Good Vibrations: 'Vibrato' put to the test!

Greetings singers, non-singers, connoisseurs and hacks alike; I’m going to dive right in to a subject that I find to be simultaneously perplexing and at once clarified: vibrato. I am going to give a few definitions of this not JUST for the non-singers but for everyone; I find there are many “singers” that don’t know what the hell vibrato is (like trying to define ‘electrolyte’).  Literally, vibrato means ‘to vibrate’ (it’s Italian, chumps). Webster implies it is, “a slightly tremulous effect imparted to vocal or instrumental tone for added warmth and expressiveness by slight and rapid variations in pitch”. In laymen’s terms, (EXTREME laymen’s terms) it’s that shaky but somehow relevant after effect a singer or instrumentalist produces when holding out a note…applied appropriately by masterful opera singers, inappropriately by musical theater singers attempting to sing pop music, and thanks to Liza Minelli, made into a strange but captivating art form.

I’ve always found vibrato fascinating…I used to think it was a sign of vocal maturity and prowess; a gateway into singing adulthood. My vibrato “developed” as something of an anomaly…I mimicked, copied and manipulated through high school; had it steadied and situated in college via Baroque singing and getting ‘sing on your breath’ screamed at me for four years. Post undergrad I found a teacher who helped me realize the beauty of the straight tone sound, and now I really don’t know where I stand. I use it sparingly…and rarely for ‘effect’. It’s a fascinating thing, vibrato; with age and poor support it turns into an intriguing wide warble that rivals a European police siren. Some singers propel their speed of light vibrations through melismatic journeys…classical and pop music alike (from coloratura mezzo Vivica Genaux to Beyonce).

Many voice teachers identify a mastered singing sound as one with vibrato; as this apparently defines a proper vocal line. I beg to differ, as I know that resilience in singing (myself included) can be ever present with a simple relaxed straight tone sound; but I’m not here to give voice lessons, I charge for that stuff. I think vibrato is easily appreciated and understood when examining the beautiful differences in sound between singers. I confess, I only prefer it with select opera, 1970s adult contemporary, legit musical theater, old school gospel and some country music (that is a wind range, however). Do YOU have a ‘fav’ in terms of vibrato? My favorite singers’ vibrato do not necessarily relate to my favorite singers…but I will say that coming from someone that is just about over the head issues my vibrato has caused me, this list of singers reminds me that despite our differences, we are all under the same sun.

Lizz Wright

Kurt Elling

Dolly Parton

Carolee Carmello

Kathleen Battle

Nat King Cole

Ann Hampton Calloway

Johnny Mathis

Beyonce

Karen Carpenter

Donnie McClurkin

 Joni Mitchell

…and my favorite vibrato: Mahalia Jackson

Something about the vibrato of these singers is distinct…some of it is a bit of poor technique, but singing technique is up for debate these days (and if you aren’t aware of that, go into a recording studio sometime). Look up some of the above singers if you haven’t heard of them…you’ll find a plethora of colors and interpretations. I did my masters in jazz singing…and I will say that other than the occasional crooner, I do not agree with a luscious wide vibrato in jazz singing. Personally, I don’t swing that way; hell, this is 2011…swing any way you want. Want a tip? Go natural. Whatever that means to you (just don’t go streaking down 9^th avenue tomorrow afternoon and said I suggested it. Be sensible, ya chump).  Stay tuned for more singing insight…over cocktails, preferably.

Breathe deep, friends J

'Gee, Thanks!'...a few few lessons learned.

I didn't grow up in a bar, per say. That would have either been entirely too fabulous, or rather an understated form of child abuse. I was, however, allowed to sneak up to one from time to time on Friday or Saturday nights from the time I was 8 years old. Why? For a nice sensible beer? Hardly. My dad played (and still plays) drums in jazz, rock, soul and funk bands at a small, ornately decorated Italian restaurant in my hometown; he also serves as the entertainment manager and has been playing at that restaurant since before I was born. It was here that I heard my first taste of live music....the sweaty, blues guitarist with the gap between his teeth; the short, bubbly blues mama with bleach blond dreadlocks and a voice low enough to rival Bea Αrthur, and also some house hold names such as bassist Ron Fudoli and trombone legend Harold Betters-who has played with Ray Charles, Louis Αrmstrong and other greats.

