Let’s face it, whether you’ve wanted to learn how to become a singer or not, you’ve probably dreamt of being the lead singer of a band. Touring, connecting with fans, playing music you love – sounds like fun doesn’t it? It absolutely is, however people always overlook the amount of work and effort that is involved in order to be a successful singer. As a band you need to have a cohesive look and have good stage presence, but as the singer you are usually looked at as the face of the band, and therefore usually have to put more effort into performances. One advantage to singing in a band over other types of singers though is that your voice doesn’t necessarily have to be perfect. Let’s go into a bit more detail on these topics.

If you want to become a singer in a band, a couple things to consider would be your image and stage presence. As the singer in the band, usually people will think of you as the face of the band, so just in terms of going that extra mile your image should be on par or bit better than the band. This does not mean that image is more important than the skill of the band, it just means making sure there is a cohesive look going on. In terms of stage presence, the singer must put in a bit more effort than the rest of the band. Think about it this way; it’s easier for the rest of the band to “hide” behind their instrument temporarily and get away with it, but as the singer all you’ve got is your mic in front of you so you have to compensate by moving around, feeling the music, connecting with the crowd, etc. Standing still won’t cut it, however with practice this comes easier. Just have fun with it. more

One of the advantages to singing in a band is that your voice doesn’t have to be perfect. For example, the Idol competition is for people with amazing voices. You may have noticed though that a lot of lead singers in bands aren’t actually the greatest singers. The reason why they can get away with it is because of the type of music the band is playing. If you’re in a rock band, you can usually get away with having a raspier voice (kurt cobain anyone?). Nowadays there are a lot of bands using auto tune, which corrects your pitch and gives it a futuristic sound. This is not to be a replacement for not being able to sing though as auto tune is generally frowned upon unless it is being used for the effect. There are also a lot of singers who scream for their band as well, though this really requires impeccable care for your voice. For the most part, you’ll have to work on being a good singer, but as said earlier it all depends on the type of music, and the effect you are going for.

Those are just some simple things to consider if you’re deciding to go down the path of becoming a singer in a band. It can be fun and rewarding, but takes practice and effort as well. If you’re passionate and want it bad enough, it can be achieved.

In classifying a voice, it is essential to consider particularly
1. The range.
2. The timbre (quality).
3. Vocal temperament.
In determining the range, care must be taken to keep it within easy limits ; in other words, consider only so much of the scale as is taken naturally, without straining. In cases where the voice has not been forced out of natural shape, this is a comparatively simple matter. more
A cut glass cup, under the friction of the fingers, will give out tone, yet by rubbing it very hard the sound ceases altogether, from which we conclude that the strongest sound obtainable is due to just sufficient friction to secure ample vibration of the crystal, without preventing the freedom of vibration. It is necessary, then, that the crystal vibrate freely under the friction. That liberty of vibration of its tonal walls is the essential condition to the production of maximum and most beautiful tone (Bonnier) .
This is a point having distinct application to vocal study.
The Range is the quantity of notes the voice can reach comfortably and musically. From low to high the tones increase in rapidity of vibration. The more rapid the rate of vibration, the higher the pitch. The rapid vibrations beyond certain limits give out no sound susceptible to human ears. The number of vibrations in musical sounds ranges from forty to four thou-sand a second.
Blaserna gives the following limits of vibration in a human voice :
Normal Exceptional
Bass C — 82 D 293 B (Contra) 61 — F 348
Baritone F — 87 F# 370 D 73—G 392
Tenor B — 109 A 435 G 98—C# 544
Contralto E — 164 F 696 C 110 — A 870
M. Sopr. F — 174 A 870 E 164—B 876
Soprano A— 218C 1044 G 196—E 1305
and more
The Timbre or Quality.–The variation in the timbre of two voices, of the same range may necessitate classifying them differently.
What Is “Timbre?” Musical sounds are not simple, but compound each note consists of a fundamental set of vibrations which determine the pitch, and of a number of superadded vibrations which indicate the “timbre” or “quality” (Helmholtz).
Take, for example, different instruments Fundamental “A” is the same on all of them, but the superadded sounds are different and those are the ones that give timbre or quality to the tone.
The timbre of a voice, being part of one’s organic constitution, cannot be changed.
This does not mean that a harsh, hard voice, made so by faulty method, may not be greatly improved in tonal effects by careful analysis and teaching. But as the timbre and quality of a voice is at bottom a part of the individual’s natural make-up, it is obvious that no other can be substituted, however much it may be attempted or desired. But the best that is in a voice can be secured, with the result that one at times. is tempted to believe that nature’s gifts really have been improved upon. The real fact of the matter is, of course, that the faulty conditions which have hitherto prevented proper results are removed, and the natural beauties of the voice shine forth. Timbre, like the individuality of which it is but a part, may be distorted and suppressed. By proper methods it may also be restored and expressed.
Vocal Temperament. Not of the least importance in the classification of the voice is “vocal temperament.”
Just as there are no two living persons possessing exactly the same character, there are no two singers of like musical or vocal temperament. One singer will grasp mentally and vocally with ease what may be extremely difficult for another. Such combinations constitute what, for want of a better description, may be called “vocal temperament.”
As an illustration of what happens when vocal temperament is disregarded, imagine “La Donna e mobile” sung an octave lower by a heavy bass, or a heavy mezzo-soprano aria from “Samson and Delilah” sung by a light soprano.
The general character of a person is a tremendous factor in his or her vocal temperament, all of which also indicates what a complex thing is individuality in singing, and how impossible and fatal it is to endeavor to develop any two voices by exactly the same processes.
Proceeding from low to high, the voices are classified as follows:
MALE VOICES
Basses, divided into three classes :
Profondo (deep, noble, contra), in which the greatest sonority obtains in the low range.
Cantante (bass-baritone) , showing better sonority in the high range.
Buffo, usually a poor voice, suitable for comedy only.
Baritones, divided into two classes:
Dramatic (very similar to basso cantante). Lyric, or Verdi’s type.
Tenors, divided into three classes:
Dramatic, or very strong.
Semi-dramatic (Lirico spinto).
Lyric, or light.
FEMALE VOICES
Contralto, having a marked baritonal character. (None of this extreme type is on the stage at present.)
Alto or Mezzo-Soprano, the link between contralto and soprano voices.
Dramatic Soprano, one who indicates the greatest sonority and strength in the high range.
Lyric Soprano, lacking the strength of a dramatic voice. (This voice could be called the product of modern music.)
Coloratura Soprano, a virtuoso voice. (This should be placed in a class by itself.)