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  • TMV World Team
    Singing generates as many myths and fallacies as does the theory of evolution. I'd like to confront four of the more popular but misguided statements I've encountered and try to bring a little clarity. Digging right in..
    THROAT SPRAYS HELP ME SING BETTER
    Perhaps you have a favorite tea, potion or spray which you swear helps you sing better. But think about it, these nostrums never touch your vocal folds! They merely moisturize your throat creating a soothing feeling.  Some popular voice sprays contain deadeners which numb sensation and provide the singer with the illlusion of improvement. Voice doctors discourage use of mint, menthol and eucalyptus for singers because of the risk that singers might injure themselves because of reduced sensation. Steam, whether from a humidifier, nebulizer or just standing in a hot shower, does improve the mobility of the vocal folds. Maybe that' s why so many singers like to hold a cup of hot tea...it's not the tea which helps but rather the steam! Having said all this, if you have a favorite singer's helper like olive oil (yuck),lemon juice, honey, grapes, crackers, lettuce, then by all means, continue to use them. But just remember that the benefit may be simply throat lubrication or the placebo effect. 
    I WANT TO EXTEND MY RANGE
    If we define vocal range to mean the highest and lowest notes you can produce, then we all possess a much longer range than we imagine. Vocal range is predetermined by the size of your vocal folds (the larger the diameter, the lower your range). The range extension question is better stated as How can I sing high notes more easily? I'll devote a future article to just that topic.  In the meantime, let me say that your range is pretty well preset, like your height or the size of your head.  You can discern your lowest and highest notes by using such approaches as singing on an aw vowel on descending notes to find your lower note, and using lip or tongue trills to determine your highest note. Once you know your absolute range, then your goal should be to gain control and consistency of the notes of your range which were yours all along! --
    FALSETTO ISN'T MY REAL VOICE
    DId you  know that men can sing just like women? If you have never heard a counter-tenor, you've really missed out.  Hie thee to YouTube and search for counter-tenors and sopranistas for an auditory treat. The reason that falsetto is under-appreciated in Western culture is precisely because of its feminine quality. In my view, that's a real shame- it's like allowing men to use only one arm! Registers are muscular activities in the vocal folds and larynx which affect their shape and vibrational pattern. Humans have four registers: fry, chest, head/falsetto and, in some rare individuals, whistle register. I encourage men to vocalize throughout their entire range, from their lowest to their highest note. Think of it as yoga for the vocal cords. With the goal of sounding limber, flexible, agile and even-sounding, practice falsetto and chest voice regardless of whether it's used in one's chosen vocal style or not. 
    TONGUE TENSION IS ALWAYS BAD 
    It depends on which part of the tongue you're referring to. Visible tension of the tongue in the mouth IS problematic and that includes tip retraction (like when you make an R sound in an American dialect). Pulling the tip back is not desirable unless you'rei mitating Scott Stapp,  Alanis Morissette or a super-country sound. And overtensing the tongue root sounds bad, like you're swallowing your sound.  But firmness under the tongue in the lower jaw can actually help you sing. Activity there can help with laryngeal stability, vibrato control and power. So don't worry if it doesn't feel like jello under your tongue when you poke at it with your finger. If you sound good, you sound good!
    Written by Lisa Pompeil 
     
  • TMV World Team
    Many voice professionals feel that when they are getting sick the only remedy for their ailment is prescription or over the counter medication. Unfortunately, choosing this path can actually have a worse effect on our voices than we may know. In an article entitled "Common Medications and Their Effects on the Voice" by Dr. Robert T. Sataloff, Professor and Chairman, Department of Otolaryngology-Head and Neck Surgery and Senior Associate Dean for Clinical Academic Specialties, Drexel University College of Medicine, effects of medication on the throat and voice can do more harm than good.
    Dr. Sataloff is also a professional singer. In this article are outlined the most commonly used medications and their potential side effects.
    Common medications and Maintaining vocal health
    Aspirin and Anti-inflammatory medications
    Aspirin is commonly used by millions of people every day. However, aspirin "can cause platelet dysfunction which is the primary means of interfering with a blood clotting mechanism." Here it is recommended to avoid the use of aspirin to prevent possible vocal fold hemorrhage. I would suggest trying Bromelian, found in pineapple or Turmeric for pain and inflammation.
