TMV World Team

Upcoming SPOTLIGHT VIDEOS in the following weeks : ~~~~~~~~~~~~~~~~~~~~ I welcome the input of ALL of our members. If you feel that one of our members' videos qualify for a SPOTLIGHT VIDEO, feel free to contact me! Note: To qualify for a Spotlight Video the video MUST be live. Either onstage, in the studio, videos with backing tracks, or videos that contain "instructional material" (i.e. instructional videos by our coaches, Subject Matter Experts {SME's}, etc.). The easiest way to view all of our members videos is to scroll down to Featured Videos (on the Social Home Page, of course), then in the lower right-hand corner click on >> View All. You can also view video submissions via the TMV World Forum. The videos are typically in the Review and Critique My Singing section. Of course, you must sign up for the forum as well. To view PAST Spotlighted videos, click on my Article >> The Modern Vocalist Spotlight Videos, which can be found under Articles and Essay. Again, this is an invitation to encourage our membership to become more involved in TMV World, AND, to view the many astounding videos that have been submitted by our members !!! Of course, I encourage YOU, our valued member, to submit YOUR video(s)! (Updated 19 October 2014) Warmest Regards, Adolph Adolph C. Namlik Executive Director ~ The Modern Vocalist World chief188@hughes.net

To my knowledge, the majority of people love to sing. Even those who cannot sing and others who can and have a perfectly good full-time job and respected Singing. profession, would drop all of it without any hesitation in the nick of time to make their living doing what they love the most So let's say, out of 90% of people who would do the above, only 1% or 2% realize their dream. We all know that it is extremely difficult to succeed in the music business and make a living out of it; however, it is not impossible. If the person has the true music talent, good voice, positive attitude and the vision of their future success, they could do it. However, they have to understand that with all of the prerequisites described above, if they don't possess the right vocal technique, they may ruin their precious voice right before succeeding in their vocal performance career. A lot of Ballet Dancers and Figure Skaters also initially possess their talent for their fields. Mikhail Baryshnikov, one of the best Russian dancers of all time, would not become the greatest well-known dancer if he did not attend the prestigious Vaganova Ballet Academy of St. Peterborough(a.k.a., Leningrad). He has learned the best techniques available to him and, combined with his enormous talent, he became a very famous and very well-known dancer.However, http://www.youtube.com/watch?v=XOAFsU2kWPw However, in the singing field, it is presumed that the talent for music and singing is enough to embark on a successful vocal performance career. And strangely enough, sometimes it is enough; but what happens later could turn into complete tragedy. In the midst of the, seem to be successful career, tours, performances, recordings and etc, the precious voice suddenly gives out and sometimes disappears altogether. So the contracts are signed, the record deal is executed, but the singer cannot produce what was expected from him/her. Look at the British singer – Adele, who ended up with bleeding polyps on her vocal cords. Obviously, the vocal cords were overused and over-abused and, in my opinion, it has happened due to the poor vocal technique. Great girl, beautiful personality, enormous musical and song writing talent, but the lack of the knowledge of proper voice application nearly killed her career and her health. I'm sure, my reader that you would agree with me that, after that polyp removal operation, Adele never sounded the same, and clearly to me, sounded very timid and very scared. So these are my tips: Do not ever embark on any singing unless you know how to power your voice efficiently and with no pain or strain on your vocal anatomy. I don't think that somebody like Patrick Chan would embark on jumping a triple axle or quad without knowing, in details, and first in theory, how to execute it properly without breaking any parts of his anatomy. So whether you are a beginner or a professional singer, you still need to know what you are doing and learn all the secrets of your trade, if you want to avoid a great disappointment and even a loss of your singing career all together. In my next blog, (Part 2), I will talk more about the actual vocal technique which should be applied at all given times when the person opens up their mouth to sing and, of course, to speak, as the wrong application of a speaking voice could easily kill the singing voice. But I will talk about that in the next blog to come.

