How Long (And How Often) Should I Practice My Singing?

What does it take to get a singing voice in shape? How do I know when I’m in shape and how do I stay in shape?

You always want to start with a good vocal warm-up – one that emphasizes the vowels we typically sing (A, E, Aw/Ah, O) and one that works chromatically (half-step at a time) through the vocal register. I do wonder why people do that “motorboat” (er, “lip trill”) thing as a warm-up. I’ve never heard a song that required it, so I avoid it. A decent vocal warm-up should take about five to ten minutes and if you consider yourself a singer, then you should do that daily.

As for going through your repertoire, after your vocal warm-up, you should run your five, multi-purpose audition songs all the way through. Don’t just do 16 or 32 bars, get some stamina and stretch in there. Stand and sing, but if the only place you can sing is in your car in traffic, then so be it. Make sure the songs represent you as a positive person, a winner. Singing a ballad about what a loser you are may be cathartic, but you’d also be putting a fluffy raincloud over your head at your audition. Honestly, if I’m a producer with $20 million to put into a new Broadway musical, I would not be inclined to hire a group of performers who consider themselves losers or unlucky at everything they do. Find something positive to sing about.

At this point, including the warm-up, we’re at about 20-25 minutes of singing. This would be the baseline for maintenance (and you can now tack on your fun, sobby torch songs). If you do this seven days a week, great! You will grow stronger and always be in relatively good shape. You probably really enjoy singing, too. If you do this for three days a week or fewer, you won’t really grow, you’ll pretty much stay in the same arena, and, like most things, you get out of it what you put in.

Does this mean that you need to start singing an hour or two every day? No, don’t do that — yet. Build the habit slowly, adding one or two songs a week (a month, whatever), so that if you start at 20 minutes a day, the next week will be 25 minutes and so on. For three years, I sang in my bathroom every day. At the end of those three years, I was singing for two hours straight. I don’t expect everybody to do that, but, once I get started, I really do like singing.

My most recent gig lasted for a few years where I sang standards and showtunes for three hours a night in a high-end restaurant, Thursday through Saturday. It was a ton of singing, but I was able to do it because over thirty-five years, I had built a foundation for a strong voice, constantly relied on solid vocal technique and maintained a fairly consistent practice.

Removing The Doubt In Vocal Performance

When it comes to vocal performance, I guess we can put “doubt” and “fear” into the same wordsphere. Only problem is that doubt and fear are extremely personal; based on a performer’s lifetime of unique experiences. When I was 17, I sang “Yankee Doodle Dandy” in front of a halftime homecoming crowd. I was decked out in a sequined white tux with tails (thanks, Michelle!) and a stars and stripes top hat. Cheerleaders were in position down on the field – maybe they formed a star, I don’t remember that part very well, but I do remember that I sang and danced on that field. And my microphone was off. The whole time.

The microphone didn’t have an on/off switch, so there wasn’t much I could do about it. As I was performing what appeared to be a mime act, Donna, one of the celestial cheerleaders said, “Your mic’s not on.” And I said, “Yeah, I know” and kept dancing (box step, walk, walk, grapevine…).

When I quietly left the field with the cheerleaders, Scott the sound guy confirmed on the sidelines that, yup, my mic was off the whole time. The drama teacher, Mr. Ruehle, saw my reaction to that news and complimented me on my professionalism, mentioning how I just “shook it off.”

It was disappointing for sure, but I did shake it off. You see, just two years prior, at the gargantuan annual high school musicale extraordinaire held in the sold-out gymnasium, my mic was off for the entirety of my big solo debut at my new school. Now, that was horrifying.

Performing can be a very humbling experience and your willingness to surrender to mayhem is one of the keys to happiness.

So, as a vocal performer, what is in your control?

The Lyric.

You can’t do much about the mic, the mixer, the accompanist or the sound system, but you can know your lyrics inside out.

Here’s your checklist:

  1. Without singing it, how fast can you enunciate every word of the song in a monotone with no spaces/word stretches? Can you do it in under 30 seconds? Time it.
  2. How few breaths can you take in that 30 seconds? One? Two?
  3. Can you look at or read an article on your phone while saying your lyrics as quickly and as understandably as possible? Can you then tell us what the article was about?
  4. While facing in one direction, focus on one item in the room and tell the lyrics to that item, then change to north, south, east or west, focus on another singular item, repeat and continue.
  5. Be joyful in your practice.

