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  • Steven Fraser
    (Note: This is an update of a post which first appeared on TMV in November, 2008)
     
    Introduction
     
    This article delves into the basics of vowels: what they are, what makes them, how we influence their characteristics, etc.
     
    The formation of vowels is an area common to all singers, and in many ways influences the listener's experience of the voice. There are a multitude of approaches taken by singers to making vowels: some based on grunts, groans, wails, screams and sighs; some based on spoken language; some based on concepts of 'bel canto', chanting, 'toning' and just about everything in between these. Even 'overtone singing' can be described in terms of vowels.
     
    What is a vowel?
     
    For the purposes of this discussion, vowels are two things: a) spoken or sung sounds (not written letters), and impressions in the mind of the singer and the listener - caused by experiences of the sound through the sense of hearing. By shaping (producing) vowels in a particular way, the singer influences the experience of the listener, and creates a communications connection person-to-person.
     
    So, what is a sung vowel?
     
    As a general, nontechnical description: A sung vowel is a sustained sound, sung with the mouth and throat open enough so at least some of the sound comes out of the mouth. The particulars of the vowel sound depend on the shape and dimensions of the vocal tract, which is usually considered to be the spaces from just above the vocal bands to the outside of the mouth. Sometimes voice scientists include the part of the trachea below the larynx to the point where it branches in two sections to go to the lungs, but for out purposes today we will not include that section.
     
    What makes differing vowels?
     
    A key principle is worth mentioning now: Anytime the vocal tract changes shape or dimension, it produces a more or less different vowel, depending on what has been changed by the person.
     
    The vocal tract aspects that, when changed, have an effect on vowels (more-or-less in order of importance in the singer's technique) are:
     
    1) the position of the tongue
    2) the position of the soft palate
    3) the vertical opening of the jaw
    4) the shape of the lip opening
    5) the height of the larynx in the throat
    6) the diameter of the pharynx.
     
    Resonances and Vowels
     
    By way of explanation - To modern language and voice scientists, the perception (on the part of the listener) of a vowel is the result of a combination of resonances in the voice, especially the lowest two resonances. The six items mentioned above, when combined, cause these two resonances to have specific frequencies. Any vocal sound components which fall near these two frequencies will be emphasized in the overall spectrum of sound energy.
     
    The sense of hearing of the listener 'decodes' the overall sound into a conscious experience, and (according to current psychological theory) the mind interprets the relative intensity of the sound components as a vowel.
     
    What does this all mean?
     
    All this relates to singing in that we can make very many different kinds of vowel sounds. By changing the positioning of any of the vocal tract components listed above, even if only slightly, for the pronunciation of a syllable or word, we change the way they are perceived, and, by extension, the quality of the connection that we have as singers with our listeners.
     
    Best Regards,
     
    Steven Fraser

  • TMV World Team

    Straining

    By TMV World Team, in Articles,

    The word straining is often used when critiquing a singer. What does it mean? Well, it depends on who you ask. Joe Q Public uses the word often this way: went on a monster roller-coaster, screamed my head off and really strained my voice. In that meaning, straining refers to hurting the vocal cords resulting in throat pain and a cracking voice.
    Another common definition of straining refers to over-working, like a body-builder who lifts a huge weight resulting in a red face, bulging muscles and veins-a-poppin. It's interesting to observe that straining when constipated looks surprisingly similar to heavy weight-lifting.
    As a voice coach, I approach the term straining in a slightly different way: I use it as a metaphor for overlifting of the voice-box (the larynx) when trying to sing high notes. Though it is natural to reach, lift, strain for high notes, it's not desirable. Unless of course struggle and effort is the effect you're aiming for.
    Your voice-box has muscles connected at the top which lift it and at the bottom which pulls it down. To reduce over-lifting, or straining, for high notes, think DOWN on your voice-box which will help activate your depressors to anchor your voice-box. Don't sing high notes without them!

