Nothing Like a Friend

When you sing in English, small words offer big opportunities. They can stretch and dance in song. Give them room; pay them attention.  Be ready for Russian doll words: tiny words that appear then reappear, nestled inside bigger, emotion-carrying words. Listen to tiny ‘in‘, working alone and within:

I Heard it Through the Grapevine

Rag’n’Bone Man

You pick up your mother tongue through love and listening. You pick up your singing voice in the same way:

Eliza Carthy & The Ratcatchers: The Good Old Way

Eliza Carthy weaves the ay, oy and y sounds  of The Good Old Way into a mesmerising tapestry of serious hope. The lines are short, most end in a y, but The Good Old Way is from repetitive. Y is one of those sounds that a singer can stretch, smooth, relish or dismiss:

If you sing in English, give y, and every sound it’s part of: ey, oy, ay, ry, ty etc. good attention. Y can fly or it can dampen. Y can be soft and romantic or it can be a clipped end to hope. It’s up to you.

©SingBetterEnglish2017

Lady Leshurr

“I started thinking, ‘You know what? Why don’t I just rap?’ Because it’s just poetry with a beat behind it, really.”

Lady Leshurr in The Guardian.

In a Broken Dream

“It was my mate who convinced me to do it. He ran a car showroom, and he said, ‘I’ve got this group come from Australia, but the singer’s not very good. Can you do a demo for me?’ I said, ‘What do I get?’ He said, ‘Well, I don’t have any money. I’ll give you a set of carpets.’ That was 1969″

                                                                                                                         Rod Stewart

Summertime Sadness: the shape of words

If you’re thinking of writing a song in English, choose words for their shape as well as their meaning. Meaning can float in the air (“I am the Walrus?”) but the shape of English words in song must align with the feeling of your music.

Think of Lana Del Rey’s Summertime Sadness. From the title to the chorus it’s a masterful mix of sound shapes. Summertime: soft, warm and measureless. Sadness: deep and hazy. Together, each intensifies the other. I’ve chosen Miley Cyrus’ cover version, from BBC Live Lounge. You can see how Miley shapes her mouth and where she breathes, to allow each word its languorous character:

The Weeping Song

Weeping is an ancient English word. Its sound and shape are crafted to speak directly to the human heart. We feel it; we don’t think it:

Hocus Pocus

“It’s funny because I studied a lot of classical piano, organ and flute, but I never studied yodelling. And it made me famous throughout the world. It’s really funny.”

Lorde: Yellow Flicker Beat, live at the BBC

There’s a point at which all the conscious thought and preparation for a song composts down into pure energy. The singer lives the song and the song lives in them. It’s a privilege to watch alchemy in action:

© Sing Better English, 2016

Sister Rosetta Goes Before Us

Sister Rosetta Tharpe, making the musical most of a rainy day in the North of England:

Joan Baez and Judas Priest: Diamonds and Rust

Judas Priest added more than a touch of heavy metal to Joan Baez’s Diamonds and Rust. But listen to the beating heart of Joan’s song: time and the wistful distance of memory, coming through in Rob Halford‘s voice, between the electric guitars and the crashing drum, like a blackbird singing in a deep forest. Respect:

Black Raven

You won’t find a single word of English in it, but here’s an English question: what feeling does this Cossack song convey to you?

You don’t need to understand Russian  to play the game. Empathy is a universal:

Singing as slowly as a bird

One of 2015’s Brighton Festival treasures was Marcus Coate’s Dawn Chorus at Fabrica.

Imagine 14 humans, each in its ‘natural habitat’ (taxi, bath-tub, kitchen), sounding (and looking) like Northumbrian birds. The sound is all human, the speed is all bird: