Over the past months I have concentrated on the physical and technical aspects of singing, the 'voice production' that is vital to every sort of singer, and I hope that you have understood the necessity of acquiring a sound technique and the absolutely imperative necessity of exercising vocally each day in order to retain and improve that technique.

Some singers complain that they find exercises boring and indeed exercises can be boring if the singer doesn't understand that they are necessary to build up a sound foundation. Without the foundation the song is at risk. It's probably fine on a good day, but with rock-solid technique all days are good days!

Let me take the building comparison further. My kitchen extension was built on foundations originally intended for a small outhouse. The foundations cannot take the extra weight and my lovely kitchen is cracking up! A singer who has not laid the proper foundations by mastering the art of using the right resonating spaces with the correct amount of breath support will find his voice is in danger of cracking up, too.

No matter how much 'style', nor how many tricks he has up his sleeve (or in his recording studio), the plain truth is that there are no short cuts! It's all down to technique!

Let us assume that you have now gained that technique and are ready to stun the public with your performance.

Perhaps you want to perform a favourite Pop standard. How do you set about it? Do you buy a recording by a favourite artist and copy his or her rendition? Or do you buy the sheet music and set about the job from scratch? I would go for the second way.

I would study the lyrics first, deciding on the overall meaning and where the emotional highlights occur. If it is basically a sad song perhaps there is a wry, slightly humourous line somewhere? Find it, understand it — it will add the pathos that pulls at the heart.

Next, learn the melody line, and make sure that you match the word phrases with the musical phrases, breathing at the most natural places. (Though it can be very effective to carry an occasional musical phrase over, if you have lots of breath and if it really adds to the effectiveness of the song.) Now memorise the song. Sing it around the house, in the car or on the street (if you're brave enough!). Make it as much a part of your daily thinking as — oh — the news — the girl/boy friend — what to wear or eat. Live with your song until you are totally familiar with it, until it is yours.

No singer worth his salt is entirely satisfied with his work. An amateur tenor whom I once knew, told me that he could now sing a certain song, as he had 'finished' it. When he performed it he certainly 'finished' it for me! He had learned the words and the notes and the time-values, but where was the emotion, the colour? Alas, he had not the sensitivity to perceive the inner meaning of the song nor the interpretative ability to put that meaning across to his audience. For me, for us all, the song simply died.

The singer whose song has become truly his own is the one who can put it over best because he understands exactly what he is saying and knows exactly how to say it.

When studying the interpretation of a song with your teacher, discuss these things freely. Ask for advice of course, but don't just do what your teacher says! Think about it, try it — maybe you can make use of some of the advice, maybe not. Use what you need.

When you hear another artist sing your song, listen carefully. Perhaps you can borrow an idea; perhaps his or her interpretation sheds a new light on the meaning. Remain free to interpret differently if you decide you feel differently about it. This is the beauty of live performance, of course. No one performance is exactly like another. A different audience, a new venue, another outfit to wear and the song varies! It lives, and although it is wonderful for the listener to hear a loved song on record there is simply nothing to compare with the excitement of hearing that song live. So! As the performing artist, it is up to you never to let your audience down! You have your technique under control, you know your song as well as you know yourself. Go out there expecting your fans to love your songs as much as you love them, knowing that you are going to get a great thrill out of performing for all those wonderful people, and I guarantee that everyone will have a fabulous, wonderful night out!

More about performing and presentation next month.

Tona de Brett gained an ARCM in teaching at the arts centre at Dartington Hall and has taught at the City Lit and other adult education establishments. She now teaches solely at home and her pupils have included Green, Morrissey, Curt Smith, Strawberry Switchblade, John Lydon, Edwyn Collins, Martin Fry and Liz Frazer. For information re vocal exercise cassette write to Tona including an SAE at (Contact Details).