TMV World Team

At The Vocalist Studio, we don't warm up our voice, more accurately, we warm up to get into our singing voices. The physiology of the speaking voice vs. that of the singing voice The Singing Voice vs. The Speaking Voice If vocalists want to achieve a profound increase in range and enjoy overtones with absolute physical freedom from gripping and inefficient physical ticks, the modern vocalist must learn how to get into his/her "singing voice" and get out of the speaking voice. The speaking voice and all the bodily responses that produce speech are not a platform for producing the singing voice. When a singer lacks the knowledge and practice of a legitimate voice technique, the brain will send creative commands from the right brain that cannot be effectively executed because there simply is no learned behavior or coordinated muscle memory responses developed to drive the singing voice. When this happens, an internal battle between the well-intended right brain signals and untrained, physical limitations of the body are out of synch. Yet the show must go on and the body must respond, so it does so by hurling the speaking voice at complex melodic ideas that require the muscles, normally facilitated for speech, to respond in an extraordinary way, it is not designed to do. This is an approach that is inevitably doomed. The evolution of the human singing voice Consider this perspective. The human larynx did evolve to produce speech, but it did not evolve to be able to produce vocal overtones of great volumes, definitive of a singing voice. Unlike animals born to produce vocal overtones, such as whales and birds, the ability to produce powerful vocal overtones and project our communications to great distances, were never critical to the survival of the human race. We don't need to know how to sing to survive, or to feed and breed, like other animals. The point is that students of singing must spend a lot of energy training to facilitate the physics that will transform their bodies into wind instruments that can produce vocal overtones. To be sure, the process of learning how to sing and the experience of teaching people how to sing is an abstract endeavor. However, with practice and physical workouts, the body can be trained to produce the most beautiful and effective overtones of all the animals on Earth and transform a mechanism facilitated for speech, into a system that is the most beautiful instrument of all. It is widely agreed by musicologists and music lovers of all points of reference that the human singing voice, when properly aligned, is the most beautiful and most versatile instrument of all, capable of producing athletic feats that no other musical instrument can. Summary The singing voice and the speaking voice are two very different kinds of vocal systems. The speaking voice and all the physical attributes involved in producing speech are not going to drive the singing voice and support modern vocal applications. Getting into your singing voice is an abstract art form and therefore, in order to train a modern vocalist, we must work to develop new muscle memory responses and increase muscular strength in key areas of the larynx to transform a vocal system, evolved to facilitate speech, into a system that can sing. This essay first published November 27, 2008 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

About Semi-Occluded Workouts Vs. Vocal Warm ups This article is about a specific kind of vocal warm up exercises. These kinds of workouts are called semi-occluded vocal tract postures. They are popular with singing techniques and with voice therapists. Their purpose are three-fold, as I have come to know them at The Vocalist Studio: Create More Efficient Phonation And Balance They balance the sub-glottal and super-glottal air pressure (above and below) the vocal folds and thus help the singer to create more efficient phonation and balance with the increased velocity of air required for singing. Inherently, speech vocal mode is not efficient compared to phonations used in singing, so the semi-occluded vocal tract exercises increase the efficiency of the relationship between the singer's respiration and vocal folds. Seamless Passage From Lower - To Higher Vocal Registers Semi-occluded vocal tract exercises establish a resonant track. They help the singer to get into a seamless passage through the vocal bridges (breaks), thus preparing the voice for good bridging from the lower vocal registers to the higher registers, namely, (chest to head voice). Lift The Voice Into Healthy "Top Down Phonation" They lift the voice out of what we call at The Vocalist Studio, bottom-up phonation into more healthy and successful top-down phonation. It excites the resonators (mouth, nose, sinuses), gets the overtone production placed in the mask and removes throaty singing. Summary This essay first published December 11, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

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

At least a part of your growth as a singer can and should be done alone, free from the opinions of others. Self-critiquing is a valid tool of development. But your success with it is dependent upon the manner in which it is done. Perhaps there are already a number of methods you employ in an effort to improve your vocals: voice lessons, rehearsing with a band, recording, performing, asking others what they think of your voice, listening to other singers, singing with recordings of other singers or cursing yourself when you make mistakes. You may have greater success with some of these methods than others. Let's take a look at the color palate from which you paint the picture of your success. Attitude On assessment, you might realize that you are most creative and sound your best when your creativity is not being challenged and you are free of self-doubt. This safe environment must start with you, from within yourself. I'm talking about being your own best friend. This does not mean you claim yourself as the next messiah of the music world, or strut around bragging about how great you are. You don't have to give yourself false accolades and chant every morning, I'm good, I love myself.It does mean that if you have a ways to go to reach the summit of your vocal prowess, you don't whip yourself for not yet being there, or spew yourself with hatred when you make a mistake. It also means that you need to ensure you have a program of doable steps, which will walk you to your goal. Then, as long as you maintain your discipline and scheduling, you can appreciate yourself for making progress and for the accomplishment of each step as you draw closer to your goals. Constructive vs. Destructive Criticism Perhaps not so obvious to some, there is a big difference in effect between constructive and destructive criticism. I'm bringing this up now, because how you critique yourself can have either positive or negative results. Let's start with a working definition of Destructive Criticism. The bottom line is that destructive criticism gives you no means by which to correct or enhance your actions. The result can often be that you feel less sure of yourself. You may feel hesitant about continuing to sing or perform. It reduces your self-image. Examples of destructive criticism could be: I sounded horrible on that song. Or: You call that singing? And on a subtler level: What's wrong with me? I never open up to an audience. Now let's define Constructive Criticism: OK. So first of all, this does not imply you say something was great when it was not. That's actually pretty vicious, as it is a lie. Constructive criticism leaves you with a way of changing your approach so that you can enhance yourself and actually become stronger and more certain. An example of this would be: That note went off pitch. The reason it did, is because I was pushing in my stomach, which resulted in air over-blow and tense throat muscles. I'll sing it again, and this time try letting my stomach relax. Or even simpler, I can put more feeling into that song. Let's do it again from the top. Along with learning to change your way of criticizing yourself, it is important to be alert to the type of criticism others may give you. If you know when you are being given destructive criticism, and what the effect of it can be, perhaps you will be less likely to let it get under your skin. Helping Yourself Grow Using constructive criticism can take some practice. Some people have, by habit, become so used to giving destructive criticism that they don't know how to change the angle of their critique to make it positive. Hopefully, now that we've begun to examine this, you will notice any time you critique yourself and will be able to keep it constructive. Or at least you'll be able to change it to constructive, if it started out negative. Oh, one more thing. If you use a negative self-abasement approach: That was horrible; Oh. I did it wrong again; Why can't I ever... you have mistakenly internalized destructive criticisms from another and have become your own enemy. If you use positive self- direction, you will keep moving ahead and making progress. This in turn will boost your morale, self-confidence, and ability. The choice is yours. It can be easy to grow frustrated and impatient when you know where you want to be, but either you don't know how to get there, or aren't making fast enough progress. It is better to ask someone knowledgeable and competent in this field to help you figure out the best program for you, than to resort to demeaning yourself out of frustration. After all, we are all individuals and steps that are good for another person may not apply to you. Even if the steps you take are similar to another's, the order they are taken in can make the difference between slugging it out and rapid progress. Most importantly, be a friend to yourself by not allowing destructive self-criticism to defeat you. This essay first published December 1, 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.

