Vocal Artistry, Part 4: Control and Flexibility - Tim Carson
Most singers do not think of Vocal Style as something they have any control over whatsoever. If they tend to sing with a traditional or classical sound then they resign themselves to believing this is the "box" they need to stay in. If they sound really good on edgy, high-energy songs, but lack the vocal control to really capture the heart of a ballad, then they just keep on rockin'. When singers lack stylistic versatility, their performance is limited in expression, and they are unable to match their style to that of others with whom they're singing in order to achieve a unified sound.
Fortunately, developing stylistic control and flexibility in your voice is a very real goal. I've seen operatic sopranos develop the ability to sing with a modern, cutting edge style, and "rockers" learn to sing a song with such control and purity of style that it took your breath away. But if you don't have practical tools to help you in this journey, it can feel like an elusive pursuit.
The key to developing your vocal style is to identify and improve your skill in four specific areas of vocal production: diction, vibrato, tone color and pitch inflections. These are the primary colors of the vast stylistic palette Vocal Artists have available to them. Mastering the use of these colors provides you with the opportunity to more fully connect your heart to your songs, so you can authentically express with your voice what your heart longs to convey. Achieving this level of stylistic control and versatility requires an understanding of each of the four primary colors and a clear picture of how to develop your voice's ability to integrate this array of colors into the songs you are singing.
Diction
At first glance, diction may not seem like it has all that much to do with style. However, the way singers approach the vowels and consonants with which they sing can make all the difference in either capturing the essence of a style or sounding like an "imposter." Whether you are coming from a classical or contemporary background, following several important guidelines will greatly improve your ability to utilize this stylistic color.
Classical Diction
Singers coming from a classical, traditional or choral background often have difficulty making the adjustment required in the way they approach diction in order to achieve a modern, cutting edge sound. Correcting this is usually quite easy once there is an understanding of the adjustment that needs to be made. The key is to approach diction conversationally-in other words, sing the words exactly the way you would speak them. Singers coming from this background have often been taught to "modify" words in order to achieve a more open sound. That works great if you are singing Handel and Mozart, but doesn't quite cut it when you're singing Tomlin and Redman. Specifically, don't over-emphasize the vowels. Extending vowels, both by the length you hold onto them, and by the way you form them with your mouth is one of the most common (and easily corrected) reasons classical or traditional singers sound out of place in a modern stylistic environment.
Contemporary Diction
Often times, singers who have sung exclusively in modern styles have challenges in the exact opposite direction. Their diction comes across as lazy and inarticulate, and the way they form their vowels simply doesn't allow enough space for their voice to really open up and be expressed. While you don't want to swing too far in the other direction, giving a bit more openness to vowel formation provides more fullness and power in your voice, and giving a little more attention to clarity helps you deliver the message of your song (and it often improves the tone quality all at the same time).
Vibrato
Singers are usually coming at vibrato from one of two very different scenarios. Either they have too much vibrato and can't seem to control it, or they don't have any vibrato and have no idea how to start bringing more of it into their vocal production. The goal for every Vocal Artist is to have the ability to control the vibrato, and to bring it in (or out) of their voice as they desire to effectively communicate through their songs.
No Vibrato
For the singer with no vibrato, there are two possible factors and, most likely, a little bit of both. The first thing that often gets in the way of singing with vibrato is tension. Vibrato occurs when the larynx (voice box) oscillates up and down. If the voice is tense and tight, this oscillation is impossible...it gets stuck! We won't spend a lot of time with this one, but go back to article three, "Vocal Freedom," for some ideas on how to remove vocal tension. The other factor for singers with no vibrato is that whenever their voice begins to introduce some vibrato, it sounds and feels weird. On a subconscious level, these singers often make the adjustment to eliminate this foreign feeling and sound before it ever has a chance to get started. To remedy this, simply get some recordings of artists who sing with a LOT of vibrato, and sing along - just let it rip! Oftentimes "playing around" with the voice unlocks your ability to introduce vibrato to the tone.