Performance 101: The Tri-Force Of Performing

Performing with a busy brain is exhausting. Performing with worry or anxiety is, really, not performing at all. What kind of performance can an artist give if they’re stressing out whether the microphone will cut out or a wardrobe malfunction is about to happen or a set piece is about to fall over?

Problem is, much of the aforementioned is out of your control anyway, so you have to trust the others who actually control those aspects to do their jobs. And they will because they are almost as exposed in their job as you are in yours.

What you CAN control is much more important and the reason for everybody gathering together in the first place.

You are in control of the energy.

What you deliver is energy. Focused energy.

A busy, unfocused mind in performance is a torturous thing to watch.

How do we unbusy the mind?

“Energy, Attention, Awareness”

That is our performance mantra and it is fundamental to our work.

If you’re nervous before a performance, join the club, but why focus on nerves when you have a job to do (that you love)?

Focus on Energy, Attention, Awareness.

Take time to figure out what each of these words means to you before and during your performance and utilize these fundamental ideas to unbusy your mind and clarify your focus.

Auditioning 101: Five Songs In Your Back Pocket

As a musical theatre performer, you want to be prepared for any audition, but the one mistake many young performers make is trying to “find a song” rather, “the perfect audition song” at the last minute.

So they scramble around, asking everyone’s advice until they finally find the 16 or 32 bars (“thanks, grandma!”) that they must learn, memorize and perform brilliantly in two or three days. And, unsurprisingly, the audition goes about as well as all the other times they found the perfect audition song at the last minute – which is, not very.

As singers, we should know and be able to sing hundreds, if not thousands, of songs. In a nightclub setting, I can sing for four hours without repeating a song.

But in an audition setting, we need to carefully choose quality over quantity. We need “tried and true” over the new. It is through trial and error that we find five songs for our audition toolkit that pretty much guarantee a callback if we are even remotely right for a part. This can’t happen if we’re always learning a new song for every audition.

Basic: For your auditions, have an uptempo song and a ballad that you know like your DNA. You don’t even have to try to remember the lyrics as they are a living part of you. Make sure these songs represent positivity – that you’re a winner or at least a person who sees the light at the end of the tunnel. Don’t sing a song about how disappointed you are or what a big loser you are as you will run the risk of us sharing that dim opinion of yourself.

Advanced: Five songs in your back pocket. You know them backwards and forwards and you’ve sung them for a very long time. You could read a magazine, practice yoga and still sing them without missing a note. Every song has a “money” note in it. Something that absolutely shows off your best high note. Have an uptempo and a ballad from shows in the 1930’s to the 1980’s. Have an uptempo and a ballad from shows in the 1990’s to the 2020’s. Have a high-energy rock or pop song that is fun and shows off your range. In an audition, you and the song are one. Show us you’re a winner.

Performance 101: Creative (Empty) Space In Your Brain

Great performers are like race car drivers; the idea being that, in order to win the race, one needs to stay in the moment, assume a calculated amount of risk and operate instinctively and creatively when the opportunity arises.

The simple goal of a pro race car driver is to win the race.

What are some of the “simple” goals of a singer in a performance?

Get all the words right?

Sing all the notes right?

Make a beautiful sound?

Truth is, those are the initial rehearsal goals achieved with hours of practice. “Getting the song into your body.” While these goals provide the basis of performance, if that is all you intend to give your audience, it’s definitely time to upgrade your approach.

Performance Goal: Creative Open Space In Your Brain

Basic: Be able to say the lyrics as fast as you can say the ABC’s – without thinking about the order of the letters and without singing the song. Say them in a monotone very quickly, do not accent or stretch out the words. Move your lips and mouth in an animated/exaggerated way. Be able to plunk out the melody – one note at a time – on a keyboard. Be able to use the same vocal tone (dark, warm, brassy, bright, light, etc.) throughout the entirety of the song. If you have to change your tonal quality to hit a high note or rumble a lower note, chances are you need to find a more suitable key for your song.

Advanced: Having set the muscle memory (remember, race car drivers drive in a circle for hours), now we let go of the worry and practice creative risk. Creative risk involves letting go of anxiousness, trusting that you have drilled the basics and are ready to live in the moment on stage. Thoughts and thought impulses beget words (for some, it’s the other way around, but we call those folks thoughtless anway). Your goal now is to live within the thoughts of the lyric and having/experiencing/expressing each thought before actually singing the lyric. Now your brain is full again, but it is focused and there is no room for anxiety. It takes energy, concentration and a whole lot of pretending to stay there, but by upgrading your performance approach, you can enjoy sharing a song as much as your audience can enjoy receiving it.

