Jump to content

Articles

Show all categories
  • TMV World Team
    A large part of vocal training involves learning vocal control. Without vocal control, any vocal recording will suffer dreadfully. With it, you can do things you can only dream about without it. Another problem with lack of control is that if you are singing with any degree of power, you are going to experience a lot more vocal fatigue and risk damage to your instrument if you sing too long. With it, you can sing all day and not experience vocal strain. Yes, it's true! And a lack of control will cause you and your recording team frustration, or you'll just give up and settle for the best you and they think you can do. Usually, it's a huge waste of time and resources. Live performances are more forgiving of slight control issues, but studio singing requires surgically accurate control. So what am I talking about? For a great recording, you need vocal technique skills that will enable you to:
    Control volume. (Without it, your engineer will have to use excessive compression to even out volume, control distortion and bring soft sounds up so they can be heard. Some degree of "riding the faders" and compression is normal and usual, but the less the better. The less your vocals need to be compressed, the richer the resulting sound.) Control vocal lics and embellishments. (Without it, you will not be able to sing some vocal lics you attempt; "scats" or phrasing nuances will not "turn" well or flow evenly.) Control vibrato. (Without it, your vibrato will be too much, too little, uneven or inappropriately applied.) Control tone color. (Without it, the tone color of your voice will be too "covered", "hooty", "edgy", harsh, numb and boring or just plain wrong for the message. Your choices of tone of voice will be seriously limited, and your voice will sound small and/or unpleasant.) Control articulation. (Without it, you will over-, or more usually, under- pronounce the lyrics. There are differing degrees of articulation appropriate for different genres and tempos and types of lyrics.  Singers must be able to know and apply the proper way to form words for their songs. For instance, blues music is pronounced more slurry.  Hip- hop generally has sharper attacks. Pop is usually articulated clearer. Musical theater diction usually needs to be very crisp, but if you try to use this kind of diction in a pop song you will sound fake. But all songs should be understood, or the connection to the audience is not going to be made well.) Control sibilance. (Without this, recording your vocal can be a nightmare because too much sibilance hurts the listener's ears! And fixing excessive "s" sounds with de-"ss'ers always limits the quality of sound. A related problem is the popping of "p"s and other consonants. You must be able to control your consonants even while you clearly form them.) Control dynamic expression. (Without it, you will over-express and sound fake, under-express and bore the listener out of their minds, or bring too many changing emotional levels to the song to sound authentic and really move the heart of your listener. You have to know how to express the emotion of the lyric like a great actor delivering lines that invite an emotional response to the message.) Control the beginnings and ends of each phrase. (Without it, you will have trouble getting the beginning of the line right. You will drop off the ends of your sentences, robbing the listener of the complete thought. You will also find yourself with a lack of other kinds of control of initiating and ending lines, because you didn't set yourself up properly before entering the phrase or you've dropped your controlling support too early.) Control rhythm. (Without it, you will not be singing with the groove. You will be too early, too late or have inappropriate placement of lyrics via the beat. Again, different genres ask for different places the lyric should fit with the beat, but you have to know what your genre norms are and have the ability to sing with the beat that way. For instance, hip-hop usually has the lyric slightly behind the beat, pop usually right on top of it, gospel and big band "Sinatra" types are flexibly in and around the beat, but you really have to sing with a lot of the masters to get this authentically right.) Control pitch. (Without it, your engineer will have to tune the vocal too much, resulting in a mechanistic, artificial sound. You may be so inconsistent and inaccurate that tuning becomes almost impossible, because the tuner "grabs" the wrong pitch or can't draw the lic well enough to sound natural. Your bended notes may be so far off there is no way to make them sound in tune. Fact: The less you have to tune a vocal, the better. Don't get complacent here and think you can just have your engineer fix it in the mix. You'll be unpleasantly surprised.) Can you think of other types of control issues you've found in the studio? Which of these would you like to know more about? This essay first published September 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

