VOCALS
CLASSICAL VS CONTEMPORARY | Sheri Gould
I often work with people who have been trained classically but are trying to convert their singing to a more contemporary styling . Even though these singers feel they are competent , they are told they no longer “ fit in ” with today ’ s style of worship ( singing ). Countless times I ’ ve seen mature believers in the faith , ardent worshippers of the Lord Jesus Christ , asked to step down from a leadership position or even singing in a choir because the style of their voice doesn ’ t fit the current style . This is sad on so many levels , not the least of which is the fact that its so unnecessary . Am I saying that singing in a classical style should be accepted on today ’ s modern worship platform ? No , not really . What I am saying is , that it is important to sing in the style to which you have been assigned . If your church has a more traditional liturgical style of worship , it certainly wouldn ’ t make sense for the leader to sing in a hip-hop style . So , in the same way , singing with classical styling doesn ’ t fit in with today ’ s modern worship . However , sending our classically trained singers off to pasture is surely egregious as well as a total waste of God given talent . So , what ’ s the solution ? It ’ s simpler than you might think .
CONVERSION Can a classical singer be taught to sing like a contemporary one ? Absolutely ! The biggest obstacle to overcome is the desire to convert . The truth is , that most people who have worked on their voice or studied classically actually like how the classical voice sounds . Simply because a specific style has become more popular in the church today doesn ’ t mean your classical singer has decided that he / she no longer cares for the style . So honestly , that ’ s the place to start . Once you ’ ve established that the singer truly would like to expand their singable repertoire , then you are halfway there !
KEY STEPS To tell the truth , there really should be very little difference between how a singer sings in any genre . The difference is in the styling . I frequently tell my students , “ I want you to sing like an opera singer , I just don ’ t want you to sound like one !” That ’ s because the foundations of good singing remain the same across the styles . Other things are changed or affected but certain key elements remain the same . For example , breath support and control are important in all styles of singing . Keeping your throat and face relaxed are important keys to avoiding vocal damage in any genre . Understanding areas of resonance are helpful in all styles . So , what do we need to change ?
1 ) Lower the soft palate ! During classical training , students are often told to open the back of the throat ( the pharynx ) and imagine the feeling of there being “ an apple ” in there . In reality , the goal is to raise the soft palate ( where the uvula hangs down ) and lower the larynx . This helps to create a cavernous area to resonate in , thus allowing for that standard “ big ” sound we associate with a classical style of singing . This sound does not work for contemporary styling , so we need to make a change . Keeping the larynx low is a valuable technique for any singer so our classically trained singer needs to learn how to separate the two actions : lower the larynx without raising the soft palate . It ’ s a little tricky at first but is relatively easily accomplished . This will have a huge and immediate effect .
2 ) Trade an overly dominant ( pitch oscillating ) vibrato for a natural air / volume based one . Many times , classical singers are told to “ get rid ” of their vibrato . I will agree with this only if their vibrato is an unnaturally attained vibrato . This could be a super-fast ‘ stress ’ vibrato , a manipulated diaphragmatic vibrato , a pitch changing larynx generated vibrato , etc . All of these are problematic and unnatural sounding . However , so is a completely straight tone ! A straight tone is a stressed tone . The only natural vibrato is generated naturally ( without manipulation ) from the diaphragm which pulsates air when a singer develops proper breath support . This type of vibrato sounds great in any style .
3 ) Choose where you resonate to fit the style of music . Shifting registers can be helpful when necessary but most modern church music rarely requires a singer to sing outside a comfortable ( primarily speech ) level of singing . Singing in a truly developed head register may often sound too reminiscent of a classical style . Try to place songs in a range that won ’ t require this .
4 ) Don ’ t overly dramatize the lyrics . This is important during dramatic singing but doesn ’ t work well with contemporary styling .
5 ) Work with your vowels . You may find that you can relax your mouth a great deal - but don ’ t give up too much space . Your mouth is one of the few resonators you have that you can actually change the shape of . Allowing for space can help to round out your sound . Do not try to go wide in an effort create a modern sound . This is a big mistake many singers make . This does not make you sound modern , it makes your tone brassy , compressed , nasal and unattractive . If you need a bit more space for your vowels drop your jaw - do not go wide .
Making the change from classical to contemporary is far from new . Many singers that you are probably familiar with were once only classical singers , Frank Sinatra Jr . and Willie Nelson some to mind . This is an achievable goal with a little bit of tweaking and some consistent practice . If you have any questions or would like some personal feedback , please don ’ t hesitate to reach out . I ’ m here to help .
Sheri Gould Sheri is an internationally acclaimed vocal coach . She ’ s been helping artists and worshipers find their voice for over 40 years . For help and resources visit her site . www . SheriGould . com