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  • TMV World Team
    The muscles controlling and surrounding the larynx represent one of the most important control systems affecting the human voice. For most singers, learning to stabilize the larynx is essential for their vocal health, their increase of range, and the proper blending of their chest and head voice.
    In this article I will attempt to shed some light on larynx position and offer some exercises that can help you improve your voice by stabilizing your larynx. Keep in mind that full-time voice students may spend years on this! But a little awareness goes a long way in saving your voice from the harm caused by singing on a high larynx.
    The Problem of a High Larynx
    Consider the larynx to be a basket floating in a complicated web of tendons and membranes inside your throat. Your goal is to not allow the larynx to rise too much as you sing from low notes to high notes. To find your larynx, put your finger on the V that you feel in the front of your throat (commonly, the Adams apple: the original problem J) If you swallow, you feel it rise. We refer to this as constriction, because you are squeezing the space around the larynx. Good for eating, bad for singing!
    You can tell if you're singing on a high larynx if you notice:
    A heavy chest voice and a large break between your chest voice and head voice. Vocal cords that feel scratchy and producing a lot of mucous. Your voice feels worse the next day after singing. Your head voice feels breathy, airy, and unfocused. There are some differing views on whether or not a high larynx is harmful or not, with some techniques suggesting that it's acceptable (even desirable!) , and others suggesting that your larynx should be as low as possible. I base my findings on eighteen years of teaching, and constant study and testing of new ideas. I believe that advanced singers can learn to sing with a high larynx, provided that they are working with a professional who knows what they're doing. For most beginning singers, however, a larynx that is too high and surrounded by tense muscles can lead to significant problems with the voice.
    Keep in mind that larynx control is only one of the five control systems I describe in my vocal method:
    All of these systems function in concert, with stability of the larynx representing a long- term goal of the method. The larynx houses the vocal cords, and operates in relationship with the whole voice (body, mind and spirit), and is not in any way isolated. Each system affects the other systems in a structure of balance and coordination.
    How to Stabilize your Larynx
    There are a lot of techniques to help stabilize the larynx, but the first step of this long journey begins with awareness. Keep in mind that professional singers spend years getting this right! With your finger on the V of your larynx (or Adams apple) sing along with a scale and notice if it is rising and falling with pitch. Notice the difference between different vowels: Sing OO (like boot), and then sing AH (like father). I refer to this as the kinesthetic approach: which means that you feel what's happening with your body. Gaining awareness of the position of your larynx is the first step.
    Next, consider your larynx to be a basket floating in a network of attachments, some reach up into the jaw, tongue and head, and some reach down into the chest, sternum and lower body. We want to relax the neck, jaw, and muscles around the larynx, so we can avoid the unconscious reflex that pull up on the larynx when we sing high. As you sing your scales, place your hands on the back of your neck and notice if there's tension. Next, place your hands on your jaw, and check to see if your jaw is clenching at all. The more release you have in these muscles, the easier it will be to stabilize your larynx.
    Proper breath support is also important in order to stabilize your larynx. The basics of this are:
    Breathe in without motion in your neck, shoulders or face. As you inhale, feel your stomach inflate. As you sing a scale or song, keep some gentle pressure out against your abdominal wall. As you're singing, try not to let your stomach contract suddenly. If you have any questions about the larynx, or singing generally, feel free to contact me at john@jdsvoice.com.
    This essay first published March 2, 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 am a voice teacher who specializes in correcting what is casually, though mistakenly, referred to as "tone deafness." I wrote a book on my process called Correcting Tone Deafness. My hope is that what I share in these pages will open a larger window on some of the most current, advanced practices in vocal training (I was going to write "vocal pedagogy," but I thought the rock stars would never return) and help voice teachers to correct off-pitch singing in their students.
    In order to work with off-pitch singers, I had to develop new definitions for "to hear" and "to listen," terms often used interchangeably. I think you will find these beneficial. They allow me to make a case for eliminating the term "tone deafness" from the English lexicon forever, as "tone deafness" has nothing to do with an individual's ability to hear, but everything to do with her capacity for listening.