John Scott and I began an email discussion about proper breathing and how to properly teach proper breathing. We thought you would all benefit from a more public discussion. Please join us! Diaphragmatic breathing is a natural function of the body. It works perfectly under perfect circumstances and can be trained to function perfectly under less-than-perfect circumstances. We begin life with a perfectly functioning voice. The human body, barring congenital defect or system-altering accident, is a perfect vocal instrument from the moment of birth. As all parents know, an infant can coo, cry, babble and scream all night long without vocal fatigue, hoarseness or strain. Watch a sleeping infant to see the ribcage open and contract, the belly rise and fall as the baby naturally breathes diaphragmatically. Infants and young children have perfect, erect posture that allows the voice to function naturally with no muscular tension. The absence of vocal strain testifies to a naturally functioning instrument. Are you with me so far? None of the bad postural habits and tensions have taken up residence in a young child's body. Perfect alignment leaves the child's instrument relaxed and open and therefore, free to produce sound with ease. So the first step in returning to proper diaphragmatic breathing is to align the spine. Then the instrument has at least a chance of returning to natural function. I use one specific exercise, the candle exercise, to train diaphragmatic breathing to become a habit. Take a look in the mirror. What does your posture look like? Is your instrument in good alignment? I'm always asked if breathing should be in and up or down and out. Meaning does the abdomen pull in and up or push down and out as you are making sound. My answer to that is, Yes. Because what you really want is the body to be responding to the need to move breath while creating sound. Keep in mind for this discussion that your diaphragm, located inside the ribcage, is responsible for the inhale. Diaphragm drops to create space for fresh air. The abdominal muscles are responsible for the exhale, supporting the diaphragm in the process. The body will respond to most anything you ask of it, within reason. When you need to blow out a candle, you take a simple inhale and blow air directly at the candle. Did you need to think about diaphragmatic breathing to get the candle to go out? Try it right now. Candle exercises exploit the natural action of blowing out a candle by repeating it at a steady rhythm to make diaphragmatic breathing a habit to convince mind and body that diaphragmatic breathing can be simple and efficient. With consistent practice of the Candle Exercise, diaphragmatic breathing becomes a reliable habit. Your thumb becomes the candle. Hold it mid-chest about 6 from your body. With head on top of shoulders, blow the candle out with 3 short blasts of air, releasing the jaw in between each blast. Watch in a mirror to ensure that the shoulders stay still and your body stays aligned. How does it work for you? Give the candle exercise a try and join in this discussion.

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 (sigh). 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, 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 = higher pitches, a fatter string and longer length gives slower vibrations = 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. Until next time, Jeannie Deva www.JeannieDeva.com c. 2009 All Rights Reserved Jeannie Deva, celebrity vocal coach on House of Carters Reality Show on E! Entertainment TV, and Idol Chat on TV Guide Station is an international vocalist, teacher of voice teachers, recording session vocal specialist, and author. She is the innovator of The Deva Method, founder of Jeannie Deva Voice Studios and author of the internationally acclaimed book and CD series: The Contemporary Vocalist. With a network of teachers certified in her method, clients include singers on labels such as MCA, Sony and CBS, and include Grammy Award Winners, Nominee Harriet Schock, Magic Dick and J. Geils, members from the J. Geils band, Foghat, the International Touring cast of Fame, Wicked, Lion King and Broadway's Grease, along with singers for Elton John, Stevie Wonder, Celine Dion, Julio Iglesias. Jeannie's private voice studio is located in Los Angeles, California and she teaches singers across the globe via web cam online. For information on services, Deva Method studio locations or voice enhancement products by Jeannie Deva: www.JeannieDeva.com

Here is a little essay from my training system, The Four Pillars of Singing... THE SINGING VOICE vs. the speaking voice At The Vocalist Studio, we don't warm up our voices, more accurately, we warm up to get into our singing voices. 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 is 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 can not 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 one 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. 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 thier 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 work outs, 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.

The Royans Professional Vocal School, (a.k.a, The Royans School For The Musical Performing Arts), has been in existence for over 30 years now. We opened it on February 15th, 1984 as The Children's School Of Music. But then, several years later, it suddenly turned into the Adult School of Music with only a few children on our roaster. In 1987, it, literally, turned into an adult Rock School. We had a galore of rock bands, consisting of guitar, bass guitar and drum players. All of them desperately wanted to learn how to sing, as singing is truly a good asset for a band musician to have, and it also makes them much more marketable for that matter. Now we had Big Children in our roster, so to speak. And truly, when I was pulling out those voices that were often stuck in novice, (and not so novice) singers throats, necks and shoulders, the little boy or girl would practically appear in front of my very eyes, figuratively speaking, of course. Interestingly enough, some of them could not walk and chew the gum at the same time, and thus were experiencing difficulties with taking the instructions. I could always rightfully guess if, in their childhood, they were actually taking any classes like Ballet, Gymnastics, Figure Skating, etc. Those who did, were by far more coordinated, more focused, and could connect the mental visualization with their motor skills. The Vocal Science Technique requires the integration and synergy between mental, physical, emotional and vocal components. All of our speech and singing exercises are coupled with certain moves, which help with the alignment between the subconscious mind, conscious mind, physical body and the voice as an aimed outcome. If the child, or now the adult for that matter, have been accustomed to think and act simultaneously and already have had a good prerequisite with respect of connecting their thoughts, (with the speed of a bullet, nevertheless), with their physical movements, independently of their vocal abilities; they would be ahead of those who have not been trained with extra curriculum, and thus would not be able to follow the instructions with the same flying colors. The moral of it is: Give your child all possible opportunities to develop their mental and physical abilities to the max. Singing lessons in Toronto, or anywhere for that matter, and at any age would be the perfect tool to achieve the above. Keep them busy, keep them safe and keep them out of trouble. They will thank you when they enter adulthood.

