TMV World Team

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.

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

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

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

chuy67 wrote: [When I think about singing from the diaphragm,] I picture support as a balloon. It is filled with air and then you can push it with your hands and air comes out. The only problem is, I can picture it, but I cannot do it. Do people really push it [the diaphragm] like a balloon? Also another problem I have is pressure in my throat and upper chest when trying to breathe in heavily. It can also be painful at times. Could someone please give me an explanation of this? It is driving me nuts! Steven Fraser wrote: I'll be happy to answer your questions. There are also some resources on the main site -- articles about the location and action of the diaphragm -- that are pretty good. The image of support as a balloon only goes so far. Let me give you a more accurate, and hopefully, useful one by describing what is actually going on in your body as you breathe normally and then when you sing. Very generally, inhalation happens any time you make your chest cavity bigger, expanding it. There are a number of motions that can do this, more or less effectively. Some work very well for athletic endeavors, and some work well for singing. Setting aside any notion of voice for a moment, here are the motions that cause air to go in the lungs, beginning with the one that almost always happens: The diaphragm, which forms the bottom of the chest cavity, flexes, and flattens downward and a little forward from its relaxed, arched position. This makes the chest cavity bigger, creating a lower pressure in the lungs, and outside air gets pushed in (by the higher outside air pressure) through your mouth and/or nose. As the diaphragm descends during this motion, it presses downward and forward on your abdominal organs, pushing them downward somewhat. This is the motion you see when the diaphragm lowers: the belly expanding. Sometime, watch a sleeping baby breathe. The motion you can see is the abdomen moving as a result of the diaphragm flexing, and then relaxing. You expand your ribs side-to-side, and lift them. This expands the chest cavity circumference.It's very likely that the diaphragm is also flexing, too, but it is less obvious. You raise your sternum (breastbone). This expands the chest cavity height. It's very likely that the ribs expanded, and the diaphragm flexed at the same time. Exhaling happens when the effort used for any one of these motions is relaxed.The reason is that the motions store energy in the body. This happens by: Expanding the belly: abdominal muscles are stretched, as are the elastic lung tissues.When the inhalation stops, the tissues which were stretched want to spring back to where they were. In a sleeping child, it's these forces that power the exhalation.When conscious, a person can add even more power to this exhalation by contracting the abdominal muscles, resulting in an inward motion. Letting the ribs come back in, somewhat helped by gravity, air is forced out. Letting the sternum down. This one is also helped a lot by gravity. Again, forces air out. Ok, that is how basic body-breathing happens in normal life. Most of the time, we use breath motion #1, and for a sigh, maybe add #2. If we are running for our lives, we do everything we can to move the air rapidly to stay alive. We may do all three under those circumstances. I explained all this for a reason: breathing for singing is not about moving air rapidly for life; it's about supplying just the right amount of air for the vocal sounds you want to make. In singing, we train the enormously powerful #1 action of breathing to be more subtle, and we lessen, or eliminate, the motions of #2 and #3 so that they do not overpower the teeny, weenie laryngeal muscles. In singing, the way that #2 and #3 are lessened is to make them part of the posture.If you don't move them much as you breathe in and out, they don't add unwanted or uncontrolled breath energy. It's very hard to do either thing subtly. Keeping the sternum in one place prevents gravity from powering air out of the body. It does not necessarily have to be high: just not moving when you breathe in and out. For your information, classical singers very often adopt a high sternum chest position and leave it there all the time. It looks a bit better on stage. When #2 and #3 motions are stilled, breathing happens entirely by #1, the diaphragmatic action in coordination with the abdominal muscles. This is very often called belly breathing, low breathing, breathing from the diaphragm, etc. All those terms mean that only motions of the diaphragm and the abdominal muscles are involved in moving the air.This takes us back to the kind of breathing your body does when you are asleep. The same thing as a baby does. You have breathed this way your whole life. Now, what is support It is two things: Maintaining some of the flex of the diaphragm during the exhale. In a normal, easy breath, the diaphragm relaxes at the end of the inhale, and the stored energy in the abdominals presses the air out by