Selecting the Right Songs for Your Voice
Anyone who follows the The Voice or American Idol singing competitions each year will have heard the importance of song choice repeatedly emphasized by the judges. Those contestants who choose songs that do not flatter their voices are met not only with criticism from the panel of judges, (whose ability to judge from a technical, educated standpoint is always in question), but also with the unwelcome fate of being voted off the show by the viewing audience.
Likewise, those who wow the television world with flawless vocal performances and songs that suit them - who make wise choices when showcasing their talent - are rewarded with high praise and an invitation to return the following week.
The major flaw of the competition - namely the voting audience's tendency to confuse true singing talent with good looks, charm and marketability - notwithstanding, the three judges do make a very valid point. Song choice, whether for a competition, audition, performance or recording, will either make or break you. A song with a weak melody, a song that is in a bad key for you, a song that is too difficult for you to sing at this stage in your vocal development or a song whose theme doesn't resonate with others on either an emotional or intellectual level can quickly end your career, or at least prevent it from moving forward.
Seldom will a poorly-written or sloppily-performed song be met with genuine and enthusiastic applause by a sober audience with any discernment for good music or voices.
In the singing world, there will, of course, always be those exceptions who, despite defying the laws of true talent and good taste, come to know success and fame as singers. (I could name many, but I dare not offend or disillusion their adoring fans with fact.) They may win their fans by flaunting their sex appeal or by having some quirky gimmick. They may get a record deal simply because they were in the right place at the right time, or knew stardom and had achieved name recognition first by another means, thus not earning it by way of singing abilities or talent. However, for the purposes of this article, I am referring to the average person out there who desires to develop his or her skills and achieve success via his or her talent; singers who opt for excellence and longevity in their careers over becoming a short-lived fad.
Whether you are entered in a nationally televised singing competition, is a member of a professional band that writes original songs, records, and gigs regularly, the same universal rules of song selection apply. Below is a list of things to consider and mistakes to avoid when making song choices.
THE BASIC ELEMENTS OF A GOOD SONG CHOICE
Although the analysis of a song can't necessarily be charted or put on a rating scale in order to determine whether or not it is a good one - 'good' is always somewhat subjective and dependent on the listener's expectations and preferences, and a song may strike someone differently than it may strike another person, or may affect the same person differently from one season of life to the next - it is safe to say that there are some objective standards.
Songs are composed of several basic elements; primarily lyrics, music (which includes melody and chord structures, arrangements, and the actual performance by the musicians), and lead vocals.
THE LYRIC
While many people, especially young listeners, will argue vehemently that they do not pay any attention to a song's lyric, they are not telling the truth. In fact, they can sing along to the radio without missing a word. Of course, they may never have taken the time to analyze the song's meaning or it's composition. They may never have noticed that the song lyric is strong on clich�s and weak on original metaphor that gets a listener thinking about the subject in a new light. They may never have realized that the rhyming patterns resemble those of a first grade poem, or that the same word is repeated a dozen times in a single chorus. They also may not care about these things.
Wonderful melodies can usually hide cheesy lyrics, but don't assume that the listening audience will focus exclusively on the melody and vocal performance of a song. Some music lovers, like myself, actually take the time to read liner notes and think about the words that we're listening to or singing. While listeners don't always have high standards when it comes to defining 'good' songs - I point to the overwhelming and inexplicable popularity of certain musical genres and artists today whose songs lack lyrical depth, intelligent artistry and originality - a singer mustn't assume that his or her fans are so lacking in intelligence and discerning taste that they would appreciate any old clich� so long as the melody is distracting enough or the beat can be danced to.
Of course, teenagers often believe that the use of blatant profanity makes a song more 'real', and the elderly are generally offended by sexually explicit lyrics. A lyric can be well written without resorting to either of these tactics.
THE MUSIC
Many singers do not have a strong musical background and can't analyze a song from a musical standpoint. (For simplicity's sake, I have removed melody from this section, even though it is generally included in the broader category of music.) This is a little tough to do because there is merit in simple chord progressions and also in complex guitar rifts and solos, so long as they add to the overall feel of the song. A good producer is particularly effective at critiquing a song and providing direction to the musicians in order to improve a song.
Song arrangements are also difficult to critique, because some listeners enjoy simple arrangements while others prefer the complicated musical chairs game of several busy instruments and background vocals fighting for attention.
