Karen Gallinger ~ Vocalist/Educator/Author

            Introduction ( Excerpted from The Zen of Singing)

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Why The Zen of Singing? Because in singing I discovered a need to become highly conscious, and then release that consciousness, that I also found in Zen, an awareness of the smallest thing and how it affects, even defines, the larger thing. It is also necessary for me to clear my ego and personal baggage so that the muse may move unobstructed through me. For me, singing and performance are a connection to the transcendent. Yet, there is also a nuts and bolts aspect of the craft that needs to be understood and incorporated. There are many books about technique, and there are some books about the spiritual aspects of performance. The challenge for me was trying to find a way to combine these two elements in an understandable way. I hope this book does that.

As a professional singer and a voice teacher I have been on both sides of the vocal experience. There were times when good technique got me through a tough gig, as well as times when the “book learning” aspects of technique just didn’t apply. Trial, error, and adjustment were the norm. The subject can be very abstract at times and often depends wholly on the way in which you experience your own body.

This book is the product of many years of discovery, both on the gig and through private study. Some of the concepts may be familiar to you; some of them are a direct result of my personal experience. It is not meant to be the “definitive” singing book, merely another source of information to familiarize you with basic concepts. It is up to you to experiment, apply the information, and do the work necessary to put you on the path to discovering your own voice.

At the end of several of the chapters there is room for you to take notes. You can use the space to do some of the exercises, or just jot down thoughts and questions that may arise as you read. Periodically review what you have written so you can explore it further, perhaps in your journal. Look at things from many different angles, not just the familiar views. Connect the dots in new ways. Play with the ideas… You already have a wealth of information stored away in your head. You will probably be surprised at how you can resolve issues by using what you already know, but shifting your perspective a bit.

While singing is a unique journey for each person, there is much common ground. Especially when it comes to technique and understanding your instrument. The word “technique” sometimes scares singers; especially pop singers, since it is often accompanied by images of Opera singers, hall-filling voices, and Italian or German text. In fact, “technique” is merely the set of tools you have available to you so you can make choices about how you want to sound. What you create with these tools is up to you, but the better the tools, the better the final result will be. Your goal should be to become the driver, rather than a mere passenger on your vocal journey.

No one can learn to sing well solely out of a book. You will need some good, knowledgeable feedback as you work, so finding a good teacher is important. Look for a teacher who is flexible about style. There is no use studying with someone who wants to turn you into a version of them. A good teacher will help you discover your own style. Also, if the work they have you doing hurts or causes strain, run for the hills! Finally, find someone you can relate to and who makes you feel comfortable. There is nothing worse than dreading your lessons because you are intimidated by, or afraid of, your teacher. Singing should be fun, not scary!

I often tell my students that music is 75% Math, and 25% Magic. Anyone can learn the Math, but you must move beyond just the mathematical, or technical aspects of music or neither you, nor the audience, ever never quite get to the transcendent experience. Technique will lead you to the door of the Magic, you must approach that door with humility so it will open and welcome you. If you come armed with arrogance, it will remain locked and never reveal itself to you.

How do you open the door to the transcendent experience? First of all, learn the craft of singing. Make sure your technique is solid and the mechanical aspects of the song are firmly in place. Then, give yourself over completely to the music, and… let go.

I once had a teacher say to me “Don’t fear your Fool.” I was very young and completely wrapped up in my fear, so at the time it made no sense to me. Don’t be afraid to look foolish or make a mistake? What are you, nuts?!? But, over the years I began to embrace the fundamental truth in that statement, and it changed my life.

Fear is the giant brick wall. Most of us are afraid of revealing our Fool to anyone. But, guess what? EVERYONE has one! Imagine you have a little closet locked away where the Fool lives. The Fool is never allowed out because you just never know what he/she is likely to do and it may embarrass you. OK… Click, locked up tight. Safe.

There are two problems with that solution. Firstly, The Fool is a tricky litter bugger and will manage to sneak out at the most inopportune times, and embarrass you anyway. The second problem is, The Fool is not alone in that closet, stuck in there behind The Fool is The Creative one. If you don’t let The Fool out for air now and then, how will The Creative one ever get out? The Fool is the link to your Creative side, so let them BOTH out to play! The Fool will lead you to your Creativity, so celebrate them both!!

 The exercises in this book are a combination of observation, visualization, and vocalizing.  Try them all. You may immediately relate to some and not feel comfortable with others. That is fine. Use the exercises that work best for you. Your progress is a very personal thing, and it is directly proportional to the amount of time you spend working toward your goal. If you take lessons, no matter how bright you are, a 1/2-hour lesson per week with little or no practice on your own will get you nowhere. So please ... make the commitment to yourself to spend the time and energy necessary to reach your goal.

Speaking of goals, you need to clearly identify what yours are; be realistic. Studying voice is no different than studying any other instrument. Would you expect to begin playing the violin, flute, or piano and become a virtuoso within a few months? Studying voice takes time, work, and patience.  Set goals you can reach. Be sure to give yourself credit for progress made, and don't beat yourself up if you don’t progress as quickly as you might like!  As long as you are truly making the effort you will improve. Trust that and relax into the process. It will make the journey much easier.

The best reason to study singing is for the joy of singing.  Anything else that comes out of it, such as recognition or money, is merely icing. While the goal of voice training is to become the master of your craft rather than be at the mercy of your lack of mastery, what I really hope you learn from studying is that singing is an act of love.  It is spiritual, it is joyful, it is freeing, and finding your voice, whatever it may be, is one of the greatest gifts you can ever give yourself. It is a journey, complete with ups and downs, missed paths, new roads and much discovery. Welcome!