    To here are my definitions:
    To
    hear -- Only to sense sound waves (air pressure waves). To
    listen -- To assign value to and make use of what one hears. Right now you are hearing sounds all around you to which you are not listening. Perhaps the sound of a light humming, a heater vent blowing or traffic outside. Now that I've called your attention to them, you are both hearing and listening to them, which is to say, you are:
    sensing the sound waves produced by the vibrations of the light, heater vent or traffic; assigning value to those air pressure waves [you value them as examples to validate my point]; and making use of them [to validate my point]. So, 1. constitutes hearing; 2. and 3. constitute listening.
    In my workshops, I've had students argue that because one isn't aware of a heater vent blowing in a room until his attention is called to it, he is not hearing it. But that would mean his ears and brain were selectively rejecting the vibrations of the heater vent, while allowing other vibrations to stimulate the ear drum. These definitions are critical to working with off-pitch singers effectively because they allow you to begin the work from the premise My student is able to hear everything I need him to hear. He is not tone deaf.
    Paul Cuneo is the founder of NotToneDeaf.com and the author of Correcting Tone Deafness. This is the ONLY completely sensible approach I have ever encountered to resolving the problem and stigma of "Tone Deafness. -Jeannie Deva
    Paul is also an actor and teaches Movement for Actors at the Stella Adler Studio, Los Angeles. He blogs on the topic of Performance and Movement for Actors at MovementalLA.com. This essay first published January 11, 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
    Many singers identify themselves based on their voice type, such as, I'm a soprano. I'm a tenor etc. Voice type is really based on two separate ingredients: range (which notes your vocal folds can produce) and timbre (the sound of your voice). But I bet that if you ask a singer what their range is, very few will actually have the answer. That's really odd if you think about it. Athletes know their height and weight, but singers can't tell you the highest or lowest note of their range. What determines your range is the diameter of your vocal cords: the smaller the diameter (and hence) length, the higher your vocal range. An easy way to demonstrate this is to use coins as a visual example. Our smallest coin, the dime, illustrates the size of the vocal cords of the highest soprano; a penny works for the average female. For the average man, think a nickel and for the lowest bass, a quarter. Want to discover your range? It's pretty easy. First make the sound w as in the word law or dog. Pucker your lips and allow your chin to go down at the same time. Now start on a lowish note and descend on a 5-note melody, 5-4-3-2-1 of the major scale to be exact. If you can hear your low note clearly, then adjust the pattern down a half step (or semi-tone) and repeat the 5-4-3-2-1 pattern until your reach your lowest note. It doesn't have to be loud or even sound great. It just has to be there for it to count. When you find the note, write it down! Since most singers have 3 and 1/3 octave ranges, even beginners, your high note can be estimated by knowing your lowest note. Even if you have actually less than 3 1/3 octaves, you'll probably discover that you can produce more notes than you had expected. Here are some rough low notes and how they correspond to voice type: F (below middle C) - high soprano (expect a high A on top) D (below middle C) - regular soprano (I see this note ALL the time) A/Bb - mezzo-soprano F (2 below middle C) - alto (very rare voice type) A (2 below middle C) - high tenor E (2 below middle C) - tenor C (2 below middle C) - 2nd tenor/high baritone G (3 below middle C)- baritone E ( 3 below middle C) - bass/baritone C (3 below middle C) - bass These are of course approximate. So how low can you go? This essay first published February 25, 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

    Phiguring Out Phrasing

    By TMV World Team, in Articles,

    When listeners say that they absolutely love the way so-and-so phrases a song: What exactly do they mean? In order to tackle the subject, let's first define what a phrase is, and then we can figure out what we can do with it. Think of a phrase as a grouping of lyrics and notes. The grouping might be as long as a sentence, or a partial sentence. Phrases are often separated by rests, or moments of silence, but sometimes shorter phrases can be connected together into a longer section, like Lego blocks.There are a number of ways you can manipulate these blocks or perhaps I should say shape these phrases. In fact, when I make phrasing decisions, I feel like an architect creating a sonic structure, where all my choices result in emotional consequences. Here are some ways to define and master phrasing:
