Breathing from the Diaphragm

Singing and speaking from the diaphragm is so easy that a baby can do it.  Then why do so many voice students spend thousands of dollars and many hours on lessons trying to learn how to do it and many, despite years of practice still never fully learn the skill?

Let's first look at a few reasons why we lose this skill.  When babies are born, they instinctively breath from the diaphragm because it is the most efficient way to breath and it is natural. That is why you can hear a baby babble across a crowded church yet can barely hear some members of the adult choir from ten feet away.

What is the first thing a parent will say to a child who is making loud noises?  Shhhhh . . . quiet . . . shut up. Infants and toddlers quickly learn that being heard is wrong so they stifle the natural process of breath support in an effort not to be heard. Likewise, teens and adults who are insecure, self conscious and don't want to stand out suppress the natural mechanics of support so they are less noticed.  This also causes people to slouch, bring their shoulders together, bend their neck or close their throat.  Another reason is that proper breathing comes from the belly region and nobody wants to make their belly look bigger.  Fear of what other people think of us is very stifling to creativity.

Finally, gravity pulls down on the body and people instinctively think that raising the shoulders is how we breath because that is what they think it feels like to breath.  Breathing doesn't come from the shoulders or lungs.

Let's first look at our anatomy.  The lungs are beneath our ribs and right beneath the lungs, still under the ribs, is a parachute shaped sheet of muscle called the diaphragm.  When we breath, we pull down on the diaphragm muscle which creates a vacuum in the lungs and air simply falls down or is sucked into the lungs.  Our chest and lungs are not necessarily directly involved in that process.  There is no need to raise the shoulders although, maintaining an expanded chest allows more air to fill the lungs.  Bigger expanded lungs means more space for more air intake.  Every good soldier knows to "STICK OUT YOUR CHEST.  SUCK IN THAT GUT!"

When you exhale you push the diaphragm muscle upward and it pushes the air out of the lungs.  If you only breath from the upper chest and shoulders you will only use half the air in your lungs causing you to run out of breath or have other issues with your vocal production.  If you use the diaphragm, you will use all the air in all of your lungs.

Expanding the chest and only breathing partially through the diaphragm is also the secret to the dead man float.  The lungs are like balloons and if you expand and fill up the upper lungs with air, then only breath through the lower lungs, you'll float without effort. 

Let's do a few exercises to show you how effortless, natural and efficient breathing from the diaphragm can be.

Let's start by lying on the floor.  Bend your knees if you like.  Breath naturally.  Feel that your breathing comes from the stomach area.  That's it.  Simple.  Now let's try a few things with your voice.  Cough.  Notice from where it emanated from.  Pretend you are a fire engine making siren sounds and get louder and higher each time you sound the siren.  Yell "HEY" like you just caught someone stealing.  Yell "Bad" as if your dog just messed on the floor.  Yell "GIT" to a cat in your trash.  Call for help three times with increasing volume as if no one can hear you.  Say "BOO" like you are jumping out from behind a door to scare someone.  Now, playfully say "Woof!" as if you are a puppy trying to entice its owner to play.  Now get on all fours and pant like a dog.  Where does it all come from?

Do you see how easy and effortless all that was?  The challenge now is to stand up and continue to breath that way after years of training your body to accept ignorance, misuse and abuse as normal.

While you are still on the floor, try not to breath from the stomach and only breath from the upper chest.  After five minutes of breathing properly and effortlessly, can you now feel how wrong it is to breath from the chest and shoulders?  Proper movement always makes improper movement to feel bad, like it really is.

I have included a video link to an example of what it looks like to breath properly.  This clip is taken from the movie ROCK STAR starring Mark Wahlberg or "Marky Mark."  Notice that he takes his breath from his stomach then pushes in or contracts his muscles to expel the air.  If we had cameras from his back and side you'd also see expansion there, too.  There are intercostal muscles between each of the ribs and because of the intensity of what he is singing, he is expanding and contracting those, too.  Also watch the swimming competitions at the summer Olympics and pay close attention when the swimmers get out of the water or do interviews immediately after competitions.  They are  trained to breath from the diaphragm.  Some of them may raise the shoulders but they are at least instructed properly otherwise.  The professional dancers on Dancing With the Stars are well trained in breathing since they are also reprimanded for raising the shoulders.  There are many great examples all around us in our professional athletes.  Musicians need to remember that they too are athletes and can sometimes benefit more by a few lessons from a sports coach than a singing coach.  Singers will also benefit by singing WITH the lost, lonely, homeless, dying and the sick.  Technique is worthless if it is not connected to an emotion.  Too many of our trained singers are also devoid of soul.

I will add that if anyone is suffering from any form of COPD, this type of breathing can prolong their life and also rescue them from a shortness of breath panic attack.  Diaphragmatic breathing also increases oxygen in our blood stream which aids in healing, repair and clear thinking because  oxygen is needed for brain function.

So, new moms, please think twice before saying to you infant "Shhhhh . . . "  At least, if you have to say "Shhhh . . . " do it from the diaphragm.

Why Atheists should Go To Church

A friend of mine suddenly stopped going to church because his teenage son was arrested for selling pot.  Yes, he is a scary drug dealer and probably has connections to Mexican drug cartels and has been involved in murder, abduction and child slave labor.  Actually, he just sold pot to a friend who entrapped him in an effort to have his own charges dropped.  Back to my friend, he was embarrassed and ashamed that this happened to his family and nobody from his church reached out to him.  He admitted to me that he was an atheist and church had no value to him, he was only going out of a Catholic obligation to a nascent guilt.  I disagreed with him that he shouldn't attend because they needed him and he needed them, but he needs to work through this on his own.  However, here are some generic reasons and granted, I am grasping here but indulge me.