    Antihistamines
    It is well known that Antihistamines can have a drying effect on the throat and respiratory tract. If clogged nasal passages, one of the most common uses for antihistamines, is the issue, there are many natural alternatives one may employ. Cayenne, horseradish, garlic and the use of a neti pot with eucalyptus oil are outstanding alternatives to antihistamines for clearing out the sinus passages and maintaining excellent vocal health.
    Prescription Medications
    Dr Sataloff states that " all psychoactive medications ( anti depressants ) have effects that can interfere with vocal tract physiology...Side effects range from no known effects to the following: (a) dystharia, ( increased cough, © increased GERD, (d) asthma, (e) laryngitis... and a drying effect leading to hoarseness and sore throat."
    Correct dietary choices and lifestyle are extremely important in determining the mental state of an individual. A voice professional needs to have a clear mind and healthy body to produce the quality and beauty they desire from their voice. Be very thoughtful and aware of what you put into your body. Everything we eat effects our voice and state of mind.
    SteroidsSteroids have been shown to be very effective and used often in treating allergic reactions. However, Dr. Sataloff says that side effects, particularly from inhaled steroids include loss of voice, hoarseness, throat pain, gastric irritation with possible hemorrhage and mucusal drying in addition to many others. More times than not, allergic reactions can be to foods or additives and chemicals within foods. Typical of these are, MSG, Gluten, White Flour and Dairy products. As voice professional we must know what is affecting us regarding the foods we eat. I recommend getting a food allergy test to see what you are allergic to, and then act immediately upon finding the results. This simple test could change your life and have an incredible positive effect on your entire vocal aparatus.
    Vocal Health for Life
    The bottom line is that we must be continuously aware of how what we put in our bodies effects our voice. Clearly, stress and life's twists and turns can lead us into sickness. However, what we do when we are in this state definitely affects the speed of our heal. Making the right choices is paramount to a healthy vibrant body and voice, and a successful career.
    As always I wish you the best on your quest for Superior Vocal Health.
    David Aaron Katz

  • TMV World Team
    Now that we are into the deep freeze of this year (I live in New York) I wanted to address natural alternatives to warming the body and voice when singing in colder climates.
    In general, cold contracts and heat expands. The same applies to the chest, throat and vocal cords. When I sing in a part of the world that is mostly warm, like the West Coast of the United States, Puerto Rico and the Middle East, and the temperature is on average above 70 degrees, I always feel as if my voice and throat are wide open. Like the sounds just come pouring out with little or no effort.
    However, when I sing in colder climates, like the East Coast and Switzerland during the winter months and the temperature on average is under 40 degrees, I feel as though I have to work twice as hard just to get half the sound out of my body.
    I am used to warmer weather and my entire body opens up when I sing in warmer weather. Some of my colleagues are exactly the opposite and thrive in the cold weather.
    When it comes to singing though, cold weather can be devastating on the throat and vocal cords. The throat and vocal cords need to be warm and pliable to vibrate properly giving us the sounds we desire. Thus the obvious reasons for "warming up."
    So what can we do when, nutritionally without chemicals or drugs, when we have to sing in colder climates and want to make sure our bodies are warm and our voice is "hot."
    Below you may find some excellent herbs for this issue.
    Ginger
    Ginger has been used as a natural remedy for centuries for a myriad of ailments. Some of these include nausea, morning sickness, heartburn relief, migraines, menstrual cramps and it's positive effects on the entire digestive system. However, ginger is also extremely effective when used as a warming agent. It can be taken as a tea, raw, or with food. I have used ginger for years to keep my body warm and especially keep my throat and vocal cords warm. I also gargle with ginger ( sometimes adding cayenne as well, see below ) just before I sing to fire up the vocal cords and throat.
    In addition, ginger can be used effectively to relieve a dry mouth and throat due to nerves or environment.
    Another great way to utilize ginger before an audition or presentation is to slightly chew on a small piece of ginger ( about the size of a dime ) and let the mix of the juice and saliva slide down your throat.
    This is very easy to do and no one will even know you doing it. You will feel the effects immediately.