A performance is a multifaceted creation. Many singers will learn the songs but approach the actual performance (the show) in a haphazard way and just hope that it works. On the pro level, there is much about the actual show that is pre-planned and developed prior to arriving in front of an audience. If you haven't already, take the lead from the pros and learn how to do this yourself. Focus on Your Performance Objectives Contemplate the effect you want to have on your audience as a result of your songs. What is the mood, emotion and sentiment of each song you plan on performing? Aside from how you vocally sing each song, the visual performance needs to carry the message of the song as well. Does Your Group Work Collectively on Stage? Your energy from the stage to the audience is dependent not only on how well you sing each song vocally, but on how the group works together. The key word here is: Together. You need to look like an ensemble with no one player appearing to be left out. If you are performing with other singers or musicians, include in your practices how you as a group are going to work together on stage, song by song. As a frequent judge of many battle of the bands I've seen this important aspect too often omitted. Choreography can be included, but is not always necessary. However, you can plot out specific movements and staging (whether or not you're playing with other musicians) that would add to the excitement, drama or boldness of the performance of your songs. Here's an example: I began coaching a three-girl group. They had excellent energetic songs and wonderful voices. However, in performance two of them had a tendency to play off each other but rarely interacted with the third. Adding to this separatism, the third performed as though she was on stage by herself. They did not perform as a united ensemble. This reduced the quality of the show and the power of the songs on the audience. You Must Command the Space Twisting or playing with the microphone cord in your hand, hanging onto the mike stand throughout the song, continually putting your hands on your stomach (some misguided singers have been told to do this by teachers to check their support) or any other physical movements or positions that have little or nothing to do with the performance of the song itself are distracting. Your movements, including eye direction, must be deliberate. Don't let your eyes dart around without purpose as you sing. This would make you appear amateur and as though you didn't really mean what you're singing about. Practice singing a song totally engaged in the meaning of it. Make it your communication. Let your movements flow from the feeling and meaning you give each phrase of the song. If you feel self-conscious at first, just keep practicing until you are comfortable being the song and showing it. Remember: A performance works when the details of your visual and audio line up. This alliance is powerful. It makes your song believable and brings it to life. Vocal Shortcomings Will Hold You Back If you have any uncertainties about your voice: about whether or not you'll hit the note or go off pitch, you'll hold yourself back in performance. Some singers sound great but lack vocal stamina and so suffer the punishment of singing for more hours than their improperly prepared vocal muscles can tolerate. This can result in feeling more reserved about really giving it your all for fear of losing it. I have spent most of my life researching how the voice works and how to work with it without compromise. I've looked for and found the most simple, factual and superior techniques that quickly help a singer -- pro or beginner -- to advance and find freedom of expression and find and maintain their own unique vocal identity. This article is an excerpt from Jeannie Deva's downloadable book on Performance Technique for Singers. For these and other vocal tips go to: www.JeannieDeva.com and sign up by clicking Vocal Tips at the bottom of the navigation bar. This essay first published July 31, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

Q: I've heard that singers should not sing if they have a cold or a hoarse voice. Is this always true? Flu Season A: This is a timely question during the winter flu season. Many singers are sensibly concerned about harming their voice. A singer may find herself hoarse for just a day, a week, or chronically. Hoarseness or laryngitis is an inflammation and swelling of the vocal folds, which inhibits them from properly stretching and closing. If they can't stretch and close, they are unable to properly vibrate and produce the desired sound. Two Reasons Laryngitis can be the result of a respiratory infection such as bronchitis or the result of vocal strain from singing incorrectly. If you are hoarse due to an infection, seek appropriate medical attention and remedies like antibiotics, vitamins, etc. If you have vocal strain, then the remedy is proper warm-ups to rehabilitate your vocal muscles returning them to optimum health and vibrational capacity. A hoarse voice after singing means you need to find a good voice teacher or work with one of my self-study courses to develop your vocal muscles. To Sing or Not to Sing In less serious circumstances, there are two types of colds or throat infections. With one you can sing and with the other you should not. If you have a respiratory infection, which is in your larynx (voice box) or lungs, do not sing. However, sometimes the vocal recovery of a lower respiratory infection can take some time. To facilitate this recovery, once the infection is gone, use of specific vocal warm-up exercises will help restore your voice. If you have an infection of your upper throat or sinuses, you can sing, if you prefer that to canceling a performance. Though a sinus infection can make the back wall of your throat painful when swallowing or singing, it will not affect your voice as long as the infection is not also in your larynx. Serious There are certain symptoms, which may suggest a more serious problem. If you have a raspy voice when speaking for a prolonged period of time, a shut down of the upper range where your voice now just squeaks out, notes that were previously fine just won't come out now, pain when singing or speaking or chronic laryngitis, you should waste no time getting professional help. These are indications of possible nodes or polyps and you should consult an otolaryngologist (ear,nose and throat specialist). No one should be hoarse for more than two weeks without being examined by a competent medical specialist. A Stitch in Time Saves Nine On the lighter side, the old adage, "an ounce of prevention is worth a pound of cure," is really the best approach. Do vocal warm-ups before rehearsal or performance and work with a good coach or self-study course so that you develop vocal stamina and avoid the need for a cure. This essay first published January 1, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

In previous articles I have discussed the various aspects of success for a singer. In this tip we'll focus on the third of the three most important components of successful vocal performance. To recap, the three major elements that contribute to your success are: 1. Positive Mental Attitude 2. A Dependable Voice 3. Performance Skill Performance Skill The purpose of vocal technique is to expand your vocabulary of sound, build stamina, and achieve ease of singing while not compromising your unique qualities and style and to maintain your vocal health. Developing your performance skill is the gateway through which your voice and passion shine out to your audience. A performance is a multifaceted, multi-sensory creation. Many singers learn the songs but approach the actual performance (the show) haphazardly and just hope that it works. At the fully professional level, there is much pre-planning and development of each element of the show prior to arriving in front of an audience. Then when in the midst of your show, inspiration and creativity can flow with confidence. Practicing the performance of each of your songs after you master them vocally, is often overlooked, but is something that you need to do as part of developing your craft. Practicing how you will perform a song and the actual expression of the song as if your audience is in front of you right now helps you develop all of the song's nuances. Do this in front of a mirror or video your rehearsals to see what you look like from the audience's perspective. When you practice your songs, don't just sing them through perform them. They will come alive and when you walk onto the stage it will be with greater confidence. Success Singing is most definitely an expression of emotion, intention and concepts. The physical foundation for this is how well you have developed your vocal instrument and how well you work with it. Many have mistaken this to mean that certain styles of music are vocally harmful or that you are born to sing only one style or sound. This is false and the influence of fear and ignorance. From my research and experience as a vocal specialist, I have found something different. I find that most people singers in particular have far more potential than assumed. This includes more range, more power, more expression, more tonal possibilities - well, just more of everything. Achieving this more begins by understanding the simple facts of your instrument - how the voice really works. These facts applied become an effective approach for vocal development of increased range, stamina and freedom of expression in any style of your choice - not restriction. This translates into self-confidence as a person and a singer. You'll see that these three elements contribute to and strengthen each other. The end result is a successful singer and performer. This essay first published December 9, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

