Rock Singing Techniques

Karen Farnum Surmani

Kevin M. Mitchell

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Cover pflotos: Ken Settle

2
CONTENTS
Part I • The Singer Within
The Process of Singing ....................... 3
Tools of Development ........ .... . . ... .. ... .3
Practicing . ..... ... .... ... ..... .. ..... .. . .4
Vocal Health .............................. 4
Vocal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
How This Book Works ... . .. . .... ... ..... . . .. 5
About the CD ... . .......................... 5
Reading Music ........................... . .6
The Symbols for Rhythm ... .. ...... . . . ..... . .8
Note-Reading Exercises ......................9
Part n • The Basics of Singing
Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Physical Exercises ......................... 12
Vocalizing ............................... 13
Warming Up the Voice . .. . .. ..... . .. . .. . . .. . 13
Vowels . .............................. . .14
Exercise Set No. 1 ...... . ... .. ......... . .. 15
Oh, How Lovely Is the Evening . .... .. .... .. .16
All Th rough the Night .................... 16
Singing Posture . . . . . . . . . . . . . . . . . . . . . . . . . . .17
The Tongue .. .. ....... .. ..... .... .... .. .. 18
Exercise Set No. 2 .... .. .................. 18
All Night, All Day . ..... .... ..... ........ 19
Home On the Range .. .. . . .. . . .. ..... . . .. 20
The j aw ........ . .............. . ......... 21
Exercise Set No. 3 ........... .... ......... 21
Singing Vowels and Consonants ............... 22
Exercise Set No. 4 ........................ 22
Introducin g 6/8 Time ..... .... .. ..... . . .. ... 23
Greensleeves . ... ..... .. .... . . ... .... .. .23
Aura Lee ........ .. .... ..... .......... 24
Matching Pitches .......................... 25
Exercise Set No. 5 .............. . ......... 25
Go, Tell It On the Mountain ............... 26
Part ID • Advanced Rock-Singing Concepts
and Techniques
Vocal Space .................... . ... .. .. . . 27
Exercise Set No. 6 ........................ 28
C. C. Rider . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Energy .................................. 30
Exercise Set No. 7 ........................ 31
My Bonnie lies Over the Ocean ... . ...... . .. 32
Scarborough Fair ..... .. ..... . . . . . ... .. .33
More Breathing Strategies . . . . . . . . . . . . . . . . . . . .34
Exercise Set No. 8 ........................ 35
The Sloop 'Joh n B ." ...................... 36
Vocal Resonance . . . . . . . . . . . . . ............ .37
Exercise Set No. 9 ........................ 38
Goin' Down the Roa d Fee/in ' Bad ............39
Fear of Flying: Approaching High er Pitches ...... 40
Belting (for Women) ........ . ............. .41
Falsetto (for Men) .... . . .. . . . .. . ..... . .... .41
Exercise Set No. 10 ........ . ....... . ...... 42 ·
House of the Rising Sun .................. 43
Musical Exp ressio n ... .. ..... . .... . ....... . .44
Phrasing ................................ 44
Red River Valley ........................ 44
Key to the High way ...... . . . ............ .45
Dynamics .. ............. ................46
Exercise Set No. 11 . . ....... . .............46
j ingle Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Legato and Staccato ........................48
Exercise Set No. 12 . . ................... . .48
One Dime Blues .. . ... . ................ .49
Part IV • Making It Happen:
Singing Uve with a B:and
The Practice . ....... . .................... .SO
Know What You're Going to Do .... .......... .51
"What Did You Say?" .. . ........... . ....... .51
Equipment for Singing w ith a Band ........... .52
P.A. Equipment .................. . ....... .53
The Day of the Gig . . .. .................. . .54
Part V • Making It Happen:
Singing in the Studio
Why Are You Doing This? .... . .............. 55
How Do You Know When You're Ready? ....... .55
Studio Shopping-Looks Can Be Deceiving . . . . . .56
The Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Arranging Your Music ..... ........ ....... . . .59
Lean Is Mean . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
The Whole Is Greater than the Sunn . . . . . . . . . . . ..59
Background Vocals ........ . ...... . ........60
Preparing Yourself . . ......... . .............61
Overdubbing Versus Live .... . . . ..... . . . .....62
Pacing Yourself ........................... 63
Studio Do's and Don'ts ................ . .... .63
What to Expect When Yo u're Recording ........ .63
Headphones .......... ..... . ............. 64
The Final Mix .. . ... . ...... ... ............. 64
Final Word ....... . ... . ... . ......... . ...... 64

PART I:
THE SINGER WITHIN
"If you can walk, you can sing," said Michael Stipe,
lead singer of the rock band R.E.M. His belief that
anyone has the ability to sing and express themselves
musically is especially true in rock music. It's what
rock music is about.
· someone else. This is not to say that we can't learn
Michael Stipe (second from right), singer and co-songwriter of
A.E.M., has an emotional, powerful vocal style. His singing
technique combined with his songwriting ability and his stage
presence makes him one of the most admired rock performers today.
Some might try to argue that rockers like Neil Young,
Bob Dylan, Patti Smith and many others "can't sing."
Anyone who is a fan of these great performers and has
been moved by their convictions and their singing
would certainly say otherwise. Each of these rockers
has developed their own style and technique and their
own way of expressing themselves, just as you're
starting to do.
Everyone has the ability to sing rock. If you have the
desire, you can sing-it's that simple. Rock singing is
about standing in front of the microphone and
expressing yourself in a meaningful way-you don't
need anyone or anything to help you do that. The goal
of this book is to help you do it better, with greater
range and without damaging your vocal chords.
You supply the heart, soul and desire. We'll supply
the technique.
The Process of Singing
Singing is a simple process. It's a matter of speaking
on pitch, and trusting that our bodies know what to do.
Even though many of us know this instinctively, we still
need to go through a re-education process in order to
let go of any muscular tension in our singing so that we
may fully achieve this state of simplicity and trust.
In search of their best singing voice, many amateur
singers fail to realize their full potential because they
3
are trying to sound like a certain singer or have a
preconceived idea of how they should sound. They
miss the point. The real goal for each singer is to
discover his or her own free, natural singing voice.
Some voices may be characteristically "small" or "light,"
others "big" or "heavy." Trying to change a part of
your voice can lead to problems. The key is to take
what you have and work to refine that.
Singers, as with any artists, cannot be free to develop
their own abilities to the fullest while trying to copy
from great rock singers like Tina Turner, Robert Plant,
Tori Amos, Bono, etc., but we must reali:ze that each
person is unique, each with his or her own individual
physiology and emotional makeup. These factors
combine to produce a person's own exclusive sound.
Of course you won't sound just like someone else, just
as you can't have the same fingerprint as anyone else.
You're unique.
What could be better or more satisfying than finding
your own distinct, natural sound? Every big performer
today wouldn't be big if they didn't have their own,
unique style. They had to explore and develop their
own strengths, talents and individual sound, just as
you will.
Tools of Development
Some who are learning to sing have had great success
by keeping a notebook or journal. The notebook will
allow you to record your observations of the learning
process. When something works that helps you in
your singing, write it down in the notebook. Describe
what it was that you liked, and what you did to
achieve it. This way, you can develop your own
troubleshooting checklist. Then, when you experience
problems, you can go through your checklist to help
pinpoint what it is you are forgetting to dcr-or not to
do.
Also, use a mirror in specific exercises in this book to see
the movements of the tongue and mouth, and to check
vowel positions while singing. Since no one is really able
to hear the sound of their own singing voice as others
hear it, a tape recorder is helpful. (Later on, you'll
probably want to sing to a mirror to check out how you'll
appear on stage when you're fronting a band.)
The tape recorder allows you to record yourself
singing the exercises and then play them back. When
doing this, your job is to be an impartial detective,
noticing and evaluating everything going on. Do not
be too critical of your recordings! Think of it as an
opportunity to listen and objectively correct problems,
not as a time to be judgmental. Record some of the
early lessons and save the tape for later comparison. It
is often difficult to note progress, and this tape will
help you hear your own singing development.
A_piano or keyboard of any kind is helpful for matching
pitches. A properly tuned guitar can do this as well.
4
Practicing
Improving your singing voice cakes a willingness to
experiment and the discipline to practice what you
learn. It's not rocket science--it just cakes time to
build new vocal habits and the ability to make your
singing a priority.
What we are going to do is cake old habits and
replace them with new patterns that are more useful
as a rock singer. In order to produce healthy,
controlled tones, singers must develop all the factors
associated with their singing: for example, the voc~l
Courtney Love of the band Hole has a raw, distinctive vocal
style. While perhaps best-known as the late Kurt Cobain's
wife, she has earned respect and admiration through her
intellegent, hard-hitting music. Hole promises to be an
influential band of the era.
cords, breath, the posture of the body and so on.
With concentration and determination it is possible to
change these habits. However, this coordination may
only be achieved through the steady use and practice
of the voice, similar to achieving the strength and skill
gained from a regular exercise program.
Think of practicing as exploring, and the best place to
do your exploring as a quiet room away from distrac-
tions where you feel free to experiment. Sing at a
comfortable volume (when practicing by yourself, you
don't need to sing into a microphone). Also, it's best
to practice while standing.
The exercises should be repeated until you are easily
able to sing the exercise at the correct tempo with no
straining or tension, and accomplish the goals of the
exercise. But once you've mastered an exercise, keep
doing it.
At the beginning, you should practice no longer than
15 to 20 minutes at a time. The reasoning behind this
is that the exercises demand total concentration, and
after 15 or 20 minutes, the average beginner's concen-
tration begins to go out the window. Whatever you
do, don't cram for your lessons! OCt is much better for
your voice and your development to sing a little every
day than to blow it off for six days and suddenly
practice for two hours.
Try to scay relaxed during practice: sessions, but if there
are any signs of vocal stress or pain, stop immediately.
When discomfort occurs, to continue singing would
only reinforce bad habits, so stop and resume singing
later.
Voice training is a journey of psychological as well as
physical development. Struggles :are inevicable, but
without them, no true progress can be made. If you
keep working at it, you will be continually improving
each day, sometimes in small ways, sometimes in big
ways. The point is, a rock singer's technique con-
tinually evolves, and each day you will be a little
better than you were the previous day. And that's the
point after all, isn't it?
Vocal Health
Guicarists put their guicars in a case for protection when
they aren't playing. Singers don't have that luxury.
A singer's instrument is the body, and it is affected by
all aspects of the singer's life. Drinking lots of water
helps to keep the vocal cords in good working order.
Lack of sleep will show up in the voice and can cause
a fatigued sound. Excessive coughing, clearing the
throat and sneezing can be harmful by placing a
sudden strain on the vocal cords. Even laughing a lot
can strain them! Smoking causes 1the membranes of
the vocal cords to swell, resulting in poor vocal
production and clarity (and what's: that other thing
smoking does? ... oh, yeah-it also kills you).
So follow our advice, and a clearer tone and general
vocal improvement will be noticed within a few weeks.
Vocal Range
Your vocal range is determined by two things: 1) the
highest and lowest notes you can :sing and 2) where
you are most comfortable singing. In classical music,
your voice type (soprano or alto for women; tenor,
baritone, or bass for men) is also determined by the
quality or tone of your voice (i.e. bright vs. dark, light
vs. heavy). These distinctions are not so strict in rock
singing, but they do influence what kind of voice you
have.
It's important that you determine the extremes of your
range before you start singing with a band or in the
studio (see page 40 for exercises). After you find your
absolute highest and lowest notes, fmd the highest
pitch you can sing comfortably and that you consider
good enough to sing in public. Tl]:en do the same for
your low range.
 5
You will probably find that your highest "perfor-
. mance" pitch is a few notes lower than the highest
note you can sing, and your lowest performance pitch
is a few notes higher than your absolute lowest note.
That's not only OK, it's typical for all singers. As your
voice grows and develops, you should re-test these
limits from time to time. Most adults will probably
find that the absolute extremes won't change too
drastically. What is important is that your
performance range grows.
Once you know the limits note-wise, search for the
area of your range that you are most comfortable
singing in. You may already have a good idea of
where this part of your voice is. (If you don't, pick a
song that you know well, maybe even "Happy
Birthday," and just start singing. Chances are, you will
go straight to your most comfortable range out of
instinct.)
It would be a good idea at this point to go to a
keyboard or guitar and figure out exactly what pitches
are in that area. That way, you will know how to tell
your bandmates why a song is too high or too low for
you to sing well. Don't let anybody make you sing
out of your range! Make the band either raise or
lower the key so that you're comfortable singing.
Whether it's a rock cover or an original song, you're
not going to do it any justice if it's not in a range you
can tackle comfortably.
John Me/lencamp's years of smoking and bad rvocal habits led
Remember: the key of the song can be changed a lot him to the point of nearly ruining his voice (and caused a small
easier than your range, and singing out of your range heart attack). Under the advice of doctors and v.ocal coaches, he
is a great way to damage your voice. Your voice is was able to unlearn some bad habits and his voice became
your instrument, so you need to know what it's stronger than ever.
capable of and what requests are unreasonable. with some of your favorite exercises. Never just step
in front of a microphone and start belting unless
How This Book Works you've properly warmed up your voice!
Rock Singing Techniques won't pigeon-hole you into Parts IV and V will cover the basics you need to know
any specific style. "Rock" is such a diverse term and for singing with a band and in a recording studio,
means so many things to so many people that we respectively.
decided it would be best to give you the foundations
of the technique, some traditional songs that everyone
knows to explore those foundations, and then
About the CD
The CD includes all the exercises, demonstrated by a
encourage you to sing the songs that inspired you to
professional singer, and all the traditional! songs (some
study rock singing in the first place.
even rocked up a bit), with a melody line for you to
Parts I through Ill will introduce a vocal vocabulary to follow. The track number o n the CD corTesponds
you and take you through some basic exercises. You with the track numbers listed throughout the book.
should work through them all slowly and diligently, The right channel of the recordings can be turned off,
and one at a time. After spending cwo-thirds of your so you can sing with only the piano or band
practice time with this book, you should spend the accompaniment.
last third singing with your favorite CD, singing your
Before each exercise, you will hear the starting pitch
own songs, or whatever you want to get good at.
and tempo (speed of the song) played by the piano.
Again, in the beginning, no more than 15 or 20
Sing the exercises in the octave most comfortable to
minutes is necessary. After a month or so, you may
you. Although some have a limited amount of
slowly increase that practice time.
repetitions, you're encouraged to continue the
Eventually, before you go to sing at a performance, a patterns upward to the higher parts and down to the
band practice, or in the studio, you should warm up lower parts of your vocal range.
6

READING MUSIC
Although many rock singers don't read music, those who can are better off. They can
do more, learn more and, perhaps most importantly, communicate more. Singer/
songwriters like Sting, Joni Mitchell, etc., are better able to express themselves musically
because they know how to read and write the language.
You may already know that as notes on the staff travel upward, the sounding pitches get
higher, and as the notes on the staff descend, the sounding pitches get lower. But by
studying and learning the language, you'll be a better, more well-rounded rock singer.

The Musical Staff

The musical staff is made up of five horizontal lines. Notes are BAR LIN ES
placed on the lines and in the spaces between them to represent J.
the pitches to be sung or played. The vertical lines divide the
staff into sections and are called bar lines. The areas between
the bar lines are called measures. ..._MEASURE ....._ ..... . - MEASURE ....._

Clefs ;_
Most vocal music is written using one of two musical clef signs. The treble clef ~ is used mostly for notes in
higher ranges, and the bass clef 9: (pronounced "base") is used mostly for notes in the lower ranges. Clefs help
to organize the notes into an easily readable format. Most popular and standard vocal copies available in music
stores have the vocal line written in the treble clef.

The Names of t he Notes on the Staff

Musical notes are named in a repeating fashion utilizing the first seven letters of the alphabet, A to G. In the treble
clef the notes placed on the lines are, from bottom to top, E, G, B, D, F (the saying "Every Good Boy Does Fine" is
conunonly used to remember the names of these notes), and the names of the notes in the spaces spell out F, A, C, E.
The line notes in the bass clef are, from bottom to top, G, B, D, F, A ("Good Boys Do Fine Always"), and the spaces
are A, C, E, G ("All Cows Eat Grass").

Line Notes Space Notes

0 II

0
0
0
I
11
Ii
ii
II
E G B D F F A c E

Line Notes Space Notes

0
0
II
.,
0
0
0
ii
II
II
G B D F A A c E G

The Names of t he Notes on t he Grand Staff

A line through a note, called a LEGER (pronounced ledger) LINE, is used to extend the range of a staff either up
or down as necessary.
n
... ". -. -- -- - ••
-

--
'
~
LEGER UNE ~
-- ...,.
r "D E
••
F
-
G A B c 10 E F G
--·.. -. -- ••
- ••
I

-. --
"F G A B C D E F G A B
 7
Flats b, Sharps #and Naturals q

A FLAT SIGN A SHARP SIGN A NATURAL SIGN

lowers the pitch of B-tlat raises the pitch of C-sharp cancels the effect B-natural
a note a half step. a note a half step. of a flat or sharp.

