Juggling Performance Requirements with Technique Development

I’m currently preparing for a Musical which requires loads of loud singing, not to mention the extra requirements of acting and dancing as well.  Musicals need preparation on many levels, and I find that quite often it’s the singing that suffers the most.

The same can be said for singers who also double up as musicians!

So, if you sing and play, and you have the added responsibility of managing a band, then you may find yourself in this same predicament - and face getting ready for an event that requires you to wear many hats.

It’s usually in these times that we have to juggle so many balls at once that we either drop all of them - and by dropping them I mean trying to achieve too much at once at a fraction of the quality - or, we can follow the examples of some of the most successful people in history and choose the most important skills.

Firstly - This requires lowering your expectations 

Secondly - Learn from the best

I love sport, specifically American Football, and what’s interesting about this particular game is that two of the sport’s most famous players ever - Peyton Manning and Tom Brady - were both significantly less athletic compared to a great deal of the other athletes that enter into the NFL.

Both of them are very slow runners and did not have strong throwing arms coming out of college.However…

Whilst many players with far superior speed and arm strength fizzled out into mediocrity, Manning and Brady reached the top of their game by:

a) Working Hard, and

b) Figuring out what were the most important aspects of their preparation

So, how does this theme apply to Singing Technique?  Let’s take a look…

Example 1 

 You have a rock set-list, however your vocal problems require you to train your voice at an extremely low volume.

Well, there are TWO issues at stake here!

First, understand the context of your particular situation.  If you sing in a Heavy Rock band - which comes with it’s own specific requirements - and you have twelve gigs lined up for the next three weeks, then singing at a very low volume (because that’s what your singing teacher has asked you to do to improve your voice), is not the answer in context to your gigs.  You’ve got to power through those gigs no matter what.

Second, you then need to carve out time daily to rebalance your voice and return to the One Technical Thing you’ve been asked to change.

Example 2

You have some months between shows and you’re not sure what to tackle next in your development.

Well, using another sporting analogy, most Football teams have an in-season training program and an off-season training program.

You could view this time as an opportunity to go after your main vocal issues once and for all.  You have the luxury of not needing to impress a crowd and can immerse yourself entirely in the full process.

If you’re a rock singer for example - you can take the time to properly registrate your voice so that when the next touring season comes, you’re able to locate those High Power-Notes with a lot more ease, resulting in:

a) Expression of your true vocal personality on stage (due to the mental freedom you gain from a near perfect technique);

b) Actually finishing every gig and tour with your voice still in tact.  Which for some = $$$ £££

(Case in Point - Adele needing to cancel tours, and Linkin Park ending tours early because Chester Bennington’s voice couldn’t finish out shows.)

In Conclusion

Once you are a little further down the line in your vocal development…  you get to a point where your vocal development and the shows you pick begin to align in their outcomes.

For example - I’m required to ‘belt’ a lot in a very high part of my range in the show I’m currently taking part in.  However, my voice has settled into this part of my range, and I am in a fortunate position where the show’s requirements will improve my technique, and, my technique will improve the way I sing the show’s songs.