Can you use it and not lose it? As you may know from experience, powerful singing is a style that seems plagued by its own punishment - strain, hoarseness, laryngitis, throat discomfort, loss of upper range, or a frequent need to "clear your throat." Severe cases may result in nodes (calluses on the inner rims of vocal folds) or polyps (blisters on the tops or undersides of the vocal folds), which are painful and may restrict your singing. Metal and Rock singers often have the attitude that training will make them sound too pretty. So not knowing what else to do, they bash and trash their voice resulting in canceled gigs, recording sessions or whole tours. Does singing powerfully automatically mean that you'll wreck your voice? The good news is that it's not what sounds you make, but how you make them that will save your voice! Through over 40 years of my own vocal performance, and over 30 years of vocal research and coaching others, I've found there are techniques that allow you to sing any style you want and without the bad effects. Vocal Blow-Out Vocal blow-out stems from both external and internal conditions. The main external conditions are: late hours, insufficient rest, bad nutrition, alcohol, drugs, smoky clubs, PA and monitor problems, incorrect microphone design for your voice, and competing with band volume. The key factor, however, is internal: improper use of your vocal instrument when singing powerfully. To scope this out and get a handle on it, an understanding of your instrument is necessary. Vocal Basics Vocal sound, as you may already know, is the result of the vibration of your vocal folds (often called "vocal cords" but they're not cords; they're folds and that's their actual name). The inside of your throat has two vertical tubes; one positioned in front of the other. The tube in front is for air (trachea), while the one for swallowing food (esophagus) runs behind it, more in the center of your throat. Your two vocal folds are positioned just behind your Adam's apple and lie horizontally across the inside of your trachea. They are coated with mucous membrane and come equipped with their own tuning pegs, which are connected to the back ends of the folds. The folds remain open during regular breathing. But for every sound you make, their tuning pegs automatically pivot and close the folds so they are lying rim to rim next to each other. With each sound you decide to make, the muscles of the folds prepare and adjust by stretching, thinning and shortening the length of the rim that will vibrate. Higher pitches require less air for the folds to stretch, thin out and a shorter length of them to vibrate. For low notes, the reverse is true. The principle involved is similar to fretting the strings on a guitar: a shorter length and thinner string gives faster vibrations and higher pitches; a fatter string and longer length gives slower vibrations and lower pitches. Examining the Problem To produce vocal sound, air is released from your lungs and vibrates your stretched and closed vocal folds. If you push too much air up against and through the folds, too much pressure is created. The muscles of your folds will tighten, your throat muscles tense, and your problems begin. Many singers unconsciously associate tension with big emotion and hard singing. For your sound to be big, just the opposite is needed. The louder and harder your sound, the more resonance is needed. If your throat and tongue tighten or your mouth closes, you shut down your acoustic chamber and there goes the resonance. The stress created by the push of excess air pressure and muscle tension can cause an irritation and swelling of your folds. The result is usually: hoarseness, power loss, range shrinkage, and other difficulties, including a strained and off pitch-voice. I work with several techniques that permit powerful singing while eliminating the risk of vocal blow-out. While all the techniques aren't possible to fully detail in this short article, you'll find it helpful to apply the following. Self Test Try saying the word "how." Put extra emphasis on the "H" as you do so. Now sing the word in the same way. Notice how emphasizing the "H" makes your throat feel and your voice sound. Sing the word again, and this time, as you sustain the tone, form the "W." Decide if you like this outcome. Now try singing it with minimal air on the "H" and instead, emphasizing the "O" (which will sound more like an "Ah" when you sing it). Notice the result. This should feel and sound better. Vowel sounds result from the vibration of your vocal folds. Consonants are created with an exhaled air stream and are formed by your mouth. If you emphasize consonants when you sing, it will push out too much air and tense the muscles in your throat and mouth. This makes it difficult for your voice to work well and you may find yourself tightening throat and tongue muscles in an effort to hit the note. This stress and strain will choke off your sound killing resonance, cause you to go off pitch or miss the note entirely, run into register break and at the very least will result in vocal fatigue. The problem usually magnifies as you sing higher and louder. Vowels, worked with correctly, will relax the acoustic chamber of your throat and mouth and increase your volume through resonance. Consonants should not be shaped at the same moment as you sing the note/vowel. They will crush your sound and tighten your vocal muscles. Let the vowels take the spotlight. Putting this to Use Go through a song you find challenging, as follows: 1) First sing the melody of the song through using the vowel Ah. Pronounce it naturally, and focus on singing the same pronunciation for each pitch. With the Ah, sing the melody very smoothly, note to note. 2) Now sing the song through using the lyrics and note any changes. 3) Next, talk through the lyrics and notice the sound of each vowel. Maintaining this awareness, sing the song. Be aware that the pronunciation of many vowels, when sung, is often different than the spelling. (eg. "I" is often pronounced more like "Ah." "Say" uses more of an "Eh" than an "A" sound.) 4) If you run into any trouble spots, chances are you're pushing and closing your mouth on the consonants that begin or end the word, while simultaneously singing the vowel. 5) Sing that word or phrase again, focusing on the vowel and letting the consonant(s) take a secondary role. 6) On any melody note that you sustain, such as at the end of a phrase, notice; are you closing your mouth prematurely simultaneously ending the word, or are you letting the vowel sound sustain? Try it both ways and decide which you like better. Practicing with this new awareness may at first take some extra thought. But it soon becomes second nature, while your sound is enhanced and singing the way you want becomes easier! You will find more information and the exercises you need for powerful singing in my book and CD course: The Contemporary Vocalist. This essay first published April 22, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