    Breath Choice: breathing should not be accidental. And you don't always have to breathe when you stop singing between phrases. You can do a pause, no breath sometimes and create a bit of excitement. When you breathe, you can make sound or not  your choice. Word Rhythm: you can sing a word one of three ways: before the beat (rushing), on the beat (in the pocket) or after the beat (dragging). Mix them up within a song- though you should always be well aware of where the beat is at all times. It's only your relationship to the beat that can change. Dynamics: This refers to louds and softs. Music that is only at one volume can be boring, so choosing how to build your overall song to a climax and resolution or climax through the fade is important. Our brains are wired to notice change and to ignore sameness. That's why dynamic change is so important to grabbing and keeping the listeners attention. Word Stress: Certain words, like nouns and verbs are more important than prepositions (to, at in), articles (the, an) or conjunctions (and, so). Think of how you would naturally stress a phrase in speech and play with singing it like you speak it. That way the meaning comes out more clearly. The great pop singers of the 40's and 50's knew this trick. It's like Frank Sinatra is singing right to me! Smooth vs. Choppy: The longer you hold the vowel, the more legato or connected the words sound: "Suh>>>>>mwhe>>>>>roh>>>>>ver>>>>>thu>>>>>rai>>>>>nboh>>>>>". This smooth delivery is good for a dreamy ballad or a jazzy sound. The opposite approach is what I call 'choppy' phrasing, with pauses in between each of the syllables. A great example is 'You've/got/to/ac/cen/tu/ate/the/po/si/tive'. This halting delivery is surprisingly effective in getting the words across. Is that all there is to phrasing? If we include song interpretation into the purview of phrasing then there's a lot more! To the four categories above, we can add some elements that affect the acting of a song. These elements are the vocal colors which add to the overall feeling, such as resonance choices (degrees of brightness, nasality, ring, the height of your voice box), how closed or open your vocal folds are (breathy, blowy, clean or hard closure) Let's take an example of a famous phrase and see what kind of choices we can make with it. Somewhere over the rainbow can be sung as one phrase, two phrases somewhere...over the rainbow or even three phrases some...where...over the rainbow. Try saying it these three ways and notice how the feeling changes. In the one phrase model, you may feel more in control, optimistic that eventually everything will turn out all right. In the two-phrase model, there's more of a questioning feeling as if you're looking towards the horizon, hopeful that somewhere, oh yeah, I see the rainbow now, maybe over there, everything will be OK. And in the three-phrase model, you can sound like you're holding back tears and about to break down. What if we add one more ingredient, such as singing somewhere late? How does that change the feeling? Now try making the syllable some louder, then float the where softly. Notice how the word sounds more natural? Let's try one more trick in the phrasing library: try sliding up in pitch from the some to the where. How did it sound? If your volume stayed consistent from your low note to your high note, you probably sounded cheesy. Try doing a slide where you leave out some notes on the ascent. Just dropping some notes out can make the slide sound elegant. What a difference changing volume and leaving a few notes out can make! There's no real mystery to phrasing. The ingredients can be learned by listening, then analyzing, then imitating and finally by recombining these elements into a personal style which relays emotional truth and sincerity. This essay first published February 25, 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
    It may be of interest to students, parents of young children and anyone interested in improving their intellectual capabilities, that making music is known to improve mental acuity. It is well documented that music lessons, which develop motor, visual and auditory skills have a positive impact on reading skills. Basically, our brains work by forging a network of links or pathways from one part of the brain to another, and just like pathways, they widen and strengthen as they are used more, until they become more like roads, and then motorways! Our ability to form these pathways is called neuroplasticity. One of the best ways to increase the brain's neuroplasticity is to learn to play an instrument, or participate in singing. This is because learning an instrument forces your brain to think in a different way, and thus it forms new pathways. (This is much the same principal as that upon which the Brain Training Software is built). Learning an instrument literally improves your ability to think. There is a substantial body of evidence to suggest that participating in music making, as well as listening to music, stimulates creativity and conditions the brain to think more efficiently in general. For example, children exposed to musical training are proven to be far better at problem solving than their non-musical peers and have been shown to have an astonishing 80% greater