What makes a singer great?

Patterns and Defaults

By Guest Contributor Michael Marescafairygodmothermeme


Often times, we think of great singers being born the way they are. That perhaps, they were just granted this amazing ability to sing with such ease and strength. With this new language of defining and categorizing the human voice that has been established and discovered thanks to all the people of One Voice, we now can see that all the amazing things we once thought were impossible to do if you weren’t born with them – are now possible. For example, think of Sutton Foster, Gavin Creel, Kelli O’Hara, Beyonce’, Freddie Mercury, or Pavarotti. Regardless of what you think about them as artists, these vocalists truly have some form of mastery over their voices that the “average Joe” might not. Until now, we have seen these singers as the “special” or “gifted” ones. Utilizing this new language we gain new perspective for how the human voice functions, and how these A-list singers actually do what they do.

Great singing is nothing more than sets of brain patterned defaults that great singers don’t have to think about any more.

Great singing is nothing more than sets of brain patterned defaults that great singers don’t have to think about any more. Just like a big time basketball player who gets so used to dribbling a basketball that he or she doesn’t even have to think about it. It becomes “natural”, or perhaps a better way of saying this is that it becomes unconsciously habitual. Vibrato is a great example that most people are taught comes “naturally”. If this were true, don’t you think we would speak with a vibrato? Or when a baby is born, wouldn’t it have a vibrato? This is something we’ve picked up in the popular music society as “good”. So we either learn how to do or mimic it from a young age, until finally, it becomes “natural” or said in a nerdy way – a patterned default; something I no longer have to think about. 

Here are several defaults you want to make sure you have mastered on your way to becoming a great singer:

  1. Pitch – this is something that we all take for granted. Most people who believe they can sing are often very lazy with their pitch accuracy. If you’re going to play at the top, you must ensure that your ability to match and sustain pitch is solid.
  2. Volume – another often skimmed over facet of singing. Our ability to control our volume brings a beauty that you don’t get from the “tone” or “sound” of someone’s voice. Its the beauty of control. 
  3. Weight – this is the second theory of the One Voice theories for how the voice functions. Obtaining mastery over this part of your voice will allow you to change sound quality mid phrase. Or better said, allow you the choice to belt a pop song, or sing a classical (or legit) song.  

Most of these things are often overlooked because singers can do them in some fashion. But we’re not talking about being “good” singers, we’re talking about being “great”. If you think you’re really good at these three things, I’d challenge you to revisit them. In my experience, many singers who think they’re really great, tend to have mediocre control over these aspects of singing. 

In my experience, many singers who think they’re really great, tend to have mediocre control over these aspects of singing.

One final note. There is often an assumption that hitting a “high” note means that you are a “great” singer. I’d like to suggest that a great singer means you have a certain level of mastery over how you play the instrument you currently have. As you build different coordinations in your voice, your range will grow, but if you are lackluster in these other areas, you’ll never play with the heavy hitters. 

Good luck. Singing is not a quick fix or about finding tricks. Focus on your goal and don’t back down when you are faced with opposition or hard work. Go. Fight. Win. 

Michael Maresca is the head of Musical Theatre Voice at Texas State University in San Marcos, Texas. He is also the founder and president of MMOV Studios and creator of the One Voice technique. He has taught thousands of singers, changing both how they understand their voice and how they use it. He serves on the faculty of the Performing Arts Project and the Broadway Theatre Project. Performance credits include the Broadway national tour of Mamma Mia and the national tour of Saturday Night Fever.

“The play [or musical] is the director’s baby…. The director must decide whom she trusts to “hold the baby.” Are you trustworthy and reliable? Will you help foster the child’s development and ensure success? When you walk in the door, you must communicate to the production team that you are not only talented enough for the role but you are also tenacious, enthusiastic, professional, and above all authentic.”

Jonathan Flom
Get the Callback (Lanham, Maryland: Rowman & Littlefield, 2016), pp. 1-2

Summertime and the readin’ is easy…

Introducing the MusicalSingers.com Broadway Book Club

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musical singes broadway book club

Putting together your summer reading list? I’d like to extend an invitation to you to join our MusicalSingers Broadway Book Club.

While I’ll be posting reviews of various books in my library, I thought it might be fun to collaborate with you! This summer, we’ll be reading through a few highly recommended books addressing musical auditions, vocal freedom, characterization, time management, personal success, and dream casting. We’ll be taking approximately two weeks per book and discussing/commenting in our book forums.

Our first book will be Get The Callback by Jonathan Flom.

(Click to purchase)

From Amazon:
All great auditions require preparation and practice, but what’s the secret to securing a callback? What are the best ways to prepare for that pivotal moment? Once you’re in front of the casting director, what does it take to make the most out of your moment in the spotlight?

In this second edition of Get the Callback: The Art of Auditioning for Musical Theatre, Jonathan Flom provides practical advice on the many facets of preparation, including selection of songs and monologues to suit your voice and the audition, organizing and arranging your music, working with the accompanist, and presenting yourself to the casting team. The book gives a detailed description of the actual audition performance and even offers advice on how non-dancers can survive a dance audition. (more…)

Aspiring Musical Singer? Your #1 Piece of Advice

Workout-2

Having been in multiple musical training programs and classes, I can tell you that the most common bit of advice I have heard from college professors, musical directors, casting directors, and fellow performers is this: GET A VOCAL COACH.

Prior to the first day of an audition prep class at Collin College, my fellow students and I were asked to bring a prepared audition song to present at our first meeting. I quickly looked through my book and decided on “Don’t Rain on My Parade” from Funny Girl. I wanted a song that could show off my belt, along with my personality, and  needed something I could sing in my sleep. Since I knew the song forward and backward, I anticipated wowing my classmates and volunteered relatively quickly to take my turn. (more…)