You love to sing. You do whatever it takes to sound good, but it's not always easy. You have your embarrassing moments. Sometimes your voice feels tight. Sometimes you get the note but not always with the best tone. Sometimes your voice cracks and you run out of air too soon. But you keep on going because you're determined to do this wonderful, magical thing that for some possibly unexplainable reason you can't imagine life without the magic and the power of singing. But could it ever feel easier? Many singers tend to do a few specific things, which actually make singing harder. Here are a few tricks of the trade that make singing easier no matter what your style. Quick Tip #1: Relax your tongue. Does your tongue tense as you sing? Does the back of it pull up as you go for a higher note? Does it pull back into the back of your mouth? (That will cause it to tense.) Try this: Select a song to sing. As you do, rest the tip of your tongue behind your bottom teeth. It will need to move a bit to accomplish some of the consonants, but otherwise, especially as you sing long notes, leave it relaxed low in your mouth with the tip resting against the back of your bottom teeth. It may take a bit of practice to break the habit of tensing and overworking it. Remember, do let it move for the consonants your words will still be understandable. But you will discover that releasing tension in the tongue has a lot to do with singing becoming easier. Quick Tip #2: Relax your lips. When you sing do you tense your lips? Are you exaggerating their movement, or that of your cheeks, or the opening of your mouth? Try this: Put on a recording of a song you like to sing or a backing track of a song you perform. Stand in front of a mirror and watch yourself as you sing. Really put yourself into the song and watch your face, especially your lips and mouth. If you exaggerate the movement of your face as part of achieving the notes, this tension will back up into your throat and you will find yourself pushing against this tension. Remedy: Gently place the palms of both your hands on either side of your mouth on the sides of your face. Sing the song again and let your hands help you to relax the movements of your lips, checks and mouth. Of course there will be movement but with this we are working on letting the movement be relaxed and natural. How does that feel? Do you notice a difference in how you sound as well? (Hint: it should be automatically easier and better.) Facial expressions should be part of your expression of the song - not to get your voice to work. Quick Tip #3: Breathe into your back. Do you push your stomach forward when you take a breath and then push it in when you sing? If so, you're pushing out too much air, which will in turn over-pressurize your vocal folds and cause them to either tense or over relax. Or, as you sing, do you exhale or in some way push up or push out your air? Instead try this: Put your hands on the back of your sides (not the front, the back). Take a breath letting your ribs in back expand. You will probably feel the air coming into your back. Now sing. As you do, let your stomach remain relaxed and maintain the open position of your back). Do this a few times so you can really test it out. Explanation: When air comes into your body it goes into your lungs. The biggest parts of your lungs fill about 3/4ths of your back. To fill with air, your lungs need your rib cage to expand. The expansion of your ribs is what physically opens your lungs. This movement is what pulls-in your breath. If your ribs collapse as you sing or if your stomach pushes inwards, too much breath is expelled too fast. This can cause tension in your throat and can make reaching certain pitches more difficult. Singing with your ribs expanded results in a fuller voice. This essay first published August 21, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

Singers usually come to my studio with one of two underlying problems: a lack of confidence and a lack of technique. In the normal course of things, the former is usually improved by addressing the latter. I teach them how the voice works, show them how to correct bad habits, let them hear the improvement in their own performance, and their confidence grows alongside their knowledge. However, on occasion a singer will show continued anxiety even when their technical knowledge is improving, despite making advances in range, power, tonality and so forth. Personally, I like a perfectionist -- someone who will always strive to be better, no matter what -- but sometimes this self-critical trait becomes over-amplified and destructive. Another example of destructive criticism is where a singer has often times been told that they are hopeless: "You can't sing, you're wasting your time, you're tone deaf." This type of remark can leave a very unhealthy mark on the subconscious, so that even when the singer consciously wants to prove everyone wrong, he or she finds that it's just not happening, regardless of how much technique is learned or how much practice time is put in. This is because the sub-conscious mind is a far more powerful machine than the conscious mind. If you think about it, it's your sub-conscious mind that keeps you breathing, keeps your heart pumping, stores all of the images and sounds that you have ever seen or heard, even though you have 'consciously' forgotten them. Your subconscious is a fearsomely efficient bit of kit, and it is designed to do what it has been programmed to do, regardless of what your rational, conscious mind thinks. For example, many people have 'irrational' fears: As an example, a seemingly illogical fear of small birds. The adult, rational mind knows that a budgerigar in a cage is not a threat, but when faced with one, this same adult breaks out into a sweat, starts to shake and has to get out of the room. It's not logical, and the person concerned doesn't know why he is frightened of the innocent budgie. What he can't remember -- but his subconscious mind knows -- is that when he was very small, an auntie once let her pet budgie out of its cage and it flew straight at his head, startling him. The subconscious mind 'tagged' the fear, associated it with budgies and Presto! a new phobia was born. Sometimes, I meet singers with similar anxiety problems, but rather than being related to fear of household pets, they centre on the act of singing or performing. I meet singers with incredible voices who simply can't face the thought of singing in front of others. I meet singers who always fail auditions because they fall apart under scrutiny. I meet people who are cripplingly shy but who desperately want to share their music with a live audience. I meet singers who can't go onstage without the safety net of lyric sheets, (a big no-no, in my book!), because they are convinced that without it, they will forget their words and the list goes on. Unfortunately, telling someone to 'snap out of it' is about as much use as a boy band at a heavy metal gig, and just as popular. For these anxiety-raddled people, another approach may be called for, and I might suggest that we try treating the problem with hypnotherapy. True, it's not for everyone, and there are those who are resistant to the idea, or afraid of it for various reasons. No problem, (except for the ongoing anxiety!). However, when the subject is willing, hypnotherapy can and does work wonders. I've seen clients at the point of giving up their careers because of their deep-seated anxiety or other problems, who then turn it around after just one or two sessions 'on the couch'. Anxiety-locked voices become free, audition nerves become manageable, shyness disappears and is replaced with confidence and onstage ease, forgetting words becomes a distant memory. Hypnotherapy can seem an extreme, or strange idea to some. Some don't 'believe in it', others associate it with mysticism or mind-control. In fact it's a very simple tool, no more 'mystical' than taking an aspirin! In the UK, many GPs have a hypnotherapist attached to their surgery as a matter of course, to help patients with conditions that don't really need to be controlled with drugs. In the next part of this series, I'll describe a typical hypnotherapy session, and discuss how qualified practitioners can use it to help singers with a range of common conditions. This essay first published August 10, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

