How do you evaluate a new singer's vocal abilities?

I've been training singers for over 40 yrs and they never stop surprising me! As we get them producing sound naturally, their real talent and ability emerges. Range doesn't matter in the beginning because it will expand. I listen for their comfort with matching pitch, in fact, their comfort with singing overall. Then my job becomes clear. How they think about their voice is key. We must address their beliefs (usually false) about singing and how those beliefs are reflected in the physical vocal instrument. Then we strip away what isn't their true voice with consistent technique. That is when the brilliant, natural voice is set free.

The first thing I do is to take a singer on a five time scale to learn how or if the student can manage the first bridge. Do they pull or flip or maneuver right through it. That shows me what to do for the singer.

In my experience, one of the most important aspects of evaluating a singers ability is discerning their musical ear: Can they match pitch? Is their intonation accurate? Can they sing harmony with other parts around them? The answers to these questions will shed light on their abilities and discipline. After finding out a bit about their previous musical experience, I like to have them sing a five or eight note starting on C or F# scale, ascending and descending. I also like to have them sing harmony to a simple songs like amazing Grace, or another song that they know while I sing the melody. These exercises will help to answer the questions I mentioned above. Finally, just as important is discerning their confidence and teachability.

I have discovered that some singers grow along through their training. First time test of the vocal range is good but expect surprises of wide ranges from your singers as you train them.

Beginning to evaluate range comes down to first talking about who the singer is as a person and really listening deeply. Then sharing a disarming story and getting their input. Only then do I hear them sing, once they are relaxed. I suggest posture that is natural but also harnesses the energy of the earth. And I breathe deeply and listen for the nature of pitches and the feeling of the pitches as we match them. At this point, I can truly help them assess what their range really is (or may be).

Vocal quality may also vary depending on the style/genre, am yet to understand how it would suit the mood and message of the song of which I believe is brought about how the singer has interpreted the song.

The main thing to determine vocal quality is the degree of freedom that the singer has. Any undue tension makes finding one’s voice ver y difficult.

Tudo é treinável, afina??o, potência vocal, dic??o, porém, um bom timbre vocal torna tudo mais fácil, pode se dizer que é a parte palpável da voz.

In my experience many singers attempt to relax rather than find physical coordination in their singing. It is vital in classical singing that we remain in the gesture of inhalation or the posture of inspiration whilst singing which doesn’t really fit into ‘relax’ well at all.

I always listen for how they use vibrato. most times I feel like they use it because someone told them to use it. And it can often sound awkward or nervous, rather than pretty. I like to see if they can sing without any vibrato at all and remain in tune and focused. Then encourage them to control it and use vibrato as a tool rather than a crutch. just put just a little sparkle on that note.

Just simply the reduction or elimination of any strain or tension when they are singing. Most singers don’t realize the importance of being relaxed.

My comment I make sure any new student understands how to put vowel before vibrato especially if student has an overly prominent vibrato. Easy fix. Also, I make sure they are not ‘stopping’ their breath when they sing.

Breath control is the first thing I look for, followed by signs of tension in the voice. Both of these critical areas of singing offer a few quick fixes that can have immediate results, as well as aspects that will require work and tremendous pay-off in quality of singing and longevity of the singer’s voice.

Yes, that’s also to be answered during the first lesson whether the goal is out of reach or too simple. A lot of my singers just want to sound okay when they go karaokeing with friends. For some that can be a daunting task.

When I’m meeting with a prospective student or team member, I always ask about their vocal goals in the first meeting. This helps me plan the intensity of the work, and helps me think about what I can motivate them toward in our sessions or rehearsals.

Definitely NOT by the loudest performance in “the VOICE”! There is no need for writing 125 characters but howling, yelling and screaming is NOT singing…

All these aspects of the vocal instrument are very important, but the voice doesn't exist as tone in isolation. It's crucial right at the beginning also to evaluate a student's musicianship and musicality--a beautiful tone coupled with a weak sense of rhythm or difficulty responding to harmonic progressions won't meet any aspiring singer's goals. All singing teachers need to know, right from the beginning, how they will need to help in cultivating the complete musician and not only the vocal instrument. Musicianship is an integral part of the "strengths, weaknesses, and potential" of every singer and must be baked right into the cake from the start (not slathered on later as an add-on like icing).

Another aspect of musicianship to help assess and foster is the internal pulse and internal vibration. Pitches are not simply vibrating strings, sympathetic metals, and eardrums; we can feel them in our heart and right down through our feet. This grounding in the pitch is natural and aids singing in an ensemble. Likewise, we have an internal pulse to which we can anchor. This allows us also to participate in an ensemble but also to ebb and flow, such as in the case of rubato, without a jerky or calculated feel.

I am am musician, flute player, conductor, trained in singing and performed with some of the leading opera singers in Europe and Australia. What they promote in these shows has very little to do with singing. It is abuse of the vocal chords and the ears of the listeners. The latter will suffer from early deafness and the others will soon have no voice left!

This is why these TV shows are so damaging because they influence the young generation to think that this style of abuse of the human voice and ears is making music!