No exceptional singer muddled through. (Their muddling through is at such a high standard, we tend to call it improvisation!) They know how to improvise in the moment because they practise, they understand theory, they understand harmony. They can move, flex them and feel their voices.
If you know the habits of highly successful singers, and you start to do some of those habits, you will also be able to pull yourself forward.
Watch here >>>>>
Or alternatively, here’s the scannable version:
1. They’re consistent
They do it consistently. They do it daily. They set up a practise space that feels great, and where they feel at home.
They can shut the world out and enter into the world of music in a way that they couldn’t if they were just trying to practise in the car.
To become an advanced or exceptional singer you have to learn to be in a room, on your own and work with your sound and with yourself. You need to enable yourself to learn the oral skills, the training, and the coordination to be able to handle this thing that you are wanting to do.
2. They train with a teacher
They find the right type of teacher for them – someone that understands what they need in that moment. I went to different teachers when I was at different stages of my development. When I wanted to develop a certain level of contemporary singing, I went in that direction. When I wanted to advance my classical training, I went in that direction.
You have to find the teacher that is right for your stage of development. It’s no good you going to a really advanced teacher when you are right at the beginning. You’ll find yourself struggling to pay huge fees for advanced knowledge that you’re unable to actually put into practise. You’ll become frustrated because you feel that you’re paying a lot of money and you’re not getting the best out you.
If you’re nearer the start of the journey, find a newer teacher, or somebody that comes recommended. Then, as you move through your skills, and need a different teacher to move you on, make the move. There are good teachers out there for every single level of student and that’s what you have to look for.
3. They know which area of their voice to work on
And they have the right exercises for the job. They will have picked this knowledge up from working with a mentor or a teacher, and they have also learned to hear when their voice is off. They will know which exercises to pick in order to move their voice into contemporary sound or into classical. They know when they’re a little bit bottom heavy or where they’re a little bit tight at the top. They understand their voice – and you can too.
It’ll take a while and there will be moments of confusion, but that’s the point when you should ask questions. Because the only way that you are going to become an advanced or an exceptional singer is by understanding your voice. You need to be able to choose the right areas to develop and identify the right exercises to get you there.
4. They don’t get caught up in negative drama
They just want to be the best they can be.
Have you ever heard the saying ‘you don’t have to be great to start, but you do have to start to be great’? It might be corny, but it’s true. What it’s really talking about is the commitment to not get into our past conditioning: thinking that you’re not very good, and letting yourself get completely caught up in the drama of it.
I remember a time when, if I sang well, I would feel great about myself, but if I didn’t sing well, I would suddenly feel in the depths of despair. When I felt bad about myself I didn’t want to sing, so I wouldn’t practise, and when I felt good about myself I wanted to sing all day, risking damage to my voice.
Being on an emotional roller coaster won’t get you very far. Instead, you need to get on with it, regardless! Do the exercises. Ask yourself: What am I noticing? What am I feeling? Tell yourself: Okay, I can feel it a little bit better than I did yesterday. Great, lovely, job done.
You have to show up in order to be your best self.
If you’re going to be exceptional, you need to take the things that are causing you the most drama, and get them to a point where you take that emotional fire out of them. When you make your practise matter-of-fact rather than emotional, and you strive for your personal best, you will get there .
5. They know that tone is key
They work on their posture, the flexibility of their notes, and their range across the board. When they’re warming up they’re looking at their posture. They’re looking at their positioning. They’re looking at where the tension is. They know that they’ve got to get things flexible and moveable. They’re listening and feeling for when the tone becomes sweet, and it becomes round, and it becomes scented and whole.
Average singers pay no attention to tone. They think that they have to push hard, reach high, and stress themselves out to nail that note.
Exceptional singers know that is not how the anatomy or the notes work. They are starting to understand that tension kills tone. And that tone is always the things that people are buying into when they say they love your voice.
