How can you choose vocal repertoire that creates an emotional connection with your audience?

In my career as a singer and actress, as well as in my experience coaching others, I found that when we allow the voice to serve the intent this leads to especially engaging performances. Meaning that such performances evoke a genuine emotional response from the audience. This however requires clarifying the intent then cultivating transparency and honesty, which enable us to transmit our inner dwellings to the outside world. I find this is the real challenge in becoming a great singer. Building on this, the choice of the correct repertoire becomes crucial. The singer should consider whether they have a message to convey with a certain song or not. If they don't have a strong intent underlying, then the song choice might prove to be poor.

The same principal applies when you embark upon a solo or improvisation as an instrumentalist. Any great solo has real intention behind it so much of that is not just choice of notes and space, but also the energy in the fingers. The hard work of technique building has only one purpose which is two improve your expression and level of intention.

Two things come to mind here: 1. You must choose music to which you feel an emotional connection. It has to resonate and create emotions in you. Without that you are not going to be able to communicate anything emotional to the audience. 2. The music should be in a style which is undertandable. Extreme avant garde music for example, however emotionally performed, has a very limited audience due to the fact that the style of the music is incomprehensible to many. So choose music with a somewhat broad appeal, but that also challenges a bit.

La voix de chaque être humain est unique, telles les empruntes digitales ou la couleur de l'iris de ses yeux. Cette voix, comme le reste du corps demande d'abord à être acceptée et respectée. Et s'il vrai que chaque être humain est destiné à exister au monde, notamment au travers de son geste vocal, ce geste comme tout autre mouvement ou action du corps peut être développé, travaillé, affiné. Tel un artisan qui fa?onne un bel objet, le chanteur apprend à explorer et cultiver sa voix, et cela requiert à la fois engagement et discipline, et générosité et lacher prise. La voix est une histoire intérieure qui s'entend à l'extérieur...

I think knowing your voice is a very big ask. I feel as a singer you're constantly learning new things about your voice and your voice is changing so much that "knowing it" is very different from one month to another sometimes. Especially as a young singer to feel like 'you know your voice' is hard. In singing as in life, I think, it's most important to do what 'feels' good, so if you find a song that you like that you can sing and it feels good, it doesn't hurt your voice and you have fun with it - that's what makes it the right repertoire. You don't necessarily have to feel like you 'know' your voice but you have to trust your feeling. If it feels good and sounds good and you can connect emotionally to the song - go for it, sing it!

Trust the art. Trust your craft. Don’t underestimate the power of skilled passion. I have seen regional pub audiences tear up at an unexpected operatic aria at the end of a set. Just because it was not what they were expecting, doesn’t mean it won’t get through and fetch tears. Sometimes it’s worth taking a calculated risk.

Este punto es muy relevante, pero … ?Cómo identifico realmente quién es mi público? Esto viene de identificar mi mercado… quién es mi competencia. Y la respuesta es muy sencilla. Si eres artista hazte esta simple pregunta: si tuvieras posibilidad de compartir el escenario con cualquier artista o Banda, el que más te guste o el que más te inspire… ?quién te gustaría que fuera? ?Ya tienes tu respuesta? Ok… pues esa es tu competencia… su público será tu público… entonces asegúrate de hacer buenas canciones y producirlas al nivel de tu competencia para poder llegar a ese público. No se trata de imitarlo, finalmente tú tendrás tu propio sonido y estilo, pero sin duda este artista o Banda tendrá influencia en tu música.

Para preparar un repertorio de una presentación o concierto, debo dar lo que me hace único, lo que crea mi marca personal. Una vez establecido esto, busco cuál sería el público objetivo de mi presentación para unir con la música que voy a mostrar. Los conciertos temáticos son una buena forma de darle una pista de lo que se mostrará.

Yeah it good if you know your audience so that you can connect better ,be at peace with the results and also you can make a better product according to them.

Knowing your audience is vital to ensure that the song you select resonates well with the audience. There have been times I've sung songs that received standing ovations and encores and other times a few handclaps and the occasional "woo." However, I can add that sometimes if the song and voice is right and is something the audience never expected, it will be appreciated nonetheless. That's the thing with music and songs, it resonates with each person in a unique manner, where some can appreciate the ability and emotions of the song and others are reminded of their childhood.

Avec mon expérience, et tout ce que j’ai pu voir dans le monde de la musique, j’ai vu l’importance de se consacrer davantage sur ce que l’on veut transmettre plut?t que sur la manière dont on veut le transmettre. Raison pour laquelle il est important de travailler sur tout les aspects techniques en amont, afin de pouvoir transmettre le message avec le plus de sincérité possible.

En mi experiencia, cantar algo que me hace sentir cómoda vocal y narrativamente, siempre será la mejor opción. Para interpretar una canción, nos sumergimos en esa historia, nos apropiamos de un papel distinto al que vivimos diariamente, entonces escojamos conscientemente lo que queremos decir a los demás.

This is very subjective thing ..as an artist you always have to work on your audience and not yourself so the message can be yours but the connect is all ...people and as an artist the main focus should be your people

A song and it delivery is never about the sound quality or how good a singer you are. It’s always about the lyrics and the message. Once you have strongly connected with a message and have a deep desire to share it, no matter what it is, it’s authenticity that people desire, and to see themselves in what you do is what binds us all together .

