Feel Freedom. Love your confidence. Be a joy bomb.

Author: dancallaway (Page 8 of 31)

This Used to Freak Me Out, and It’s Key to You Singing With Your Authentic Voice

Plane trips. They used to freak me out. 

It wasn’t the fear of flying.

The first time I was on a plane, it was summer before 6th grade, and our family flew to CALIFORNIA to visit my Aunt Susan and Uncle Dubby.

They had a pool and EVERYTHING. ?

When I saw the 30,000-foot view for the first time, I thought, “Wow, I’m teeny.”

For the next 25 years, plane trips would incite this minuscule anxiety. Suddenly, it was super sad that none of the folks driving their ant cars down below in New Jersey knew or cared who I was.

(I’m told this is a very specific trait of my personality type. If you know the Enneagram, I’m a deep Type 4, the Individualist. Picture me in a black turtleneck, a beret and mauve scarf smoking a hand-rolled cigarette and listening to Edith Piaf on a Gramophone, and you’re getting in the neighborhood.)

My anxiety about being unknown followed me everywhere: London Underground escalators, road trips past unknown cities, and crowed theaters.

In world religion class, I learned that most Eastern traditions didn’t even believe in a self! ?

Good thing the James Webb Telescope came along in my 40s; my lil ego might not have been able to take all that galactic incomprehensibility. 

It boiled down to this: I longed to be known, understood, and loved. 

It’s still a primary need.

Whenever Melissa and I get crossways and we’re not hearing each other, I often say “I just want you to UNDERSTAND me!”

This significance panic wouldn’t mellow until my late 30s. My conversion to coziness in my infinitesimal tininess came through a major life pulverization.

Getting spiritually and emotionally pummeled cracked a lot of barriers, and as Leonard Cohen sang, “That’s how the light gets in.”

I couldn’t let it in before that. I couldn’t receive love in everyday, ordinary ways. 

That’s one of the reasons the stage drew me like a moth to the spotlight; the force you feel from applause felt like the necessary amount to get the approval from the outside to the inside where I wanted it so badly.

The only thing about using applause as your love supply is that it metabolizes like cotton candy, and before you know it, you’re performing everywhere you go.

The life pulverization I’m talking about was a divorce, but it wasn’t the heartbreak and hurt I hollered through that created the love-greeting fissures.

It was the wince-filled survey of those I’d hurt during the years of the relationship. I’d said okay to being isolated, and I pushed away ride-or-dies who went on loving me while I was stuck.

The thing that cracked the barriers and let love in was two words: “I’m sorry.”

I said, “I’m sorry for how I hurt you.” I couldn’t pay it back. I couldn’t undo the damage.

And most of my people said, “I forgive you. I missed you, and l love you.”

I saw I was capable of damage and destruction. And I saw those who loved me were capable of showing me mercy.

This was the event that let the message in: “You are loved, and your teeny, significant diamond of a soul is here to love and be loved.”

Now planes are peachy. I look at the cloud tops and the towns below, and I think, “Wow this is so big, and we’re just a wee little tiny place in the back of a smallish galaxy that’s one of uncountable galaxies.” I’m astounded by brain-stopping awe and cradled in a belief that I’m individually seen, cared for, and loved.

If we as singing storytellers could absorb a piece of this — if we could stand on a stage trusting in our little part in the wondrous whole knowing we’re miraculously and mathematically unrepeatable — what kind of heart do you think we’d open to those listening?

This is the integration I want for every singer who shares a song.

You’ve heard me harp about the exhausting advice that says you have to stand out and all the ways we compete and try to do cooler tricks. 

What if you knew your stand-out was a given? What if you knew down deep in your knower that your inimitable soul is a captivating generator of storytelling healing, and all you have to do is your homework and then open the door to that?

THAT’S an authentic sound. And it’s transferrable to any style you sing and any character’s story you’re privileged to embody.

My hope for you — that you’ll let love in through all the ordinary and everyday channels it shows up through and that you’ll be able to open your heart and share it when you sing. 

Because you know it’s true. There’s only one you, and folks need to hear the story only you can sing.

Love MUCH,

Dan

PS I made you another playlist! Here’s Vibrato Summer Camp. A series of videos that walk you through all the ways vibrato can be delicious, frustrating, mystifying, and terrific, and will give you understanding so that you know how to troubleshoot your own vibrato issues when they arise. 

And if you haven’t already, please subscribe to the YouTube channel. Besides this email, I’m going to make YouTube the platform I focus on for sharing the good singing word.

But yeah! Subscribe! There’ll be good teachy stuff as well as some quality entertainment coming your way. Join me!  