6. They use various approaches – and pay attention
They use mirror work. They slow things down. They speed things up. They reposition things, repeat things, make changes.
In other words, they’re not just going through the motions of doing the same thing day after day, and they’re not allowing themselves to be distracted by their thoughts. They’re present, and they’re paying attention.
They know that when they’re doing those exercises, if something isn’t working, they might need to change the speed. They’ll repeat things differently every single time. They’re always reacting in the moment and responding to what their voice are body are doing.
An exceptional singer is present in their practise, because they know that each performance hinges on them being able to pay attention to their voice, so that they can be present with their audience.
7. They break it down
They work on the songs in the same way that they work on an exercise, with mini challenges and goals. They look at certain phrases and sections.
They don’t simply put on YouTube and sing along with the artist.
They work on bits of the song. They work with a pianist, they work with live musicians. If they’re working with backing tracks, they listen to the backing track, they don’t just use it as an extension to try and follow them. They are thinking about the music, the phrasing, the story, the words. They are breaking that tone down in order to tell those stories.
It takes time, but that doesn’t necessarily mean you have to practise for hours on end, at least at the beginning. It’s the quality of the time that you’re doing that makes the difference, not the quantity. Compare an hour of you singing through YouTube, paying no real attention, and 20 minutes of you really slowing things down, listening, feeling, tweaking, going through exercises, taking small sections of songs. Singing in the mirror, recording yourself, listening back, getting feedback.
When you do this type of quality practise, you will start to see very quickly that
- Your voice starts to increase, along with your love for the process
- Your singing habits start to improve
- You start to move through to exceptional and advanced
Take some of the ideas from here and have a go at changing some of your singing habits this week. Pop over to my Facebook group and let me know how it goes!
This week I want to talk to you about three things that exceptional singers do that average singers don’t. You can move through from the beginner stage into the advanced singer stage far quicker than you realise with these three tips.
If you really want to achieve your aspirations and your singing goals this year, then please listen up!
Or alternatively, here’s the scannable version:
1. Fall in love with the process of singing and the process of learning
Most singers want to have the results of singing. They want the good feelings. Singing is powerful; it gives you great feelings. But if you don’t fall in love with the process of learning in order to get those good results, then you will always say at the average level (no matter how much you want it!) and you’ll never become exceptional.
You’re not going to get those results until you actually commit. Until you fall in love with the process of learning (and that means being in a practice room, doing the exercises, singing the songs, feeling uncomfortable, not getting it right, learning new steps, working it out), you won’t ever find the exceptional capabilities that you have really capable of.
Nothing is more frustrating than feeling like you have not expanded yourself and reached your full potential. It’s why we set New Year’s resolution goals. And until you really fall in love with the process of attaining your goal, rather than the result, you won’t be able to reach your full capacity.
2. Practise the positions – and understand why
Exceptional singers get really clear on what they’re trying to practise.
They will collaborate – they’ll work with someone who can help them get some perspective on their voice, find where the problems are and help them see what they need to focus on.
If I give you a downloadable exercise, or you go and find one on YouTube, you might enjoy it and it might seem to work for you, but it will be far more effective if you know:
- How to choose an exercise
- Why you’re doing the exercise
- Which positions you’re practising
Just choosing a few songs or exercises, and singing until it feels a bit easier, won’t give you any added knowledge about your voice.
When the singing gurus say, “It’s better not to do any exercises at all than to do the wrong ones”, they’re partly correct. Because if you’re going to push past your own boundary level, not listening to your own voice, you’re going to compromise yourself – and you might even damage your voice.
An exceptional singer has started to understand a few things about voice – and about their own voice. They’ve understood their strengths, they’ve understood their weaknesses. They’ve understood which areas of their voice they really need to build their goals and challenges and workouts around, in order to improve – and they choose to practise what will benefit them most.