    Talent

    By TMV World Team, in Articles,

    A few weeks ago I talked about the power of 'The Moment's that crucial crossroads in our lives when we're given the reins of opportunity to turn right or left, to rise or fall… those choices that looking back, meant everything. Most of us have had these moments in our professional and personal lives. But I believe that they're also there waiting in a place you might never expect in the formation of talent. Of course, there's no conclusive proof of what makes a musical genius. The debate goes back and forth between some combination of genetics, environment, brain chemistry and practice (10,000 hours of it, according to Malcolm Gladwell). In fact, the only thing experts do agree on is that they're uncertain. I certainly don't claim to have any definitive answers, either. But I would like to share what I've observed in my own practice over the past 13 years: commonalities that have led me to an exciting conclusion about the moment that perhaps -- talent is born. In my experience, brilliant musicians today -- singers and instrumentalists that speak the musical language fluently, intuitively, effortlessly and naturally -- all had initial language-less, non-technical and generally teacher-less experiences. In other words, they approached music's door, and -- finding it open -- walked in silently and usually alone, sat down and made themselves comfortable. In that space, immersed inside of music's house, they observed and played without inhibition, rules or criticism from self or others, and developed their ability as an extension of their soul's own language. Certainly, many of these musicians went on to study technique and to read music, but it wasn't part of their initial experience or engagement. Conversely, I've observed that those who began the study of an instrument or the voice with technical instruction, or as an individual, intellectual pursuit, seemed to master only two rather than three dimensions of proficiency. Yes, they can read music. Yes, they can play songs. But they're not fluent. It doesn't come as naturally to them. They always have to think about it, the way someone who studied French or Spanish in school has to think about and translate from one language into the other before being able to connect. For those scoffing at the idea that how we learn music might be as important as inherent talent, take a look at countries and cultures -- Ireland, African-American churches, the Native American tradition -- that teach and celebrate music as an uninhibited practice. It is astounding and inspiring to observe that most -- if not all -- bravely, comfortably and fluently speak the language of music with powerful, beautiful voices. This is not a function of a greater amount of inherent talent per capita, but rather, a difference in approach toward music and creative pursuits. The initial engagement -- if it wants to demonstrate as inherent rather than practiced, or show a natural ability rather than a learned one-- must bypass the technical, language-oriented, left brain and engage directly and immediately with the creative, right-brain emotional centers. The aforementioned cultures go right to these emotional centers. Our current teaching model turns sharply to the left. None of us can go back and change the way we experienced our initial musical, artistic engagements. But what we can do is to use this wisdom to our advantage as we walk into the world and approach learning, particularly things of a creative nature. Abandon language, judgment, and a sense of time. Ignore the temptation to name and perfect things. When the moment comes, sit in the house of your creative pursuit, make yourself at home, listen and play. 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. To read more from Jennifer, visit http://jenniferhamady.blogspot.com/.

