Sing Out While Playing Your Instrument

Scott Houston explains the benefits of singing along

Recently, while being interviewed, I was asked: “Do you sing while you’re playing the piano?”

I laughed and answered, “You’ve obviously never heard me sing.” (My voice even scares me sometimes.) The interviewer then followed with: “Does it help you enjoy or even master the work at hand more quickly?”

Frankly, I don’t remember exactly how I responded, but those questions intrigued me enough that I continued to ponder them over several days.

At first blush, I can confidently say that I rarely sing aloud, privately or in public, while playing piano (which my dog Nick, who is driven to total distraction by my singing, sincerely appreciates). But, the more I thought about this phenomenon, the more I realized that I, in fact, almost always sing along when I’m playing. The surprising part is that no one would ever know because I’m singing silently in my head (singing silently—how’s that for an oxymoron?).

As crazy as that sounds, as I’ve pondered it more and more, I’ve come to the conclusion that, in a sense, the entire exercise of being a music maker revolves around trying to get out of my fingers and my piano what it is I am singing in my head! The ultimate goal is to, through my instrument, get into the real world of sound and vibrations what I am singing to myself upstairs, in my noggin.

That internal singing is rarely, if ever, robotically reproducing written notes I see in notation, but instead is where the music really “takes flight” and becomes fluid, emotional, and truly human. The act of singing the black dots on white paper, right off the sheet, is what actually turns it into real music!

Where my (recently discovered) internal singing benefits me the most is in making my playing feel and sound less rigid and more authentic to a particular style. It’s the missing link between how it is notated and how it should really sound.

I’ve always found it interesting that just about every person I've ever met, current musician or not, can happily and easily whistle, hum, or sing the melody of a well-known tune in a very musical way. It’s a totally natural thing, with no counting feverishly or heavy eyebrow furrowing anywhere to be found. No difficulty whatsoever ...

However, only a handful of people can then sit down and play the melody on their instrument in the same way, even if the notation of the melody line is right in front of them. Instead, what usually happens is their musically interesting, internal voice disconnects and the exercise turns into a somewhat mechanical, not very musical, rendition of the same melody. The natural, internal voice can no longer control the show. Taken one step further, I’ve had many students who simply could not imitate on their instruments the way they sang it, until the notation was taken away from their eyes completely.

For beginning players, I think becoming aware of the phenomenon of your brain constantly singing internally is a great way to help bridge the gap between how they really want to play and sound, as opposed to the way a piece might be notated.

So, what can you do to better develop the connection between your internal singing and your external playing? For piano and guitar players (sorry wind instrumentalists, this won't work for you) there’s one fun thing that will benefit your playing.

First, isolate yourself with your instrument so all your inhibitions won't get in the way, should someone actually hear you. Then, pick a simple, but very well-known melody that won't challenge you on your instrument (for example, ”Amazing Grace” or “Jingle Bells”). Finally, try to lock your (out loud) voice to your playing such that every single thing you play, you also sing or hum in unison, and vice-versa. Make your instrument and your voice one combined entity.

Like two dancers, at first your instrument will probably be leading and your voice will be following. But as you continue, start switching roles and let your voice “stretch out” a bit and see if your hands can follow; try bending or sliding into notes and varying the rhythm. In other words, try to get back to the natural version you would sing if you weren’t trying to play along at all. You will continue to evolve toward the point where almost anything you can sing, you can also play simultaneously.

For an advanced example of this technique (what you are striving for), listen to George Benson’s famous improvised solo on “This Masquerade.” (Watch the example at: www.youtube.com/watch?v=RpEfAV1T5b0)

In closing, practicing playing and singing an improvised melody in unison is not only a lot of fun, but it is also a great way to loosen up your playing. If you struggle getting away from the printed page and letting your inner singing out, try this technique to start setting your playing free! As always—have fun playing!

Scott Houston is a public television personality, piano teacher, and professional speaker know as “the piano guy.” Visit www.scotthouston.com or www.playpianoinaflash.com.