By Jeannie Deva

In the first parts of �Style � What�s Mine?� we discussed the balance between learning from others, incorporating that knowledge into your own performance and yet developing a unique style. Now let�s consider how vocal and performance technique may influence your style.

RHYTHM

The movement or flow of sounds in a regular pattern of beats and accents, the rhythm of a song, is generally considered the domain of the drummer and bassist. But, rhythmic precision of melody and lyrics is an important part of vocal control and will influence style.

Some genres such as Funk and Rap are more demanding of the vocalist�s rhythmic sense. The prevalence of many note subdivisions and syncopation (off the beat notes) in these genres require a precise sense of time and muscle agility to articulate rapidly. Have you ever listened to a skilled rapper squeeze so many notes of lyric into one beat that it leaves you in awe of how fast a tongue and lips can move?

Even in genres that aren�t as demanding rhythmically, choices of which words you sustain or sing staccato (short duration with silence between notes) or how complexly you may syncopate the melody, should spring from your interpretation and not your tempo shortcomings. Spend time in your practice with a metronome and don�t leave it all up to the drummer. After you can sing lyrics with rhythmic accuracy, then you can experiment with variations that will become part of your style.

PHRASING

How you phrase or distribute the lyrics and melody over different sections of a song is an outgrowth of your rhythmic sense. Phrasing is intimately connected to your interpretation of the song and is an earmark of your style. Take the time to make decisions regarding the kinds of feelings you want to emote and the experience you want to create for your audience. What do you want to say to them? What effect do you want to have on them? Let�s examine some of the musical details that go into this.

To create your own unique style of phrasing, there are a number of aspects you need to be aware of and make choices about: the words you emphasize; where you pause; the rhythm you give your words; your choice of dynamics across each line or on a given word; the way you articulate your words; which words and syllables you choose to embellish and the manner in which you embellish them; how you do or don�t use vibrato; and how you use different tonal qualities.

Something to Try

A word can be given emphasis through singing it higher, louder, accenting it rhythmically, sustaining it, embellishing it or slowly adding vibrato. For instance, when you stress a syllable, word, or phrase with volume or by sustaining it, you can create a completely different mood. Say each of the following examples aloud, placing emphasis on the underlined word, to hear the difference. You make me feel brand new.� �You make me feel brand new.� �You make me feel brand new.� Which way seems most appropriate to you? You may not be able to answer that until you decide the emotion and message you want to convey with a song.

Experiment with phrases in songs you know by saying them several different ways, changing the accented word, adding melodic embellishments, adding or removing pauses between words or changing the melody note. Listen to versions of one cover song performed by several different vocalists for ideas on what can be done with phrasing. There are many renditions of Jazz standards and Christmas songs.

DYNAMICS

Increasing or decreasing the volume of certain lyrics or sections of songs is a natural way to express style. In the above exercise your first attempt to emphasize the underlined word in the phrase was probably done by increasing the volume. You could also change the pitch, add vibrato or an embellishment, but it is natural to vary dynamics to achieve emotional response.

Staying at one volume throughout a song is generally boring and emotionally monotone. It is fairly typical to raise the dynamic during the chorus and be softer in the verse. Sometimes, however, you can create quite an impact if you reduce the dynamic as the song hits its melodic and choral climax. Aretha Franklin used this approach on some of her early albums. The point is to experiment and find what works for you.

As a universal language, music can convey message and emotion through all of the aspects of lyrics, melodies, phrasing, rhythm, etc. By studying each of these factors and experimenting, you will become fluent in this language and develop your own style.

All my best,
Jeannie Deva