The Major Scale

The major scale is comprised of If we start at C and go up
eight consecutive tones in the keyboard playing the Half Step Hr;,~ ~\P
8
alphabetical order. white notes, we see that all ~ /"-....
c of the to nes in the C scale C D E F G A B C
are separated by a whole 1 2 3 4 s s 1 ·a
'--../'--../ '--../~/~
step with the exception of Whole Whole Whole Whol•e Whole
E to F and B to C, which Step Step Step Step· Step
are half steps.
do

The pattern of whole and half steps that we saw in

the key of C is the same for any major scale, no
matter which note you start on. If, for example, we
started on the note G, the scale would look like this:
Half Step Half Step
~ ~
G A B C D E ~ G
1 2 3 4 5 6 7 8
'--../'--../ '--../'--../'-../
Whole
Step

You can see that the note F has been changed to F#.

Key Signatures
To make the writing process easier, we can indicate
the flats or sharps to be used in a composition at the
beginning of the piece. This is called a key signature
and tells the performer that the accidentals (flats and
sharps) indicated are in effect throughout the piece.
For example the F# in this key signature, which
appears on the top line of the staff immediately
following the clef, indicates that all of the F's in this
composition are to be played f#.

Key Signature
of G Major

+
~
First with the Police, then later with his solo career, singer/songwriter
Sting explored different musical styles like jazz, Caribbean and Latin
music in his songs. By always expanding his musical horizons, he's
been able to stay at the forefront of the pop music world.
a

THE SYMBOLS FOR RHYTHM

Now that we know how to read the pitches, we also need to know how fast the notes are in relation to the beat.
This is the function of rhythm.
Quarter notes are equal J Half notes are J Whole notes o are Eighth notes j) are equal
to one count or beat. Speak equal to two counts. equal to four counts. to one-half count. Use the
the syllable "ta" to help you Say "ta-ah" to count Say "ta-ah-ah-ah" for syllable "ti" to help count
count quarter notes. these notes. counting purposes. these notes.

Quarter Notes Half Notes Whole Note Eighth Notes

~I ~ ~ ~ ~ I~ ~ I~ ~ I~ ~ ~ ~ ~
}

I11 ~ I
Ta ta ta ta ta - ah ta - ah ta - ah ah ah ti ti ti lti ti ti ti ti
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Dotted notes are notes that are followed by a dot. The

dot means that the note value is equal to the original
value of the note plus half again. For example: dotted
Sixteenth notes ~ are equal to one-quarter count half note = half note (2 beats) + 1 beat = 3 beats.
each. Say the syllables "ti-ri" to help count these.
Dotted Quart•er Notes
Sixteenth Notes Dotted Half Note and Eighth Notes

~I J~ ~ ~ ~ ~ ~ ~ J ~ ~ ~ ~ ~ ~ ~ II J II J. Ji II
Ti- ri ti - ri ti - ri ti - ri ti - ri ti - ri ti - ri ti- ri. 1 - 2 - 3 1 & 2 & 3 & 4 &
1 2 3 4

The Silences
Silences in music, called rests, are just as important as
the sounds, because the two accentuate each other.
Rests have durations equal to the values of the
equivalent note symbols. Therefore, a quarter rest has
one beat of silence, a half rest gets two beats of
silence, a whole rest has four, and so on. Count the
rests silently. Ot may help to think of the syllable "sh"
on each beat.)

-
Quarter Rest Half Rest Whole Rest Eighth Rest Sixteenth Rest

-
Time Signatures which type of rhythmic pulse gets one beat.
The time signature, or meter, of a musical piece is 4/ 4 time means that there are four beats in each
represented by the stacked numbers after the clef measure and the quarter note gets one beat--or in
sign. The top number tells the musician the number other words, there is the rhythmic equivalent of four
of beats in each measure. The bottom number tells quarter notes in each measure.
Time Signature
t
~I J J J J II~ J J J l mJ J J J J J Iii .J J II
The Tie
A tie is a curved line that connects two notes of the same pitch. A tie is necessary if you wish to hold a note
beyond the bar line. Sing the first note and hold it for the combined count of two notes.

J~J - 2 beats
j~j = 3 beats
J J
j
~

j
= 4 beats

= 4 beats
4
4
Count: 1
0

-. _l-.._..}._
Tap: M. " ' M. " ' M. " ' M. .-~
--
I J= 5 beats
.-.......__.....,
4 1

""'
 9

NOTE-READING EXERCISES
Identify the following notes and write their names in the spaces provided below.

1. The notes on the lines:

0
0 0
0
0
0
0 0 II

0
0
0
0 0
II

2. The notes in the spaces:

0
0 0
0 0
II
II

!)1 ,, II
0
0
n 0
0 II

3. The notes in order:

0
0 0
0 0

u 0 II 0 0 0
II

0
0 0
0 0
0 0
0 0
0 u
II

4. In random order: What do they spell?

0
0
,'lllllr-----------.....,,r------------+---------o---------------+---'~'----. . . . ,-,------oe------+ill
. ,
u 0

0 0 0 0 0
II
0 0
0
0
II

4. Answers: ·aas: 'aaad 'avD 'SV'.) 'DD3: 'ava

 10

PART II: THE BASICS OF SINGING

The more rock singers know about the process of or we'd have to spend all of our time trying to
singing, the better they'll be and the stronger they'll remember to breathe!
sound. This section is important because it'll get you
started on the right foot so you won't damage your When air is taken in through the mouth or nose, it
voice before your career even begins. travels down the windpipe or trachea.. The trachea
divides at the lungs into two bronchi,, one for each lung
Study this section carefully, learn the exercises and
(see diagram), which branch out again 15 or 20 times
sing the songs (we've chosen traditional songs to
forming thousands of tiny bronchioles.
illustrate these techniques because everyone knows
them). For best results, practice a little everyday and. The lungs are made up of spongy tissue. Their main
don't overdo it in the beginning. purpose is to provide the blood with oxygen upon
inhalation and relieve it of carbon dioxide at the time of
exhalation.
Breathing
One of the least understood parts of singing is the act of It is important that the throat be a relaxed, open
breathing. It would seem that we should all be experts channel through which the air can flow unencumbered.
at this, having been required to
practice it for all our lives. But for
rock singers it's not quite so simple.
Proper breathing is important in
singing, because the breath being
exhaled works with the vocal cords to
create the tone. Correct breathing
uses the muscles in the lower
abdominal region and allows the Trachea
voice to gain its strength and agility (windpipe)
from this area, taking the pressure off
the throat muscles. This allows your
true, clear, natural voice to be
produced. Since the abdominal
muscles are proportionately larger
and stronger than the delicate throat
muscles, it makes sense to allow them
Bronchiole
to do the heavy work.
This makes a natural approach for
singing. Your body already knows
how to do it. All you have to do is
relax and cooperate. The deep,
relaxed intake of air before a sigh is
the feeling that you want to have Respiratory system
when you take in your breath. The
intake of air should activate muscles all the way to the If you have a tight throat, the air will not be able to
lower abdominal region. function freely and can cause vocal st:Jress.
The normal breathing process begins when the brain Take a few moments and focus on the breathing
sends a message to the respiratory system that oxygen is process and your body. Take a deep, medium-sized
required. The diaphragm, a large, dome-shaped layer breath and don't allow your shoulders to rise as you
of muscle which separates the abdominal cavity from draw the breath. Shoulders should stay in a relaxed
the chest cavity, is positioned just under the lungs and position, down and back, resting into the body, thus
aids them in the breathing process. Upon inhalation, opening up the chest area. It is necessary for the chest
the diaphragm lowers, and the rib muscles lift the rib to remain comfortably high and open for optimal lung
cage. This enlarges the chest cavity, creating a vacuum expansion. When singing, this postufle should be
in the lungs, which expand as they fill with air. Then maintained throughout the inhalation and exhalation
on exhalation, the diaphragm repositions itself, and the process so that the air is not pushed out of the lungs
rib muscles relax, aiding the lungs in pushing out the prematurely and the amount of air sent to the vocal
air. Thankfully, the diaphragm is an involuntary muscle cords may be regulated.
 11

Liz Phair has a clean, honest singing style that has won her a legion of fans and great critical acclaim. Starting with her first album in
1992, she's made use of a unique songwriting approach with bare-bones production tricks to emphasize her singing and her lyrics.

Trying to control the breathing muscles is counter- Usually the fear of taking an inadequate breath comes
productive. The extra tension exerted in the body will from a feeling of insecurity, not an actual physical
affect the vocal cords, causing them to tense and shortfall! In a deep breathing process such as is used
strain. Conscious manipulation of the breathing in singing, even though we may exhale a large
process is truly unnecessary, because the abdominal quantity of air, a good amount of residual air remains
muscles and diaphragm will naturally work together to in the lungs which generally goes unused. Trust your
regulate airflow. To achieve this, stand tall with good body to breathe for you.
posture. Do not allow the chest to collapse; keep it
Try to create a balance between the action of the
comfortable, but high. When done properly, these
breathing muscles and the amount of air inhaled for
breathing elements will do their job for you.
singing.
A huge gulp of air does not help you to sing better.
Just as anything in excess tends to be detrimental, too
much air often causes rigidity and tension in the
throat, and in the lower abdominal region. The key is
to sip the air. You will be surprised how far a small
amount will take you.
12

Physical Exercises
Most people do not need special exercises to
strengthen their breathing muscles. The muscles
involved are generally in good shape to function for
your singing needs. Often, however, there is a lack of
awareness of how the body operates.
Air
4. The "Rag Doll" exercise is an excellent exercise for
allowing the air to act correctly on the inhalation
process. To do this exercise, bend over from the
waist and allow the upper half of your body to
hang loosely like a rag doll. Allow your muscles to
completely relax and take some deep, relaxing
breaths. After a minute or two of this, slowly stand
up. As you rise, try to imagine that you are

Air

•
Chest
remains
comfortably
high

Diaphragm descends
during inhalation

Inhalation during singing Diaphragm ascends

during exhalation
1. To experience a natural breathing style, lie flat on
your back on the floor and just breathe. The body Exhalation during singing
really does know how to do this by itself. We can
stacking each vertebra of your back on top of the
learn a lot by observing its technique. When we are
previous one in a straight line. The shoulders
on our backs we naturally breathe deeply and the
should fall back into place, and the head should
diaphragm gets a full workout. Watch your stomach
come up last. Take a deep breath. Repeat this
go up and down, relax and listen to your body. The
exercise, and before beginning to stand up, release
great thing ·is that if anyone asks, you can tell them
all your breath. Don't breathe in again until you
you are practicing. This is serious, strenuous work!
are in a fully upright position. T:ake several breaths
Don't rush, give it several minutes, and when you
while you are standing in this position, getting used
feel you understand it, slowly stand up and see if you
to the feeling. The breath should naturally be full,
can recreate the experience from a standing position.
and you will automatically use the muscles in the
2. Panting is a good way to experience the action of lower abdomen.
the diaphragm muscles. Inhale and exhale several
low, quick breaths in rapid succession. The
abdominal muscles will move in and out with each
breath. Do this for short stints only, or you will
hyperventilate.
3. Exhaling little puffs of air through the nose will also
engage the diaphragm. Do about 30 puffs, rest and
then do 30 more, increasing the speed. Staying
relaxed will enable you to draw in small amounts of
air between puffs.
 13

Vocalizing
S. From a standing position, remember the feeling of One of the best ways for singers to build better
taking in a breath for a sigh, and feel as if the singing technique is through vocalization exercises.
breath is descending to the lowest part of your Vocalization exercises are designed to help condition
abdomen. You have to let go of your stomach the vocal chords and improve the range and flexibility
muscles (there's no room for vanity here) and let of the vocal mechanism. You might want to think of
them act on their own. You may feel as if your them as vocal aerobics.
stomach expands out during the inhalation process.
This is the diaphragm moving down as you inhale.
It is natural and correct. Warming Up ths Voice
It is always a good idea to warm up before singing.
After exhaling, maintain an upright posture and Singers of all musical styles, from rock to opera,
slowly expel the air. You may feel the abdominal require vocal warm-up exercises to get their voices
muscles moving inward a bit. This is not something moving through their entire range, proltect themselves
that you should help with; the body can take care from vocal strain and to prepare for the rigors of rock
of it just fine. Place your hands on your abdomen performing. Vocal exercises warm up 1the voice just
and monitor the movement of the muscles. Repeat like stretching movements warm up the body before
10 times. When you are able to allow the body to running or other physical exertion.
take over and move smoothly on its own, an even
singing tone is possible.
6. Draw in a gentle, low and full
breath to a count of three. Stand
about two feet away from a wall,
facing it. Exhale the air slowly in
a controlled hiss. The throat .. -~.
should be relaxed, acting only as
a passageway for the air. Try to
maintain an even intensity in the
hiss, and imagine that the power
of the quiet, steady energy
contained in the hiss will slowly
push back the wall. Extend the
hiss as long as possible, then
repeat.
7. Breath control involves
developing both agility and
flexibility in the muscles used for
the breathing process. The
action of the diaphragm and lungs
can be felt in one's back, so place
your hands on your back at the
waist level. Imagine that you are
a cylinder filling up with air.
Breathe deeply and feel your
back expand as you fill the area
under your hands. Complete, full
breathing should include this area Inhalation Exhalationi
of the back.
Muscle action during breathing
14
Vowels
Because vocalists sing words and want these to be
understood, a lo t of time is spent perfecting the way
they sing vowels. The tongue and mouth form the
vowel shape, and the breath flows through the vocal
cords into the mouth. This creates the vowel sounds
which we recognize as:
Ah as in "father"
Ay as in "say"
Ee as in "beet"
Eh as in "red"
I as in "tie"
Oh as in "so"
Oo as in "loom"
Vowels which are made up of two sounds, such as "I"
(Ah+ Ee) and "Ay" (Eh + Ee) are called diphthongs.
The second sound in each diphthong, known as the
vanish, should never be emphasized. The vanish is
only lightly articulated just as the sound fades away.
In the case of a word containing an "Uh" sound, such
as love, dove, because, or the "Ow" sound as in the
words round, down, town, the preferred
pronunciatio n for singing is to slightly modify the
vowel toward the "Ah" sound, creating a rounder,
more o pen tone.
The best way to practice the shape required for vowels
is to whisper each one. To practice using the "Ah"
vowel, whisper "Hah." Feel where t:he tip of the
tongue is, what the sides and back of the tongue are
doing. The tongue should be relaxed, with the tip
touching the back of the bottom teeth as you whisper
the word. Remember the way it feels.
Singing is based o n speech, so afte1r we investigate the
feeling of the vowels by whispering, the next step is
to speak them. With the jaw relaxed, and the upper
and lower back molars slightly apait, very gently say
"Hah." Everything in the mouth should remain still.
Repeat "Hah" several times, experiencing the
sensation of stillness. Whisper "Mm. " Still relaxing
the jaw, and with space in the mouth, gently say
"Mm." On the "Mm" there should be a feeling of
vibration in the mouth, but the tongue remains still.
This is the beginning of a hum.
Now, try something called the speech-chant. Combine
the two sounds above, saying "Hah-Mm," prolonging
the sound, allowing two beats for the "Hah" part and
three beats for the "Mm" part. Sustaining the sound as
if chanting, keep the tone going through the entire
five-beat duration of the "Hah-Mm. " Make sure that
there is space between the back teeth. Repeat "Hah-
Mm," not allowing it to die out too soon.
Singing is essentially sustained speech.
Bono of the supergroup U2 has amazing
power and range, making his singing one
of the most instamrly recognizable in the
pop world.
 15

Note: All e~e~cises in this book should be sung starting 'vith the notes
Exercise Set No. I shown and the~ progressively raising the notes iri the exercise by a
half-step on each repetition. For example, an exercise which begins
on the note C will progress to start on the note Cl. then in the next repetition, D, DI. and so on.
Continue to sing as high a pitch as is comfortable. Do exercise the upper ranges of your voice and
encourage it to grow, but do not attempt to sing the exercises when you are experiencing vocal strain.
The number of each exercise refers to the number of the musical example below.
•1. Keeping the same gentle, no-pressure feeling used for the speech-chant, sirlg "Hah-Mm," suistaining it on
the given pitch. Keep feeding the breath into the _tone, main~g a smooth exhalation.
·2. The very tiny distances between the notes in this exercise have a mas8age-like effect on the: vocal·cords,
making this an excellent way to start the warm-up process. Whisper the vowels, be very sensitive and ·
note the minute movements inside the mouth. Begin slowly, then do the exercise several times, varying
the tempo(or speed). Start with"Ah" the first time you sing the exercise, then "O." Finally combine the
sound as "Ah-0."
3. This exercise uses the humming sound "Mm." The lips are together, but the back molars should be
slightly apart Keep the space open in the throat. The tone should be placed in the mouth; try aiming
the sound at the lips. Be careful not to allo~ it to become ~ nasal. Keep a consistent enc~ level.
' . '

4. ·Whisper the vowel first, then sing the exercise. Try to match the vowel on each note to the' vowel
preceding it.
5. No singing! Just speak this one on pitch, saying the numbers.

