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Breath Control is a huge component of singing, it actually effects a vocalists tone, range and power. "No airflow = No sound. You see, singing starts with Air Flowing through your vocal folds." (Hall, 2023). To improve breath control there are some exersises that I can practise, like staying relaxed and inhaling through the nose for 4 seconds, hold my breath for 8 seconds, and then exhale for 8 seconds and repeat 4 times (Febre, 2021). Another exercise I will do to improve my breath control will be panting, where you bring your tongue out like a dog's tongue. Placing my fist in between my ribs and sing the notes of a scale by vocalising “ha” on each one. My fist will move in and out with the diaphragm movement. End each scale with a long sigh to relief (Febre, 2021).

I have posted me doing these excercises above, I will do these before every practice. This will improve my ability to hold longer notes and faster phrases with no spaces to breathe.

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6 Easy & Effective Breath Exercises for Singers | School of Rock

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Improving your breathing can make a major difference while singing. Here are 6 simple ways to improve your breathing especially for singers.

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To improve my time management I have done some research on building a schedule and different ways to wake up to get places on time. Improving my time management will reduce anxiety which is something that I go through quite often especially in lessons if we can't get things done on time.

In my research I discovered a few techniques to improve this, some of these were :

Pareto Analysis (80/40) - This is a technique created by the Italian economist Vilfredo Pareto. The idea for this is that 20% of actions are responsible for 80% of outcomes. The goal for this is to help focus mainly on tasks that are most effective for solving problems (University of St. Augustine for Health Sciences, 2019).

Pomodoro Technique - The author and entrepreneur, Francesco Cirillo, created this technique. This technique is using a timer and breaking down work into intervals. "pomerado" is what each interval is known as, named after the tomato shaped timer that he created (University of St. Augustine for Health Sciences, 2019).

I will use these two techniques during rehearsal to help break down the song or tracks into sections and also take the hardest tasks and go straight for them first to solve the first problems. This will help me feel more confident in lessons so im not feeling like we are running out of time before we have done a full run through of the song.

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University of St. Augustine for Health Sciences

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Time management-how we choose to use and organize our time-is something many of us struggle with. Effective time management allows us to make the most of our day, accomplishing tasks more quickly and prioritizing those that will make the most impact.

Different people need different effective time management strategies. If you're a graduate student, you may choose to manage your time in a different way than someone who is a working mother. If you're a visual person, you may prefer a color-coded calendar over a written to do list .

Figuring out a process that works for you, whatever that may be, is key to creating your most efficient life. To help you improve poor time management, we've explored nine popular techniques, from the 80/20 rule to the "eat that frog" method. We've outlined what they are, how to implement them, and the types of people who most benefit from them. And, check out our infographic below that includes a flowchart to help you decide which time management process will work the best for you.

9 Types of Time Management Techniques

Achieving work life balance is possible with effective time management . Learning time management tips will not only help you manage your time better but also boost personal productivity . With that said, here are some time management strategies you can try:

1. Pareto Analysis (a.k.a., the 80/20 rule)

The 80/20 rule is a technique created by the Italian economist Vilfredo Pareto. It's the idea that 20% of actions are responsible for 80% of outcomes. The goal of Pareto analysis is to help you prioritize tasks that are most effective at solving problems.
How it works:

1. List some of the problems you are facing. For example, maybe your grades are slipping.

2. Identify the root cause of each problem. Maybe your grades are slipping because you spend too much time on social media or any other sort of distraction .

3. Assign a score to each problem: Assign higher numbers to more important problems

4. Group problems together by cause: Group together all the problems caused by spending too much time on social media.

5. Add up the score of each group: The group with the highest score is the issue you should work on first.

6. Take action.

Types of people who will benefit from Pareto Analysis:

Problem solvers

Analytical thinkers

2. Pomodoro Technique

The Pomodoro Technique was created by entrepreneur and author Francesco Cirillo. This technique uses a timer to break down your work into intervals. Each interval is known as a named after the tomato-shaped timer that Cirillo created.
How it works:

1. Choose a task you need to get done.

2. Set a timer (e.g., for 25 mins).

3. Focus on the task at hand.

4. When the timer rings, put a checkmark on a piece of paper.

5. Take a short break: Take a break for about three to five minutes. Go for a walk, grab a cup of coffee, do something non-work-related to give your brain a break.

6. Repeat steps two to five: Once you have completed this process four times, you can begin to take longer breaks (20-30 mins).

Types of people that will benefit from the Pomodoro Technique:

Creative thinkers

Those who feel burnt out from work/school

The Pomodoro technique doesn't just teach your time management; it also teaches you in setting goals and how to achieve them. You'll be able to better stick to your daily schedule and weekly schedule .

3. Eisenhower Matrix

Before Dwight Eisenhower became president in 1953, he served in the U.S. Army as an Allied Forces Commander during World War II. He was faced with difficult decisions every day that led him to invent what is now called the Eisenhower matrix , or the urgent-important matrix .
How it works:
Organize your task list into four separate quadrants, sorting them by important vs. unimportant and urgent vs. not urgent, as shown in the graphic below. Urgent tasks are those we feel need to get done immediately. Important tasks are those that contribute to your long term goals or values. Ideally, you should only work on tasks in the top two quadrants-the other tasks, you should delegate or delete.
Types of people who will benefit from the Eisenhower Matrix:

People in leadership positions

Critical thinkers

4. Parkinson's Law

British historian Cyril Northcote Parkinson became famous for the phrase "work expands so as to fill the time available for its completion." In other words, the amount of time you give yourself to complete a specific task is the amount of time it will take you to complete that task.
How it works:
This is not a time management technique . It's a law that, when understood, can be applied as one of the most beneficial time management methods out there-but you will have to put in the work. That means working more efficiently in shorter bursts of time. Here are some time management tips:

Try working without a computer charger. This will force you to finish a project before your computer dies.

Get it done early. Instead of finishing an essay by midnight, try to get it done by noon.

Set a deadline. Give yourself a set time to do something-and then cut it in half.

Limit time for tasks. Give yourself only 20 minutes in the morning to answer emails.

Types of people this works for:

Procrastinators

People who work well under pressure

5. Time Blocking Method

Inventor Elon Musk is known for being productive. He manages his time so efficiently that he can work over 80 hours a week and still make time for himself. What's his secret? Time blocking.
How it works:
From the moment you wake up, assign each time block in your day to a task. These tasks can be anything from eating breakfast to studying for a test. Below are the steps Elon Musk uses to block his time:

1. Divide a piece of paper into two columns. On the left, write down each hour of the day and create blocks of time such as half-hour or hour chunks.

