Music

Performance Tips

Posted on by IJ
Cisco Ottawa Bluesfest
Image by bfest4 via Flickr, Joe Cocker

© I.Woloshen

I was in Grade 5 when I first performed in front of a big audience…in the school gymnasium at Christmas for parents, teachers and students. I was picked in an audition to perform half of the Christmas song “Good King Wenceslas“. I’m not sure why the teacher had two of us share the song…I was ready to do the whole thing myself! It was a definite highlight of my childhood…the first time I heard that applause, I was hooked! It wasn’t until I was older that I began to deal with things like performance anxiety (more of that later), or consider the idea of how I was presenting my material. These days, I’m very conscious of the connection I make with an audience, and the way the songs come across.

I have performed at many open mics over the years, and I find them to be the most difficult performances! There is no time to warm up…sometimes a song or two is what you need to get comfortable with where you are, but then it’s over! If it’s an open mic that I haven’t performed at before, that makes it worse! So many things can affect the performance…the people there, the sound system, if there is one, the room itself, and the other performances ahead of you. Over time, I’ve managed to make a mental list for myself of the things I have to remember when I’m playing, and the things I watch for in others:

1. EYE CONTACT – When I watch a performer with his/her head bowed down staring at the guitar or the floor, I feel disconnected from them. Not only that, but their nervous behaviour distracts me, makes me feel sorry for them, and I don’t listen to the song! Some performers say that they can better focus on the song if they keep their eyes closed the whole time…but what about the people you’re playing to? A performance is literally an exchange of energy between the performer and the audience…if you cut the audience off, they have nothing to return to you! If you find it difficult to look at someone, there are two things you can do. You can either look for the person who is most obviously enjoying your performance and feed off of them, or you can make a person up! Just look out there as if you were looking at someone who was smiling at you, and smile back! I do this all the time, especially if I’m in a situation where there isn’t much of an audience, or I’m in a room where no one is really listening.

I’ve sung at two funeral services…just less than 20 years apart. I was 20 years old at the first service. I had trouble looking at the family who was sitting in the front row, so I stared blankly at a window at the back of the church. I felt my performance was disastrous and underwhelming…my nervousness was more prominent than my song! The second one, I made a conscious decision to look straight at the audience, right into their eyes, and connect the song with each one of them. I was given so many smiles, mixed with tears of course, but it was a beautiful, and ultimately uplifting, experience!

2. ENUNCIATION – You may be a “music” person, not as concerned with getting your lyrics across, but you’d be surprised to know just how many people LOVE lyrics! When the mouth is dry and the brain muddy with terror, even the most wonderful lyrics can be reduced to an unintelligible mumble. Before you even GET to that open mic, practice EXAGGERATING your lyrics when you sing them. Hit every consonant hard, open your mouth WIDE. At first, it’ll feel pretty silly, but it will keep you conscious of getting your message across. When you want someone to hear what you’re saying when you are speaking to them, you make your voice a little louder, look straight at them and enunciate. Think of the same thing when you’re singing.

3. DYNAMICS – If you’re a guitar player, you’re likely to pound away at the strings when you’re nervous, completely dominating your vocal. Practice doing this: when you’re playing the parts of the song when you’re not singing, let yourself pound. When you ARE singing, pull the guitar way back, soften it up, make it weave around your lyrics. Not only will it help your lyrics stand out…it will create quite a dramatic effect to your performance! Try it out!

4. EMOTE – If you’re singing a happy song, remember what your kindergarten teacher said the first time you sang in front of your parents at a school event. SMILE!! If the song is more somber, don’t smile! Nothing more confusing than dark lyrics and a grin. They’ll think you’re on a weekend pass… Performing is very much like acting. You certainly need to “be yourself”, but you are also emoting and re-creating the topic of the song to your audience every time you perform it. Listen to the words as you’re singing them, and try to remember where they came from when you wrote that song!

5. ENERGY – I was told once by my music teacher that I moved too much when I sang. She told me it was distracting. Most of it was, of course, nervous energy. If you move around like Joe Cocker, you’re likely to distract from your song (unless you ARE Joe Cocker, in which case you can do whatever you like :-). But, having said that, music is a full body experience! Sitting or standing with your body as stiff as a board translates into negative vibes for your audience. Move around a little and that will help you relax and also release some of that nervous energy. As Gino Vannelli said: You gotta move 🙂

6. BANTER – If there is a little story behind your song, tell it. Practice ahead of time just so you get the story straight! Two don’ts: Don’t tell the whole story, let the song say most of it. And don’t go on and on, umming and ahhing and losing your focus. But a little chatter between songs gives the audience a chance to connect with you on another level. It endears you to them beyond the songs. One of my most successful banters is when I talk about the nature of the bald eagle before I sing my song “Eagles Eyes”. People love to hear some of the facts behind this amazing creature. It relates to, but doesn’t give away the topic of the song. And almost every time I do that, someone will come up to me after and mention it!