1)  Church gives you a place where you can breath.  Many people will say that they don't sing but in your everyday life, you sing.  If you yell, you are using the same body parts and emotion that goes into singing.  If you scream, the same.  Do you speak with inflection such as you would when you speak with surprise, tenderness, comfort, imitation, sarcasm or chiding?  All that is part of the singing apparatus too so, yes, you sing.  The difference between saying those things and singing them though, that is where the difference lies.  When you sing, you are sustaining tones which forces you to awaken muscles between your ribs, your diaphragm, your chest and head.  An added benefit to actual singing is that you are taking in oxygen more deeply and richly than you would only by speaking.  That increased oxygen gets in your blood where it goes straight to your brain and muscles which are nourished and repaired by the newly oxygenated blood.  Singing is healthy.  If you are a health nut, singing should be part of your weekly routine and church is a perfect place to exercise those muscles without the worry of someone hearing you. If your church has a pipe organ, there is even more acoustical space to hide in.  Pianos and guitars have a natural decay and less secure to hide your voice therein.  Once you play a sound on any of these instruments the sound immediately begins to decay, necessitating more fills and chords.  But singing doesn’t work this way, and the continuity of the sung line is often disrupted.  The organ’s sound lifts and sustains the voice of the congregation through each phrase and guiding each breath.  The organ thrives in an open room and it fills the room almost like sunlight through open windows, the organ warmly invites even hesitant and untrained singers to join in.  An amplified band gives you a directional, electronic copy of the instruments. The pipe organ needs no amplification; the natural sound of the instrument itself fills the space evenly and fully with its massive range.  The organ can breathe musical life into any part of the Gospel story and your body.

1a) When you hear music, there are fireworks going off in your brain.  FMRI scans have shown that when people listen to music, multiple areas of the brain light up and when participating, music engages practically every area of the brain at once, especially the motor, visual and auditory cortex.  Strengthening those areas of the brain allow us to apply those strengths to other activities.  This also bridges the activity in the corpus callosum which regulates the left and right hemisphere of the brain. This allows you to solve problems more effectively and creatively in both academic and social settings. Because crafting music also involves understanding emotional content and message, musicians often have higher levels of executive function; a category of interlinked tasks which include planning, strategizing and attention to detail and requires simultaneous analysis of both cognitive and emotional aspects. This ability also has an impact on how our memory systems work. Transubstantiation may become more physical for after singing an hour in church you will leave a different person, more energized, alert and cerebrally attentive.

2)  Along the lines of music, attending the right church is a great place to hear masterworks of choral, instrumental and organ literature from the 14th, 15th, 16th, 17th, 18th, 19th, 20th and 21st century, all in one place.  Sure, you can buy a CD or find classical stations on the radio but hearing it live in the space the music was designed and composed for is much better.  Even if you don't sing, sitting there gives you the opportunity to set aside some time to reflect on your life in a holy space with holy sounds among holy people.

3)  You will be supporting local musicians.  Many musicians in churches are volunteers but a few of them such as the director or accompanist are probably paid.  Many of these people also play in clubs, bands, bars, are involved in community theater, compose and teach.  By supporting them in the church, you are supporting the circle of music in the community.

4)  Going to church also helps you to find community.  My friend, whose son was arrested could have found support, comfort and community but unfortunately his church was also embarrassed about the situation and didn't realize that not to act is to act.  It takes a lot of courageous effort to cultivate that sense of courage to seek and heal.  However, after that courage is marshaled, it will be discovered that it takes no effort or courage at all to heal.  I know of another church whose pastor lives in his own house so the rectory was empty.  When one of the elderly members fell into financial instability, there was no question that she could stay at the rectory free of charge. That is what church communities do for one another.  So, you don't have to go to church to find out what they can do for you, you can go to find out what you can do for them.  It is in serving others that we are served.

5)  Many people, even atheists, have a nascent sense of spirituality within them.  That means it is present but not active.  A friend of mine was arrested (hmmmph, I know a lot of people who were arrested) and he stayed at my house for a week because he wanted to get away and hide from everyone and take time to figure out his future life while it was falling apart around him.  A staunch atheist, he decided to attend church with me on a Saturday evening because I had to play and he didn't want to sit home alone.  Something touched him in the service and he went up for Communion.  He said he felt close to the God he didn't beleive in and it was comforting for him to be there.  He made an appointment to meet with the priest during the week but unfortunately the Roman Catholic priest alluded that he was not welcome there but, God bless anyway.  What a missed opportunity for both.  Most often the biggest problem with the church are its clergy because they lack the courage to do the right thing for fear of being accused of doing the wrong thing.  Not to act is to act and everyone loses.  It is easy to do the wrong thing then blame the one you are ostracizing.   They protest too much.

6)  As I mentioned earlier, going to church may help you find purpose.  An active church can provide you with the opportunity to volunteer to help where it's needed, a way of intentionally focusing on something transcendent and on becoming a more loving person while helping others.  Church's can be a great place for social gathering, too.  People are usually warm, friendly and accepting, at least in a good church! They may have groups that interest you and even have some missions which for you, even as a non-believer, you can participate in toward helping others in need. That is what is most fulfilling in life; having purpose and helping others.   When two hurricanes hit my area I was volunteering to answer a suicide hotline and was moved up to handling a disaster relief hotline for FEMA.  I did that for about three weeks, seven days a week, about ten hours a day.  Albeit exhausting, it was a very rewarding time for me.