REALIZE REVIEW RELIEF RE-BUILD More and more people seem to be suffering from one or another cause of vocal damage. There are different symptoms and, of course, different causes. So the very first stage for the person with some kind of voice issue is to "Realize" that it is actually present. Something definitely changed in their voice quality, speaking and/or singing. In the majority of cases the voice became raspy and hoarse, flat and dull. However, some people are totally in denial of it. Nevertheless, they feel a change in their voice quality anddelivery, but they would not admit it even to themselves. Then comes the time when the sufferers start self-analysis and begin to "Review" and analyze when and how the voice started subsiding and disappearing on them. Next stage, they are looking for the "Relief" of their voice condition, as sometimes they have pain and discomfort in their throat, pain in their neck and shoulders, gastric acid reflux up their throat, as their voice has been drawn so low in its position that it meets gastric acid and the vocal cords could easily get burned quite significantly. So the latter is the main part, as the person with all the symptoms actually has to find the cause of these conditions in order to outline the best course of action on how to approach their treatment. Once the cause is established, hopefully the cure will be on its way. Now the affected person has to choose the least invasive and the most productive course of action towards their condition. Some people want a magic pill, others run to get their polyps or nodules removed quickly, but some (with most analytical minds) will do a heavy duty research, will first choose a non-surgical approach to their voice disorder. There is a saying, Good things come to those who wait. It is true, but don't wait forever, and stay in balance, as, if you are waiting too, too, long towards fixing your voice condition, it also might be too late to do it non-surgically and non-invasively. So now, after heavy duty research and studying, begin to "Re-build" your speaking and/or singing voice. Learn the right application of your voice and acquire a wholesome mechanism, so to speak, which will allow your voice to work in the fullest capacity possible, but with no pain or strain on your vocal anatomy. Utilize your facial and abdominal muscles and use them generously to produce the sound. In this instance, your vocal box will be released from the pressure of the sound and thus be resting most of the time preserving your vocal anatomy for your lifetime. All of the above is quite simple, but not easy at all. One of my clients exclaimed. Indeed!!!

Vocal Damage: Bad Vocal Habits Backfire Adapt and Embrace a New Modality of a New Vocal Behaviour Nowadays, a lot of singers are susceptible to a variety of vocal disorders. That happens because in the first place they never owned the right vocal technique, the kind which would prosper their voice to the fullest capacity possible; and at the same time it would save and protect their voice for life. The result Voice Disorder. Now the process of restoration of one's voice begins. A lot of those students, who were really very good students, have learned the wrong technique really well and formed it into their vocal habits. Not only do we have to fix their vocal instrument, so to speak, but also have to get rid of bad habits, like: dropping their jaws down, sticking their stomach out, scooping and sitting under the notes, excessively using their nasal passages, or their very throaty sounds. It's easier said than done, though. Those habits are usually deeply embedded in the person's psyche and the body muscles, which are also retaining the memory. Now we have to re-teach the body and the brain to feel differently, and rather than interfere with the voice, help the voice to be supported, structured, placed and projected to its aimed destination. The lower abdominal muscles have to be conditioned to be tucked in for the greater support of the height of the sound. The upper diaphragm muscles have to learn to work on the principle of an accordion, so to speak. The singer has to be able to access the length of the phrase coming and open the upper diaphragm muscles accordingly. (No pun intended). If the phrase is short, but the upper diaphragm open to the fullest, it will backfire, as the singer will not be able to close the diaphragm back in, and instead will end up working with the old air, the result of which, quite possibly, would produce hyper-ventilation, which in turn could cause shortness of breath, dizziness, heart palpitation, and deprivation of oxygen, altogether. Al those symptoms could be completely deadly to the human body, and may not only damage the voice, but could become literally fatal. So the wrong singing business could be more dangerous than anybody could anticipate. Therefore, it is a must for anybody who attempts any singing (even at the karaoke) to know what they're doing vocally. You will not visualize a figure-skater who attempts to jump a triple-axle without a very specific training, as this, too, could result in a great injury. So please do not attempt to do any vocal scapades unless you know predominantly what the result would be. Thus, you would be able to prevent any vocal injury occurrence.