3. Practise your performance
Exceptional singers practise their performances before the performance. It’s called a rehearsal (and no, I’m not talking about a band rehearsal where everybody plays and shouts at each other and nobody warms up!).
They’re in the practice room in the same way that they are with their exercises, in the same way they are with their music, and they are choosing their moves. They are in the mirror. They are looking towards how they want to be on stage, where it’s a transfer of energy. It’s a dance that starts with you, and exceptional singers know this.
They don’t wait until they get on the stage, and they don’t rely on it coming from somebody else.
You need to move yourself into an energetic state where you are focused and clear. And if you can learn to do that in performance, if you can learn to do that in the silence of your practice room.
Do you feel it’s time for you to say, “It’s time for me to look towards exceptional”?
Are you ready to:
- Ditch the excuses
- Stick to a plan
- Brave disappointment (and bounce back)
- Follow through, even when you don’t feel like it?
If that’s you, then please get in touch and share what’s holding you back.
Because now is your time.
You can do it.
Want to move from average to exceptional? Get in touch and share what’s holding you back.
Would you like to feel more motivated to practise your singing? Use my 16 top tips to help you move forward. Why don’t you have a go today?
I have to say this is one of my personal favourite topics and one of the least talked about professionally. There are techniques for singing and so how it functions that it is mind-boggling. There are CDs and books written from the 1900s up to the present day giving vocal exercises galore.
I also personally think that not every method has the whole truth about singing, but brought together they form a wonderful tapestry of more skills than any singer can take and use.
But what does a singer do with these exercises and how do they know whether they are using them correctly? When as a singer you only hear a portion of your whole sound and never as the audience hear it, how do you judge whether you are getting it right and not just spending time practicing bad habits or simply getting discouraged?
Unlike an instrumentalist, a singer should not be rehearsing for hours on end, especially at full belt. If you really understand how to practise your songs, your learning time can be cut by more than half, leaving valuable time to explore other areas of your performance and work on your craft in other ways.
# 1 Loosen it up
Your first goal in practice is to generally loosen your vocal cord muscles, ligaments and reduce tension. The use of lip trills, speech exercises and siren sounds and hums can loosen up, even out your breath and stretch your ligament range when you are singing. Many singers simply add too much pressure initially or hold their breath and their posture can be slouchy and bad from long days sitting down in the office.
No athlete forces their muscles into submission but too often singers go straight in with singing their songs. Decide whether you are feeling on top form, have had a hard day at work, been unwell lately or are just a little tired as these will all determine how long you may have to warm up for (your head as much as your voice) and what your energy level is likely to be.
# 2 Have a routine
Begin with the exercise routine given to you by your teacher. In the past I sang straight open vowels as it was the traditional approach. Some naturally placed voices (and what I mean by that is a voice whose tone and pitch fit with full access to frequencies and harmonics in the voice) are able to sing in the centre of the vowel and may begin initially with open vowels, but personally I like to use consonants before vowels (as in speech level singing exercises) to fast track that process.
I’m a big fan of new approaches to exercises because we are learning more and more about how to help singers and I really don’t think that an approach that takes years of doing exercises that have little success is a great one.
# 3 Question why
While doing these exercises ask yourself “Why?” Why are you doing this particular exercise? When I asked a group of students at a university why they practiced, answers varied from feeling good, being able to sing the song to “I was actually told to in order to get it right”.
What is that exercise designed to do? If you don’t know ask your teacher, they should be able to give you a valid answer. Why have they chosen it for you? If you have a clear understanding of why you are doing a particular exercise you will be able to build up a reference library of exercises that you can tailor-make to your vocal strengths and weaknesses and not simply act mindlessly singing exercises with little idea of their effect. Exercises can be practiced wrongly and cause as much damage as not doing them at all.
# 4 Start quiet
Make sure initially you are not practising too loudly at the start, but only increase the “leaning” and “pressing” or volume aspect once your muscles can respond without constriction in the throat or locking the breath.