7)  The point of the sermon on Sunday of any church is to learn how to apply scripture to your life.  This is a simple concept but many clergy think they have to be creative, gimmicky and entertaining and often miss the mark of breaking open the Word.  Even if you don't beleive that scripture is true spiritually or historically, there is great philosophy in the teachings of both the old and new testaments.  Even if you don't believe in God, you can agree to a lot of the values found in scripture as great truths.  Many of the stories have great lessons and you can find answers to many of your concerns and problems therein.  Our lives become the stories that we listen to and re-tell.  If you don't want to take the time to read the bible, start with the Jefferson Bible which is comprised of only the words of Jesus (the red words).  That can be very inspiring for those without a lot of time to weed through the historical and cultural detritus of scripture.

As long as you are not attending church to cause a disturbance, I would encourage going. The social, psychological, and spiritual benefits of participating in the liturgy and a community can be inspiring. If nothing else, you will get free food and coffee after the service.  That brings up a couple of other more over the top reasons to go.

8) The bible is loaded with good horror stories.  In the Bible, you can find stories of unsurpassed cruelty: murder, rape, incest, torture, slavery, cruelty to women and children, witchcraft, angry gods, natural disasters, plagues, wars, duels, mutilations, crucifixions, more blood than you can shake a stick at, and of course, eternal torment! Much of Hollywood's success comes straight out of the Bible. If you like horror, lust and greed, the bible is a great read.

9) Church is a great place for stand-up comedy.  Practically every page of the bible has something funny, ironic, dry or revealing in it if you look for it.  Preachers are willing to say anything from their pulpits! Many of them start off their homily with a joke and the comedy doesn’t end there either. Seeing some fundamental clerics affirm with a straight face their literal belief in a Noah’s ark, that dinosaurs didn't exist (a distraction planted there by old Scratch himself) or that the sun was “stopped” until some Jews won a battle, is hilarious! Yes, churches can provide hours and hours of knee-slapping entertainment if you know what to look for!

In some churches, you absolutely cannot be a member or be welcome to participate in the liturgy if you are not baptized, a member, affirming or have jumped through some other corporate hoops.  The Roman Catholics have many restrictions, the Episcopalians are more welcoming and lax, some churches require background checks (they don't want sinners), women are second class citizens in some, some are just cold, some don't like gays, while the Unitarians will take anyone.  Do some research, that might be half of the fun.  Visit a different church each week, take pictures and review them on Google or Yelp and talk about the music, homily, people, art, food, windows, flowers, whatever.

In the end, you may discover that some of your hookah-smoking and beer-drinking buddies are church mice.  You can share many a night around a fire-pit with those people discussing the spirituality of STAR WARS, HARRY POTTER and THE LION or THE WITCH AND THE WARDROBE or STARGATE.  It can become something you'll never want to give up because even if you still don't beleive, you're a family.  Whatever brings people together is worth exploring.

So, come, all are welcome.  Well, not everyone, everywhere but, try.  If they don't want you, shake the dust from your feet as you leave (That's from scripture.  It was Jesus' polite way of saying, well, I can't say it).

Owning our Mistakes, Honoring our Mistakes, Everybody Makes

I recently performed a concert with a young artist who is going off to college to study opera.  He has dreams to then move to Europe to live and perform music.  Not only does this young man have a deep and rich bass voice but, he was also a pleasure to accompany.  Rarely do I get to play for someone who can both lead and follow an accompanist at the same time.  Many singers will either hijack a piece and force the accompanist to blatantly follow them or in contrast slavishly follow the accompanist.  When I encounter a singer who is neither a leader nor follower but does both, that is when music happens and a pleasure to work with. 

There was one moment however when he began to sing the wrong verse at the end of the song.  He stopped and corrected himself, everyone knew he made a mistake.  Many musicians learn and memorize their music from rote by practicing them dozens of times over until it is "memorized."  That method can set up many traps and things to go wrong without notice.  Rare is the musician who eats, drinks and sleeps their craft so that they are one with the song. 

I once played the show "Nunsense" for a year and a half, performing six shows per week.  All the musicians in the pit had the score memorized.  One evening, Mother Superior accidentally sang the wrong lyrics and without a second thought, all the musicians looked at one another and we all seamlessly jumped to the spot where she was.  After her verse was over, knowing that she skipped an important lyric, Mother Superior walked to the edge of the stage, looked down and said to the pit "Vamp boys."  Then she proceeded to tell the audience that she skipped a verse and said to the pit "take it back to the second verse" and we all flipped our pages, she counted us off and it was magic to have a mistake a living and breathing part of the performance.   

At my concert last weekend when my bass started to sing the wrong lyric and melody, I knew exactly where he was and was prepared to jump to that spot because I was prepared for the possibilities.  When I practice music, I jump around on the pages, mixing and matching beginnings and endings, playing the piece in different keys, different styles and in general, exploring the possibilities of the work.  This helps me to learn it and to be prepared for whatever may go wrong or, in other words - own the song.  I thrive on these challenges.

My suggestion for all musicians, especially singers, when you practice with your accompanist, don't just practice the song the way it is "supposed to go."  Play with it.  Try different rhythms, accents and styles.  Without notice, jump to a different section so that the accompanist has to find you.  If your accompanist can't do this, find a new accompanist.  There is nothing more frustrating than trying to make music with someone who is not a "musician."  Music should not be something which is regurgitated from a page or set in stone.  It should be a living breathing expression of our selves and spirit.

