We do scales, vocal exercises every day. I run the voice up and down, get as high as I can and as low as I can. I work on breathing, too.
As you get older one tends to develop what I call a wobble. I would rather eat glass than let that happen to my voice.
As a singer, I float around. I'm kind of scatty, bouncing around a lot. I try to adapt to what's going on around me in the song and the arrangement.
I want to keep my voice young, with nothing heavy.
Contrary to the norm, as my technique improved my voice became higher.
I've always said that I use my voice as an instrument. It was something I created myself, and I said, 'Have voice, will travel.'
I was blown away by Steve Perry's voice - you know, his amazing ability to change from a lambing voice to rock.
I am still working on developing my voice. I am, I know, better as a coloratura singer than I was. It's a matter of strong breath control and yet making it sound as though it is the easiest thing in the world.
There is nothing more boring than doing singing exercises.
I always try to get to the point where I can do different things with my voice.
A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.
If you actually relax your vocal cords they actually work better.
As singers, we're always taught to sing forward and place everything in the front of our resonating chambers. Donna Summer always sang in that space and had it naturally. Her muscle memory, the way she was built - she was a natural singer.
That's one thing you hear in my voice today. I could yodel from one octave to another octave. It always fascinated me.
Singing bel canto is like walking on a tightrope - especially with a larger voice like mine.
Just the way my voice sounds now, it's always had this little hoarse thing to it. And I'd have to do vocal exercises to make my voice clear.
Vocally, I have learned to find my strength, and my voice has developed a lot since 'Be Here.' I learned to sing with all of my body.
I don't have the slightest idea of how to do vocal exercises or scales or anything like that, but I did always know to breath properly from the stomach. I'm a pop singer and never really felt I needed more.
When I sing, there is an almost constant struggle with pitch and with reaching notes in the higher register.
It's not really difficult to go from one voice into the next.
I'm obsessed with Minnie Riperton's voice: it's like a smooth river of ice cold strawberry milk.
I can sing as low as Toni Braxton and as high as Mariah Carey.
For some reason, my voice doesn't age. I can still hit those high harmonies just like I did back in the day.
One who sings with his tongue on fire, gargles in the rat race choir.
I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.