  • TMV World Team

    Vocal Communication

    By TMV World Team, in Articles,

    A client and I were talking about communication yesterday. We were marveling at how seemingly simple conversations sometimes go so wrong, the meaning gets incomprehensibly lost in translation. The language we use is so crucial to communication that I spend an entire chapter of The Art of Singing discussing the many ways that it can help or hinder learning and understanding. On the surface it seems obvious, but in fact it's often an incredible challenge to be certain that what you say is an accurate reflection of what you truly feel and think. More important than the language you choose however, is ascertaining the actual number of people involved in a conversation. It sounds like simple addition, but look closely. When two people are talking, they are not alone. Both bring to the table not only their current, conscious selves, the part of them that hopes and longs for specific things in the specific present, but also the aspects of themselves that have been formed, often unconsciously, by their conditioning and past experiences. If you're not sure what I'm talking about, consider the last important decision you made. See if you can recall the distinct, and likely disparate, messages from your brave and centered self, and your fearful, uncertain self. Recall the part of you that knows who you truly are and where you stand in the world, and the part that is still caught up in less than ideal thoughts and patterns from long ago. Two people are talking, but four entities are communicating and reacting to what is being said (and not said), each with their own very distinct agenda. No wonder things get so confusing! In singing it's even more complicated, as there are actually three energies wrestling for the spotlight when a single person steps up to the microphone: the present-day person, the collection of that person's past pains, fears and experiences, and the voice. Certainly singing is about the physical instrument, and its development, so training is obviously important. But the voice is only one aspect of the entity that is The Singer. Truly effective vocal training, if it wants to be holistically integrated with long-term results, cannot only be about isolated technical development. It must also involve and listen to the hopes and dreams of the person actually standing before you, as well as the fears and issues that oftentimes push that person both forward and back. It's a powerful lesson for all of us; we must become aware of every message we're sending out as well as hearing, giving space to each aspect of ourselves and others. When all of who we are feels acknowledged, listened to and understood, communication -- and learning -- is effortless. This essay first published June 27, 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've been having a wonderful conversation with my friend and colleague Kate Sawert about confidence and competition. The struggle to both attain and maintain the former and the dual-edge sword of motivation and isolation that the latter bears. In sitting down today to share some of what we've learned and discovered together, I was struck by the overlap of many ideas I've had for future blogs, as well as themes from my past ones. The topics vary, but a fundamental issue binds them together. That issue is scarcity-based thinking: a mentality that says there's a limited amount of time, money and love to go around. A belief that there's a restricted amount of opportunity, talent, success and power in the world and that life is a game of chasing, rather than creating, of reacting rather than enacting. A mindset and that there is no such thing as too good to be true-- that indeed something's always gotta give. In my studio, this way of thinking presents itself in what I call the either/or mentality. The choice that seems to be made between concentration and joy; consciously understanding and intuitively knowing; technique and abandon and between thinking and singing. I see musical geniuses refusing to attempt to develop their technical minds for fear of somehow detracting from their creative gifts. Conservatory-trained singers clinging to their technical understanding of music, rather than considering that an entirely new way of experiencing and sharing that sacred language might exist. This scarcity dance is not only performed by singers and musicians, but by all of us. It's in the water. It's our second National Anthem, and we start drinking the Kool-Aid and singing along when we're very young: Are you a real man, or a pansy? Are you going to be spiritually or financially fulfilled? Are you a professional or an artist? Are you successful or a dreamer? What one thing are you? For women, the choice we're asked to make at a very early age is whether we're smart or pretty. Logically, we know, as we get older that we can be both. Intellectually, we're aware of the mind-tricks of the media and society. Publicly, we encourage each other to be both, demand recognition of both, and adore both in ourselves. But in our quiet moments, in the center of our beings, most of us are still stuck clinging to the one that we chose long ago to root our confidence, while aching for, and envying in others, the one we're certain we lack. A corporate client and I were exploring this issue a couple of weeks ago. A beautiful, feminine, classy woman, she had worked her way up the ranks and taken over the top role in her firm. She had done this all while raising a family, going to graduate school, starting a charitable organization, sitting on five corporate boards and happily and meaningfully partnering with her husband of 25 years. Still, she struggles with simultaneously wanting to enjoy her sensuality and femininity, and feeling guilty for what have always been and continue to be constant hindrances in the workplace. Struggles with the opposing desires of wanting to be sexy and feminine, and respected, admired and needed. We can put a person on the moon. We can create symphonies of the most beautiful music. We can cure disease, graft skin, clone animals why have we yet to cure the world and ourselves of the ridiculous notion of scarcity? Contrary to the fear-filled, power-hoarding voices that tell us we need to divide and conquer the best of what we are, the world -- and we -- are temples of abundance that only find peace in a state of balance. We are yin and yang, dark and light. Without one, the entire system falls. Imagine it. Women feeling smart and sexy, demanding respect for both aspects of themselves from themselves and others. Men as comfortable with their emotional sides as their masculinity, and the educational and cultural systems finally holding accountable the schoolyard bullies and those that raise them. Young adults, who seek economic and spiritual enlightenment, who become artists in any and every profession. Being technically flawless and vocally liberated. That would be one giant leap for mankind. This essay first published April 28, 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.  To read more from Jennifer,visit: http://www.jenniferhamady.com/.