spatial intelligence, according to some studies. One study also showed that pre-school children taught with song and games have an IQ of 10 20 points higher than children taught without song, and show far better reading and math scores by the age of 15. What more encouragement do you need to send your children off to music lessons, or to campaign for more music in schools? Better yet, these findings do not only apply to children; adults show similar improvements, after a period of time, when learning to sing or play an instrument. These activities not only keep the brain active, but also encourage new brain function. Singing lessons have also been shown to be highly effective in helping adults with brain damage, helping the individuals to re-form their damaged or broken neural pathways. Add to this the feel good factor that is inherent in making music, and it becomes a matter of some wonder that music lessons are not prescribed by law! There is a considerable body of research (Lozanov and Gatava) suggesting that accelerated learning can be optimised via the use of music rich in stringed instruments, played at 64bpm. Their experiments showed that students were able to take in huge quantities of information in a very short period of time, when these musical criteria were fulfilled. The inference is that we would all do well to have string-rich, slow-paced classical music playing when we are working, or trying to focus on a project or learn a new piece of information quickly. What have you got to lose? It's certainly worth a try, and strongly backed by scientific data. At VIDLA, we train singers to become effective singing teachers. How nice it must be for those teachers-in-training to know that they will be doing so much more for their students than 'just' teaching them good vocal habits. They'll be re-wiring their brains too. The over-riding message? Music: it's all good. This essay first published August 18, 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
    Singers usually come to my studio with one of two underlying problems: a lack of confidence and a lack of technique. In the normal course of things, the former is usually improved by addressing the latter. I teach them how the voice works, show them how to correct bad habits, let them hear the improvement in their own performance, and their confidence grows alongside their knowledge. However, on occasion a singer will show continued anxiety even when their technical knowledge is improving, despite making advances in range, power, tonality and so forth. Personally, I like a perfectionist -- someone who will always strive to be better, no matter what -- but sometimes this self-critical trait becomes over-amplified and destructive. Another example of destructive criticism is where a singer has often times been told that they are hopeless: "You can't sing, you're wasting your time, you're tone deaf." This type of remark can leave a very unhealthy mark on the subconscious, so that even when the singer consciously wants to prove everyone wrong, he or she finds that it's just not happening, regardless of how much technique is learned or how much practice time is put in. This is because the sub-conscious mind is a far more powerful machine than the conscious mind. If you think about it, it's your sub-conscious mind that keeps you breathing, keeps your heart pumping, stores all of the images and sounds that you have ever seen or heard, even though you have 'consciously' forgotten them. Your subconscious is a fearsomely efficient bit of kit, and it is designed to do what it has been programmed to do, regardless of what your rational, conscious mind thinks. For example, many people have 'irrational' fears: As an example, a seemingly illogical fear of small birds. The adult, rational mind knows that a budgerigar in a cage is not a threat, but when faced with one, this same adult breaks out into a sweat, starts to shake and has to get out of the room. It's not logical, and the person concerned doesn't know why he is frightened of the innocent budgie. What he can't remember -- but his subconscious mind knows -- is that when he was very small, an auntie once let her pet budgie out of its cage and it flew straight at his head, startling him. The subconscious mind 'tagged' the fear, associated it with budgies and Presto! a new phobia was born. Sometimes, I meet singers with similar anxiety problems, but rather than being related to fear of household pets, they centre on the act of singing or performing. I meet singers with incredible voices who simply can't face the thought of singing in front of others. I meet singers who always fail auditions because they fall apart under scrutiny. I meet people who are cripplingly shy but who desperately want to share their music with a live audience. I meet singers who can't go onstage without the safety net of lyric sheets, (a big no-no, in my book!), because they are convinced that without it, they will forget their words and the list goes on. Unfortunately, telling someone to 'snap out of it' is about as much use as a boy band at a heavy metal gig, and just as popular. For these