7. GRACIOUSNESS – When you receive applause it is the greatest gift, so stay for a moment and soak it in! I remember a telethon I did once, where right after my two songs, I turned to run off stage. The host at the time was a VJ at MuchMusic here in Canada. She got a hold of me and made me hang around a bit…she asked me a few questions on air, and said “They’re applauding you! Enjoy it!” I’m sure it was my own nervousness that inspired the desire to turn and run…but what I was also doing was, in fact, snubbing the audience by not acknowledging their applause. I don’t “milk it” now, but I do allow myself and the audience a chance to enjoy those few moments! What else do we do it for?

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Threads

Posted on by IJ

© I.Woloshen

A song critique I worked on recently reminded me of an approach I take with my own songwriting…tying a song lyric together using what I call “threads”. If you’ll forgive ANOTHER metaphor, a song is really like a weaving in that all of the threads rely on each other and wind around each other to give an overall effect. A song lyric with these common threads has a greater impact on a listener because they give a context and complete a story, even if there is no “story” in the song!

This ties into the effective use of metaphors in a song…when you mix up your metaphors too much, you give too many pictures for a listener to hang onto. But if you make your song relate back to the same idea over and over, you enforce the theme and create a powerful effect.

Let me preface this by explaining….I’m using my own lyric, explaining how I thought to tie everything together…this does not mean I think I’m the greatest lyricist! What I’m attempting to do is bring you through the thought processes I had, as I remember them. Let’s take a look at the lyric:

CHANGE OF SEASON
c1997 I.Woloshen

I’m here again
Down by the rivers’ icey waters
And I hold my breath
Simply remembering this place
Those bare-boned trees
Revealing rows of empty bird nests
And that cold, hard rain
Trying to wash them all away

CHORUS:
I’m down by edge of the riverbank
And I’m waiting, waiting
For a promise we made and a smile again
I am waiting, for a change of season

Well I see my name
Where you wrote it on the old post
And I hear your voice
Somewhere inside this bitter wind
And though I’ve kept to myself
Let winter come in stone grey silence
This chill will pass
Just as the world itself must spin (CHORUS)

Have I come this far
Only to find our cause abandoned
Just like those nests
Watching the rain erase my name
Or will you rise to a brand new beginning
And let winter go
Giving a chance to life again (CHORUS)

This is what I would consider a very typical theme. The idea of seasons relating to the ups and downs of relationships is a common one…nothing new there. So what was I thinking of when I wrote this? This comes from a real life experience, a real relationship and a real place. I remembered the images that came to me when I was at this river once in the winter. I live on the west coast (or “wetcoast”, as we like to refer to it!) in what used to be a rain forest. In the winter, rather than it being cold, dry and white, we are cool, wet and grey! The images are of loneliness (bare-boned trees, empty bird nests), and the relationship having chilled (that cold, hard rain trying to wash them all [the nests] away) just as the singer is feeling abandoned by the other person. The chorus, again, reinforces the past experience at the river, and the suspended state of the relationship (waiting for a change of season).

The second verse introduces the “you”…the other person. I could have done this in the first verse, but instead chose to have that be about the memory. In the second verse, the memory is reinforced with the line “I see my name where you wrote it on the old post”…implying something having happened there, and “I hear your voice somewhere inside this bitter wind”…again some kind of presence of a past relationship in this place. The lines “Though I’ve kept to myself, let winter come in stone grey silence” reflects the singer accepting the dark season of the relationship, allowing it to happen, maybe knowing it was inevitable. But the next two lines imply hope…”this chill will pass, just as the world itself must spin”…where the singer equates the certainty of the earth’s turn with the certainty of the relationship reviving.

In the third and final verse, the singer is more or less leaving it up to the other person. “Have I come this far only to find our cause abandoned, just like those nests, watching the rain erase my name?” Is it going to stay this way, is the singer going to “disappear” from the other person’s life? “Or will you rise to a brand new beginning, and let winter go, giving a chance to life again?” Spring!! New life…a fresh start.

Each of the verses is meant to tie into the theme of the winter of a relationship, its past, and what’s going to happen next. What I try to be careful not to do is repeat my ideas too much…this is not as easy to do with a song that is not really a “story”, but just a description of a state of being or an emotion. In a story, you have a beginning, middle and end. I made the coming back to the river the “beginning”, the discovery of the written name and the sound of a past voice the “middle”, and the hope for the future, or spring, the “end”. The “threads” are all to do with nature and the nature of a relationship.