2. Estimate the time it's going to take to complete each of your tasks and fit them into your time blocks.

3. Add buffer times in between each time block to allow for adjustments during the day.

Types of people this works for:

Working students or parents

Analytical thinkers

6. Getting Things Done (GTD) Method

Created by author David Allen, this process helps you get things done by recording tasks on paper and then breaking them down into actionable work items.
How it works:

1. Capture the actions that have your attention: These actions are tasks that can relate to anything from work to school to your personal life.

2. Clarify what they mean: Decide whether the tasks that have your attention are actionable or not. If an item is not actionable, ignore it for now. If the item is actionable, do it, delegate it, or set it aside.

3. Organize your actions: Prioritize your to do list according to what you need to get done when.

4. Reflect: Review your list of actions frequently to determine your next priority. Cross off tasks you have accomplished and update your list.

5. Engage: Take the actions or smaller tasks you can complete right now.

Types of people who will benefit from the GTD method:

People who struggle to focus on one thing at a time

People who feel overwhelmed in their daily lives

7. Rapid Planning Method (RPM)

"RPM" stands for "rapid planning method" or "result, purpose, and massive action plan." It was developed by motivational speaker Tony Robbins as a way to train your brain to focus on a vision of what you want so you can make it real.
How it works:

1. Capturing: Write down all the tasks you need to accomplish this week.

2. Chunking: "Chunk" your tasks together by commonalities. Which items are personal? School-related? Career-focused?

3. Create your own RPM blocks: On the top of a new sheet of paper, make three columns: the task, the result you want from completing that task, and your purpose for completing it. Next, list the actions you can take to get there.

4. Create an empowering role for yourself: If you're a student, you might call yourself the "Study Queen." Anything that will get you jazzed about completing your goal.

Types of people who will benefit from the RPM:

Working students or parents

People who have long-term goals

8. Pickle Jar Theory

This theory helps you figure out what is useful and what is not useful in your daily life. It allows you to plan tasks with time to spare and set priorities for your day.
How it works:
Imagine a pickle jar full of sand, pebbles, and rocks. The sand is at the bottom and the rocks sit at the top.

1. The sand: This represents disrupting elements of your day, such as phone calls, text messages, emails, social media, etc.

2. The pebbles: This represents tasks that need to be completed, but can be done on another day or by someone else.

3. The rocks: These are the most important tasks that need to get done today.

Begin by thinking about how your tasks for the day would fit into the above categories. Then make a task list starting with the rocks and ending with sand (if time permits). Include an honest time estimate next to each. Try not to plan more than six hours of an eight-hour working day. This will leave buffer time for the pebbles and sand.
Types of people who will benefit from the Pickle Jar theory:

Visual people

Concrete thinkers

9. Eat That Frog Technique

This technique is named after a Mark Twain quote: "Eat a live frog the first thing in the morning and nothing worse will happen to you the rest of the day." Start your day by doing the most onerous tasks first and getting them out of the way.
How it works:

1. Get clear on a goal. What do you want to achieve most?

2. Compile a list of things you need to do to achieve your goal.

3. Organize this list in order of priority. The most important items are probably the most difficult. These are your "frogs."

4. Take action. If you have more than one frog on your plate, eat the nastiest one first.

5. Repeat this cycle every day so that you're always doing something that will push you toward your goal.

Types of people who will benefit from the Eat That Frog technique:

Abstract thinkers

People with long-term goals

Choosing a Time Management Technique That Works for You

Whether you're a full-time student, a working student or a parent going back to school, better time management skills are vital to living a balanced life. If you have a habit of leaving things until the last minute, try using Parkinson's Law or the eat that frog method. If you have a hard time focusing on the task at hand, try the Pomodoro technique of working more intensely in short intervals.

Mastering time management will set you up for success in all areas of your life and will help you avoid test anxiet y when finals roll around. At USAHS, we emphasize supporting our students in their personal and professional lives. We help you develop the tools and additional resources you need to succeed in our graduate degree programs .

Sources:
Allen, Jennifer. "10 Methods of Time Management At Work." BusinessPundit. February 19, 2018. https://www.businesspundit.com/methods-of-time-management-at-work/ Accessed: January 26, 2022

Tay, Daniel. "10 Popular Time Management Techniques." Boost. September 9, 2014. https://www.brightpod.com/boost/10-popular-time-management-techniques Accessed: January 26, 2022

Johnson, Eric. "Full Q&A: Tesla and SpaceX CEO Elon Musk on Recode Decode." Vox. November 5, 2018. https://www.vox.com/2018/11/2/18053428/recode-decode-full-podcast-transcript-elon-musk-tesla-spacex-boring-company-kara-swisher Accessed: January 26, 2022

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9 Popular Time Management Techniques and Tools | USAHS

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Looking for a way on how to manage your time better? Read on as we cover nine popular time management tips to help you find which one is effective for you.

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Vocal development research - Microphone Technique

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Vocal development research - Microphone Technique

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Perlstein, L. (2021) 10 ways to improve singing with a microphone, School of Rock. Available at: https://www.schoolofrock.com/resources/vocals/10-ways-to-improve-singing-with-a-microphone (Accessed: 23 February 2025).

This week to learn more about mic tech I

researched on a website called school of rock to understand what will help me improve as a singer.

One thing I learned that I didn't do but didn't realise was something that would affect technique was cupping the microphone, this can effect the tone and volume of the mic, meaning it makes it more difficult for the sound engineer to create the right sound for your voice. Instead you should hold the mic at the grip.

Holding a mic at a 45 degree angle and slightly off the centre is important for a good sound because if you hold it wrong it can pick up plosives easier and can hide your whole voice.

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You've got great seats for your favorite band. The lights dim, the band starts and sounds great, and the lead singer takes center stage. The singer leans into the microphone belting out the lyrics, and what you hear is muddy, muffled, and just plain awful. This doesn't sound anything like their recordings. What is going on?

There are multiple reasons why the vocals might sound bad and many of them have nothing to do with the singer. It could be a bad mic or the wrong mic. It could be the sound engineer doing the mixing is having a bad day. It could be that you're sitting in a dead spot in the arena. Of course, the singer could be the source of the problem, but if you follow the tips in this article, you can avoid being part of the problem.

Why good mic technique makes a difference

The purpose of a vocal microphone is to faithfully reproduce the sound of a voice so it can be amplified and projected at levels that complement the rest of the instruments. There are singers with naturally big enough voices such as Lady Gaga, Beyonce, Ariana Grande, and Justin Bieber, that they could be unmiked and still sound great alongside the band. If you're not one of them, then using a mic properly will ensure you sound good, help you save your voice, and offer the opportunity to enhance your voice with reverb, delay, autotune or other effects.

Improper mic technique can ruin a great vocal performance. We've all heard singers who insist on shifting the mic from hand to hand, tapping on it with their fingers, or positioning it too far or too close to their mouth. The result can be anything from distracting to painful. If you don't want to be the problem, consider the following tips carefully and be sure to practice.