®rack I
J ------n---~--~
-+>l---l~tr---&---..---1 - -
II#~ I~
1.
II
----- - - Mm
Hah- - - - -- Hah Mm

q4_-----_iJ I~4_ - --- - JJ ~01 II

Ah 0 Ah 0 Ah

J lj J n=1:J - II
J J
Mm-- - - -- - - - -- - -- - - -------- - -- -

a.OO-- - -- - - - -- - -- - - - -- -
b. 0------------------~

1 2
J
3
J
4
IJ
5
J
4
J
3
?f =*:J
2 1
- I
16

Slur: ~ or ......___...,

First, just say the words to these folk songs, SLURS mean to sing legato.
then sing them in the same simple way you l.EGATO means SMOOIBLY CONNECI'ED.
spoke them.

6
Oh, How Lovely Is the Evening $rac1c Traditional Round

,•• ~j
D

Oh, how
J I~
love
J
ly
I~
G

is
~
the
I~
eve
D

~
JJ
- ning,
G

I~
is
~
the
D

I~
-..._::::
eve
JJI
- ning,

,.H D

When
J
the
1J
bells
J
are
1d
sweet
G

-
~
ly
D

14 - J
ring
J jJ
ing,
G

sweet -
~
ly
13
D

ring
*="
JJI
- ing,

,• J. D

Ding,
IJ.
dong,
G

IJ.
ding,
D

IJ.
dong,
G

IJ.
ding,
IJ.
D

dong.
II

7
All Through the Night $rack
Welsh
Slowly

,•11 J. D

Sleep,
G

J J J IJ.
my Jove , and
Em

peace
E

) j
at - tend
A

J 14
thee,
G

All
A7

j.
through
J I
the
D

u
night;

D G E7 A7 G A D

, •• J. Ji J J IJ. ) j 14 j. J I
Guard - ian an - gels God will send
J
thee, All through the
u
night.

,.BJ G

Soft
J J
the drow - sy
~ 1J ~
hours are
J J IJ J J J IJ J J
creep - ing,
Em

Hill and vale in

D A Em7

slum - ber steep - ing,

A7

,• J. D

I, my lov
G

Ji J J IJ.
- ing
E7

vig
}' j
il
A

keep - ing
J 14
G

all
A

j.
through
J I
the
D

u
night.
II

Singing Posture
When you're singing rock, you'll
probably be doing it with a guitar
around your neck, or hunched over a
keyboard, or with mike in hand,
running around the stage. So good
posture is going to be a luxury. After
all, it would be better for his vocal-
izations if Mick )aggar stood still, feet
spread apart slightly, with his spinal
chord properly aligned when he sings
Can 't Get No Satisfaction to arena-size
crowds, but that ain't rock 'n' roll.
Yet when starting off, and when Good posture
practicing in the privacy of your own
bedroom or rehearsal space, it's good to begin with
decent posture when singing. (Also, you'll definitely
want to practice standing correctly when you're singing
in the studio.)
A correct alignment of the body is important to singers,
as it helps them to manage their breathing more easily,
thus making it easier to produce good singing tones.
The goal is co achieve an upright posture that is relaxed
and open so that your breath flows in and out of the
body as effortlessly as possible. This helps the body
manage the breathing process by being aligned instead
of bent, just as a straight straw is easier to sip through
than a crooked one. Incorrect posture also causes
Trent Reznor of Nine Inch Nails typically is all over the stage when he sings, hunched over sometimes, jumping
other times, letting proper posture pretty much go out the window. The energy and emotion he puts into his
performances take precedence over proper "posturen for good reason.
17
tension, and any tens.ion in the body
is easily transmitted to the vocal
mechanism and may cause vocal
strain.
First, the feet should be planted
fmnly on the floor, approximately a
shoulder's width apa11t. Imagine that
your stance is drawing stabi.lity and
strength from the center of the earth
itself. Knees are relaxed, never
locked. Locking the knees reduces
blood circulation and you could find
yourself face-down on the floor if
you attempt to do this while singing.
The spine is as straight as possible-
not rigid, with shoulders down and
back- but relaxed. Keep a watchful eye on the
shoulders as they may have a tendency to creep up
around the ears. This doesn't help your singing and
doesn't look great, either.
The chest should be open to allow for full expansion of
the lungs, the arms hanging loosely at the sides with
elbows relaxed and slightly bent. It is aEso important to
try to alleviate any tension in the neck a:rea, both front
and back, as this may cause tightness in the throat.
There is a comfortable uprightness co this posture.
A singer's posture is flexible but stable, allowing the
vocal mechanism co function freely.
 18

The Tongue
All the components of the vocal mechanism must be balanced so that they are allowed to function freely without
interference from unwanted tension. The tongue is essential to a singer for articulation purp<0ses, but since the
tongue often harbors tension which interferes with singing freely, it must be trained to lie relaxed and still in the
bottom of the mouth.
The tongue should be free of tension during singing.

l. · Whae ob9cmng your U>ft8Ue in a ~, Jileqd.y L'QUOl IO ~ ,

Exercise Set No. 2 . . without die too,ue movin~ The too.gue ~·l~i{~! • i ry!silat
. . ..~ ..' .. " : , , . . · · and low~ the moo~. .~go of ~y. -~;, . · ·.....!-
sho'1lders ;anst jaw. Jtepeac this eiercise Until tile fQrtgue iS ieJued and stjll.. , .
should renlain motioruCM. ~ ~ ~~.and relaDlion: .. '.)i;_;·~~~--·' '_.i~. ,.,;~_ .
2. ·'\Vhisper ·Ah" with a fat, still tongue·. Watc~ aintm:>r, ~ the •.Ai1•·uma1MI ~"' ·Mf~~~·
hi
~thout any rippling or other reactioil fr91n!the tongue. . ·
~ . . ,, . ' ' ·~ ~

3. Say "Ah" ·Wifu a fat, .still· tongue. say·the vowel for one secOnd; then rwo, ·and ~ yOli itt able;tq do
that without any tonguej nterference, say it for tbtee ~- and~ so on; .until }'O'l are able ~ mainCain a
motionless tongue for.at least five seconds at a tigle. ~

4.· Singing.is SUstained speech. Prom speech. ~ the;~? Sftta.·M~. c>q.'a ~ortable pitch ·in the
· · same easy way you sp6ke it. Repeat.until die :t~e l$ ab1'' io' ~i.b' rl1Qdontes8 in thC~~bottom Of the" ' ~
mouth during singing. . · · ''. ~ .; ~ · · ~ · ·
~,, ri' f .. i.\: ... ~ -
5. and 6. Sing the exercises below. The tongue~ at~ ·
7. Whisper "Ah," then ·"O." :The vowel change should be~~~ 'as litde. ~emcnt ~possible mde
the mouth. . · · .. I • ,.._. " ·· ·

$mk8
s. 'I j
Ah
~ J ~ IJ - I

$ radt9
6. '~ H J
1

0
~ j ~ IJ - I
 19

First just speak the words without being concerned

about pitch, then sing the songs on the correct pitches. D.C. al Fine or Do Capo al Fine:
Be very aware of saying pure vowels as you sing them. This sign indicates to go ba:ck to the
beginning and sing to the Fine (end) sign.

All Night, All Day $rackll

Spiritual
Calmly
Eb Ab
..
~;'u J J IJ.<::::::
- Jl J I; J J JJ j
All night, all day, An - gels watch - inig 0 - ver

Bb7 Eb

';' i. 1'me,
J.
my
J"------'J.
Lord.
14
All
J
night,

Bb7 Eb Fine

';'·i. € all
T'

-;J3
._./ J
day,
Ir
An -
J
gels
J J J J
watch - ing 0 - ver
10

me.
II

Eb Ab

'~IiiZJ j J J I@ J J I; J J D J J
Now lay me down_ to sleep, An - gels watch- ing 0 - ver

0b1 Eb

';'·i. J;
me,
J.
my
J J.
Lord.
-....._;:: 'u
Pray
j
the Lord
J J
my

Bb7 Eb .D.C. al Fine

' ;Ii , 42ld

soul_
J
to
J
keep,
Ir
An - gels
J J J J J
watch - ing 0 - ver
10

me.
I
20

Incomplete Measures
Not every piece of music begins on the first beat. Music sometimes begins
with an incomplete measure, called the UPBEAT or PICKUP.
If the upbeat is one beat, the last measure will sometimes have only three beats
in 4/ 4, or two beats in 3/4 to make up for the extra beat at the beginning.

$rackl2
Home On the Range
American

,.I! J I J J J I J IJ. J I J J
D

j j
G

~ ~

,., J J IJ J J I J. IJ J
Oh, give me a home where the buf - fa - lo roam, Where the
D A7

,.I J J J J I J. J I J J
deer and the an te lope play; Where
D G

j j ~ ~

,.I J. w J I J J J I J. -IJ.
sel - dom is heard a dis - cour ag - ing word, And the
D A7 D

,.I I J J. I f J
skies are not cloud y all day.
A7 D

~. ) ~.= J j

,.I J J IJ J J I J. IJ J
Home, home on the range, Where the
Bm E A7

,., J J J I J I J. J I J J
deer and the an te lope play; Where
D G

j j ~ ~

,., J. 1' J I J J J I J. -
sel dom is heard a dis - cour ag - ing word, And the
D A7 D

lj 11
skies are not cloud y all day.
 21

The jaw
From the neck up a singer's muscles should be fa irly with the extra room that they can use. It also places
loose and relaxed. This includes the jaw. A tight jaw much less strain o n the jaw.
will limit your ability to sing freely. The jaw is needed
To loosen up the jaw area, o pen the mouth and allow
for articulation, but even then must be used in a
the jaw to hang loosely from the hinge. This is
relaxed manner.
sometimes referred to as a "dumb" jaw . Remember,
As you sing higher, your jaw naturally lowers. The idea you are getting used to a new, relaxed feeling, and
is to lower the jaw in a way that will result in increased during the exercises in this section, relaxation is far
space for the tone, and actually help your singing. more important than a precise articulation of the
words. While singing, try for as little movement of the
If the jaw is lowered at the point of the chin, the only
jaw area as possible. Allow the tongue and lips to do
extra space gained is at the front of the mouth.
their jobs in pronouncing the vowels and consonants.
Opening the mouth in this way may also result in
Check your progress by observing yourself in a mirror
tension in the jaw area. The most beneficial method
and placing your index finger lightly on the chin.
of opening the mouth for singing is to lower the jaw
from the back, at the hinge, around the molar area. A relaxed jaw is essential for good sing:ing.
This opens up the proper areas that provide the singer

1. Experience ·a feeling of letting go in your jaw and cheeks while you

Exercise Set No. 3 sing this exercise.
2. Sing this exercise with a relaxed jaw, letting it go and allowing your
tongue to do all the work. The jaw absolutely does not need to move in order to sing these. exercises--
make sure there is no chewing motion in your jaw as you sing! Remember to sustain the tone between
the notes and _keep siitgmg a Pll!C vowel througbout the exertjse.
3. Let go ·of the jaw and sing the exercise.
4. Use very little movement of the jaw in this exercise. Be very aware of singing a good "Ah." Don't-illow
. this yowel to ~ome "Uh.'" ·
5. Allow the tongue to work independently from the jaw in this exercise.

$ r ackl3

1. ~I J J J J I; *
Plop plop plop plop plop
- I
$rackl4

2. ~I J
Ya
J
ya
J
ya ya
J IJ
ya
J
ya
J
ya
J
ya
IJ
ya
- I
$ rack IS

~~bl J J J IJ
Jza J J J IJ II
3.
za za za za za za za za
:t J
za za
$ rack l6

4. ~I :t J J J IJ J J J IJ - I
Fa la fa la fa la fa la la
$ r ack 17

s. ~I :t :t J :t IJ J J J IJ :t :t :t I~l - I
La la la la ta ta ta ca da da da da da
22

Singing Vowels and "lley." Don't allow the "va" to

migrate to or become tainted by
and Consonants the "l" sound before it is time to
Singing could be defined as the sing the second note on "lley."
act of vocally sustaining a series Try to sustain a note on the "l" or
of vowel sounds which are any other consonant and you will
interrupted by the articulation of understand the difficulties and
short consonant sounds. The problems that arise from singing a
vocal channel must be open in consonant. The tone is
order to produce vowels. One of interrupted and dosed off. The
the basic rules of singing is that singer's rule is k eep the consonant 1

only the vowels are sung. out of the tone until the very last
Consonants, which are formed by
using various combinations of the
lips, teeth, tongue and soft palate,
interrupt the flow of the tone.
( moment, then inunediately go on
to the next vowel.
Singing is comp1rised of sustained
vowel sounds which are briefly
Consonants are simply "flicked" without allowing the consonants
interrupted by short consonant
off the tongue to make way for to interfere. In singing a word
sounds.
the next vowel. Sing the vowel on two notes like va-lley, pretend
all the way through the note, that there are two words, "va"

"' · ri

Exercise Set No. 4

1. This eRld8e U8C$ the idea d "the .the a$nce , lbere-you. ~ can.,.
call O\lt to a.f;riend ~ there iS a gooc1·~ ~l'eCn you. ./~
' -;~·· ' . ·~· . ..
_

~ • - $ .. .~ • • ~ ".... ;.. I· :.•

2:::~ the;.~ jn thiS ·exercise. Relax ~ faw and ~:.the ~dons ~ itJ. ~ Ql<l~ ~ ~· ~
,, '" ~-~ ... ..: ' .. . . .,,: • -.' • , fl ' •
"i ?
.... .. ~ • ' ' . ~ • ..

3,' 4 and -5, .. ~ wbisper the vowels in these CS:eidses. then say the words. Decide ~t vowel shoWd
,be sung fa{ ~ch ~8lC· Now sing the .exercises slowly) taking· to ·sing.only the•vow.els; the ' ' ."- care
'' eo~nants are shon.

®nck18

1. ~~ I ~ ~ I
Hel lo!

2. ~~~I 14 I
J J
lo,
J J J u
day?
Hel how are you to
®nckl9

3. ~I J J J J
'---"" ~
J J ~ IJ - I~
Val ley, sal ly.
®ncklO

4. ~I J J lt__!JJ J J IQ ~ J J I
Sing - ing , Tra La --- La Tra La.
®rackll

s. ~I J J J J IJ J J J IJ J J J IJ J I
Glo - ry, lor - ry, Iii - y, dil ly, cho - ral, lau - rel, sor rel.
 23

Introducing 6/8 Time

Though 6/8 means there are 6 beats in each measure, it
is usually sung with a 2/ 4 feel (two beats per measure).
A lot of rockers with folk influences use this time
signature like R.E.M. ("Drive"), Tori Amos ("God"), etc.
' gJ J J J J ~
Count: 1 2 3 4 5 €i

Speak the words to the songs that follow, giving special attention to the vowels, then sing them.

~Ti;ack22
Greensleeves ~
English
j Moderately Em G D Em

~ Hl I J
I.

F I~
...
~ r§t Jl J. j J I J
~
J) J. a J I
....___,:::
A las, my love,_ you do me wrong_ to cast me off_ _ dis-

Em G Bm

Jl
...
IJ J1 J., ~ J
cour - teous - Iy,
J And have lov ed you so
. ______.,,,
Ioing,__ de-

Em 87 Em G

'i J. --J J
light •EV
oe::::::: J IJ
- ing m your
J)
com - pan - y.
J !/ II r·
Green
EA Fsleeves _ was

D 8m Em 8m

~-
-...
~
all
Jl
my
JJJ
joy,
J <:::::::::::
Green
)J J. ~
sleeves _ _
JJ
was
I
my
J ; J ...

de - light,
7. 1·

G D 8m Em 87 Ern

~- r· r· ~ F I ~ ;p
-...
J. j J I J. 3 J1@J I
~
JI. J II
Green - sleeves was my heart of gold _ and who but my la - dy Gre•en - sleeves?
24

Repeat Signs
II= =II
The repeat sign indicates that the section of music
between the double bars is to be repeated.

~yick23 Words by W .W . Fosdick

Aura Lee Music by George R. Poultc;>n
Tenderly
F G7 C7 F

~~i II: J J j J Ij J ~ IJ j J j I J. *
l. As the black - bird in the spring, 'neath the wil low tree,
2. In her blush the rose was born, mu - sic when she spoke.
F G7 C7 F

~~ J J j J Ij J ~ IJ j J j I J.
Sat
In
and
her
piped,
eyes the
heard
light
him
of
sing,
morn,
sing
in -
of
to
Au - ra
splen - dor
Lee.
broke.
*
F A7 Om F7 ab F

~~ ~ ~ ~ I~ ~ ~ I~ j J j I ~. *
Au - ra Lee, Au - ra Lee, maid with gold - en hair,

eb G7 IF

~~ ~
C7
-...
~ ~ Ij J j. )1 IJ j ~. ~ I .J :I I
Sun - shine
F
came a long with thee, And swat - lows in the a.ir.
*

Elvis Presley is often called the King of Rock 'n' Roll. While he
probably should share that title with Chuck Berry, Little Richard
and others, he certainly is one of the most inflCJential singers in
rock's history. Also impressive was his skill wi th the rock ballad,
and when he turned the traditional folk song "Aura Lee" into "Love
Me Tender" it became one of his early hits.
 25

Matching Pitches
Some people think they can't sing rock because of an
inability to accurately match musical pitches (tone of
the melody) using their singing voice. But know that
it is possible! When a singer is accused of singing off-
key it's because he or she isn't singing on pitch.
While a lot of great rock singers don't sing exactly on
pitch all the time (Bob Dylan, Ne il Young, Courtney
Love, etc.), it's still important to know how to do it.
Rock singers singing off pitch are either singing sharp
(slightly above the pitch) o r flat (slightly below the
pitch) on any given note. A beginning singer may
have mastered a certain style but not be able to match
pitches consistently. Singers aren't like keyboardists,
who simply push a key down to get the right pitch-
they must rely on their ears to guide them.
Never "make" pitches from the throat. The singer's
thought is what creates the pitch, so think the to nes.
Learn to listen to the tone you're crea1ting-not just
hear it. And don't be discouraged if you sing off-key .
for a while in the beginning. Keep practicing and
keep working on the following exercise. Remember:
singing on key is the most important part of being a
good rock singer. You may sometimes choose to sing
a little off for a certain effect, but let that be done on
purpose and not by accident!
Concentratio n and focus are essential parts of all
singing, but are especially crucial to the pitch-
matching process.