Believe it or not, I was tweaking this song as I was writing this article! Hey thanks! You helped me make my song better 🙂

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Putting Music with Lyrics

Posted on by IJ

Here’s an email I recently received:

“Dear Irene,

I play guitar (lefty), just started, and i find it sometimes abit hard to get songs i like (like, by famous people, from the radio, whatever) abit hard to play, because i can’t get the exact tune. So i wanted to start writing my own songs. So i sat down to write some, and i couldn’t. i mean, i wrote a couple, but i can’t seem to accompany my voice (which isn’t very good) with my guitar. i like chords more than notes, so i just go through all the chords i know, just the main ones, and try to fit it together. Anyway, the whole point of me writing, is to say thankyou, you’ve helped me quite abit. But could you please put abit more about putting music with lyrics.”

I began writing songs for the same reason you did…I couldn’t play my favourite radio hits! In fact, over the years I’ve met many songwriters who started for the same reason.

When I was in Grade 12, I was given the opportunity to write some music to several poems in the play “Through The Looking Glass”. The idea was that I would play and sing them during the performance with the cast…I was put up in a loft at the back of the stage with a sound system. But the first REAL challenge was writing the music. I had always come from a “music first” place in my songwriting, and never before had tried it the other way around, so when I first sat down with all of these strange poems, I had no idea where to start. After succeeding with one of them, the others came more easily. Here’s what I learned, and what I use to this day…maybe some of it will help you:

1. A song lyric should have a built in rhythm, or “meter”….which means when you read it out loud, you can sense a beat to the words. This will help you to establish the time signature…4/4 is most common, four beats to the bar. Simply speaking, the strum pattern on your guitar should reflect this time signature.

2. Before you even establish the chords, you need to find a melody that matches the lyrics. Don’t go near any instruments until you’ve tried just singing the lyrics accapella (without accompaniment) and found a melody. This takes practice! Look at the structure of the verses…how many lines are there? Are the lines the same length of syllables, or are they different? If you’ve got an even number of lines, say 4 or 6, try singing one melody for the first line, and then another for the second…repeat the first melody for the 3rd line and the second melody for the 4th…see how that feels. Keep it simple. When you get to the chorus, that should be a different melody. Try singing it higher up…the chorus is a kind of climax, if you will, so it needs to be more dramatic in some way. Raising the melody at the chorus is one way of achieving that. If there is a bridge…sing that differently too. Essentially, each part of the song has its own mini-melody, but they all fit together. Creating a great melody is not achieved instantly! Well, not in most cases anyway 🙂

3. Let’s assume you’ve found a melody…now what are the chords? There are several ways you can go about this, most of them take time! First of all, you can randomly look for a chord that “fits” what you’re singing. Knowing a little bit about chords will take you a long way. Is it a sad song? Should the chords be minor chords, or is it upbeat? Do you hear chords around it already in your head when you sing the melody? If you play guitar and have a capo, use that as a means of getting into a key that suits your voice and the melody…you don’t have to play barre chords or fancy progressions, just use the capo up the neck until you find something that’s close. Get yourself a chord book and find out what chords are in a key…which chords go together, in other words. Try out some of the other chords in the key you decide on.

4. When should a chord change? This is where your “ear” really comes in handy. When you listen to a song on the radio, can you hear when the chord changes? If you can, you’re already half way there. Start out simply, by playing one chord all the way through the first verse, let’s call it “Chord 1″…when you hear that the melody doesn’t “fit” that chord, that’s where you should change chords! Okay, so now you need to find “Chord 2″…look in your chord book at all of the chords associated with and in the same key as “Chord 1″…and try them each out. Most likely, one of them will fit. So now we have “Chord 1” and “Chord 2”. Maybe your verse looks like this:

Chord 1
La, la, da da da, la, la, la

Chord 2
La, da da, la, da da

Is the rest of the verse repeating these phrases? Or are they different somehow? If they are the same, use the same two chords again. If they’re not, try another “associated” chord, or a chord in the same key. Now maybe you’re getting a feel to your song. Use the same process for the chorus, if you have a chorus, and the bridge, if there is one.

That is a beginner’s approach to writing melodies/chords to lyrics…remember to keep it simple! And when it gets “boring”, make a change! No one can write those melodies for you, it is something you learn to develop in yourself over time and with much patience (and sometimes none 🙂 Good luck!

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