As artists, we have different experiences and backgrounds. These differences play a role in the kind of message and mood one brings out through performance. Connect with what you are saying and mean it. Secondly, connect to the reason why you singing a particular song. Have a purpose, whether it is to influence, bring hope, or happiness. express that fully.

They have to know what they're singing about or know the translation. If they have had an emotional experience in their life or seeing a movie that would be similar to that, then they should use those same emotions from that experience to help communicate to the audience.

I always ask my students to bring songs that they emotionally correct to, that they wish they’d written. These tunes indicate that the listener hears their story in the music. We’re not so much moved by songs because we admire the songwriter, as we are by feeling like the music expresses our own emotions. Then I have my students write out the lyrics by hand, leaving a space between each line. Under each line of lyrics, they write their own subtext. That is, the emotion they feel. Not an interpretation of the artist. Their own personal take. This allows us into the song and the song into us. It enhances memorization, because we understand the reason for each lyrical phrase at an emotional level. Try this. Watch how folks respond.

I think this is by far one of the most important steps. We’re all empathetic beings, so if you don’t feel or believe in what you sing, then you won’t have a connection with your audience either. And the way to have a feeling or belief about something is when we have an interpretation. Our inner map, that then forms our outer behavior. Once something is true and authentic to you, it will be the only way to create rapport with an audience.

Both my voice and my brain refused to be constricted and limited. Luck or just enjoying the fun of singing. The vocal range is still extensive, powerful, and I still have great joy attempting to sing ... anything. BUT I do treat my body and my voice with respect. I eat well, exercise hard, nurture myself by walks into the ocean, through forests, and talk to my veggies and the local birds and can still marvel at the magic of the human voice and the machinery that developed to imitate it, the strings, the brass, the pianos. I learn songs, play the first note on my piano, sing several bars unaccompanied and then check if I am still in tune... with the piano... It's all ab out joy., Love it. sing it. rest it.

Ya sé lo que quiero decir, ahora ?cómo lo voy a decir? ?qué es lo que me está haciendo sentir esta música? Reconociendo nuestras emociones sobre una pieza, dejamos salir de nuestros labios la música con honestidad, creando una interpretación, si es posible un movimiento escénico que la acompa?e. Ponernos en el mood de la canción, para que las personas puedan entender lo que queremos decir.

Listen to your students! It is a great idea to meet with your student prior to the first lesson to discuss their preferences in music and learning styles. By doing so in advance, the teacher can properly prepare a repertoire that will interest the student, and get them excited about learning!

Me parece que estar conscientes de nuestras capacidades es fundamental, pero quizá en un primer momento del aprendizaje musical es adecuado un guía/tutor/maestro que conozca del tema y pueda darnos sus sinceras opiniones. Esto nos ayudará a mejorar, si entendemos que la crítica no tiene la función de disminuir nuestra valía. Tomemos los puntos claves que podamos mejorar, pero no permitamos que se nos vaya el ánimo. El canto es un camino muy extenso, de subidas y bajadas, la entereza nos permitirá avanzar.

its the main growth hack and the most underrated transparent way of knowing your capability of connection with the people so feedback should be given and taken both in a positive and constructive way.

First of all, the rep has to mean something to you. If you cannot connect it to your reality and commit to the story telling aspect of the content, then don’t do it.

You have to know your audience and connect reality in emotional approach, like story telling. Create the emotion you want to convey.

Extend your repertoire wherever possible! It is too easy to have your party numbers and play them on endless repeat. It makes you stale as a vocalist, and as an artist. Learn something in a new genre. Master something that you never thought you could do. Don’t stagnate!

You can make repertoire from old and new songs that you thing that creat a unit that express you at the moment. Variety is important.

It is an art and depending on the audience, you have to feel it. Observe and make adjustments, choosing “the feel” rather than technical practice.

Knowing your territory is a great feeling of comfortability and security. Yet, enlarging your repertoire embarks you onto a discovering journey that refreshes your musical experiences, while wideing and deepening your connections to composers, their styles and missions. Cross lines, but only so far that the feeling of (new) comfortability and security of handling your voice remains yours.

I like all of these points but think theres a fundamental point missed…. If YOU don’t feel it then how can an audience?!? Select songs that resonate with you: be that melodically or lyrically. Choosing material that you can connect with yourself will help the audience feel what you feel.

The way to form an emotional connection with your audience is to first form an emotional connection to the music. When you are deeply connected to your song, the audience will listen whether they enjoy the song itself or not.

Know your deepest longing, your deepest pain, your deepest connection with yourself. And chose repertoire according to it and sing from that place.

Choose works with which you can connect with on the deepest possible level. Let the works first speak to you, before you let them speak through you. If the work resonates within you, it can radiate from you. Let the work first glow inside you, so you can let it shine through you. That's genuineness and authenticity.

Emotionen stecken an. Selbst zu empfinden w?hrend eines Vortrags ist die Grundvoraussetzung Gefühle im Publikum auszul?sen. Das ist die Basis für eine erfolgreiche Performance.