10 Microphone Singing Tips & Tricks

School of Rock teachers have taught thousands of vocalists to become great singers. Whether you're just starting out, looking to expand your range or repertoire, or changing genres, our professional vocal instructors can bring out your hidden talents, and using a mic correctly will ensure you're heard. Our teachers have suggested these tips to get you started.

Know how to hold a microphone

1. Keep your hand on the microphone grip.

If you're a popular vocalist who makes a million dollars a year, you can afford to do a "mic drop" or two. If not, you should always keep a firm hold on your expensive and fragile microphone. Find a comfortable grip and stick with it. Learn to do it with either hand -- switch between numbers -- so your hand doesn't tire. The key is to not shift your fingers or hand around while you're singing so you don't inadvertently make noise, cause unwanted increases or decreases in volume, or accidentally hit the off switch. Besides finding a mic that suits your voice, be sure that it suits your hand -- neither too thick or thin -- so that you can hold it comfortably over the course of a 3+ minute song.

2. Don't cup the mic!

It's common to see pop singers cupping the mic with both hands. They do this to reduce external noise and to increase the mid-range and bass tone of the voice. The problem is that it only has a minimal effect of reducing other noises and it totally messes with the tone and volume. It's also likely to make your sound engineer's blood boil, and no one wants to have that happen during a gig.

If you're trying to produce a certain sound, you've rehearsed it, and your sound engineer and the band know what to expect, then anything goes, but if you're looking for a clean reproduction of your voice, stick to a simple grip.

3. Hold the mic by your mouth at a 45-degree angle, slightly off center.

Shure, a leading manufacturer of microphones used by professionals for the past 70 years, and a School of Rock partner, says: "Today, 98 percent of pop singers DO NOT use the mic correctly. The proper position is off to one side of the mouth, but pointing at the center of the mouth. Look at any video recording with Frank Sinatra or Ella Fitzgerald. These great singers knew how to use a microphone correctly."

Holding the mic directly in front of your mouth increases the chances of picking up annoying popping P or T or breath sounds. Holding the mic at the correct angle, at the correct distance, and slightly off to the side limits extraneous sounds and lets the mic pick up the true sound of your voice.

Understand how mic distance affects vocal sound

4. Hold the mic close, but keep it 1 to 2 inches from your lips.

If your objective is realistic reproduction of your voice, then the secret is maintaining the mic in the same position relative to your mouth. The optimal position is as stated in tip #3 and about 1 to 2 inches from your lips. If you keep moving the mic around, the timbre (the character or quality) and the volume or intensity of the sound will change. Maintaining the correct grip, angle, position, and distance gives you a consistently authentic sound.

There are exceptions to this tip and we'll discuss them in the next two tips. And, as previously stated, if your objective is some type of specific sound, then all bets are off.

5. Pull the mic away during high notes.

If the sound mix is correct, you should be able to be heard clearly along with the band without straining your voice. You shouldn't feel like you have to sing louder to be heard. There are times when your voice may become louder because you've moved into a higher register or you're belting out a lyric, and this may require slight positioning adjustments in order to not overwhelm the mic.

When you know your volume is going to increase, you can move the mic further away from your mouth in order to compensate, while still maintaining the proper position. This reduces the potential for creating a distorted sound. It will take practice to learn how much you should adjust the mic position.

6. Draw the mic closer for low notes.

Just as it's important to move the mic away from your mouth to adjust for increased volume, it might also be helpful to move the mic closer to your mouth when you know you're going to sing in a lower register.

Some vocalists can make these adjustments simply by varying their own volume, so there is no need to move the mic. Consulting a professional teacher can help you find the right technique and prevent you from damaging your voice.

Know how to sing onstage

7. Use a sound check to make sure the levels are right.

Singing in the controlled environment of a studio or at a small venue is very different from singing onstage in a larger venue. A comprehensive sound check gives you (and the person in charge of sound) the chance to make sure the levels are perfect. Make sure you are heard in the monitors and that the mic is in a good position for you so that you are not playing with the mic stand once it's show time. Do not ever be afraid to speak up during a sound check if something doesn't feel right.

Importantly, don't do a sound check without properly warming up your voice. You need to be full-throated to approximate your live performance so that the levels can be balanced. Our teachers suggest these vocal warm-ups to prepare your voice for the performance.

8. Use a mic stand to keep the microphone steady.

Standing still on a stage and singing into a mic in a stand can be pretty boring to look at unless you're a backup singer, or playing an instrument. It's best to bring some life to your vocal performance by being physically active and connecting with different parts of your audience. If you're singing a dramatic ballad where movement could be distracting, or you're playing your instrument and need your hands free, a mic stand is a must.

Be sure it's set to the right height and positioned so that it doesn't interfere with any of your movements. If you plan on using a stand for one number and not for the next, be sure to have a "stagehand" to move it out of your way. Setup and treat the stand as if it is your hand holding the mic by maintaining good posture, proper distance and angle. And once again, practice using the stand to look professional. It's easy to bump the stand, pull out or trip on the mic cord, or worst case, knock the stand over if you're not completely comfortable with it.

9. Project your voice into the mic as if the mic wasn't there.

It's worth repeating that the point of a mic is to allow you to sing in a normal voice and not strain to be heard. If you take lessons or practice without a mic, don't suddenly change your technique because you're using one now. Just sing naturally and let the mic do the work.

Your voice is your instrument and you need to care for it just as any musician cares for an instrument. A better analogy might be to care for your voice as athletes care for their bodies. Follow the advice of a professional teacher to help you understand the limits of your voice, how to avoid strain, and how to improve your breathing and stamina. School of Rock teachers have developed a list of tips to keep your singing voice healthy.

10. Avoid standing too close to the speakers.

We've left the most obvious tip to last... avoid feedback! Feedback, that ear-splitting, startling, annoying noise that occurs when a mic and a speaker get too close together. The sound is projected out the speaker and back into the mic in an endless intensifying loop. You can see a visual representation of this if you hold a mirror up to a mirror so you can see an infinite number of reflections.

If you're in a small venue, you can avoid the issue by not wandering around. If you're in a larger venue, and you don't plan on standing in one place, use the sound check to roam the stage and see where the safe areas are. Then, during the performance stay within those boundaries. When you are startled by feedback, and it will happen, it can be dampened by putting your hand or body between the mic and the speaker until you can move back to a safe area.

WHAT IS THE BEST MIC FOR SINGING?

The simplest answer is the mic that makes you sound your best. A more detailed answer is beyond the scope of this article because there are many different brands and types of mics but here are a couple of pointers. A good starting place might be to see what kind of mic your favorite singers use, assuming that you have a similar style. A mic your favorite metal vocalist uses might not be the right one for you if you sing a lot softer ballads.