  • TMV World Team
    As most of you already know, most vocal problems start with improper technique. Instinct alone will not help you correct them because instinct is an unlearned response -- an automatic reflex that can can lead to injury. That is why it's so important for anyone who sings professionally to LEARN how to do things correctly. Some singers are born with naturally gifted voices, but if they never learn what they are doing that makes that voice such a gift, then they may be unaware of when bad habits have snuck in until damage starts to occur. Knowledge, understanding gained AFTER one has learned from the intellectual and PHYSICAL experience, isn't just power, it is the road to freedom.
    Most problems simply boil down to bad, sense-memorized habits, usually in attempts to achieve a desired sound.
    However, singing with strength and power has nothing to do with the force of breath you use to reach higher notes for that 'one register' sound. Squeezing, holding, punching in the belly muscles will only lead to closure of the throat. Hold your breath. Notice anything happen in the neck? Can air pass by without thrusting it up from below?
    Since sound is created when the air passes by the cords, a slammed shut throat will force you to push up that air for it. Habits like these have to be un-learned or you will never feel free. Wouldn't you like to be one of those singers who can jump around all over the stage without having to worry about whether your voice will fail, whether you will be able to maintain the 'power', or even hit the pitch wihout going flat when you get to those sections of difficulty?
    How does unnatural manipulation of the body start? Most times, in attempts to mask the glitches by trying to hide them any way you can. You don't just try to hide them from your audience, you also try to hide them from your own self, hoping that one day those problems will just magically disappear. Trouble is, you never really succeed at that. When you can still feel something is wrong -- you can't hide it from yourself no matter how hard you try.
    Anyone can tell you that you are a great singer, a great performer, but that puffed-up feeling you get will only last about 5 minutes if you are aware of something troublesome. If you don't think you sing as well as you could, yours is the only opinion that matters. Confidence and self-esteem with regard to your talents must come from within. Nothing from the outside can ever change that fact. Once you begin gaining control over your instrument, that is when things change. It won't matter nearly as much as it once did if people think you can sing well or not. If you know you are good, singing well with ease and freedom, the audience will automatically know that, too. There won't be a doubt, as long as that doubt is no longer being tramsmitted by you.
    When training to learn a new way, sometimes it may require having to strip you of any bad habits you've gathered along the way to see what's really there, correct it, and build on that. Your chest and head registers may need separating through exercises to determine where the root of any difficulty begins. That process is similar to stripping you of all defense mechanisms. It makes you feel naked, vulnerable, and may even have you wondering if you'll ever be able sing with ease. The important thing to remember when training by repitition with vocalises is that you are doing it to learn a new way. These things by no means identify you as a singer/performer. It is ALL about correcting bad habits. It's as simple as that.
    When I train a voice, I use vocal exercises to help the singer start learning wrong from right. Key to this is remembering that this is a learning process. As you journey from wrong into right, bad habits will automatically start to leave, ridding you of any discomfort or difficulties you may have thought you had to overcome on your own.
    In the beginning, a journey such as this can be uncomfortable -- not because right way is hard. Right way feels great when it happens, but unfortunately, bad habits are familiar, comfortable. It is going from the old to the new that is so uncomfortable, often frustrating -- that inbetween place of the unknown until the known manifests.
    I teach all levels of singers. The road to freedom is enlightening. For many, it isn't just about their voice. Singers often learn a lot about their own self as they forge onward on this path. Once you've succeeded and all has become second nature to you, then you will know you achieved the freedom you'd been seeking, and the voice you always knew to be inherent within.