  • TMV World Team

    Dreams and Success

    By TMV World Team, in Articles,

    My friend Rachel Kice has been writing about dreams recently. Dreams and success. And how you know when or whether you've achieved them. I've always loved to ask people, Would you feel more successful and proud of your work if you had $10 million in the bank from doing it What is the real measure of success, of talent? Money? Recognition? The way you feel when you create or share it? The number of people you impact, or how deeply you affect each one? This exercise doesn't work for my successful clients, because they already have $10 million in the bank. So to them, I ask, What is it that you long for?' Their answers vary, but generally they either speak of a previous time or a faraway place: where life is simpler, more anonymous, better. To sum up: Dreamers long for success. And successful people long to dream. Both long to find happiness that often seems to elude them. Were any of us to wake up with $10 million (or alone in a remote cabin with no press or media), we'd spend a few months blissfully doing all the things we dream of doing when dreaming of success or freedom. But after the euphoria wears off, after the hundredth sunset, you build a fire, pour yourself a glass of wine and dream of... what?? Whatever it is, that is your happiness. This imagining tends to be very hard for people, because often what we see ourselves doing in that moment isn't what we've spent our time, energy, money and education focusing on. What we told everyone we would do, what everyone expects us to do. What we built a career around, what brings us security and stability. But that's life. People change. We learn, we grow, and therefore, we naturally start to dream different things. Until we stop ourselves from dreaming different things, or from dreaming in different ways. The angst I see in my superstars and almost-superstars, isn't caused by the elusiveness of dreams or success. It's caused by a lack of bravery, by stubbornness that holds onto a dream or success that no longer fulfills. By fear and insecurity that cling to the poor management of a dream at the expense of success and joy. By the decision to stop listening to the voices that whisper, We came, we saw, we learned: Where to now??? Modern culture in many ways tells us that we have no right to more than one dream. We believe that success means to make a choice, pay your dues, collect your proverbial pension, and remain. But don't forget that once upon a time, our lowly Jack-of-all-trades was considered a Renaissance man, back when families gathered around a piano rather than a television. Turn down the noise. Listen to what your heart now longs for and dreams of and follow it at all costs with wisdom and reverence. Listen to what your soul believes it means to be successful. Then become it, every day, no matter what anyone else says or thinks. Happiness will be there waiting. This essay first published April 13, 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.  To read more from Jennifer, visit: http://jenniferhamady.blogspot.com/.

