7 Basic Fears of Singers & How to Handle Them

The 7 Basic Fears of a Singer & How to Handle Them.

In this section, we’ll be discussing the 7 Basic fears of SINGERS. According to KENNETH W. OSBECK in “The Ministry of Music”, they are:

  1. Hearing the sound of one’s voice.

  2. Singing the wrong notes/ parts.

  3. Singing when you are not supposed to.

  4. Singing wrong words/lyrics.

  5. Being accepted more experienced singers.

  6. Singing in tune.

  7. The congregation/audience.

The only way to overcome these fears is understanding what the greatest Man, Mentor and Philosopher instructs about it.

The Barrister and most proficient writer interprets it as:

2Ti 1:7 “For God hath not given us the spirit of fear; but of power, and of love, and of a sound mind”.

The Government agent {Tax Collector} recounts this instruction:

Matt 10:26-31 “Fear them not therefore: for there is nothing covered, that shall not be revealed; and hid, that shall not be known. What I tell you in darkness, that speak ye in light: and what ye hear in the ear, that preach ye upon the housetops. And fear not them which kill the body, but are not able to kill the soul: but rather fear him which is able to destroy both soul and body in hell. Are not two sparrows sold for a farthing? and one of them shall not fall on the ground without your Father. But the very hairs of your head are all numbered. Fear ye not therefore, ye are of more value than many sparrows.”

The Doctor quoting HIM from his perception said:

Luke 12:5-7 “But I will forewarn you whom ye shall fear: Fear him, which after he hath killed hath power to cast into hell; yea, I say unto you, Fear him. Are not five sparrows sold for two farthings, and not one of them is forgotten before God? But even the very hairs of your head are all numbered. Fear not therefore: ye are of more value than many sparrows”.

Consequently, handling these 7 fears follow the steps below:

 

  1. Hearing the sound of one’s voice

  • Sing into a recording device often so as to.

  • Be conscious of the notes and words.

  • Improve your tone.

  • Work on your diction.

    2. Singing the wrong notes/ parts.

  • Learn the melodic line of every song before singing in parts.

  • Rehearse your part often.

  • Always remember that most songs begin/ end with d, m or sol.

3. Singing when you are not supposed to

  • watch the conductor always.

  • Be conscious of the metronome.

  • Always be alert before the next passage begins.

    4. Singing wrong words/lyrics.

  • Learn the right words.

  • Google the lyric from the internet.

  • Ask for the meaning of the dialect/ words.

  • Every song is a story with a message.

    5. Being accepted more experienced singers

  • Remember everyone started from somewhere, sometime ago.

  • God is your source.

  • Tell them “it’s a rare privilege ministering with you.”

  • Focus on your area of strength.

    6. Singing in tune.

  • Rehearse with a pianist often.

  • Do Ear Training drills often.

  • Do exercises on breath control and modulation.

    7. The congregation/audience.

  • They are all your siblings, friends, neighbours, parents e.t.c.

  • Look to no one for compliment, rebuke or reinforcement.

  • Take them off your mind and focus more on the song.

OTHER GENERAL TIPS ARE:

  1. Know and Understand your self-worth, SWOT Analysis {Strength-what you can do best, Weakness-the things you find difficult doing, Opportunity-the chances you have for exhibiting your strength and Threat-those situations that could reveal your weakness} and overcome the Weaknesses to face the threats.

  2. Cut songs at the middle and start them over from any point; it aids mastery.

  3. Internalize and Express the lyrics of the song with all the needed para-language.

  4. Remember everyone is looking up to you for instructions

  5. Relate every phrase of the song to a relevant experience that best interpret the song to you.

  6. See yourself always within the setting that the song was composed; picture that they all watch it still happening.

  7. Rehearse Harmony using:

  • Modes of Scale

PARTS

TONIC SOL-FAS USED IN HARMONY

Soprano

d

r

m

f

s

l

t

d

Alto

s

l

t

d

r

m

f

s

Tenor

m

f

s

l

t

d

r

m

  • Primary Major Triads:

PARTS

TONIC SOL-FAS USED IN HARMONY

Soprano

d

r

m

f

s

l

t

d

Alto

s

t

d

d

r(m)

f

s

(l)s

Tenor

m

s

s

l

t(d)

d

r

(f)m

  • Primary Major & minor Triads:

PARTS

TONIC SOL-FAS USED IN HARMONY

Soprano

d

r

m

f

s

l

t

d

Alto

s(l)

l(t)

t(d)

d(r)

r(m)

m(f)

S

s(l)

Tenor

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