  • TMV World Team
    Lately in the news, we hear about stars having vocal surgery or losing their voices and canceling their tours.
    I empathize, sympathize and my heart goes out to them. Because the truth is, it's actually challenging to stay in good vocal shape on tour. There's the grueling non-stop schedule, dehydration from air travel, lack of nutrition from a poor diet and the stress of performing night after night non-stop for months at a time. It is challenging to prevent damage, stay healthy and continue to escape the dreaded surgery. Not to mention that the stress from cancelling a concert let alone a whole tour is overwhelming. Thousands, sometimes millions of dollars lost people instantly out of a job the cost is enormous. The venue cancellation alone costs a fortune. And then there's the frustration of disappointing your fans. It's not something you ever want to happen, on top of the fact that your recovery time can be a month or two and in some cases even longer. That's a long time in the life of an entertainer.
    I find that even most managers and record exec's and the majority of vocal coaches don't know about what I am going to reveal here in this article. I am always surprised that singers are not more preventative. I guess it's the if-it-ain't-broke-don't-fix-it attitude. However, with the voice, it's too sensitive an instrument to NOT take extra care. You only have 2 vocal cords and they can't be replaced.
    But the truth is, not only can you recover from most any situation sometimes you can do it within two days, if you know exactly what you're doing. I've done it many times myself and with my singers.
    Last year one of my well-known artists left me a message in a panic. He was performing at a music conference and was on his way to LA for his first appearance ever on network TV (the Ellen Show) in just two days and he was losing his voice by the minute. He texted me feverishly, terrified he would have no voice by the time he got there what was he going to do?? I mean who wants to botch the Ellen Show?? He was beside himself with anxiety and was ready for anything.
    What followed next was a trip to Whole Foods (usually the only place that has everything) with a detailed shopping list. I sent him the instructions, which basically included water-boarding, a vegan diet, massage and acupuncture (works wonders for vocal problems), a lot of down-dog and swallowing a mega load of supplements and herbs every 2 hours. Luckily, he had also just been at my studio in New York and I had given him some of my Chinese herbs to take on the road just in case (harder to find). Well, not only did he get his voice back, but he sounded amazing (you couldn't tell there was any vocal problem at all) and he looked so chill up there under the lights, I was sure it was from sheer relief! We were both thrilled! Thank goodness for natural remedies, knowing how to use them and a handful of tricks up my sleeve. He would not have made it without them.
    Just by understanding how to take care and stock up with the right natural prescriptions in your medicine satchel and acting at the first sign of anything, you'll stay in the safe zone. I've done it a gazillion times myself with my own voice (yes, I've been my own guinea pig) and with thousands of singers over the past few decades. And now I teach all of my singers exactly what to do in a myriad of situations and how to diagnose symptoms.
    The good news is, vocal problems and burnout are avoidable. With the right vocal technique and a knowledge of natural tricks and tips, the body is a healing machine. The body gets to work when you feed it the right fuel and elixirs. I have helped countless singers recover from problems as well as avoid the knife altogether.