  • TMV World Team

    Lunch with Myra

    By TMV World Team, in Articles,

    This past weekend, I had lunch in Washington, D.C. with my voice teacher from college, Myra Tate. Much more than a voice teacher, Myra helped me, after two years of rigid, top-down conservatory training, to regain my vocal and personal confidence.
    While a long lunch wasn't enough time after 13 years apart, we caught up, shared our experiences and discovered new insights together. Here's some of the precious dust from the surface we scratched together:
    Stay Positive I've always felt that Myra never got the credit she deserved for her incredible talents. Yet every time I would go there-- in an effort to compliment her -- she'd thank me and move on to the things she was currently working on and dreaming about. She reminded me in those moments that you never learn anything by criticizing others and that frustration is never the best way forward. Both take time away from new thoughts, ideas and creativity. Don't Sugar Coat the Past In recalling a rather personal story, Myra reflected that she could have done a better job than she did. I found myself quick with advice on self-forgiveness, You didn't know then what you know now, ideas and the like. Myra simply smiled and reminded me that it's OK to see the past for what it is. Peace comes when you accept yourself fully -- mistakes and al l-- learn the lessons and move forward. Check Your Personal Baggage and Pre-conceived Notions at the Door emotional, intellectual, vocal and otherwise. We had a great time talking about the incredible leaps in our students when we've been able to be completely blank. It's only then that we really hear what someone is sharing and asking of us and are therefore better able to be there for them. Vocal Baggage This is particularly true when it comes to the voice. Not only do we all experience singing in a unique way, everyone has his or her own best way of communicating about that experience. It's important to listen to and learn each person's vocal language (verbal and non-verbal), rather than jump in with our own ideas, language and beliefs. While helpful for some, words like high and low and discussing the separate head and chest voices can create a great amount of physical tension for many people. Better to lead by first listening. You Are What You Eat Eating clean foods make for a clean body, which make for clear thinking. Why create more hurdles in life by giving your body and mind less than the best fuel available? Respect and honor yourself. The Four Agreements A discussion of Miguel Ruiz's book gave us both a smile and a shake of the head in amazement. They really are an incredible foundation for a great life: Don't make assumptions Always do your best Be impeccable with your word Don't take anything personally Over dessert, the conversation migrated from a mutual sharing, to Myra asking my opinion on client issues and technical vocal matters. I found myself feeling incredibly flattered my teacher asking for my advice!
     And then it occurred to me: In one swift, gasp-inspiring Aha! moment on my drive back to New York that is what a great teacher does. Even all of these years later, Myra was still teaching me, just as she taught me years ago in college, just as her memory and ideas continued to teach me over the years: by listening, by empowering by encouraging new ideas. She allowed me to be her student once again during lunch, then gently encouraged and humbly allowed me to return to the teacher I'd become. This essay first published April 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 had a wonderful conversation with a client the other day about generosity: both the ability to be generous and to be able to do so selflessly, with no thought to receiving something in return, with no regard for the potential of being taken advantage of. I experience this conversation, and the same general reaction, Huh? to my views often in my studio. There is always a surprise at my desire and even determination to give. There is always a wonder at the idea that giving might not be contingent upon some proof by the receiver that he or she will indeed be grateful and/or will do something of equal measure in return. In an attempt at an explanation, I ask my curious clients this question: How can limits be overstepped, how can lines be crossed, if boundaries haven't been drawn? Further, if invasions of privacy and constant giving are anticipated and seen as opportunities to share, connect and help, to love and improve the life of another through kindness -- if nothing else -- then how could these generous actions be anything but positive for everyone involved? For those that see this argument as unbearably Pollyanna-like, I assure you that the benefits are applicable to both receiver and giver. When I allow myself in the quietness of my smaller moments to dwell on the technicalities of my schedule or fees -- the practicality of my practice and career -- both my mind and practice inevitably become smaller.  How can great, free and brave ideas be born from time-bound thinking that revolves around details of budget, schedules, income and to-do lists? Further, being willing to give constantly keeps my mind and heart open, which greatly improves my own life, relationships and self. While many would insist that I am opening and propping wide a very dangerous door, I have never once felt overwhelmed from this way of thinking and being; in fact, exhaustion comes only when I try to compartmentalize, separate and isolate myself for fear of being taken advantage of. I'm not sure why the horse is before the cart for me on this issue; certainly there are other areas in my life where the reverse is true. But, in terms of lending books, being flexible with session length and fees, and being available at all times to clients by phone, text and email, I find that this openness is not something that is ever taken advantage of, but instead, renews the faith of and faith in people, and in turn, breeds