It's every singers worst nightmare. Can you imagine performing in front of a crowd and right at the climax of the song you know that money-note in the Chorus and your voice cracks? Ok, let's not go there. But the truth is, this is a very common source of frustration for singers. The dreaded Vocal Break. Or the part of your voice that cracks/flips/changes gears into a horribly weak and thin sound. The part of the voice where you lose connection. What many singers don't realize is that there are common technical mistakes that almost every singer is making that causes this sudden break/flip in the voice. When these mistakes are understood, it is the first very important step towards fixing the problem. Do you want to have the confidence to know that every time you get up to perform that you're going to nail those money-notes and wow your audience? This confidence comes from knowing what mistakes you're making and then employing the correct tactics to fix them. Below are what I've found in my experience as a Singer trying to overcome my vocal break and as a Vocal Coach helping countless others overcome theirs, the Top 4 mistakes that cause singers to crack and some simple tactics to overcome them. Mistake #1: Pulling chest voice up Most singers, especially those without formal singing training, approach high notes trying to push their chest voice further and further up in their range. This only causes a thickening of the vocal cords which adds pressure continually. Once the pressure is too much, the voice explodes or breaks causing the cords to thin out and therefore the resulting weaker sound. Tip: Whenever you start to feel yourself straining up for higher notes, STOP. Instead let your voice go where it wants to go naturally even if it initially sounds a little weak in your ears. Doing this will allow what you perceive as the weaker part of the voice to strengthen without adding constriction and closure to your throat. Remember that straining and tension will never help you sing as tense muscles absorbs your sound Mistake #2: Singing on the throat The second mistake pertains to resonance. Most singers will break dramatically because they are not placing their voice higher in the mask (behind the nose). As a result their sound does not travel forward as it should but stays stuck in the throat. This causes a dramatic crack in the voice because once again tension builds, causing constriction and limiting the voice to move freely through the vocal break Tip: Rather than rely on the small muscles in your throat and put pressure on them train your larger abdominal and diaphragmatic muscles and sing with support. Practice low breathing that sees the abdomen fill up like a balloon and the expansion of the ribs when inhaling. This will adequate breath support will free up your throat and allow your voice to freely move between registers (Check out my video on how to employ correct breathing technique to help you further) Mistake #3: Singing too heavily in their low-mid range A common habit that singers have is that in order to compensate for what they perceive as a weak high voice, they tend to belt out their low notes with gusto all the time! This means that they are unknowingly creating a greater chasm between their low chest voice notes and their high head voice notes, accentuating and reinforcing the vocal break Tip: Singing lighter in the chest range so that you can even out the sound between the two vocal registers. Practice descending arpeggio scales that start from your head voice range and come down into your chest range. As you come down try to keep the sound as even as possible (Here's another video with a specific exercise to help you further with this one) Mistake #4: Singing too lightly and breathy in their high range The opposite problem to the above mistake is that singers sing way too lightly and breathy in their higher range. Rather than singing with a forward sounding, bell-like tone, it becomes an unsupported and somewhat weak falsetto. This of course accentuates the vocal break more because there is too much difference in the sound compared to your solid chest notes Tip: Strengthen your head voice and aim to develop a fully resonating bell-like sound in your upper ranges. (And here's a video with some exercises to help you further) Understanding the mistakes we make is the first step towards improvement and progress. Next time you sing and you find yourself breaking drastically ask yourself Which of these 4 mistakes am I making? then apply the Tip to overcome it. If you fail the first time, keep trying. The key is to diagnose your problem (i.e. understand the mistake you're making) and then remedy it by using the correct tactic to overcome it. What tips do you have to share with the singing community about avoiding cracks in your voice? Please share them in the comments below. For more helpful tips and video tutorials or to enquire about Skype/In-Person Singing Lessons with me, drop by at www.thesongbirdtree.com

As I began working to develop the Intrinsic Anchoring set in TVS pedagogy, something very profound began to be revealed to me. Perhaps this conclusion has been made by generations of great voice teachers through the ages, I suppose it has, but I discovered this on my own path as I often do. The big revelation was that the female singing voice is in need or benefits from larynx dampening or intrinsic anchoring, possibly more than the male voice. The Benefit Of Intrinsic Anchoring to Female Vocalists Intrinsic Anchoring is so important to producing an amazing vocal tone that I have to emphasize again that both genders must learn to engage it. However, because of the physiological differences between male and female vocal tracts, I have to admit and feel it is my duty to inform the fairer sex that without intrinsic anchoring, you run a high risk of sounding either like a choral girl or too screechy on your belts and head tones. A Crucial Difference Between Male- And Female Singers Though it is not preferred, men can sing without laryngeal dumping when belting. The resulting tone quality will sound splatty, but if that is what they chose for the moment, it is ok. This sound seems to be marginally acceptable in heavy metal, but not so much in other genres. For women, there is not choice in my view. Women simply must engage intrinsic anchoring well into their low belts, maintain through the Passaggio and into the head voice. The laryngeal dumping of the intrinsic anchoring set is the main issue here. Women need to increase the resonant space in their vocal tracts slightly more than men do, and lower in their ranges. Women, they should begin applying the intrinsic anchoring set early on into their belts, approximately around E4, but this is not a hard fast rule. It seems that women should begin intrinsic anchoring about the same time men begin bridging into their head voices. How Female Vocalists Can Stand Out From The Crowd But there is good news as well; women who learn to master intrinsic anchoring will stand out in a crowded world of screechy and windy female singing. Do you want to really capture the imagination of your audience and absolutely differentiate yourself from all others? Do you want to amaze the audience, making them remember you long after they go home? Do you want to be the talk of the town? Master intrinsic anchoring and change your phonations from being windy, choral sounds or screechy quacking, to rounded, boomy, formants that have color and depth. People will absolutely love your voice and you will be making a world-class sound that a very few women ever have the opportunity to grasp, train and enjoy. To learn how to stop singing with a windy choral sound or quacking like a schreeking duck, contact The Vocalist Studio. We have developed a set of specific techniques for the female singing voice that are benefitting women that cannot be found at any other schools of singing. We look forward to hearing from you. Photos from The Voice Foundation Symposium - 2012