The worse thing for a musician to do when they encounter a bump in the road is to stop.  Don't train your mind to stop.  Don't practice making mistakes.  Train your mind to be flexible and prepared for the possibilities.  I once worked with a great singer who during rehearsals would stop every time she made a mistake.  That practice manifested itself when she made a mistake on stage, she didn't know how to recover and everyone in the audience knew it.  It also made rehearsals unbearable for me.

If one were to tell the story of Goldilocks and the Three Bears, chances are we are not reciting a memorized version of the story but, extemporizing, improvising and re-living the story pretty much in our own words.  If we make a mistake, we don't stop, go back or apologize.  We effortlessly and almost invisibly correct it on the fly and continue with the story.  Nobody would even notice.  Music can be like that too if we are not a slave to notation, propriety or our egos.  The purpose of telling the story is to tell the story.  The purpose of music should be to tell a story, not put on a concert.  Janis Joplin once said that she doesn't put on concerts when she sings, she makes love to the audience. 

This is what making music should be about. That is the difference between an amateur, professional and artist.  Very often amateurs can also be artists and very often, professionals can be mere amateurs. 

Singing Tips

While watching the battle rounds of THE VOICE with some friends, we were sometimes at a disagreement over which singer was superior.  I always won but that doesn't mean I was always right.  Listening is in the ear of the beholder.   In these reality competitions, sometimes the eye.

I was listening for dynamics, enunciation, good phrasing and singing off the page.  Some people would call it soul, or tone and the judges often called it "in the pocket."  Randy Jackson used to call it "the 'It' factor."   I'll break it down on my personal technical level.

Singing with dynamics is easy to comprehend.  The singer gets louder and softer while singing phrases.  It adds a contour to the phrase or even the entire song.  In this instance I was listening for more inner dynamics.  More than within a phrase but, including within a word.  If they were singing a vowel on a whole note or a note held for a while, I was listening if they did anything with that note.  If they held note at the same volume, I was bored.  If they got loud or soft on it, they piqued my interest.  One of them evolved the diphthong and that was cool.  A diphthong is a vowel which has two vowel sounds such as in the word "eye."  A trained singer would sing it sort of like "ahhye" or maybe "ahhhh."  "E" is a harsh sound and can cause a singer to lower their soft palate and raise the tongue.  What is bad about that is it diminishes a clear, full and open tone.  An untrained or maybe a country singer would sing, "ah-eee."  Try it yourself.  Sing the letter "i" and notice how quickly you want to sing an "ee" and raise the tongue.  That's a diphthong.

A second dynamic I listen for is what they do with repeated words.  Let's say you fell and broke your leg.  You would yell for help.  If no one answers, you yell a little louder.  No answer?  You yell LOUDER.  Try it (but softly in case someone hears you).  The same thing would happen as you lose hope.  You yell "HELP!"  Then maybe "help . . . " then "hel . . . "  So when one of the singers sang "I love you, I really do love you, yes, I love you." each repetition about love needed to be different every time.

Poor enunciation is, well, singing without consonants.  A singer can't be understood and what is the purpose for singing if it is not to share words?  In other words, wi  ou  onso an  ,  ou  an'  e un erstoo.  I zone out on singers who make me work to understand them.  If they mumble their lyrics, clearly they are not important to them, why should I listen then?

Phrasing is when a singer takes a breath.  It is the commas of the musical line.  Some singers can be artistic with this such as Adam Lambert who while competing on American Idol would sing long phrases without taking a breath.  I loved that.  Others, take lots, of breaths, all over, the, place.  For me the worse sin-(breath)-gers are the ones who take breaths in the mid-(breath)-dle of words.  Those of you who go to church, listen the next time a soloist sings the song "Ave Maria."  Many soloists will sing "A (breath) ve, Mareeee (breath) eee (breath) ya."  Cracks me up every time.

Singing off the page is a simple concept.  It is nice when a singer adds a run but often, the run is just ornamentation and has nothing to do with the lyric.  Too much meaningless ornamentation can be tiresome.  I prefer singers who throw in bent notes.  These are also known as crushes, scoops, gliss or blues notes.  They are notes that are just slightly off pitch but resolve to the correct pitch.  It is very satisfying.

Another factor is something called entasis where the singer is just slightly off the beat.  This isn't the same as dragging because they only do it on a few beats every few bars.  It is a way of accenting words and saying to the listener that these words are important so I am giving them a little more time.  Jazz pianist great Erroll Garner was a master at playing off the beat and he would often do it for a whole song.   Our brains crave the unpredictability of entasis.  Just listen to any MIDI file where the notes are quantized perfectly on the beats and you'll hear how boring perfectly-on-the-beat music can be.

A great performance is often filled with purposeful uncertainty.  Those musicians who can do that are called artists.  With music, as with all things, your mileage may vary.  How perfect is that? 

Breathing for Life: From the Diaphragm

No preamble.  Let's just jump into it.