pushing the diaphragm up. Check out that sentence again. The diaphragm is just along for the ride on the exhale. It is not powering the exhale. It moves up because the abdominals are making the abdomen smaller, and the guts are pushing up the diaphragm. Also, because the stretchy lungs are collapsing a little; this helps to pull the diaphragm up. Keeping the diaphragm active slows down the exhale, and reduces its force. You likely can do this almost without thinking about it deliberately. If you take in an easy, #1-style breath, and then just exhale as slowly as you can, your desire to exhale slowly will cause the diaphragm to stay active. You can even stop the exhale momentarily, just by wanting to. You have even more control than that. You can take in a 3/4 breath, and then limit your inhale/exhale motion to be from 3/4 to 1/4 full. The diaphragm responds very readily to your will in this matter. This kind of outward breath is slow, warm and moist. Secondly, support is: Providing extra exhalation energy after the abdominals have released their stretch-energy. Without doing this, you cannot sing on the last half of tidal lung capacity. As an exhalation proceeds, the stored energy lessens, and the exhale force decreases. To keep the breath energy going continuously, the abdominals must also contract. In summary, support is the term we use to describe the bodily actions which provide long, consistent, appropriately-powered breath energy to the voice. Here is a very important, useful clue. One of the most common problems for singers is too-much breath energy. Remember, the body is capable of moving lots of air, very rapidly. The abdominal muscles are huge compared to the laryngeal muscles. The sensation of breath balance you get when you do the slow exhale is the right sensation for starting a sung note. If you do that, the desire to make the vocal sound upsets the balance just in favor of exhaling, and the voice gets the air it needs to make the sound you are wanting. If you think a loud sound, a bit more air is supplied. A way to practice this is to take a 1/2 breath inhale, and breathe outward slowly, with your jaw dropped about 1" (check between your front teeth in a mirror) and just start some short notes in the middle of your range. See if you can keep the sense that you are still breathing out slowly, even when you are making the sound. I think you'll experience something cool: that you can make a very clear, easy, relaxed sound with little or no throat tension or pain. The more you practice it, the better you will get at it. This essay was first published April 22, 2010 on The Modern Vocalist Forum of The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

Of all the dynamic effects used in singing, one of the most challenging to do elegantly is the "messa di voce" (pronounced by English speakers more-or-less like 'mess ah dee voh chay'. It is the combination of a smooth crescendo (getting louder) for some amount of time, followed by a smooth decrescendo (getting softer) for the same amount of time, on a single vowel, on a single note. Using musical symbols, it can be represented this way: Why is This Challenging? The exercise requires that the singer be able to: Start a note cleanly and vibrantly, but softly. Crescendo a smoothly, progressively adjusting the balance of breath energy and laryngeal muscle action so that the tone gets louder, not going sharp or flat, and maintaining the vowel color until a specific louder level is reached. Decrescendo a note smoothly, with similar requirements as during the crescendo, while approaching the end of the usable supply of breath. End a note cleanly and vibrantly, but softly. The Easiest of the Skills For most singers with some training, the skill that can be most readily managed is the second one, the crescendo. Even so, the requirement to maintain the vowel and the pitch consistency represents a challenge. If the breath energy is not balanced with the laryngeal muscle action, the pitch will go astray. The Intermediate Skills Next in line of difficulty is the soft starting and stopping of the vibrant tone. This skill requires the singer to be able to manage breath energy at very low subglottic pressures, with the requisite light laryngeal muscle action levels, while at the same time keeping the tone free, clear and accurately pitched. The starting of the note is challenging, because there is usually a surplus of breath energy for the first onset, and the ending of the note is challenging, because there is very little left for the release. To correctly do these two skills, the singer must have mastery of soft dynamics with full lungs, and with nearly empty ones. The Most Challenging of the Skills Is the smooth decrescendo. As the singer begins to do this on the latter half of the breath, there is a great tendency to make the action too swiftly. If, for example, the crescendo is taken for five seconds, the singer will tend to make the first part of the decrescendo very much too rapidly, returning to the original volume in three or four seconds. Additional difficulty lies in the need for the singer to perform the decrescendo smoothly, and while doing so, gradually decrease the subglottic