like kindness. While many would disagree, I truly believe in Carl Rogers' notion that all people are inherently good; we all strive for balance, openness and interconnectedness. Those that seem to contradict this adage -- upon a closer look -- often have experienced a great lack of kindness, generosity and indeed, love in their lifetimes. Like physical injury, emotional scars take years to heal, and often, if the insults are repeated, never do. If however, an environment can be fostered where people are unconditionally and constantly given kindness, trust, warmth and the benefit of the doubt, not only do they grow both personally and vocally, but the world -- and the views of those in it -- begins to shift from a place of seeming scarcity (of time, money, trust, talent and love) to one of abundance. Rogers' 'unconditional positive regard' is indeed a universal medicine that can heal a million wounds. This essay first published March 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
    Recently, I've been getting emails about the best way to care for pre-nodules and other vocal pathology issues. Obviously, the best first step is to go to an otolaryngologist (ear, nose and throat doctor) who can look at your vocal folds directly to see exactly what the problem is. (If you're in New York, Dr. Benjamin Asher -- a TMV member -- is excellent!) With that said, here are some helpful tips, for both before you see the doctor, and after your visit: First, not everything is a nodule or a pre-nodule. Nodules, or calluses, on the vocal folds- are caused by prolonged vocal misuse or strain. Polyps on the other hand, are watery sacs often caused from a single, powerful vocal blowout. Hemorrhaging is a similar situation resulting from the bursting of a blood vessel in the vocal fold. Treatment for these two issues often differ, but a great first step regardless of the problem is vocal rest until you have the chance to visit your doctor. Many singers assume that singing is the cause of most or all vocal fold injury and problems. While this is true in many instances, in fact, there are two other important issues to also consider: Acid Reflux, as you may know, causes the stomach acid to come back up through the esophageal sphincter and into the larynx, reddening and swelling the area around the vocal chords. Unlike indigestion, many people don't feel reflux, only the symptoms of it: itchy throat, hoarse voice (especially in the morning) and an inability to 'clear the chords'. These 'vocal problems' cause singers to overcompensate by working harder to produce sound, often in unhealthy ways, through 'thick' chords.While not necessarily the direct culprit in the creation of vocal nodules, polyps and other vocal issues, reflux can certainly exacerbate problems. Obviously there are some purely physical and biological causes of reflux (eating too late, intense exercise after eating, going to bed on a full stomach, too much caffeine or eating spicy and other acidic foods, as well as hormone treatment therapies and birth control pills, which loosen the sphincter), but in my experience, anxiety and acid reflux usually go hand in hand; I've met very few calm, centered people with this issue. If indeed pre-nodules exist, complete vocal rest for two weeks is a good start to treatment if you want to avoid making them worse (which you do!). While this will help, and sometimes even get rid of the pre-nodules, rest won't take care of what caused the problem. While pushing, straining and other forms of improper use of the singing voice are common causes of nodules and other vocal issues, the improper use of the speaking voice often creates a host of problems as well and is an issue which needs to be addressed once the vocal folds and vocal tract are both back to normal. Evidence of improper use may not be as aurally obvious in the speaking voice, but a disconnect from breath support caused by tension or stress (muscular and skeletal manifesting in the vocal) and unexpressed emotions or difficulty expressing emotion can be huge contributors to what seem to be singing issues. Often singers are diligent about their voices, overlooking the myriad external influences, tensions and stress and that are affecting their vocal mechanism. Make sure to take a few steps back for a broader view of the situation. As well, remember that vocal fold problems are rare; they're not the result of normal, powerful and even prolonged, healthy practice or training. In fact, favoring your voice, going easy on it for fear of causing damage, may often cause more problems than singing in a full, confident and comfortable voice. Fear tends to cause not only muscular tension, but may cause singers to pull off their air” thereby restricting the vocal tract and putting undue pressure on the vocal chords. This essay first published March 19, 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
    Hi, I thought you might be interested in this new guide for singers of all abilities. It can be used as you own guide to become a professional singer or even as a teaching aid for others. If you want to sing and/or make it in the music business then you cannot afford to miss out!
    The book is 'How to be a Pop Sensation' by internationally recognised voice coach Pete Moody and the website for more information is http://www.makemeapopstar.com
    Visit the links below (or why not carry out your own search on the internet) to find out what other people are saying about this book.
    Teachers & Organisations please email ultimateguide@makemeapopstar.com for details on bulk sales or recommendation based commission.
    Warm Regards
    Sensation Web Team
    'HOW TO BE A POP SENSATION - The Ultimate Guide For Vocalists' by Pete Moody
    Published in the UK by Gibson Publishing ISBN 9780956710116
    Recommended by www.xfactorliveusa.com
    Read Reviews on Amazon.co.uk: http://www.amazon.co.uk/product-reviews/0956710115/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1
    Internationally Recognised Voice Coach