Get on the floor or on your bed.  Lie on your back with your knees bent. 
Take a couple of deep breaths.
Notice that you are breathing from your stomach area.
Make several high pitched fire engine siren imitations, each time going higher and louder.
Notice that you are breathing and pushing from the stomach area.
Notice that your shoulders are not going up.
Notice that your chest may not be going up.
If your chest did go up, good.  Keep it there.
Keep it there as if you were in the Army and your drill sergeant barked at you (from his diaphragm) "STICK OUT YOUR CHEST!  SUCK IN THAT GUT."
Now cough.
Notice it came from the stomach area, or diaphragm.
Yell "NO.  BAD." as if your dog is about to void on your new white carpet.
Notice it came from your diaphragm.
Yell "FIRE."
Yell (quietly-in case someone hears you) "help."
Whisper "Awwwww . . ." while thinking about a new born baby.
Where did you feel it?
Notice that in order to project both loudly and quietly, it came from your diaphragm.

These are all great exercises to awaken you on how to breath properly.  Now for the hard part.  Stand up and try it.  You may succeed a few times but as the day goes on, you will most likely lapse into shallow upper chest breathing again.  That's okay.  Perfect practice makes perfect.  Get back on the floor and keep in mind your drill sergeant's instruction: Stick out the chest (to make room for air) and suck in the gut (to push the air out).  What goes in must also come out, so, in order to breath again, your diaphragm or stomach must expand.   Breathing while on your back is how the machine of your body is designed to operate.  Maintaining that mechanism while standing takes a little bit of work.  The stomach expands to let air into the lungs so the stomach must pull in to push the air out.

The summer Olympic Games in Rio de Janeiro, Brazil are not until 2016 but this summer, if there are swimming competitions on TV, watch them.  Professional athletes are not only trained to breath from the diaphragm but by nature and physical demand, they do so naturally.  Watch the swimmers when they get out of the pool.  Look at their stomachs.  Most will be breathing from there.  Sure, a few shoulders may rise and a few chests may collapse but keep an eye on the stomach.  That is where all the work is being done.

Professional singers are not always good to watch because many do not breath properly.  Isn't it ironic.  Some of them think they know what they are doing but don't, while others are more concerned with how they look and won't expand their stomachs.  Another hindrance is that their clothing may hide the true action of the diaphragm.  That is why shirtless athletes are easy to learn from.

Many teachers who teach singing from the diaphragm fail because they either don't truly know what they are doing or are too afraid to look at or touch their students out of fear of a sexual harassment charge.  You will often see singers touching their own stomachs to assert or verify they are breathing properly but that isn't necessary for, if you are breathing properly, you feel it in your voice, head and whole being. 

When you blow up a balloon, it doesn't fill up just on one side but, the entire balloon fills up.  Your whole upper body must do the same.  Someone looking at you from behind should be able to see your whole upper body expand from the back, sides and front.  When you take a breath, imagine your whole body is a balloon and you are filling it.  Your ribs are designed to expand, let them.

Breathing should be effortless.  To take a breath, we need only to relax the diaphragm and the air should fall into our lungs effortlessly.  To exhale, or yell help or fire or bad or hey, that takes pushing or pulling in.  If we find taking the breath requires effort, that is because we are trying to breath in and push out at the same time.  You can't inhale and exhale at the same time.  If a singer runs out of breath on simple phrases, chances are they are trying to take in more air before they used up or pushed out what is already inside them.  You can't fill what is already full.  You need to empty first, completley.  Get back on the bed for more practice.

Mark Wahlberg does a great job demonstrating proper breathing in the movie "Rock Star" where he spends most of his on stage scenes shirtless and you can see him breath properly.   Even though many pop stars and rappers run around the stage shirtless, I advise not watching them for, many of them are breathing from their chest and shoulders.  Anyone who runs out of breath, cracks or wavers is doing it wrong.  Don't try to learn from them.  Well, learn what not to do.

Breathing properly is good for oxygenating the blood.  Oxygenated blood gives you energy, promotes healing, helps with clearer thinking and is beneficial for overall health.  You can't heal or lose weight or think clearly if you are not breathing properly.  If you ever develop breathing issues from smoking or some disorder such as COPD, you'll be glad that you took the time to learn how to breath fully.

So everybody, for your homework, go to bed.

How To Warm Up A Choir

I am not a fan of "warm ups."  Any athlete or pianist will tell you that isolating a single part of the body to "warm it up" is not effective.  The whole body must be warmed.  A pianist who plays in a warm room will play much better than one who attempts to "warm up" his hands by blowing on them in a cold room or playing an hour of scales.  Warming up is a whole body experience.

Vocal exercises are excellent tools if used for educational or instructional purposes but "warming up" comes from a different place.  A choir director who runs meaningless scales is just wasting everyone's time, especially if there is no educational purpose behind them.

Warming up the voice and the vocal apparatus is much the same as warming up the whole body but with a few additional parameters.  First, many choir rehearsals are held in the evening and the singers have already been walking, talking, breathing, eating and drinking during day.  Most likely, their voice is ready to sing.  However, there are usually a few components missing.

Imagine that a child is about to run out into the street and a car is racing toward him.   In an effort to save his life you would yell "STOP!" or "NOOOO!" or "Billy!"  Did you need to warm up to do that?  The force, confidence and conviction for that vocalization came from your brain because you knew little Billy was about to get smooshed.  It also came from your heart (the emotional one) because you knew little Billy was about to get smooshed.  Your diaphragm naturally rose to the occasion and your soft palate also raised in sympathetic response to the brain and heart in order to convey the message as fully, open and forcibly as possible.