Vibrato Summer Camp ?️

Opening Session

Vibrato can be one of the more mysterious aspects of singing, and when it’s not going how you want, it can be a source of a lot of frustration and anxiety.

In this video from my childhood back yard, I share a little of my vibrato back story and show you a way of perceiving vibrato that’s been very helpful to me.

The Reasons Vibrato Issues Are Hard to Work On

When a teacher or director shares an opinion about a vocal function like vibrato, it can feel like someone just made a comment about your physicality.

And that’s because your vibrato (and all vocal function) is indeed part of your physicality.

In this video, I’ll walk you through some of the primary roadblocks that stop singers from singing to the other side where there’s choice, facility, confidence, and skill.

When you use evidence-based ways to bring freedom and release to your singing and you show up and do the things, and you gain skill, freedom, and the joy to share.

How to Free Up Vibrato That’s Wider Than You Want It to Be

In this video, I’ll take you through steps that have helped me to get my voice moving in smooth and efficient ways and how to calibrate your vibrato.

If you’re experiencing a wider vibrato wave than you’d like, this video will give you some tools to start working with that.

You’ll learn how to troubleshoot areas that might be holding on and how to collaborate and cooperate with your body to get things coordinating well.

How to Free Up Vibrato That’s Quicker Than You Want It To Be

We’re talking about the 2 principle areas to address when your vibrato is quicker than you want it to be — the vocal tract and the breath system.

2 Simple Confidence Builders for Vocal Transitions (featuring morning mucus ?️)

Here are two more things to think about as you navigate coordinations in your voice that can be on the trickier side.

In this video, I talk about how to check in with your breath management and dynamic support to see if that may be an issue in what’s happening at the vocal fold level, and then I also show you a way to grease the wheels around your particular transitional zones.

You’ll also get the benefit of hearing my early morning vocal cobwebs, and how I work through these. ?️ 🙂

One Exercise to Dissolve Your Head/Chest Divide

“Head Voice” and “Chest Voice” are just two of the many terms that continue to confuse singers.

In this video, I teach you one exercise that helps. You’ll understand how your voice is a continuum of possibilities, not cubbyholes or categories of abrupt change (unless you want that for stylistic purposes.)

This is a contemporary theater singer take on the classic messa di voce — it helps you discover how your voice transitions from mode 2 (head/thin) to mode 1 (chest/thick) and then back to mode 2.

If you’ve never done an exercise like this, you will probably encounter some speed bumps along the way.

Stay with it, and just notice where the abrupt changes happen.

Over time, your laryngeal muscles, your brain, and neurons will all start to coordinate to hand over phonatory responsibility.

The Vowels You Can Always Depend On

A big misunderstanding theater singers have is when we are told to sing theater music like we speak.

We then dive into our material, trying to sing the words the way we say them, and we run into huge problems when we are singing in a vocal mode that doesn’t agree with the vowel we’re trying to force out of our mouths.

In this video, I’m going to talk to you about two ways of understanding thicker fold vocal coordinations, or metallic modes.

I’m also going to teach you about the very straightforward ways of understanding these modes and the vowels you can use that always agree with them.

This understanding goes a really long way in helping you to maintain consistency in registration and to avoid vocal breaks and cracks where you don’t want them.

You can check out Complete Vocal Technique’s research site here: https://cvtresearch.com/

Why You Suffer Vocal Breakups Part 1 (It’s Not You, It’s [ee])

One of the biggest lies singers suffer from believing is that there’s something inherently wrong with your voice because you’re struggling with cracking or your voice making abrupt transitions where you want them to be smooth.

There are tons of factors that affect why this may be happening, but an understanding of vowels and your vocal tract shape goes a long way in helping you navigate tricky places.

In this video, I’m going to break down two vowels that are major culprits in causing vocal squeeze and cracking — [i]/ee and [u]/oo.

In upcoming videos, I’ll tell you about vowels that almost always help with thicker fold modes in the higher notes, as well as other things to check like body use and breath management if you’re struggling with abrupt vocal breaks where you’re wanting the register to remain consistent.

It’s Not You, It’s [ee] — Vocal Breakups and the Truth About Where the Cracks Really Come From

I got to sing “Marry Me a Little” in a production of Putting it Together at South Coast Repertory about 12 years go, and one night I cracked. Bad.

If you know the song, it’s at the end when it goes “Sooooomeooooone!”

It was an A-flat. Emotion had choked me up, and I was surprised by a sound that came out of my face not unlike an adorable video I saw recently of a donkey reunitng with the girl who raised it as a foal.

The performance was connected and honest, so I moved on.