anxiety-raddled people, another approach may be called for, and I might suggest that we try treating the problem with hypnotherapy. True, it's not for everyone, and there are those who are resistant to the idea, or afraid of it for various reasons. No problem, (except for the ongoing anxiety!). However, when the subject is willing, hypnotherapy can and does work wonders. I've seen clients at the point of giving up their careers because of their deep-seated anxiety or other problems, who then turn it around after just one or two sessions 'on the couch'. Anxiety-locked voices become free, audition nerves become manageable, shyness disappears and is replaced with confidence and onstage ease, forgetting words becomes a distant memory. Hypnotherapy can seem an extreme, or strange idea to some. Some don't 'believe in it', others associate it with mysticism or mind-control. In fact it's a very simple tool, no more 'mystical' than taking an aspirin! In the UK, many GPs have a hypnotherapist attached to their surgery as a matter of course, to help patients with conditions that don't really need to be controlled with drugs. In the next part of this series, I'll describe a typical hypnotherapy session, and discuss how qualified practitioners can use it to help singers with a range of common conditions. This essay first published August 10, 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
    You love to sing. You do whatever it takes to sound good, but it's not always easy. You have your embarrassing moments. Sometimes your voice feels tight. Sometimes you get the note but not always with the best tone. Sometimes your voice cracks and you run out of air too soon. But you keep on going because you're determined to do this wonderful, magical thing that for some possibly unexplainable reason you can't imagine life without the magic and the power of singing. But could it ever feel easier? Many singers tend to do a few specific things, which actually make singing harder. Here are a few tricks of the trade that make singing easier no matter what your style. Quick Tip #1: Relax your tongue. Does your tongue tense as you sing? Does the back of it pull up as you go for a higher note? Does it pull back into the back of your mouth? (That will cause it to tense.) Try this: Select a song to sing. As you do, rest the tip of your tongue behind your bottom teeth. It will need to move a bit to accomplish some of the consonants, but otherwise, especially as you sing long notes, leave it relaxed low in your mouth with the tip resting against the back of your bottom teeth. It may take a bit of practice to break the habit of tensing and overworking it. Remember, do let it move for the consonants your words will still be understandable. But you will discover that releasing tension in the tongue has a lot to do with singing becoming easier. Quick Tip #2: Relax your lips. When you sing do you tense your lips? Are you exaggerating their movement, or that of your cheeks, or the opening of your mouth? Try this: Put on a recording of a song you like to sing or a backing track of a song you perform. Stand in front of a mirror and watch yourself as you sing. Really put yourself into the song and watch your face, especially your lips and mouth. If you exaggerate the movement of your face as part of achieving the notes, this tension will back up into your throat and you will find yourself pushing against this tension. Remedy: Gently place the palms of both your hands on either side of your mouth on the sides of your face. Sing the song again and let your hands help you to relax the movements of your lips, checks and mouth. Of course there will be movement but with this we are working on letting the movement be relaxed and natural. How does that feel? Do you notice a difference in how you sound as well? (Hint: it should be automatically easier and better.) Facial expressions should be part of your expression of the song - not to get your voice to work. Quick Tip #3: Breathe into your back. Do you push your stomach forward when you take a breath and then push it in when you sing? If so, you're pushing out too much air, which will in turn over-pressurize your vocal folds and cause them to either tense or over relax. Or, as you sing, do you exhale or in some way push up or push out your air? Instead try this: Put your hands on the back of your sides (not the front, the back). Take a breath letting your ribs in back expand. You will probably feel the air coming into your back. Now sing. As you do, let your stomach remain relaxed and maintain the open position of your back). Do this a few times so you can really test it out. Explanation: When air comes into your body it goes into your lungs. The biggest parts of your lungs fill about 3/4ths of your back. To fill with air, your lungs need your rib cage to expand. The expansion of your ribs is what physically opens your lungs. This movement is what pulls-in your breath. If your ribs collapse as you sing or if your stomach pushes inwards, too much breath is expelled too fast. This can cause tension in your throat and can make reaching certain pitches more difficult. Singing with your ribs expanded results in a fuller voice. This essay first published August 21, 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