What if your dog were to pee on your new $1,000 carpet?  If you are an owner who believes in negative reinforcement, you might yell "NO!" or "BAD DOG."  Did you need to warm up first?  No, because it came from your brain that the dog was about to soil your new carpet, it came from your angry heart because your dog was about to soil your new carpet and as a result, your diaphragm and soft palate unequivocally made your angry intention known to your pooch. 

A friend has a new born baby and it is sleeping in her arms.  With your best stage whisper you comment on how it is the most beautiful baby you've every seen and you ask to hold him.  You can whisper loudly because your brain knows the baby is sleeping and your heart doesn't want to wake him so your diaphragm and soft palate do what it takes to convey your message with delicacy in hushed, dulcet tones.

You go to a birthday party and everyone sings "Happy Birthday." The whole gathering of well wishers erupt into a rousing and full throated rendition - including two or three part harmony.  Did anyone need to warm up first?  No, because the brain and heart automatically engaged the diaphragm and soft palate with earthy bon ami.

Whether you cough intentionally to get someone's attention, sigh on "arrrgh," in frustration, groan at a bad joke, say "awww" at a cute kitten, jump out at someone and yell "BOO," "Ho-ho-ho" like Santa, or bark like a dog; your diaphragm and soft palate will naturally and fully engaged without warm up because the vocalization comes first from the brain and emotional heart.

All these body parts and mechanisms are already in place and will work on command if we beleive what we are doing, singing or saying.  The first job of any choir director is not to engage the choir in meaningless warmups but to give our text meaning and purpose which should be the primary task of any director. 

I'm not saying that our church choirs don't beleive but, if they need to warm up, something else is missing.  Why can't we automatically sing songs of adoration to God the way we would vocalize the first time we see a loved one who we haven't seen in ten years as they get off an airplane?  Why can't we sing in contrition they way we would if we broke our mother's prized antique vase and bellowed "I'm am SO sorry.  I WILL replace it."  Why can't we sing songs of thanksgiving to God the way we would profusely thank someone who just returned our lost wallet with all the  attendant money intact?  Why can't we sing songs of supplication to God they way someone would beg for a significant other not to leave them?  If the answer is that we need to warm up first, something else is missing. 

Why do so many choir directors have to trick their choirs into engaging their soft palates and diaphragms through the use of warm ups?  The answers can be many and varied.  Maybe we don't beleive in God.  Maybe we don't know how to beleive in God.  Maybe we are afraid to express our belief in public.  Maybe we don't have the conviction to beleive in God.  Maybe we have directors who don't beleive in God.  Maybe we have directors who beleive in music.  Maybe we have directors who are only regurgitating what they've been taught.  Maybe we have directors who just haven't figured it out yet.  Maybe we have directors more concerned with the notes rather than the words.  Maybe we don't know or believe that our music has purpose, meaning and power.  Comprehension does not imply belief and without belief we can't fully activate our bodies.

The solution then, isn't to do warm ups.  It is to network our emotions with our bodies and that takes effort not related to music but - is wholly related to music.  At a job interview once, a member of the search committee, who made sure I knew she was a Juilliard graduate and a soloist in the church, asked me if I did warmups and I spouted to her an abbreviated version of this blog and then I told her that I do lead sung prayer before every rehearsal and she asked, "What does any of this have to do with directing a choir?"  My reply was more advanced than a mere Juilliard grad could understand; I'm not a choir director.  I am a pastoral musician who trains the choir to be music ministers and, that music should not be their ministry but a vehicle to ministry.  Directing a choir has a great deal to do with reversing foreground and background.

First and foremost though is to support what the text and music itself is saying, not to necessarily inflict our own views and emotions on it.  The last thing we need to do is sing and play as if our feelings were being injected into the music.  That happens a lot in church choirs.

Ultimately, the universe has given us everything we need to vocally do what we need to do.  The only thing that stands in our way is ourselves.  I know many music directors will disagree with me and that is okay.  Just remember that no agnostic ever burned anyone at the stake or tortured a pagan, a heretic, or an unbeliever.  If you disagree that fervently, chalk it up to differences of opinion. 

If you'll excuse me, I need to go warm up gravity because I am going jogging and I want to make sure every time I take a step, my foot will return to the ground.

Taizé 101

The Taizé Community is an ecumenical monastic order founded in 1940 by Brother Roger Schutz in Taizé, France. It is composed of more than one hundred brothers who originate from about thirty countries around the world.

The community has become a popular site of Christian pilgrimage. Over 100,000 young people from around the world make pilgrimages to Taizé each year for prayer, Bible study, sharing, and communal work. Through the community's ecumenical outlook, they are encouraged to live in the spirit of kindness, simplicity and reconciliation.

A Taizé service is a simple prayer service centered around music from the Taizé community.  Most of the music has a short refrain which could be four, eight or sixteen bars long.  Some of the songs have verses which are generally sung by a soloist or schola and the refrains are simple and easy to memorize after a few repetitions.  The reason for the music in being easy and repetitious is so that the average person attending the service may more readily engage in sung prayer rather than reading words, notes or trying to learn the melody.

Musicians love this format for it gives them the opportunity to drop in or out and lightly improvise after the fifth, tenth or twentieth repetition.  Some music directors may stifle creativity and organize and plan arrangements regardless how the spirit is moving everyone else.  When I organize a Taizé service, I tell the musicians to go with the flow, try things, experiment, come in or out when you want, listen to the people and respond to them. I give them ownership.  Using this method, a song may have several climaxes as opposed to one  - that is arranged.