BUT, the next night you know what happened. 

Oh no. Here comes that note. Why did it crack last night? How do I KEEP it from cracking tonight? More space? More breath? More everything? Yes. More everything. Go!

And, crack again. Only this time self-conscious and NOT connected.

[Enter singer neurosis death spiral.]

There was even a review on a ticketing site lamenting how I started the song so well but just didn’t have the chops to finish it.

(Another reviewer said I was upstaged by my mullet haircut — I didn’t even know I HAD a mullet. They’re in again, right? Or is that over?)

(I guess I was getting a little “party in the back” there.)

Anyway, I didn’t know what the problem was. I didn’t know how to leverage physiology and acoustics to ensure I wouldn’t surprise an audience like a screaming goat video. 

And this wasn’t an isolated incident.

I’ve cracked like a wounded beast singing an aria in a grad school concerto competition hearing.

I pummeled myself with merciless self-talk through many undergrad productions,

and I even cracked once when I sang “I feeeeel you, Johaaaaannnnaaaaaa!” with the orchestra all blasting during a Sweeney Todd in LA. (A musical director I worked with later reminded me of the fact as he had been in the audience. So kind.)

So, I’ve felt the pain of the crack.

And I didn’t get clear tools in my own body as to why this was happening until my late 30s. And when I did, I was ready to preach the vocal register acoustic agreement gospel to anyone who’d listen. 

One myth singers beat themselves up with is that if they’re cracking or experiencing rough transitions where they want them to be smooth, something clearly has to be wrong with them and their voice. Their instrument is faulty.

False.

While yes, sometimes you may need to make an appointment with a laryngologist and get a scope to make sure everything’s scope-acetic, the vast majority of the time, the events we call cracks or breaks happen because of one of two things:

Register confusion

&/or

Vocal tract shape. 

With register confusion, you’re unfamiliar with the categories of sounds your vocal folds make, and you don’t have a ready recognition of what they feel and sound like inside your own head. 

And with vocal tract shape, that just means that the different parts of your throat and mouth have a direct effect on what’s going on in the vocal folds.

(and PS, different registers only cooperate with certain vowels. Some folks say [i/ee] is their favorite vowel, but it’s not going to love you back on every note in every mode.)

It’s enough to get your ears and brain all twisted in a knot, so this week, I’m going to break down the most common snags we hit when it comes to understanding registration and how to collaborate with physics and your physiology.

(It’s almost always counterintuitive and opposite your brain’s perception of what needs to happen.) 

You can follow these mini-lessons on my YouTube channel this week. And while you’re at it, you can check out last week’s videos about how to prepare your audition packets.

The takeaway from this is that almost any technical snag you hit is solve-able, and if you have an evidence-based solution to try, you can show up on a consistent basis, try the thing, and then you get better. 

Now apply this vocal truth to your wider life. I’m working on it, too. 

Example: I sat down to structure a teaching and class schedule for the summer, and my body got all hot, I broke into a mild sweat, and my heart rate went up.

A deep deep part of me that fears making a decision and going with it was responding. Still don’t understand it all, but I was like, “Oh, there’s something deeper holding me back from finishing this very practical task.”

That’s often the way.

And the good thing is that when you just start taking small, practical actions, deeper things unearth themselves in their own time. It’s when you’re in action dunked in sweet compassion that things become clear. 

So, join me on the YouTube (or Instagram or Facebook), I’ll be posting this info on all of the human psychology manipulation platforms. 

In the meantime, sing something, please ?. Because there’s only one you, and folks need to hear the story only you can sing.

Love MUCH,

Dan

PS Here’s “Marry Me a Little” from a faculty recital last year (without the crack this time). Accompanied by the inimitable (and my piano boyfriend) Scott Nicholas.

PPS Here’s that sweet donkey and the girl who raised him video.

PPPS And here’s the YouTube playlist on audition prep so far. Like and subscribe. You know what to do!

Make Your Connection Through Musical Clues and Get Into Your Character’s Point of View

The musical language of a song has so much to tell us about what’s going on inside the character. It’s one of the richest places to look for clues about what’s happening in your internal weather.

When you’re aware of what the composer’s up to, just listening to the collaborating music does so much work for you.

After this layer of work, you’re more than ready so slip in behind the character’s point of view — to use the information you’ve gathered about their life and their circumstances and the musical language to then take a look from behind their eyeballs.

How to Craft Your Singular Connection to Your Material

After you’ve done your preliminary objective work about the material, you’re ready to see how the images in the narrative connect to you personally and on an authentic level.

