I should like to talk about live performances this month.

I remember some of my first concerts as a final year student. The cold halls, shivering in my evening dress, hearing tales of experienced concert-artists wearing thick vests and long-johns under their glamorous gowns after I had frozen on the platform! The awful jolt of the heart if I made a false entry, which nobody but the pianist and I noticed, the wonderful warmth of applause and the unbelievable shouts of "encore". The first time that happened I hadn't brought another song, so I simply sang the last one again!

Much more recently I have appeared in music-hall which presented new challenges. An atmosphere so thick with smoke that it seems impossible to breathe deeply, a piano so old that some of its notes don't play at all, and the pitch is way below concert pitch. The drunk who shouts out rude remarks and once, a man with a laugh like machine-gun fire! The songs are great though, and I love dressing-up in Victorian gear!

The pub scene for the budding Pop singer is a little similar, though fortunately the piano is not necessary. At least you can be sure that your instruments are properly tuned!

Let us think about the day of a performance. Don't fix any interview or photo-sessions for the same day. Concentrate on preparing both mentally and physically for your performance. Sleep late if you can. Eat a good meal around mid-day. Warm up with some vocal exercises before your meal and again later if you wish, but don't over-do it. It's best not to rehearse the whole programme on the day of the gig, better dress-rehearse the night before. You'll probably have time for a short rehearsal during the sound-check, that would be a good idea.

Make sure that you can sing comfortably in your chosen costume, avoid tight belts, use stretchy material if you want to wear a figure-hugging garment. Constricting collars or choker necklaces can literally choke you. Look after yourself and enjoy a leisurely preparation.

The problems of touring are quite different to those of the occasional live gig from a home base. The need for self-discipline is even greater and the whole of your free time should be programmed towards the evening's work. It is difficult to relax completely in strange surroundings, and when you are sleeping in a different town, a different room, a different bed every night, there is a great deal of stress. Some people may find it necessary to unwind after the gig by going to a party. Good idea, provided it doesn't go on too long and become too drunken! Get some exercise each day, take a brisk walk or go swimming. Eat one good nourishing meal a day, nobody keeps well on Junk food, and if you get over-exhausted or catch a cold your performance will suffer.

Sing some exercises daily and think your songs through from time to time. Try to remember how each song went in performance, maybe someone could tape the show and you could listen to it the next day and decide whether the meaning really comes across, or if other changes need to be made. Discuss it with the group, and rehearse a little if you get the chance. Don't over-use the voice. Your voice is like any other part of you, it gets tired, you will strain it.

I assume that your sound-system is good and that you can hear enough of yourself to know that all is well. I quite understand how disconcerting it must be not to know how you sound, and the automatic reaction of singing as loud as possible in order that you can hear yourself. Where possible make sure that you can hear yourself. Get the group to turn their volumes down if necessary — they'll probably deafen themselves if you give them a chance. Remember it's the quality not the quantity that counts.

We'll discuss performance for the recording studio next month.

Meanwhile elsewhere on the page are two more exercises for you. The first should be sung very legato (smoothly) and slowly, using any vowel you like; "oo" is nice for this one. The second needs particular care, it is tricky to leap over a wide interval at speed, so concentrate on tuning. Both exercises should be sung in many different keys. Have fun!

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).