# 5 Little by little
Little by little increase volume in a balanced way so that all of the vocal range will sympathetically come together. No blasting the bottom at the expense of the top and vice versa.
# 6 Find a private space
If you share a house or find it difficult to get some “alone” time, consider hiring a church hall or room to practice in. This is a great way to simply let off steam. Sing your heart out, test whether you are actually a bigger voice holding yourself back through trying not to disturb the neighbour .
# 7 Slow it down
Slow exercises down if you need to concentrate on sections of the voice that need extra work. For example you may be singing an exercise and flip in the middle over the break, or it goes a little woolly. Simply stop, repeat the exercise and pay more attention to the sensations you are feeling. If it continues try another exercise, walk around, change something rather than ignore what is going on.
# 8 Be thorough
Sometimes it better to just practice one exercise for 10 minutes really thoroughly, thinking of the sensations, rather than whip through a routine which you pay little attention to.
# 9 Move!
Walk around, swing your arms, move in your practice time and make a habit of making sure you are not increasing tension at any point.
# 10 Change it up
I often advise singers when practicing songs or exercises to stop at the “stuck” point and change the rhythm or take few notes out of context and play with it. Add a different vowel/consonant combination, look at it from a different angle rather than simply singing it straight through.
# 11 Drive carefully
Lots of students (adult learners!) practise in the car. I’ve done it too… but a word of caution: combined with the road noise and obvious lack of concentration and mobility, realise it is a far from ideal method. You would be better using hums and sirens that don’t require much singing out.
# 12 Refine, refine, refine
As you get more advanced at practise you will come to realise it is more about the detail and working little by little into odd, specific areas than pounding the pavement, bashing out lots and lots of exercises. Listen out for areas of the voice that need refinement and look for exercises that deal specifically with these areas.
# 13 Be open to suggestions
There are many methods that work effectively depending on your learning style.
# 14 Keep a diary or practise journal
See if you can find consistent areas that seem to crop up time and time again.
# 15 Clear your head
At the end of detailed practise go away for 10 minutes, clear your head and then simply sing for pleasure. Practise is about training muscle memory and increasing stamina and flexibility of your voice, but performance is about connecting and communicating the song to the audience out there. So to test whether things are improving, go away and come back and simply sing the piece through. You will soon be able to tell if you’ve fixed that section or if more practise is required.
# 16 Try it three times and move on
That’s my rule. If I try something three times in different ways and it’s still not working, I move on. It’s important that your brain doesn’t get “stuck” but that you have time to come back to it at a later date.
Example 30-minute routine:
- 5 minutes – stretch, move, get head in the right frame of mind, use siren sounds, lip trills etc to get the breathing and flexibility going.
- 10 minutes – moving from gentle exercising into moderate exercising that deals with specific areas in the voice.
- 10 minutes – song work – one song only. Begin with areas that need work if you have sung it before and avoid singing it over and over again.
- Use the 80/20 rule using sounds in the songs like lip trills, hums, consonant and vowel combinations to find where the voice needs to adjust. Then take a two-minute breather.
- The last 5 minutes – sing through as if it doesn’t matter. Just perform it and you will soon see where work needs to be done another time.
Please leave me your comments and what your favourite practise tips are!
The desire for success in the music industry is a strong as it ever was, but the game has changed and I’m seeing lots of desperate effort being made by all sorts of artists. And the result? Zilch. (Or very little.)
Not only that, but there can even be a fantasy created that stuff is happening, when really it’s only a drop in the ocean.
So I went out and I asked my contacts and those that I know have managed bands and artists signed by labels and who had seen the good, the bad and the ugly to share some top wisdom for artists who might have several pieces of the puzzle but need to organise them into the winning picture.
You must have these pieces in the puzzle IN ORDER to have a shot at industry dreams.