pressures by coordination of breath energy and laryngeal muscle action, maintaining pitch and vibrancy on increasingly smaller lung volumes of air. This presents a breath management and/or support challenge. And, to Top it Off The exercise should be able to be performed throughout the complete performance compass of the voice. Pedagogic Use of the Messa Di Voce The exercise is useful for both voice evaluation, and for training. When performed, it immediately reveals where the singer's issues are, by the characteristics of the individual skills, which are combined in it. When first performed, the student takes a small breath, begins and ends at mezzopiano (mp), and crescendos to mezzo forte. (mf) over a few counts time. When smooth and accurate with these levels and times for all vowels, the teacher may either: extend the dynamic range (starting softer, i.e., at piano, or ending louder, i.e., at mezzo forte); and/or lengthening the time for the crescendo and the matching decrescendo, with a slightly larger breath. As the singer becomes more accomplished, the teacher may vary the dynamics and lengths independently, so that complete facility of dynamic control is gained. Examples of Use If you listen carefully to some of the longer notes in "The Prayer" you can hear the messa di voce done very subtly. Also, you can hear good examples of the sustained notes in decrescendo, which is the second half of the exercise. Probably the best example I have found of this effect in theatre is the sustained, almost in perceptible decrescendo on the last note of "The Music of the Night" in Phantom of the Opera. Michael Crawford does it very well. Among the singers of the standards, excellent examples are in the singing of Tony Bennett. In "Fly Me to the Moon". You can hear some very subtle ones. Messa di voce is not an end in itself. The abilities it requires, and which it helps to develop, are essential in the dynamic shaping of phrases, the ebb and flow of vocal volume to create arched, legato lines. In Tony's singing, you can hear how he nuances these volume relationships note-to-note, so smoothly. In classical music, especially pieces in Bel Canto style, this effect is very readily found. For example, in the "mad scene" in Donizetti's Lucia, you can hear some of the longer notes with it done subtly, but also how the singer uses dynamic control to connect the coloratura in long, shaped phrases on a single vowel. Interesting note: This is the same aria which begins the "Diva" section in the Bruce Willis movie "The Fifth Element" before the 'dance' section. Conclusion By varying the dynamic levels and the lengths of the crescendo/decrescendo pair, the singer becomes very familiar with the way their own instrument responds to these demands, and how they must be thinking to achieve the effect in the various ranges of their voice. The end result is a wonderful ability and sense of mastery that comes from the familiarity of these aspects of singing, and which is directly applied to the artistic use of dynamics in performance. This essay was first published January 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.

In the Opera world, one of the most exciting things to anticipate and hear is the brilliant, climactic high note of the tenor soloist in an aria. Not only does the voice carry well without amplification, but takes on a distinctly thrilling, impressive quality of resonance that other parts of the voice do not quite have in the same way. In this post, I will explore the ways that these fine singers manage their voices to enable such singing. Introduction Since we will be objectively discussing vocal tone quality, I will be using spectrographs to assist. With some of these particular ones, I will include annotations to the images so that the reader can make the connection between the visual representation and aural experience of harmonics within the vocal tone quality. The spectrographs I use will all be of the final note in the tenor aria, 'Celeste Aida', from Verdi's Opera Aida, which is on the syllable 'Sol' on the Bb above middle C. To give credit where credit is due, my investigation in this area was inspired by the published work of Donald Miller at www.vocevista.com. The spectrographs were produced with Spectrogram16, by Richard Horne. Bjoerling and Domingo The spectragraph to the left shows that note from recordings of two of the most popular and capable operatic tenors of the 20th Century, Jussi Bjoerling (represented with the blue line) and Placido Domingo (represented with the white line.) To help orient you to the image, I have annotated it with lines and text to show the locations of the harmonics of the sung tones. On this diagram, left = lower frequency, right = higher frequency. Up = higher intensity, down = lower intensity. The frequency range represented is 0 to 4000 cycles per second (Hz). So that these notes could be compared as well as can be from recordings, I equalized the volume of the fundamentals. What We Can See and Conclude With this equalization, the fundamentals and 2nd harmonics (H2) are about the same strength when comparing voice-to-voice, as evidenced by the nearly exact overlay of the blue and white lines. However, a