It may be of interest to students, parents of young children and anyone interested in improving their intellectual capabilities, that making music is known to improve mental acuity. It is well documented that music lessons, which develop motor, visual and auditory skills have a positive impact on reading skills. Basically, our brains work by forging a network of links or pathways from one part of the brain to another, and just like pathways, they widen and strengthen as they are used more, until they become more like roads, and then motorways! Our ability to form these pathways is called neuroplasticity. One of the best ways to increase the brain's neuroplasticity is to learn to play an instrument, or participate in singing. This is because learning an instrument forces your brain to think in a different way, and thus it forms new pathways. (This is much the same principal as that upon which the Brain Training Software is built). Learning an instrument literally improves your ability to think. There is a substantial body of evidence to suggest that participating in music making, as well as listening to music, stimulates creativity and conditions the brain to think more efficiently in general. For example, children exposed to musical training are proven to be far better at problem solving than their non-musical peers and have been shown to have an astonishing 80% greater spatial intelligence, according to some studies. One study also showed that pre-school children taught with song and games have an IQ of 10 20 points higher than children taught without song, and show far better reading and math scores by the age of 15. What more encouragement do you need to send your children off to music lessons, or to campaign for more music in schools? Better yet, these findings do not only apply to children; adults show similar improvements, after a period of time, when learning to sing or play an instrument. These activities not only keep the brain active, but also encourage new brain function. Singing lessons have also been shown to be highly effective in helping adults with brain damage, helping the individuals to re-form their damaged or broken neural pathways. Add to this the feel good factor that is inherent in making music, and it becomes a matter of some wonder that music lessons are not prescribed by law! There is a considerable body of research (Lozanov and Gatava) suggesting that accelerated learning can be optimised via the use of music rich in stringed instruments, played at 64bpm. Their experiments showed that students were able to take in huge quantities of information in a very short period of time, when these musical criteria were fulfilled. The inference is that we would all do well to have string-rich, slow-paced classical music playing when we are working, or trying to focus on a project or learn a new piece of information quickly. What have you got to lose? It's certainly worth a try, and strongly backed by scientific data. At VIDLA, we train singers to become effective singing teachers. How nice it must be for those teachers-in-training to know that they will be doing so much more for their students than 'just' teaching them good vocal habits. They'll be re-wiring their brains too. The over-riding message? Music: it's all good. This essay first published August 18, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

When listeners say that they absolutely love the way so-and-so phrases a song: What exactly do they mean? In order to tackle the subject, let's first define what a phrase is, and then we can figure out what we can do with it. Think of a phrase as a grouping of lyrics and notes. The grouping might be as long as a sentence, or a partial sentence. Phrases are often separated by rests, or moments of silence, but sometimes shorter phrases can be connected together into a longer section, like Lego blocks.There are a number of ways you can manipulate these blocks or perhaps I should say shape these phrases. In fact, when I make phrasing decisions, I feel like an architect creating a sonic structure, where all my choices result in emotional consequences. Here are some ways to define and master phrasing: Breath Choice: breathing should not be accidental. And you don't always have to breathe when you stop singing between phrases. You can do a pause, no breath sometimes and create a bit of excitement. When you breathe, you can make sound or not your choice. Word Rhythm: you can sing a word one of three ways: before the beat (rushing), on the beat (in the pocket) or after the beat (dragging). Mix them up within a song- though you should always be well aware of where the beat is at all times. It's only your relationship to the beat that can change. Dynamics: This refers to louds and softs. Music that is only at one volume can be boring, so choosing how to build your overall song to a climax and resolution or climax through the fade is important. Our brains are wired to notice change and to ignore sameness. That's why dynamic change is so important to grabbing and keeping the listeners attention. Word Stress: Certain words, like nouns and verbs are more important than prepositions (to, at in), articles (the, an) or conjunctions (and, so). Think of how you would naturally stress a phrase in speech and play with singing it like you speak it. That way the meaning comes out more clearly. The great pop singers of the 40's and 50's knew this trick. It's like Frank Sinatra is singing right to me! Smooth vs. Choppy: The longer you hold the vowel, the more legato or connected the words sound: "Suh>>>>>mwhe>>>>>roh>>>>>ver>>>>>thu>>>>>rai>>>>>nboh>>>>>". This smooth delivery is good for a dreamy ballad or a jazzy sound. The opposite approach is what I call 'choppy' phrasing, with pauses in between each of the syllables. A great example is 'You've/got/to/ac/cen/tu/ate/the/po/si/tive'. This halting delivery is surprisingly effective in getting the words across. Is that all there is to phrasing? If we include song interpretation into the purview of phrasing then there's a lot more! To the four categories above, we can add some elements that affect the acting of a song. These elements are the vocal colors which add to the overall feeling, such as resonance choices (degrees of brightness, nasality, ring, the height of your voice box), how closed or open your vocal folds are (breathy, blowy, clean or hard closure) Let's take an example of a famous phrase and see what kind of choices we can make with it. Somewhere over the rainbow can be sung as one phrase, two phrases somewhere...over the rainbow or even three phrases some...where...over the rainbow. Try saying it these three ways and notice how the feeling changes. In the one phrase model, you may feel more in control, optimistic that eventually everything will turn out all right. In the two-phrase model, there's more of a questioning feeling as if you're looking towards the horizon, hopeful that somewhere, oh yeah, I see the rainbow now, maybe over there, everything will be OK. And in the three-phrase model, you can sound like you're holding back tears and about to break down. What if we add one more ingredient, such as singing somewhere late? How does that change the feeling? Now try making the syllable some louder, then float the where softly. Notice how the word sounds more natural? Let's try one more trick in the phrasing library: try sliding up in pitch from the some to the where. How did it sound? If your volume stayed consistent from your low note to your high note, you probably sounded cheesy. Try doing a slide where you leave out some notes on the ascent. Just dropping some notes out can make the slide sound elegant. What a difference changing volume and leaving a few notes out can make! There's no real mystery to phrasing. The ingredients can be learned by listening, then analyzing, then imitating and finally by recombining these elements into a personal style which relays emotional truth and sincerity. This essay first published February 25, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

If we define belting in the most general terms possible, let's entertain the notion that it's a vocal sound that derives from talking or yelling. Belting is most often linked to musical theater singing, but has been used to describe loud singing in commercial styles such as rock and gospel. Following is a brief description of the essentials of the mechanism of belting voice production, particularly as compared to classical singing. Head: aligned with body but with jaw parallel to ground (head tilted down in classical) Jaw: firmer masseter (chewing) muscle which protrudes jaw slightly forward Hyoid bone: pulls forward Thyroid Cartilage: slides forward (tilts down in front for classical) Larynx Height: higher position (approx. 1 1/2 cervical vertebrae higher) Vocal Fold Vibration Pattern: clapping, square-edge, no zippering, particularly at higher volumes Vocal Fold closure speed, speed quotient: faster Vocal Fold closure ratio, closed quotient: longer, closed minimum of 50% of time Increased sub-glottal pressure - upper belly must firm OUT, lower belly IN, to correctly pressurize vocal folds T-A muscle (vocalis): more contracted Frequencies: even range of frequencies up to 15k Subjective sensations: Extreme breath holding prior and during Singing smacky and sticky The feeling of folds high speed of closure and long closed phase Intense support (5 rules: chest stays up, side/back ribs stay out, upper belly magic spot firms out, lower belly gradually goes in, waist goes out) Sound shooting through mouth or chin or upper neck or lower neck or nose Modern belting ideas: Timbre (nasal and/or ringy) and volume should be character-based choices Can be loud, medium or soft (rarely), but cannot be breathy Musical Theater belting can be delineated into at least five belting sub-styles: Heavy Belt, Nasal Belt, Brassy Belt (nasal/ringy, mostly nasal, i.e. Ethel Merman) Ringy Belt (nasal/ringy, mostly ringy i.e. Kristin Chenoweth) Speech-Like Belt (broad spectrum of resonance i.e. Idina Menzel) Teaching Approaches: Calls (Come ere Daddy!) Nasals (e.g. nyaa) Lean Exercises Pressure Sounds (bee staccato) This essay first published November 30, 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.