  • TMV World Team
    At The Vocalist Studio, we don't warm up our voice, more accurately, we warm up to get into our singing voices.
    The physiology of the speaking voice vs. that of the singing voice
    The Singing Voice vs. The Speaking Voice If vocalists want to achieve a profound increase in range and enjoy overtones with absolute physical freedom from gripping and inefficient physical ticks, the modern vocalist must learn how to get into his/her "singing voice" and get out of the speaking voice. The speaking voice and all the bodily responses that produce speech are not a platform for producing the singing voice.
    When a singer lacks the knowledge and practice of a legitimate voice technique, the brain will send creative commands from the right brain that cannot be effectively executed because there simply is no learned behavior or coordinated muscle memory responses developed to drive the singing voice. When this happens, an internal battle between the well-intended right brain signals and untrained, physical limitations of the body are out of synch. Yet the show must go on and the body must respond, so it does so by hurling the speaking voice at complex melodic ideas that require the muscles, normally facilitated for speech, to respond in an extraordinary way, it is not designed to do. This is an approach that is inevitably doomed.
    The evolution of the human singing voice
    Consider this perspective. The human larynx did evolve to produce speech, but it did not evolve to be able to produce vocal overtones of great volumes, definitive of a singing voice. Unlike animals born to produce vocal overtones, such as whales and birds, the ability to produce powerful vocal overtones and project our communications to great distances, were never critical to the survival of the human race. We don't need to know how to sing to survive, or to feed and breed, like other animals. The point is that students of singing must spend a lot of energy training to facilitate the physics that will transform their bodies into wind instruments that can produce vocal overtones. To be sure, the process of learning how to sing and the experience of teaching people how to sing is an abstract endeavor. However, with practice and physical workouts, the body can be trained to produce the most beautiful and effective overtones of all the animals on Earth and transform a mechanism facilitated for speech, into a system that is the most beautiful instrument of all. It is widely agreed by musicologists and music lovers of all points of reference that the human singing voice, when properly aligned, is the most beautiful and most versatile instrument of all, capable of producing athletic feats that no other musical instrument can.
    Summary
    The singing voice and the speaking voice are two very different kinds of vocal systems. The speaking voice and all the physical attributes involved in producing speech are not going to drive the singing voice and support modern vocal applications. Getting into your singing voice is an abstract art form and therefore, in order to train a modern vocalist, we must work to develop new muscle memory responses and increase muscular strength in key areas of the larynx to transform a vocal system, evolved to facilitate speech, into a system that can sing.
    This essay first published November 27, 2008 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
    About Semi-Occluded Workouts Vs. Vocal Warm ups
    This article is about a specific kind of vocal warm up exercises. These kinds of workouts are called semi-occluded vocal tract postures. They are popular with singing techniques and with voice therapists. Their purpose are three-fold, as I have come to know them at The Vocalist Studio:
    Create More Efficient Phonation And Balance
    They balance the sub-glottal and super-glottal air pressure (above and below) the vocal folds and thus help the singer to create more efficient phonation and balance with the increased velocity of air required for singing. Inherently, speech vocal mode is not efficient compared to phonations used in singing, so the semi-occluded vocal tract exercises increase the efficiency of the relationship between the singer's respiration and vocal folds.
    Seamless Passage From Lower - To Higher Vocal Registers
    Semi-occluded vocal tract exercises establish a resonant track. They help the singer to get into a seamless passage through the vocal bridges (breaks), thus preparing the voice for good bridging from the lower vocal registers to the higher registers, namely, (chest to head voice).
    Lift The Voice Into Healthy "Top Down Phonation"
    They lift the voice out of what we call at The Vocalist Studio, bottom-up phonation into more healthy and successful top-down phonation. It excites the resonators (mouth, nose, sinuses), gets the overtone production placed in the mask and removes throaty singing.
    Summary
     
     
     
    This essay first published December 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.
     
     


×
×
  • Create New...