,4)-~2• 1. Listen to the two pitches played by a piano on the

Exercise Set No. 5 \..:$:1 recording or have a friend test you. Are you able to
identify the one that is a higher pitch? You may feel that
the sounds of the tones evoke different q\lalities, such as one tone feeling "faster" (higher); another tone
feeling "darker'' or "brighter." Take note of these ideas, for your perceptions may be very \15'~ to you in
identifying pitch differences.
. ...
CThe first note on the recording
.•
is higher.)
2. a. Play or listen to the s0ng "Merrily We Roll Along," on the recording. Do you recognize tlhe tune?
See page 26.
b. Sometimes a student has difficulty matching pitcheS with a piano: but is able to match the pitch of
another singer. Have a friend sing ~r listen to the singer on the recording as she sings the S1ong once.
Then repeat the song and sing along with the singer. · Record yourself doing this, so that you can check
your pitch accuracy. At this point, we are only concerned with the ability to match the pitch, so please
do not be critical of the quality of sound. A singer's sound always seems different to them when
recorded and played back, but this is a good way for singers to hear their true vocal sound.
c. This time sing the song alone, matching pitches with a piano or the recording. Record yourself and
check your progress.
d. Record yourself singing the song alone, without any sort qf accompaniment. Are you ablle to make
the tune recognizable?
e. Inner bearing, the ability to hear the notes of a song.inside one's head, is a good1 skill to de!Velop. In this
exercise, listen to the recording or have a friend play "Merrily We Roll Along" while you sing the song inside
your bead, not making a sound. This requires a great ~ of concentration. Once you are successful at
hearing the song while the piano is playing, try hearing it all the way through without the piano.
You can practice the principles in exercise 2 using other short, simple songs such as "Row, Row, Row Your
Boat" or "Mary Had a Little Lamb." Are you able to hear the tunes in your head? If you are not immediately
successful at these exeocises, keep working at them. Improvement will come with careful practice.
3. This exercise requires the first three tol)..es of a major scale to Pe spok~ on pitch . .
. .
4. Speak this exercise on pitch. The pitches are the first five tones of a major scale. Sing this exercise:
a. with the piano; b. alone; c. inside your head
5. Sing the five-tone scale aloud as.usual,. but leave out die nunlber "3." Sing this number iti8ide your
head. Example: "1, 2, _, 4, 5," then omit it again as you descend, "5, 4, _, ~. l." Experiment, leaving out
a different scale tone. .. ,.
 26
C§;irack25
Merrily We Roll Along
c G7 c
2.
'I J J
Mer - ri
J
- ly
J IJ J J
we roll a - long,
IJ J j
roll a - long,
IJ J J
roll a - long,

'c J J J
Mer - ri - ly
J IJ
we roll
J J
a - long,
IJ
G7

o'er
J J J
the deep blue
c

&
sea.
11

-
3.
'I J
C§;irack26 1
J J J IJ
2 3 2 1
II

4. '~bl J J J J I J J J J I J - II
1 2 3 4 5 4 3 2 1

5.
'I J J *
1 2
~
4
IJ ~
5 4
* J
Play the notes or listen to the recording of each of the following songs. Then when you are su:re you know
2
&
1
II

each tune, sing them. Imagine that each note is a bull's-eye, and hit the mark directly in the center of the pitch
every time from the first instant you sing the tone. It is easy to get into a habit of always singing the notes in a
"scooping" manner-sliding up or down to the pitch. Too much of this effect is annoying to the listener and can
be a difficult habit to break.

Go, Tell It On the Mountain ©ck 21

Spiritual
F F

F F r Ir J J IJ J J J I ,J. J
1. When I was a seek - er, sought both night and day. I
2. He made me a watch- man up on the cit - y wall. And
3. In the time of Da - vid, some said he was a king. And
F

F F F IF j J IJ J J J IJ.......____J II
asked the Lord to help me, and He shows me the way. _ __
if I serve Him tru - ly, I am the least of all. _ __
if a child is true born, the Lord will hear him sing. _ __

1e a j
F F

,~ j AJ. JIJ j Il J J
Go, cell it on the moun - tain, 0 - ver the hills and ev 'ry - where.

F c1 F

J. j J. j I J J J J I J. :II
Go, tell it on che moun - tain that Je - SUS Christ_ is born.

PART Ill: ADVANCED ROCK-SINGING CONCEPTS AND TE CHNIQUES
Now that you have the basics down, it's time to move
on to more advanced concepts and techniques--vocally
and mentally!
Rock singing is onJy partially about having a good
voice. It's also about anitude, persona, expanding your
range and understanding advanced techniques like
creating vocal space, vocal resonance, etc.
So as you work your way through these more advanced.
exercises and traditional songs, make sure you check
any inhibitions at the door. Move around while you're
singing as if you're on stage in front of your band. Hear
how you're singing and enunciating, making sure your
energy level is consistent. Start practicing singing into a
microphone (at least holding one-it doesn't need to be
plugged in). And most of all, sing out and sing strong!
Vocal Space
Having enough space available for the tone inside the
mouth is important to good rock singing. (When
Rocker Steven Tyler (shown here sharing a
microphone with Joe Perry, both of Aerosmith)
has an amazing vocal technique that doesn't
conflict with the huge amount of energy he puts
into his music. The energy that he puts into each
phrase never wavers, setting a standard for other
hard rock singers to aspire to.
27
1
singers describe their singing as having "space" or being
"open," they mean that everything is relaxed and free in
the column of the throat and in the mouth.)
The feeling of a yawn is a great way to get a feeling for
what we're talking about. The beginning of a yawn
allows us to feel the space inside the mouth and throat.
The jaw is relaxed, and it is as if there is a large,
imaginary orange in the back of the mouth. The space
is flexible, never rigid. Be careful that the tongue
doesn't pull back into the yawn space. It should lay
low and still in the mouth. The space o ccurs without
the tongue's help or interference.
There must be energy in that space as w ell. It is the
energy that is present when you take in a breath for a
phrase of a song; it has a purpose and it has space. The
singer's intent (the intention to sing a phrase of music)
provides the energy.
The singing tone must be surrounded by space.
28

1 and 2. Maintaining the space desaibed above, say "Ahl" as an

Exercise Set No. 6 · exclamation, as jf someone just surprised you in the most
. . . .. . amazing way. Put.the surprise into your eyes as well and say
the vowelS. in the same manner. No:11 sio.g·the ·exercises throUgh yoar eyes, keeping surpnse·alld the
element of wondet in your voice. Reinember to keep the feel of a~ yawn in tpe back of your mouth.
3. Sing the word "Sigh" with a yawning feeling. Provide the space in the upper jaw, but aim. the tone at the
front teeth. .
4. Before singing, whisper "O," then "Oo," noting the tiny differences between these vowels. The vowel
"Oo" feels like a smaller vowel; however, the space inside the mouth remains the same as the "0 ."
Simply use the li~ to say "Oo."
5. For this exercise, _let go of the lower P,.w and keep saying the vowel. Laugh your way through this
exercise as :if you had just heard a fuMy story. "

II
Ah _ _ _ __ _ Q _ _ _ __ _ _

® nck29

3. f ~l·1 J J J IJ J J
Sigh _ __ _ _ _ __ _ _ _ _
II

® nck30

4.f~klJ:fu J IJ J J J IJ - II
a.0-------------------------~
b.00-- - - -- - - - - -- - - - - - - -- - - -- -
~ck31

5. ,~kl
J_J
a. Ah _ _
b. Q__
~
Hah
Ho
~
Hah
Ho
I ~~
Ah
0
~ ~ ~
w
Hah
Ho
II
 29
~Tr;ackll
C. C. Rider \S:I
This traditional song was first rocked out by the Spencer Davis Group in the 1960s. Many others have covered
this great song, including Bruce Springsteen.

Moderately G7
G G G

- - I r· J I ~lJ. I F
J J J I qJ ~r J J
c. c. Rid-er, - see what you have done, Lord, Lord, Lord,

c1 c1 c1
,. J. J I f J~J . IJ J J J I
G

J. J J
c. C. Rid - er,-- see what you have done. Now you

c1 c1
,. 07

F ~F
...
-Jj
J. IJ J ~ J
G

e _ ~J
G 07

~
•~ J ~ J II
1:

made me love you, now your man's done come. * Now worn-an you

,. r· G

J I
G

J J. I
G

f
J J J I qJ ~r
G7

J J
raised your win - <low, raised your win - <low high, Lord, Lord, Lord,

c1 c1 c1
,. J. J I ~-
J'=-'J . I J ~ ~ J JlJJ.
G

J JI
raised your win- dow,-- raised your win - <low high.-- But I

G (second time
c1
,. 07

E r ~r -Jj
...

J. I l j. ~r ~- J,
r.":'..·
l....o
only)

:I I
should - a' kept walk - in', walk - in' right on by.

*The sign 17'\ is called a fermata and means to hold the note over which it is placed for approximately twice the normal value.
30
Energy
Energy is what makes it rock. You've got to be
excited by what you're singing about, because if
you're not, the rest of the band, the audience and the
A&R people sure won't be. If you're not going to let
the energy inside you get out into your music, you
may as well take it to the lounge. After all, what
would singers like Mick Jagger, Eddie Vedder of Pearl
Jam, Chrissie Hynde of the Pretenders or Bruce
Springsteen be without the incredible amount of spirit
they bring to their music?
A rock good singer is able to include energy in a song
and maintain it at a consistently high level while
engaging in the act of singing. When performing, the
singer must be absolutely rocking with energy even
while still or silent. The energy that a singer
maintains is primarily mental. It is a combination of
concentration, excitement, awareness and intent. The
tone must be constantly refreshed with that energy at
each new note.
It helps to visualize movement to create energy in
your singing. Take a little walk around the room. If
you think "l - 2 - 3 - 4" as you walk at an easy pace,
you physically feel rhythm. Add the words of a
simple song like "Twinkle, Twinkle, Little Star," and
walk to the tempo of the music. There is energy
Pearl Jam, led by the dynamic Eddie Vedder, is a great example of an energy-driven band-the kind we should an
aspire to. Since starting out in small clubs in their hometown of Seattle in the 1980s, they continue to overwhelm
audiences with their vitality and spirit.
present, even in this children's song. Now, imagine
that you are in a parade and sing the song in this
style, marching to the beat. The energy will be
different in the song, and subsequently your body
energy will change to match it.
Rock is the greatest source of energy and movement.
The tempo, rhythm and vitality of the music serve as
inspiration for the singer's energy. The emotion
contained in the music also provides great impetus for
the singer. Ideally, the singer will be motivated to
synchronize his or her energy with the energy and
excitement contained in the music. This is inherent in
all great singing.
And a word about self-confidence: you need to
develop it. Nothing sucks the energy out of a song
like a singer who questions internally what he or she
is doing. It's easier said than done, to be sure, but
you've got to believe you can do this. While you're on
stage with a band or (much scarier!) in a vocal booth
in a recording studio, you've got to express every note
as if no one else on the planet can do it as well as
you.
The musical energy of tempo, rhythm, emotion, self-
confidence and movement all inspire the singer's
energy. You need it all.
eal
:g
(.)
Ill
·r::
.c
(.)
~
.c
a..
 3I

Imagine m.ovement a.s you shis the exercises below. 1n YC>\Jf nilitd·s ~e.
Exercise Set No. 7 see yourself physically moving through the ~· ~b$il:u~e. your oym
meaningful image to keep the energy in the phrase moYinl~· Which
image creates the mo& vitality in your singing? Try several and decide which idea works best for you.
1. Say the vowel and keep the music flowing in~ exercise.
2. Even ~ges which .contain little musical motion must~ be infused with eneigy::
an image that will help you keep the momentum going. '
3. Allow this exercise to bubble over witJi the eneqw of laughter.
4. Sing this exerc,ise smoothly. Take a breath at the_comma a~ve the staff.
5. Experiment with movement to thiS exercise. Dance it.

$ rack33

1. ~~bl J J J J lg J J J J J J J 14 - II
~
a.E------- A-Y--
-===::::===============::::::=---=--
b.Ah------ 0--------------

j IJ J J II
a.Ah _ _ _ _ _ _ _ __
b.Q _ _ _ _ _ _ _ __

a. Fa__ la _ __ fa la la
b. l..oO- - TO O - - Loo Loo Loo

$ r ack3'4

'
4. ~&bi J_ij) I~ II
Nah _ _ _ _ _
Nah- - - - - - -

$ r ack35

5. ~&bl J1~J J J J I
,_,
a.Ah----------------~
b.0----------------~
is the time
c. Now_ to sing_ and play.
32
$irack36
My Bonnie Lies O ver t he Ocean
The Beatles did a rockin' version of this traditional folk song in the early 1960s. Now you have a go at it-and
remember: sing it with a lot of energy and drive.
Slowly A D A

~111~ J I r· p ~ IF ~ J IJ J IJ * J
My Bon nie lies OV - er the 0 - cean, my

87 E A

~111 r· p ~ I ~ J ~ I r·- hr * F I (J'~F ~

Bon - nie lies ov - er the sea, my Bon-ni• e - lies

87 A
D A E r.-..
~131 Jl J - JIJ I J J J I ~ II
I.

r· IJ J ~
F
OV - er the o - cean, Oh bring back my Bon - nie to me.

Fast! A D A

~Un#! II: - -
*JIr F
j
IF j J I J J. - *JI
My Bon - nie lies ov - er the o- cean, my

87 E A

*•11 r F
J Ij J J 0
- * F I r F
J
Bon - nie lies ov - er the sea, -
my Boin nie lies

A 87 E7

J J I J J. - *JIJ F
J I (J J J
ov - er the o - cean, Oh bring back my Bon - nie to

A D

II - 0
I J - Ii

me. Bring back, bring

87 E7 A E A

J I J J J IJ J J ,;z- - JI
F *
back, Oh bring. back my Bon - nie to me.
(Repeat 3 times-
D 87 E7 2n.d time guitar solo)
A
~·11 0 I j - II J J I J J JI II :II
Bring back, bring back, Oh bring back my Bon - nie to me.
 33

Scarboro ugh Fair ® r ack)]

Energy doesn't always mean volum~ and force. When Simon and Garfunkel recorded this traditional gentle
English folk song, they sang it with heart and soul.

English
With motion G A
Om c Dm

'e Are
J ; J J J I J.
you
...

go - ing to
j J J.
Scar - bor-ough Fair? Pars - ley, sage, rose - mar - y and thyme; Re

Om . Am Om .. Gm Am Om

r 0F Jl IJ J J tJ IJ Jl J ;fl' IJ J J J.
' mem - ber me

Om
to one who lives there, _

c Om
she once was a

G
true love of mine.

A
.
J JJ ~ ~ ~ I J. ~ J J. I~ r DI
~ JJ ~ ~

' Tell her to make me a

~

cam bric shirt,

D
Pars - ley, sage, rose - mar - y and thyme; With -

Om Am Om Gm Am Om
.. ..
r Il
...
pF Jl J J lJ I J Jl J Jl IJ J J J.
' out

Om
a seam or nee

c
die work,_

Om
She once was a

G
true love of mine.