Many singers identify themselves based on their voice type, such as, I'm a soprano. I'm a tenor etc. Voice type is really based on two separate ingredients: range (which notes your vocal folds can produce) and timbre (the sound of your voice). But I bet that if you ask a singer what their range is, very few will actually have the answer. That's really odd if you think about it. Athletes know their height and weight, but singers can't tell you the highest or lowest note of their range. What determines your range is the diameter of your vocal cords: the smaller the diameter (and hence) length, the higher your vocal range. An easy way to demonstrate this is to use coins as a visual example. Our smallest coin, the dime, illustrates the size of the vocal cords of the highest soprano; a penny works for the average female. For the average man, think a nickel and for the lowest bass, a quarter. Want to discover your range? It's pretty easy. First make the sound w as in the word law or dog. Pucker your lips and allow your chin to go down at the same time. Now start on a lowish note and descend on a 5-note melody, 5-4-3-2-1 of the major scale to be exact. If you can hear your low note clearly, then adjust the pattern down a half step (or semi-tone) and repeat the 5-4-3-2-1 pattern until your reach your lowest note. It doesn't have to be loud or even sound great. It just has to be there for it to count. When you find the note, write it down! Since most singers have 3 and 1/3 octave ranges, even beginners, your high note can be estimated by knowing your lowest note. Even if you have actually less than 3 1/3 octaves, you'll probably discover that you can produce more notes than you had expected. Here are some rough low notes and how they correspond to voice type: F (below middle C) - high soprano (expect a high A on top) D (below middle C) - regular soprano (I see this note ALL the time) A/Bb - mezzo-soprano F (2 below middle C) - alto (very rare voice type) A (2 below middle C) - high tenor E (2 below middle C) - tenor C (2 below middle C) - 2nd tenor/high baritone G (3 below middle C)- baritone E ( 3 below middle C) - bass/baritone C (3 below middle C) - bass These are of course approximate. So how low can you go? This essay first published February 25, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

I've found a really useful image, which helps me conceptualize my voice usage and helps me protect the most important part of my voice: my vocal folds. Just imagine that you have X amount of time every day on an imaginary vocal clock before your vocal folds begin to swell. You can't know exactly how much time you'll have on your clock before the swelling starts, but once the swelling begins, so does the hoarseness. So every time you yell, scream, laugh, growl, talk or sing, (even with perfect technique), you're taking time off your vocal clock for the day. You choose the vocal activity knowing that some activities will take more time off the clock than others. When we're singing great, partying and generally feeling invincible, the last thing we're thinking about is the state of our tiny, fragile body parts known as the vocal folds. The average vocal fold size is only that of a penny. You heard me; together your left and right folds are only the diameter of a penny and that's if you're average. Women's folds can be even smaller. High sopranos folds may be as small as a dime. Knowing what to be afraid of is actually an empowering piece of knowledge. Instead of harboring a vague fear of losing your voice, instead of feeling demons all around anxious to put a halt to your career, you can now focus on the only body part you can actually injure and the ones worth protecting: your vocal folds. And when you injure a body part, it swells, right? When your vocal folds get puffy, you end up with a raspy, rough tired voice. Not only are vocal folds small, but the act of making sound, what we call vibration, is actually a collision. Try this: play an A below middle C. That's called A 220. When you sing that note, your folds are flapping against one another 220 times each second. Amazing, true fact. Now sit down, because it gets better. When you sing the A above middle C, your folds are vibrating 440 times a second. Pretty awesome. High A is called A 880. Famous women's high C?: over a 1000 times each second. That's a lot of collisions! Not only does high pitch take time off your clock but loudness does too. If you clap your hands together lightly with very little space between your hands, you can easily visualize what singing softly looks like in your folds. Now clap your hands hard with a wide excursion. This is your vocal folds being loud. So the combination of high and loud singing creates rapid and powerful collisions, which create hoarseness sooner. Vocal folds are complex, layered structures with muscle inside: a ligament on the edges which meet and are all surrounded by spongy pink mucous membrane like the inside cheek of your mouth. Their ability to change shape is stunning: they can lengthen and shorten, the interior muscle can tense or relax, and the Jell-O-like covering can be taut or flaccid. They are sensitive to humidity change, preferring humid to dry air. Drinking more water and eliminating coffee, tea and alcohol prior to singing will extend time on your daily vocal clock. What if you do everything right? Does hoarseness only result from misuse? Unfortunately not. Studies of school teachers who use their voices constantly have shown that it is not uncommon for teachers to experience 1 million collisions during a standard work day and that does not include all the talking after work at home. That's a stunning number of collisions even if the person speaks with perfect vocal technique. So the answer is, good use is better than bad use, but use is use and reduces your ability to maintain a comfortable, healthy sound. There are a surprising number of elements that can affect how much good voice you can expect in any given day. Ask yourself these questions: Did I yell or scream today? Yesterday? Two days ago? Take time off the clock. Was I on the phone last night chatting while laying down? Definite time off the clock. Did I eat fried food last night, alcohol, too much food? Uh oh... Did I get my beauty sleep, or am I stumbling around on four hours of sleep? Oh dear... Am I a blabbermouth, need to put a sock in it, laugh way too loudly? Ladies: are we bloating right about now? If the rest of you is swelling, so are your folds! Let's say that you like your raspy sound, it's your signature. You think it sounds even sexy. Fine, but then you have damaged vocal folds and that's acceptable to you. One can sing with vocal nodules, edema even tissue scarring. It doesn't sound good, it's not healthy and there will be limitations on your range and stamina, but that's your choice. Like so much in life, it's about knowledge and choice. If vocal health, consistent vocal ability for many years to come, easy high notes and lack of pain are of value to you, then keep an eye on your vocal clock. If your reflux has kicked into high gear or you partied too hearty last night, you will need to be extra careful the next day. Try not talking so much, speaking more softly and postponing a rehearsal if you need to. You are not a diva or divo just because vocal excellence is a priority to you. Unlike guitar strings, vocal folds are not replaceable. So getting a little extra sleep, laughing less loudly or speaking only as loudly as you need to be heard all will go a long way toward getting the most time from your daily allotment of natural vocal health. Protect your vocal folds by being aware of how remarkable they are. Like babies, they are tiny and precious. This essay first published March 11, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