Singing 101: Jobs For Singers

For many years, I’ve had a running joke with my kids. At random inopportune moments I would ask them, “Hey, would you like a free song? I’m a professional singer. No charge.”

To which they’d respond, “No, Dad, I don’t want a song right now.”

“But it’s a really good song and I’m a great singer. And it’s free.”

“No. Go away.”

“It’s FREE – other people would have to pay to hear me sing. This won’t cost you a dime! This is a great offer!”

“No thanks.”

But, feeling generous, I’d usually launch into a song anyway. Typically, “Zip-A-Dee-Doo-Dah,” a terrifically catchy song in my opinion, and they’d keep playing their video game…Win/Win.

Here’s the thing: Singers Are Their Own CEOs.

As a singer, you are your own Chief Executive Officer from the very start. If you’re “hired” by a theme park, cruise line, restaurant, Broadway show or tour, record label, video game company, animation house, Film/TV production house, chances are that even if you deliver a great/fantastic/amazing job as a singer, you won’t end up being named the president of that theme park, cruise line, restaurant, record label, etc. Corporate upward mobility is not a thing for singers. We create our business. We drive our business. We are the CEOs of Singing, Inc.

Basic (Paying/Post-Covid) Jobs For Singers: Church gigs (include weddings and funerals), theme parks, cruises, live corporate industrials, restaurants/karaoke bars, rest homes, Christmas caroling groups

In-Between: Produce music, play music, write/compose music, read music, record music and appreciate ALL music. And while you’re adding these skills to your toolkit, practice singing, stay in shape and never turn down an opportunity to sing, even for no money. Get the work in until the day arrives when you don’t need the work.

Advanced (Better Paying/Post-Covid) Jobs For Singers: Recording (anything and everything including Voiceover work), Anything contracted via SAG/AFTRA/Equity/Musician’s Union, Animation, Film/TV, Broadway and tours, video games.

Summary: Writers write. Dancers dance. Singers sing.

Singing 101: “But What Do I Do With My Hands?!”

Truth is; not much. Hands are great for puppets, sign language and clapping, but those things at the ends of your arms aren’t really that helpful in communicating a lyric. Frankly, overusing your hands in a song could pretty much sabotage what you’re trying to do on stage – which is connect with your audience.

Okay, so I’ll grant that “waving” at the audience is a fine way to connect, but after they wave back, ya still got nothin’…

Basic: My favorite guiding principle of hands is “keep them below your waist.” If you don’t know what to do with your hands, don’t do anything. If you feel like moving your hands, move them one at a time — below the waist. Stay away from emphasizing with both hands at once (parallel motion) or you’ll risk looking like a spokesperson for an infomercial.

Advanced: Moving a hand above your waist requires finding the best time to also bring it back down below your waist. If you absolutely must move a hand, move it during the last word of a sung phrase and then re-move it on the last word of the next sung phrase. Subtle – not slashing – motion required.

Summary: When singing a song, what’s going on in your eyes is far more important that what’s going on with your hands…

Singing 101: If It Hurts, You’re Doing It Wrong

Imagine having to lift a moderately heavy box. It’s on the floor, ready to be moved. Suddenly you get a phone call and you decide that you could probably carry on a conversation and lift that moderately heavy box with one arm. So, with the phone in one hand, you cheerily chat away, lean over, bend your knees a little bit, get that arm around the box and use your lower back and neck muscles to lift up. At that point, you realize that you may have misjudged this particular moderately heavy box and that it required more than one arm, it required two. That little bend in your knee should’ve been both thighs stretching and flexing. Not only that, but you probably should have used your glutes, back and chest to do the job properly.

And, just as suddenly, something is not right with your body and you are injured.

I’ve rehabbed a lot of singers’ voices. A Broadway/Pop Belt requires concentration, focus, trust and athleticism. After all, we’re talking eight shows a week on Broadway or six shows a day at a theme park or a four-hour minimum SAG/AFTRA recording session. What we do sounds difficult, but with concentration, focus, trust and athleticism, it is a relatively simple operation. All it requires is daily practice.

So, if you lift that same box incorrectly every day, you do not necessarily get stronger, you only risk further harm. Like that misjudged moderately heavy box, you don’t develop an unbreakable voice by breaking it every day. If it hurts when you sing, you’re doing it wrong.