Now . . . Set the Stage to Practice Singing.

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You’re rested, you’re hydrated, and you’re ready to practice, but is your space ready for you? When choosing a space to practice singing, consider the audition or performance experience. Will you be in a classroom, a choir room, or a theatre room with a small stage? During my undergraduate years, my favorite practice space was a small recital hall because it was spacious and uncluttered—just a piano, my music, a music stand, my supplies, my portable tape recorder and my “boom box!”

Assuming you can’t afford to build a personal recital hall in your home, you only need a few adjustments to turn any space into a good “practice room.” For example, here are seven tips for how to set the stage to practice for all-state auditions:

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PST! | Practical Singing Techniques for All Ages

Hello All,

If you are reading this post because you attended my presentation called PST! Practical Singing Techniques for All Ages at the Tennessee Music Educators Association 65th Annual Convention in Nashville, Tennessee, thank you! Here are my presentation slides. I am hopeful the slides that I added—particularly describing my Number Warm-ups (slide 18)—provide even more clarity. Also, I edited several pages to reflect more of what I demonstrated and discussed that was not in the original outline.

I truly enjoyed sharing a few of my teaching methods with all of you. Preparing for the presentation enriched my own teaching and learning, and I am hopeful my thoughts are useful to you as well.

Of course, if you are finding this though you did not attend the presentation, welcome!

Thank you all again, and Happy Practicing!

College Choir Auditions 101

So, you’re off to college, and you want to keep singing in choir.. 👏 Or, perhaps you are a vocal music major or minor, and singing in choir is a part of your training—but you still have to audition before classes begin. Either way, the question is : How should a singer prepare for a collegiate choral audition? Of course, you may find an explanation of the process on the college website. If not, try to contact the choir director for more information.

Here are a few tips to help you prepare for college choir auditions and beyond!

What excites you about singing in a choir? Be ready for a short chat/interview including why you want to continue singing in choir, how long you been singing in choirs, what instruments you play, etc. They enjoy getting to know the person not just the voice. Even if you are not planning to major or minor in music, write a high school résumé that focuses on music and a repertoire list to make answering these questions even easier. Bring it to the audition. The director may ask you for the document, and you will be ready!
Have a few, short solos you can sing from memory: If you were in choir during high school, you probably learned a few songs you can sing from memory. In general, choose songs that are moderately slow to moderately fast and about two minutes long with a short introduction featuring a well-developed singing range. Also, be sure that there are enough long notes and longer phrases to demonstrate more advanced singing technique. You do not need to sing a really difficult song for a choral audition, either. Good examples include folk songs like Danny Boy, Shenandoah, or the melody of a song you sang in choir instead of the harmony. Just be sure that you own a clear PDF and/or printed sheet music plus the piano track. Usually the director or pianist will play with you for a live audition, so they will need the PDF. When you have the track, you can practice well, and you may need it for the audition!
Be ready to vocalize in the audition: Though not every audition will include vocal warm-ups, if you expect it, then you won’t be caught by surprise! Warm-ups give the director a chance to listen to your tone quality and test your singing range. Plus, they like observing your technique when singing music you did not prepare for the audition.
Pitch matching, too!: Besides a few warm-ups, some auditions feature a pitch matching component, so singers can demonstrate basic aural skills. Typically, the director will play a series of three to five pitches—though three is more likely—for you to repeat a cappella on a neutral syllable like [da] or [lu]. Again, this is a wonderful opportunity for the director to hear you sing music you did not prepare, watch your singing technique, and listen for good intonation and healthy tone quality. In general, singing three to five notes in a row accurately and in tune with no more than three times to hear the pattern is an excellent goal for any singer.
And now…sight singing!: For many high school singers, this is the most anxiety inducing part of an audition. Be ready to demonstrate your skills in two ways: 1) 30-second practice of eight measures, then sing again for the “final reading;” 2) A short SATB song with the director playing all the parts simultaneously while you sing the part you usually sing in choir. For example, if you usually sing soprano, you may be asked to sing the selection twice to demonstrate both the soprano and alto parts.