There are some amazing new discoveries being made about the brain and singing. Researchers can measure brain function in real time with magnetic imaging technology. New findings about the role of neurotransmitters, neural networks and brain systems are coming out at an amazing rate, ushering in a new era of understanding of how we think. One of my favorite authors on this topic is Daniel Levitin, who wrote, This is Your Brain on Music and recently: The World in Six Songs. Before becoming a professor of neurochemistry at McGill University, Levitin worked as a music producer, producing numerous gold records. I have found his insights into the effects of singing on the brain to be very informative, and have confirmed what I observe everyday with my voice students: that people who sing are more likely to be happy. Every day I go to work knowing I have the best job in the world: playing music and singing with people. And I notice a wonderful before and after effect on my students when they come for lessons. In almost every case, after a half hour or an hour of singing, students experience laughter, a bright disposition and a general feeling of well being. Levitin cites a number of studies that show that singing elevates the levels of neurotransmitters which are associated with pleasure and well being. In one example, people's levels of oxytocin, the transmitter associated with pleasure, love and bonding were measured before and after voice lessons. The levels increased significantly for both amateur and professional singers. Other studies have shown that the levels of IgA (helpful to the immune system) increased with choral singing, and levels of serotonin increase when listening to pleasant music. Why does our brain shower us with good feelings after singing? Levitin makes the case that our brains developed along with singing and music as a survival mechanism. Before there were governments or nations, tribes and groups used songs and dance to build loyalty to the group, transmit vital information and ward off enemies. Those who sang well survived. Consider that before written language emerged, critical stories were passed on with the oral tradition of song. The Hebrew Torah, the Greek myths, the Illiad and the Odyssey were all sung long before they were first written down. So when we sing, we tap into something that is not only one of the most ancient of human practices, but we also tap into the activity that modern neurochemistry is showing to be profoundly healthy. This essay first published December 9, 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.

One of the greatest challenges for my clients, and I'd say for most singers and performers, is managing stage fright. To further complicate things, this skill is entirely separate from the understanding and development of the voice. What is solidly known, understood and eventually predictable in the practice room, shower and car, becomes strangely foreign the moment the stage is approached, or studio entered. Over the years, I've come across some tricks and tools for managing stage fright that have worked well for my clients and myself. By anticipating, embracing and even practicing stage fright, we're able to blend into and ride the wave rather than get pummeled by it breaking over us. Still, this approach is a challenge, as in many ways we're tricking ourselves into believing something that isn't true. We're pretending to be excited when we're really terrified. We're running toward our panic, rather than running away. All of this, while trying to perform in front of an audience! Thankfully, new research says that we no longer need to lie to ourselves. An easier and more honest approach for managing stage fright is available that can eradicate the nerves before making a toast, speaking at a business meeting or singing on opening night. This breakthrough isn't as revolutionary as it is stunning: Fear and joy, love and anger. While these are entirely different emotional experiences, physiologically, they're essentially the same. If you're having trouble believing, or even conceptualizing this idea, imagine narrowly avoiding a car crash, then your first kiss. Recall a scary part of a movie, followed by walking down the aisle at your wedding. The same physiological reactions were occurring in these moments: sweaty palms, dry mouth, shaking and rapid heartbeat. What made these experiences different from one another was our secondary emotional interpretation of the primary physiological experience. While we can't control the physiological response to fear, attraction or excitement, we can control our emotional naming of, and therefore reaction to, that response. What this means for us stage scaredy cats is that we've just won half the battle; with our bodies now on our practical side, it's two against one versus our emotions. Go get 'em, tigers! This essay first published March 11, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. You can read more from Jennifer by visiting her website: http://www.jenniferhamady.com/.

Recently, I've been getting emails about the best way to care for pre-nodules and other vocal pathology issues. Obviously, the best first step is to go to an otolaryngologist (ear, nose and throat doctor) who can look at your vocal folds directly to see exactly what the problem is. (If you're in New York, Dr. Benjamin Asher -- a TMV member -- is excellent!) With that said, here are some helpful tips, for both before you see the doctor, and after your visit: First, not everything is a nodule or a pre-nodule. Nodules, or calluses, on the vocal folds- are caused by prolonged vocal misuse or strain. Polyps on the other hand, are watery sacs often caused from a single, powerful vocal blowout. Hemorrhaging is a similar situation resulting from the bursting of a blood vessel in the vocal fold. Treatment for these two issues often differ, but a great first step regardless of the problem is vocal rest until you have the chance to visit your doctor. Many singers assume that singing is the cause of most or all vocal fold injury and problems. While this is true in many instances, in fact, there are two other important issues to also consider: Acid Reflux, as you may know, causes the stomach acid to come back up through the esophageal sphincter and into the larynx, reddening and swelling the area around the vocal chords. Unlike indigestion, many people don't feel reflux, only the symptoms of it: itchy throat, hoarse voice (especially in the morning) and an inability to 'clear the chords'. These 'vocal problems' cause singers to overcompensate by working harder to produce sound, often in unhealthy ways, through 'thick' chords.While not necessarily the direct culprit in the creation of vocal nodules, polyps and other vocal issues, reflux can certainly exacerbate problems. Obviously there are some purely physical and biological causes of reflux (eating too late, intense exercise after eating, going to bed on a full stomach, too much caffeine or eating spicy and other acidic foods, as well as hormone treatment therapies and birth control pills, which loosen the sphincter), but in my experience, anxiety and acid reflux usually go hand in hand; I've met very few calm, centered people with this issue. If indeed pre-nodules exist, complete vocal rest for two weeks is a good start to treatment if you want to avoid making them worse (which you do!). While this will help, and sometimes even get rid of the pre-nodules, rest won't take care of what caused the problem. While pushing, straining and other forms of improper use of the singing voice are common causes of nodules and other vocal issues, the improper use of the speaking voice often creates a host of problems as well and is an issue which needs to be addressed once the vocal folds and vocal tract are both back to normal. Evidence of improper use may not be as aurally obvious in the speaking voice, but a disconnect from breath support caused by tension or stress (muscular and skeletal manifesting in the vocal) and unexpressed emotions or difficulty expressing emotion can be huge contributors to what seem to be singing issues. Often singers are diligent about their voices, overlooking the myriad external influences, tensions and stress and that are affecting their vocal mechanism. Make sure to take a few steps back for a broader view of the situation. As well, remember that vocal fold problems are rare; they're not the result of normal, powerful and even prolonged, healthy practice or training. In fact, favoring your voice, going easy on it for fear of causing damage, may often cause more problems than singing in a full, confident and comfortable voice. Fear tends to cause not only muscular tension, but may cause singers to pull off their air” thereby restricting the vocal tract and putting undue pressure on the vocal chords. This essay first published March 19, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