    This is usually behind closed door stuff, but I wanted you, my faithful readers, to be armed with this info, so you can sing your heart out without wearing out!
    The Vocal Road Warrior Formula
    First off, I just want to point out the beauty of the word Healthy. Heal-thy. That amazing healing machine thing 
    Heal-thy Body: hydration, diet, nutrition, massage, natural remedies
    Heal-thy Voice: hydration (I can never say this word enough), sleep (at least 7-8 hrs), vocal technique: warm ups & cool downs
    Heal-thy Self: positive attitude, visualization, stress management, gratitude
    The Whole Foods Shopping List
    Soloray powdered Crystalline Vitamin C (non-ascorbic, won't cause reflux) 1 tsp every 2 hours (in a shot of juice) until you are better (except for nighttime) Bronchial Soothe (stops coughing immediately seriously, and naturally.) You want to avoid coughing as much as possible because it shreds your vocal cords. Nin Jiom Pei Pa Koa. Oral demulcent sore throat syrup you can find in Chinatown (if you can't find this, Loquat Syrup will do) Fresh Juice daily. Organic carrots, celery, apple, parsley, ginger for juice (Juice 3x a day.) Juicing provides that extra nutrition that your voice needs. Oregano oil (pure essential oil) Use topically on throat 3x day Oregano tea (great for vocal loss) Raw creamed honey (the best throat balm in the world) Vocal Eze Throat Spray (www.travelwellness.com) Best natural spray on the market! Use 6-7 x a day for moisture and vocal health. Tiger balm (or Sunrider balm my favorite.) Apply topically on front of your throat and all around your neck. Apply 3x a day (keep throat wrapped with a light silk scarf) Sore Throat/Hoarseness homeopathic remedy (Roxalia) by Boiron use 3-4x a day for three days. Besides the Whole Foods list here is a list of exactly what do to avoid vocal damage.
    Always warm up your voice before singing. This is non-negotiable. Warming up warms up your muscles and avoids wear and tear. Cool down your voice after singing. This is non-negotiable. Cooling down cools down your muscles after singing and helps to avoid wear and tear. (you can find cool downs on my Singers Gift WarmUps here www.caricole.com/singersgift/) Get regular massages and/or acupuncture (1x or 2x a month or every week when on tour.) This is non-negotiable for a working singer. You are over-using the muscles of the vocal instrument causing them to contract. They need to be lengthened and relaxed or over time it will cause vocal problems. Do Yoga. Yoga is a way to stretch your muscles, improve circulation and general health. It also keeps your spine long, which is very important for singing and not wearing out your voice. Over the years artists come to me when they are in trouble because I have a reputation for fixing vocal problems. I don't make any big claims to do so mainly because I'm not a doctor. But over the years I have discovered the methodologies that work and of course I train singers to sing correctly and prevent long-term damage. I became interested in alternative care for chronic problems because they work better plain and simple (but only when you really know what you're doing). I will say that there is so much more to it than I can go into in this one article. Vocal problems can arise from many different sources that I didn't even touch on here. And of course nothing is more important if you are having problems than getting a diagnosis with a professional ENT (voice doctor) and getting treatment. This list is not meant as a substitute for that. But hopefully, I've given you a good head start here.
    For more information on keeping your voice healthy and preventing damage, experience my Singers Gift www.caricole.com/singersgift Warm ups and Cool Downs and get your vocal regimen established. Warm Up Don't Wear Out.
    ©2012 Cari Cole, Vocal Mag, Inc. All Rights Reserved.