    If you have the time, ginger tea is also excellent to warm up the chest and throat.
    Cayenne
    The benefits of cayenne are almost to good to believe. Cayenne is one of the most valuable and useful herbs in the entire herbal kingdom. It is extremely stimulating to the entire body.
    During the winter months I eat cayenne every day. Not only does it stimulate the whole body it also is excellent for the digestive system by helping to clean out the colon.
    Cayenne is so effective because it increases metabolism, helping the blood to flow.
    Indeed Cayenne is superb for the voice professional when needing to sing in colder climates.
    Some of my colleagues have been known to drop their jaw when seeing me mix a spoonful of Cayenne in a glass of water and gargle the entire glass right before I go on stage. I feel my entire throat open up and the heat rush into my vocal tract. It is awesome. I am not recommending this to any of my readers, just letting you know how it has worked for me.
    In addition, during the colder months when temperatures stay under 30 degrees for more than weeks at a time, I put Cayenne powder in my shoes. This keeps me warm all day long. However if to much is used, you will actually taste the cayenne because it will absorb into your system through your feet as you sweat. So use it sparingly in the shoes. It also stains your shoes a bit so be aware of this if you don't like the inside of your shoes to become red!
    Horseradish
    Horseradish is another amazing herb that heats up the system. Most often it is used for sinus clearing but when chewed raw it is excellent for warming up the cords, throat and even the chest as the juice makes it way into the stomach. Like cayenne, horseradish stimulates the metabolism to get the blood moving and open up the arteries. If your sinuses are clogged try putting a tablespoon of ground raw horseradish on the area between your eyes just above your nose and let it sit there for a few minutes. Do this for a couple of days and you will see a huge difference in your clogged sinuses if not a complete clearing. If you experience burning on the skin, stop the treatment at once.
    *You may find these top performing herbs in our Sinus Buster and Vocal Rescue formulas at Superiorvocalhealth.com.*
    As is always the case, the information presented in this blog are suggestions and expressions of my personal experience. They are not intended to diagnose or treat any illness. Please use herbs wisely and in moderation. Always check with your doctor or health practitioner before adding any supplements, herbs or new medications to your diet.
    Stay warm, sing well, and I wish you the best on your quest for Superior Vocal Health.
    David

  • TMV World Team
    What Is Phonation?
    The creation of sound from air. A mostly mental process! If we wish to create a good vocal sound we must first define that concept:
    Freely produced Pleasant to listen to Loud enough to be heard easily Rich, ringing, and resonant Energy flows smoothly from note to note Consistently produced Vibrant, dynamic, and alive Flexibly expressive Beautiful sounds start in the mind of the singer. If you cannot think a beautiful sound, it is an accident if you make one. You must learn to picture the sound in your mind's eye and hear it in your mind's ear before it can become a consistent reality.
    What Is Resonance?
    An enhancement to our phonatory product.
    Resonator Usage
    Chest Not effective more for feedback.
    Tracheal Tree-:
    May cause lower break. This resonator is a fixed physical space.
    Larynx
    Can produce an overtone whose attribute is identified as brilliance, or more frequently as ring. More recently this overtone has become known as the singer's formant�. This resonator is not under conscious control!
    Pharynx /Throat
    Most important resonator. Because of its size, the pharynx is capable of bringing out the lower partials of the vocal tone when it is properly used. The resulting quality is described by terms such as fullness, roundness, warmth, richness, or mellowness.�
    Oral Cavity / Mouth
    Second most important. The function of the mouth is to shape the tone into words, and the skill one must acquire is that of articulating without spoiling the quality which has been generated in the larynx and resonated by the pharynx�. Joins with the pharynx in the formation of vowels.
    Nose Used only for M, N, NG.
    Sinuses Ineffective.
    Vocal Position Recommended for Good Tone:
    Lowered Larynx Open Throat 1. sufficient size to bring out the low partials,
    2. sufficient flexibility to adjust (tune) to different pitches coming from the larynx,
    3. sufficient softness to absorb undesirable high partials and respond to a broad range of pitches, and
    4. sufficient muscle tonus to preserve the character of the tone.
    Lifted Soft Palate Mouth Free and open, relaxed lips. Singer's Formant Brilliance Overtone What is Hyperfunction?
