contents

Book: Singing from the inside Out: exploring the voice, the singer and the song

 

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CONTENTS

 

INTRODUCTION

  • A personal history
  • A practical guide for the expressive singer
  • Singing from the inside out: Exploring the voice, the singer and the song
  • Who is this book for?
  • Is this book a specific method?
  • What’s in this book?
  • What’s the best way to use this book?
  • The term ‘pop and jazz’
  • Singing musicals
  • Glossary and keyboard chart

 

PART 1 YOUR VOICE

1.         Your own voice

  • Introduction
  • What is ‘your own voice’?
  • OK, your own voice does exist
  • A toolkit
  • Taking lessons
  • Your voice is an instrument
  • ‘Losing’ your own voice
  • The singing teacher
  • Pop/jazz versus classical

2.         Analyze your own voice

3.         Vocal range and voice type

  • Vocal range
  • Voice type
  • Pop and jazz
  • Heavy or light?
  • How high and how low?
  • Developing your voice
  • Your voice changes
  • Some hard science

4. What can you change about your voice?

5. What is your goal?

6. Voice, body, and mind

  • General introduction
  • Introduction

Posture, movement, and standing still

Body awareness, sense of body, and physical memory

Working on body awareness

Relaxation and exertion

Warming up

  • Posture

Basic posture

Three tips for a ‘long neck’

Why stand up straight?

Changing your posture

Physical posture and mental attitude

Two common problems

Problem 1: your head always juts forward

Problem 2: you slouch while singing

  • Movement

Moving and standing still

Using the microphone

Sitting and standing

Mannerisms

Movement and emotions

Movement and relaxation

Four examples of movement

Breath control and movement

The voice and the mind

  • An open mind
  • Mental pitfalls

Wanting to ‘make it pretty’

Wanting to be liked

Wanting to prove yourself

Putting yourself down

  • Daring to make mistakes

 

PART 2 BREATHING

7. Singing and breathing

  • Two frequently asked questions
  • Breath control, air pressure, and breath support
  • Deep breathing

Inhalation

Exhalation

  • High breathing

A misconception

  • Breathing from the ribs
  • The right breathing

Should you inhale through your mouth or your nose?

Three important principles of breathing

Working on your breathing

Breathing as a skill

8. Practicing

  • Step 1 Becoming aware of the breath: observing
  • Step 2 Breath control: low exhalation/inhalation

Before you begin

Exercises

  • Step 3 Connecting the breath and the voice: a flexible diaphragm

Carrying power

Articulation and breath support

  • Step 4 From speaking to singing: breath support

Legato singing

Regulating the air pressure

Controlling the movement of the diaphragm

Exercises

1. Long tones

2. Sliding (‘glissando’) exercises

3. Stepwise exercises

4. Lip trill exercises

5. Maintaining the air pressure

6. Inhaling quickly and silently

7. Regulating breath flow: swell tones

  • Breathing in practice: three Yesterday exercises

Yesterday exercise 1

Yesterday exercise 2

Yesterday-exercise 3

  • Conclusion: an organic breath

PART 3 SINGING TECHNIQUE

9. What is singing technique?

  • A unique instrument
  • ‘You either got it or you don’t’
  • Muscle training
  • Observing how your body feels
  • But I can do it just fine in the shower…
  • Work on your technique
  • Freedom
  • Technique versus interpretation
  • Classical versus pop/jazz

Differences in use of the voice

Other differences with classical singing

Working from the outside in versus working from the inside out

10. Practicing singing technique

  • Doing singing exercises
  • Classical exercises?
  • About the exercises in Part 3
  • Harmony
  • The connection between the exercises
  • Tips for practicing
  • Overview of the exercises in Parts 2 and 3
  • Exercises in Part 2

Breathing exercises

Connecting breath and voice

  • Exercises in Part 3

Long-tone exercise

Sliding exercises

Exercises for a relaxed jaw and tongue

Exercises for vowel modification

Exercises for placement/resonance

Exercises for controlling nasality

Exercises for training registers and transitions between registers

Exercises for blending

Exercises using nasality

Exercises for working on particular sounds like twang, belting and growling

Exercises for vibrato control

Articulation exercises

11. Long-tone exercise

12. Open your mouth and throat

  • Open your mouth
  • Open your throat
  • Constricting

Breath control

  • The tongue
  • The connection between tongue, jaw and larynx
  • Exercises
  • Step 1: tension – relaxation
  • Step 2: speaking exercises
  • Step 3: singing exercises
  • A few more tips