In this video, I’ll walk you through a few phrases from Sunday in the Park with George to show you the first steps of crafting your own intimate imagery world, and to start to get the images of the song into your own heart so that when you sing it, it’s coming from inside your own experience.

There’s really nothing more captivating than a human sharing their heart in story and song, and I found this way of working to be very straightforward, satisfying, and useful.

It’s also one of the most direct ways to let your body teach your voice what to do moment to moment and style style.

Your Hidden Superpower — Found mine at Dunkies. ? (A 3-year-old showed me.)

Jude (Nugget #2) and I had an epic Friday morning.

We took Noah to farm school (that’s what we call his barnyard preschool.) Here he is petting a chicken.



The world would be a better place if we all went to farm school.

Then Jude and I headed to his favorite place: Dunkin’.

The other day Jude told Melissa and me that he wished Dunkies was his home.

We’ve gone all in on our New Englander identity. ?

There’s a crew of retired folks who congregate at our local Dunk’s, and Jude’s cultivated a deep friendship with one couple in particular, George and Ann.

After a breakfast sammie and half a strawberry sprinkle donut…

  

…we headed off to the Market Basket.

Normally, I brace myself for Market Basket. It gives me Costco intensity in a more concentrated environment with pallets-full of to-be-stocked marinara making aisle negotiation super high-stakes. 

I regularly want to yell, “Calm down everybody!” 

But, Friday with my 3-year-old personality bomb sidekick sporting a Deadpool/Hulk cape, I might as well have entered the store with a talking Golden Retriever and Dunkies’ gift cards for EVERYBODY.

Jude and I changed the atmosphere wherever he shoved the carriage. (He pushes, I steer and try to keep my heels out of trajectory.)

I mean, look:



But I did find something out. My biased Southern self who judged these New Englanders as too brusk realized that most people enjoy a friendly hello and some commiseration. 

Jude and I were like the dynamic duo of friendliness up in that store.

We picked up the coconut milk for the woman whose Goya eyes were bigger than her arms. We worked out Jude’s superhero identity with a gent by the English muffins. And we said hola to Virgilio stocking the marinara. 

I left the store proud of Jude and how he helped. Also thought about my Papa Basil Jessup (Jude’s so much like him) who possessed the same powers of atmosphere shift; he could walk into a depressive, suffocating space and dispel the darkness with a simple, “Well, hello here!” 

This Dunkies/grocery trip also reminded me of our privilege as singing storytellers.

There’s no better opportunity to shift the atmosphere than the chance to sing a song and tell a story. 

When you prepare with excellence and show up with skill and warmth, the chance to elevate the room is huge. 

I want you to remember this wherever you find yourself — in an audition, in a meeting, in rehearsal, in your own practice, in a class, in line at the grocery store. The environment of your soul affects the air around you. 

If you’re cultivating love, seeking the most generous interpretation, and holding a quiet vigil of kindness toward yourself, folks feel it. You brighten a day and lighten a load.

A lot of times, you won’t know, and that’s terrific. Warmth and generosity are their own reward.

But remember your superpowers when you start to believe you’re at the mercy of something — a grocery store environment, a toxic work situation, or an entire societal construct — you have influence in your immediate sphere.

And the person next to you will be grateful for the reminder about their own influence.

So, use it!

Whose day could you make more beautiful with a kind word or hello? (I mean, be smart and use your Spidey senses ?️ — some folks you wanna love from a distance, it’s true.)

But I’m here to remind you that you have more agency than you realize.

Walk in like you’re partnered up with the world’s most charismatic, strong-willed 3-year old in a Deadpool/Hulk cape and say to the world, “Well, hello here!”

After all, there’s only one you, and folks need to hear the story only you you can sing. 

Love much,

Dan

PS Keep an eye out for me on the InstagramFacebook, and YouTubes this week — I’m gonna lay out some straightforward videos about how to prepare audition packets.

If you missed last week, I talked about choosing songs for auditions. And oh, make sure you hop over to my YouTube channel and subscribe — I’m gonna be talking about more theatre singing tools than you or I will even know what to do with.

I’ve also been cooking up a pedagogical alter-ego who may be making a debut appearance in the coming weeks. 

PPS Please tell me you’re on the Ted Lasso train. The good news is that the last episode of the latest season airs tomorrow evening, so if you’re late to the party, you won’t have to wait for the weekly drip. I may go back and watch from the beginning myself.

PPPS Do you know about Brunch with Babs on IG? I love her! I’m making her BLT Potato salad for the Memorial Day cookout we’re going to today. (High of 69 here in Mass, and I am HERE for it. This mild New England spring has fulfilled my New England dreams.) 

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