Too Much Vibrato
For the singer with too much vibrato, and a lack of vibrato control, the first key is to sing softer. Classically trained, traditional and choral singers are notorious for singing too loudly when it comes to contemporary style. The louder you sing, the more the voice uses vibrato to "shake out" all the pent up energy flowing through its muscles. Once you begin singing at a lower volume, try singing a short, sustained note. Repeat this note, gradually holding it longer and longer each time, all the while keeping the tone straight and free of any vibrato. Repeat this exercise on each note throughout your range to begin gaining the vocal control you desire.
Tone Color
A singer can alter the mood of a song by adjusting the tone, for example, using a breathy, whispered tone or an edgy, gravelly one. Each provides a unique shade to the tone's quality and helps the singer express very different emotions.
Breathy Tone
The whispered or breathy tone can help communicate anticipation or intimacy. Have you ever heard someone begin a story by whispering, "Once upon a time..."? I love seeing the excitement and anticipation in the eyes of my sons, ages four and seven, when I begin their bedtime story this way. Using this whispered tone can have the same effect on an audience or congregation when you sing. Likewise, when you use a breathy tone to convey heartfelt sentiment, it can help you communicate to the listener that what you are sharing is sacred to you and coming from a place of tenderness and vulnerability.
Edgy Tone
An edgy or gravelly tone can be useful in contemporary style, but it must be approached very carefully. This sound is usually created by some level of forced vocal tension or strain. Most vocal coaches require their students to stay away from this sound, but the truth is that while you have to be careful in the way you approach it, it can help you effectively convey a sense of deep passion or raw emotion. There are two keys to using this style without trashing your voice. First, do not use it all the time in all your songs. Constantly using this style is very rough on your voice and can cause long-term vocal damage. Plus, I believe this color is much more effective when a singer picks and chooses the places it's used. Secondly, be sure you're not singing too loudly when you use this technique. Using the mic to generate the volume for you and not over-singing minimizes the strain this style places on your voice.
Pitch Inflections
This stylistic color can show up in a couple of ways, most often as a pitch bend or melodic improvisation.
Pitch Bends
Rather than approach a note right in the dead center of the pitch, singers often bend into a pitch, starting just below the pitch and quickly moving to the center. This is similar to the scoop first introduced by the jazz crooners (singers like Bing, Frank and Ella). The difference lies in the slow approach to the pitch used by the crooners. If you use a scoop in contemporary worship you'll sound like a karaoke worship leader from Las Vegas (probably not what you're trying for!). The key to the contemporary pitch bend is to quickly bend into the pitch, almost like a rhythmic "hook."
Improvisation
This is the very popular, "why sing one note when you can sing seven?" American Idol approach to melody. While it's over-used in today's popular music scene, it can be an effective color-when used conservatively-to give a contemporary sound to a song. The best way to develop the "ear" required to introduce these improvised melodic ornamentations is to listen to a great R&B singer and learn their "licks." The Preacher's Wife album by Whitney Houston is a great one for females, and for men I recommend the Grammy-winning album by Babyface, The Day.
Style to Express Your Heart
When you read the book of Psalms, David's conversations with God were hardly monotonous. David brought all of himself to worship, opening his heart fully and authentically to God. If we desire to express this full spectrum of response to God through our voices, we need all of the colors and options available to us. We need voices that are able to find the sounds that capture and express what our hearts desire to convey. Style is not a box for you to fit into, nor is it an external requirement dictating what you can or can't do with your voice. Style provides you with new shades and colors on your ever-increasing vocal palette. So grab the brush, and start painting!
Tim Carson is the founder of Vocal Artistry and the Vocal Artistry Training Series. Tim was on the music staff at Willow Creek Community Church for 12 years and taught at Wheaton College where he developed new curriculum for singing modern styles. 
For more info, visit www.vocalartistry.com.