It would not be wise for a lead singer to believe that his or her exceptional vocals can or will redeem the overall performance of a band that plays sloppily or doesn't provide it's singer with solid background support or expertly composed music. If the band's musicianship is flawless, however, the audience can then listen to a singer's performance without distraction, and the lead singer can also focus entirely on his or her job rather than concentrate on everyone else's contribution to the performance.
THE MELODY
Melody, on the other hand, is fairly easy to label as either effective or not. Many independent songwriters, who reject mainstream music because it is too commercial and overly produced in the studio, opt for musicality and personal 'flair' over singability, failing to recognize the value of mainstream, popular music for its catchy, memorable melodies, if not for anything else. It may be easy to be self-indulgent, writing songs that reflect your personality or push your political agenda, but can an audience sing along to them? The majority of songs reach popularity on the basis of their singable melodies. Before a singer can recite the lyric of a song, he or she can likely hum the tune. A song should inspire the audience's emotions to spring to life. The melody should lift them to intense emotional states, or drop them to thoughtful, reflective, sad ones.
When making song choices, many singers fail to select songs that have consistently catchy melodies. Sometimes, a chorus is the only redeeming part of a song, and I suggest not trying the patience of one's audience by forcing it to endure a monotone or redundant verse melody while waiting for those choruses to come. Other songs employ awkward vocal phrasing - the timing of the words feels unnatural, parts of words are left dangling until the next melody line begins, the tempo of the song makes it difficult to sing all the words, let alone enunciate them, etc..
The most important reason for selecting melodic songs, though, is that they will highlight the best parts of your singing voice. A good melody is like a flattering dress or tuxedo. Nearly everyone, even those of us with plain features and less than perfect figures, can look fantastic when elegantly attired and made up. As a singer, you need to consider the effects of melody on the audience's perception of your talent. A very monotone song will tend to make your voice sound lifeless and flat, whereas a melody that carries your voice through the various sections of your range will add drama and intensity to it. This is a principle that applies to everyone, regardless of the style in which you choose to sing.
VOCAL PERFORMANCE
This site is focused primarily on vocal performance, and I would be terribly remiss if I didn't spend the majority of my time in this article discussing it.
Many singers are forgiven of their poor singing abilities because they possess other attractive qualities, such as physical beauty, sex appeal, dancing skills, and 'coolness'. If they have a catchy song to sing and move well to the music, their listeners don't always notice their pitch errors, lack of control or range, poor tonal quality or other weak technical abilities. Still, it is possible - and desirable - to have the looks, the impalpable appeal and the talent. After all, when youth and beauty fade, will there be enough talent remaining to allow a career to continue?
The following sections are dedicated to creating the ideal ground for stellar vocal performances.
KNOW YOUR OWN VOICE INTIMATELY
It is crucial that, as a singer, you know your own voice well. Not only must you have an accurate assessment of your own abilities and limitations, but the subtleties of your individual voice must also be recognized.
For years, I idolized and attempted to emulate the powerful and resonant voices of the Gospel greats and the male hard rockers whom I admired, and I was under the delusion that a great singing voice was one that could be heard at the other end of the city.
There is a significant difference, however, between a 'big' voice and a 'strong' voice. On the verge of quitting when, after a couple of years of lessons, I still didn't sound like a Gospel singer or a male rocker, I had a candid and emotional discussion with my vocal instructor. He told me that there is a place in the music world for singers like me who have sweet, passionate vocals with a pure, clear, warm tonal quality. He explained that I may never have the huge singing voice that I had imagined filling the rooms and the concert halls where I performed - the kind that is suitable for opera - and reminded me that my goal, in the first place, should never have been to sound like anyone else but me.
In that moment, years of failed emulation and frustration ceased, and I began to accept my voice for what it is. I began to focus on maximizing my potential, making the most of what God had given me. While continually working to improve upon my weaknesses and to eliminate my limitations - a goal toward which I will strive for the rest of my career - I discovered some practical ways for minimizing and hiding my weaknesses from audiences.
