deliberate. Don’t let your eyes dart around aimlessly as you sing. This makes you appear amateur and as though you don’t really mean what you’re singing about. Practice singing a song totally immersed in the meaning of it. Make it YOUR communication. Let your movements flow from the feeling and meaning you give each phrase of the song. If you feel self-conscious at first, just keep practicing until you are comfortable being the song and showing it.
Remember: A performance “works” when the details of your visual and audio presentation are aligned. This alliance is powerful. It makes your song believable and brings it to life.
Self-Conscious Singer?
If you have any uncertainties about your voice; about whether or not you’ll hit the note or go off pitch, this hesitancy will be evident in your performance. Some singers can sound great for a song or two but lack vocal stamina. If they sing for longer than their improperly prepared vocal muscles can tolerate, they suffer the consequences of a blown-out voice. They may be cautious about really “giving it their all” for fear of losing their voice.
I have spent most of my life researching how the voice works and how to work with it without compromise. I’ve looked for and found the most simple, factual and superior techniques that quickly help you; whether you are a pro or beginner, to advance and find freedom of expression which leads to your own unique vocal identity.
If you have vocal inconsistencies; if there is anything you want to do with your voice that you can’t; if you think you have more potential as a singer and want a faster way to reach it, you will find the steps to quickly advance in my course: “Contemporary Vocalist” Volume 1 and my “Deva Method Vocal Warm-Ups and Cool-Downs.”
(This article is an excerpt from Jeannie Deva’s soon to be published, downloadable book on performance technique for singers.)
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Jeannie Deva is a celebrity master vocal coach and recording studio vocal specialist who has worked with and been endorsed by engineers and producers of Aerosmith, Elton John, Bette Midler, Fleetwood Mac and the Rolling Stones. Seen on E! Entertainment and TV Guide Channels, Jeannie has been a celebrity guest interviewed on talk shows in both the US and Venezuela. Her private voice studio is located in Los Angeles where she teaches in-person as well as singers around the world via Internet video conferencing. Certified Deva Method® teachers are located on east and west coasts of the U.S. and now in Sydney, Australia. Clients include Grammy award winners, American Idol Finalists, and more.
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