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A Byrd's Eye View: An Interview with Idol Vocal Coach Debra Byrdby Rosanne Simunovic -- 06/23/2004
View Printable version of this article Recently I had the opportunity to speak with the supremely talented Debra Byrd, affectionately know as "Byrd" to her peers and friends. She was juggling phone interviews with coaching responsibilities for Canadian Idol, plus overseeing the launch of her new book, Vocal Help Now! The interview that follows is candid, heartwarming and educational in content. Throughout the interview, Debra and I realized that we had very similar musical backgrounds and this made for a very relaxed and open conversation and a mutual sharing of ideas. I would personally like to thank Debra for allowing what was originally a 15-minute interview to stretch into 60 minutes. The lady is fast becoming a musical legend and achieving a superstar status that will most certainly surpass some of her Idol protégés. 
Special thanks to CTV Media Personnel Scott Henderson and Stacey Cunningham for arranging this interview! Rosanne: Hello there, Debra, and thank you for donating some of your precious time to talk with me. I have been teaching voice for 27 years so I really appreciate and admire the fine work you are doing with these young singers! Debra: Thank you so much! Rosanne: The Canadian Idol pace is starting to pick up now. We have moved through our first two finalists, and, at this point in time, you are presently working with the third group of Canadian Idol semi-finalists. Have you been impressed with the diversity of talent thus far in the Canadian Idol process? Debra: Yes I have, although they are bringing different levels of performing experience to the competition. At times it is frustrating for me as a voice coach as I have to correct many bad habits in a short period of time. In any Idol competition, I always ask the semi-finalists: "Let's check and see who has received voice training prior to Idol." This enables me to see who has received good, bad, or no training whatsoever and it gives me a better idea of my goals for each individual singer. Additionally, I encourage the singers that if they are having technical problems, they should consult a voice instructor who specializes in correcting technical deficiencies in the singing voice. They are allowed to do this, as my job is to ensure that the performing elements are in place when the show goes live. There is not enough time, during the course of the week, to work on technique in addition to my work in developing their performance skills, charting song arrangements, etc. Rosanne: Have you noticed any differences between the Canadian and American singers in the short time you have been here? Do you feel that there is a definitive Canadian flavor happening in our show? Debra: Not really - except for one thing. There are more Francophone singers in this country and, therefore, the pronunciation of the English diction can become problematic. I personally like the different accents, as I am accustomed to hearing this in the U.S. My Americanism philosophy encourages the diversity in the English language and, truly, as you become older, your natural roots will become apparent when you speak or sing. For instance, if you listen to Sean Connery speak in present day, you will notice that his Scottish accent is actually thicker and more pronounced compared to when he was younger. (Rosanne's Note: Byrd is right! If you listen to Celine Dion sing in present time, you will notice that her accent is more pronounced now compared to when she began her career) Rosanne: How long are the individual singer's sessions with you? Does it vary or do you have to maintain a pretty rigid schedule? Debra: Well, you have to maintain a sense of fairness throughout the competition; so all the singers receive the same amount of time. At this stage of the competition (Top 32 elimination rounds), each singer receives one hour on the first workshop day and another hour on the second workshop day. On performance days, I oversee the singers as a group, as the time is just not there to work with them individually. Rosanne: All the singers are talented; however, I am sure they bring varying degrees of vocal ability and performing experience. What performing elements do you try to impart to each singer? Debra: It all depends what the singer brings to the table. Some bring more experience than others and I work to correct performance elements in each singer that need the most development. Lou Pomanti (the pianist for Canadian Idol) and I work out the vocal arrangements with each competitor and determine a key suitable to the singer's range. The competitor is responsible for selecting which parts of the song he or she wants to sing and, of course, we will give advice if we feel that is necessary. However, their personal song choice is entirely up to them and they are free to call or discuss their song choices with their family members or personal voice coaches. 
Rosanne: You work really hard with the singers and your guidance must give them additional confidence in their performing abilities. During the rehearsal process, you must see them progress and develop their skills in order to achieve their best performance for the live shows. However, during the live performance shows, do all the singers perform pretty much as you would expect, or have some singers actually surprised or disappointed (maybe that's too strong a word) you? Debra: Both -this is human nature in any situation. The singers will either "score" or "choke." They'll do great or they'll make mistakes. They'll either abide or internalize the motivational tools that I give them to alleviate the stage anxiety and stress or not! I really try to emphasize that they must go out on stage and have fun. However, I have a limited amount of control over their anxiety; the rest has to come from them. 1 2 3 Next-->View Printable version of this article
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