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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

The Fastest, Cheapest, Painfulest Way to Get a Voice Lesson

Keven Smith · May 26, 2020

E CHURCH musicians are always looking for ways to develop our skills. That means taking voice lessons and conducting lessons, attending sacred music seminars, and putting in hour after hour of individual practice time. If we’re not getting better, we’re probably getting worse.

What can you do when it’s impossible to work with a teacher face-to-face? Some coaches do offer their services online. But in my experience, it’s difficult to trust that a voice teacher is really understanding how you’re producing sound when they’re hearing you through speakers. Sound doesn’t leave the body at one particular point and travel in a straight line, so speakers can’t replicate the experience of hearing a singer from five (sorry, six) feet away.

This is not to say online voice lessons aren’t worth the trouble. But if you’re leery about the concept, or if you simply can’t find a coach you’re eager to work with online, consider working instead with a highly qualified teacher you probably never thought to ask: you. Simply record yourself singing and then critique the results.

“Oh, but I hate how I sound on recordings!” I can hear you protest. You’ve just proven my point. You know your own sound so well. You know your strengths, and what you need to work on. Why not suck it up and become your own coach for a while?

Don’t think you have to invest in any fancy audio equipment. Even singing into your computer microphone can give you a decent idea of how you’re sounding nowadays. But if you already have a decent microphone and audio interface, you’ll be able to capture your sound with much greater fidelity.

Now, I’ve already mentioned the limitations of speakers when it comes to reproducing a human voice. But you can’t beat the price and convenience of singing into your own computer—and even a poor recording will let you evaluate yourself in several important areas. I like to listen for:

  • Vowel quality. Are you forming pure vowels, or do some of them sound “fudged”? Is your [i] vowel too tonguey? Your [u] vowel a little unfocused? I like to record myself singing a particular vowel with several slightly different tongue positions just to see if I can tell a difference.
  • Resonance. Again, your recording may not capture all the nuances of your sound perfectly, but you’ll be able to tell if your sound is changing drastically in certain registers or on particular vowels.
  • Vibrato. Is it there at all? Does it sound natural? Is it too fast or too slow?
  • Phrasing. Are you singing through lines, or stalling out? Are your breaths well-timed? Do you end phrases gracefully?
  • Dynamic contrast. I tell my choir all the time, “You’re never doing as much contrast as you think you are!” (I’m also quick to point out that I’m as guilty as anyone.) A home recording session is a no-risk opportunity to really “go for it” on dynamic contrast. What felt like too much as you sang it will probably end up sounding just right on the recording.
  • Pitch. We’re often unaware of how a recent technique change has affected our intonation in certain registers. Recording yourself can expose these little problems.

There’s still no substitute for working with a highly qualified vocal coach. But failing that, the next most qualified coach may already be living in your house.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: Recording, voice lessons Last Updated: May 26, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“This chapter hereby extends the prohibition of 13 June 1561 against loaning singers or instrumentalists on any account whatsoever to include even the humblest choirboy.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (10 June 1562)

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)

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