A
..
J JJ J J J I J. Q J J. I J r I J J JJ Jl

' Tell

Om
her to wash it in
~

yon der well,

Am Om
D

Gm
D
Pars - ley, sage, rose - mar - y

Am
and thyme; Where

Om
.. ..
F p F i1 I i J J J ='
i1 IJ J =a J. II
tJ IJ Jl

' nev - er rain or wa ter fell, _ she once was a true love of mine.
3.f
More Breathing Strategies
What is the proper amount of air to inhale in
preparation for singing any given phrase of music?
How much do we really need? Of course, the
correct response to these questions is "enough."
How do we know what "enough" is? Well, the
answer is that we don't (sorry! you didn't expect
answers from us, did ya?).
The good news is that your body instinctively knows
how much air to take in when singing. You just need
to learn to trust its judgment.
Notice your breathing right now. The body is taking
care of everything. We don't have to think, "Okay,
breathe now, out, in, out, in ... " We couldn't handle
the pressure! The body regulates the amount of air it
needs. It's the expert, so let it do its job.
Our singing isn't helped when we draw in too much
air and hold it, then press it out of our lungs. Over-
inflating like this can cause physicaEproblems, vocal
strain and pitch problems. (And if you're doing this
while running around on stage, forget it! You'll surely
hyperventilate and pass out, something that does
happen-usually to a much-embarrassed rock singer.)
Even when encountering the longest phrases, try
taking just a small amount of air before you sing. The
best singing results from simply breathing in order to
stay alive and allowing the body to do the rest. The
real issue isn't how much air is taken, but how
naturally it is received and what happens after the
breath is inhaled. The intake is very easy. You really
use very little breath when you sing. When it is time
to make a to ne, all that is required is the thought, and
the body will see to i1t that there is an
adequate amount of air to sing through
the music.
The singer takes the breath, opens up
the channel for the air and then allows
the body to take over. There is a zen-
like cooperation. It's like riding a roller
coaster and, instead of fighting the ups
and downs, settling in and going with
them as a friend. There is a partnership
of the mind and body, not a power
struggle.
The mind and body work together to
provide the right amount of air for
singing.
For The Artist (Formerly .Known As
Prince), his formidable vocal style has
always been at the forefront of his
hits. Whether he's haff whispering his
lyrics or screaming something at the
top of his range, his vocal technique
always draws the listener in.
 35

1 and 2. Take in your breath as if you were able to draw in the air
Exercise Set No. 8 through every pore in your face. Sing the "Ah" as in. the word
"father." Relax the jaw, provide the open space in the mouth and
drop into the "Ah," as if you are dunking a tea bag. It is a feeling of resting into the body, not a forced,
upward motion.
3, 4 and 5. First speak the words to these exercises. Try different inflections in your vofoe: happy,
sad, que~tioning, authoritative. Now sing the exercises, starting from speech. Keep it :s imple-speak
them on pitch.

Gently

J J 2.
~I J ~ I~ ~ ~ j
$ r ack 38
"CJ"
II
Ah
--- J II

3. ~~~~~-,--I -__./-J---.----.----------.-----..
J -
0 J J I
J J II
Here_ IS che

'
4.~1 LO I~ J JJ) J I Q£ J. J J II
$ rack 39
Qh _ __ No Oh No ----
. ~~#~#~~~~~~,E§~~~~~
j s. Cf I t J J) J J IU U t_IJ - 1
· a. What can I say a - It_ is- grand. _ _ _
b. So, tell_ me a - They_ are_ green. _ _

The Beach Boys weren't the first to add vocal harmonies to pop/rock music, but they did virtually perfect it. Through their early surf-
music days to their ground-breaking Pet Sounds album, their great vocals influenced generations of singers.
36

The Sloop "John B." $rack'40

This traditional calypso song was recorded by the Beach Boys and was featured on their ground-breaking album
Pet Sounds, released in 1966.
D G D

~·le - 11: - *J ..
Jl J Jl
..
J J I .I * -
We come on the sloop "John B. "

G D G D
.. ..
~··
~~
Jl J Jl
loo

J J IJ - Jl J J I J. J2@ I
My grand - fath - er and me. * A- round the Nas - sau town we- do-
A7 D D7

~·· J - I j
J: f-1 j I J * -
roam. * * .._...
Drink - ing all night, Got in- to a
G D

~•1 J * * J I J * * J1 I J SJ J I * J J_fQ J I
fight. (yeah, yeah) Well I feel so broke- up, I want- to go
D G D Chorus
G D

~·· j - - J J~ J J~ J J IJ -
home. So hoist up the John B. sails,
G D G D

~·I J J J I J. J2; J I
...
J~ J Jl J J IJ*- J~
See how the main sail set, Send for the Cap- tain a shore , Let- me go
A7 D

~·· J - Jtf'JJ I J -
home. * Oh, let- me go home. Oh, let- me go
G D

~·· J - - J7.J_J J I * J lfJ J I J - :II

home, * feel so broke- up, I want- to go home.
Verse 2 Verse 3
The first mate he got drunk. The poor cook he caught the fit,
He broke in the captain's trunk. threw out all of my grit,
The constable had to come and take him away- then he took and he ate all of my corn.
Sheriff John Stone. Let me go home.
Why don't you leave me alone? (Yeah, yeah.) Why don't you let me go home? (Ye:ah, yeah.)
Well, I feel so broke up I wanna go home. This is the worst trip I've ever been on.
(Chorus) (Chorus)
 37

Vocal Resonance
Resonance is defined as the result of intensifying and chest resonance becomes less and head resonance
prolonging a sound. Of course, we use resonance increases, ultimately reaching the very highest range of
every day when we speak, otherwise no one could the voice, which should use mostly head resonance
hear or understand us. The vocal cords begin the tone with very little chest voice present.
by vibrating, using breath expelled by the lungs. Next, Ideally, the singing voice is a mixture of the head and
the sound is intensified and modified by the resonators. chest resonances in varying degrees, depending upon
The throat, mouth and facial bones are the primary the pitch.
resonators for the voice. Singers generally focus on
two types of resonance used in singing: chest Primary
resonance (chest voice) and head resonance (head Resonators
voice).
Head Resonance Vocal:
Chest resonance can
be felt by placing a High-range
hand on the
Vocal Source of
breastbone (sternum) Mid-range Exhaled Air
Cords ---__...1..
and singing a note in
one's lowest register. Low-range
You should feel a Chest Resonance
vibration in the chest
area. As you can see from this experiment, our bodies
work much like the body of an instrument, a violin for
example, by providing a resonating chamber for the
tone.
Head resonance may be sensed by humming a tone in
the upper range of the voice. Head resonance mainly
utilizes the bone structure in the front of
the face and other areas inside the head to
conduct its vibrations.
Beginners tend to use vocal tones which
are either purely head resonance or chest
resonance. The goal is to achieve a blend
of these resonances, always having some
mixture of the two in varying amounts,
depending on the pitch.
As you can see from the resonance
diagram, when the voice is in the lower
range, most of the resonance should be in
the chest, with just a little head resonance
present. Ideally, as the notes get higher, the

Melissa Etheridge has one of the most

effective voices in rock because of her ability to Q)
EQ)
control her breathing and her resonance. en
Since starting out in bars in her home state of c:
Kansas, her vocal style, energy and great ~
songwriting abilities have made her one of the ~
.s=.
top rock acts in the country. a..
38

1. The hum is a good way to experience carrying power and

Exercise Set No. 9 resonance. Be very sensitive in order to experience how the voiee
is able to manage the balance between the two tt:sonances. Sing
this exercise slowly and allow the movement between the notes to be very smoodl. This exercise will
also require a good, low breath, meaning one which utilizes the lower abdominal muscles.
2. Experience the feel of a yawn. As you sing the exercise, feel the yawn space, and relax the jaw.
3. Before singing, draw your breath in preparation for the highest note in the phrase, and s:ing the vowels.
4 and 5. Keep saying the vowel in these exerciSes. The quality of each vowel should match the quality of
the fll"St vowel.

1
~~ '1 J J J J
1.

---------
Mm~~----~-
u 11

C§;irack'41

2. ~ 11i J J J J I J J J J I j - I
a. Fa la, fa la, fa la, fa la, la
b. Oo - loo, oo - loo, oo - loo, oo - loo, oo
c. Ea - sy, ea - sy, ea - sy, ea - sy, ee

The road
IQ J)
j5 _ __ _
J
low.
II

IJJJJJ II
a . A~~~~--~~~~-
b.Q _ _ __ _ _ __ _ _

5. ~V't J ~ ~ ~ I~ ~ ~ ~ IJ -
a. A
b. O
c. Oo
 39
43
Goin' Down the Road Feelin' Bad $rack

This great blues song has been covered by many blues, rhythm & blues and rock 'n' roll artists. Sing it with a
strong sense of rhythmic drive-and make it rock.

Traditional

- - - -
c F7 c c1

~II: J J J J I j J J I J. - J J
Go - in' down the road feel - in' bad, * yes, I'm

F7 F7 c c1

~ J- J J J
go in' down the
I j
road
J- J
feel in'
I J.
bad.
*
- J J
Oh, I'm

F7 07 c Am

~ J- J J J
go in' down this
I j
road
J
feel
J IJ
in' bad,
J
Lord,
I J.
Lord, and
J

i c G7 c F7 c
I
I ~J J JJJ I J J J J &
I~ - :II
I ain't -
gon - na be treat - ed this a way.

Additional Words
2. Goin' where the climate fits my clothes, (3x)
And I ain't gonna be treated this-a way.
3. Down in the jail-house on my knees ...
4. Goin' but I ain't a-comin' back .. .
5. Goin' down the road feelin' bad .. .
 40
FEAR OF FLYING: APPROACHING HIGHER PITCHES
Many rockers get nervous when they approach
pitches in music which seem "high" to them. Luckily,
there are several effective ways of dealing with this
fear of heights.
The first step: how's your posture? Chest high and
open? Are you sipping in a low, deep breath? Are you
allowing the jaw to be loose with plenty of space
inside the mouth?
Next, a singer should examine the vowel. Take the
time to identify exactly what the vowel is for each
note and make sure you are saying it in the best
possible, tension-free way. Often vowels on high
notes are modified to an easier, more open vowel-a
modification toward "Ah" is substituted if it is close to
the original vowel and the word may still be under-
stood. Experiment and find a vowel you can sing
easily that doesn't distort the word and substitute that
for the original, difficult vowel. If the singer sings the
new vowel and thinks the original vowel, then the
word of the song will be communicated to the
audience.
Sing the line of the song in question (the "phrase") on
the vowels only, leaving out the consonants
~
.c
a.
altogether. Then, when you feel you have got it
down, put the consonants back in and see if you can
now sing the phrase with more ease. Try this
technique on the first line of the song "Row, Row,
Row Your Boat." By removing the consonants, we
discover that the only vowel sung in this phrase is
"O." The "O" is interrupted briefly by consonants,
and all that needs to be done here is to say "O." Sing
the phrase on the vowels and then add the con-
sonants. This adds a new awareness of the vowels.
In the first line of "Twinkle, Twinkle, Little Star," the
vowel sounds are "Ih," "Uh" and "Ah." Sing the
vowels, then add the consonants. This adds clarity to
the vowels.
Your warm-up should include notes which are a good
deal higher than the highest note youi normally sing in
your songs. This way you can be coinfident that you
are able to sing the pitch. The "siren" is a good way
to explore the outer reaches of your vocal range.
Inhale a low, gentle breath and, starting with your
lowest comfortable note, imitate a siren on the word
"hi" as the notes glissando (slide) upward to a
comfortable pitch in your head voice range and then
slide down again. As you get higher, have a lighter
feel to the voice. J[f you can sing
the note in the siren, you can hit it
in a song. Repeat the exercise
several times, each time progres-
sively raising the pitch of the
highest tone.
Rock singing is an act of balance
and coordination. The concept of
balance and coordination in singing
particularly applies; to high notes.
When the notes go up, often a
person's natural instinct is to have
all their muscles rise with the tones.
Soon the singer is perched on
tiptoe with their shoulders up
around their ears. Contrary to this
instinct, the singer should be
relaxing into the body and
counteracting the upward motion.
This is the time to let go and allow ·
the body to do the work.
Singing"songwriting sensation F10na Apple
burst on the music scene in 1996 at the
young age of 19. Fiona has sultry, rich,
honest singing style--one that foregoes
belting and stays in a comfortable, low
range that she can cor.1trol.

Belting (for Women)
Belting refers to the singing technique of bringing
more chest resonance up into the head voice than
usual. (It is sometimes interpreted as pushing the
chest voice up as high as possible, but that is an
unhealthy way to sing, and it will ruin your voice.) If
this is a technique you want to incorporate into your
own rock singing style, you need to really spend time
learning how to do it properly so you don't damage
your voice.
Most voices are capable of belting to some degree,
and you should treat your voice like the unique
instrument it is when trying it out. Above all, be
honest with yourself-if you find that a certain
exercise hurts, or if you're losing your voice after only
a few minutes of singing, then you need to find
another way of doing it, or skip it altogether.
Never belt with your throat-that is, don't sing so that
it feels like all the energy and support are coming
from your vocal chords. If that happens, try singing
the same passage with lower support and more chest
resonance. Steady support from the strong muscles of
the lower abdomen is essential to achieving a healthy
belting style. Or, try placing the resonance higher, so
you feel it vibrating in your face. Many high belters
use a lot of head resonance with just enough chest to
keep from sounding operatic, so don't be afraid to
experiment and find what suits you best.
In the sections on Vocal Range (p. 4) and Vocal
Resonance (p. 37) we talked about different parts of
the voice, or registers, like chest and head voice.
Chest voice is typically more powerful, while head
..•
voice is usually thought of as lighter and prettier. For
I greatest male vocalists, Roy Orbinson, made his
1$ .•
Chest Range
:
Prime
:
Complete Head Range
(or however low Belting Mixed (or however high
your voice goes) Range Range your voice goes)
most women, a natural transition between these
registers starts around the E above middle c.
As the pitch is raised, more head voice should be
brought in note-by-note. An octave above the
transition is the point where the resonance should be
almost entirely head, with very little chest. Belting
attempts to carry some of the power of chest
resonance higher than the natural transition, which
can result in a thrilling, impassioned effect.
Women rockers like Melissa Etheridge rely on their
chest and belting voices almost exclusively, and rarely
41
venture into their head voices (the late Janis Joplin is
also a great example of this). Others singers like k.d.
Jang, Ann Wilson of Heart and Joan Osborne have
developed their technique to the point where they can
easily switch between belting and head voice. Pop
and R&B singers like Whitney Houston, Celine Dion,
and Mariah Carey use a lot of high, "virtuosic belting,"
a style that comes out of gospel and soul music.
You can bypass the question of belting altogether by
either keeping the range of your material low (E and
below) like Fiona Apple, Tracey Chapman and many
other great singers do. Another option is to use the
break between head and chest as part of your style.
This seems to be the approach of women like Bjork,
Tori Amos and Alanis Morrisette, who llet their voices
crack occasionally and aren't afraid to sing in a soft
head voice. For them to attempt Aretha-type belting
wouldn't be worthwhile, since it doesn't suit their
natural voices. Instead, they've developed their own
styles, which is the whole point of singing rock music.
Just sing honestly, and your voice will take care of the
rest.
Falsetto (for Men)
Falsetto is singing in the high range of :a man's voice.
It's pure head resonance, produced mostly in the
upper throat and nasal cavity, and is unconnected to
the rest of the male voice. Again, abdominal support
is very important in accomplishing this effect. When
singing falsetto, try aiming the sound vibrations
between the eyes or out the top of the head to
achieve a maximum "high." Falsetto is not as
powerful or loud as the rest of the voice, and it's not
used in rock singing very often, but one of rock's
falsetto singing his trademark. (Check out not o nly
Roy's early hits like "Only the Lonely," lbut also his
great falsetto work as a member of the Traveling
Wilburys.)
Falsetto was used a lot in 1950s doo-wop groups,
most notably in The Tokens' hit song "The Lion Sleeps
Tonight." Art Garfunkel, especially when singing with
Paul Simon in the 1960s and early 1970s, made great
use of this technique, most effectively in his harmoni-
zations and background vocals. More r•ecently, Prince
used it effectively in hits like "The Most Beautiful Girl
in the World."
Not too many contemporary rock male singers use
falsetto, but many rhythm & blues groups do. Yet for
those rock singers who can pull it off and use it
tastefully, it can be very effective-just ask Bono.
(Note: Don't confuse high rock-tenors lillce Sting,
Robert Plant, etc., with falsetto. Falsetto is a high range
that is completely unrelated to a man's speaking voice.)
42

Exercise Set No. I 0 1: Explore ·the ranges of your voice~ Using the men c2tl on •bi,• ~-
. follow the shape·of the dia~ bek>.w- ~~ :1~, .~··•ff-· .
~~ording to the-directjon of the line&. ' ·_. · • , ·t·
<.

2 and 3. Imagine a piano ·keyboard. All the keys are on the same plane. The..,.
!Or.die ''bi8h"' plebes ~
aren't higher than the others, they are on the same level with. all the rest Of the keys, anchhe same is true
~·

· for the "lower" pitches. · Sing the following exercises aDd imagine that '°'1f ....,.. 9 • • phlce on • -
. keyi>Qard. .. .. ' . ~
~ ,; • • •• : ~ ~ . , , : 'Jf • • - •

4. Sing the ·next exercise and use the image of fiship.g-castJhe line~ and the }'>la<:e-ahead ofyou that you
cast it' to is the S<>cillea "high" n~e. . . . . . . •
5 and 6. In these exeroses, try an image of Mscendlngto the "high" note. Even though you are
approaching the .note from below (the reason it seems high), imagine that you arc alreadf above the note,
so singing it ~ just a maJter of coming down to that pitch. Make sure that yo\I are acdvetycsaying the
word$ with ~ d~ire tq, ~ommunicate. This will also help With singing a ~er pitch.
Afteryou·have experimented with each approach, decide which one 'work.5 beSt for you, ancll tuc::k i~ into
your bag of tricks so you will have it to help you resolve ·any future difficulties.

2. ~I J J J IJ J J JJ II
~ck +4
----
a. Ah
b. Oo
-------------
----
3. ~I J J J J - II

J J IJ
'-....._J! ~
J J II
lo, _ _ so lo.