A Distinctive Voice
I didn’t say the best voice in the world, or even the most accomplished singer, but you do need to have a robust technique and distinctive sound along with bags of charisma. By the way, you can start without these and work your way up to them, but in a heavily saturated market nothing other than your best self will do. So stop copying other people, trying to be the next Ed Sheeran or Adele or whoever and make sure your voice has the edge and stamina as well as unique sound to stand the gigging and endurance race you want to enter into. Can there be anything worse than having worked that hard, have A&R coming your gig and your voice packs up – er no! So get your unique sound and vocal stamina sorted – get coached!
Goes without saying really, so work at your craft, write and write and write and then write and learn with others too. You need hooks and systems for writing and you need to write the record you want to hear not limit yourself by writing to a limited ability. Write so well that you have to learn to sing your own songs! If you slip a song you have written into a cover set you are doing (don’t announce it just play it) and if people are still enjoying it then you have a winner but if they suddenly move to the bar, chat to mates or go to the loo, then your song is not strong enough to hook them in. You have to test the market and lose the ego about changing it if necessary. It has to connect with an audience or you have no audience for your music.
5 song EP and an album in the wings
Singers announce their forthcoming EP like it’s the about to launch them, and to be truthful it rarely does, unless you do the following and have a following:
1) You must research the producer you use and create an EXCEPTIONAL recording with only your best songs to launch you. With today’s technology there is no excuse for a lack lustre production. It is common for singer to be a bit sheep like and all follow each other, but you need to stand out from the crowd not rush along with it. You will need a good budget for this and if you are not blown away by the recording, and feel super excited every time you listen to it, then that producer is not for you.
2) Just like the record labels in years gone by, why are you releasing it and where do you hope it will go? You need a marketing plan and a following. It’s not field of dreams – build it and they will come! Just releasing an EP will do nothing unless you do something about marketing it before hand.
Copyright and legals
This is a catch 22, as in some respects there is no point getting a music lawyer on board until you have something people are interested in buying into. So if you are worrying about putting something up on youtube and no one knows you, there is little point. That being said, there are horror stories out there of demos being made and picked up and used without permission by bigger fish who have more clout and money to fight you in court. There are some hard lessons to be learnt here, but copyrighting your music early on if you are serious and beginning to get interest in your work and performances is just common sense.
Killer live show
This is where there can be a big let down. If you have made all the effort to get an amazing EP together and are looking for A&R interest they are going to want to know two things :
Can they hear more?
You need to have more good material ready to go (hint: keep writing rather than riding the crest of a wave).
Where and when can they see you playing live.
Regular band rehearsals are a must as well as videoing you performances so you can see how it looks from the audience’s perspective. I find I am so let down by performances of bands and artists. They don’t know how to introduce songs, keep an audience entertained or even stay on pitch sometimes.
You must craft a performance like you would a great song, in a thought out manner. It’s all part of your marketing strategy to build your presence and build a fan base. It’s not unusual to see singers and bands get up on stage and behave like they would when in the rehearsal room, singing to themselves and the set lacking drive and focus.
You must learn to put together a great set and rehearse like you are about to perform. If all you want is to stand on stage and people love you without you doing much in return to earn that, you are missing the point. Be an entertainer.
A fan base – and somewhere to house them
A big mistake that up and coming singers make is not having their own website in their own name or the bands name. They think they can get away with social media only and you can’t. The website is the home that you want to direct fans to. There must be a sign up box linked to a data collection service like mailchimp, constant contact or awebber (which I use) – it means that perhaps in return for a free download people can put their names and email in (in other words they say “yes” to having emails off you) and you can keep in touch with them and nurture the relationship.
When you are ready to release your amazing EP or announce your shows, you will begin to find you have a ready made fan base waiting for you. If all you are doing is gigging and not collecting names, you are wasting a great opportunity to build your brand. Every one needs customers – and you have to find yours. There is no artist development or magic wand out there in the form of a record label who is waiting to throw money at you, unless you already have a huge following and then you may not need them anyway!