    Relates to Phonation and the balance between air support and vocal chord control.
    In an ideal, balanced phonation, [breathing and phonation] coordinate in such a way that the desired pitch and dynamic level are achieved with a minimum of effort from the support mechanism. Stated another way, the breath pressure and the vocal chord tension are so perfectly balanced that the desired vibration can take place without unnecessary tension or leakage of breath.
    Thank you to Andre Donegan for this article

     
  • TMV World Team
    Many, if not most, of us would like to make money in the music business. There is a very important factor that must be determined: Your artistic definition. In other words, who are you, and why would I want to listen to the music you make?
    Factors that go into your artistic definition:
    * Uniqueness
    How do you become unique? By becoming in touch with, and being able to express, your authenticity. You are the only one who has your physical instrument (larynx, resonation surfaces, physical stamina, etc) AND who has your life history and emotional experiences. And here's an important fact: There is no competition with uniqueness. Talent shows won't tell you the truth- they can't. Imagine a competition show for an orange, an orangutan and a bedpost. Each has its place, its audience and its detractors. How do you judge such a contest?
    * Sound
    Your sound has to do with things like your choices or instrumentation, mics, studios and mixes and your vocal technique habits and quirky embellishments. You can change your sound... and that change should have to do with things like accessing your full resonance, making sure vocal lics are appropriate and choosing a sound that communicates most authentically your message.
    * Message
    What have you got to say to the world? How do you give your original slant to those thoughts? What do you want the over-arching take-away to be from your audience to your show?
     
    These 8 examples are only a very quick list I put together- I'm sure you can think of many more. All artists have multiple messages... but there is almost always a central theme running through the successful artist's songlist:
     
    1. Fun: uptempo (pop Lady Gaga, country Billy Currington
    2. Fall in love: (pop/Usher, classic pop Frank Sinatra
    3. Freak out and party (pop Pink, country Big and Rich)
    4. let's get real/ hiphop (pop Eminem, Christian contemporary Plumb
    5. Social message (rock Bruce Springsteen, Bono U2,Christian artist Natalie Grant
    6. Angst of love (alt pop Kings Of Leon, alt pop Sara Bareilles
    7. Young love and angst (country Taylor Swift, Rihanna )
    8. Good love (pop Mat Kearney, R&B Barry White )
    * Style
    Your vocal style has to do with your sound, message, way of articulating AND your phrasing. It generally dictates the genre of music the industry puts you in, though the lines are more blurred now than ever. For instance, the  Sugarland record "Stuck Like Glue" includes an unexpected short 'rap' by Jennifer Nettles. James Taylor and Sting have been known to use a steel guitar.
    Your style also would include your 'look'....the type of stage clothes you wear, and other identifying factors (think Bono's sunglasses, Keith Urban's ordinary shirts open at top, Lady Gaga's costumes). An
    Are you willing to do the work? It takes time, experimentation and luck to find a financially viable artistic definition in the music business.
    Time:
    Artists like Tina Turner, Bonny Raitt and KT Oslin had to wait for the right decade, and in the first two cases the time to re-define themselves, to emerge as legendary hit makers. What if they had just given up a year too soon?
    Experimentation:
    Jim Croce could not get the attention of his producer and friend Tommy West until finally one year he began to bring in songs like "Time In A Bottle", "Bad Bad Leroy Brown", etc. Tommy West recognized the hit potential of the new material, agreed to take Croce into the studio... the rest is history. It had just taken enough experience and experimentation for Croce to establish his artistic definition.
    Luck:
    Keith Urban could not get the audience attention until the audience tastes caught up with him. I did background vocals on his first Bluebird Cafe show; we only got polite applause but nothing like the massive response he gets now. And he is playing guitar and singing a lot like he started out. This took luck and his persistent belief that the market would decide to make him 'lucky' someday.
    And almost everyone knows a story of a home run song the artist didn't want to do but finally caved in and won big time. The truth is, no one can predict with a great deal of accuracy who the next musical phenom will be.
    While you can't control what people like, it's important also to know what you can control:
    * Your reactions
    * Your finances
    * Your mental health
    * Your choices to practice, experiment and get better.
    Here's what doesn't work in developing your artistic definition:
    * Following the trends.