very great difference is noticeable in the intensity of H3. Bjoerling's H3 goes way higher on the intensity scale than Domingo's, indicating that it is very much stronger. H4 and H5 are also more intense than those of Domingo, though their intensity in Domingo's voice increases until they are in rough parity with that of Bjoerling at H6. From there, the intensity of harmonics falls off dramatically in both voices. So, as a proportion of the overall sound of the recorded voice, Jussi Bjoerling's tone quality and power are created mostly by H3, H6, H5 and H2-- in decreasing order by intensity -- while Domingo's tone quality and power are created mostly via harmonics H6, H2, H1 and H5: again in decreasing order by intensity. These different balances, while they both sound like tenors, make them distinguishable to our ears. What We Cannot Conclude Does this mean that Bjoerling's voice was "bigger" or more resonant than Domingo's, or perhaps the other way around? Neither one! Engineers who make recordings adjust volumes and balances at their own discretion, to make recordings have a satisfying overall effect for the listener, while not overwhelming the recording or playback machines. There is simply no way to tell from a recording what the original sound intensities were, only how they were after they were recorded and mixed down. Sometimes, though not much with Opera, some EQ is added to overcome a recording problem, or to sweeten the effect a bit. Some of that latter can be seen in some of the images here, and is discussed below under the section "Engineering Artifacts". So, even though we cannot learn the size of these voices in absolute terms, we can learn (in general) how the sound energy of the harmonics is distributed relative to one another within a single recorded voice, and can compare recording to recording. Vocal Resonance Strategies Vocal power that is distributed across the various harmonics is perceived by the listener differently, according to the frequency range of the particular harmonics. In the case of the Bjoerling and Domingo notes, the reason that there is such a dispartity in the displays of the blue and white lines is that these singers have balanced their resonances differently for this note in the recordings selected. Surveying recordings of more than 40 of the top tenors of the 20th Century, these voices predominately use one or both of two strategies to create the powerful top voice. In this next section, we will explore the strategies that they used, and comment on the overall effect. The "Singers Formant" Region Looking back at the picture for a moment, you may notice the two vertical red lines which bracket the frequency range of the 6th Harmonic, very strong in both voices. These lines show the center 400Hz of the singer's formant region, and also indicate the area of highest hearing sensitivity. When harmonics are strong in this frequency region, they are very audible, adding to the carrying power of the voice and to the listener's perception of voice quality as well. For the singer without amplification, presence of these frequencies allows the voice to cut through above the sound of a piano easily, and even a full orchestra in the concert or Operatic venues. These frequencies also help the audience member locate the sound source very specifically on stage, a big help when singing an ensemble. Both Domingo and Bjoerling have this important feature in their voices. Incidentally, the frequency of the 6th harmonic is two octaves and a major third above the sung fundamental. The first most common strategy for vocal power and audibility is to have a strong singer's formant, as strong or stronger than the fundamental and 2nd harmonic. We could also call this the 'high ring' strategy. Lowest 3 Harmonics The perception of the "darkness" or "warmth" of the voice comes from the intensities of the lowest two harmonics, H1 and H2, which are the fundamental of the sung tone, and the octave above it. For these, both singers have about the same proportion, and this forms a solid core to the sound in both voices. To the listener, these two harmonics are very difficult to distinguish individually when they are approximately the same volume. The presence of the proportionally louder H3 in Bjoerling's voice introduces an interesting difference. H3 is the frequency an octave and a perfect 5th above the fundamental, what (to a classical organist) would be called a 'quint'. This quite strong harmonic colors the tone distinctively, and, because it is an odd-numbered harmonic, it stands out in the awareness of the listener, adding brilliance to the vowel. When the 3rd harmonic is the loudest in the whole voice (such as it is for Bjoerling) this becomes a significant feature of the tone quality, and carries a great deal of the vocal power. The second most common strategy for vocal power and coloring is to have a strong 3rd Harmonic. The strong H3 is obtained by singing a vowel which tunes the 2nd formant (F2) to just a little bit higher than H3, a process sometimes called vowel modification, or vocal tract tuning. We could also call this the mid+high ring strategy. (Note: For other combinations of note and vowel impression, the