A Social Media presence
If the website is the home you want your fans to find, then social media is possibly one of the main roads in which they travel to get to your door. No one can deny the immense power of Twitter, Facebook, Instagram, Periscope, Youtube and even LinkedIn (which was originally for more corporate business).
Again though, social media has to be part of your overall plan. Think about the end result you want from every post you make. Do you want likes, sign ups etc, more fans to spread the word on your behalf?
But here is a MUST: You will get far more exposure if you interact with the people who interact with you. If all you do is post videos of you singing and never reply to comments then you are not engaging with fans and building relationship. It shows you are only interested in yourself and that just gets old after a while. We have possibly the most powerful platforms in the whole of history to use to reach people, so think about how you want to connect and plan it out.
A network of industry contacts
Yes it’s true, it’s really who you know not what you know that counts in the end, but that doesn’t mean you can’t get started. There is an old saying – treat ’em well on the way up because you will always meet ’em on the way down! If you want to eventually meet the movers and shakers then make sure you do the following:
- Be reliable (make sure people can count on you and they will)
- Be consistent (be good at what you do and keep crafting your skills, no one knows it all)
- Be Visible (get out at gigs and industry events and meet people)
- Be nice (don’t gossip or talk about people – it has a funny way of coming back on you.
- Be cool (don’t be a desperate social climber, chill out, remember names and make sure you follow up)
Business savvy, passion and confidence (be a cool person, not arrogant)
I’ve said it above, at the end of the day you are not just in music, you are in sales and people buy into people they know, like and trust, but if you are really wanting to make a business out of your music you can’t be fluffy about it – like Eric Morcambe (Morcambe and Wise) said show business is always business before the show.
You will need finances (so a job while you get things off the ground is super important) and bags of confidence.
You will need to know how to grow a business with your music and have unwavering passion, self belief that you can learn what you need to know and be a person people want to hang around with or inspire.
No one is born like this, we have to grow into it. You also have to have a strong character if you are not to fall prey to the rock’n’roll lifestyle choices that will lead to destruction. Artists and singers have sensitive temperaments by nature and it’s easy to fall prey to stimulants that help you wind down or pep up, none of which in the long run will see you through the long it will take to become the artist you long to be.
It’s not for the faint hearted, but that doesn’t mean you can’t get there. It’s all a risk, no one can guarantee success. I’ve known a millionaire who couldn’t buy success for his son’s band, that is solely down to being able to find, develop and nurture fans, create great music, and become savvy in getting that out into the world.
Leave me a comment below and let me know your thoughts.
Well it’s that time again! X-factor, The Voice… talent shows galore, not to mention the rounds of theatre and music school auditions that have just taken place.
Did you do any?
How did you get on?
Well, if you didn’t do so great, I have some very good news for you. You can improve – and sometimes very quickly – if you know the game you are about to play and stay focused on what needs to be done at each round of an audition process.
Just in case you are wondering if I failed any auditions (answer: yes) and how I coped with the disappointment and rejection (to be honest, not well at times…), I have most assuredly bought the t-shirt on failed auditions.
In fact I won a book for the most embarrassing audition story in a competition run by some teachers I know!
I have made all the mistakes so you don’t have to (if you listen up and get wise to the process). I have walked singers through the preparation required to get through auditions and had some stellar results. My singers have won major UK competitions, entered theatre schools and won scholarships as well as got through rounds of the TV competitions with only a few lessons.
So I am going to save you the heartache of rejection, but you must follow the rules if you want to play the game.
1) First things first
Your goal is not to visualize yourself winning the trophy at this stage (or at any). Your first priority is to get through the first round of auditions if there are several rounds. Be the best you can be at each stage in any competition or audition. Too many either fail at the gate because they over-think even attempting and then their nerves kick in because they made they whole thing so big in their mind that they fall apart as they walk in.