    * Operating from a fear standpoint. Afraid too be too out of the box or too traditional. Safe, middle-of-the-road music is usually... boring.
    * Listening to too many people, or not enough, when determining who you are as an artist.
    * Giving up too soon. Disheartened, Alan Jackson was about to board a plane at the Nashville airport back to where he came from. I forget who stopped him; I think it was Glen Campbell. But he decided to give it another try, and finally his very clear artistic definition payed off. Ani Difranco decided to do it her way completely... and started Righteous Babe Record label to get not only her music out but also to sign and give exposure to other music mavericks.
    An artist, by the truest definition, is unique. Whether you're an artist, producer or record label, defining that uniqueness is a task that should not be left undone if you are to find the ideal audience for that artist.
    Judy Rodman's Blog....

  • TMV World Team
    As you may have seen from previous posts here on the Journal, Jennifer Hamandy, has been a regular contributor here.
    I have just been made aware of her new book 'The Art of Singing'. I am always eager to read new books on singing technque and plan to purchase the book, for review.
    Here is some information on the book:
    ...a new book about the psychology of performance and self-expression by Jennifer Hamady. A renowned coach and workshop facilitator, Jennifer explores  how we all- musicians and non-musicians alike- allow fear, preconceived notions, poor learning habits, and unhealthy mindsets to get in the way of our musical and personal performance and potential.
    Welcome to The Art of Singing!  For fifteen years, I've had the privilege of working with a variety of individuals and groups- including Grammy, Emmy, CMA, and Tony award winners, as well as corporate clients across an array of industries- to release mental and physical inhibitions, establish personal and performance confidence, and communicate with authenticity, humility, and strength. Enjoy the site and please feel free to share your experiences, insights and questions. I look forward to hearing from and learning with you!
    You can read more and purchase your copy here: http://www.theartofsinging.com/
    The main reason I am bringing this to your attention is that I plan to add reviews of singing and technique books here on the journal on a regular basis. I would love your views too.
    Are there are books you would like to review for us?  Feel free to comment, or add an review onto www.themodernvocalistworld.com

  • TMV World Team
    In the male voice's lower and mid ranges, what has been traditionally called the "chest voice", the harmonic structure of the sung tone contains many partials harmonics, which fit nicely into the pattern of resonances for any particular vowel chosen.
    Introduction
    Throughout this range, the strong, lower harmonics are reinforced by the first vowel resonance corresponding with Formant 1, (F1), mid-range harmonics are reinforced by the second vowel resonance from Formant 2 (F2), and higher harmonics are emphasized by the higher "twang" or "singer's" formant resonances. The combination of multiple, powerful low, mid-range, and high harmonics present in all vowels is a distinctive characteristic of this section of the male voice.
    In contrast with this, in the male high range, what has been traditionally called the head voice, the harmonics produced by the voice are higher in frequency and more widely spaced. Here, few of the harmonics fit into the vowel resonance pattern. For one particular span of notes in the head voice, there is no significant resonance available to amplify the lowest two harmonics produced.
    To achieve vocal power and consistency of tone in the high voice, the male singer uses what he has available: "twang" (singer's formant) and the resonance from F2 strengthening harmonic 3 or 4, depending on vowel.
    Between these two resonance strategies is a region of transition, too high for the chest voice strategy, and too low for the F2 alignments of the head voice strategy. This transition region is the passagio.
    Acoustics of the Rising Fundamental
    Throughout the voice, as the fundamental frequency moves, the alignment of harmonics and resonances for a vowel change. On an upward-moving scale or leap, the fundamental and all the overtones rise in frequency. Since the harmonics are spaced at multiples of the fundamental, the harmonics also get farther apart, too. For most of the chest voice range, this is not an issue, as the resonance from F1 covers a wide frequency range, and mid-range harmonics are close enough together for at least two or three of them to get some benefit from F2. These conditions apply to all the vowels. However, in an upward pitch pattern, as the voice passes middle C (C-F, depending on voice type) eventually the scale reaches a region in the voice where the alignment of harmonics to formants is no longer advantageous. Overall vocal power and tone quality will be lost if an adjustment is not made. The particular point in the male voice where this occurs is as the 2nd harmonic passes F1.
