Checklist for singers

While the goal of singing is to communicate emotion, the following checklist may prove helpful in isolating any technical blocks which may be interfering with the singer's communication with the audience.

Tone onset. Is the start of each phrase or sound clear and smooth? Breathy tone indicates insufficient working of the vocal folds, and a heavy laboured tone indicates too much push driving the voice.

Is the voice flexible? Jumps between notes should be smooth and comfortable with rapid, accurate pitch changes.

Are the adjustments between the high and low register quick and effortless, allowing a rich tone on low notes and a lighter sound in the high range?

Vibrancy, clarity and evenness throughout the range. The voice should be warm and bright, with no interfering noises, from top to bottom.

Projection. Ring, ping, centre, focus, a core of twang give a voice unity and enable it to carry to a large audience.

Vibrato should be even (rapid) and not very wide (i.e. not a large deviation around the middle frequency of the note being sung).

Jaw and tongue should be free of unnecessary tension so they can be worked freely to produce strong articulation and aren't used in sound production itself.

Volume and range. The change from loud to soft should be easily and smoothly controlled, and the voice should have a useful two octave range.

Poise. The singer should look energized but not tense or making any unnecessary movements as they sing.

Thoughts for the singer to use in monitoring their performance: Does the way I stand appear noble (dignified) and command attention? Do I feel any throat tension or pressure on my voice? Does the resonance feel constant and  stable? Am I aware of the gradual change of breath pressure and energy necessary for the rise and fall of pitch and the change of dynamics? Are the low phrases and the soft phrases as well supported as the high phrases and the loud phrases. Am I aware of the appoggio, the leaning feeling of efficient breath management (this is an advanced technique for those who have mastered high energy breath support). Is the effort to make impressive sound energetically cost effective for both the breathing muscles and the vocal folds?