That’s no good at all, nerves are always going be around and you have to find a way to chunk down the goals into manageable pieces that you can mentally handle. That’s why when a young 16 yr old girl came to me because she had entered for the X-factor, I told her our only goal was round 1. That piece of information alone, helped her to focus her attention on what she needed to get better at right now. The upshot of it was that after just 3 sessions and a small performance class she passed round 1 after never having had a vocal lesson in her life, and walking in with a whispy voice and with no confidence and frankly no chance.
Focus on the task at hand which is doing the work to deal with just the round that you are faced with. Avoid future planning or overwhelming yourself with imaginings that haven’t happened yet!
2) Choose your songs wisely
Here is where many make a big mistake. They believe in picking either an iconic song recorded by an iconic artist that is generally too big for their voices or experience in the hope that the judges will see their potential. They hope that if they can get through a big song then it will show they are a really good singer. Mostly the answer to this is NO! It won’t show you can – it is more likely to reveal what you can’t do yet. If you pick a song by Whitney, Mariah or Beyonce or Ed Sheeran etc etc as well as the big opera tracks too and obvious Wicked and Les Mis numbers (I heard 5 versions of Beyonce’s “Halo” in one series of auditions I sat on!) you will be immediately compared to the icon, which is a tall order to deliver. Don’t do it unless you can walk it.
Instead, pick songs you can make your own, or that are a male song and you are a female covering it – I call these clever covers because you are not simply trotting out the same things as everyone else. Look for similar voice types to you or out of the box songs that you can be remembered for doing. Your goal is to stand out from the crowd for all the right reasons. Above all, make sure you can sing the song on a good voice day and on a not so good day and when you are tired and grumpy too. Can you raise the bar and turn on the lights? If you can only sing the song when you are at your best, then its not a safe choice and you many find nerves sabotage your moment.
The one most singers miss out. I have known singers who apply and then don’t do the work. It’s a kind of reverse psychology that goes like this “If I don’t get in at least I can say I wasn’t prepared”. Go figure! How crazy we get when we are trying to avoid feeling rejected and disappointed. We are so scared of putting the effort in and then not feeling ‘good enough’ that we will avoid feeling bad at all costs. Even the cost of succeeding. We are indeed complex at times. Sometimes you will put the work in and you won’t be good enough at that stage or that year. Don’t get down at this point. Go back, do more work, follow through, see how much you can improve. Push the bar a bit more, you must stretch yourself if you are going to grow.
Make sure you know what the meaning of the song is, pretty and vacant is not a strategy! Give it thought, work out what you are going to say, how you are going to walk in and out, leave nothing to chance. Think of answers to some of the questions you may be asked. Be prepared – no be over-prepared. You may not be able to control the outcome, but you can control the output!
4) Get feedback
Get in front of others and run the audition songs through. Be humble and learn to take the constructive help. You may be able to change a few elements that make all the difference. Never shy away from singing to professional people in the industry who can be honest and truthful as to what you need to do to improve. That being said, pick these people carefully, you don’t want a bitter and twisted opinion that is designed to erode your self-belief. But if you get it, use it as fuel to your fire and come back stronger. You need to be mentally tough if you are going to be a good performer. I didn’t say be defensive, but be able to take some criticism as it really is character building if given by someone who can see your potential to improve.
If you cannot get in front of a group before your audition, get in front of the mirror! It can’t lie to you. If your eyes are wondering everywhere or you seemed bored even to yourself (or desperate) then just know that is what your audience is seeing. I know many performers who always watch videos back so they can see what needs correcting from an audience perspective. After all these are the people who we are meant to be entertaining. Yes even judges want to be entertained!
5) Be a people person – at all costs
There is no room in the modern age for diva like behavior. Let’s face it there are thousands of people auditioning for what are in reality only a handful of places and judges will always favor someone they know they can work with and who gets along with others. Have manners and say please and thank you to the stage crew and the receptionist. People talk a lot! Don’t reserve your best behavior for those you feel have the decision making power. Treat everyone as you wish to be treated.