tuning of F2 is more advantageously made to H4.) In professional voices, both of these individual strategies can be found, and also combined. Jussi Bjoerling is a fine example of the combined, and Placido Domingo is an excellent example of the "singer's formant" or low+high ring strategy. Another Singer for Comparison - Franco Corelli Franco Corelli is known for a heroic tenor voice. This spectrogram shows the relative strength of the harmonics in his voice for the same note we were examining with Domingo and Bjoerling. Though there is a bit more orchestral clutter in the sample -- sharp spikes here and there -- and on the left end) you can see clearly that the 3rd harmonic is very prominent in his voice, . Looking to the right, you see some strength with H4, H5 and H6, and then a strong H7 as well. This would make his approach a combined one. Here are some other spectrograms for comparison. See if you can identify which strategies they employ: Alfredo Kraus Benjamino Gigli Luciano Pavarotti Special note here: Pavarotti's voice is very interesting in that he uses the H3 formant tuning, but does not combine it with a strong singer's formant. The overall effect is very distinctive. Enrico Caruso Mario Lanza Engineering Artifacts - Possible The clustering of the formants F3, F3 and F5, which combine in the singer's formant region ordinarily produce somewhat jagged peaks in a spectrographic display. When recorded and displayed as is, without any sweetening EQ, they do not often take the shape of smooth curves, rounded on top, but will ramp up and down fairly sharply across three or four harmonics. Go back to the Kraus spectrograph, and look at the shape of the curve created by the tops of H4, H5, H6, H7 and H8. Disregard the leading (rightmost edge) pointy peaks that show up, that is an orchestral note. The "wide" part is from the voice. In my opinion, the slow ramp-up of the harmonic intensities in this region, peaking at H7, and then diminishing a bit to H8, just looks too regular. I think this is a likely example of some EQ shaping to allow the voice to cut through the orchestral mix. Though I cannot be quite so sure on this one, the suddenly very strong H7 in the Correlli spectrograph looks a bit out of place, with the intensities of the immediately three lower harmonics at the levels they are. Now you know what you might look for, I will leave the judgment to you. It's not likely, while listening to the recording, that you would be aware of any of these harmonics individually, anyway. None of these latter points reflects on the quality of the singer in any way, nor would the singer likely have been aware that tweaks were done on their behalf. As I said earlier, the Engineers work to create an effective recording of the voice that fairly represents what the performance sounded like to them. Summary We've seen with these examples the most often occurring resonance strategies for creating the ringing top notes of the Operatic Tenor voice, and readily accessible examples from some of the most popular singers of the 20th Century. We've also discussed the limitations of using recordings to make these conclusions. If you'd like to see more articles of this type, studying the vocalism of other voices, please send me a comment as to your interests. In any case, I plan to do a parallel discussion of the resonance strategies of the Operatic Baritone (Warren, Milnes, Tibett and Bastianini!), the female high voice, and discuss in detail the challenges involved with the transition from mid-voice to the top in both types. A Christmas Egg The following spectrogram is of Michael Bolton (in blue) and Luciano Pavarotti (in white) singing the climactic note of Puccini's aria 'Nessun Dorma' from Turandot. These were public, large-hall performances, and the performers were close-miked, a very interesting way to hear Pavarotti's voice. The note being sung is the B natural above middle C. A problem I encountered in comparing the voices with these recordings is that orchestra is playing quite loudly, so the first harmonics are cluttered by those sounds, so much so that we cannot really distinguish what component of the sound is the singer, and what is the orchestra. To do this particular equalization, I matched volume of harmonics H2 (right above the 1 on the bottom scale) and H3 (midway between 1 and 2), since the vocal vibrato in both voices makes the trace wide enough to see. Interesting, that Michael Bolton and Luciano Pavarotti have almost exactly the same resonance balance ratio for these two harmonics. Remember, this sort of comparison does not tell us about the absolute volume of the voices, just how the resonances are balanced. You can see some places in the higher harmonics where Bolton's voice has relative strength, too. He has characteristic singer's formant strength that peaks at H6, (right in the sweet spot of our hearing) which would make his resonance strategy for the note a "combined" one, from our former terminology. If you are interested to listen to these performances, they are at Michael Bolton to about 3:15 into the song and Luciano Pavarotti. This essay was first published December 12, 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.