13. Sound, overtones, resonance and vowels

  • Introduction

The ingredients of a sung tone

Overtones

The vocal tract

  • Resonance

Resonance and vocal onset

Resonance, singing in the front of the mouth and placement

Experiencing resonance and placement: humming

Tip

Resonance in pop and jazz singers

A too-classical sound

Five exercises for placement/resonance

Three exercises for training placement/resonance in a song

  • Sound color, overtones and formants

Formants

Experimenting with overtones 1

  • Vowels

Experimenting with overtones 2

  • Overtone singing
  • Vowel modification

Vowel order

Exercises

  • Nasality

Exercises

  • Twang

14. Registers, register break and blending

  • What do we mean by a register?
  • In practice
  • Modal register
  • Falsetto register

The whistle register

  • The register break
  • Using your break for musical effect

Examples

Country style vocal break

  • Avoiding your register break

1. Sing the whole song lower

2. Sing the whole song higher

3. Adjust the volume: sing louder

4. Adjust the volume: sing softer

5. Adjust your sound: sing nasally

6. Adjust your sound: sing with twang

7. Adjust your sound: learn to blend

  • Blending
  • Exercises for blending

Make the exercises harder

Other exercises for improving blending

  • Training the registers

Exercises

15. Sound

  • What do we mean by sound?

Describing a sound

Sound and register use

Sound and interpretation

Limitations of your sound

  • A pop sound or a jazz sound?
  • Developing a pop/jazz sound in the mid-range
  • Singing with power
  • Heavy modal: a powerful, open sound in the mid-range

Practicing heavy modal

Keeping your neck long

A flexible diaphragm

Using nasality

  • Twang

The advantages and disadvantages

Exercises

  • Belting

Exercises

  • Growling

What is it?

The sound

The volume

Vocal strain

Learning to growl: laying the foundation

Tips for learning to growl

Watch out!

Using the microphone

Listening examples

16. Pronunciation and articulation

  • Articulation and technique
  • Vowels and consonants
  • Vowels and melody
  • Consonants and text

Dutch for Russians?

  • Connecting sound and meaning
  • Syllable stress (accents)

Avoiding unwanted syllable stresses

Solutions

Example

Avoiding accents on unimportant words

Playing with accents

  • Varying the intensity of your articulation

Example

  • Pronunciation

Working on your pronunciation

Speech therapy/lessons

  • Singing in English

Slang

Accent

  • Exercises

17.       Vibrato

  • Introduction

Vibrato and style

Vibrato and taste

Vibrato and intensity

A natural vibrato

The speed and width of vibrato

  • Theory
  • Why use vibrato?

Relaxation

Legato

Volume

Checking breath support

  • Vibrato exercises

Acquiring vibrato

Controlling vibrato

18. Warming up

  • Warming up with vocal exercises
  • Other ways to warm up
  • Your body
  • Concentration
  • If you’re not feeling your best
  • Sing-along recordings
  • Your own sing-along CD
  • When there’s no opportunity to warm up

19. troubleshooting

  • Articulation
  • Breathing too high
  • Constricting/pressing
  • Feeling out of breath
  • Flexibility
  • Hoarseness/breathy tone
  • Jaw problems
  • Nasality/low palate
  • Placement, vocal onset
  • Problems singing legato
  • Problems singing staccato
  • Register problems
  • Resonance problems
  • Running out of breath too soon
  • Singing out of tune (poor intonation)
  • Sound
  • The inhalation is very audible
  • Vibrato
  • You’re breathing ‘the other way around’

 

PART 4 LISTENING, REPERTOIRE AND STYLE

20. Listening to music

  • Live concerts
  • Inspiration
  • Contacts
  • Building repertoire
  • Knowledge of styles

21. Styles

  • General

Characteristics

Stylistic rules?

Learning to master a style

Imitation

Analyzing a style

  • Listening examples

Connected (legato) singing

Belting

Rhythmic singing

Embellishments, ad libs

Improvising and making variations

Spoken singing

Large range, good blending of registers

Vibrato

22. How do you find repertoire?

  • Finding repertoire

Don’t be too one-sided

Reading about music

Songbooks and sheet music

Real books and fake books

Watch out!

  • Jazz repertoire

Jazz verses

Transposing

  • Choosing repertoire
  • Repertoire folder

 

PART 5 PRACTICING

23. Practicing singing

  • Introduction
  • The three phases of practicing: L-E-I

1. Learning

2. Exploring

3. Interpreting

Practicing your own song or lyrics

  • Thinking, intuition, skills and emotion

One example

  • What you need: time, planning and concentration

Time

Routine

Weekly schedule

Planning and concentration while practicing

  • What you need: materials

A suitable space

A music stand

A piano or keyboard

A mirror

A metronome

A recording device

‘Recording yourself can save you years of singing lessons.’

