Tension vs. Intensity

It's no surprise that often when we ask for intensity from our singers the result displays a greater degree of tension than when we began. That tension is usually displayed across the shoulders / chest and in the face, especially the mouth and cheeks, as we try to look like 'we mean it' and try to get our bodies 'involved'. The result? Possibly a more focused sound, but one that lacks ring, resonance and vocal freedom - and tired singers!

Of course, what we really want is more intensity in the sound, and bodies which are relaxed and engaged in expressive, free movement.

One of the precepts of kinaesthetics is that 'the biggest muscle wins' - that is, if your arms are making big circles you'll find it hard to sing softly. This can be used to distract tension from the upper body if the singer is encouraged to engage the big leg muscles, lowering their centre of gravity and usually giving them a much more relaxed and centralised (balanced) posture than when they are trying to be intense. The 'trying' stance is characterised by weight significantly forward onto the toes, full upper body leaning forward, 'turtle-neck' head... A centralised posture offers plenty of energy from the legs while providing a relaxed vocal mechanism.

If you pursue the kind of sound that comes from singing with full resonance and locking voices together, there is no need for 'surface tension' - whatever the volume, go for poised bodies and free sound. Beware of asking for intensity in a way which encourages your singers to sing 'tense' in some instances and relaxed in others. Be consistent in your requirements and the consistency of your performance will increase.

Personal Improvement - Commit To Change

If you're doing a vocalise for a single reason, you're wasting your time. Find 3. Here's a cheat's list: posture, breathing, phonation, resonance, articulation, intonation/tuning, vowel shapes, chord synchronisation... you get the idea!

To practice at home and get results:

1. Practice in front of the mirror to correct:

• Postural Faults / Tension in face or body
  
• Expressive communication - body and face
• Mouth shape
• Choreography
  

2. Tape yourself to hear:

• Vowel-to-vowel delivery of consonants
  
• Clear and bright, short vowels, forward and resonated, locked and rung
  
• Dynamic plan & vocal gems
  
• Lyric delivery - all parts sing as melody
  
• Lifted, relaxed, resonant, forward tone throughout range and dynamics
  

3. If you're singing for half a page without stopping, you're not learning anything. Expect to sing a phrase or set of phrases 5-10 times to get it to a higher level before proceeding. EVERYONE has SOMETHING they can improve on.

Speaking as a singer who is always striving to improve, every note and word I sing is on purpose. I'm putting placement, dynamic, character, emotion, tuning and more into every note, every phrase, while striving to achieve an effortless sound. Practice just lets you do it without hard thinking!

Vowels in Vocal Training / Warmups

Wherever possible, use short vowel forms in your vocal development program (sometimes passed over as warmups). When singing short vowels (IH EH UH OH OOZE) placement of the sound is naturally further forward, in the mask (a desirable outcome), and is generally a brighter, more lifted sound. The musical leader should ensure that the same height/depth of sound is striven for at the same time, but by teaching your singers to hear and feel the shorter, brighter vowels, you will have less trouble with pitch dropping, and will produce, in general, more overtones.