     
  • TMV World Team
    Well singers, I'm sure that you are aware that your instrument, your voice, is made up of many moving parts to complete the whole instrument. To maintain the operation of your instrument, you must keep these parts lubricated to prevent friction buildup. This is similar to using oil to keep a car engine running smoothly. You must also maintain your instrument, just like when you take your car in for a tune-up. I'm going to present you with a few tips for maintaining the parts of your instrument, to assure that you can sing to the best of your ability.
    So, what are the key points to maintaining the voice? Well, since I started this free lesson by comparing your body to a car, I would say that the four main points to keeping your motor running would be to keep your vehicle well oiled, (keep the voice lubricated), warm up your car for a few minutes before driving, (warm up the voice before singing), tune your engine (strengthen the singing muscles, including both the vocal muscles, and breathing muscles), and of course, fill up your tank with fuel (proper breathing). Here are a few tips and tricks to help you maintain your voice:
    KEEPING THE VOICE LUBRICATED
    Water is essential to maintaining the elasticity of the vocal cords. If your cords aren't well lubricated, they won't stretch easily and your voice will sound weak and brittle, with noticeable cracks and breaks. Water is the ONLY liquid that will lubricate the vocal cords. It is the only liquid that isn't processed as a food; it directly enters the bloodstream. Although it directly enters the bloodstream, it generally takes around 20 minutes before it reaches the vocal cords. This is dependent upon the internal water level of the body. If the body is low on water, the water will be used to serve the needs of the vital organs first.
    So, what are some things that cause a low water level within the body and dry out the voice? The first thing you should ask yourself, is, Am I drinking enough water? If you drink beverages with caffeine or alcohol, you will lose water. Caffeine is a diuretic and will cause you to lose water. Alcohol is a drying agent and will dehydrate the body. It's tough enough to keep the body hydrated without adding to the problem. Working outside in the heat can cause dehydration. If you are sweating, you are losing water. If you are doing a lot of singing, the air between the vocal cords will also tend to dry out the cords. These are just a few examples.
    Here's a simple way to decide if your daily water intake is sufficient for your own body's needs. I suggest drinking at least one ounce of water per pound of body weight per day. So, if you weighed 150 pounds, you should drink at least 75 ounces of water a day. This is just a general guideline. How much do you weigh?
    Divide this number by half to figure out your requirements. Are you drinking enough water? This is a daily ritual. You have from the time you wake up until the time you go to sleep to meet your water quota, so get busy! I drink over a gallon of water a day and I only weigh about 180 pounds, but, I'm a water junky! I have a whole chapter in my first book Raise Your Voice that presents other methods of lubricating the vocal cords, including inhaling steam and mist inhaling. Another great book on the affects and benefits of water is Water for Health, for Healing, for Life, by F. Batmanghelidj, M.D. One last thing that comes to mind is a quote from TNT lead singer, Tony Harnell Clear pee, clear voice.
    Basically, Tony is saying that if your urine is as clear as water, then the vocal cords are being sufficiently lubricated.
    WARMING UP
    Whenever a person works out the body, or plays any physical sport, the smart thing to do is to stretch the muscles involved before starting. If you run track, I'm sure you stretch your legs before the track meet. The reason athletes stretch, is to get the blood flowing to the particular area of the body that is involved in meeting the physical demands of that particular sport. When you stretch and warm up the body, you are less likely to cause any muscular damage. Stretching and warming up will wake up the muscles and prepare them for work. If you aren't warmed up, you will not function at your peak performance. This is the same with the voice. You should adopt a warm up program that works for you. Free Lesson #1 offers a basic version of Vocal Stress Release, my warm up program from my book Raise Your Voice. I will also be releasing a DVD entitled The Ultimate Vocal Warm Up, which is based on the Vocal Stress Release program. Whether you choose to use a warm up program from The Voice Connection, another voice related site, an instructional video or voice training manual, the point is, MAKE SURE THAT YOU START WARMING UP! There are many great warm up routines. Find one that works for you.
    TUNING UP
    Of course, if you want to tune up your engine, you should find a great vocal training program. Some great programs are, of course, my book, Raise Your Voice, Jim Gillette's, Vocal Power, Brett Manning's, Singing Success, Thomas Appell's, Can You Sing A High C Without Straining, Melissa Cross, The Zen Of Screaming, Robert Lunte's, Four Pillars, and Elizabeth Sabine's, Strengthen Your Singing Voice.
    These are just a few great programs.
    What are some other things to keep in mind? I think that any serious singer should consider some type of cardiovascular workout to strengthen the lungs and diaphragm. This could be running, jogging, Tae-Bo, Yoga, or what I consider to be the best singer's workout, swimming. Again, these are just a few suggestions. I also suggest starting some sort of abdominal training program. A strong set of abs is a beneficial quality for a strong voice.
    FUELING UP
    The one thing that always blows my mind is the fact that singers tend to throw proper breathing technique right out the window. My second book, The Ultimate Breathing Workout, offers a 9-step breathing program for developing the breathing muscles and breath control. Any great vocal instruction manual should offer a chapter or two on proper breath technique. Breathing is SO important to maintain a healthy voice and preventing vocal strain. Oxygen is the singer's fuel. You must learn to steadily control the flow of fuel. This is similar to controlling the speed of a car. You don't want to be driving down the highway in a 65-mile per hour zone and jump from 25 to 55 to 70 to 45 to 65. That's really hard on your engine. You also don't want to drive wide open, with the pedal to the floor. You're going to wreck or burn up your engine. So, CORRECT BREATHING IS ESSENTIAL. Here's a simple exercise to learn to control breath release:
    Take a deep breath, in through the nose and allow the stomach to expand. Begin to slowly his the air out, like a sustained sssssss, while allowing the stomach to come in on it's own. (don't tighten the stomach) Time your air release and strive to increase the release time by a few seconds every day. If you made it for twenty seconds the first day, aim for at least 22 seconds the next day. This exercise will train you to control breath release and strengthen the lugs, abdominal muscles, and diaphragm.
    I hope that I shed a little light on how important it is to maintain the voice. Now, seek out a great vocal training program, find a good teacher, and apply the knowledge to creating the best voice within you - Oh yeah, BUY MY BOOKS!!!
    Jaime Vendera
    Author of "Raise Your Voice", "Mindset: programming Your Mind for Success" and "Online Teaching Secrets Revealed"
    jaimevendera.com
    theultimatevocalworkout.com