FLATTERY DOES BECOME YOU
Many singers showcase their errors in judgment by allowing their passion for particular songs to dictate their song selections. There are countless songs out there that I would love to sing, but must choose not to because, no matter how much I practice them, they will never sound as good as other selections would. (From time to time, however, I have found myself placed in the uncomfortable position of having to sing songs that weren't in my range and didn't suit my voice because it was what was asked of me by a function organizer. It is never terribly flattering.) I know when I am out of my element, and that honest analysis of and doubt in my voice's ability to carry a song leads to nervousness about my ability to give an impressive and confident performance.
Yet I had to first know my own voice intimately - inside out - in the context of the song selections that I make. For instance, I understand that very melodic songs that cover a broad portion of my range work best for me. I also know that the strongest part of my range - the middle to high range - is ideal for creating drama, especially punchy choruses, but also for sweet, pensive ballads when I control my volume. I know that the middle to lower section of my range - my natural voice - is great either for sullen ballads or for producing an edgy rock sound.
When writing songs, I take into consideration, before anything else, how a particular melody and range will affect the listener's perception of my vocal talent. Essentially, I write for my own voice, dressing it in the most flattering, perfectly tailored gowns possible. Not everyone is a songwriter, though, and finding suitable songs that present one's voice in its best possible light is a particular challenge for singers who rely exclusively on covers in their repertoire.
OUT OF RANGE
Probably the most straightforward piece of advice that I could offer a singer is that he or she pay special attention to the key in which a song is sung (not necessarily written).
Listeners are never impressed by vocal performances in which singers noticeably struggle to hit the high or low notes of a song. If you are unable to sing the full range required, even just temporarily due to illness, medications or hormonal changes, the song is likely in a bad key for you. Singing in bad keys, especially when you force yourself to sing those difficult notes without applying proper technique, can lead to vocal injury.
If a song is either too high or too low for your voice, of even if it sits mostly in your vocal passagio - the awkward, weaker spot in your range where the voice 'shifts' gears between registers - change the key. If, for whatever reason, transposing a song is not an option, attempt to opt out of singing that particular song, unless you have several months to stretch your range or strengthen that section of your range in order to meet the demands of the song.
One other solution, useful if you really must sing a certain song, is to alter the melody of the song slightly, singing a third below the high notes or a third above the low notes in order, for example, to place the song within your range. Sometimes, for some songs, this method of switching between melody and harmony is effective. At other times, it can ruin the melody of the song, and it will always be obvious to an audience, (who may find the re-written melody irksome), that you are attempting to cover up your limited vocal range.
OTHER TECHNICAL CONSIDERATIONS
No intelligent, hearing, music-loving audience could ever be impressed by a fumbling attempt at a difficult song, so don't be na�ve enough to assume that an audience will be so impressed with your courage that it will completely ignore or forgive your poor singing. Instead, you would have much more success at impressing an audience with the flawless execution of a simple song than with the mistake-saturated attempt at a complex one. Never allow your weaknesses to be highlighted.
Can you sing the highest notes without either pinching or spreading the sound, and thus making it clear to an audience that you are struggling to hit those notes? If not, you need to further stretch your range and develop your upper end over time before attempting to sing that particular song in that particular key.
Does the tone of your voice fall apart, change dramatically, become breathy or sink back into the throat when you attempt to sing very low notes? If so, you need to work on the bottom end of your range, learning to achieve a pure tone and proper placement regardless of how low you must sing. If you are able to hit the note, even though it might not sound 'pretty', it is within your vocal range, and you should be able to learn to control how well you sing it (e.g. your tone) with some lessons and time.
Are there a lot of complex vocal runs, arpeggios, embellishments and improvisations expected in the song in order to preserve its original essence? Do you struggle to stay on pitch when putting your voice on these challenging roller coaster rides? If so, you may not yet be ready to sing them, and you should either delay performing them in front of an audience until you are ready or find a way to simplify them until your technique is improved and your vocal skills can meet the demands of the song.
Are you running out of breath or becoming lightheaded during a performance? You may need to return to the basics of proper breathing technique, strengthen the core muscles involved in effective breathing, develop more stamina and/or closely examine where and how often you are taking breaths during a particular song. Stronger muscles involved in breathing will ensure that you have more control and endurance, and will need to take fewer breaths during a song, thus reducing awkward vocal phrasing and lines being chopped up by quick breaths. (Sometimes, the problem lies more in when breaths are taken - whether they are being taken in good, seamless places - than in whether or not a singer is strong enough to sing a song. A vocal coach can help eliminate this minor problem.)