One mic, the Shure SM58 is the most widely used microphone for live vocals. It is able to take a beating and it's good at removing unwanted noise and ambience. The SM58 is inexpensive, has been used by many leading artists on stages all over the world, and produces accurate and clear vocals.

WHAT IS "EATING" OR "KISSING" THE MIC?

Eating or kissing the mic is where you press your lips directly against the mic. While seen often in rock concerts, you should avoid it unless you are looking for a specific effect. Being too close to the mic can increase the volume and result in a distorted sound. Singing with your lips directly on the mic may interfere with your pronunciation and make you sound muddy.

DOES A MICROPHONE CHANGE YOUR VOICE?

In a perfect world, a microphone and the attached cables, amplifiers, and speakers wouldn't change your voice at all. A listener wouldn't be able to tell the difference between the live acoustic performance or the amplified performance aside from the difference in volume.

The reality is that an amplified sound will always be slightly different. For example, even the widely used Shure SM58 slightly enhances the higher end of the vocal spectrum resulting in a crisper sound. The amount of difference between your actual voice and the amplified voice can be minimized or maximized depending first on the mic you choose, and then on all the other choices made in the amplification system including any special effects used such as reverb or autotune. Even the arena or hall can impact how you sound once the sound leaves the speaker.

CAN I LEARN TO SING WITHOUT EVER NEEDING A MIC?

Yes, you can train your voice to minimize or eliminate in some cases the need to use a mic. Listen to opera or Broadway singers. These genres rarely used microphones in the past and many performers developed larger than life voices to fill the hall and project over the orchestra. However, rock singers don't often get to sing in halls with perfect acoustics, and they are competing with amplified instruments (played by musicians who like to be loud) that may lack the nuances of a live orchestra. So, consider the mic to be a companion to your instrument. Try not to be dependent on it but don't fear or avoid it. Use it to protect, enhance, and amplify your voice.

School of Rock singing teachers are all working musicians and trained educators who can help you develop and grow confident about your voice. School of Rock offers individual lessons in addition to the opportunity to sing with a band onstage in our performance programs.

About the author

Larry Perlstein is one of the owners of School of Rock West Hartford in Connecticut. Learn more about how to open your own School of Rock location in your neighborhood at https://franchising.schoolofrock.com.

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10 Ways to Improve Singing with a Microphone | School of Rock

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Sound great singing with a microphone with these 10 tips from School of Rock. Get even more singing skills at School of Rock today!

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Evans, V. (2021). Vocal warm ups — why you should always warm up your voice. [online] Medium. Available at: https://verityevans.medium.com/vocal-warm-ups-why-you-should-always-warm-up-your-voice-f40f65d9ada6.

Elson, M. (2018). Vocal warm-ups improve vocal health, protect your singing voice, and should be part of your regular voice training. [online] Voice Lessons. Available at: https://www.voicelessons.com/blog/warmups/10-important-vocal-warm-ups/.

School of Rock (2019). 9 Best Vocal Warm-Ups for Singers | School of Rock. [online] School of Rock. Available at: https://www.schoolofrock.com/resources/vocals/9-best-vocal-warm-ups-for-singers.

This week I have done some research on some warm up routines, because I know how important it is for your voice so you keep it healthy and don't strain it, but also I didn't really know what to do to warm up. During my research I found out that if you don"t warm up your vocal cords, you can run the risk of strain and tension, and go as far as losing your voice completely (Evans, 2021). When singing with a "cold voice" high notes will be pushed and you will sound breathy on the low notes.

On another website I found that there are some things you can do to help with vocal warm ups, these are:

"Warm up your singing voice every day for at least ten minutes.

Always practice vocal warm-ups and vocal exercises before a performance or studio session.

Start gently.

If in doubt, invest in voice therapy with a great voice teacher who will show you how to keep your muscles, breathing, and vocal cords in excellent condition." (Elson, 2018).

Going on to the actual process of warming up, I found a few which I will do before every time I sing. These are:

Yawning/Sighing - this is just taking in air with your mouth closed (yawn) and then breathing all of the air out through your nose (sigh).

Humming warm ups - Placing the tip of your tongue behind the bottom front teeth and hum up and down in a major scale.

Tongue trill exercises - Curling your tongue and rolling your "R" while going from low range to high, like a siren.

(School of Rock, 2019)

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Before this performance, I asked the rest of the band if we can all wear blue and/or denim and a smart shirt or polo t-shirt. This was because I wanted the band to look cohesive, and to improve the stage image. I made sure to get to the performance 15 minutes early so I was prepared and ready for the performance, giving my time to rest, drink water and warm up before performing. I did some vocal warm ups like "Nyah" to warm up my chest voice, I also sang some tongue twisters like "Mummy made me mash my m&m's" as there are alot of lyrics in hysteria.

After I was all warmed up, we got to performing. Our first take wasn't used because the bass used a distortion pedal and unfortunately because there wasn't much low pass it meant that it got lost in the guitars and was quiet. This song is very bass driven so without it I was struggling meaning that my stage presence wasn't how I wanted it.

The second take was much better as I asked the bass to take out the pedal and just use gain from the amp, this meant we could hear the bass for the second take. In the take above, my stage presence was much better and I really enjoyed the performance. My vocals were tight but I definitely could've rounded off some words to make them stronger.

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How will I Contribute To The Final Assignment this Week?

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How will I Contribute To The Final Assignment this Week?

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This week I have had a rehearsal with my band performing "Hysteria - Muse". Originally I was stressed about this rehearsal because our communication was off meaning my guitarist made other plans because he thought I rescheduled the rehearsal but he swapped things around and he made it.

This weeks rehearsal went really well in the end, everyone knew their separate parts so it was just a case of getting everyone together and cleaning some bits up. I felt like there could've been more energy between us as the end came so I asked if the drummer could add a tom part at the end to elongate it and we could have a moment where we are all connecting. We had some volume issues so I suggested that the first run through was a volume check so we could all figure out what everyone sounded like.

A few more notes from rehearsal:

I asked if the bass could have more drive by turning the gain up all the way up and the master down more to add more effect.

I encouraged the band to do the end riff with both guitars instead of one to fill it in more and so there was more energy for the rhythm, guitarist.

I did the guitar slide in the beginning with my voice.

We originally came in with a clean guitar in the verses but i realised it sounds too full so i asked if we could cut it.

I think everything went great, there was amazing communication and we had lots of fun. I have learned a few vocal goals from it and they are, Breath control, and focus on support. I will use lip trills to practise these.

