#16
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This
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And a few lessons can open a whole new world of technique and expression. Also, play guitar to BACK your vocals, not the other way around like many guitarists do. Make the vocals the important part. That is how most “civilians“ approach music. Have fun expanding your musical presentations! Cheers Paul
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#17
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That's it in a nutshell.
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#18
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I would just use a battery powered PA like the Bose S1. You don't have to blast your audience. I also use a headpiece mic as I have a tendency to turn my head away from the mic.
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#19
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Practice singing and playing as if you have an audience the same size as you do when you play for an audience. Be aware that when you sing loudly enough for an audience to hear your non-amplified voice, your vocal range shifts higher. That means that you have to play your guitar in a different key than you would if you were playing amplified or to a small audience. If you have other players with you, make sure that they all know what key you will be playing in to support your loud voice.
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#20
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I strongly agree with the recommendation of finding an in person vocal coach and taking lessons from them. I had been doing daily vocal exercises on my way to work for a couple of years and had improved my range somewhat. However, in about 10 weeks now of weekly, 30 minute lessons, I have exponentially improved at much faster rate than I could have ever imagined. My coach gives me things as “homework” to practice while still doing the daily vocal warm ups. Just as important is that our time together is spent working on songs that I want to sing at performances. She is a theater/musical performer and can really “belt” when she needs to. The whole experience has been awesome.
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‘97 Taylor 555 12 string ‘17 Martin HD 28 ‘19 Martin CEO 9 ‘20 Gibson 1960 Hummingbird reissue ‘16 Gibson Hummingbird Avant Guard (gigging guitar) Note to self: Never play a guitar you aren’t willing to buy. |
#21
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What are "IRL" voice lessons?
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#22
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Learn to sing from the diaphragm. Sing out to the room. Be open and expansive. If you are going to perform then be out there and be present, bold. Anything less is the mark of an amateur. Google learning to sing and read up on it.
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#23
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I've done a fair share of early-music projects with (semi/pro) choirs and still remember how much attention was given to propre separation of syllables (exaggerated that just a bit and a German motet can begin to sound like a rythmic percussion exercise ^^). That said, I remember a Peter Kooy or his father quoting from a period treatise for singers how a good singer's singing would blow away a (small) pile of sand held in front of his/her face. (I guess they hadn't yet heard about Ella or Memorex )
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#24
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IRL = In Real Life. As opposed to lessons on Zoom etc.
Really important for foundational vocal abilities like volume and projection.
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#25
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Short of finding and employing a good vocal coach, the one thing I would suggest is to focus on your breathing... you need a lot of air to project your vocal, and most folks don't breathe properly, not even close to it! Practise taking deep breaths, way down into your belly/lower back, feeling your lungs expand to their potential... sing from way down there, as well. With some concerted effort and attention, you'll gain a lot of power and volume.
A very common mistake with vocalists is to sing from their throat, and only breathe into the upper lung area... might be fine for general talking, but it's not at all conducive to singing. Enunciating clearly is another aspect of great vocal technique... I worked with a marvelous vocal coach, Judy Davis (google her and be amazed!). I took classes, because I couldn't afford private lessons... for the better part of 10 lessons, she focused on vowels sounds and how to make them, how to sing them, and on breathing exercises. I was astounded to discover that I wasn't nearly as accurate with my diction as I had previously thought; nor was I anywhere close to correct breathing technique... Lastly, REALLY MEAN IT when you sing... what are you wanting to convey to your audience, what does the song mean to you, what do you want to give through your vocal? If you sing in a lackadaisical fashion, your results we will sound like it! So, REALLY mean what you're singing.... Avoid "forcing" yourself to sing louder, or worrying about hitting a particular note. Being relaxed and focused is what you want to feel. Breathe deeply between phrases (even if you don't need the air - get into the habit of taking deep breathes when you breathe!), and have fun!!! Not everyone has a loud voice - like people, there are all sorts, and they are all just fine, so don't be concerned about how you "measure up".
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"Home is where I hang my hat, but home is so much more than that. Home is where the ones and the things I hold dear are near... And I always find my way back home." "Home" (working title) J.S, Sherman |
#26
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A vocal coach is the only way. I sang live for years and used many books and videos but 2 sessions with a coach did more than years of practice. That's because we don't know what we're doing wrong. A coach can easily tell and guide you on what to correct.
Volume usually relates to breath and use of the diaphragm, projection is more about overtones and the many things that contribute or take away from them. But, a coach can fix what hours and days of guesswork won't. |
#27
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Lots of good advice here, folks. Thanks!
I have another ongoing issue, but I'm going to start a new thread on that.
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I own 41 guitars. Most are made of wood. Some are not. |
#28
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You may find that you can improve your vocal projection by increasing the amount of nasal twang - that “nnnng” sound in your voice. Not too much. A little can go a long way.
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#29
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An update to my original (starter) post.
I played last night at the club, but this time plugged in and mic'd. First, I stuck with the adage, "Play what you know." So I was comfortable with the pace, and even though I fat fingered a couple of notes (I was playing a 12-string, which for me requires more effort on lead runs) I had the lyrics memorized, and I sang into the mic. Afterwards, a couple of folks came up to me and congratulated me. One said he liked the way I talked to the audience, introduced the songs, and didn't stumble or falter. Another (the one who had originally told me it was hard to hear my voice) gave me two thumbs up and said every word was audible and clear. Truth be told, it's the old "Practice, practice, practice" lesson. The result for me was that I felt much more at ease. I didn't notice the lights glaring in my eyes and simply focused on playing the songs. Honestly, I hadn't even decided on the numbers I was going to play until I took the stage. I had enough material to choose from that I felt comfortable playing. So, I'm going back next week.
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I own 41 guitars. Most are made of wood. Some are not. |
#30
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^^^^^Fantastic result! Well done. All that good work payed off.
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I'm learning to flatpick and fingerpick guitar to accompany songs. I've played and studied traditional noter/drone mountain dulcimer for many years. And I used to play dobro in a bluegrass band. |