A microphone

A computer, tablet or smartphone

  • What can you practice?
  • How do you practice?
  • Practice mode versus performance mode
  • Practice tips
  • Make notes
  • Accompaniment while practicing
  • Practicing together
  • Mental practicing
  • Overcoming setbacks

24. Practicing a song

  • Which song?
  • Why this song?
  • Choosing the correct key

The mood of a song

Musical theatre repertoire

Small range

Large range

Register break

Intonation

Repertoire

The right key?

Playing together

Easy and difficult key signatures

Moving the range

Preparation

A classic beginner’s mistake

A key that’s too low or too high

Keeping track of your vocal range

  • The lyrics

Reading and investigating

Reading out loud

Tips for reading aloud

Emotions and layers

Exaggeration and meaning what you’re singing

Interpreting ballads: the pitfalls

The form

Important words and articulation

Lyric sheet

  • The melody

Listen to different interpretations

Learning the original melody

Buildup

Melody and lyrics

  • The chords

Intonation and harmonic understanding

Exercises

Two examples

  • Breathing and phrasing

Breathing is also phrasing

Making logical phrases

Things to watch out for

Breath management

Inhaling quietly

Breath support

  • The tempo

Tempo choice and repertoire

Choosing a tempo

Keeping the tempo

Counting off

A pickup

  • Rhythm, groove pulse and timing

Groove

Pulse

Timing

Good timing

Speeding up, holding back, a lazy timing

Why are singers so ‘unrhythmic’?

Working on your feeling of rhythm

Basic exercise

Watching the beat

Rapping

Three exercises for a better sense of timing

Patience

  • Dynamics

Intensity

Numbering

  • Going through a song technically in 6 steps

Before you start

Step 1 Working on resonance and breath support

Step 2 Working on vowel equalization and breath support

Step 3 Working on a loose jaw and tongue

Step 4 Working on breath support, resonance and a loose jaw and tongue

Step 5 Working on resonance and vocal onset

Step 6 Putting these techniques to use

  • Practicing ascending intervals
  • Sound
  • Memorization

Eleven tips

  • Making a lead sheet
  • Summary: Practicing a song

 

PART 6 MUSIC THEORY

25. Music theory and singing

  • Why music theory?
  • Theory and ear training
  • How can you increase your understanding of music theory?
  • What do you need to know?
  • Theory in practice
  • Making parts and lead sheets

Before you start

General tips

Notating the length of the chords

Rhythmic indications

B and E instruments

Notating the form

The form: notating repeats

  • Transposing a song

 

PART 7 IMPROVISATION AND VARIATIONS

26. What is improvisation and why is it so important?

27. How can you practice improvisation?

  • Fills
  • Repetitions at the end
  • Call and response
  • Embellishments, ad libs
  • The blue note
  • Varying the melody

Rhythmic variations

Melodic variations

  • Warming up
  • Difficult phrases
  • Listen to examples

28. Improvising without words

  • Introduction

Scat singing

Vocal improvisation

Soloing

Free improvisation

The origins of scat

Vocalese

Beyond scat

  • Improvising

Syllables

Tips for the use of syllables

Warming up

Singing melodies

Imitating other singers

  • Improvising a solo

Buildup

Transcriptions

Tips for practicing

Chord progressions

  • The blues progression

Basic blues: text and chord progression

  • My own improvisation

 

PART 8 AMPLIFICATION IN PRACTICE

29. Singing with amplification

30. Microphones

  • Condenser microphones

Phantom power

  • Dynamic microphones
  • Directional sensitivity
  • Tone color
  • Proximity effect
  • Wireless
  • Microphone cable

High and low ohm

XLR plugs and jacks

Connecting your microphone

  • The microphone transformer
  • Buying a microphone

Advantages

Preparation

Testing microphones

  • Microphone technique

Variations in air pressure and the distance to your mouth

The direction of the microphone

The angle between the microphone and your mouth

Pronunciation

How do you hold a microphone?

The position of your head

The microphone cable

  • Caring for your microphone
  • Letting someone borrow your microphone
  • Always sing with a microphone
  • Which microphone do I use?

31. Amplification

  • Overview
  • The mixing board
  • Input and output

Adjusting the gain

  • Equalizing

Passive

Active

Improving your sound with filtering

1. The "s" sounds have too much hiss

2. Nasality

3. Popping

4. Being understood

5. Presence

6. Your voice sounds dull

  • Effects

Reverb

Compression

Chorus

Pitch shifter

Echo (delay)

Multi-effects processors

  • Power amplifying
  • Speakers
  • Compact PA system
  • Monitors

Reverb on the monitor

In-ear monitors

  • PA system
  • DI
  • Which equipment should you buy?

Microphone, cable, microphone transformer, stand

Powered monitors

Reverb

Mixing board with speakers

  • What do I use myself?

