hey chris liepe here with what makes a good singer versus what makes a bad singer
these comparisons are going to absolutely flummox you because a lot of them a lot of the things
that you think make a good singer actually make a bad singer and a lot of the things
that you might think bad singers do all the time actually really good singers do them all the time
so this is going to be eye opening for many of you
we're going to be looking at what a good singer does in light of what i like to call the three
c's of great singing so stick around i'm going to unpack these things share examples and
let's all become good singers and shy away from habits and things that bad singers do if you
dig this kind of approach this introspective mindfulness way of digging into your voice you
will love my course discover your voice it is the way to get started in thinking about your voice
in these ways click the link below and request an invitation to my course and when slots open up
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videos continue to get pushed out to more and more people alright bad singer good singer
we are going to start with something that bad singers do and then i will juxtapose that with
something that good singers do to level it out and help us to think about things differently okay
bad singers focus a lot on pitch yep good singers don't focus a lot on pitch bad singers
do instead good singers focus on being conversational that's our first c conversational
now how could it possibly be that bad singers focus on pitch and good singers don't really
focus on pitch it's not that good singers don't focus on pitch at all it's that it's secondary
to the conversational delivery of their vocals when you're listening to me talk or when you
listen to yourself talk or you have a conversation with someone at a coffee shop or whatever do they
focus on where they're speaking in their range no they let their voice do what it does as a result
of the expression so if i even say that word those phrases again as a result of the expression
result went up a little bit expression went down a little bit expression was more a little bit more
guttural as a result you know if i could not as a result of the expression the point is i'm not
pinpointing exactly what i want to do i'm letting the expression
and the the context and this context in in terms of singing can be what the music is doing what the
dynamics of the music is doing what the melody wants to do what it feels like it wants to do
most melodies are written based on inspiration from something not i've got to hit these pitches
the pitches work themselves out i know this might sound a bit out there but it's really true
the pitches work themselves out when you pursue conversation when you pursue expressive
conversation through your voice let me give you an example i'm going to use the phrase i went to the
dump now if i'm going to say that phrase i could say it in a lot of different ways am i excited
about going to the dump probably not now maybe i am depends on why i'm going but i'm in this case
i'm not really that excited i'm actually kind of angry that i went to the dump i went to the dump
i went to the dump
now you are understanding a bit about how i feel about going to the dump based on the way i said it
and part of the way i said it was the pitch that was happening with what i said but you
didn't notice that the pitch was good or bad or up or down you just noticed that that was
the expression if we focus on that and there are lots of singers that will corroborate this idea uh
if you listen to early whitney houston albums the pitch is not that great but the expression
is incredible therefore the pitch is heard as fine if you listen to singers like bob dylan or
tom waits or even guys like robert plant the pitch is fine but they're not pursuing pitch
they're just freely emoting and freely have this conversational thing going yeah they're going all
over the place in terms of pitch and notes but the goal is communication don't focus on pitch don't
focus on hitting certain notes focus on being conversational first and try letting the pitch
happen mick jagger that's the guy i was thinking of before i did the camera split and punched this
in he's another example of this his pitch isn't great his expression his conversational approach
is absolutely there now you should say well i don't i want to have really great pitch it's
okay you will focus on conversation let the pitch come it will be more natural okay second thing
bad singers do that good singers do way differently or not at all is this bad singers
focus a ton on technique and exercises to get them where they want to be as vocalists let me say it
again bad singers focus a ton on exercises and techniques yes bad singers do this good singers
don't do that at all every good singer i've worked with every good singer i've gotten to know
they have not gotten there by using vocal exercises they have not gotten
there by um studying certain techniques a ton they've gotten there by being creative
good singers are creative first and they let their creativity drive the sensations in their voices
and as a result of being creative they develop technique yes they'll hone in on certain things
from time to time but it's always in a creative context it's never in a rote exercise context
this was really seen when i worked with the lead singer of periphery spencer sotelo i
had him in the studio and we did lots of filming we've even done a course together
and this guy is he's technically brilliant an amazing range can scream can sing softly can do
anything never done an exercise in his life not once it's always driven by doing and being
creative and then when you are having trouble doing something that you're hearing in your head
then you pursue a particular technique and you work on that but again in the context of what
you're creating not in something oh don't do this this this and this and sing this scale and this
scale and this scale and then you'll get that note or you'll learn how to scream or you'll learn it
just not the way it's done i realize that by me even saying this that well then what good
are courses well courses that teach you how to emote how to create and how to learn in
the midst of being introspective and creative those are the courses that you want to engage
bad singers spend time on exercises and honing in on technique for technique's sake
they might say stuff like this i just want to sing that high note well why so i can hit that
song no then that's not well okay but don't focus on the note focus on what this song
is and how you can create a unique creative expression of that song it may not mean hitting
that note it might mean changing the key it might mean coming up with like john mayer doing free
fallen not anything like tom petty did but it's amazing john mayer can't sing as high as tom petty
naturally that's okay he made it his own and it's in my opinion a way better version don't
focus on technique for technique's sake don't do a bunch of exercises create make
write record react which leads me to the third and final thing that bad singers always do that
good singers do not and good singers instead do something else bad singers listen to a lot of
advice from lots of people most of the time this is friends most of the time this is maybe people
they respect in the industry or or in their musical circles but they listen to this advice
and they do more than just listen they internalize it and it manifests in a spirit of fear
let me unpack this a little bit bad singers react to what people say and try to adjust their voice
based on what other people say they hear ask for advice this sounds good this sounds bad okay i'll
change the way i do that so that you think i sound better that is a horrible way to learn to sing and
you will forever be a bad singer because you're always singing to please other people as opposed
to what good singers do good singers are courageous good singers don't care what people say
good singers because they're focused on creating and being expressive and conversational
they don't they don't bother with what did this person think they bother with instead how did that
feel how engaged was i based on how that felt am i experiencing my voice
as a resonant piece of musical art if i am doing that the sounds that come out are genuine honest
and come about in the most organic way you can't possibly do this if you're thinking about you know
your mom or your brother you're not very musically inclined you can't sing or that sounded too nasal
over there don't do that you're going to get all these conflicting things that don't mean anything
and you probably have gotten this bad singers listen to other people critique when they know
nothing about what really is going to make your voice tick being courageous trying things even
if they may not sound good right away if you're in the midst of creating and you're courageous
in your creations and you're conversational there's going to be no room for this stuff
bad singers listen to other people's advice good singers are courageous good singers
step out good singers do things they take risks and they're rewarded for it i can't tell you how
many times these three c's conversational creative and courageous have upped my game as a singer over
the years as i go through this sort of mentality well am i being courageous or am i being fearful
and and groveling at the feet of of uh people who i want approval from am i being creative
or am i becoming rote and technical and honing in on the the ins and outs and do's and don'ts
horrible place to live am i focusing on delivering a melody and getting the pitches right
or am i focusing on having a musical conversation
keep these in mind as you press forward in your vocal journey again if you'd like to
work with me on a deeper level click that link below and request an invitation to my
course discover your voice i look forward to working more with you again leave comments
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