  • TMV World Team
    Vocal Health Care from the Chinese Medicine Point of View
    This is an amazing article written exclusively for Superior Vocal Health blog readers from Dr. Susan Russell, a leading expert in healing the voice with Chinese Medicine. If you are a Voice Professional and vocal health is the number one priority in your life, then you do not want to miss reading this article.
    Vocal Health from the Chinese Medicine Point of View
    Dr. Russell gives us an extraordinary amount of valuable, useful and in depth vocal health care information concerning:
    1. How the emotions effect the circulation of Qi and thus the voice
    2. The healthy voice and it's relationship to other major organsaccording to Chinese Medicine
    3. How certain foods influence the quality and tone of the Voice
    4. Specific recipes for Vocal strength
    5. How to use Chinese Laryngeal massage and it's tips and benefits on the voice
    6. Chinese Medicine and Essential Oils
    7. Pressure points that can be used as an aid to treating and preventing vocal disorders
    Have a great day, and as always I wish you the best on your quest for Superior Vocal Health!
    David Aaron Katz

  • TMV World Team
    I thought I would add a little on this subject since I myself have gone through many years of vocal problems and scares. First off let me start off by saying you can always change your technique and the way you sing little by little. I am not a gifted singer and I have had to change my technique slightly throughout the years. It is very hard to ruin your voice and you can always come back stronger and smarter.
    I recently had a scare where for a couple of weeks i found it very hard to warm up and it took a long time to get ready to sing, which is a tell tale sign your voice is tired. Now it is very important to be in tune and honest with yourself. If you can't sing as good today as yesterday was it something you ate or maybe not enough rest or did you over work yourself. In my case I sat down and went over my last couple of weeks which went like this:
    1. Wake up and warm up on the way to the gym 2. Warm up some more on the way home 3. Eat something then do a big warm up and voice exercises for about 90 min 4. Teach a couple lessons 5. Learn a couple songs for gigs and auditions 6. Eat and start warming up for tonites gig 7. Sing 4hrs of rock, pop, r&b, everything from Incubus to Katy Perry, Bruno Mars, Cee Lo to Led Zep. All original keys 8. Warm Down 9. Sleep That was pretty much daily one or 2 days off which on those days I exercised my voice like crazy.
    Not to mention at this time my diet was horrible for me and I'm a pretty healthy eater. Of course throw in a couple shots of alcohol per night as well. Also a load of acid reflux meds which i have decided to kick after 15yrs of using them.
    After a couple weeks of struggling with high notes and getting tired very quick I decided to go to my voice specialist. Knowing I couldn't get in to see him that quick I went and saw a local ENT. He used a flexible nasopharyngoscope which is good but a rigid one sees much cleaner. Well low and behold he said he saw 2 tiny soft vocal nodules one on each cord about a 1/3 up on the cord. Now you could imagine how I felt. Freaking out I cancelled my gigs and called in my sub singer to do the work. I shut up for 3 days which is very hard to do, steamed 3 times a day and drank a little elixir I make which I will give at the end of this blog. I then went to see my voice specialist who uses a rigid scope and they found no nodules and just some acid reflux bumbs(top of esophogus) and redness. He said my cords looked good but still wants me to use acid reflux meds (which I am not and I'm doing well). Im gonna be fine.
    The dr. told me that if I have been singing for 20 yrs with the schedule I have and have not gotten nodules that I must be doing something right.
    Listen to your body, if it tells you to slow down and shut up for a few hours do it. This will save you some worrying. A good test to see how swollen your cords are is called The Swelling test
    Two tests have been developed that can help you monitor any swelling of your vocal folds. These are called the swelling tests.
    soft singing
    Sing the first phrase of a well known tune such as Happy birthday. Use the softest voice possible (boy soprano pianissimo). Sing it at progressively higher pitches. At some pitch you will begin to experience delays in the onset of your voice or you will be unable to produce a soft tone. Your voice will sound like air is passing through the voice box without causing a tone. This pitch is your vocal ceiling caused by swelling. You will know it is caused by swelling because with a loud voice you will be able to overcome this pitch ceiling and sing to a higher pitch ceiling. If you have no swelling, your soft and loud ceilings will be approximately the same (this is true whether or not you are a singer). There are exceptions. This test basically detects a gap in the vocal folds and any disorder that causes a gap may cause these onset delays. Once you have been diagnosed with a swelling then this test can reliably be used to monitor the degree of swelling. Staccato test
    Sing the following phrase using a ho sound and a staccato length tone. So So So So So Fa Mi Re Do. As for the soft singing test, sing at progressively higher pitches. Monitor the pitch at which only air comes out rather than a tone. If you really do have acid reflux its a really tricky thing to control but if I had to do it all over again I would take enzymes and probiotics before you eat instead of the drugs because the drugs just keep you acidic the enzymes help break down the food with your stomach acids. There is plenty of material on the internet about lifestyle changes for acid reflux. Also try this elixir to soothe your throat and promote healing.
    20 oz water
    2 oz aloe vera gel(drinkable kind)
    2 tbsp nin jiom pei pa koa (find it at chinese herbs stores online) its loquat syrup and has herbs like slippery elm and licorice root.
    1 dropper of marshmallow root
    2 Heaping tbsp of slippery elm powder
    and any other herbs like ginger root, licorice that you want to add. Sip through the day
    This really seems to heal your esophagus quick.
    Well I hope this helps and again don't worry it is in fact very hard to hurt your vocal cords or even get nodules.
    Peace

