Name: Synnøve Brøndbo Plassen
Nationality: Norwegian
Occupation: Singer, songwriter
Current release: Synnøve Brøndbo Plassen's Den Lyse Dag is out via Oslo's Heilo.
Vocal music recommendations: Here are some records I have listened to a lot:
Øyonn Groven Myhren - Akkedoria fra Kristiania
Berit Opheim - Slåttar på tunga
Unni Løvlid - Vita
All the records by “Tiriltunga”
Dvergmål - Visor og kvæde frå Blåberglandet

If you enjoyed this Synnøve Brøndbo Plassen interview and would like to stay up to date with her music, visit her official website. She is also on Facebook.



Do you think that some of your earliest musical experiences planted a seed for your interest in your voice and singing? How and when did you start singing?

I started singing when I was around 2-3 years old, when I learned some children's songs from my parents.

In a way, I believe the music style I grew up with has made a huge impact on the way I sing today. Growing up I heard a lot of instrumental music, and when I wanted to sing, that was the music I knew.

So then I sang traditional tunes, which often can be advanced pieces of music. It has formed me as a singer in flexibility, rhythmic thinking and in flow.

If you're also playing other instruments, how does the expressive potential of these compare to your own voice?

I also play the guitar and the fiddle.

Knowing how to play the fiddle (at least a little bit) has been a smart way into thinking rhythmic patterns in the traditional music I sing. It also has formed the way I ornament when I sing.

What were some of the main challenges in your development as a singer / vocalist? Which practices, exercises, or experiences were most helpful in reaching your goals – were there also “harmful” ones?

I believe that I have gotten a long way by just singing a lot. This has to do with getting to know your voice, and to build up experience as a singer. Physical practices are very good as a singer. Your instrument is your body, and you have to get in touch with what goes on in the body when you want to sing freely and without being tense.

And also resting and sleeping well! I learned this the hard way … Getting up at 07:00 and practicing 6 hours a day … It is not worth it, and it gets painful over time. So I have also learned to practice effectively. Don’t overdo it!

What is the relationship between harmony, rhythm and melody? Do you feel that honing your sense of rhythm and groove has an effect on your singing skills?

Yes, I think it’s important to build layers of knowledge as a singer. You need to have many layers that you have activated when you sing, so that you can play around with rhythm, melody and harmony as a spontaneous game when performing.

This can be on a very microscopical level, but when you can improvise around the small details, it becomes very alive in the big picture. Working with rhythm and singing has absolutely improved my singing skills.

What are the things you hear in a voice when listening to a vocalist? What moves you in the voices of other singers?

Nowadays I like to listen to the complete picture, and I like to trust the choices that the singer has made. This is kind of a practice in being open minded, and in giving more value to all the singing styles that exist.

I can be moved when a singer is showing that he or she is human, with all the flaws and spontaneous little things that can happen.

How would you describe the physical sensation of singing? [Where do you feel the voice, do you have a visual sensation/representation, is there a sense of release or tension etc …]

I experience singing as a very physical thing. I can feel the vibrations in my head, ears and chest, and also harmonies and rhythmical things can be very physical to me.

What kind of musical settings and situations do you think are ideal for your own voice?

I like the situations when I am being pushed and challenged. This combined with having flow and surplus makes me feel that I am developing as a singer and a musician.

We have a speaking voice and a singing voice. Do these feel like they are natural extensions of each other, ends on a spectrum or different in kind?

Yes, I think that these two types of voices are closely connected. I sometimes speak when I sing, and I often also sing very close to my speaking voice.

From whispers to screams, from different colours to dynamics, what are the potentials and limits of your voice? How much of your vocal performance can and do you want to control?

I like to experiment with extremes when I am in the practice room at least, so I can have more elements to play with when I’m on stage.

I feel like I control very much of what’s happening to my voice. It’s almost like I am chasing to have more freedom and spontaneity in the artistic moments on stage.

Strain is a particularly serious issue for many vocalists. How do you take care of your voice? Are the recipes or techniques to get a damaged voice back in shape?

Sleeping well and the right amount of time. Also staying hydrated and eating right, at least in intense periods with many concerts and practices.

I know there are some vocal practices or techniques that can mend a damaged voice, but I really have faith in just staying quiet and letting the body take care of the restitution.

How has technology, such as autotune or effect processing, impacted singing? Has it been a concrete influence on your own approach?

I rarely use auto-tune, but I am aware that this is a much used tool in the music industry today. I usually like to work without this tool.

But if I am in a situation where it’s needed because of the sound picture, or if it's too hard or something, I just think that it’s not that big of a deal.

Motherese may have been the origin of music, and singing is possibly the earliest form of musical expression, and culture in general. How connected is the human voice to your own sense of wellbeing, your creativity, and society as a whole?

My voice is very connected to my well-being. When there is something wrong with my voice, I don’t feel like myself, and I can even go through a little identity-crisis because of this.

The voice is so connected to identity and communication. When I’m at my best in terms of singing form it opens up more creativity and more flow. This is something I strive for.