Effective Lead Vocals

Jeannie Deva

What makes one singer's voice "really do it to you" while another's leaves you feeling ho-hum? Is it just that some have it and some don't - Some indescribable and mysterious achievement of luck and lineage?

As a lead singer you need the correct focus and adequate technique to comfortably and predictably create the sounds most appropriate to the musical style and emotions of each song you sing. During my many years of teaching thousands of contemporary vocalists, I've found that basic vocal skills can be developed, achieving a higher level of expertise by anyone wanting to improve their vocal performance.

Getting Started

Without developing any further technical vocal competence, you can do one thing that will automatically help you sound good (or at least better). Select a key for the song that will allow you to sing comfortably all the pitches in the melody. If you have enough range to present you with several choices, select a key that is appropriate for your range as well as for the mood of the song. The Blues usually sound better sung low or mid-range while many rock tunes pack a punch and cut through the band's volume more easily when sung higher.

1,2,3,4...Now?

Have you ever been uncertain when and on what pitch to start singing? All the other work you do on your voice and song can be blown if preparation for entrance is overlooked.

Listen to what's happening musically just before your entrance. Choose an instrument or particular melodic line in the instrumentation that will give you your starting pitch. Count the beats and figure out how many there are before the lyrics begin. Practice your entrances using this information until you no longer need to think about it. In this way you can sing with confidence rather than standing on stage absorbed in worrying, while the audience wonders what you're doing up there.

Making the Song Your Own

It's got to be your song when you sing it. Getting across the emotion of the song is what gives the song its punch. I once heard someone sing a simple, quiet song like it was a big tear-jerker. She used little "catches" in her voice to show just how much "feeling" she had. It was inappropriate for the song and created an undesirable effect on those listening. The most effective vocals are ones that are emotionally believable to the audience. Your voice is sensitive to your emotions and thoughts. The meaning you give a song will automatically influence the integrity of your sound and your impact on the audience.

Take the lyrics of a song. Look over the words to each verse. What's the story of the song? By singing it, what do you want to say? It's not always some deep significant message, but if you don't understand what you're saying, your audience won't either. Speaking, then singing the words aloud, can help you find your own interpretation.

Dynamics or Din

Contouring your song through phrasing and volume while sounding natural is essential in holding the interest of your audience. Once you've developed your own interpretation of the song, use the following guidelines.

To achieve an emotional build-up, you don't always have to increase your volume. Often, an ascending pitch or melodic phrase builds emotion. You can draw back your volume at these times and create even more intensity.

Use pauses to breathe or to place greater emphasis on a key word. Ensure that your pauses stem from an understanding of what you're saying and are natural rather than mechanical or choppy. Incorrect phrasing can obscure the meaning of your lyrics.

Giving your words equal stress is monotonous. In every sentence there are key words that carry the meaning. The others are connective or supportive which, if stressed, obscure the overall meaning. For example, if you spoke this sentence stressing the word "the," it wouldn't make sense. Place your emphasis on the words that will create the greatest expression and meaning.

You can emphasize a word by increasing its volume, holding it longer than the other words in the phrase, adding texture to the vowel such as a growl or rasp, or using vocal embellishments on one or more syllables of a word. For examples of these techniques, listen to Robert Plant (Led Zeppelin), Chaka Khan, Patti LaBelle, Steven Tyler (Aerosmith), Creed or Christina Aguilera.

When applying these principles, keep in mind the saying: "Less is more." Vocal acrobatics are technically impressive but will only communicate when done tastefully, in context; and spring from your emotions rather than merely an effort to impress.

Sink or Swim in the Mix

I'm sure many of you have experienced the frustration and strain of having to shout over the band. This of course makes not only your voice, but the entire band, sound bad. Since a good lead vocal can make or break a band, you should be given special attention in the set-up and mix. Make sure your band understands that the singer is the key focal point for the audience. They should support you when you're singing, and then shine during their solos.

In addition, always use monitors. They're essential feed-back to help produce accurate pitch and volume. Get a microphone appropriate for your voice and music, and your own monitor/mixer/effects equipment to give you better control over stage mix and volume.

Run a sound check before performing. Spend time checking your vocal mix alone and with the band. Treat your sound-person with respect. Talk with him or her beforehand. If there's no time for a sound check, supply a set-list with information on what's needed from the board for each tune. (If a tune requires echo, figure out delay time and feedback before the show). Look for ways to be in control of your own destiny!

