Stephen Mougin, Dede Wyland, and Dan Boner at World of Bluegrass 2024 – photo © Sandy Hatley
The Thursday afternoon IBMA session description read, “Bluegrass vocals are a subject that all too often doesn’t get the attention that it deserves in the bluegrass world.”
A three-person panel of highly knowledgeable singers and educators are making it their mission to change that line of thinking. Dede Wyland, a Milwaukee-born singer and guitarist who worked with Tony Trischka and Skyline in the ’80s, is a vocal coach, and teacher. She served as the facilitator of the discussion.
Dan Boner, ETSU Program Director of Bluegrass, Old-Time, & Roots Department, multi-instrumentalist, performing artist, and producer, who leads the ETSU Bluegrass Pride Band, was a panelist. Also on the dais was Steve Mougin, guitarist and lead singer with the Sam Bush Band, one-half of Nedski & Mojo, an award-winning producer, and band coach. Both gentlemen received their formal education at universities and have degrees in music education.
“They clearly have been in it for a long time,” Wyland validated.
The panelists first shared a little personal background information.
Boner confessed, “I started imitating George Jones at the age of two. Growing up in church, I was hearing harmonies all the time. I got serious about music when I was 14.”
“When in college, I took classical voice. I got my bluegrass thing from Raymond McClain and Jack Tottle.”
“I’m all the time recording myself and listening back. I take Pro Tools, remove the vocals, and try to scoop into it and give it my take. I want my style to become better.”
Mougin shared, “I grew up in western Massachusetts. My dad decided to play guitar and we started going to jams. I learned that in the jam circles you were expected to sing. To me, singing was natural; playing a musical instrument was difficult. I got into playing out live. It felt good!”
“By middle school, I wasn’t into sports, but was heavily involved in the music program. In high school, I was in show choir, chamber choir, and the lead in musicals. I was also in a Frank Sinatra tribute band. I began to use my voice different ways.
“In college, I learned how to study voice. When my voice teacher suggested that I bring in my guitar that became my linchpin. I began to develop techniques.”
Wyland began their discussion by stating, “We have a message. We want to raise the awareness of bluegrass vocal education.”
Mougin noted, “The voice is the least studied, but most central in bluegrass music.”
“The voice is an instrument. There are techniques that are used to be a better singer. That bridges the gap between what you feel and what you express. If you study voice, it will not hurt your bluegrass sound,” Wyland stressed.
“You learn the basic vocal techniques: breathing, how to control breath, and how to relax muscles. A little basic technique will go a long way.”
Boner agreed, “Bluegrass is global. You don’t have to have a southern accent. Start with posture and breathing support.”
He shared a Larry Sparks story. “He had his guitar and was singing, ‘I wonder if it’s raining, raining, raining in the mountains, mountains, mountains.’ He was distilling down to the phrases. It was a humbling moment for me. You don’t ever get too old to practice.”
Wyland affirmed, “The goal is to make the vocal instruction more accessible and improve your singing.”
Mougin added, “We learn by imitation, but none of us sound like Willie Nelson or Frank Sinatra because the way you sound is unique, and that is a wonderful thing.”
Wyland stated, “It’s about finding your style. It’s okay to emulate styles, but pull things from different singers. When you start absorbing other singers, your own sound evolves.”
Mougin mused, “I had a professor tell me if you steal from one it is stealing. I you steal from everybody; it’s research!”
“Listen to 5-10 versions of the same song. That’s good learning, and it’s so easy with YouTube, Spotify, etc. Actually listen with headphones and block out the world. Take notes to activate your listening skills. Listen first to the order of the song. Next, listen to only one instrument, then another, then another. Taking notes makes you more aware of how the song develops.”
Boner added, “Emulation is good in terms of learning the melody. Pick your favorite artist. Listen phrase by phrase, note by note. You can really develop your ear to distinguish the differences in pitches, in delivery, the emotion, all of that. Critical listening is a skill you have to develop and it grows throughout your lifetime. Then you begin to hear the nuances between little subtle things, and your music will start to sound more the way you want it to be.”
Wyland shared, “It is important to learn where a song came from. Listen to original versions. There’s an authenticity there.”
Boner agreed. “Bill Monroe was influenced by Jimmy Rogers. He started doing yodels, imitating him at first.”
Mougin chimed in. “Just being informed is the whole point. Developing your style is about what the song is to you. When you start analyzing lyrics, doing a third grade book report on what’s the first verse about, what’s the chorus about, what is this character going through, what’s your favorite word. When you can insert yourself in the story, you will present it in your own way.”
“I truly visualize it as I’m singing. I don’t have to think what each word is about; it is inflected because of what I am visualizing.”
Wyland noted, “If you’re wondering, how can I put more feeling into my singing? You have to learn your song. You have to really learn the chords and the melody. When it comes to lyrics, the first thing you want to do is read through the lyrics. Lyrics tell a story and is a form of communication. Images are going to come to your mind and feelings are going to be evoked as a result of these images. There’s a storyline developing in your mind as you’re listening to the song. You will end up with a motion picture in your mind and it is infused with emotions. You’ll be telling a story. That’s a really powerful way to be more expressive.”
Mougin stressed, “We need to believe singers. My two favorite singers in life: Lester Flatt and Frank Sinatra. Both of them could sing anything and it felt like their story. Captivate me because of the story you’re trying to tell. It’s not about your voice. It’s about the story.”
Wyland concluded, “That’s why it’s so important to spend time with the song and get to know it. Over the decades, there are a lot of different voices in bluegrass music. What makes a voice sound like a bluegrass singer? You understand the phrasing, the timing, and the orientation. They are very distinctive. If you learn those things, then you’re going to get a bluegrassy sound.”