  • TMV World Team
    Physical Exercise and Weight Training for Singers
    by Jeannie Deva
    A CASE STUDY
    Some years ago I was teaching a singer in a Rock band who was rather physically frail. I was working with him on developing his vocal power while eliminating tension and strain. After several weeks of lessons he had improved tremendously and his band mates were duly impressed. His range had noticeably increased as had his vocal strength.
    Then, one day these advancements seemed to totally vanish. His range had reduced as had his overall ease of singing. The power we had previously achieved had been replaced by strain. I tried a variety of my dependable remedies and each was thwarted by an unusual degree of tension and vocal stiffness the likes of which he had not had before.
    As a few weeks of lessons passed with the same difficulties persisting I became totally baffled. But as I intensified my observation of him and what he was doing, I began to notice that his overall physical musculature had changed. Most especially I noticed that his neck muscles were beginning to bulk up and looked particularly rigid.
    INVESTIGATION
    On a whim, I asked him if he was going to the gym. Proudly, he told me of how he had started a weight lifting routine a month earlier and that he was lifting heavy weights. Having been certified years earlier as an exercise instructor at a gym, I questioned him on his routine, the amount of weight he pumped and how he breathed when he did each exercise.
    Well, I needed to look no further. Here lay the reason for his vocal difficulties! He was lifting far more weight than he was able to comfortably handle and as he did so, he held his breath which forced his breath against his jammed shut vocal folds. This was creating such strain that the muscles of his voice were becoming increasingly stiff and strained. Additionally, his external neck muscles were becoming so tense they literally had a strangle hold on his internal throat muscles which further inhibited the functionality of his voice.
    THE REMEDY
    I had him reduce the weight to an amount that he could lift easily while maintaining normal breathing. For a month, I had him abstain from chest (bench) presses, which gave his neck and vocal muscles a chance to heal. Even after the first week of this new routine his voice began to regain some of the advances we had previously achieved before he began his extreme weight lifting program.
    Not all weight lifting is bad. The main point is to use only the weight you can easily lift and to NEVER HOLD YOUR BREATH AS YOU MOVE THE WEIGHT continuously inhale and exhale. As your strength increases, you can increase the weight if you're after muscle bulk. If you are looking for muscle definition and strength, keep the weights light and increase your repetitions and number of sets. But in either case, the moment you find yourself holding your breath to lift the weight, reduce the amount you're using until you can do it while inhaling and exhaling fluidly.
    CARDIO IS BETTER
    When you breathe hard and fast your vocal folds open wider to permit more air to inhale and exhale quickly. But when you sing, the folds need to close so they can vibrate. Notice these are opposite functions and positions.
    Cardio vascular exercise is good for anyone and especially singers. It not only helps to keep you looking good, but by strengthening your heart, permits a slower pulse rate when moving your body around a lot on stage. If you get nervous or very excited before going on stage, regular cardio exercise will help you to not become breathless when it's time to sing. Similarly, if you move around on stage a lot or dance as part of your routine, your body needs to be accustomed to vigorous exercise.
    Swimming is a particularly excellent cardio exercise. It's great for the entire body and gives you lean limber muscle tone rather than tight muscle bulk. Bulky muscles tend limit your range of motion and flexibility and in a worse case, they can tense your vocal muscles. Frank Sinatra used to swim to strengthen the muscles used for breath support. (Reference: Frank Sinatra biography His Way by Kitty Kelly). You may not like his musical style, but Sinatra had excellent phrasing.
    SINGER'S SOLUTION
    Exercise is good for general health and body limberness, but it will not by itself develop breath support and control for a singer. For that, you need an understanding of vocal sound production and the right exercises.
    I have developed specific rib cage exercises that help your body breathe and regulate air naturally, precisely and automatically for singing. Once you learn and practice these exercises you will not have to think about breathing or controlling your breath when singing. You'll find them in my Contemporary Vocalist Volume 1 book and CD course.
    With these exercises you'll develop a level of breath control that will allow you to move on stage and not become winded or out of breath when it's time to sing. You'll be able to take faster breaths, sing longer phrases and sustain longer notes without fear of running out of air.
    Until next time
    Jeannie Deva
    www.JeannieDeva.com
    Study with Jeannie online from anywhere with web cam

  • TMV World Team
    Brand new research shows that pop singers value their voices as much as classical singers do, but are much less likely to get medical help. Most fascinating, pop (I'm using the term very broadly to include rock, alt, studio, etc.) singers are more likely to go to the doctor for OTHER medical problems, than for the voice!
    Here's a checklist to help you get clear on what is & isn't normal:
    YES or NO - WHICH OF THESE HAS BEEN A SIGNIFICANT PROBLEM IN THE PAST MONTH, other than times you've had a cold?
    1. I have trouble talking loudly or being heard in noisy situations.
    2. I feel a lump in my throat, like extra phlegm or something sticking there.
    3. I am losing work, or afraid I might lose work, because of my voice..
    4. Talking or singing takes effort/makes me tired.
    5. I have to repeat myself to be understood in normal conversation.
    6. My throat feels sore or achey even though I'm not sick.
    7. I'm losing notes at the top. bottom, and/or middle of my singing range.
    8. I feel anxious or frustrated because of changes in my voice.
    9. I have trouble using the telephone.
    10. I have to strain, or compromise my technique in order to sound the way I used to.
    If you answer YES to 5 or more questions, see a voice doctor as soon as you can.
    If you answer YES to 2-4 questions, work on taking better care of your voice (rest, steam, hydration, good nutrition & exercise, and dutiful warmups!). If your voice doesn't improve in 2-3 weeks, see a doctor.
    If you can answer NO to nearly every question, congratulations! You are in good vocal health. Keep taking good care so you'll stay that way.
    This quiz is adapted from questionnaires used in many voice clinics, but has not been validated by itself. Please check out my book and website for help staying healthy.