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SWOT Analysis (download the template at week 2 and format this)

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SWOT Analysis (download the template at week 2 and format this)

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Strengths

Melismas

Vocal Control

Stage Presence/confident

Harmonising

Weaknesses

Punctuality

Production and Daw

Time Management

Music Theory

Opportunities

Gigs

Open Mics

Session vocals

Vocal appearances

Threats

Low Punctuality = No Gigs because unprofessional

Production = Payment for producer and cause financial issues

Music Theory = Lack of musical communication

Time Management = Forgetting gigs and losing opportunities in music

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How Will I Contribute To The Final Assignment This Week?

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How Will I Contribute To The Final Assignment This Week?

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This week I have just decided on what songs I would like to do, these being "Hysteria" by Muse and "The Only Exception" by Paramore.

I chose these songs because I really enjoy singing them, and they are songs within my vocal range and they leave enough room to explore and expand the lead line. "The only Exception" will be a challenge for me especially in the bridge because there are some vocal leaps where Hayley Williams jumps from a lower key to a higher key which adds intensity to the song, and I want to present that in my own performance. I am going to record an acoustic version because I want the genres to be completely different to show the large contrast between the songs.

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Pre-Production Workshop -  Don't Start Now- Dua Lipa

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Pre-Production Workshop -  Don't Start Now- Dua Lipa

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This week for this lesson I began to understand the course, I learned more about the learning objectives and that I need to make the song my own, adding new twist while still doing justice to the original song.

My band decided on a blues/funk version of the original song, as we felt this still worked with the original chords and structure. We changed the key from B minor, up a semitone to B major to help suit my vocal range, as I felt more comfortable there.

We started with going through the structure of the song and the way we wanted to present it, and I feel like this was a really good way to approach it as it made us prepared for the rest of the lesson. We communicated well in the beginning and it was going really well until we decided to do a big change in the middle where the song jumped from slow and bluesy to funky and upbeat, and the guitarists were getting confused and not really listening. This was frustrating because we were just trying to have a conversation, so next time I would definitely ensure everyone was on the same page. When I went home I then practised on my own with a karaoke video transposed up by a semitone and this helped me feel more prepared for my CPW.

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Creative Performance Workshop -                        Don't Start Now - Dua lipa

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Creative Performance Workshop -                        Don't Start Now - Dua lipa

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This week in creative performance workshop I performed "Don't Start Now by Dua Lipa'' but with my own interpretation. I transposed the song up by one semitone and changed it from a disco song into a bluesy/soul/funk style. At first I thought that changing a popular song may not work so well, and also in the middle of the performance we have a break where we completely dropped all the instruments and the drums counted us back intro a faster more funky style, and I was very worried that this may not work due too us only being able to have one rehearsal together. I think the change of genre and key gave the song a new vibe to it, and it was more expressive and soulful. The bluesy/soul parts of the cover added depth and emotion into the original, and I think it worked out exactly as we wanted it to. I think altering a songs key and style can breathe new life to it, but I also know it is important to keep original elements of the song in there.

Next time, I will experiment in adding more rhythmic elements and exploring the range which she is singing more so I could create new vocal parts.

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How Will I Contribute To The Final Assignment This Week?

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How Will I Contribute To The Final Assignment This Week?

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This week I plan to record my cover of "The Only Exception" by Paramore, because I am going to do this acoustically, meaning I should be able to get it all done on my own this week and then maybe start mixing it towards the end of the week.

Tuesday Update:

Today I recorded the guitar and lead vocals for the song, it took a few tries to make them sound how I wanted them but eventually I was happy.

Wednesday Update:

Today I recorded some harmonies and used a midi keyboard to add some string sections in the bridge of the song, I am really starting to like the turnout of this and next time I will mix the vocals and have a think about what else I want to add to the mix so I can be happy with it.

Friday Update:

Today I went through the track and did some rough mixing, I added compression to the vocals and the acoustic guitar and then also added reverb to them all, the final thing I did today was add a harmony to the string section to add fullness to the track and to tie it all together for the draft.

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This week in technical development, we went through vocal styles and techniques. We spoke about Vibrato and how it is used to create emotion and effect in a song and how some people can try and force a false version of vibrato by breathing or moving their mouth to create a wobbling effect and this isn't the correct way to execute the sound because vibrato is like your voice telling you that it is happy and comfortable where it is.

We performed a part of a song which we thought suited our styles best this week, and I performed "Black Velvet" by Alannah Myles. When performing this song I wanted to include vibrato and techniques such as runs/melismas or crys. After I performed, everyone told me what techniques I used and I learned that I used runs/melismas, slide ons/off, cry, vibrato, extended notes, yodels, vowel modification, I made a breathy sound, and used hard/soft constanants.

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Pre-Production Workshop - The Riverboat Song - Ocean Colour scene

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Pre-Production Workshop - The Riverboat Song - Ocean Colour scene

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For this song our initial idea was a jazzy style, and as we began playing we realised we enjoyed a more chord heavy, acoustic version. I initially wasn't a huge fan of the way it went up and down texturally as it seemed slightly out of place and awkward, but by the end it started to sound much better as we had good communication by the end. There were many chord changes to try and keep that slight jazzy feel, and a tempo change. For vocals I changed the tone and removed some grit, because in the original it works well but for this grit doesn't sound right.

In this lesson I had some struggles mentally due to lack of communication and time management, we hadn't got a full run through until the very end and even then It wasn't as good as I wanted it to be. When people talk in rehearsals and don't listen to any ideas you are putting across it can become quite agitating and you feel like your ideas aren't valid, so for next week I will try and put a structure in place from the beginning.

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Creative Performance Workshop - The Riverboat Song - Ocean Colour Scene

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Creative Performance Workshop - The Riverboat Song - Ocean Colour Scene

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I believe that this weeks performance went well, considering that the rehearsal was disorganised. I added melismas to some of the lines I sang to make them more interesting and contrasting to the original song, and I added more vibrato and used a cleaner tone on my voice. I think the dynamic changes in this performance were not as strong as I wanted them to be as they just dropped and didn't have much fade, they sounded like 2 separate songs.

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How Will I Contribute To The Final Assignment This Week?

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How Will I Contribute To The Final Assignment This Week?

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Yoo Play (2025) Comment jouer hysteria De Muse : Cours Complet 4 instruments, yooplay. Available at: https://yooplay.fr/en/morceaux/comment-jouer-hysteria-de-muse/#:~:text=To%20sing%20Hysteria%20by%20Muse,that%20are%20not%20too%20high. (Accessed: 23 February 2025).

Muse Wiki (2024) Matthew Bellamy, MuseWiki. Available at: https://www.musewiki.org/Matthew_Bellamy (Accessed: 23 February 2025).

