My vocal technique is rooted in both classical and contemporary tradition, being largely based on two rather contrasting teachings:
Firstly, eight years of singing lessons with Sirje Vasmann-Perend, who taught me classical vocal production, microphone technique, stage presence and the importance of image, dedication and hard work.
Secondly, four months long Complete Vocal Academy course at the Complete Vocal Institute, where I learned to improvise and create emotional maps of songs, started to control vocal effects and navigate between different vocal modes and music styles.
I have a wide vocal range (B2 – F#5) with the ability to transfer between the four resonant spaces: head, mouth, nasal, chest (Howard, 2000); an emphasis on diction; the tendency to use vibrato and multiple languages – all typical of classical music practice.
However, my habitual use of electronic amplification enables me to apply more conversational diction and vocal effects; I have a natural impulse and habit to improvise and experiment with various styles and all four vocal modes: neutral, curbing, overdrive and edge (Sadolin, 2012, 81) – all commonplace in popular, but not classical music. Furthermore, despite not being able to read music well (a classical singer is required to sight read) I write pop songs by mostly relying on inner hearing.
When it comes to my practice, I combine classical and pop music elements. I always start with a classical music based warmup (since that is the healthiest type of singing due to least vocal effects – potentially harmful for the voice when done incorrectly – being added), practicing arpeggios and scales, using my “head voice” to expand my vocal range. That is usually followed by a classical song, in order to establish a smooth breathing pattern, since “in contrast to untrained individuals, classical singers use greater percentage of abdominal contribution to lung volume during singing and greater asynchrony between movements of rib cage and abdomen.”(Salomoni et al., 2016, 1-2).
I also methodically turn vibrato and flageolet on and off as well as work on a high-stamina requiring pop/classical song (to improve my support levels, stamina and vocal power), followed by less demanding, but emotionally relevant repertoire (mainly pop or rock music), aiming towards as much clarity and clean transitions between octaves and different vocal modes as possible.
When it comes to both singing and songwriting, I have been most heavily influenced by Christina Aguilera (modelling after the creaking effect and belting); Adam Lambert (vocal clarity, twang and even transitions between vocal modes); Jaques Brel (the storytelling aspect), Lara Fabian and Whitney Houston (combining flageolet and neutral); Jeff Buckley, Bush and Nirvana (emotional relevance of lyrics and voice, song structure and overall lyrical rock style); Muse (combining classical, electronic and pop music elements).
As for my songwriting process, I always write lyrics first (mostly in English, sometimes in Estonian), which are usually followed by finding a fitting basic melody on a guitar. At this stage, I often use GarageBand to create a simple electronic drum beat – a base line on top of which to fit the vocals and guitar tracks. I generally loop the tracks (play/sing the same passage continuously, making slight changes each time) until I find the best-fitting takes for verses, choruses and a bridge.
All in all, I aspire towards “approaching music with seriousness, vigor (health) and affectionate joy” (Klickstein, 2001, 115-117). Making meaning equals making art for me, therefore I always choose or create songs that have a touching effect on myself (in my opinion, the only way to generate an emotional response from the audience is to sing with passion).
References:
Howard, E. (2000) Vocal Coach: placement – resonance – vocal colors. Los Angeles: CA. Available from http://music-world.com/MC-Chapters/BTS-ChResonance.pdf [accessed 21 December 2016].
Sadolin, K. (2012) Complete vocal technique. Copenhagen: Shout Publications.
Salomoni, S., van der Hoorn, W., Hodges, P. (2016) Breathing and singing: objective characterization of breatjing patterns in classical singers. PLoS ONE 11(5) 1-2. Available from http://eds.b.ebscohost.com.proxy.library.lincoln.ac.uk/eds/pdfviewer/pdfviewer?sid=ee595795-4be4-45f2-9940-a60ccc277d8f%40sessionmgr104&vid=2&hid=113 [accessed 21 December 2016].
Klickstein, G. (2009) Musician’s way: a guide to practice, performance and wellness. New York: Oxford University Press.