Ok, you get the picture. I also took music lessons from the time I was three and went to undergrad. and graduate school for music; which paints another picture that is just as informative but far less interesting. I'm glad for both of these experiences for the entire sake of learning thus far what TO do, and a little bit of what NOT to do. For the sake of this blog (some of my friends have come to expect a 'funny' blog every time) I could give you some pretty good insight I've learned from those times I was out at my dad's restaurant (including the fact that years later I find from time to time that the Shirley Temple is STILL one of the only drinks NOT bettered by adding alcohol to it's makeup); but instead I'm choosing to go to academia on this one and give a list of things I've learned from my private voice teachers that have helped me learn a little bit about myself, my voice and life in general (off the beaten path of course...names are not used to protect the 'innocent', hehe). I need to give at least a little nod to academia...I can't be in this much debt for NOTHING, after all...

1. Sometimes it is best to interrupt a teacher when he or she has gone from how 'it's rude when others' applaud in church' to 'vienna sausages are not actually that bad' and show no signs of starting the lesson anytime soon.

2.  The voice is your body's instrument...but it is not your body's only instrument. Do not flaunt either; and use them both wisely.

3. Some singers need Throat Coat tea, a 20 minute warmup series, 8 hours of sleep and a netty pot. Others need a glass of water, black coffee and an advil.

4. Between the teacher and the student, a canceled voice lesson due to 'health reasons' can occur up to every other week.

5. The Cliff Bar is an amazing thing; especially when you are locked in a practice room for six hours.

6. Kermit the Frog is never a good listening reference when learning an art song.

7.  Sing on your breath. Don't ask me to explain it. Just sing on your breath, damnit.

8. Make friends with your accompanist.

9. Better yet, learn to play the damn piano.

10. Α martini glass should be ''caressed'' not ''held''.

11. Stirred, never shaken; bruises the gin. (oops, I'm sorry I got distracted...that's advice from Αuntie Mame)

12. Sometimes ignorance IS bliss...especially when auditioning for a professional theater company with the most over done song of the year; simply because neither teacher nor student knows any better. (I got the job, by the way.)

13. Emotions run high. Expect the first 15 minutes of a voice lesson to be a lot of venting and possibly crying.

14.  I am not, and did not ever attempt a career in opera; but thanks to some great work I can actually sing an aria...not just ''get through it''. 

15. I am not a counter tenor; but somehow I sounded enough like one to fool half a voice department for two years.

16. Gasp! There are opera singers that smoke cigarettes!

17. There are some personal stories and information that are better kept outside of the lesson.

18. Singers are messed up, man. Messed. Up.

19. The biggest difference between a classical voice lesson and a jazz voice lesson is the speed at which the room vibrates.

20. Most importantly, don't take singing so damn seriously: 

Scratch your ass...and sing.

That's all for now. If you didn't learn something, hopefully you related to a few of these. Or maybe even remember saying these things. ;)

Breathe deep, friends :)

"The Judgement Zone." (NERVES: Part 1)

I got into a philosophical debate with a friend recently (actually it was more like "us against our conscience") as to whether or not we are judgmental people. He claimed we were hypersensitive, highly aware 'people watchers'; I was playing for the 'we were caddy and borderline cruel' team. The conversation didn't last long and had no definitive resolution-yet afterward, it got me thinking of what I notice about people via first impression; how often I assume one thing and stamp him or her as "that kind of person". I'm pulled in two directions here. Many sources...from the Bible to my ex (what a gamut) have said 'judge not' yet we are told about the importance of first impressions: the clothing, the firm handshake the eye contact-be it an interview, audition or first date.  Most every thing about this bothers me, but it's a fact of life (kind of like the show Glee). As I mentioned in last week's post, there are many variables that as singers we rarely relate to performing-whether it be in an audition or a late night rowdy gig. Whether you are a big 'ol cad or a Meek Milly who's just landed in vulture city, sometimes you have to fight fire with fire. You may not like it, but YOU are judged-and picking up on others' mannerisms, body language and overall demeanor can help you gain an understanding of who and why people 'are' the way they are...at least in the moment. Being one step ahead of the game in this sense can deter factors that welcome nerves during crucial moments.