    Visualizing Harmonics and the /e/ Vowel in a Spectrograph
    As illustration of this, what follows is a series of spectrographs made with different fundamentals sung to the vowel /e/ (ay), made using my own, baritone, voice. As representative of a lower chest voice tone, the first is of the A natural just a bit more than an octave below middle C, also known as A2. Each vertical blue line represents the intensity of a particular harmonic, where up = louder. Low frequency harmonics start on the left side. The leftmost peak is from the fundamental, and if you look at each peak to the right of that (increasing frequency of harmonic), you can see that the 4th harmonic is the very tallest, and then the peaks become successively shorter.
    This peak volume for the 4th harmonic, and the emphasis of those surrounding it, is the result of Formant 1, F1 in its position for /e/ in my voice. Harmonics to the left of the formant center get progressively louder as they get nearer to it, and those to the right of the formant center get softer.
    Proceeding to the right is a section of quiet harmonics, not so tall in the display, and then there is another build up to the 13th harmonic. This is the area amplified as a result of the location of Formant 2, F2. The spacing of F1 and F2 is what makes this vowel sound like 'ay' to the listener.
    After another gap, there are two more areas of emphasis, which are the result of F3 and F4, clustered together. These formants move very little vowel-to-vowel, and form the high-frequency brightness resonances of the singer's formant.
    The reason we start with this: for any given vowel pronunciation, (like /e/) the formants stay at the same locations even while the fundamental, and the associated harmonics, are moved during the production of different notes. Especially important in the understanding of the male passagio is the relationship of F1, F2 and how the harmonics align with them.
    A2 on /e/ vowel
    Harmonic Spacing
    As mentioned earlier, for any given sung note, harmonics are always the same frequency distance apart. That frequency spacing is the same frequency as the fundamental: the note being sung. So, if a fundamental is 110 cycles per second (like that A2,) all the harmonics will be 110 cycles apart from their neighboring harmonics. You can see this equal spacing in the picture above. Because of the closeness of the harmonic spacing, you are able to see pretty well the shape of the formant regions.
    Up an Octave
    The next picture is of the same /e/ vowel, but singing the A up one octave, the A just below middle C, A3, which is 220 cycles per second. Notice that the peaks are farther from each other than in the prior picture; now, they are 220 cycles per second apart.
    Looking at the peaks for a moment, you can see that the amplification effects of F1 and F2 are still in the same place (left to right), but now different numbered harmonics are boosted, and fewer harmonics are affected by each individual formant. In the case of F1, the 3rd harmonic is now the most emphasized, with the 2nd harmonic also getting some help, while F2 is emphasizing the 7th harmonic tremendously, but not much else. This excellent alignment of F2 with a harmonic makes it really ring distinctively, and is an example of 2nd-formant tuning, which will get discussed later.
    Finding the Exact Location of F1 for /e/
    Are you curious about the exact location of F1? Look at the bottom of this next picture, right between harmonics 2 and 3. See the blips? All voices have some soft, non-harmonic noise. When that noise falls under a formant, it gets amplified enough to measure. These low blips on the spectrograph are the giveaway to the location of the formant.
    A3 on /e/ vowel
    Continuing the Scale Upward
    As I continue up the scale from A3, three things happen due to the musical intervals represented by the harmonics:
    My 2nd harmonic gets closer and closer to F1, strengthen that harmonic. This makes the warmth of the voice bloom in this region, and the resonance makes it possible to over sing some and still get away with it. My 3rd harmonic gets higher above F1, and so it gets progressively softer. In combination with #1, this changes the tone quality somewhat. F2 tunes to successively lower harmonics. These three trends are very important in understanding the male passaggio.
    More on What Happens When a Harmonic Rises Above a Formant
    As a particular harmonic rises above a formant center, it rapidly decreases in intensity. In this next picture, now singing Bb3 (up just one half step from the A), you can see the effect on the 3rd harmonic. It is quite softer now when compared to the 2nd harmonic. For this note, the principal power of the vowel is being carried by the 2nd harmonic. You may also note that the F2 tuning is emphasizing harmonics 6 and 7 more or less equally. That is because F2 is between them. Harmonic 7 is no longer in the 'ringing' position and harmonic 6 is not yet high enough to be there.