This week, I went through Hysteria by Muse and worked on some vocal techniques used in the song, these being ensuring you are using different registers, head voice for the most part, but also adding song mixed voice and head voice on some of the higher parts. The tempo is played at 96bpm, meaning it's not too hard to keep up to the band with this song. (Yoo Play, 2025)

The vocalist for Muse is Matthew Bellamy, and his vocal range goes from D2 to Csharp6, which is an incredible range, but people normally view him as a tenor. He is known as singing in a high falsetto, and throughout his singing career he has matured vocally and he has improved his low end, sustain and vibrato. He has "unusually small" vocal chords which is what helps him hit the high notes. (Muse Wiki, 2024)

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Hysteria- Muse:

My contribution- Vocals

Instruments- Bass, Drums, 2 Electric Guitars, One vocal.

Genre- Alt rock

The Only Exception- Paramore:

My contribution- Vocals, Guitar, Midi, Harmony

Instruments- Guitar, Midi(Strings), Vocals, Vocal Harmony

Genre- Indie Folk/ Chamber pop

This term, I aim to learn more about vocal techniques eg. Mic techniques, breath control and how to overcome anxiety before a performance. I would like to complete two full covers of songs, one acoustic to improve my acoustic work and one rock song as a full band so I can improve my stage presence.

I already have strong stage presence but to improve my overall performance I think overcoming pre-performance anxiety will help with feeling my most confident.

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Pre-Production Workshop - Chain Of Fools - Aretha Franklin

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Pre-Production Workshop - Chain Of Fools - Aretha Franklin

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Gibbs step 1+2: This week we covered Chain of Fools by Aretha Franklin. We did a reggae style cover, and I feel like we executed this brilliantly, we were very organised and had a good run through with enough time to correct any imperfections before the end of the lesson.

Gibbs step 3: I really liked this version of this song, it gave me lots of time to experiment with melismas and the tone of my vocals, meaning it was a very good week vocally for me. One thing I found hard with this performance was the tempo and where to place my vocals throughout it, meaning there are some times I sped the song up slightly when it could've been held back at times.

Gibbs step 5: To improve this rehearsal I would've communicated with the band more on where they think my vocals would've fit in the nicest and if there were any melody parts I could change as I also found that difficult.

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Creative Performance Workshop - Chain Of Fools - Aretha Franklin

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Creative Performance Workshop - Chain Of Fools - Aretha Franklin

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Gibbs step 1: This week I sang a reggae, slower version of the track with a few extra notes and melismas.

Gibbs step 2: I felt like there weren't many parts that I wouldve improved in this performance because I was singing a genre that suited my tone and vocal style, the timing was much tighter and the overall band was very tight rhythmically.

Gibbs step 5: I have learned this week that having a good structure in rehearsals really benefits a performance, and having good communication throughout the band makes the performance tight and sound exactly as It needs to.

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How Will I Contribute To The Final Assignment This Week?

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How Will I Contribute To The Final Assignment This Week?

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This week I plan to rehearse for my performance of Hysteria by Muse and record a cover with a backing track to see how I am getting on so far, to practise this I went over techniques like grit and distortion to improve the song. In the beginning of the song they use a guitar to create a fade in noise, but I have decided I want to fade in my vocals, starting on a lower fry onset and building the fry while continuing with the note, gradually increasing the key and replicating the iconic guitar sound. To create energy on this part I will start facing the back and turn as I'm doing it and then add a shout at the end to bring in the instruments.

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This week in technical development, we learned about "noisy vocals" for example, fry, grit and screams.

I didn't think I used any of these techniques in my singing because when I think of noisy vocals I normally think about screaming which I dont use. I realises that I use a lot of grit and fry onset and offsets.

Fry onset and offsets - These are when you come off or onto a note with a slight rasp or grit in your voice.

Scream/Grit is created by the folds sitting in fry but the singer is generating enough air pressure to amplify the high harmonics within which makes the sound bigger than it is.

Rasp is sort of half and half, half note/half fry, usually caused by adding a small bit of constriction to the back of the mouth to apply "fry" ontop.

I will be using these techniques in hysteria as Matthew Bellamy uses lots of grit and rasp on his vocals. To practise this I will use an AH vowel travel from fry into a note to add creak and yodel from chest to head and sit in the brokenness to add fry.

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Pre-Production Workshop- Black Dog - Led Zeppelin 

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Pre-Production Workshop- Black Dog - Led Zeppelin 

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Gibbs step 1: This week we made our own rendition of Black Dog by Led Zeppelin. I sang at different points of the song, alternating with another singer and also adding harmonies in places needed.

Gibbs step 3: I think this rehearsal went well, everyone communicated correctly, I used my mixed voice for some higher notes which was a challenge for me but I executed them well. I Also added a third harmony over the original "Oh's" and some bends/sirens at the end of the bridge notes, I think these sound good but could use a little cleaning up. One thing I think wasn't too great for me this rehearsal was I didn't know the song enough, and I was slightly ill leading me to have some creaky notes that didn't go too well when singing the higher notes so I didn't fully commit.

Gibbs step 5: Before my final performance I will ensure I practise the higher notes that I have been struggling with in rehearsal, and try and have more control so I can commit to them.

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Creative Performance Workshop - Black Dog - Led Zeppelin 

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Creative Performance Workshop - Black Dog - Led Zeppelin 

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Gibbs step 1: We performed a funky version of Black Dog by Led Zeppelin and I added some extra notes to experiment with the vocals in the song.

Gibbs Step 3: This week I really liked the harmony we added in the "ah ah's" and the tightness of the band, and I had a lot of fun on stage working with the other vocalist. One major thing that went wrong for me was forgetting the lyrics in 2 of the lines I sang, but to fix this I just improvised. One more thing I did that I wasn't happy with was begin the "oh yeah" 's too early in the last chorus, but luckily the other vocalist improvised with me and added another one to make it seem less out of place.

Gibbs Step 5: I have learned from this that I need to take more time in the week to learn the lyrics, as not knowing them made me seem uncomfortable on stage.

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How Will I Contribute To The Final Assignment This Week?

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How Will I Contribute To The Final Assignment This Week?

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I have planned a rehearsal for this week with my band for my live performance, so this will bring us closer to the final performance.

This week I have gone back through both of my songs and worked on some techniques and styles used in both songs. I added and adjusted some reverb and compression on my vocals on the DAW track to make things sound more tighter and my next plan for this track is to add another guitar track.

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Vocal Health

Negative impacts on vocal heath- incorrect vocal technique bio , anxiety psycho, pressure, burn out, bad sleep, drinking, digestive, hydration, lifestyle, living conditions.

Positive impacts on vocal health - Warm ups, looking after diet, physically active, rest, hydration, avoiding irritants, hygiene, professional help, proper vocal technique.

2 weeks:

Any hoarseness in voice that lasts over 2 weeks should be brought to a health care provider.