I'm going to put aside the audition room and speak on performing in general. Be it song choice, banter or energy level, too often performers who are prepared and talented leave no room for the 'room'. This is easier thwarted in a non musical theater setting where a third wall isn't present (although many musical theater singers carry their persona through EVERY setting). Bottom line: if you find yourself getting nervous after all this other 'stuff' is out of the way, perhaps you haven't considered reading YOUR room. Is everyone drunk? Have they been waiting long? Is it an older crowd? These are quick (and I do mean QUICK) observations that can lead to an easier time...especially if your life experience is a little behind your fellow bards. You can counter the drunk insult, laugh off the old man snoring in the back row and be prepared for what would have normally set you asunder.

I was at my third callback for a piano/vocal broadway role last year (gee, one guess what that would be) and I remember sitting down to take a deep breath before beginning. Immediately, without warning, someone on the panel yelled rudely..."well, there's black ones and there's white ones, honey." Ok, I'm laughing now, but at that time I was NOT laughing; what an asshole; and yes, it got my heart racing. Would it affect me as such if I did it again? Probably not. Believe it or not, the 'assess and diagnose' elements of my music education training have helped me to identify and examine people as people be it in a music setting or social situation. I think if I would have given the panel a quicker once over I would have read an energy there (now I just expect it) that would have made this miserable person's comment far less off putting. You have to get out there and people watch..and I don't mean on a park bench! Bars, department stores, restaurants, theater lobbies, concerts or protests (wear headgear please).  It aids you in an understanding of what makes others' tick and also helps you to readily dismiss the rage/nerve/stress response.  Whether you call is assessing, observing, judging or reading; let yourself go a little bit. Keep it to yourself and use it to your advantage. See the best in others but know that stereotyping your audience is natural-be it a casting director or a nursing home.

Next week I'll get into a little heartbreak and a whole lot of lovin'!  As usual, my disclaimer stands firm-these are off the beaten path elements designed to aid you in areas you may not have explored. Some people are hard to read, but believe you me...24 hours a day, 7 nights a week...as entertainer RuPaul has mentioned numerous times: "The library is OPEN".

Breathe deep, friends :)

NERVES: The lowdown on the breakdown! (Prologue)

This series begins with an introduction; the introduction begins with a story. Two people. Two separate occasions. One large city. Let’s start with Norman.

“Norman” (I swear, every Norman was born with quotes around his name) was sitting in the waiting room of a large casting agency studio, awaiting his 11 a.m. callback; after three weeks of heavy duty preparation (character study, a master cleanse, bi-weekly bikram and an encounter/stalking with the real life personality he would hopefully be portraying) Norman more or less had it in the bag.  The moderator called his name and Norman stood; poise, presence, a slow but steady gait; his winning smile charming even the bored looking potato faced accompanist peering out from the room. Norman distributed his resume and nodded to the accompanist: this was it. Hello, Broadway debut…

Let us leave Norman for a moment (I find his kind obnoxious anyway, and I could use a minute) and peek in on Rebecca. Same city, different day. She had a hell of a week: she was burned out from three days of double shifts, her cat pissed on her stone age yet still functioning laptop and she was 200.00 short for next month’s rent. On her first night off in ages, Rebecca received a desperate call from her singer friend that the local blues/dive club down the street was out a singer. Rebecca was in fact an aspiring singer (ah, aren’t they all), but hadn’t even looked for a gig in 5 years. Desperate and pretty bombed, Rebecca (who knew the Etta James, Aretha Franklin and Janis Joplin songbook by heart along with countless Bessie tunes and Muddy Waters’ penned classics) shot down there faster than the half a bottle of Makers she ingested-slamming her apartment door (not even noticing the damn cat had escaped).  The band was set up, the place reeked, and the room was packed. Rebecca stumbled on stage, looking like the beautiful mess that she was, and opened her 30 year-old mouth as the band started vamping.