IJ J J J II
a. Ah _ _ __ _-_-_-_-_-_-_-_-_
-_-_
- _-_-_- _-_-_
- _-_ - ---
- _-_--_ -_ -_-_ -_-_ __ __
---
b. The lark sweec - ly sings in _ _ her _ _ nest.

j
a. The rose
I
lLD
is red.
J II
b. The song is sweet
 43

House of the Rising Sun ~ck

46

Words lby John Newton

Music Traditional
Am c D F E Am E7

'e - - - - - - -
There

Am c D

J $ I J. l I J. J ;p
' ~.
is a house
J
in New Or

F Am c
I.. I..

J1 I J. J Jl I J. - _J J)
' J.
leans, * they call the Ris ing

E7 Am

J. I ' J J I J. J
' Sun, *' And it's been
D
the

c D F

4
I.. I..

F" F D Ip J J1 I J. J J1
ruin of man - y * poor girls/boys, and

Am E7 Am

~. ~ I~.
I..

-iJ I •t@J J
' D =1 1
~
Lord know I'm one.

Verse 2: Verse 3: Verse 4:

The only thing that a drunkard wants One foot is on the platform, I'm going back to New Orleans,
Is a suitcase and a trunk, The other one on the train, My race is almost run,
The only thing that a rounder likes I'm going back to New Orleans I'm going to spend the rest of my days
Is to git on a great big drunk. To wear that ball and chain. Beneath the Rising Sun.
44

Musical Expression
To sing well, the muscles in the throat, jaw and
mouth should be relaxed and free. This is true
since, as we've discussed, the abdominal muscles do
the bulk of the work. Some words of caution,
however: Rock singing takes an incredible amount
of energy, on a level with that required by an
athlete. Don't mistake a lack of energy as the type
of relaxation we have described. The challenge for
singers is to keep their energy flowing in a
productive way and not allow it to manifest itself as
tension.
Phrasing
The best way to add expression to singing is to begin
with the words. They will tell you how to sing the
song. When a singer can say the words convincingly
and demonstrate an understanding of the text, then he
or she will know how to sing the song.
When the words are separated from the music, they
may seem trivial. The singer's job is to find the
emotional impetus to justify the music. Practice telling
the story in your own words, so that you may gain a
thorough understanding of the words and emotions
behind them.
Red River Valley
j Gracefully G G7
Phrasing adds clarity to the lyrics of a song, just as it
does to our speech. As in speech, commas, periods
and sometimes other punctuation usually imply the
end of a phrase. Within reason, if there is a comma
or a period in a sentence, that is where the singer may
breathe unless the composer has indicated otherwise.
When beginning to work out the phrasing of a song,
speak the text and take a breath every place the
punctuation indicates. This method of phrasing will
probably result in some inappropriat•e or unnecessary
breaths. Of course, you must use good judgment and
not overindulge in breathing if there are several
commas in a sentence. The singer may not need all
the breaths they have available to them, or the
reverse, they may need to seek out a place to breathe
when one is not readily available. When singing rock,
just as in speech, one would never breathe in the
middle of a word. Speak the phrase you intend, try it
out and make sure that the meaning of the words will
not be misconstrued in any way by your breathing.
Finally, enter in your music all the breaths you have
decided upon as commas or check marks above the
music. Essentially, breathe where it makes the most
sense.
Before singing the following songs, speak the words
with feeling and plan your breathing.
American
c

F
J IJ J J IJ J. l
1. From this val ley they say you are go ing,
2. Come and sit by my side if you love me,

G 07

~·J J J Ir J F IF r F
n <::::: J
We will miss your bright eyes and sweet smile,
Do not has ten to bid me a dieu,

G G7 c
~· ~ ~ IJ ~ r· ~
.:::::
v J J Ir F F IF
For they say you are tak ing the sun - shine,
But re mem ber the Red Riv - er Val - ley

07 G c G

~·=r +i
That
Ij
bright -
J J I~
ens our path
F
way
~
a
e

while.
I<J :II
And the one that has loved you so true.
 45

Key to the Highway ®r2Ck~

As part of Derek and the Dominos, Eric Clapton and Duane Allman collaborated on this blues song for their
classic rock album Layla and Other Assorted Love Songs. •
Traditional
Slowly G 07 C7

~· i j J J J I J. i7J I I7J J. ........

' rrFr ~r
I got the key to the high-way, - billed out and bound to

C7 G D7

~· J.
go. Gon - na
IF F &p r
leave here run - ojn'
D
'cause
Ip
walk- in's
J. ~Elf} J
much-3 - .
J, i
too slow. -

G7 c1 Ob7 07 G 3

~·ca- LJ J ~a ija_J J J J I J_ _r-o ~- ~ JI

~
Oh, 'cause when the moon peeps o - ver the

.
J
I
I

!.
07 c1 c1

~· ~ ~. "="

moun- tain, --
Ir
hon - ey
r r
I'll
F
be
r
on
~r
my
IJ
way.
E f -~
I'm goo - na
~
J

G 07 G G7 Go Cm6 G

~· F 1J ~ ~ J~D ~ AJjJ - - :II

walk that old high - way,- walk it 'til thebreak of day.- - *
46

Dynamics Musical Dynamics

One of the simplest ways to add line, you probably wouldn't want pp plantssilmo very soft
more expression to your rock to sing it exactly the same way
singing is through the use of twice. There should be something p piano soft
dynamics (changes of volume). different about each repetition.
After you have given some thought mp mezzoJnano medium soft
to the dramatic intent of a song, It is actually the intent of the
you may feel that some passages
require more or less volume than
singer, inspired by the lyrics of the
song, that changes the volume of
mf mezzo forte medium
loud
others. This contrast will make their singing. The thought that a
your performance more inter- certain passage should be louder
esting. Often in rock music there's or softer signals the body to make f f orte loud
just one dynamic: Loud! But the the appropriate adjustments. The
better rock singers add vitality to singer's energy must remain
ff f orttssl1no very loud
their music with varied dynamics. constant while changing
So it's a good idea to experiment
crescendo increasing in
dynamics. A note might be sung
and discover the best places in the softly, but that doesn't mean that volume
song for dynamics or special the energy should be pulled away
decrescendo decreasing in
effects that seem to make the most
musical sense to you. For
instance, in the case of a repeated
from it. Keep feeding the breath
into the tone, maintaining a
smooth exh alation.
=======-- volume

1. As when we speak, the intensity of~ phrases does not , ·

Exercise Set No. I I diminish when we sing: .In' your~ ~I voice, speak the
phrase, ~1 will do it now:" .~ ·~bi:phtase. :a level of mezzo
·piano, but still with the intent to communicate. Next say the phrase p+aatiffWo, Gr . . , .mtly, but with
purpose: Now say it in a louder, firm voice at a level of forte~
~ and 3. Sing ·these exercises, exploring the dynamic possibilities d your voice.
... ->!~. .... . ' ·~· .• _.,. '.

4.·.• In tl$ eXerdSe

t··· ~ . . "'
change Jhe dynamics as indicated
'f • - ~
wiUl
~
each
t .
~·
.• ... .. •
• ,, lllfl. ..._ ·,;:... . ... ..

~· sull the ~ according to the dynamics indicated. , '·

2. ~ ~'· 1 J J J J 14 - II
I will do it now.
a. mf d. mp
b. f e. p
c. ff f. pp
$nck49
3. ~~ • I
1
LJ iJ IJ'-----'J J~J 14 - II
Nah- Nah- Nah - Nah - Nah
a. f c. pp
b. mp d. mf
$nckSO - ======== f =======-- p
t-t~-~,
p

4.41 i;l f3 J will not do it.

Ifa J?__.
I will not do it.
:t
4 I s. H --+- ~, J--?F-~F---
j _ f,____
a. Ah.~~~~~~~~-~~~~~
, ~ 7~11 ....
a. f p b. Sing - ing Sing - ing E - Ah
b. p f
c. mf pp
 47
$rick SI
Jingle Bells
Since this song is repeated, experiment with singing it first softer, then louder the second time ar-ound. But keep
the energy up for both verses!
J. Pierpont

~I - - - -
c

~ F F r IF r ~ r IJ
F I F F
Jin - gle bells! Jin - gle bells! Jin - gle all the way!
F c 07 G

~ r r r F Ir
Oh, what fun it is
F F
to ride
rrIF r r
in -
a one horse 0
F
pen
F
sleigh,
~
hey!
c

~ r r r Ir ~ r n
F F I F F
Jin - gle bells! Jin - gle bells! Jin - gle all the way!
F c G c

~ F F F F IF F r rrI~ ~ F r I
II
=I
Oh, what fun it is to ride in a one horse 0 - pen sleigh.

'

Bruce Springsteen 's vocal style is filled with

power and emotion-one of the most easily
recognized sounds in rock. Springsteen, among
many others, had big hits (not to mention a lot of
fun) by rocking out traditional Christmas tunes.
48

Legato and Staccato

The techniques of legato and staccato singing are Staccato style may be likened to a laugh and is
additional ways to add interest to a song. notated with a dot over or under the note head. A
good, old-fashioned "Ho! Ho! Ho!" is a good example
Legato is a style of singing which is very smooth and
of the detached feel of staccato. ·
connected. There are no gaps between notes; all the
space is filled with lush, fluid sound. It is notated
with a slur over or under the notes.
J. J. j. J.
Legato phrasing requires long, fluid lines, and staccato
notes are short and detached.

Exercise Set No. 12 :. 1. ,Sirig thi8 'exercise t~to, connecting all th~ ~. To help .yoµ
-: ·: enfuion :tlle kirit'.r dHtilia 200.nection need~ foi uil.s style of ·. ·
;:·r_;:··:,. -. ·.::,· ·.~·,';/ .,. : .,~··.;·>~> ·~;. . . ·:·'.~'" ;.s~~g'.·~;~e7~~~~ ~tc!1ffig a~q a:1>iec€·af ch.~~:
· 2: -Singtbe same exetcise, laugh it and keep the· riotes~~oit ~d ~ed.
.. ~.: ... ~ .. • . !< ... . . ~ • l • .) •. :. "... •• :(' '· .. '.

~. This exer:cise ·combines ~staccato and legato singing. ·,.. ·. · '· .· · ~

4 ~d 5.-. ·Si~g du.~: ex~c~s _as i.~dicat~ b; th~~ p~su\g.

®rackS2

i. ---tt-~--r+r-~1, -J_J_J_.::1_J_9------r--IJ- J-4-------nll

--,....-i

Legato
a. Ah~--------------~
b. Oh~--------------~
®rackS3

2. ---tt-~--r+r-~l,--,....-j- ]_j_..---_:J_e_Q--r--1J_j_l_*_____.,11
Staccato
~ . i . =t. . . ~
a. Ah--------------~
b. O h - - - - - - - - - - - -- - -

3.
~I J. J I J1 J. t@IJ J ~ II
* * Oh---- oh oh-- oh

- II
a. 00---------- - - - - - - - - - - - -
b. E---------------------~

J. 1w-S J J?t3 - II
a. A h - - - - - - - - - - - - - - - - - - - - - -
b. Laugh - ing, sing - ing, laugh - ing o - ver the way.
 49

One Dime Blues $rackss

Rockers like The Rolling Stones, the Beatles and many others have taken old blues standards and rocked them
up. One Di.me Blues, attributed to blues great Blind Lemon Jefferson, is done fast and fun-which is exactly
how you should sing it. •

,.I I # Fast blues

1, -
*
E

F
I'm
11 = r·
broke
F F I
an'
A

r
ain't
p J.
got a

,.,• E7

o-

dime,
1-r· F
I'm
,
A

broke
J. :d ;p.. Jl..
an'

,.1 1
• gJ
A7

ain't
...
Jl
got
J.
a
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Verse 2: Verse 4:
I was standin' on East Cairo Street one day (3x) One lonely dime was just all I had (3x)
One dime was all I had. And that was the meal before the last.
Verse 3:
You want your friend to be bad like Jesse James (3x)
Git two six shooters, highway some passenger train.
50
PART IV: MAKING IT HAPPEN: SINGING LIVE WITH A BAND
Singing live with a band can be a pretty harrowing
experience. There are so many variables involved-
how warmed up your voice is, how tight the band is,
how well the band can hear itself, the acoustics of the
dub, just to name a few. There will be times when
you'll feel overwhelmed. But don't throw up your
hands and give up. It's all just a matter of prepa-
ration. And a great gig is the result of a good,
organized band practice.
The Practice
Rehearsing is more than learning the lyrics and chord
changes and being able to get through the tune
without a major screw-up. It's about playing in synch,
getting tight and fine-tuning, and how your set-up can
influence those important aspects.
If space is limited, then you'll be cramming the drums
in one corner of the garage while the guitarist sets his
or her amp on top of the rusted-out patio furniture on
the other side. But if it's possible, you may want to
try a "circle" set-up for rehearsals; that is, the band
sets up in a circle so that everyone can see each other.
This will help everyone get really tight and blend,
sounding like a band-not just separate musicians
playing at the same time.
Set up with these points in mind:
• When you're learning a new song, having eye
contact is helpful in learning cues. Seeing where
the chord changes happen can make singing a
new song easier.
• Be dose enough together so volume can be low
and everyone will still be able to hear each
other without the overall band distortion that
happens when everyone has to crank.
• The bass amp should always be next to the
drummer, ideally by his or her hi-hat. This is the
key that locks the rhythm of a band down.
When the bass and the drums are in synch, the
rest of the band can rely on them for the song's
pulse (the bass and drums are considered the
rhythm section of a pop band). This will help
create a tight, powerful sound.
• Your vocals must be way up in the mix so they
can be heard by everyone in the band. While
they are the most important component of your
band, vocals are often the first thing to get lost.
The last point is important because the rhytbm,
harmony and instrumentation mus't all support the
lead vocal line and the vocalist muist be able to hear
him or herself well. Never forget that no matter how
awesome your guitarist is or how incredible your
keyboardist is, when people go to listen to your
music, they will be mainly listening to the lead
melody-that is, the vocals.
Important Safety Tip: Don't let tlhe band put you
in a position where you scream all the time! You
can always turn your amp up or down, but vocals
can usually be turned up only so high because
they are often the main source of feedback prob-
lems. Your vocal instrument is fragile-so just
turn all else down!
A feedback problem will rear its ugly head in every
environment. Experiment with amp positioning to
eliminate feedback loops. If feedback problems
persist, you may want to invest in a little cheap 6- or
9-band equalizer. With a little experimentation with
this simple device, you can eliminate a lot of feed-
back problems.
The Feedback Loo,r-how it's caused
1.
Vocalist sings into mike
2. 3.
Sound tr avels to
P.A. board (or Speaker
amp) where it Is
amplified and
sent to speaker
P.A. board (or amp)
Eventually, when you get comfortable with the materi-
al, you'll want to arrange the band :as you will be
playing on stage. While it may not be advantageous
or possible at first, it's important to do this sometime
before your first gig.

Know What You're Going to Do
Take ten minutes the day of a rehearsal to jot down on
a piece of paper what you want to accomplish. Make
note of which songs need the most work, which new
songs you want to introduce, the song order, etc. Never
forget you're dealing with a group of people in which
there is a group dynamic and a group energy. Now,
we're certainly not going to explore the psychological
ramifications of a group of musicians who gather two to
. down. When you're trying to listen, concentrate and
four times a week (that would be another book;
besides, some things are better left to the unknown ... ).
But you do need to tune yourself to the mood of the
band and work to keep things moving and on track.
Every band is going to be different, so experiment with
different ways to organize your rehearsal time. In the
meantime, here's an idea that works: Divide the
rehearsal time in thirds.
1) The first third of the rehearsal often ends up being
the "warm-up" period. Play some fun tunes,
maybe an old, simple rock 'n' roll cover-maybe
even one you never intend to do live. Or play
through the songs that the band knows well and
likes to play.
2) The second part will probably have the most
energy, so take advantage of it. The band mem-
bers will be warmed up, in tune, and concentra-
tion will be high. This is the time to take songs
apart; play the bridge section of that love song
that hasn't felt right-and play it, just the bridge, a
dozen times. Stop songs when the intro isn't
right. Talk about different ways to end that other
tune. This is the time to work things out. Do
small sections over and over again~at's how
you'll get tight and sound professional.
3) Toward the end of a rehearsal, the energy often
sinks. This is the time to run through songs you
already know well, keeping them tight and
familiar. Practice playing songs in the order you'll
be doing it live. When you're working to play the
clubs, everything has to be practiced. Say, "Okay,
we're going to play through these next five songs
back-to-back," thus getting the feel of what it will
be like to sing songs without stopping.
This is also a good time to introduce new material.
'We'll work on this one at our next practice, but here's
how it goes." Then at the next rehearsal, they will have
at least heard the tune. (Ideally, you would also pro-
vide a cassette of your new song so that they will have
had time to work out their part.)
Different rehearsal strategies will work for different
bands. Try different formats to see what will work best
for you. Do whatever it takes to get the most out of
your rehearsal time.
5I
"What Did You Say?"
It's also recommended to try to keep the volume of
your rehearsals at something less than a mind-numbing
decibel, not just for the sake of the parents, roommates
or neighbors that happen to exist in the same zip code
you're rehearsing in, but because everyone in the band
needs to be able to hear everyone else. Your ears will
be bombarded with high volume enough-there will be
plenty of time to crank it up later. But for now, keep it
work things out, if the whole thing becomes a wall of
loud, you're not going to be able to work on the
particulars of the tunes.
Creeping Volume
Be aware of the "Creeping Volume Syndrome," both in
rehearsals and especially when performing.
Creeping volume syndrome is when you all do a sound
check, and it sounds good, balanced and everyone can
hear themselves well. Then you play a few songs, and
the drummer's adrenaline gets going, and he starts
hitting the skins a little harder. Then the bass player
moves her volume up. Then the keyboardist changes to
a different sound-a sound that has a higher frequency
and tone quality, thus sounding louder without ever
touching the volume knob. Then the guitarist has a
great solo, and turns up for it-forgetting 1:0 tum it
down when the solo's over. .. and then ... and then ...
Soon, someone's head just explodes.
A couple of times a night, you're going to have to stop
everything and get everyone to scale back the volume.
Do it. Generally, most bands are going to be loud, but
do what you can to keep it from spinning out of con-
trol, for the sake of your music and your hearing.
Ear Plugs
Ear plugs are strong-
ly recommended.
They have great
ones these days--
those that don't
"plug up" the music,
but act as filters to
cut down all sound
frequemcies equally.
A couple of bucks for earplugs is a You're still able to
small investment to protect something hear everything, just
as important as your hearing. less of it. Trust us--
if you're looking at
being in music for the long haul, there will be plenty of
unavoidable damage co your ears. Remember this: On
the 1990 tour of the reunited Who, Pete Towneshend
had co hire another guitarist to play all his electric guitar
parts, while he just strummed on an acoustic guitar
because his hearing was too damaged to pllay electric
and sing. Sure, he made a ton of money that tour, but
he didn't gee to hear it ...
Take care of your ears.
52

Equipment for Singing with a Band

Using a Microphone
For the record, a microphone takes the sound waves
of your voice and amplifies them, electronically
enhancing the volume of your voice as it goes
through the speaker. It is your tool, and you need to
know as much about how it works and what it can
and can't do as a guitarist needs to know about his or
her ax.
Then you run into an enthusiastic sales rep who says
something like, "Hey, don't even get a P.A. board
unless it's 24 channels. You'll want something to
grow into." Remember that it is their job to sell you
as much equipment as they can. Your job is to get
the most for your money and equipment that will suit
your needs.