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

In modern music production, auto-tuning has become ubiquitous, often hailed for its capacity to polish vocal tracks and ensure pitch-perfect performances. However, the reliance on auto-tuning as a crutch rather than a tool is a trend that deserves scrutiny. While auto-tuning can save time and money in the studio and correct minor pitch discrepancies, its overuse can detract from a performance's authenticity and emotional depth. Here's why a more judicious approach to auto-tuning is advisable. First and foremost, the goal of any vocalist should be to deliver as accurate a performance as possible without the need for technological intervention. Striving for excellence in one's craft means minimizing the reliance on auto-tuning to correct pitch. This challenges artists to improve their vocal skills and preserves the unique character and emotion in their voice that auto-tuning might otherwise diminish. Engaging in open dialogue with your producer and/or engineer is crucial. Discussing the extent to which auto-tuning should be applied, with a preference for minimal intervention, ensures that any necessary corrections preserve the natural quality of the vocal performance. Overuse of auto-tuning can strip a performance of its 'heart moments'—those instances of raw emotion and vulnerability that resonate with listeners. While slight adjustments may be necessary, they should never compromise the integrity of the original performance. Moreover, confronting the reality of one's untuned vocal tracks can be an enlightening experience. It offers an unvarnished look at one's abilities and areas for improvement. This self-awareness is invaluable for personal growth and a realistic perspective on one's vocal capabilities. Preparing for live performances is another area where over-reliance on auto-tuning can backfire. Artists must be capable of delivering live renditions that closely match their studio recordings. Relying too heavily on auto-tuning in the studio can lead to discrepancies between recorded and live performances, potentially disappointing fans and undermining an artist's credibility. Loretta Lynn's wisdom about not believing one's press can be aptly applied to using tuned vocals. Just as accepting one's hype without question can lead to a distorted self-image, so too can relying on auto-tuned vocals create a false sense of vocal proficiency. It's a reminder that artists should strive for authenticity and excellence, recognizing auto-tuning as a tool, not a substitute for genuine talent and hard work. In conclusion, while auto-tuning has its place in modern music production, it should be used sparingly and judiciously. The aim should always be to enhance rather than replace the natural talent and emotional depth of the artist's performance. By approaching auto-tuning with a critical eye and a commitment to authenticity, artists can ensure that their music resonates with truth and integrity. Jude Rodman