Finally, below is a list of what several of my students have had to sing for a college choral audition. Your audition may include a few of these elements, though rarely all because time is limited!:

Classical solo or art song in English or a foreign language
Excerpt of a choral work assigned 3-6 weeks before the audition
Excerpt of choral work from previous choral experience
“America” (My Country ‘Tis of Thee) in several keys a cappella or accompanied
Pre-1970 and/or post 1970 music theatre selection
Singing range exercises (possibly Soprano/Alto: E3 – E6; Tenor/Bass: E2 – E5)
Pitch Matching/Echo – examples played or sung up to three times before repeating using a neutral syllable
Rhythm Matching/Echo – examples tapped, clapped, or spoken up to three times before repeating
Eight-measure and/or harmonic sight singing

Try to think of what you would add if you were a choir director, too. TOI, TOI, TOI!!

Relax, and Just Sing!

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When singing and medical professionals are asked about how to stay vocally healthy, nearly all list alleviating stress as one of the components for successful practice and performance. Yes, staying well nourished, hydrated, and getting a good night’s sleep is vital, but how can we reduce our stress levels, especially leading up to a big audition or concert? Here are some fundamental tips to help you relax daily even when it’s not summertime, and you are not feeling so fine!

Whenever possible, don’t rush yourself: Many of us are forced to move quickly through meals and other daily activities, but all the rushing around can induce anxiety. When we’re anxious, we usually feel more tension in our neck and shoulders, and often our breath support suffers. For an inconspicuous way to find a little relaxation, try sipping your water a bit slower— especially during rehearsal. Simply taking the time to sip and breathe rather than gulp and run can calm your heart rate and let you feel more peaceful. Perhaps an herbal tea is your beverage of choice, so you can savor the flavor with that slower sip and breath. Try this during your practice sessions, too!
Take time to dance to a favorite song: You don’t have to move the coffee table out of the way to start a dance party, but a little happy tapping to a favorite song can put you in a more relaxed frame of mind. If you’re feeling frustrated with a specific practice objective, take a break and jam to a favorite bop. Moving your body a little should relieve tension and brighten your thoughts. You can even use it as your internal “hype music” before and as you walk on stage or into the audition room!
Always take time to practice songs you like to sing: Yes, you like singing, so let the songs you love, whether or not it is a part of your upcoming audition or performance, be the foundation of your practice without neglecting your current repertoire. Those beloved songs don’t have to be complicated, but remember to be good to yourself—no unhealthy shouting! Whether it’s your favorite song from second grade music class or your signature dance jam you love to sing, practice them, too. Make positive connections about how your vocalizing feels from song to song regardless of genre. Also, apply technical practice ideas to these songs. You will feel more versatile and freer when all eyes (and ears!) are on you.

What’s It All About?

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Whether singing in a foreign language or in your native language, understanding the meaning of the words helps you sing the song with more authenticity. As we all know, your informed characterization is a part of the aesthetic value for you and your audience. Whenever you are preparing a song, take the time to translate the foreign language and prepare a program note that describes the context for song with information about the composer. If the song already has a translation, translate the piece anyway. Never assume it is correct or accurate!

Before using someone else’s program notes, translate the song line-by-line using an online translator. Though you can use your note-taking application, try writing out the words by hand on a sheet of paper. That tactile process will likely help you memorize your song better, too! Line-by-line is important, so you can see the translation in shorter segments. Too many lines selected at once may make it harder for you to know which translated word goes with the foreign language word. Here is an example:

De colores se visten los campos en la primavera

Of colors dress the fields in the spring

Obviously, a direct translation may not be easy to understand. Once you have completed yours, look for a professional translation or one by a native speaker. Try rephrasing the translation in your own language, too. Once again, this activity often helps you memorize the words better.

Regularly use your translation page singing the song with the lyrics only to test your memory.