    Bb3 /e/ vowel
    The Male Upper Chest Voice
    My voice is now in the fattest part of the upper chest voice, where most of the vowel power is coming from the 2nd harmonic. This range is just about a perfect 5th wide, because that is the spacing of the 2nd and 3rd harmonics. The region begins as the 3rd harmonic passes F1, and ends as the 2nd harmonic passes F1, in other words, for my /e/ vowel, from the Ab below middle C, to the Eb above middle C. This is what makes my voice a low baritone quality. Note: you can still see the noise blip. It's getting closer to the 2nd harmonic the higher I sing.
    Now, the Db in the following picture: Notice that there are little noise blips on each side of the 2nd harmonic. This indicates optimum alignment of the harmonic with F1, the place where the 2nd harmonic is exactly aligned with F1.
    Db3 /e/ vowel
    The Effects of Strong Resonance on Ease of Singing
    Through the entire compass of my voice, up to this point, lower harmonics have been boosted by F1, which has provided for some cushioning effect for the vocal bands. That situation is about to change significantly as the fundamental rises past this point. A very important challenge to the singer as this happens is to resist the temptation to maintain vocal power via pushing. And now to the Eb: The 2nd harmonic has just past F1. It’s still very strong, but will lose ground very rapidly as I proceed upward. This is the beginning of the tricky section of the passagio, where the resonance provided to the 2nd harmonic decreases rapidly, and I must, to retain vocal power and tone quality, find another way to shape the vowel.
    Eb3 /e/ vowel
    My next post, "Male voice passagio 102" will discuss the various strategies that can be used to retain resonance through the passagio.
    This essay was first published May 19 2010 on The Modern Vocalist.com the Internet;s #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

  • TMV World Team
    Every singer knows that wonderful feeling of truly flying on wings of song. The voice obeys ones musical and dramatic wishes, is powerful or soft at will, breath seems endless and the piece of music and the text fit like a glove. Who needs technique and know-how on days like this! Perhaps no one: but on all those other days, during those other years and decades?
    How should we handle times when our voices are affected by music uncertainty or ill preparedness; times of pressure through conductors, directors or composers who seem to demand the impossible of us; times of singing too much or -- equally problematic -- singing too little; times of travel stress and jetlag; or professional disappointments or conflicts with colleagues? How should we manage these times of personal turmoil and of inner and physical change?
    We have been blessed with good voice teachers and we have learned our technique, but as any excellent teacher -- especially one who has had substantial stage experience -- will admit, that just scratches the surface of what we really need to sustain long and happy careers.
    We singers need practical, practicable solutions for a myriad of ever changing challenges and we need the right mind-set to search for and recognize these solutions. The challenges of a young soubrette singing in a Mozart opera for the first time are going to be different from those of an older singer being confronted with acrobatic stage directions or microtonal music or polyrhythms or a concert piece in an unknown language. Challenges can, of course, be less dramatic. For example, just learning to sing with a conductor’s beat or learning to sight-read or to memorize effectively.
    Early on I had the good fortune to collaborate with dancers and observe their ways of work. A good dancer is perfectly in tune with his body and recognizes the body as a perfect memorizer. Later on I concertized with several excellent percussionists and could observe their manner of constantly dealing with practical things and continually enhancing their own coordination. However, both the dancer and the percussionist are primarily interested in the aesthetic result, but they are in no way too proud to look for (sometimes simple) solutions.
    Too often singers feel helpless in the face of adversity. Rehearsal pianists often teach them their parts and learning by rote is not uncommon. The singing artists whom I find most fascinating all come across as independent, creatively thinking individuals. In short, artists who have found their solutions and will continue to do so as new ones are needed. Yes, of course, the beauty of the voice is wonderful, but in the end it is the complete artist that the audience wants.
    Often the solution is much closer than one might guess. Through my artistic acquaintance with dancers, percussionists and many other inspiring colleagues, I started to recognize that the learning and singing of music compositions need not be abstract or a game of chance, that the connection body motor functions memory is extremely reliable as is the connection motor functions rhythm, which might not seem intrinsic to lyrical singing. I also recognized that that the attributes of the instrument (the voice) and its player (the singer) are quite different from those of any other instrument and its player. No, it is not that singers are less musically inclined than instrumentalists it is that our instrument functions differently.