Stop. I’m sorry; I know you were just as interested as I was to hear Rebecca sing…I imagine she would sound a bit like Bonnie Raitt with a surprisingly flexible upper register. Anyhow, my question for you is, who had the best luck/got a job? Was it Norman the Narcissist or Rebecca in the Raw? Well, just hold up my friends. I have two confessions to make; one is, I hate clinical auditions and try not to ever go to them except once a year for a social experiment. I think they are needlessly traumatizing: find a network, schmooze, and land an interview in someone’s living room. Sorry…additionally, I lied to you; there is another character I’d like to introduce: David. Little David, the guy you love to hate; kind, self aware, humble yet confident. It’s 12 PM, and he is in Nashville, on a comfortable couch 40 floors up. He is about to sing for a relaxed and friendly looking recording executive. The pressure is ‘off’, and David, in mid conversation, sings the first 16 bars of a well known country classic; a casual move that little does he know will make or break his career in the recording industry.

Ok, you THINK you know. Who ‘wins’? Well, here’s the deal: NONE of them. I hate to be the bearer of bad news, but they all croak; well, Norman croaks (actually it’s more like the sound my roommate’s lovable but neurotic Pomeranian makes when you step on his tail), Rebecca forgets the words (and then passes out) and David (who has been singing professionally for over 25 years) can’t seem to stay on pitch. Bad luck for these unfortunates? Poor training? Allergies? Play the blame game all you want, but the culprit is something that affects singers and non-singers alike: nerves. I’ve heard professionals and amateurs claim “I don’t get nervous” but from what I’ve observed and experienced thus far, I’ve noticed there are rarely any exceptions. Nerves are the ultimate nemesis, and they can be ruthless. This is technically a singers’ blog, and although nerves affect countless instrumentalists I will say that singers have intense vulnerability when it comes to emotional attack. I know this because I myself am a dual pianist and vocalist, and nerves do not even remotely affect my playing in the way they do my singing. Lyrics can trigger emotional impulses, dry air quality in the room can mess with not only breath but tone and mental state and other underlying environmental issues such as allergens can throw off something enough to get the nerves flowing.

I have learned so far that I can be in control of factors such as technique, preparation etc.; but for all intense and purposes of this series I say to you, oh singer:

If you have not nearly mastered your own workable posture, breath support, and embouchure (be it through voice lessons, natural ability or a few years in the trenches alongside pros) your failure level is a red alert. Don’t even get me started on preparation. HOWEVER if these things are a go, there are certain “scratch your ass and sing” factors that you may have not considered that could be the reason for a random nerve attack. In this series on nerves I will explore factors that deal with perhaps the way you may live your life; from your social calendar to your reflexes. Is this a tried and true method? Listen, I’m a 28 year old with a crazy resilient instrument and a masters degree in voice; I’m no magician; but this will help. I swear to you. In the next few weeks, I’ll explore some underbelly and give you a few new ways to look at singing so that when nerves come a’knocking, the voice keeps…rocking? Sorry, that’s the best I got. Stay tuned.

Breathe deep, friends :)

Believe=Declare (What's your Anthem?)

I recently spent a week in Pittsburgh (south of my hometown) to teach a singing workshop to 28 pre-college students. Many of these students are pursuing a career in musical theater, but all of them are enrolled in a phenomenal theater summer camp that also serves as a year round musical theater training program. These high school students turned out to be possibly the most driven, attentive, talented and respectful individuals I have ever seen in one room together. Throughout the course of the week, I "demoed" a contemporary pop/jazz/blues/studio singing workshop in which I used a combination of approaches and philosophies including what I've picked up through my graduate school training, late night jam session hangs with crazy blues folk, teaching insight, and love of gospel music. Each and every student was eager and willing to try everything-from circle singing with hand weights, to reading down a jazz chart, to writing and performing his or her own blues song. By the end of the week I taught a small group of these students a song I had written as the title track of my upcoming album, "Anthems". It was written as a duet but I rearranged it as a 4 part choral number.

I'm completely basing my upcoming album on the very idea of an "anthem". What does it mean? What styles of music over the years compliment these statements of passion and loyalty to whatever cause we have in our hearts...a reason for living; and moving forward. When the actual song "Anthems" came to be, I was looking up the Webster's dictionary definition of the word...and found literally what became the chorus of the song (I don't owe Webster any royalties, now do I?).  A song of loyalty. Devotion. Is it my strongest and most advanced song, harmonically speaking? No. Is it my new hit single? Hardly. However it is one of those songs that has shifted and changed meaning once I heard it in a different form...this being a group setting. For what is an anthem but a song sung collectively: varying takes on similar opinions...souls moving forward in stride with one another; as composer/lyricist Adam Guettel (and also many philosophers and poets before him) described the desired "Migratory V" for all of humanity.