4 Weeks:

Anything over 4 weeks should be seen by a health care provider. Complete a medical history and physical exam, get a full examination of your vocal folds to get confirmation on issues.

Vocal Fold Oedema

Puffy vocal folds

Hoarseness, rough and breathy voice.

Caused by overuse or exposure to irritants.

To manage, rest and avoid activities that strain the vocal folds.

Vocal Nodules

Small, callous-like growths that form on the vocal folds due to repeated friction and trauma

Can lead to hoarseness, a rough or breathy voice and difficulty projecting.

When you strain your voice by speaking or singing loudly and frequently.

To manage, stage dependant, pre-nodes can be vocal tech correction or even surgery.

Vocal Polyps

A larger growth but normally on one side

Can lead to hoarseness, breathiness and lump in you throat

To manage - stage dependant

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Pre-Production Workshop - Rehab - Amy Winehouse

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Pre-Production Workshop - Rehab - Amy Winehouse

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This week I sang vocals for a rocked up version of Rehab by Amy Winehouse.

To make this song more upbeat and rocky, we sped it up slightly and changed the tones and made the guitar have more chords rather than riffs. I changed my vocals to fit this genre by adding slighty more grit but I feel like could of added some more rocky vocal parts, I did a belt in the middle to cause a breakdown and I really enjoyed that but I could've added more dynamics throughout.

During this video near the end I suggest a full breakdown as the guitars got confused and it was a happy accident as it sounded really nice.

For the performance tomorrow I will work on being more consistent with support and work on the dynamics vocally.

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Creative Performance Workshop- Rehab - Amy Winehouse

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Creative Performance Workshop- Rehab - Amy Winehouse

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In this performance of Rehab by Amy Winehouse, unfortunately I had to come late so I ran and was tired so I definitely didn't give it the best I could've. I forgot some of the lyrics in a couple of verses and it really put me down so next performance I will be more prepared and make sure I don't have anything clash with my lessons.

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How will I make my work contrasting for this module?

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How will I make my work contrasting for this module?

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Which specific techniques + skillsets will you be showcasing for each track?

For this assignment, I'm performing Hysteria by Muse with a band of 5 members, 2 guitars (rhythm and lead), a bassist, drums, and a vocalist (me). This is a high energy, rock driven song including powerful guitar riffs, difficult drum patterns, and dynamic vocals. The live performance will show my skill in engaging with the audience and playing in time with a band with energetic stage presence. In contrast, my recorded piece of The Only Exception by Paramore is an acoustic version, including strings created by midi. This piece will highlight my proficiency in using DAW (digital audio workstations) to create sound, alongside my ability to compose and arrange strings via MIDI. The softer version emphasises the emotional depth and intimacy, showing skill in layering sounds and crafting a reflective atmosphere.

The clear contrast is shown through the difference in genre, arrangement, and performance style verses recorded, this showcases versatility across different musical genres.

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The Only Exception - Paramore  Formative

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The Only Exception - Paramore  Formative

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This recording of the only exception by paramore went really well. I decided very early on to do a more acoustic version, with a string section. I executed this well, with a good mix of compression and reverb on the lead vocals, but the harmonies could definitely gel better with the lead vocals volume and compression wise. I also think that the string section is slightly too loud and takes over texturally so I will mix this to fit more by compressing them and panning so things come from different sides.

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There are definitely some things I could've done differently in this performance, the first and main one being showing my face so I can reflect on facial expressions and presence but I didn't leave enough time to a real performance. This is definitely not my strongest vocal performance, in fact a lot of the notes I hit were weak and unsatisfying. This is a cause of lack of breath control and not warming up, so before my final performance I will ensure I have practised some breath control techniques and also warmed up efficiently.

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How Will I Contribute to the Final Assignment this Week?

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How Will I Contribute to the Final Assignment this Week?

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In my feedback I have been told to improve the harmony parts in my DAW. To improve these I am planning on booking a small pond slot so I can re record these with a much better mic and maybe get some help from a producer. I will double track the harmonies and have more control in some of the parts, to help with my control I have been looking at breathing techniques as this will make a huge difference in the control I have.

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This week in technical development, we learned about chest voice and belt. I learned that you must be safe while belting otherwise you can be very damaging to your vocal cords, causing strain.

What is chest voice?

TA- Thyroarytenoid Muscle

Thick, Heavy, Strong

Speaking voice.

What is Falsetto/Head voice?

Higher, Light

CT- Cricothyroid Muscle = Smaller

Whistle

Thin (stretched, Longer)

What is Belting?

High Intensity Singing

Belting 101

Primal Sounds: Removes anxiety and tension = calling, speaking

Vowel Modification: Bigger vowels = Chest, Smaller vowels = Head

Diaphragmatic Support: Add air pressure into the lungs

Forward Resonance: Sitting forward rather than back, can use twang to help it sit forward, making it louder.

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Pre-Production Workshop - Always On The Run - Lenny Kravitz

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Pre-Production Workshop - Always On The Run - Lenny Kravitz

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This rehearal was focussed on creating an acoustic of "On the Run" by Lenny Kravitz. We were rehearsing with 2 acoustic guitars and 2 vocals, there were two people, me and my friend, both playing acoustic and singing. The aim was to reinterperate the song in an acoustic, stripped down version but keep the original elements.

I felt really good about this rehearsal as I had spent a lot of time creating a chord structure that not only did justice to the original but was different to anything else. I enjoyed how the acoustic guitars brought a new element of the song and showed the lyrics in a different light.

Me and my friend had great communication between vocals but sometimes for guitar it got a little bit hard because I am used to playing th strumming pattern as I created it and also singing at the same time is a regular thing got me but the guitarist wasnt used to it. This caused some complications but in the end we decided on him adding some siren parts.

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Creative Performance Workshop - Always On The Run - Lenny Kravitz

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Creative Performance Workshop - Always On The Run - Lenny Kravitz

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We performed our version of Lenny kravitz' "On the Run" to our class this week with just 2 people us both on guitar and vocals. We began with a stripped down intro and raised the dynamics as the song went on. We had a few moments of adjustment in the first performance, but overall we kept the performance going.

Before the performance I was slightly nervous as I havn't played guitar in this lesson before, but when I got up on stage and began singing I felt a lot more comfortable.

The performance went well overall, and we both knew the structure and lyrics well. There were a couple of timing issue between me and the other guitar but we brought it back by looking at each other and communicating.

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How Will I Contribute to the Final Assignment this Week?

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How Will I Contribute to the Final Assignment this Week?