Also, neatly write your translation in the score for better retention!

Changing Your Vocal Style

You’re practicing various vocal warm-ups and technical applications in your selections, but you’re struggling with genre changes practicing everything from contemporary vocal a cappella styles to Mozart choral works. To improve breaths, tone, and diction for any style, try speaking the lyrics conversationally with your comfortable (but clear!) speaking tone. Remember to breathe in the same places you should when you sing the song.

Then, record yourself singing the song with your conversational diction. Really let yourself sing the exact same vowels and consonant sounds the way you would normally speak. When you listen to the recording, decide if the sound of your vowels and consonants match the style of the music you are practicing. If you’re not sure, try finding recordings of your song with performers demonstrating excellent intonation, appropriately styled diction, and, if possible, fantastic stage presence.

For a quick study of style changes within one song, check out this video of the group Take 6 singing “Get Away Jordan.” To skip the introduction, start the video at about 36 seconds. Keep watching until at least 3:20 for a brief change of style in the midst of the song. How would you describe the tone/vowel changes? Can you think of songs that would fit the two styles? Try recording yourself singing a selection with a contemporary/commercial style and tone then a classical style and tone. Were you able to successfully achieve a convincing performance of the two vocal genres?

Alright, enjoy!

Vai, vai, vai to the tone

Hello Divine Singers!

Within 20 seconds of viewing this video, you will know why Salvatore Fisichella is one of the most admired tenors of our time. Watch and listen to him help Andrew Owens, an American tenor, improve his tone when singing “Che gelida manina” from Puccini’s La Bohème. May we all learn to feel and demonstrate as much three dimensional tone placement as he can! Search their names and Classic FM to see the video with a few subtitled translations of Fisichella’s instruction.

(Mediterranean Opera Studio and Festival, 2013)

What did you do in high school?

Crafting a short but thorough high school resumé should be a part of what you do to prepare for your college applications and auditions. Some colleges and universities have specific portions of the application labeled for information such as music activities, awards and honors, etc., but others do not. Also, your college applied music instructor may want some information about what you did in high school to know more about your achievements.

Be sure to include information such as private music lessons, all music ensembles, and section leader duties. Include other activities such as debate, language clubs, and volunteer programs. If you were working during high school, you can add that employment history, too. Your college voice teacher will be delighted to know that you were able to keep your GPA up and take private lessons while serving fries and shakes at a local restaurant, for example.

Now, what did you do in high school? Here is an example of a General High School Musician Résumé to get you started. If necessary, you can format the information to one page using columns in a basic word processing document.

Have fun reminding yourself of your accomplishments!

So … what are you singing these days?

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Maintaining a comprehensive repertoire list is essential for your record keeping. Also, most universities, voice teachers, and arts organizations require an edited version of what you are singing now and what you have performed. As a high school singer, your general vocal repertoire list should contain the following information:

Name and Voice Classification: If you do not know your voice classification, use the voice part you sang the most in high school. You can leave off any part numbers (tenor 1, bass 2, etc.).
Song Categories: Only use the categories you need such as English, Latin, Italian, French, German, Spanish, etc., Classic Music Theatre (pre-1970), Modern Music Theatre (post-1970), Jazz Standards, Major Choral Works, Contemporary-Commercial (including Sacred Songs), and Original Compositions (i.e, self-composed songs).
Title: Your song titles should include the major work’s name when applicable. Use the exact title of the song, but opus numbers are not needed. You can save that information for your detailed list.
Composer: The last name is all that is necessary. For your detailed records, use full names and birth-death dates of the composers.
Semester & Year of Performance: List most recent performances and studies first. You can be more specific about the dates for your detailed list.

Finally, organize your solo selections in a three-ring binder with dividers for each song category, or you can organize your folder by school year. You can decide if you want to put your songs in order of most recently studied to least recent or vice versa. Either way, creating and maintaining the folder will be an excellent opportunity to review what you have accomplished on a regular basis while you add new repertoire.