  • Steven Fraser
    Introduction
    This weekend's article is a comparision of the 'belt voice' production as used by female singers, the 'robust head voice' as used by Operatic tenors, and the male 'Rock' pharyngeal voice . These types of vocalism share some characteristics which make them similar to each other, but also have some characteristics which differentiate them. As I have done before, I will use spectragraphic analysis to assist in the understanding of how these voices can be compared and contrasted.
    A first example: 'Top Line F', Belt and Robust Head Voice
    The following spectragraph shows the harmonic content of two voices singing the F natural usually written on the top line of the treble staff, that is, the F at the upper range of both the belt and tenor voices (the F the octave and a perfect fourth above middle C.) The female singer, represented in blue, is Patti LaBelle, from a televised recording of "You'll Never Walk Alone" from Carousel , recorded in the mid-'60s. The tenor is classical tenor Nicolai Gedda, from a 1973 recording of "Credeasi Misera" from I Puritani.
    Patti
    http://www.youtube.com/watch?v=OTAOD-2Fnqw at 2:19
    Nicolai
    http://www.youtube.com/watch?v=9w_TTK7UP1c at 4:50

    As I have done with prior recordings, I have matched the volumes of first harmonic (H1) so that the relative intensity of the upper harmonics can be identified. With this matching, we see the following:
    1) There are five strong harmonics displayed by both voices, and for both of the notes, the 3rd harmonic is the strongest. This gives the voices power and color. The relative intensity of the harmonics is approximately the same in both voices.
    2) H1 and H2 are lower in intensity than H3, but strong enough to make the core warmth of the tone quality very solid.
    3) The 4th harmonic is both voices is in within the 'red lines', the most senstive part of our hearing range.
    4) The white trace sections are 'wider', indicating that Mr. Gedda's vibrato is as well. Ms LaBelle sang her note with almost no vibrato, so the peaks are very pointed.
    A second example: Middle line B, Pop Belt and Rock Pharyngeal voice
    This second spectragraph, which I have annotated for harmonic identification, is of two voices singing the B above middle C. The two voices are Robert Plant of Led Zeppelin, singing 'A whole lotta love', and Whitney Houston singing 'I will always love you', on a vowel approximating /a/. I have matched the fundamentals as before.

    Robert Plant's voice is in blue, and Whitney Houston's is in white. The spectragraph shows the following:
    1) With the fundamentals equalized, the loudest harmonic in both voices is H2, and approximately the same intensity in both. With fundamental matched, and H2 so similar, the core of the tone for both voices on this note is identical. H2 in both voices carries the bulk of the volume for both.
    2) H3 in Robert Plant's voice is somewhat louder by comparison to Whitney Houston's, but for both it is louder than the fundamental, and the 2nd loudest harmonic overall for both as well. Recall that the 3rd harmonic (an octave and a perfect 5th above the fundamental) as an odd harmonic, adds color to the tone quality. The relative strength of this harmonic in Robert Plant's voice is helps us to distinguish his from Whitney's tone quality.
    3) H4 for both voices is about equal, but H5 and H6 in Plant's voice are stronger than Whitney's. This may be the result of "Singer's Formant" in Plant's voice. H6 is particulary well situated, as it is not only strong, but within the sweet spot of hearing.
    Example three: Broadway Belt, and Operatic Tenor
    This one is a fun one. The following spectragraph is of two very famous singers, Ethel Merman (the quintessential broadway belter of the mid-20th Century) and Luciano Pavarotti, Operatic Tenor. Ethel is singing the last note of 'Theres no business like show business' from Annie, Get Your Gun, and Pavarotti is singing the last note of 'Celeste Aida' from Aida. As usual, for comparison I have equalized the strength of the fundamentals so that relative harmonic balance can be shown.
    Can you tell which is which?

    Without giving away yet which is which, the following can be observed:
    1) With the fundamentals equalized, the Blue voice has a louder H2 than the White one, which makes the core of the tone quality just a bit brighter, but not much.
    2) H3 in both voices is the loudest harmonic, so they both have the color this harmonic brings to the tone, with a small advantage for the White voice.
    3) H4 for both voices is quite a bit softer than H1, H2 and H3, adding some brightness, but not much to both.
    4) The higher harmonics have less energy in both voices, but overall the White voice has more than the Blue one, which gives it more ring.
    5) Both voices have vibrato (as evidenced by the 'wideness' of the harmonics), with the Blue voice having just a little bit more than the White one.
    Have you determined which is which? Scroll down a bit to learn....
    Pavarotti is in White. Merman is in Blue :-)
    Conclusions
    In looking at these representative voices, there are some commonalities that we can identify for this pitch range:
    A) In each voice type, the principal strength of the tone is in the 2nd and 3rd harmonic. The fundamental is often 4th or lesser in strength, meaning that other harmonics align more closely with the resonances of the vowels chosen than it does.
    Some voices display presence of singer's formant, and others do not.
    C) Each of the singers shows strong voice production characteristics, but not equal balances of resonance.



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