When putting together a Taizé or Taizé-like prayer service, one doesn't have to choose music from the Taizé tradition.  I like to use psalm refrains.  If you belong to a liturgical church, you probably already sing psalms every Sunday with a cantor. Psalm refrains are good to use because they are simple, short, the assembly already knows many of them.  They are scriptural, they may be comforting and as I said, psalms may already be in the musical vocabulary of most liturgical churches.

If I was in an airplane and we hit turbulence, I might pray to myself, "Be with me Lord, when I am in trouble, be with me, Lord, I pray," or "The Lord is my light and my salvation, of whom should I be afraid?" because I would have sung them during the regular liturgical year or thirty times during a Taizé service so I would know those refrains as Psalms 91 and 27 and by heart.

Churches often mistakenly offer Taizé services because they think it will attract people, especially young people.  In the turbulent 1960s, young people began to visit the Taizé community in search of spiritual answers. The first international young adults meeting was organized in Taizé with 1400 participants from 30 countries.  In 1970, in response to student protests taking place all over Europe and the world, as well as the Second Vatican Council, Brother Roger announced a "Council of Youth", whose main meeting took place in 1974.  At the end of the 1970s, the meetings and surrounding activities began to be referred to as a "Pilgrimage of Trust on Earth".  The monastic community decided to focus on youth.  Many churches, especially in Europe, send their youth and young adults to Taizé for spiritual retreats.

Faith can not be reverse engineered.  When I was a teen, my niece came to live with us because her family was moving, it was her senior year and she wanted to graduate with her class. She loved grunge rock and one day I heard her singing a Bach melody.  I asked her where she heard it and she didn't know but she said she liked it.  It was something she subconsciously heard me regularly practicing and it struck a chord with her.  If youth are exposed to the music of Taizé, they will certainly grow to like it but offering it will not attract them if they don't know what it is in the first place.  This is a conundrum that organized religion hasn't figured out yet, but, the answer is so simple.

When putting together a Taizé service, the musicians must focus on what is needed in order to encourage an hour of singing.  A successful music ministry is not one that plays for or to the people, it is one that revels in the sound of a participating and singing congregation.  The most beautiful sound a music director can hear is the sound of a singing assembly. 

Consider our services in the model of the theater;  Many church musicians mistakenly think that the congregation is the audience, the musicians are the actors and God is the prompter.   This model will surely fail in rapid entropy.  It should be that the congregation are the actors, the musicians are the prompters and God is the audience.  This is a simple mistake that many churches make and is why church is perceived as boring, because it is done -to- us as in the first model.  They reap what they sow.

Within the Taizé service there may be a couple readings and of course a healthy period of silence.  Silence can be awkward and uncomfortable for many people because our brains are often sozzled with distractions and noise.  Speech must die to serve that which is spoken.  Alternatively, I've been to restaurants where I have seen couples sit through their entire meal and barely speak to one another.  Sadly it is probably because she married for security and comfort while he married a trophy and they realized that they have nothing in common.  Taizé doesn't have to be that way as long as you don't go in looking to be entertained.  You have to enter into it empty, open and willing to be filled.  Energy begets energy and in order to get something out of it you have to put something in.

The space should be lit well enough to read.  A lot of churches turn their lights down low and light a lot of candles for atmosphere.  This is nice but one of my churches did this and a woman tripped over something because she couldn't see, she broke her hip and sued the church.  The pastor tried lying to her lawyers and encourage the staff to lie but someone who was was socially conscious told the truth.  Some churches encourage people to bring their own pillows or provide them with cushions so they can sit on the floor.  One church I knew provided tiny little water bottles for dry throats. 

The selection of music and text is important too.  Consider what is going on in the world, in the country, in the community or in the church.  What text can you sing which will break open these issues to create greater awareness or action?  Music is an expression of faith not merely entertainment.  We don't sing because we're happy, we're happy because we sing.  People don't have faith because they love music, they love music because they have faith.

Taizé may not be for everyone.  It is like Grappa, you either love it or hate it.  It may take work to feel comfortable at a Taizé service because sitting for an hour singing songs over and over can be boring for people without the patience, will or strength.  To sit and meditate on a single sentence and contemplate its veracity in their life takes conscious effort.  I can promise though, if you do sing, you will be oxygenating your blood, your heart will pump faster, your brain cells will be getting fresh oxygenated blood, your circulation will improve and you will become more alert. In essence you will leave a different person than when you came in.  Singing for an hour about thanksgiving, adoration, supplication and contrition will teach us that life is worth living and your belief will help create the fact.  Out of what we live and believe, our lives will become that.  Energy begets energy.  Metanoia doesn't happen to those who don't try.

Why should we think upon things that are beautiful? Because thinking determines life.  It is a common habit to blame life upon the environment.  Environment modifies life but does not govern life.  The soul is stronger than its surroundings.

Singing Auditions

Over the years I have played for well over a hundred theatrical show auditions.  I have shouldered this task in both the community and professional theater arena.  Some of the best prepared auditions I have had the privilege of accompanying have been in the community theater realm where many of the applicants were full of dreams and eagerness to prove themselves while, some professionals can be jaded or over confident in their skill or resumé.  Regardless how good the pianist may be, it would behoove anyone auditioning for a musical to help the pianist to help them sound and look good.  I once played for a ten hour cattle call in NYC and by the end of the second day, I was exhausted both physically and mentally.  There were also quite a few people who seemingly were out to challenge me and my accompanying skills.  In no particular order, here are a list of my Do's and Don'ts.  None of these are hard and fast, but, do consider them for your own benefit.