 

PART 9 PUTTING YOUR SKILLS INTO PRACTICE

32. Singing in a band

  • Finding a band
  • Your own band
  • Rehearsals
  • Who does what?
  • Learning to listen
  • Giving a cue
  • Ear protection

33. Singing while playing an instrument

  • Alternating playing and singing
  • Playing and singing at the same time
  • Things to pay attention to

Posture

Breath

Relaxation

Expression

Rhythmic independence

  • Practicing

Three steps

Working on rhythmic independence

  • Examples

34. Choirs and backing vocals: singing in harmony

  • Unison or harmony
  • Voices and parts
  • Second voice and backing vocals
  • Choirs

Close-harmony choirs

Barbershop choruses

Vocal group

Pop choir

Musical chorus

Gospel choir

  • Tips for singing backing vocals and second voices

Blending

Putting together backing vocals

  • Tips for writing backing vocals

Intervals between voices

Melody

Voice leading

Sound

Form

  • Finding and keeping your note

Learning to sing a second voice

Learning to sing a choir part

Finding your starting note

Tuning fork

Repetition

Waiting for your neighbor to come in?

35. Performing: your presentation on stage

  • The usefulness of your presentation on stage
  • The great misconception about stage presentation
  • Developing a personal presentation

Self-confidence ↔ stage presence

  • Image

What is it?

The music industry

The media

Why do you need an image?

The necktie

Be careful

The red sports car

Image and stage presence

  • An important tip: how do others do it
  • A checklist
  • Message
  • Program buildup: the set list
  • What to wear on stage?

Men and clothing

The rules

Style of music

Where are you performing?

Should you try and fit in?

Your fellow musicians

Dressing rooms

Fashion advice

Practical tips: clothing for performances

  • Announcements

Practicing your announcements

Tips

  • Announcements, acknowledgements, sales
  • Performing abroad
  • Movement

36. Performing: technical issues and the concert

  • Stage set up

Tips

  • The sound check

General tips

Some tips before adjusting the vocal levels

Tips for adjusting the vocal levels

Common problems

  • Lighting
  • The concert

Preparation

The beginning

During the concert

When things go wrong

The closing

37. Stage fright

  • Expectations
  • Preparation
  • Acceptance
  • You have a right to be there
  • Creating space
  • Shared responsibility
  • Handling tension
  • Focus on the content
  • How do you practice?
  • Learn to keep going
  • Enjoy
  • Forget perfection
  • Don’t focus too much on yourself
  • Stress management
  • Extreme stage fright

38. Doing auditions

  • What is an audition?
  • In general

Voice test

Audition

What do I want?

What do they want?

The working level

The investment of time

Criteria

Talent shows

Audition recordings

Portfolio

  • Preparing for an audition

Choice of songs

  • The actual audition

Clothing

Technique and accompaniment

Your performance

A common mistake

  • Afterwards

If it goes well

If it doesn’t go well

39. In the studio

  • Choosing a studio

Does the studio have the facilities you need?

Is the atmosphere of the studio appropriate for you?

  • Producer
  • Preparation and planning
  • Be on time
  • Recording several takes
  • How are you planning to record?

Multitracking

Simultaneous multitrack recording

Two-track recording

Live recording

Adjusting the headphones

Editing

  • Singing in a studio

Studio microphones

Different microphones

Singing with headphones on

Take others into consideration

Patience and inspiration

How many takes do you need to record?

  • Mixing

Something to watch out for

  • My own experience in the studio

Multitracking in the attic

Recording multiple tracks simultaneously in the studio

Over-concentration and standing still

Live recording

Creating your own environment

40. Participating in a session

  • What is a session?
  • Look first
  • Participating yourself

Repertoire and preparation

Participating in a jazz session

Walking on stage

Starting and finishing together: form, groove, tempo

While performing

 

PART 10 VOCAL FITNESS

41. Vocal load versus capacity

  • Introduction

Vocal load

Vocal capacity

Finding a balance

  • Vocal hygiene

You are your voice

Condition

You only have one voice

42. Keeping your voice in shape

  • Tips for vocal hygiene
  • Tips for repertoire and arrangements

Variety

Arrangements

Dynamics

Key

Doubling the melody

  • Tips for rehearsals
  • Tips for performances
  • More tips

43. When things go wrong

  • Can you sing with a cold?
  • Trying your voice out

1. Humming

2. Singing long tones

3. Staccato exercises

  • Sore throat
  • Relaxation exercises for your shoulders, neck and jaw
  • And once you have strained your voice
  • Breathy tone, non-closing vocal folds
  • Vocal-fold nodules

What are nodules?

What causes nodules?

  • What can I do to keep my voice in shape?

Nothing?

The fear of doing something wrong

Accepting my voice

Knowing how far I can go

My special tricks and medicines

 

Index

Glossary

About Ineke van Doorn

Discography

Awards

Acknowledgements

Thanks to

Colophon