So … what are you singing these days? Here is an example of a General Vocal Repertoire List to get you started!

And Now . . . Sight Singing!

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By this time in the school year, you know the procedure for the sight singing audition very well:

The tonic triad will be played in broken (arpeggiated) style which you will sing out loud as it plays.
You will have 30 seconds to practice singing an eight measure example.
After 30 seconds, the tonic triad will be played again.
You will count-in at a slow to moderately slow tempo before singing your final reading.

However, what is easy to describe is not necessarily easy to demonstrate. Here are a few general tips to help you feel more confident for the sight singing version of the audition:

Drill Your Key Signatures: Though the example will likely begin on the tonic pitch (“Do”), practice identifying your key signatures, so you’re not confused by a tricky one—especially if it doesn’t start on the tonic.
Practice Daily: For most, sight singing improves more consistently over a series of weeks rather than a few days before the audition. Try practicing one or two letter names a day. For example, Monday could be A-flat/A major and B-flat/B major; Tuesday: C/C-sharp major (though C-sharp is highly unlikely) and D-flat/D major (D-flat is less likely than D), etc. Inevitably, you will have some key signatures that are very easy for you, so you will need to spend more time with the harder ones.
Record Yourself: Audio record your practice and your final reading. When you listen to the track, judge yourself for correct rhythms and pitches. Are you singing at a consistent tempo? How is your intonation? Are you missing certain intervals or rhythm patterns regularly? Are you stopping too often?
Record Yourself singing with the Answer Track: Most of you are using a computer program to practice sight singing. Compare this recording to your independent one and with the part played. What improved? What specifically can you improve easily with the next practice?
Record yourself without the Answer Track Again: Yes, one more time for the same example. Was the tempo for the final reading appropriate? Were you able to improve any pitches or rhythms you may have missed before? Were you able to keep singing even if you missed a pitch or a rhythm? Did you recover quickly when you made a mistake?

These tips should help you become more comfortable with the procedure and improve intervals and rhythm patterns that are frequently used in sight singing examples. Try to notice the same musical ideas used in your repertoire to inform your sight singing, too.

Finally, if all else fails, remember this: all songs only ask us to sing short and long pitches that go up, down, or repeat in a stepping or skipping motion. Don’t forget to look ahead at least one note at a time as you sing. Keep your eye moving forward past barlines and the end of the staff, too. Even if you think you might miss the next note, focus on the rhythm and try to sing in the correct direction—don’t sing higher if the next note is lower, etc. If you can do that, at the very least, we’ll know that you understand how the sound-graph we call music works!

Memory Slips

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Who hasn’t had a memory slip? The question is: how can we prevent them? Though I could list many steps for excellent memorization, here are three good tips focussing on memorizing lyrics:

Walk it out: Grab your water bottle, put on your earbuds, and take a walk to the beat of your music—moving in slower motion for ritardando sections and faster for accelerando sections, of course. Listen while walking, lip-sync while walking, and sing while walking. If it’s not a lovely day, then you will have to improvise!
Write it out, talk it out, SING IT OUT: Write and type out your lyrics in neat, poem form. Try taping the page to a wall where you have to stand and finish various tasks such as brushing your teeth, washing dishes, etc. Think through the words as a poem and in rhythm. Say the words out loud as a poem and in rhythm. Of course, sing your song with and without your accompaniment track. If you are singing in a foreign language, be sure you know when words begin and end by paying close attention to dashes between syllables. Otherwise, you may not be typing or writing the words correctly.
Act it out: Practice saying your words as a poem and in rhythm with characterization. Be sure to say it with meaning. Use your translation to help you practice logical facial expressions and tasteful gestures that work with your song to improve characterization. Of course, practice the same artistry while singing with excellent technique and musicianship.

P. S. Don’t forget to memorize entrances, rests, and interludes. Even if you have the lyrics memorized, you don’t want to start too soon or too late for a new phrase!

YOU CAN DO IT! ~ Practice Singing