You are ambitious, aspire to become a musician. You work pretty hard over particular songs, but are often told “Better luck next time..”
Above all, the most disheartening aspect is when you get rejected by a few disastrous judges who actually do not possess the right kind of singing.
In today’s scenario, the one who has confidence, stage presence, and idea to handle technology is the Star. He or She can easily hook the listeners. Can reach the peak in no time. But that would be momentary.
Why? It’s the lack of basic knowledge, practice and accuracy. After a period, listeners can easily make out the these imperfections.
Not just Music but in any field one needs solid skills to stand the test of time. To get good at singing, here are a few areas where a vocalist should focus during Riyaz.
To grab a potential and perfection in singing, here are a few areas where a vocalist should focus while Riyaz:
Remember to create bigger space in the mouth while singing:
It might be whimsical but opening adequate mouth while singing amazingly helps. Remember to drop the jaws and prepare a good oval steddy mouth shape for singing. This creates a sufficient space in the mouth and provides enough rooms for the air to cross in the form of sound. If you notice any good singers like Shreya, Sunidhi, Lata Ji, or Shankar M, you will notice their mouth shape pretty much spacious which makes them loud and clear even in the lucid impromptu nuances. Watch out Lata Ji’s old live recordings like “ Tum Asha Vishwas Hamare…
Dropped jaw with tall shape enables the appropriate air throw and creates resonant voice if practiced regularly. Read articles, gain knowledge regarding why it is essential to open mouth making ‘AU’ shape.
Hit the base note directly:
While the vocal practice, apply the notes firmly and directly. We tend to sing with support of the subsequent notes subtly which becomes a habit and obstructs to do proper rendition. Also, you will always be unaware of the exact location of the notes. For instance, rendering OM. Have you ever noticed yourself vocalizing OM while Yoga or riyaz? You reach Om gliding from the supporting note Ni (lower octave) to the base SA. The intonation is like:
Ni….. SA ….. or P. SA
O ——m O—m
This disconnected glide vocalizing is not at all a incorrect, in fact, it is one of the ornamentation in classical called ‘meend’ or legato (western discipline) which adds the beauty, but initial practices especially when you’re a beginner and unaware of the swara locations.
Dropping at the exact base or tonic drone enhances the voice, and after 5-6 minutes, results in intense and sustained voice. You will realize that your voice becomes unshaken, stable and non-fluctuating.
Apply the force to each note:
Applying the force to the notes makes the voice weighty, confident, and long-lasting. It creates a resonating sound over the time which enhances the shine in the voice. This technique helps in singing the Bollywood songs superfluously and accurately.
While starting up the riyaz, deep breathe for five to six times and start the SA. Inhale deep and produce the voice while exhaling with full force/energy and sustain the tonic. Again, Inhale deeply and throw the air while vocalizing SA or OM, (as you sigh in relief) drop directly at the note and hold it longer enough. Initially the voice will shake, or will go like waves subsiding the smoothness, or may be fugacious; you might hate your voice. Well, stop worrying! it will happen just for the starting 10-15 minutes. At Least you tended to put all your endeavor in what you’re doing. So chill! You will surely realize the smoothness and serenity of your sound later.
People have a notion that singing softly with light mouth makes the song sensitive and sensuous. That’s somehow true but what’s the destiny of the song if its notes aren’t up to the mark. I have virtually experienced that hitting the notes directly with appropriate air-throw, force, vigor for 15 minutes can make you exhausted and famished.
Do not compromise on the High-degree technology
Keeping in mind the today’s scenario of vocalization and its relation with music technology, people tend to bombinate or produce a buzzing sound at the starting point imitating their favorite playback singers or in order to make the song overly intense, erotic and emotional but they end up being habitual of that sound. In fact it’s not bad at all unless you like to sing such versions and can feel the song heartily. But these tendencies carry a lot of voice defects and flaws which enable to sing any solid or some actual classic genre.
The formula should be: One should know what he is singing. Be fully aware what is being vocalized, in whichever tone, no matter in what voice quality or how erotic and bombinating songs are they, you should be clearly aware of what you are singing, when are you open throat and when are you trying to modulate for the feel. You should be flexible in changing the aspect of sound if needed. That comes with knowledge. Don’t sing some particular way out because you are unable to sing in the correct way.
Question yourself: Are you modulating the voice to fulfill the song requirement, or because you are unconfident in singing in open-throat voice? Or do you know how to sing the correct way?
Do not depend on the today’s technology that it will take care. Yes, it might indeed take care and bring the final take but depending factor is bad for the actual or aspiring singers. Emerging music techies shouldn’t compromise on the proper guidance and authenticity of voice, just for fulfilling the song with eroticism.
Be ready to embrace success by embracing these traditional but solid and dependable techniques which bounces one towards perfection.