I made a (very) raw recording via Garage Band of these singers performing this song for the first time. I've listened to it nearly 80 times and still I am gathering new meaning from some of these lyrics. As a singer, my musical ear often draws me to songs with slick key changes, money notes and power house refrains; be it as interpreter, composer, lyricist or listener.  Whether you are a Broadway baby---scouring your industry connections to get your hands on that latest "patter song turns to 11:00 number in 4 minutes flat" musical theater ballad or digging around for a lesser known Sarah Vaughan standard to wow that retired jazzer bar fly at your friday night gig...do YOU have an anthem? Not a torch song; in which we are often times left feeling far less resilient than we hoped to be afterwards...but a SONG of STRENGTH that lifts us up and sets us back down rebooted and refreshed...FURTHER grounding us in our own beliefs. I have an Anthem. I have a few, actually...and I can't wait to collect many more.

Stay posted for recordings of some brilliant 16 year olds performing this song; as well as the debut recording with "Anthems" in it's original form.

P.S. You must NOT forget-be you a native of Pittsburgh or an out of towner-to check out Pittsburgh's Act One Theater School. There are things happening here be it staff or students that far surpass many of the more acclaimed K-12 theater training programs in the country.

Breathe deep, friends :)

Now presenting...Miss Carrie O'Key!

Karaoke. There's rarely a middle ground; it's either your go to, or you avoid it like a hipster avoids times square. I found myself 'inexplicably' at karaoke twice this weekend: one night I was singing Alanis Morissette with four frat boys, another singing a duet from Miss Saigon with a drag queen named Lauryn Ordair. In the past two years I've been a little more lenient about my visits to ye old karaoke bar; I think because as a singer I feel I have crossed that awkward hurtle of, "what do I sing/how do I sing it?" You can't be too good, you can't be too lame, and you certainly can't be too sober. I don't think karaoke is an art form (although thanks to Lauryn Ordair I'm finally convinced that drag is) but I've developed a few guidelines for the professional singer that describe how to make the most of the experience. Although sound/monitor machines have been replaced by laptops and the age old anthem "I've Got Friends in Low Places" has been replaced by Cee-Lo Green's "F*** You", these following truths are your key to a rockin' night of canned music.


1. PICK AN UPTEMPO AND TESTIFY.
Especially if you are at a smaller, 'homey' place it is never a good idea to sing a ballad unless it is just you, a passed out drunk and a bartender you plan on taking home after his shift ends (which is also not a very good idea). I don't care if it's Heart's 'Alone', Celine's 'All By Myself', or Beyonce's worst addition to Dreamgirls; 'Listen'. Don't even get me started on 'My Way'...even Frank Sinatra himself has stated more than once in interviews that he couldn't stand singing this song. You may have your fan club rooting for you, but you will drive away the locals and annoy the management if you go the ballad route. Good song choices are those uptempo songs with universal and empowering themes that chicks can relate to. Trust me, if people are drinking enough you can even get the manliest man to dance along unabashedly to 'I Will Survive'. Keep in mind this important law:


Karaoke is NOT a time for a seasoned singer to show off his or her pipes.


If you want to do that go to an open mic...preferably in Midtown, so I do not have to see you.


Talk through 'Celebration'. Witness in, 'I'm Every Woman'. Break down in the middle of 'Son of a Preacher Man' and ask the crowd, "are there any good Christian boys out there?" Keep things high and bright to preserve your voice-don't try to get husky or growl if you're not used to it. Keep in mind, you're drinking; we'll get to voice preservation later on.


2. THE DRINKING DILEMNA
I'm not going to debate whether it's a good idea for a singer to have any sort of alcoholic beverage before, during or after singing. That is for another blog post. I will say that having a good buzz going is essential at these types of places; you will have more fun and will appear loose and confident. If you do not drink, than do not go to a bar.


When you start doing shots (excluding those weak, putrid 'mixed' concoctions; 'kamikaze' etc.) it is time to be done singing karaoke. 


If you are all out drunk, you will scream in to the microphone, fall off the stage, and make things awkward. Trust me. Heavy drinkers tend to think everyone forgets the night when they do. Believe me...people remember you, you hot mess; even if you don't...you don't want to be 'that guy'.


