Your head would explode if you had to think about all the variables when singing (see a few below). So instead we get playful with applying these variables and your voice learns how to quickly respond to being in the moment of the song. The voice learns to be flexible and free. So play with the variables. Listen. Notice how one great singer will use a variable totally differently to another great singer (that’s where any one method will come unstuck!) Also listen to great interpretations of the same track and note the differences (check out Hallelujah by Jeff Buckley, Leonard Cohen, KD Lang). Give it a go!
This stuff can quickly become an instinctive response:
You don’t HAVE to have a teacher to play with these things. Barbra Streisand didn’t have one. The little girl above didn’t have one (& you should hear her now!) It’s your choice.
Just a few vocal and musical variables (there are numerous others).
Voice quality; falsetto, head/cry, whinge, speech (subtle changes)
Compressed or breathy voice
Sound colour (light/dark)
Larynx height (if helpful)
Phrasing/applying natural speech patterns/which words need to be accented
Onsets; smooth, breathy, glottal
Offsets; ends of notes
Amount of resonance
Active support required
soft palate up/down/mid
Where you think you’re placing or projecting the sound; forwards, upwards, inside, in the mask.
Volume and crescendo/diminuendo
Rhyhm; infront/behind/on beat
Energy (throughout phrase?)
Vocal effects; creak, distortion
Emotional connection, do you need to think about what the songs about?
Vibrato; depth, width, speed, type
Variety or monotony