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I have been rehearsing for the song this week towards the end performance. I have thought about some things I might want to do while I perform, the first thing I will do is as the song begins I am singing the guitar slide so I would like to start facing the back and slowly turn to the front to add effect in the performance. Another thing I will do during the performance is move around the stage to improve my stage presence and make me look more confident, and the final thing I have planned is to interact with the other instrumentalists to improve my energy as it is a high energy song.

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Melismas are a series if two or more notes sung over one syllable. Melismas can be as short as two notes such as the lyric of a word sung over two notes or they can be more elaborate and complex using a range of rhythmic and melodic ideas.

Some examples of these:

Tori Kelly extended melismas in "Language"

Handel's Messiah "Rejoice greatly" performed by Jeanine De Bique

Melismas, apart from elongating a syllable of a lyric, also take the form of riffs and runs. Often riffs and runs are used interchangeably but some people tell them apart. A run is a scalar in motion (e.g. descends or ascends up a scale) whilst a riff tends to be a more elaborate melodic phrase.

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Pre Production Workshop - Hard Times - Paramore

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Pre Production Workshop - Hard Times - Paramore

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In this session, I rehearsed hard times with a band. I was on my own for vocals today. In this rehearsal I felt happy for most of it and I was enjoying but unfortunately I was coming down with an illness that caused fatigue and a sore throat.

We basically did the original version in the beginning of rehearsal, just to help get our heads around the sogn and then toward the end we started adding ska elements like splitting the vocals up slightly and breathing at different points. I liked this ska version but did struggle slightly to know how to change the vocals as I don't really listen to much ska music.

If I could do this again I would change the communication between the band and try and make it more clear from the beginning.

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Creative Performance Workshop - Hard Times - Paramore 

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Creative Performance Workshop - Hard Times - Paramore 

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I didn't do this performance as unfortunately I woke up feeling really ill, and couldn't go in.

I did a rendition of "Hard Times" in my technical development lesson, unfortunately this is only with a karaoke track and there is a short clip of it.

I was really happy with this performance, my voice was warmed up so I could use head voice to make my voice softer to suit the version better. I added some harmonies in some places to add contrast in the vocals, and differentiate the chorus from the verses, and also make sure that I'm doing something and not looking awkward on stage while the other vocalist is singing.

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How Will I Contribute To The Final Assignment this Week?

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How Will I Contribute To The Final Assignment this Week?

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This week I have booked a rehearsal slot for Hysteria finally, and I have also booked my performance slot in Alphabet for Friday the 10th of April. I hope that for this rehearsal everyone will have learned their parts separately so it doesn't take too long to put it together.

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This week we learned about different types of harmonies including what the intervals are of each harmony.

Cannons = London’s burning

Drone = long held note Oo’s Ah’s for texture and support

Chords = Triad, Tonic and a Third or Fifth, sane lyric at the same time

parrallel melodies = counter melodies, separate parts normally go against each other seperate ways

To practise this week, I will go through the piano and practise what each harmony is called.

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Pre Production Workshop - Master Blaster (Jammin') - Stevie Wonder

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Pre Production Workshop - Master Blaster (Jammin') - Stevie Wonder

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This week we decided to do a more reggae, slower version and add piano to the song. I think this went well in rehearsal, things seemed to happen pretty quickly and because I was playing keys I felt like I was communicated better between the other instrumentalists with timings and structure.

One problem we faced in the rehearsal was working out what sounded better for the solo because I wanted to sing it so I could practise my melismas with a band and the guitarist wanted to play it. I thought with me singing it, it would help creatively change the song and challenge me, and luckily we came to an agreement that we both sang it once in each performance.

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Creative Performance Workshop - Master Blaster (Jammin') - Stevie Wonder

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Creative Performance Workshop - Master Blaster (Jammin') - Stevie Wonder

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This week I performed "Master Blaster (Jammin')" by Stevie Wonder. I sang in this performance and also played piano.

I don't think I will use the piano for a performance again, because I am focusing on different things at once and already struggle with stress as it is I think I can show more energy without it.

I actually did 2 performances this week, I performed with my original band and I think that went okay, I came off stage feeling not the greatest considering it was my last performance. In my second performance I enjoyed it a lot more, as I had only stepped in for the performance I hadn't heard their version before and just had to improvise it. This performance was much more fun became the instruments gave me more room to experiment vocally, and also have fun and show more stage presence.

I have learned this week that I enjoy more fast paced performances with more room for vocals.

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Improvisation - "To compose, recite, play, or sing extemporaneously"

Important parts to be able to improvise= Key, Lyrics, rhythmic understanding.

Pillars of improvising

Harmonic and structural environment

Knowledge of the chords, chord movement and form of song.

Understanding of song style

Knowledge of typical improvisatory and vocal characteristics

Rhythmic vocab

Be able to use a wide range of rhythmic devices

Melodic Vocab

Be able to use a wide range of melodic devices

Vocal Flexibility

The ability to adapt your voice to many genres and styles

Articulatory Tools

The sounds you will use to deliver

Musicality

Types of improv

Melodic variation

Soloing/Ad-libbing

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I want to improve my breath control so I can sing long phrases without running out of air and have more support on bigger notes. My goal is to sing a 16 bar phrase without taking a breathe in the middle by the end off the term, I will practise breathing excersises every other day for 10 minutes. This will help enhance my final performance and give me more support.

Another thing i'd like to do is create a vocal warm-up routine, I will document each warm-up session in my diary to document progress. A consistent vocal warm-up will prevent any strain on my vocals.

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Hall, P. (2023a). Why Breath Control in Singing is Key to a Professional Tone. [online] www.singingrevealed.com. Available at: https://www.singingrevealed.com/blog/Why-Breath-Control-in-Singing-is-Key-to-Professional-Tone.

Febre, A. (2021). 6 Easy & Effective Breath Exercises for Singers. [online] School of Rock. Available at: https://www.schoolofrock.com/resources/vocals/6-easy-effective-breath-exercises-for-singers.

Perlstein, L. (2021) 10 ways to improve singing with a microphone, School of Rock. Available at: https://www.schoolofrock.com/resources/vocals/10-ways-to-improve-singing-with-a-microphone (Accessed: 23 February 2025).

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DAW(Logic) The Only Exception - Paramore

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DAW(Logic) The Only Exception - Paramore

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https://waterbear.instructuremedia.com/embed/14733ab8-1d7d-4132-b61d-8c094c808665 - Link to track mp3

For this acoustic/folk take on The Only Exception, I wanted warmth and intimacy. I used a sampler and strings to add emotional depth without overpowering the acoustic feel. Compression and EQ on each channel helped keep things tight and consistent, especially with the stacked harmonies. ChromaVerb gave everything a natural space, while subtle sends to buses added width and glue. I kept automation gentle—just enough to let the dynamics breathe. The vocal sits slightly tucked to blend into the mood, not dominate it. The goal was to feel like you’re in the room with the performance.