3. HOW LONG DO I WAIT FOR MY TURN?
Tip the host. Well. They will generally pick their friends to go first, and if it is a long night you will most likely be at the end or forgotten if you do not tip. DO NOT bug the host; you will be momentarily blacklisted.


If you wait more than two hours and you don't even see your song in the queue, you're not singing that night. 


Sorry, little diva.


4. WHY ON EARTH WOULD I, A PROFESSIONAL SINGER, WASTE MY TIME DOING KARAOKE?
Don't write off karaoke. It is not the best opportunity for you to practice your singing, but it IS a great chance to practice your crowd working skills. Most singers, especially actors, like to hide behind a character or a persona.


Use karaoke to practice being and accessing your true self.


It can be very liberating if you approach it this way.


5. PRESERVE YOUR VOICE
The teacher in me must mention once again: DO NOT scream, yell, growl, holler, or try anything tricky. I have a ridiculously resilient voice, but when I do karaoke I do songs in mid range keys. I do not belt above an A (or a D, for ladies) and do not attempt my slickest riff. I don't care if you are Patti Labelle's evil twin or just fronted a Journey cover band. You are a SINGER, fool!


It's not worth getting all nodular just because you felt like chest belting 'Living on a Prayer' at a loud, crowded bar at 3 in the morning. 


6. RESPECT THE TERRITORY
Clap unto others as you would have them clap unto you. You are a professional, but you are a minority in the karaoke realm. I use the word 'amateur' sparingly because I don't like it's condescending connotation, but never the less karaoke is amateur heaven.


Respect, compliment, and encourage. 


Do not boast your credentials, bad mouth a vocal botch, or patronize poor Suzy who just sang 'Chain of Fools' consistently one minor third down the entire song (which blows my mind) yet felt she rocked the room. This is NOT singer territory!!!!! This is a fine and often slightly underground world of daring first timers, pitchy renegades and drunks with a story to tell. It's amazing, however, how you may be surprised by what you see and hear. Remember-the best singer in the world has never come out with an album; he or she is somewhere at home in a no-name midwestern town, raising 8 kids or fixing a water main break.


THE BOTTOM LINE:
As always, these are observations I've made through experimenting and 'people watching'. As a singer, you must represent the community by acknowledging the difference between 'a bag of tools' and a 'toolbag'; choose wisely from your sack of gimmicks and don't try to be someone you're not.


Oh, one more thing; if you want to see a drag queen with a mean countertenor and a surprisingly friendly disposition, look up Lauryn Ordair. She's always somewhere around NYC taking, 'I Am what I Am' up the octave...and brilliantly, I might add.


Breathe deep, friends :)

Welcome!

Did the title catch your eye? Let me be honest and say that there is no title more appropriate than 'Scratch your ass and sing..." I once had a woman give me this advice, and I still use it for myself, colleagues, students and friends. I will start by saying that this may come as a surprise to many people I have known thus far but I am a singer first and foremost. I am relatively young; 27 to be exact...and I am sure now more than ever that I am definitely a singer. I've lived it, breathed it, studied it in and out of accredited institutions and found that it is the driving force behind all things that take me to my highest place while simultaneously driving me to the brink of insanity. Most have known me as a pianist beyond other things...and hell, I don't blame them: the work is easier to come by, it's second nature to me, and every hoo ha high F belting theater twit is looking for his or her next bitch that's going to prepare them for their next big thing. I've built a sizeable voice studio in the 'make it here, make it anywhere' capital of the world, studied multiple vocal approaches at one of the world's top music conservatories, and performed in multiple settings; from late night performance art in Brooklyn, to cabaret at the Algonquin's Oak Room. Despite these experiences most of my abilities and motives as a vocalist and singing teacher have truly been altered by the things I've done and the people I've met outside of music academia. At the very least, it wasn't until I was able to draw from these adventures that I put the stamp of approval on my own teaching philosophy as well as found myself as a true performer-a singer who can step away from the piano and lead a room.

Thank you for reading (and hopefully following) my first ever blog..you're in for a real treat. To all the heartbreakers, alcoholics, church ladies, jazz kats, soul sisters and party monsters, this blog is especially for you. Someday we're all going to be in the same room reluctantly admitting that we all have a lot in common.

Breathe deep, friends :)