    For the last few years I have been offering workshops under the title of "Tools for the Independent Singer". In most cases I made a point of saying in advance that I would not teach vocal technique at these courses. Happily, though, I almost always hear lovely vocal improvement which comes with the certainty of better musicianship, more reliable memorizing, more vital rhythm and more understanding of the practical things of a music score, however complicated it may be.
    So what do we do in these workshops? We discuss productive practicing; we learn to invisibly count on our fingers; we learn the great value of being nice and kind to our subconscious so it will serve us well when we are singing by memory; we learn to give ourselves cues; we learn to produce our own internal rhythmic structure over which we can sing as legato as we wish without dragging; we learn how to reliably get our pitch and keep it; we learn to study full scores (because they are a help and very interesting); and most important of all-- we learn how to learn and how to work independently. Of course, we singers need our basic technique, and we continue to work on it as long as we sing. But for the many times when it is not a matter of truly flying on wings of song and when we perhaps just simply need to be professional we must find solutions or tools. And lo and behold: The more tools we have at our command the more likely we are to fly on wings of song for a long, enjoyable time.
    This essay was first published February 9, 2010 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

  • TMV World Team
    I spent much of the past week putting together a seminar on voice problems of school kids and classroom teachers. Anyone who teaches six to seven hours per day has got to be a vocal athlete, and there is evidence that music teachers are, if anything, even more at risk.
    Long hours, jumping around voice parts, managing choirs, fundraising sometimes and then wanting something left over for our own singing  can add up to a real challenge. Then there's the smidge of denial, because we're supposed to know better.
    When I actually gave the seminar last night, in a large, acoustically-dead, fluorescent-lit school room, of course the podium mic was nonfunctional as well. I had no problem being heard and keeping things lively, but by mid-evening I was tempted to let my speaking pitch and resonance drop. If I would have done so, I have been seriously fatigued. Did I even warm up on the way there? Nope, I was distracted by ... nothing important. Yes I should know better!So, what advice do you give others and have trouble following yourself?college where someone else sets your schedule, do you get breaks? Do you build in some rest or downtime after the longest teaching days? What do you do for yourself that makes the most difference?
    I look forward to comments.
    In the meantime, checkout The Voice Academy, a cool (free) resource site designed for classroom teachers, by PhD students in voice science.
    Some of you probably have days when you see 8-10 students in a row, maybe with a group rehearsal or two as well. If you're at a school or
    This essay was first published May 1, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

     
  • TMV World Team
    I attended a wonderful workshop yesterday, featuring jazz legend Sheila Jordan, and organized by TMV member and dedicated jazz singer/teacher Ellen Johnson.
    Now in her 80s, Sheila still tours and teaches with sharp mind and musicianship, and a very kind encouraging manner. Although sprinkled with anecdotes about Parker, Miles Davis and Coltrane, it really was a work session emphasizing respect for the music and the importance of doing one's homework: know your song's key, rhythm and beginning and ending before attending a jam. According to Sheila, the difference between a respected jazz singer and a disrespected "chick singer" is whether you know what you're doing and can communicate it easily to the band (Yes, all the participants happened to be women.)
    The group warm-up was a 12-bar blues "my name is__and today I feel __" round-robin (improv = brilliant!) The following demonstration and critique time brought useful suggestions for everyone. My weakness (as always) was in setting tempo, but I got through the embarrassment of many false starts on the song Round Midnight and then got to try it in a couple different keys.
    Sheila then taught everyone a couple of semi-bop numbers and demonstrated how to keep a simple through-line, of scale or melody, in mind while improvising so you don't get lost.
    Takeaways:
    Musical literacy and theory are primarily for communication with others. Do you want to visit a culture and have a really meaningful interaction? Learn the language. Even after counting down a tune, stay on beat or straight time for the first measure, to be sure backup players catch your groove. Sheila: "Long before the music started to support me, I supported the music, because I just loved it. Everyone can do that. You keep supporting the music, keep it alive, until it supports you." This essay was first published February 28, 2010 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.



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