Almost every singer, speaker, actor or fellow clergy with whom I have worked, has on more than one occasion had to perform with a tired or over-used voice, some level of mucus and low energy. It seems to be part of our job description. Whether it's an audition, presentation, performance or sermon, we need to be in top vocal form. However, life's responsibilities simply don't disappear when we need to be on. For a myriad of reasons, our voice may be ragged and tired and our bodies may be lacking the energy needed to bring the voice up and out of our bodies with a full confident sound. So I would like to suggest some outstanding natural alternatives for proper vocal health care, to refined sugar, caffeine, and drugs that I, for one, have been using for many years. These alternatives will energize your voice, mind, and body naturally. They work almost immediately, help to restore and remove mucus from the cords and throat and best of all, have no side effects. Over-used, tired throat, and vocal cords There are a number of herbs that can provide instant relief for the tired throat and vocal cords. These may be used in extract form (liquid) as a gargle or as a tea. I prefer to gargle because the herbs go directly into the throat and coat the muscles and vocal cords, as well as removing unwanted mucus and debris providing me with immediate relief. Teas tend to pass through the throat more quickly and contact to the affected area is not as dramatic. In addition, the herbal content in most tea bags is considerably less than that in an extract. Also, for general vocal health care, the heat in the throat can be an effective healing agent, thereby relaxing the inflamed area. If you do purchase these herbs as teas, drink them hot with some honey. Adding lemon can be helpful but too much citrus can dry the throat and cords, so be careful as to the amount you use. A good one time squeeze one time should suffice. The following herbal combination is one of the best remedies I have known. It is a combination of the herbal extracts Ginger, Cayenne, Slippery Elm, Turmeric and Sage. Each of these herbs has exceptional properties that help with swelling, inflammation and pain. This combination has also been used successfully for laryngitis and hoarseness. Each individual herb can be found at any health food store but use the non alcohol brands. The alcohol content in certain extracts is usually quite high and can dry the throat and vocal cords, not to mention affecting brain focus. Making a solution to gargle is very easy. Simply follow the steps below: Fill a cup with 2 oz. of warm water Add 10 drops of each extract to the water Mix in a half a tablespoon of honey Gargle three times every two hours until you have to sing or present Be sure to allow it to go as far down into your throat as possible Gargle one last time just minutes before singing. Try not to swallow the mixture. Swallowing small amounts will not harm you in any way except that it may make you a bit nauseous Vocal Health Care and Energy Without adequate energy, all of the above mentioned remedies can be of little or no value. The best form of energy we have is in the food we eat. Your nutritional decisions at times like these will determine your overall effectiveness as a performer. Do not take proper nutrition for granted. In cases like these you need the most effective and powerful fuel you can get. Below you may find some excellent foods that provide outstanding energy without creating mucus in the throat or making you feel bloated, nervous, or groggy. 1. Gogi Berries Dried fruits---for example, mangos are loaded with potassium. Pineapple contains Bromelain which helps to heal inflammation. 3. Nuts: sunflower seeds, almonds (sprouted) and pumpkin seeds 4. Hard-boiled eggs 5. Beans and lentils 6. Sprouts 7. Broccoli, asparagus, spinach 8. Brown rice 9. Watermelon 10. Freshly squeezed vegetable juice Being a Cantor, teacher, nutritional consultant, and singer, I understand the extraordinary demands put on the Voice Professional. Our craft is a complete mental, physical, and spiritual one. We need to take care of ourselves and many times we need additional support. Getting it from the right sources is key. You have the choice to decide how you will take care of your voice. Choosing wisely and effectively will ensure a joyous and successful career. As always I wish you the best on your quest for Superior Vocal Health. Superiorvocalhealth.com

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

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

Many voice professionals feel that when they are getting sick the only remedy for their ailment is prescription or over the counter medication. Unfortunately, choosing this path can actually have a worse effect on our voices than we may know. In an article entitled "Common Medications and Their Effects on the Voice" by Dr. Robert T. Sataloff, Professor and Chairman, Department of Otolaryngology-Head and Neck Surgery and Senior Associate Dean for Clinical Academic Specialties, Drexel University College of Medicine, effects of medication on the throat and voice can do more harm than good. Dr. Sataloff is also a professional singer. In this article are outlined the most commonly used medications and their potential side effects. Common medications and Maintaining vocal health Aspirin and Anti-inflammatory medications Aspirin is commonly used by millions of people every day. However, aspirin "can cause platelet dysfunction which is the primary means of interfering with a blood clotting mechanism." Here it is recommended to avoid the use of aspirin to prevent possible vocal fold hemorrhage. I would suggest trying Bromelian, found in pineapple or Turmeric for pain and inflammation. Antihistamines It is well known that Antihistamines can have a drying effect on the throat and respiratory tract. If clogged nasal passages, one of the most common uses for antihistamines, is the issue, there are many natural alternatives one may employ. Cayenne, horseradish, garlic and the use of a neti pot with eucalyptus oil are outstanding alternatives to antihistamines for clearing out the sinus passages and maintaining excellent vocal health. Prescription Medications Dr Sataloff states that " all psychoactive medications ( anti depressants ) have effects that can interfere with vocal tract physiology...Side effects range from no known effects to the following: (a) dystharia, ( increased cough, © increased GERD, (d) asthma, (e) laryngitis... and a drying effect leading to hoarseness and sore throat." Correct dietary choices and lifestyle are extremely important in determining the mental state of an individual. A voice professional needs to have a clear mind and healthy body to produce the quality and beauty they desire from their voice. Be very thoughtful and aware of what you put into your body. Everything we eat effects our voice and state of mind. SteroidsSteroids have been shown to be very effective and used often in treating allergic reactions. However, Dr. Sataloff says that side effects, particularly from inhaled steroids include loss of voice, hoarseness, throat pain, gastric irritation with possible hemorrhage and mucusal drying in addition to many others. More times than not, allergic reactions can be to foods or additives and chemicals within foods. Typical of these are, MSG, Gluten, White Flour and Dairy products. As voice professional we must know what is affecting us regarding the foods we eat. I recommend getting a food allergy test to see what you are allergic to, and then act immediately upon finding the results. This simple test could change your life and have an incredible positive effect on your entire vocal aparatus. Vocal Health for Life The bottom line is that we must be continuously aware of how what we put in our bodies effects our voice. Clearly, stress and life's twists and turns can lead us into sickness. However, what we do when we are in this state definitely affects the speed of our heal. Making the right choices is paramount to a healthy vibrant body and voice, and a successful career. As always I wish you the best on your quest for Superior Vocal Health. David Aaron Katz