    Can you use it and not lose it? As you may know from experience, powerful singing is a style that seems plagued by its own punishment - strain, hoarseness, laryngitis, throat discomfort, loss of upper range, or a frequent need to "clear your throat." Severe cases may result in nodes (calluses on the inner rims of vocal folds) or polyps (blisters on the tops or undersides of the vocal folds), which are painful and may restrict your singing. Metal and Rock singers often have the attitude that training will make them sound too pretty. So not knowing what else to do, they bash and trash their voice resulting in canceled gigs, recording sessions or whole tours. Does singing powerfully automatically mean that you'll wreck your voice? The good news is that it's not what sounds you make, but how you make them that will save your voice! Through over 40 years of my own vocal performance, and over 30 years of vocal research and coaching others, I've found there are techniques that allow you to sing any style you want and without the bad effects. Vocal Blow-Out Vocal blow-out stems from both external and internal conditions. The main external conditions are: late hours, insufficient rest, bad nutrition, alcohol, drugs, smoky clubs, PA and monitor problems, incorrect microphone design for your voice, and competing with band volume. The key factor, however, is internal: improper use of your vocal instrument when singing powerfully. To scope this out and get a handle on it, an understanding of your instrument is necessary. Vocal Basics Vocal sound, as you may already know, is the result of the vibration of your vocal folds (often called "vocal cords" but they're not cords; they're folds and that's their actual name). The inside of your throat has two vertical tubes; one positioned in front of the other. The tube in front is for air (trachea), while the one for swallowing food (esophagus) runs behind it, more in the center of your throat. Your two vocal folds are positioned just behind your Adam's apple and lie horizontally across the inside of your trachea. They are coated with mucous membrane and come equipped with their own tuning pegs, which are connected to the back ends of the folds. The folds remain open during regular breathing. But for every sound you make, their tuning pegs automatically pivot and close the folds so they are lying rim to rim next to each other. With each sound you decide to make, the muscles of the folds prepare and adjust by stretching, thinning and shortening the length of the rim that will vibrate. Higher pitches require less air for the folds to stretch, thin out and a shorter length of them to vibrate. For low notes, the reverse is true. The principle involved is similar to fretting the strings on a guitar: a shorter length and thinner string gives faster vibrations and higher pitches; a fatter string and longer length gives slower vibrations and lower pitches. Examining the Problem To produce vocal sound, air is released from your lungs and vibrates your stretched and closed vocal folds. If you push too much air up against and through the folds, too much pressure is created. The muscles of your folds will tighten, your throat muscles tense, and your problems begin. Many singers unconsciously associate tension with big emotion and hard singing. For your sound to be big, just the opposite is needed. The louder and harder your sound, the more resonance is needed. If your throat and tongue tighten or your mouth closes, you shut down your acoustic chamber and there goes the resonance. The stress created by the push of excess air pressure and muscle tension can cause an irritation and swelling of your folds. The result is usually: hoarseness, power loss, range shrinkage, and other difficulties, including a strained and off pitch-voice. I work with several techniques that permit powerful singing while eliminating the risk of vocal blow-out. While all the techniques aren't possible to fully detail in this short article, you'll find it helpful to apply the following. Self Test Try saying the word "how." Put extra emphasis on the "H" as you do so. Now sing the word in the same way. Notice how emphasizing the "H" makes your throat feel and your voice sound. Sing the word again, and this time, as you sustain the tone, form the "W." Decide if you like this outcome. Now try singing it with minimal air on the "H" and instead, emphasizing the "O" (which will sound more like an "Ah" when you sing it). Notice the result. This should feel and sound better. Vowel sounds result from the vibration of your vocal folds. Consonants are created with an exhaled air stream and are formed by your mouth. If you emphasize consonants when you sing, it will push out too much air and tense the muscles in your throat and mouth. This makes it difficult for your voice to work well and you may find yourself tightening throat and tongue muscles in an effort to hit the note. This stress and strain will choke off your