Per Bristow’s Singing Zone has one thing that separates it from other programs out there: it’s too simple. It’s so simple, in fact, that if you only watched the video program and did not do anything while watching it, you will end up feeling like you need your money back. But that’s exactly why it’s so good!
No more scales, diaphragm, posture, head voice, breaks, etc, etc, etc. The stuff that sounds cool enough to keep us motivated, for a while at least, but never really gets us to sing.
The voice is a musical instrument. It can create pitches, you can create rhythms with it, you can actually do a lot of stuff with the voice that can’t be done with other instruments. But the downside to that is, there is one thing you can’t do with the voice that you can with other instruments: see it in action!
With the guitar, you can see how sloppy or accurate your fingers are. With trumpets, you can judge how good your technique is with your fingers. Your fingers move, the sound comes out, you adjust accordingly. The same for most other instruments.
But how is it with the voice? When you hit a so-called ‘wrong’ note, what actually happened? Which muscle didn’t do its job? Or rather, which muscles jumped in when it wasn’t supposed to? (you’ll find out in the lesson that a lot of muscles tend to want to butt in for no reason and mess things up..)
This is the problem that has been bugging vocalists for centuries. Since we cannot see what actually happens, because the instrument is located inside our bodies; we try different things and see what sounds come up, and adjust from there. That’s were all the classical techniques come in, the trills, scales, posture, and whatnot.
Nothing wrong with them, by the way.. In order to gain control and mastery over the notes, we need scales and trills to condition the vocal chords. But how about actually being able to execute the notes in the first place?
This is where Per Bristow’s method comes in. He approaches the voice in a totally different way. I use “voice”, because in my opinion, singing and talking is the same thing, and Per Bristow caters not only to singers, but for anyone who uses their voice a lot for a living, including actors, speakers, lawyers, etc. Bristow looks at it not from a musician’s point of view, but from a sportsman’s point of view.
This is interesting, because his main idea is that we need to be able to isolate the muscles that are involved in speech and singing, so that we are able to then have more awareness of the process, thus being able to execute whatever we want in order to express whatever we feel at the moment.
It’s like the drummer who practices his stroke with each finger, not because he’s gonna actually play with each fingers separately, but in order to have the strength in each finger so that when he feels like doing some fast runs, he can focus on what he wants to express instead of worrying whether or not his fingers are going to make it at that speed.
Let’s look at that concept again: we have so much range and power in our voice, and we can trust 100% that it is almost autopilot in getting us the notes that we want.
Doesn’t that free us a lot in our art?
What a concept!
We can now focus on the emotions we want to put into the song instead of “Oh my God, it’s the bridge! Here comes that high C!” and you tense up like nobody’s business.
And you know what happens when muscles tense up, right?
So the goal here is to be like the Olympic athlete. Take the gymnastics athletes for example. How they glide through their steps and breeze through their manoeuvres. They make it look so easy. A lot of action going on, but no effort whatsoever on their faces.
They’re not worried about whether or not their legs will hold at the landing. They KNOW it.
They just focus on expressing their art. What often separates the winners from the runner ups is the level of expression, because at those levels the physical abilities are flawless. Imagine being that kind of a singer..