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

Singing generates as many myths and fallacies as does the theory of evolution. I'd like to confront four of the more popular but misguided statements I've encountered and try to bring a little clarity. Digging right in.. THROAT SPRAYS HELP ME SING BETTER Perhaps you have a favorite tea, potion or spray which you swear helps you sing better. But think about it, these nostrums never touch your vocal folds! They merely moisturize your throat creating a soothing feeling. Some popular voice sprays contain deadeners which numb sensation and provide the singer with the illlusion of improvement. Voice doctors discourage use of mint, menthol and eucalyptus for singers because of the risk that singers might injure themselves because of reduced sensation. Steam, whether from a humidifier, nebulizer or just standing in a hot shower, does improve the mobility of the vocal folds. Maybe that' s why so many singers like to hold a cup of hot tea...it's not the tea which helps but rather the steam! Having said all this, if you have a favorite singer's helper like olive oil (yuck),lemon juice, honey, grapes, crackers, lettuce, then by all means, continue to use them. But just remember that the benefit may be simply throat lubrication or the placebo effect. I WANT TO EXTEND MY RANGE If we define vocal range to mean the highest and lowest notes you can produce, then we all possess a much longer range than we imagine. Vocal range is predetermined by the size of your vocal folds (the larger the diameter, the lower your range). The range extension question is better stated as How can I sing high notes more easily? I'll devote a future article to just that topic. In the meantime, let me say that your range is pretty well preset, like your height or the size of your head. You can discern your lowest and highest notes by using such approaches as singing on an aw vowel on descending notes to find your lower note, and using lip or tongue trills to determine your highest note. Once you know your absolute range, then your goal should be to gain control and consistency of the notes of your range which were yours all along! -- FALSETTO ISN'T MY REAL VOICE DId you know that men can sing just like women? If you have never heard a counter-tenor, you've really missed out. Hie thee to YouTube and search for counter-tenors and sopranistas for an auditory treat. The reason that falsetto is under-appreciated in Western culture is precisely because of its feminine quality. In my view, that's a real shame- it's like allowing men to use only one arm! Registers are muscular activities in the vocal folds and larynx which affect their shape and vibrational pattern. Humans have four registers: fry, chest, head/falsetto and, in some rare individuals, whistle register. I encourage men to vocalize throughout their entire range, from their lowest to their highest note. Think of it as yoga for the vocal cords. With the goal of sounding limber, flexible, agile and even-sounding, practice falsetto and chest voice regardless of whether it's used in one's chosen vocal style or not. TONGUE TENSION IS ALWAYS BAD It depends on which part of the tongue you're referring to. Visible tension of the tongue in the mouth IS problematic and that includes tip retraction (like when you make an R sound in an American dialect). Pulling the tip back is not desirable unless you'rei mitating Scott Stapp, Alanis Morissette or a super-country sound. And overtensing the tongue root sounds bad, like you're swallowing your sound. But firmness under the tongue in the lower jaw can actually help you sing. Activity there can help with laryngeal stability, vibrato control and power. So don't worry if it doesn't feel like jello under your tongue when you poke at it with your finger. If you sound good, you sound good! Written by Lisa Pompeil Â

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

One problem in the experience of teaching voice technique that needs to be addressed, is the vast misunderstanding and subsequent confusion caused by students and some teachers implying that Falsetto vocal mode and head voice are the same thing, they are not. Falsetto is a vocal mode, characterized by cricoid tile, epiglottic funnel narrowing, vocal fold closure, wind escaping through the glottis and residing in the head voice. The popular vocal metaphor, "head voice" refers to a register. A place where high pitches are produced regardless if those notes are phonated in twang vocal mode, falsetto vocal mode or distortion. We modify vocal modes inside the head voice. Until the student of singing realizes that he/she can sing different modes in the head voice, they are condemned primitive belting, constriction and limited artistic range. Understanding vocal modes and when and where to deploy them, is one of the secret keys to truly amazing, high performance human phonations. So let's clarify this confusion around falsetto vs. head voice once and for all. This essay first published August 30, 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.