sound killing resonance, cause you to go off pitch or miss the note entirely, run into register break and at the very least will result in vocal fatigue. The problem usually magnifies as you sing higher and louder. Vowels, worked with correctly, will relax the acoustic chamber of your throat and mouth and increase your volume through resonance. Consonants should not be shaped at the same moment as you sing the note/vowel. They will crush your sound and tighten your vocal muscles. Let the vowels take the spotlight. Putting this to Use Go through a song you find challenging, as follows: 1) First sing the melody of the song through using the vowel Ah. Pronounce it naturally, and focus on singing the same pronunciation for each pitch. With the Ah, sing the melody very smoothly, note to note. 2) Now sing the song through using the lyrics and note any changes. 3) Next, talk through the lyrics and notice the sound of each vowel. Maintaining this awareness, sing the song. Be aware that the pronunciation of many vowels, when sung, is often different than the spelling. (eg. "I" is often pronounced more like "Ah." "Say" uses more of an "Eh" than an "A" sound.) 4) If you run into any trouble spots, chances are you're pushing and closing your mouth on the consonants that begin or end the word, while simultaneously singing the vowel. 5) Sing that word or phrase again, focusing on the vowel and letting the consonant(s) take a secondary role. 6) On any melody note that you sustain, such as at the end of a phrase, notice; are you closing your mouth prematurely simultaneously ending the word, or are you letting the vowel sound sustain? Try it both ways and decide which you like better. Practicing with this new awareness may at first take some extra thought. But it soon becomes second nature, while your sound is enhanced and singing the way you want becomes easier! You will find more information and the exercises you need for powerful singing in my book and CD course: The Contemporary Vocalist. This essay first published April 22, 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
    In previous articles I have discussed the various aspects of success for a singer. In this tip we'll focus on the third of the three most important components of successful vocal performance. To recap, the three major elements that contribute to your success are: 1. Positive Mental Attitude 2. A Dependable Voice 3. Performance Skill Performance Skill The purpose of vocal technique is to expand your vocabulary of sound, build stamina, and achieve ease of singing while not compromising your unique qualities and style and to maintain your vocal health. Developing your performance skill is the gateway through which your voice and passion shine out to your audience. A performance is a multifaceted, multi-sensory creation. Many singers learn the songs but approach the actual performance (the show) haphazardly and just hope that it works. At the fully professional level, there is much pre-planning and development of each element of the show prior to arriving in front of an audience. Then when in the midst of your show, inspiration and creativity can flow with confidence. Practicing the performance of each of your songs after you master them vocally, is often overlooked, but is something that you need to do as part of developing your craft. Practicing how you will perform a song and the actual expression of the song as if your audience is in front of you right now helps you develop all of the song's nuances. Do this in front of a mirror or video your rehearsals to see what you look like from the audience's perspective. When you practice your songs, don't just sing them through perform them. They will come alive and when you walk onto the stage it will be with greater confidence. Success Singing is most definitely an expression of emotion, intention and concepts. The physical foundation for this is how well you have developed your vocal instrument and how well you work with it. Many have mistaken this to mean that certain styles of music are vocally harmful or that you are born to sing only one style or sound. This is false and the influence of fear and ignorance. From my research and experience as a vocal specialist, I have found something different. I find that most people singers in particular have far more potential than assumed. This includes more range, more power, more expression, more tonal possibilities - well, just more of everything. Achieving this more begins by understanding the simple facts of your instrument - how the voice really works. These facts applied become an effective approach for vocal development of increased range, stamina and freedom of expression in any style of your choice - not restriction. This translates into self-confidence as a person and a singer. You'll see that these three elements contribute to and strengthen each other. The end result is a successful singer and performer. This essay first published December 9, 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
    Q: I've heard that singers should not sing if they have a cold or a hoarse voice. Is this always true?