GET FEEDBACK
It may sound like a waste of time or money, but when a singing career is counting on song choice and performance, it can't hurt to get some honest, constructive, objective - to the extent that anyone can be objective about music - feedback. Whether a singer seeks the advice of friends or a vocal coach or takes the time to record, either in a professional studio or at one's own computer, and listens back, any kind of analysis of how a song is executed and selected is helpful.
Personally, whenever I have gone into the studio, I have always requested a listen to what I have recorded immediately after the very first take. In doing so, I find that I save a lot of time and money, avoiding take after take, by being able to make adjustments to my approach to a song right away. In some cases, listening back has led me to completely reject a song, even if it was written by me, removing it entirely from my repertoire because it wasn't a good, flattering choice for me.
CONSIDER YOUR AUDIENCE
When selecting the songs in your set list, it is important to consider who will be listening and for what purpose the audience will be gathered. For example, the songs that you would perform for a twenty-something's crowd at a popular bar will be very different than those that you would perform for a family event.
It stands to reason that if you are a rock singer who typically covers songs from bands like Disturbed and Godsmack, you are not going to be interested in being booked for a formal wedding reception or a children's birthday party. Likewise, if you sing opera, your target audience is not going to be found at the bar around the corner. Still, most singers have repertoires that are a little more 'middle of the road' in terms of style, and they have a versatility that affords them more options when it comes to gigging.
If you plan to sing for an all-ages or mixed crowd, beware of any potentially offensive content in your set list. A group of people will not always share the same opinions on what music and lyrics are appropriate, so err on the side of caution.
If you're singing acoustic folk music at a coffee house, it's okay to get moody or deeply philosophical, but a bride and groom might want something a little more fun and uplifting for the entire family at their reception. (Of course, the same principle as above applies here: You are likely not to seek after nor to be booked for a gig if your style doesn't match the venue or what the hiring person is looking for.)
When it comes to gigging, it is really all about what the audience wants to hear, and not at all about what you want to sing.
GETTING TOO PERSONAL
Although songs with sentimental associations and deep personal meaning may offer a singer an advantage in the 'sing it with feeling' category, too many singers make the fatal mistake of performing songs solely on the basis of how they personally feel while singing the lyrics, without regard to whether or not the song is a good one for them to sing for others. True, having personal convictions about the words that we express in melodic form may inspire us to sing with a little more gusto, but if an audience can't connect with the themes or the lyrics, (or if the melody is poor), they won't get much out of your performance.
COVER SONGS
It's tough to please an audience with cover songs. Sometimes, the audience is expecting the song to sound exactly like the original recorded version, from the distinct and familiar guitar solos to the finest details of a vocal performance, including sounding similar to the original singer. Bars hire cover and tribute bands for their impressive mimicking of the original singers and musicians.
At other times, however, the audience is welcoming of a new twist on an old song, and they become bored and disappointed by a copycat performance. Because most everyone comes from either one or the other perspective, covering songs is a delicate, tricky business.
On American Idol, the contestants are either applauded for their unique interpretations of their song selections, or they are booed for trying to 'fix what ain't broke'. On one hand, the contestants are expected to bring new life and a splash of their own personality and style to their chosen songs. On the other hand, if the judges feel that too much of the song's original essence has been lost in translation - a classic case of throwing the baby out with the bath water - the singers are told that their added flair has actually detracted from the overall strength of the song and their performance. (Of course, the judges' opinions are highly subjective, and not everyone in the listening audience would necessarily agree with their comments about the effectiveness or ineffectiveness of a particular contestant's interpretation of a song.)
Unless the purpose of your band and the ultimate goal of your career are to sing covers, I advise that you limit the amount of popular cover tunes that you perform in favour of playing original songs, pieces by obscure artists or songs that are no longer being played frequently on every radio station. In so doing, you will avoid being rigidly compared to the other singers who first made the songs popular.
Original songs, whether written by yourself or by someone who is writing specifically for your voice, allow you to be as creative as you like and to define the personality and sound of the song. They allow you the freedom to express yourself through your own lyrical poetry and vocal interpretations (i.e. nuances), and allow you to have more control over a song's range and key.
Of course, not everyone with singing talent or inclinations to perform can be a gifted songwriter, and you may need to purchase the copyrights for new, original songs from songwriters who are talented at what they do.