When using a microphone, sing in your regular voice New Equipment

and don't hold back. However, don't make the When you buy new equipment, it comes under
microphone do all the work for you. It is a tool to warranty, and that can save you major headaches
enhance your voice's volume, not a way for the singer down the road. The latest equipment is more sophis-
to become lazy and slip into bad habits. ticated, capable of doing more, and sales reps are
usually knowledgeable and helpful in showing you
Don't "eat" the mike. Microphones are sensitive how to operate it properly. There has been a trend in
instruments and will work best if held a few inches the manufacturing of P.A. equipment to go to lighter,
from your mouth. Audiences should be able to see smaller units-more bang for your buck, so to speak.
your face without the mike covering it up. Besides, When moving, storing or setting up, space will often
you've done all that dramatic preparation, most of be an issue, and so this is a big advantage. Also,
which will be conveyed by your face. many music stores offer financing programs.
If you are using a corded microphone , be very aware
of what your hands are doing. Don't play with the
cable; it is very distracting. You want the audience to
focus on your face and the song, not the hand that is
fidgeting with the mike cord.
If you plan to use a micropho ne regularly for your
performing, it is advisable to get some practice using
one offstage. As previously mentioned, be sure to do
some experimenting to find out the best way a
micro phone can enhance your performance.

Equipment for the Band

Everyone in your band needs to have their own gear,
their own guitars, mikes, amps for the instruments,
etc. If you're just starting out, you may be over-
whelmed when you start going to music stores and
checking out equipment. New P.A. gear is expensive,
no doubt about it. Mikes, mike and guitar stands,
cables, cabinets, horns, monitors, power amps .. .it
adds up quickly.

Mikes, P.A. board, speakers
and monitors are the bastes
ofyour sound sys~m.
~ The Shure SM 58 is one of
the most widely used
mikes in rock. Peavey
makes an inexpensive line
ofquality mikes as well
Still too expensive? Try
your local Radio Shack.
They have mikes as low as
$20, and though the
quality isn't up to Shure
or Peavey, they will work
in small clubs, particular-
ly for miking other
instruments.
A P.A. boards come in
as few as 4 channels to as
many as 48. For bands starting out,
the six- to twelve-channel range is more than
enough. There are two kinds ofP.A. boards:
powered and unpowered. ....
A powered board is more convenient because it's
an all-in-one unit, while an unpowered board
with a separate amp offers greater, cleaner power.
There are many ....
good speakers out on
the market, and the
compact models are
great for playing
smaller clubs. Just
make sure the speakers
can take the amount of
power from your amp
or powered board.
53
The only disadvantage is that the stuff is expensive.
The price difference of new vs. used is three to four
times higher in most markets. It's much like the.new
car thing- something magical happens when you
drive it off the lot and it loses a lot of i1ts resale value.
Many people get excited about a band, go out and
buy a lot of equipment, then end up selling it for one-
third of what they paid for it six months earlier.
If you go the new equipment route, don 't pay retail!
Rarely will you have to pay their asking price. Ask for
the sale price and barter with them. In most
instances, music stores can cut at least 5 to 10% off a
given product. Don't hesitate to offer a lower price.
It never hurts to ask.
Used Equipment
Used equipment is a great way to start •out. Check the
classified ads often found on music store bulletin
boards. Some areas have a whole newspaper devoted
to want ads. Check out local pawn shops.
.. " ... "
.... c. ....
.... . . .. . . .. ....... ..
. . . . .J
..-----------~
., ........-
. . .
~
rr_:·--
. -""
. -- ---,.,.· ·.--,
-
-- ..-
...
.
1
:.~~
- -
~ Stereo power amps
offer greater
flexibility for a
growing band.
Don't skimp on monitors! ....
If the band can't hear
themselves clearly, they
aren't going to sound good.
The number one priority of
a sound check is that the
vocalists hear themselves.
Position the monitors so
that everyone can hear
without causingfeedback. CounM.y of V:uooha
54
The Day of the Gig
You wouldn't run a marathon without stretching your
legs, eating right and drinking some juice, right?
Singing with a band is just as strenuous, so you need
to take care of yourself.
On the day you're to sing, make sure you've warmed
up vocally. Some rock singers find it helpful to also
do mental and physical warm-ups prior to a
performance. (Vocally, have a set of three to five of
your favorite exercises from this book to run through
before taking the stage.) Knowing you are warmed
up and have done your preparation will give you
some control over the situation and increase your self-
assurance on stage.
Taking the stage with a band can be one of the most
exciting experiences of your life. It can also be way
frightening. Confidence makes the difference. If you
don't feel confident, just act like you're confident.
Just by pretending we are confident, some of that
sureness slips into our being and will make us better
on stage. Audiences are generally on the siqe of the
performer, wanting them to do well. Everyone knows
what it is like to watch someone uncomfortable on
stage struggle through their piece. Their uneasiness
affects everyone in the audience , which subsequently
ends up sharing the agony along with the performer.
Practicing every element of your performance is the
best way to gain confidence. Rehearse everything,
from start to finish. Practice the way you will walk
out onto the stage, all the nuances, gestures and
movements during the song, and finally how you will
leave the stage. Practice how you will hold the
microphone (or how you will stand at the microphone
with your guitar or at your keyboard).
Study your body language in a min-or to make sure
you are giving the effect you want. Stand confidently
as if you own the stage and act like
you really want to be there. Go
over this until you feel comfortable
with it. Take it one step farther, and
visualize yourself all the way
through a successful gig.
Consider videotaping your
performance (or even your band
practice) so that you can see
yourself as the audience sees you.
Study it carefully and make any
necessary adjustments you want.
The two most important aspects
when singing with a band are
confidence and energy. When you
have both, you'll be well on your
way to being a great rock singer.
No rock singer exudes energy and
confidence like Mick .Jagger of The Rolling
Stones. Since being one of the leaders of
the British Invasion of the early 1960s,
Jagger has continuou.sly rocked audiences
with his great voice and playful stage antics.

PART V: MAKING IT HAPPEN: SINGING IN THE STUDIO
Singing with a band at parties or in clubs is a
completely different animal from singing in the studio.
It's usually an expensive process, and singers in
particular have a lot riding on a decent recording.
You've got to know what you're getting into so that
it's a positive experience.
The number one thing to remember about the studio
is that recording tape is ruthlessly honest. It records
exactly what you're doing ... so you better try to have
every phrase, every dynamic, every detail down pat
before you crawl in that vocal booth!
We'll help you get there. But first, let's back up a bit ...
Why Are You Doing This?
There are many reasons to record your music. Maybe
you want to sell your songs to a music publisher.
Maybe your band wanes to make a standard three-
song demo tape to use in getting a record contract.
Maybe your band is doing so well that you want to
produce and manufacture your own tape to sell at
gigs and local record sto res. Maybe you just want to
record yourself singing for fun or to capture the
sounds you hear in your head. Whatever the reason,
there are few things as musically satisfying as getting a
great recording of your music.
Recording will force you to tighten up your act and
make you a better singer. It will also give you the
opportunity to take a hard look at your tunes, making
you a better arranger. You're an artist, and you
should document your work for your personal satis-
faction-never mind that it's the way to further your
musical career. The recording studio is an integral
part of this process. Making a great recording of your
music and listening to it six months later in your living
room alone will teach you more about your music
than you ever thought possible.
The problem is making a great recording. It's not easy.
Many rock singers wander into the studio with high
expectations, ready for that studio magic to make
them sound like a star, and thinking they can knock
the whole project out in an hour or two. These are
SS
usually the same first-timers who get halfway through
their now way-over-budget project before they realize
they're clueless as to what is going o n, and it's all they
can do to keep from laying their head inside their
drummer's bass drum and crying hysterically.
A demo is important. Doing it rlght--kl!lowing your
goals and limitations, how the process happens and
what to expect-is the most important tlhing you'll do
in your musical life. Preparation is the key.
How Do You Know
When You're Ready?
If you think you're ready to start recording, and
you've never done it, think again. Many people make
the fatal, frustrating assumption that the studio will
make their music perfect-tighten it up, polish it,
make it better. It can certainly do those things, but
only when your act is together -tight, ptolished and
better than you've ever been.
Reality check: there is no magic studio dust that falls
on you, hides your weaknesses, covers your inade-
quacies and makes you sound like a roclk star.
Go into the studio with the attitude of a samurai
warrior. Think of it as it is--a monster that, if you get
on itS bad side, can stomp your musical dreams into
the ground. The studio records exactly how you sing:
not how good your song is, not your good intentions.
It doesn't take into account your winning personality
or your charming smile. It's reality, and it's ruthless.
When you're singing around your living room, you
sound great. You have a decent voice and you're
singing your heart out. The living room is generous.
The studio isn't. Normally, if your vocal chops are a
little sloppy and you're not exactly on pitch, or if you
struggle with that high F-no biggie. That all goes
unnoticed when you're performing live. But when
you're recording, any sloppiness or previously unno-
ticed flaw can be glaring and can quickly transform
you into a studio nerd.
Before you think about going into the recording
studio, get as good as you possibly can.
56
Studio Shopping-Looks Can Be Deceiving
Studios are a lot like roaches: just because there are
only a few that are visible doesn't mean there aren't a
million lurking behind the walls. Allow yourself up to
a couple of months to find the right recording studio.
Any decent-sized city will have several professional
studios. They will be well-known and even listed in
the yellow pages. Once a year, Mix magazine, a
magazine devoted solely to the art of recording,
publishes a listing of studios for every area of the
country. The list contains many commercial studios
that arc big, wonderful and expensive-probably $200
an hour and up. These studios often record many
bigger bands, have lots of commercial clients and
sometimes double as a sound stage. Mix also lists
relatively inexpensive, smaller studios and so is a
good place to start looking.
Check out as many studios as you can, even if the
bigger ones are way over your budget. For one thing,
most of these places have special weekend and late-
night rates that could bring their prices within your
reach (assuming you have a long reach). As part of
your studio education, go look at everything, even
though you probably won't be recording at one of
these big studios.
So much for the "visible roaches." Now it's time to
look beneath the surface.
Where the big boys and girls play:
Abbey Road Studios, England.
There are probably many "underground" studios in
your town. These won't be listed in the yellow pages.
They are elaborate and not-so-elaborate home and
semiprofessional studios located in somebody's
basement, garage or bedroom. They have anywhere
from 4 to 32 cracks and vary wildly in price and
quality.
Mose beginning rock singers and bands do their
recording in these studios. You'll find them through
notices on the bulletin board of your local music
store. If there's an alternative magazine or newspaper
in your area that appeals to musicians (distributed in
clubs, used record and clothing stores, etc.), you can
bet they will be listed there. You'll even find some in
the classifieds of your daily paper.
Keep an open mind-and be suspicious at the same
time. Nice-looking studios with smooth-talking
owners can actually be run by people who don't
know what they're doing. Just because they own a
studio and have a great bunch of shiny new equip-
ment doesn't mean that they know !how to use it.
 57

Sometimes the least impressive looking place can be

the best place in town. When we were studio shop-
ping, we heard about a guy who turned his little
house into a studio. It was in a run-down neighbor-
hood-a real demilitarized zone-and his house was a
one-room shack.
But he had it crammed with top-notch equipment. An
ugly, torn-up couch took up what little room there

I
'
was (he slept on the floor-he was terribly bohemi-
an). Because of his low overhead and because he
lived in a location where running water was consid-
ered a luxury, he could cut a ridiculously good deal.
He turned out to be one of the best engineers we've
ever worked with. He was incredible and produced
high-quality recordings for dirt cheap-you just didn't
want to drink from his coffee mugs.
So how do you know? Obviously, finances are going
to dictate a lot. But when you go shopping for
studios, remember these points:
• Check out a sampling of projects that have been
recorded there. Don't spend money on a studio Evan Smalley is owner
without hearing previous results. Sit and listen and engineer of The
Studio, a 32-track studio in
carefully. Does the music sound good? Can they
Kansas City that records a
do your type of music? Trust your ears. Plus, for lot of low-budget demos.
whatever they choose to show you, find out how He says poor musicianship
long it took, how much the group spent on the is the most frequent cause
project and if you'll get to use the same engineer. of bad recording sessions.
ulf you suck, don't record
• More than any other person outside yourself, the yourself. Other than that,
engineer will make or break your project. In be as prepared as you
most instances, semipro and home studios will possibly can. Also, bring
an extra set of lyric sheets
be engineered by the owner. Is this person
complete with chord
competent? Do you like this person? Is this changes for the engineer.
someone you feel comfortable with? You can It can help when he or she
record with great engineers who are jerks and is recording you and
get bad recordings. You can also record with especially later during the
really great people who don't know what they editing process. n

are doing and get bad recordings. You want

someone who knows what he or she is doing
and is easy to get along with. The engineer is as
important, if not more, than the studio or the
gear it offers.
58
The Producers
Most of the time, singer/songwriters or bands will be
doing everything on a ridiculously low budget. The
question of a producer will come up.
Traditionally, a producer is a person hired to super-
vise the entire recording process. He or she makes
the final decisions on sounds, effects and the mix,
offers suggestions on arranging, etc. In the world of
professional recording, producers do everything from
ordering pizza to playing on projects to even cowrit-
ing songs (on Alanis Morisette's ground-breaking
jagged Little Pill recording, producer Glen Ballad
cowrote all the music in addition to playing guitar.)
You may know someone who's had studio experi-
ence, who you respect and are comfortable with, and
who's willing to come in and help you with your
project for free. This is great if it happens, because an
extra pair of ears-especially a pair that knows the
turf-can be a great benefit. If you're lucky enough
to fall into this situation, go for it, but know what
you're expecting from each other ahead of time.
Singer/songwriter Stevie Wonder has been on the forefront of pop music since the 1960s. To get his vision of his music recorded
exactly the way he wants, Wonder has often produced his own best-selling albums.
Friends may volunteer to produce your record. Even
if they aren't going to cost you anything, think long
and hard before you give up any control on what is
your (or your band's) project: If you're really comfort-
able with someone else and know they can help you
out, then give them "coproducer" s.tatus-with the
clear understanding that it is you who has the final
word. Even if you have no idea about the details of
your music and the whole process intimidates you,
you'll be surprised at how many definite ideas and
strong feelings you have about yom music once you
get in the studio. And that's a good thing ...
You really don't need to worry about trying to hire a
producer. No one knows your music like you do.
Even if you've never been in the studio before, if you
do your homework, you'll do fine without one. Also,
many times the engineer will act as a coproducer.
Ideally, he or she is a musician and songwriter as well
and will be able to help you. Don't be afraid to take
the producer's reins into your own hands.

