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Sing Free Now! 3 Steps to Power, Passion and Confidence is the new book written by vocal master Mark Bosnian.
It includes FREE online access to the Vocal Power Workout exercises and the Listen & Learn audio exercises. Now offering ebook downloads for your digital devices!
Why not have the voice you’ve always dreamed of?
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Do you want to have the singing voice you've always wished for? Want to sing with, power, passion and confidence? Well, now is your chance to take action and make it happen! Bosnian Vocal Studios presents an 8-week class on Wednesday evenings that will give you the tools and techniques you need to sing the way you want to. In 8-weeks you will know how to breathe the way you were born to, how to project with a strong confident voice, how to sing high and low notes with power and passion--how to control your voice. You'll be on your way to experiencing joy every time you sing!
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Welcome to my Sing Free Now! blog. I’m excited to announce that starting this week I’ll be adding a new blog every Thursday, so be sure to check back each week for tips you can use immediately to experience more confidence in your singing and speaking.
With this blog I’m launching a 10-week series covering my Top 10 Tips for a More Confident Performance. Each week I’ll dive into one of the tips and create a practice goal for that week to help you “own” the new tip.
Want to go deeper with your voice? The pages listed with each tip are where you can find more info in my book Sing Free Now! 3 Steps to Power, Passion and Confidence. Don’t have the book yet? Click here to get a copy.
We love questions and comments--please post them in the discussion section below each blog post and share!
I was working with one of my students and he relayed having blown out his voice at a performance because he couldn't hear. Being able to hear yourself when you sing is very important but is not always what happens.
If you're performing through a sound system you may not have monitors, you may not be able to hear the monitors, you may be trying to sing above music that is very loud or for whatever reason the acoustics of the room may cause you not to be able to hear yourself.
One of my first teachers cautioned me not to teach singing by feel. I believe what he was getting at was that too many people rely solely on feel to determine whether they are singing correctly. Relying solely on sound to determine whether you are singing correctly can also give you an incomplete awareness of what is occurring. This brings up the importance of balancing kinesthetic and auditory information when you sing. I believe the problem that some singers run into is that they are taught that they should feel a certain thing when they make a certain sound. The problem with this is that all of our instruments are different.
The size of the skull is different from person-to-person, the size of the resonation chambers is different, the size of the tongue is different, density of the bone and tissue can be different--all of these can cause each one of us to feel something slightly different when we're singing exactly the same sound. What I believe is more valuable is to learn what you feel when you are making it a certain sound. This can then act as an anchor to help you find the sound again.
I had a teacher who is nationally known and works in theater arts and she tells all of her vocal students to pay no attention to the sound of their voices for the first 6 months that they study with her. I believe her thinking was that people focused too much on a finished product sound as they are learning to sing and that is not always possible. I have found that both of these philosophies--learning to sing totally by feel and learning to sing totally by sound are less valuable than using a combination of both. Let’s go back to what Joel experienced—blowing out his voice because he couldn’t hear what he was singing.
It is critical to learn what it feels like when you're singing a certain sound--how much power you're using, how much resistance you’re using and the amount of work load. You can place a value between 1 and 10 on each of these elements and then have a way to use this kinesthetic information to help you sing in a situation where you can't hear. If you know that you use a 6 power to sing a certain line, you can stick to that much power even if you can’t hear yourself. When you rely totally on sound and you cannot hear yourself very well, you may tend to work harder to try to get the same amount of auditory information back to your ears. This is how people blow their voices out.
Over singing can happen simply from changing the room that you sing in. If you're used to singing in one room and it’s very live acoustically, you get lot of information back to your ears. If you then move into a room that is dead acoustically, you will not hear the same frequencies in the voice, or the same volume of the voice at an equal workload. This is where you want to have a plan B. If you can’t hear your self well you can rely on what it feels like when you're making a certain sound so that you have a method of finding your way through the dark.
"Sing Free Now!” is your step-by-step guide to confidently singing the songs you have always dreamed of performing.
Mark Bosnian is an award-winning singer-songwriter and vocal master who has performed and taught the Sing Free Now! Method all over the world.
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The heavy and light registers of every voice (sometimes called “chest” voice and “head” voice or falsetto) can operate automatically as you sing higher or lower pitches and you can learn to manually shift registers to get different sounds. This gives you the option of sounding the way you want to on any given word or line in a song. The Sing Free Now! Method helps you create many choices—not just one sound when you sing.
Singing in pure heavy register with dark vowel color to establish the strength of the voice. I teach you how to make a tone called “dark vowel color” that will allow you to sing higher notes with more ease and control that you ever thought possible. This teaches the body how to set up for high notes and will allow you to then sing them with whatever tone you want (yes, you can intentionally change the tone of your voice.)
Modifying vowels to “oo” as pitches get higher. This technique will help you to sing high notes easier by slightly changing the pronunciation of vowels. The effects of this are dramatic.
Modifying vowels to “ah” as pitches get lower. This technique will give you stronger and more present low notes.
Singing different ratios of balanced registration. You will be able to blend heavy and light register in whatever ratios you want to create more colors on your palette to paint with. Another way to have many options with which to sing—not just one “right” sound that most voice teachers demand you use.
If you think of your body as if it were the crew in the engine room of a ship and your mind as if it were the captain of the ship, you can learn to send commands to your body and get the vocal results you desire. I teach you how to assign a number on a scale of 1-to-10 to any vocal element so that the crew in the engine room knows exactly what your intention is. With the Sing Free Now! Method you’ll just have to picture the sound you want and your body will make that sound.
Through song analysis and dynamics exercises I will show you how to introduce emotion and style to your singing. This allows you to connect the story of the song to your audience--your main job as a singer. If the audience is captivated by your story-telling, perfect delivery becomes less critical and you leave the audience wanting more.
We all have a Vocal Defense Mechanism (VDM) that is a subconscious system working to protect you from harming your voice, from embarrassing yourself, and from working too hard during singing. Singing a loud note, singing a high note, or singing anything that seems in the least bit threatening can trigger this mechanism. It often sabotages your singing, making it harder for you to do what you want with your voice. The Sing Free Now! Method shows you how to override the VDM so that you can sing what you want to sing the way you want to sing it.
It is often easier and faster for you to develop a performance sound by practicing a sound you would not perform with. This sound may seem unmusical to you at first but it will develop the strength, coordination, and control you need to make the performance sound you want. It will get you to that point more quickly than banging your head against a performance sound that you cannot make at first.
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