If your audition goes well, great, thank them. Hugs and kisses may not be needed at this point and this is not yet the greatest day of your life! But if it doesn’t or you get criticism, thank them for that too. Smile, and take the feedback. Then perhaps go and have a good cry, but only allow yourself a set time, say 30 minutes max, then wipe it away and get back to work. No wallowing and wailing how you were robbed. You have no idea why someone was chosen over you. Don’t get bitter, get better.
You may find this little test of character comes out in your favor when you next audition and they see the improvements and new maturity. It will only be a matter of time then that you be be hearing more yeses than no’s.
Have you ever struggled to get rid of negative thinking?
I have. In fact we all have. You know those doubts and fears and mild depressions that can overshadow us like a cloud. I’m not talking about major chemical depressions those are very different, but the mood swings and the feeling that no matter some days how hard you try, you have trouble shaking it off.
Well if you struggle with these thoughts often, then it is robbing you of confidence and if you don’t stop; this thief will rob you of opportunities and the joy of everyday life too.
Here are a few reasons why we struggle with these thoughts:
- Family problems
- Peer pressure
- Disappointing results
- Fear of failure, humiliation – or succeeding
- Low self esteem
- Lack of a clear vision for the future
I could go on! So let’s get way more positive immediately.
In order to stop the thief from stealing your peace and plans you have to understand how to get control of your thinking…
Which can be challenging when we have 65,000 thoughts a day!
How can we do it?
Get out of the storm
When you feel that your head is about to explode with ‘shoulds’, ‘musts’ and fears of “I must have my future all mapped out today”, get out! Literally get out and go for a walk in the fresh air, or go and do something practical. Most importantly don’t try and get control of the storm of thoughts running through your head. Let the storm pass by.
You can’t make a decision what to have for dinner tonight in this state let alone what to do to move through your greatest fears and move forward. Only when you fell calmer will you be in a better frame of thinking to look at it all.
Get clear on what the problem is
Begin to journal. Write it out, what’s bugging you? Why are you so afraid? What happened that hurt you so bad? What are you most worried about if you do this or that? What went wrong? Why didn’t you see it coming? What can you actually learn from this? What really needs to change even if it worked last time? What story are you making up as to why you can’t? What pattern are you repeating?
Get a Vision for the next 3 months 12 months and 10 years
Strangely now is then time to lift your eyes and look to the hills. Plot a way back from it all. Planning so far in advance can mentally lift you from your current state. You begin to get curious instead of fatalistic. Your frustration and impatience at the current situations are only temporary. You don’t have to have it all worked out you just have to begin plotting markers along the road.
Get into a routine
No matter how hard it seems to do, if you can maintain a routine while you move through your thinking patterns they will begin to lift sooner. It shifts your focus from the energy that is only self focused. Start practicing or writing or walking or doing a social media campaign for 15 mins. a day to start. Try and pick the same time. You will fight it I promise, but who is going to win here your dreams or the comfort zone?
Get out of the rut
We all fear breaking out of the box, but you only have one life and tomorrow is not a day of the week! On average apparently people watch around 6 hrs of TV a day! That’s a whole evening after work or daytime TV! If you want more for your singing, then you have to raise the bar and add another dimension. There are 2 choices, lower your expectations or raise your game. I suggest the latter!
Get better at talking
Both to yourself (stop that negative mouth telling you it’s OK for others but not for you) and to others. Say something positive to others. I’ve been challenged to write 3 points to be positive every day on Facebook (why don’t you join me). Scientists are now saying that if you keep thinking negative or positive thoughts your brain creates a neuro-pathway and it changes brain function. In other words you think your way to a better life or not.
Confidence is developed one step at a time. No one is confident beginning new things, but instead begin some new routines, habits and talk to get confident. If you would like my help to take this further then join me on The Confident Singer Program for more details.