Arranging Your Music
If you're recording with a band, before you start,
take a hard look at the arrangements of your songs.
(An arrangement is essentially how a song works
musically-that is, which instrument plays what part
and when.) If your band is already playing the
songs live, then you probably have parts worked out.
If this is the case, you'll still want to rearrange. What
works live doesn't always work in the studio (and
vice versa).
Maybe you're known as a hard-rocking, high-energy
band, every one of whose songs is louder and faster
than the previous one. That's great for playing clubs,
where people love to bump and grind all night, but
for a recording you will want to work in some musical
subtleties and dynamic variations to make your sound
musically interesting. Beating your fans and A&R
people over the head with the proverbial sledgeham-
mer of "loud" doesn't make for an impressive record-
ing. (Take a listen to Nirvana's "Smells Like Teen
Spirit." As loud and driving as that tune is, it becomes
all the more compelling when it drops to the quiet
bass, drum and two-note guitar part.)
If you have a band, play every song you're even
remotely thinking about recording live before you
step into the studio. Often you'll write the Great
American Song, work out a killer arrangement that has
your heart throbbing all over the place, put it on tape
and have it turn out to be a big ol' lame duck of a
tune. If possible, play your songs live and experiment
with the arrangements. Play them a couple of differ-
ent ways, reworking until you've got them down.
There are a million different ways to arrange a song,
and part of getting a good recording is finding the
way that's right.
If you don't have a working band and know some
musicians, get together and jam on your tunes enough
so that you can have a little party and play for people.
Getting instant feedback--even in the form of body
language~an help you decide what to record and
what not. You never really know what's going to
move an audience until you play in front of one. If
there's any way you can play the full arrangement of
your music in front of people, even if it's a select
group of friends, do it.
Ideally, you'll have twice the number of songs in your
repertoire that you want to record. By playing all of
them live, you'll be able to gauge the best material
and arrangements, and record the best of your best.
59
Lean Is Mean
A common problem with singer/ songwriters and,
bands is that their music is way too busy. Some
"busy" bands can almost get by playing: live, with the
excitement and energy carrying them through. But
being too busy-having a lot going on musically all
the time-generally makes for bad music.
This is especially true when you put music on tape.
You want your recording to sound professional, and
that means uncluttered. You want A&R: reps, fans and
yourself to be able to hear the music come through,
not be mowed over by a wall of sound. Before you
go into the studio, listen hard to your music and look
for places to trim it. "Less is more," and all that stuff.
The Whole Is Greater than the Sum
To get a great sound, you need to take your music
apart. Each instrument needs to act as a piece of the
puzzle and fit together perfectly with th e others.
1
This is a typical situation: say the rhythm guitarist
wrote the song. She's always strummed. all the chords
on every beat. The keyboardist plays the full chord
with lots of fills on every beat. The lead guitarist also
strums all the chords on every beat. Since it's a
rockin', driving song, the bassist plays fast quarter
notes all the way through, and the drummer, to create
a lot of excitement, adds a lot of fills and cymbal
crashes.
This is a common way songs come about, but if
you're going to have a great sound, it's one you need
to rethink. Each musician playing your material needs
to think of making a pan-not just duplicate what the
songwriter shows them.
For example, the rhythm guitarist might want to play
half as much (say, half-note strumming instead of
quarter-note strumming). The keyboardist might
consider just holding part of the chord (s:ay, the root
and the fifth) on the chorus to create tension and
interest. The lead guitarist might want to accent the
occasional chord, adding emphasis on important
beats. The drummer might consider doing that big
drum fill only once at the end, when it w ill really pay
off. With everyone playing less, the bass player might
still play her quarter notes, but now that the song is a
lot less cluttered, it will really be driving.
Experiment with different arrangements--but do it
before you step into the studio. Never forget that the
studio is not the place to try new things. Have it all
worked out before you get there.
 60

Background Vocals
Background vocals add to most arrangements. Even
heavy metal bands use background vocals effectively.
For your recording, you need to consider them. But if
you choose to go with background vocals, they need
to be done right. Of course, having people who can
sing can be a serious advantage. Many amateurs
make two big mistakes with their background vocals:
they use their friends or band members (whether they
can sing or not) and they don't rehearse.
Even though a lot of people can carry a tune, it's
important that you get people who can sing well.
This is tricky, because egos are involved. Sometimes
the keyboardist can get by doing a small background
vocal part playing live, but under the microscope of
the studio, face it, he's not cutting it.
If you have to, look outside your band to get good
singers. Church and school choirs are good places to
look, since many of these singers already know how to

I
0

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8 i.=a...:o.;.;..-...

The solid, rich vocal harmonies of Boyz II Men, combined with their ability to blend many musical
styles, have propelled them to the tops of several charts.

blend and harmonize. Also, another local band known
for their great vocals would be a good way to go.
Background vocals are tricky, because a lot of people
who record and sing lead don't sing exactly on key,
and they get away with it. But background vocals
need to be on, or they make the music sound like it
came from a novice.
There have been instances of a well-intentio ned
performer bringing in background singers without a
rehearsal. A simple background vocal on a simple
tune may seem like no big deal, but for maximum
efficiency, every detail needs to be wo rked out before
the tape rolls. Rehearse everything you can before
you go into the studio. This certainly goes for "sim-
ple" background vocals.
How many singers do you need? If this is one of your
first sessions in the studio, err on the side of caution
and keep everything you plan to do as simple as
possible with the fewest people involved.
If possible, try to simulate the studio environment (let
your vocalists listen to a recording of your music,
even if it's just you singing or playing into a boom
box). Find out what the engineer's preference is in
terms of recording background vocals--whether it's
wanting all the singers to sing into one or two mikes
as a group or wanting to mike each singer individual-
ly. If the engineer gives you a choice, have your
vocalists sing together into two mikes. It's simpler, it
takes up fewer tracks, and you'll get a better blend.
As the singer for the band, you may be tempted to do
the background vocals yourself. Billy Joel, Joni
Mitchell, Sting, The Artist (Formerly Known as Prince)
and many others are known for overdubbing their
background vocals successfully. When you have a
few albums under your belt, by all means, knock
yourself out.
Even competent, multitalented musicians should avoid
doing excessive overdubbing of any kind on their first
trip into the studio. Overdubbing vocals is hard and
frustrates the most talented and experienced musi-
cians. Even if you sort of pull it off, you're not going
to get the rich, full diversity that having other people
sing background can provide. Finally, doing a bunch
of single overdubs on anything will cost you more
than if you just get a group together and lay it all
down at o nce.
61
Preparing Yourself
No matter how long you've been singiing, your .
technique can always be improved-es pecially for
recording.
Practice alone (ideally, with a microphone) and sing
all the songs slowly. Now is the time to nail down the
subtleties of the music (dynamics, legato vs. staccato,
etc.). If you've ever thought of changing a key for a
song so you can sing it better, now is the time to do it!
(Often, for some reason, rock singers can sing a song
fine on stage, but when he or she goes to record it
under the microscopic environment of the recording
studio, he or she needs to move it up or down a
key- a very expensive proposition if th e other
1
instruments have already recorded their part!)
Singing your part alone is important because
sometimes when you're practicing with a group
(which, of course, you should continue doing), you
listen to the whole of the song instead of your part-
which is what you should be doing. Buit the studio
will dissect your music, so everyone needs to have
every part down. One of the biggest miistakes is
being unprepared, so practice smart.
Sectional rehearsing is important, too. If you're
singing background for someone else and they're
singing background for you, get together and practice
just the background singing.
Your Voice
As we've previously pointed out, since your voice is
permanently attached to your body, you need to take
special care to do whatever you can to avoid colds.
Before you sing, avoid any dairy produclts, because
these can cause unwanted mucus. Are you a day
person or a night person? When does your voice
sound best, and when do you most feel Bike singing?
Schedule your vocal session for the time of day you're
most comfortable singing.
Singing can make you feel self-conscious, so remem-
ber, no request is too weird. Ask everyone to leave,
or ask them into the vocal booth to hold your hand.
Ask to sing in the dark or with a spotlight on you.
Final Preparation
Don't overlook anything. Anticipate any potential
problem and take care of it before it happens in the
studio.
62
Overdubbing Versus Live
Overdubbing is the process by which tracks are laid
down individually, one at a time. For example, the
drummer first plays his part alone, then the bass
player plays her part alone while listening to the drum
track, then the guitarist, etc. The tracks are thus
"layered" on top of one another. Recording "live," on
the other hand, involves all the band members record-
ing together at the same time.
Even in a live recording session, overdubbing is
usually done-maybe it was a great take except the
keyboardist made a major error on the second chorus.
Through the magic of the studio, you can go back and
fix that mistake without having to rerecord the entire
part or song.
Here's how this is typically handled: After the take,
the keyboardist will listen to the recording, then play
along with it alone. When they get to the flubbed
part, the engineer will "punch in" and record over the
mistake, then "punch o ut" and save the rest of the
recording. Of course, you don't want to count on this
option-you want to get it right the first time--but it
is a common way to fix things. Sometimes, because
of the complexity of the part, punclhing in and out is
not possible, in which case the keyboardist will have
to do the whole part again by himself.
Most sessions make use of both approaches. At the
very least, the vocals are overdubbed after all the
other tracks have been recorded. (Sometimes the
band needs the vocals as a guide, in which case you
may want to record what is called a "scratch vocal
track"-a track you intend to erase, but that serves as
a guide for the band.)
If you have a well-rehearsed band or group, it is
recommended that you record with as many of the
instruments at one time as possible. This will save
money (because it won't take as long) and will be
easier on your needs.
Overdubbing every track can lead to a more technical-
ly precise recording. With this
approach, the rhythm guitarist
plays the song alone--0n just
that part-and punches in and
out until the part is perfect.
Then the b:ass player sits
down and JPlays until she
makes it perfect, and so on.
But unless you're a studio
pro, the problem with this
approach is that it can lead to
a lifeless performance, void of
any energy or excitement,
even if everyone has over-
dubbed every part perfectly.
And it's definitely more
expensive.
If you're on a budget and can
rehearse your musicians, your
recording will be better and
more economical if you lay
down as many tracks as yo~
can at once, overdubbing only
for the occasional mistake,
sweetening with an auxiliary
instrument, and then record-
ing the lead vocals.
On her album Fat City, Shawn
Colvin was ahle to layer rich
orchestrations: through overdubs
without cluttering her tunes.

Pacing Yourself
Under the category of "it's going to take longer than
you think" falls the inevitable late-night session.
Often musicians go into a session scheduled in the
evening, say at 7 p.m., thinking something is only
going to take three hours.
Suddenly, it's 1 a.m. and you're just getting to what
you need to do. Tense and stressed about going
overtime after what may have already been a long
day, plus thinking about what time you have to get up
in the morning ... well, let's just say it's not conducive
to doing your best singing.
Even if it's a Saturday and you go in free of any time
constraints, trying to do too much in o ne session can
lead to weak performances. The problem is that there
is usually pressure to get things done quickly (and
cheaply), and the grind of the studio can create an
atmosphere of hurry-up-and-wait that can be aggravat-
ing and creatively draining.
Recording can be a draining experience, so try to
break it up into several chunks of time. Don't sched-
ule time slots that are too short to get anything accom-
plished (you need at least three hours). Don't do too
much at once or let the session go hours longer than
you had planned.
Even if you try to avoid having late-night sessions,
they are still going to have you. Often studios offer
discount prices if you book big blocks of time, and
often the cheapest time is late at night. There will be
times when doing a long, late-night session is
unavoidable. If this is the case, go in as well rested
and "on" as possible. Not to sound like Mom, but get
a good night's sleep and don't go into the studio until
a full 30 minutes after you've eaten.
Studio Do's and Don'ts
This important, expensive and time-consuming event
shouldn't be taken casually. It's a serious business
venture. To get the best recording and have every-
thing go smoothly, consider the following:
• Drink plenty of water! Keep your voice limber
and warmed up and definitely do a few exercises
from this book before you record. Don't talk
more than you have to between takes ... and if
your voice is becoming too stressed, then stop
and rest. Reschedule the session if you have to.
Nothing is more important than the health of
your voice, in or out of the studio.
• It's a session, not a party. Don't have anyone in
the studio who doesn't absolutely have to be
there, especially boyfriends and girlfriends. The
recording studio has a certain mystique, but it
can be one of the most boring places on earth.
Having friends, well-wishers and significant
63
others around trying to keep themselves amused
can be extremely disruptive, even if they want to
come hang out under the guise of being "consul-
tants." Remember the one about too many
cooks? Well, after dinner, they ruined the ses-
sion, too.
• Don't keep beverages of an intoxicating nature
around, even to "loosen you up." No one sings
better under the influence of anything, especially
in the studio. This is true for all drugs. Don't
do them.
What to Expect When You're
Recording
A word about actually laying down you1r vocal track.
The studio will probably be a new environment for
you, and you'll feel awkward and nervous as a result.
Even if you're recording in your own home, you
won't be used to many of the miscellaneous studio
trappings (headsets, click tracks, cables, etc.), so keep
a couple of things in mind:
• Make yourself as comfortable as possible. It
sounds obvious, but often an engineer will have a
chair set up for you. But maybe it's not comfort-
able, or you want to stand. One musician we
knew always brought his own stool to the stu-
dio-that's what he practiced on, that's what he
was comfortable with, and he didn't like the
studio chairs.
Some artists need to simulate a live environment
and need to stand before a microphone (even if
it's not plugged in), imagining an audience in front
of them. Then there's the famous "shy vocalist"
syndrome-when a vocalist needs aU the lights
turned out, including those in the vocal booth, to
belt one out. Legend has it one guy was only
comfortable singing with all the lights out, buck
naked. This is a little extreme and isn't advised,
especially for really ugly singers.
The point is this: do whatever you need to make
yourself comfortable. Your personal comfort will
add significantly to your performance.
•Have fun. Too often musicians not used to
recording get too nervous, too tense, too caught
up in the details. Although it's important to work
hard and pay attention to every note you sing,
that's before you actually record. Once you're in
the studio, you've done your homework.
The more you relax and have fun, the better your
recording will turn out. Recording is more than
just getting the notes and parts right; i1t's creating a
feeling. It needs to have soul and personality, so
don't get uptight or nervous. People like to hear
people having fun (yes, it does come across).
64
Headphones
You'll be sitting there ready to sing with a set of head-
phones on. The sound in your headphones can be
mixed a number of ways, ranging from just the click
track to the entire band, from whatever you're doing
and hardly anyone else to everyone else but you.
Before you start recording, the engineer will ask you
about your "headphone mix." If you've never
encountered this before, you won't be sure what to
ask for. Getting the right mix in your headphones is
crucial, and the right mix will be drastically different
for everyone doing a part. A singer may want to hear
a mix of all the instruments, while a rhythm guitarist
may want to hear only the bass guitar.
Getting a comfortable headphone mix will be crucial
to your playing in synch and producing a good track.
Often newcomers are intimidated by the studio and,
in the rush to get things done quickly, settle for a mix
that is difficult for them to sing or play along with.
Get used to singing while wearing headphones before
going into the studio.
Don't hesitate to change your mind. A mix may sound
just right, but when you start playing it can be all
wrong. Stop the track, and tell the engineer you need
more of "x" and less of "y." Change it for every take if
you must. (Believe me, engineers are used to this.)
Do whatever is needed to get a good mix in your head.
One more pointer: Don't cover both your ears with
the headphones. Place one phone tightly against one
of your ears and the other tightly against the side of
your head. This way, you'll hear yourself singing in
the room, which will help keep you on key and let
you concentrate on the real tone of your voice.
The Final Mix
The lead vocal is the most important part of a song.
When people listen to a song for the first time, they
listen first to the melody. Since the melody is carried
by the vocal, it needs to be heard.
A common error is this: The singer/ songwriter is also
the sole producer. He really hears his voice for the first
time in the mixdown and it makes him a little uncom-
fortabl~like it does any of us when we first hear our
voice reproduced on tape. Consequently, the vocal
track will seem loud to him, and he'll keep saying things
like "Does the vocal have to be ·up that much in the
mix?" The engineer will oblige him, and he'll accidental-
ly bury the vocal in the mix-a sure sign of an amateur.
Remember that as your recording goes from master to
mixdown tape to cassette tape to car stereo speaker,
the sound quality w ill degrade. Some of the higher
frequencies will be lost, and most vocals are in the
higher frequencies. So even when the vocal seems a
little "too much," it really won 't be by the time you
hear it three or four generations down the line.
Keep your insecurities in check, and make sure the
lead vocal is always prominent. If you have to bury it
too much, you may as well bury the tune.
Final Word
We covered a lot in this book, and the more you're
able to absorb and put into practice the better a rock
singer you'll be. Refer back to it frequently, and keep
working through your favorite exercises and songs.
But if you don't remember anything else, remember
the following:
1) Take care of your voice. You've got to keep it
healthy and avoid straining it. llf you're ever doing
something that physically feels bad, then stop
immediately! Also, always warm-up before
practices, performances and recordings.
2) Sing in a comfortable range and make the band
change keys to suit your vocal needs. Singing too
low or too high can damage your voice, besides
make you sound bad.
3) Believe that you can sing. Sing with confidence,
energy and conviction always.
4) Always bring plenty of duct tape to your gigs.
(You'll need it-trust us.)
5) Be yourself and find your own style. Copying
others will only delay your own success.
Learn as much as you can about technique , singing,
performing, music, arranging and recording. The
better musicians always know the most.
And remember: Singing is the first art, and the most
expressive of all the instruments. So trust your
instincts and sing with passion, and you'll never be
wrong-unless you trip on the mike: chord. So don't
do that and you'll be great.