    Flu Season
    A: This is a timely question during the winter flu season. Many singers are sensibly concerned about harming their voice. A singer may find herself hoarse for just a day, a week, or chronically. Hoarseness or laryngitis is an inflammation and swelling of the vocal folds, which inhibits them from properly stretching and closing. If they can't stretch and close, they are unable to properly vibrate and produce the desired sound. Two Reasons Laryngitis can be the result of a respiratory infection such as bronchitis or the result of vocal strain from singing incorrectly. If you are hoarse due to an infection, seek appropriate medical attention and remedies like antibiotics, vitamins, etc. If you have vocal strain, then the remedy is proper warm-ups to rehabilitate your vocal muscles returning them to optimum health and vibrational capacity. A hoarse voice after singing means you need to find a good voice teacher or work with one of my self-study courses to develop your vocal muscles. To Sing or Not to Sing In less serious circumstances, there are two types of colds or throat infections. With one you can sing and with the other you should not. If you have a respiratory infection, which is in your larynx (voice box) or lungs, do not sing. However, sometimes the vocal recovery of a lower respiratory infection can take some time. To facilitate this recovery, once the infection is gone, use of specific vocal warm-up exercises will help restore your voice. If you have an infection of your upper throat or sinuses, you can sing, if you prefer that to canceling a performance. Though a sinus infection can make the back wall of your throat painful when swallowing or singing, it will not affect your voice as long as the infection is not also in your larynx. Serious There are certain symptoms, which may suggest a more serious problem. If you have a raspy voice when speaking for a prolonged period of time, a shut down of the upper range where your voice now just squeaks out, notes that were previously fine just won't come out now, pain when singing or speaking or chronic laryngitis, you should waste no time getting professional help. These are indications of possible nodes or polyps and you should consult an otolaryngologist (ear,nose and throat specialist). No one should be hoarse for more than two weeks without being examined by a competent medical specialist. A Stitch in Time Saves Nine On the lighter side, the old adage, "an ounce of prevention is worth a pound of cure," is really the best approach. Do vocal warm-ups before rehearsal or performance and work with a good coach or self-study course so that you develop vocal stamina and avoid the need for a cure. This essay first published January 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
    A performance is a multifaceted creation. Many singers will learn the songs but approach the actual performance (the show) in a haphazard way and just hope that it works. On the pro level, there is much about the actual show that is pre-planned and developed prior to arriving in front of an audience. If you haven't already, take the lead from the pros and learn how to do this yourself.
    Focus on Your Performance Objectives Contemplate the effect you want to have on your audience as a result of your songs. What is the mood, emotion and sentiment of each song you plan on performing? Aside from how you vocally sing each song, the visual performance needs to carry the message of the song as well. Does Your Group Work Collectively on Stage? Your energy from the stage to the audience is dependent not only on how well you sing each song vocally, but on how the group works together. The key word here is: Together. You need to look like an ensemble with no one player appearing to be left out. If you are performing with other singers or musicians, include in your practices how you as a group are going to work together on stage, song by song. As a frequent judge of many battle of the bands I've seen this important aspect too often omitted. Choreography can be included, but is not always necessary. However, you can plot out specific movements and staging (whether or not you're playing with other musicians) that would add to the excitement, drama or boldness of the performance of your songs. Here's an example: I began coaching a three-girl group. They had excellent energetic songs and wonderful voices. However, in performance two of them had a tendency to play off each other but rarely interacted with the third. Adding to this separatism, the third performed as though she was on stage by herself. They did not perform as a united ensemble. This reduced the quality of the show and the power of the songs on the audience. You Must Command the Space Twisting or playing with the microphone cord in your hand, hanging onto the mike stand throughout the song, continually putting your hands on your stomach (some misguided singers have been told to do this by teachers to check their support) or any other physical movements or positions that have little or nothing to do with the performance of the song itself are distracting. Your movements, including eye direction, must be deliberate. Don't let your eyes dart around without purpose as you sing. This would make you appear amateur and as though you didn't really mean what you're singing about. Practice singing a song totally engaged in the meaning of it. Make it your communication. Let your movements flow from the feeling and meaning you give each phrase of the song. If you feel self-conscious at first, just keep practicing until you are comfortable being the song and showing it. Remember: A performance works when the details of your visual and audio line up. This alliance is powerful. It makes your song believable and brings it to life. Vocal Shortcomings Will Hold You Back If you have any uncertainties about your voice: about whether or not you'll hit the note or go off pitch, you'll hold yourself back in performance. Some singers sound great but lack vocal stamina and so suffer the punishment of singing for more hours than their improperly prepared vocal muscles can tolerate. This can result in feeling more reserved about really giving it your all for fear of losing it. I have spent most of my life researching how the voice works and how to work with it without compromise. I've looked for and found the most simple, factual and superior techniques that quickly help a singer -- pro or beginner -- to advance and find freedom of expression and find and maintain their own unique vocal identity. This article is an excerpt from Jeannie Deva's downloadable book on Performance Technique for Singers. For these and other vocal tips go to: www.JeannieDeva.com and sign up by clicking Vocal Tips at the bottom of the navigation bar. This essay first published July 31, 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.



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