In past articles, I've stressed how groove is expressed differently in singers than for instrumentalists. For example, drummers express the rhythm outside their bodies although they can feel it inside. Great singing necessitates internalizing the groove into your body. Yes, counting is a good way to start. A singer must "know" where the beat is -- this is the only way to truly be in control of your performance. You can direct musicians, sing a cappella, lead other singers and vary the phrasing -- all through groove. If you sing from your head (i.e. thoughts) rather than get it into your body, you still can count the beats in the measure, land on the downbeat, come into the song on the right beat etc., but you lose feel. Feel is what moves people; makes you sound passionate; and allows you to interpret the lyrics differently through phrasing. Some Tips for Getting the Groove Into Your Body and Into Your Sound: Learn the correct rhythm and feel of the song. This means, what is the timing - is it 4/4, 2/4, 6/8? Is it an upbeat feel, a swing feel, etc.? Work out the timing. Practice each phrase line by line if you need to, so that you learn how the lines fit with the rhythm. Learn the phrasing by heart groove-wise. Guessing where the groove is, or where you come in does not work ever! Lean into the groove. Leaning into the groove is definitely a learned singing technique. It is used in gospel and R&B, but rockers like Bono use it too. Leaning means that you lean your body slightly forward, from your back, not your head, as you sing through the vowel. This allows the sound to bend a bit, but not the pitch. Lyrics and melodies need fit into a phrase rhythmically. If you have too many words in a phrase or you are rushing to get everything in or the timing is off, it may be that you are fighting the groove. I once had a student who couldn't figure out the beats in a traditional song or how to fit the words, even though he knew the song well. Once he used his body to lean into the downbeat and pull up on the upbeat, the lines fell into place. Tap the beat. A DJ I worked with on my dance hit taught me to beat my palm, or hand on my chest so I could get the beat in my body. He would line up turntables this way: it totally works! You can tap your foot or thigh, but I like the idea of getting it into the center of your body. Slow down to speed up. You can't express the song fully unless the groove is integrated into your body. See this as the important aspect of the song that it is. If you're having trouble, you can slow down a song at first. Once you get the groove mastered then take the song up to speed. Listen to artists who are skilled with groove. Learn from singers like Adam Levine of Maroon 5 or Brian McKnight. Practice their songs to cop their type of rhythmic styling and add it to your own "groove" toolbox. This excerpt taken from Teri's upcoming book Nail It Every Time: The Pro Singer's Guide to Everything Vocal with singing tips and more. Reprinted only with permission. All rights are reserved. More vocal tips are published on http://www.a2z-singing-tips.com. This essay was first published May 4, 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.

Students are always asking me what to remember technique-wise when they sing. My approach is to get a technique in your body so that "thinking" about technique is at a minimum. The more you have to think or worry about singing while you perform, the further away you get from singing from your heart: soulfully with intent. Athletes train for many years to be able to rely on their body to support their athletic decisions; it's the same with singing. It may come as a feel-- to drop your jaw -- while singing higher notes that won't release, or something you notice onstage, like you are hunching over. Pros can self-correct quickly, and the audience never knows. That said, as you develop your vocal instrument, some techniques will become seamless, while others require focus. In the studio, for instance, having a microphone technique and a technique for projection goes a long way in getting a great performance. Here are some tips: Drop Your Jaw This technique pointer is crucial to the first and second rules in pop singing. Dropping the jaw -- lowering in a vertical direction-- allows you to #1 hit pitches without pushing and #2 sing without vibrato to reach the placement of these notes. Body stance Keeping your chest up and shoulders back is key to supporting your diaphragm. If you hunch over, it's easier to go flat, and pitches easily can migrate to the back of your throat. You end up working harder with less sound and poorer quality. Loose jaw Think of how guitarists or pianist warm up their hands to get them more flexible. This is what the exercise dumb-duh does for singers. Because your jaw is loose, you have more flexibility to create more vowel shapes and sing higher notes easily. Send the sound up and over Sound has direction, and it has energy. Onstage and in the studio, pick a point across the room and send the sound there. The sound carries in a way that is focused and lifted. Command the stage Your body stance and energy communicate who you are to an audience before you sing a note. With chest up and shoulders back, imagine your arms are embracing a big beach ball. This is the breadth of your stage. Sing through the microphone to a point in the distance Be mindful of the dynamics of the microphone, and project the sound forward. You can sing into a microphone and not project but the sound is more confined. Try it both ways and see the difference. Keep your eyes open Being emotional and evocative is good, but closing your eyes shuts out your audience. Your eyes are the windows to your emotions - let your audience in on that. Don't expel for more tone Having a reservoir of air is essential in great singing. You don't have to effort for air. Not expelling allows you to use that air more effectively and have more mouth sound (shaping the sound as well). Pop singing is about mouth sound and having a distinct vocal tone. Expelling, of course, can be effective with a breathy style. It doesn't work to get more volume or tone. Fake it until you make it No one is perfect, and anything worth doing is worth doing badly to start. They call it artist development for a reason. Start where you are and take baby steps until you get where you want to be. Work with a coach Athletes don't do it on their own, and neither do singers. Whitney Houston's mom is a professional singer, so was Mariah Carey's. Even if you have natural talent, it still needs to be developed. You won't know what you actually have until you work it. This excerpt taken from The Singer's Newsletter #82 email from the vocalcoach@teridanz.com from her upcoming book Nail It Every Time: The Pro Singer's Guide to Everything Vocal with singing tips and more. Reprinted only with permission. All rights are reserved. More vocal tips are published on http://www.a2z-singing-tips.com. This essay was first published May 4, 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.

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

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