Mic Techniques

Many vocalists are in the habit of "eating" the microphone. The only problem is, as you sing louder, you run the risk of pre-amp distortion. The result will be a muddy unprofessional sound for you and the band. When you do your sound check, keep your mic at least two inches from your mouth. Once into your performance, you'll have some leeway. As you sing louder, back off the mic a bit. If you want to reduce your volume, you can bring the mic closer, and still be heard. Practice varying the distance of the mic at home or in your rehearsal space. It can take a while to get used to it, but it's worth the result.

More Vowel, Less Strain

A straining voice is physically uncomfortable and painful for the audience to hear. Your voice is the result of sung vowels. It's vital to work closely with these vowels. Stressing consonants closes your mouth and exhales the breath too quickly and forcibly. Vowels, on the other hand, require an open mouth and utilize your breath more efficiently.

Choose a song and sing it through. Notice any words that coincide with points of strain. Work those phrases over, while directing your attention to the vowels of these words. As you stop pushing on the consonants and focus on the vowel, you should find yourself gaining greater vocal comfort while improving sound quality. Continue working through the song in this manner.

Who's Listening

When you sing for others, it's important to keep your focus on the audience rather than on listening to yourself. Focusing your attention outward to your audience will give your whole performance greater direction and energy.

Amazing as it may seem, if previously tight, your throat will have an easier time relaxing, and you can find your sound becoming fuller. You can practice this focus as follows: Choose a song to work on. Select an object in your practice space. Stand a few feet away and talk the lyrics of the song to this object. You may feel self-conscious at first, but keep doing it until you feel comfortable and know that you're maintaining your attention (not just eyesight) on this object. Next, sing the song in the same manner. Now do this to your image in a mirror. Use your reflection as though you're singing directly to someone else.

Eye Contact

Eye contact should be based on what is appropriate artistically rather than emotional hang-ups. When singing a particularly moody song, closing your eyes may help convey the emotion best. Don't be afraid to do it if it is appropriate. There are many situations, however, when looking directly at your audience is exactly what's needed to project your emotion. In those cases, doing so will make your performance more powerful.

Let your song interpretation dictate what you do with your eyes. When you're on stage, even if you have to pretend you're looking at adoring fans to help keep you from withdrawing, look with purpose at your audience. If the lights are shining in your eyes, it's difficult to actually make eye contact. But keep in mind, your audience does not have the lights in their eyes. They see you. They don't know you can't see them. You know where they are — look at them anyway! Use of appropriate eye contact can give you greater command of your performance space and opens the channel between you and your audience.

Be Yourself

Deciding what effect you want to create on your audience is the final and most important aspect of performance preparation. This enables you to make each song your own. It may be easier to sing a song glibly or pretend to be someone else, but that robs you of your own personality and you know what, the audience will pick up on it. Only by being yourself and deciding that you are singing those lyrics to each individual in your audience, will you be able to have the impact of a great performance.

Technique versus Performance

I'm sure you've heard vocalists who don't have technically developed voices, yet they really command your interest and can inspire you.

While not having the technical proficiency of a Bobby McFerrin or Mariah Carey, performers like Bruce Springsteen, Mick Jagger and Janis Joplin can still inspire huge audiences. Technique can give you a bigger vocabulary of sound, develop your self-confidence, and avoid vocal blow-out. But what makes one singer great and another, a bore, is the degree of life and communication projected through the song, and the resulting emotional impact on the audience.

Focus on the technical details of singing during your practice time until they become part of your approach. When you're performing, the techniques will be there to support you while you immerse yourself in the music, your message and your audience.

What is the Mood?

Through experience, you can learn how to modify your performance and material to fit the performance situation. An intimate coffee house, a Top 40 club, a large stadium, wedding, or your family's living room, all have their own requirements. You obviously wouldn't always sing the same way or even use the same material in each of those situations.

Consider the environment in which you'll be singing. Decide if there is an overall mood you want to create, and what kind of experience you want to give your audience. From there you can select appropriate songs and put them into an order that will paint this mood like the strokes of an artist's brush. You may be thinking this all seems just a bit too calculated and wouldn't it be better to just go with the flow. Well, it is calculated, but it is done to make sure that both you and the audience have a mutually great experience. If you go with the flow, you are abdicating control and who knows how that will end up. All successful artists control their performances and careers.