Don't give the pianist hand written sheet music.  Unless your handwriting is impeccable, if the lighting is bad or the chicken scratch on the page is too small or indiscernible, your pianist may have trouble reading it.  My friend Mike is an excellent pianist but he is too proud to admit that his vision is beginning to fail.  He is not going to be wearing glasses so both you and he are automatically at a disadvantage.   Don't let his pride make you sound terrible. Give him something easy and clear to read.

Don't provide music written in keys with too many sharps or flats.  Even if you are auditioning for a professional theater company, maybe they're regular pianist couldn't make it and the union sent over some new person without a lot of sight reading experience.  Again, don't make it difficult for the pianist to make you sound good.  Have the music transposed up or down a half step where it may be easier to read.  You can either purchase music in various keys online or input it yourself into a program such as FINALE or some other engraving software.  Many simple engraving programs can be found for free online. 

Don't hand the pianist a brand new book with an uncooperative binding.  New books which don't already have the binding broken can close on its own at any time.    Wouldn't you rather the pianist to be focusing on you and not holding the book open?

If you are going to tell the pianist that you want to "Start here," then "skip to here," "repeat to here," "skip this page," "I'm singing different words here," "I'll stop there." then clearly mark it out in advance and use colored highlighters.  Better yet, have the music re-transcribed using a program such as FINALE and lay it out exactly as you wish to sing it so that the pianist doesn't have to navigate a maze of clues, scribbles or even trust their own memory.

Treat your pianist with respect, even after you finish singing and are walking off stage.  I once worked at the Empire State Institute for the Performing Arts at The Egg.  Our music director was named George.  He was a wonderful man who always watched the interaction between the singer and pianist.  There were times when George would come down to the pit and ask me what someone said to me or what the music looked like, did they say "Thank you" or if I thought they knew what they were doing.  How they treated me, how prepared they were and how easy they made it for me, mattered to George when hiring future cast members.

When it comes to having your music in a key you want it in, use a music engraving program and have your music transposed in the key you prefer because not every pianist can sight transpose.  Even though I can sight transpose very well because it is something I do every day, it would behoove you not to test me at YOUR audition.  I used to work at the Emma Willard School playing for four ballet classes a day, seven days a week and the teacher would only allow me a repertoire of 50 specific songs.  Her reasoning was that she wanted her students to know the music so well that they would be better dancers.  I quickly memorized the music and on some days, in an effort to entertain myself, I would transpose everything up a third for instance, or play everything in the key of B, then Db tomorrow.  So, it's your audition.  Do you want to risk sounding bad because you took a risk on the pianist?

Some pianist can fake an accompaniment with just a lead sheet and chords.  If your pianist can't read chord symbols and you present them with only a melody line, you're sunk.

Some pianists can't read bass clef very well so if your music also contains chord symbols at the top, that can be very helpful.  Even if I am reading both clefs, sometimes having a chord above the melody line can aid me in difficult passages.  Many pianist will utilize both tools in accompanying.   Have a friend with a knowledge of music theory neatly write the chords in if they are not already there.

Some singers may bring in their own pianists.  My friend George wouldn't have allowed that because he wanted to see how you worked with new people.  It wouldn't hurt to call in advance to find out if they will allow you to bring your own accompanist.  Many won't mind.

Some singers practice with a recording and are comfortable singing to that karaoke type recording.  Again, directors may want to hear you with only a piano or their pianist in an effort to discern your flexibility.

Some singers ask if they can sing a Capella.  Many music directors will want to hear you with a piano to see how quickly and efficiently you can match pitches and rhythms.  Some directors will allow you to sing unaccompanied but won't consider you.  You will be giving them a much needed two minute break.

You may be able to wow the directors with your rendition of a Sondheim piece or some other difficult work, but your pianist may not be able to.  It is you who may suffer when a pianist struggles with a difficult score.  The pianist already has the job. Consider keeping it simple.

If you absolutely must sing Sondheim or something from a difficult score, pay someone to simplify the arrangement so that it is easy to read and play by the average pianist.  Give it to a pianist friend and see how well they can play it on sight.

A few directors may frown upon you if you bring in illegally photocopied sheet music, just a few.  Personally, this is the format I prefer.   If you give me single sided, numbered, loose pages, I can lay them out on my music rack or stand with little fuss.  Just keep it down to three or four pages.  If one accidentally goes flying, you're up the creek.  I don't mind if they are in a binder either but, they should then be double sided.  Don't put them in a binder with hundreds of other songs and the whole collection weighs a lot.  If I am using a music stand, it could cause my stand to slide down.  Don't put your music in those plastic sheet protectors, either.  Depending on the lighting they can cause a glare making it difficult to see the notes.

It never mattered to me if the singer sang a song from the show they were auditioning for or, sang a song that the character they were auditioning for will sing.  However, if you are asked to hang out for a call back, you will probably be asked to sing something from the score.  I once played an audition for CAMELOT in NYC.  We were only casting for the two parts of Guenevere and Lancelot and over 300 people showed up.  It was amazing how many men didn't know the song "If Ever I Would Leave You."  It really showed us who would require a lot of hand holding and note plunking if they were cast in the show, which they weren't.

No matter how good the pianist may be, let me reiterate, don't make it difficult for them to make you sound good.  If you are good, your quality will shine through on anything you sing.  No matter how badly a piano player may butcher your piece, the director isn't listening to the pianist but they may take notice of your composure and recovery skills or, lack thereof.   Keep it simple.