I had a wonderful conversation with a client the other day about generosity: both the ability to be generous and to be able to do so selflessly, with no thought to receiving something in return, with no regard for the potential of being taken advantage of. I experience this conversation, and the same general reaction, Huh? to my views often in my studio. There is always a surprise at my desire and even determination to give. There is always a wonder at the idea that giving might not be contingent upon some proof by the receiver that he or she will indeed be grateful and/or will do something of equal measure in return. In an attempt at an explanation, I ask my curious clients this question: How can limits be overstepped, how can lines be crossed, if boundaries haven't been drawn? Further, if invasions of privacy and constant giving are anticipated and seen as opportunities to share, connect and help, to love and improve the life of another through kindness -- if nothing else -- then how could these generous actions be anything but positive for everyone involved? For those that see this argument as unbearably Pollyanna-like, I assure you that the benefits are applicable to both receiver and giver. When I allow myself in the quietness of my smaller moments to dwell on the technicalities of my schedule or fees -- the practicality of my practice and career -- both my mind and practice inevitably become smaller. How can great, free and brave ideas be born from time-bound thinking that revolves around details of budget, schedules, income and to-do lists? Further, being willing to give constantly keeps my mind and heart open, which greatly improves my own life, relationships and self. While many would insist that I am opening and propping wide a very dangerous door, I have never once felt overwhelmed from this way of thinking and being; in fact, exhaustion comes only when I try to compartmentalize, separate and isolate myself for fear of being taken advantage of. I'm not sure why the horse is before the cart for me on this issue; certainly there are other areas in my life where the reverse is true. But, in terms of lending books, being flexible with session length and fees, and being available at all times to clients by phone, text and email, I find that this openness is not something that is ever taken advantage of, but instead, renews the faith of and faith in people, and in turn, breeds like kindness. While many would disagree, I truly believe in Carl Rogers' notion that all people are inherently good; we all strive for balance, openness and interconnectedness. Those that seem to contradict this adage -- upon a closer look -- often have experienced a great lack of kindness, generosity and indeed, love in their lifetimes. Like physical injury, emotional scars take years to heal, and often, if the insults are repeated, never do. If however, an environment can be fostered where people are unconditionally and constantly given kindness, trust, warmth and the benefit of the doubt, not only do they grow both personally and vocally, but the world -- and the views of those in it -- begins to shift from a place of seeming scarcity (of time, money, trust, talent and love) to one of abundance. Rogers' 'unconditional positive regard' is indeed a universal medicine that can heal a million wounds. This essay first published March 25, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

This past weekend, I had lunch in Washington, D.C. with my voice teacher from college, Myra Tate. Much more than a voice teacher, Myra helped me, after two years of rigid, top-down conservatory training, to regain my vocal and personal confidence. While a long lunch wasn't enough time after 13 years apart, we caught up, shared our experiences and discovered new insights together. Here's some of the precious dust from the surface we scratched together: Stay Positive I've always felt that Myra never got the credit she deserved for her incredible talents. Yet every time I would go there-- in an effort to compliment her -- she'd thank me and move on to the things she was currently working on and dreaming about. She reminded me in those moments that you never learn anything by criticizing others and that frustration is never the best way forward. Both take time away from new thoughts, ideas and creativity. Don't Sugar Coat the Past In recalling a rather personal story, Myra reflected that she could have done a better job than she did. I found myself quick with advice on self-forgiveness, You didn't know then what you know now, ideas and the like. Myra simply smiled and reminded me that it's OK to see the past for what it is. Peace comes when you accept yourself fully -- mistakes and al l-- learn the lessons and move forward. Check Your Personal Baggage and Pre-conceived Notions at the Door emotional, intellectual, vocal and otherwise. We had a great time talking about the incredible leaps in our students when we've been able to be completely blank. It's only then that we really hear what someone is sharing and asking of us and are therefore better able to be there for them. Vocal Baggage This is particularly true when it comes to the voice. Not only do we all experience singing in a unique way, everyone has his or her own best way of communicating about that experience. It's important to listen to and learn each person's vocal language (verbal and non-verbal), rather than jump in with our own ideas, language and beliefs. While helpful for some, words like high and low and discussing the separate head and chest voices can create a great amount of physical tension for many people. Better to lead by first listening. You Are What You Eat Eating clean foods make for a clean body, which make for clear thinking. Why create more hurdles in life by giving your body and mind less than the best fuel available? Respect and honor yourself. The Four Agreements A discussion of Miguel Ruiz's book gave us both a smile and a shake of the head in amazement. They really are an incredible foundation for a great life: Don't make assumptions Always do your best Be impeccable with your word Don't take anything personally Over dessert, the conversation migrated from a mutual sharing, to Myra asking my opinion on client issues and technical vocal matters. I found myself feeling incredibly flattered my teacher asking for my advice! And then it occurred to me: In one swift, gasp-inspiring Aha! moment on my drive back to New York that is what a great teacher does. Even all of these years later, Myra was still teaching me, just as she taught me years ago in college, just as her memory and ideas continued to teach me over the years: by listening, by empowering by encouraging new ideas. She allowed me to be her student once again during lunch, then gently encouraged and humbly allowed me to return to the teacher I'd become. This essay first published April 1, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

My friend Rachel Kice has been writing about dreams recently. Dreams and success. And how you know when or whether you've achieved them. I've always loved to ask people, Would you feel more successful and proud of your work if you had $10 million in the bank from doing it What is the real measure of success, of talent? Money? Recognition? The way you feel when you create or share it? The number of people you impact, or how deeply you affect each one? This exercise doesn't work for my successful clients, because they already have $10 million in the bank. So to them, I ask, What is it that you long for?' Their answers vary, but generally they either speak of a previous time or a faraway place: where life is simpler, more anonymous, better. To sum up: Dreamers long for success. And successful people long to dream. Both long to find happiness that often seems to elude them. Were any of us to wake up with $10 million (or alone in a remote cabin with no press or media), we'd spend a few months blissfully doing all the things we dream of doing when dreaming of success or freedom. But after the euphoria wears off, after the hundredth sunset, you build a fire, pour yourself a glass of wine and dream of... what?? Whatever it is, that is your happiness. This imagining tends to be very hard for people, because often what we see ourselves doing in that moment isn't what we've spent our time, energy, money and education focusing on. What we told everyone we would do, what everyone expects us to do. What we built a career around, what brings us security and stability. But that's life. People change. We learn, we grow, and therefore, we naturally start to dream different things. Until we stop ourselves from dreaming different things, or from dreaming in different ways. The angst I see in my superstars and almost-superstars, isn't caused by the elusiveness of dreams or success. It's caused by a lack of bravery, by stubbornness that holds onto a dream or success that no longer fulfills. By fear and insecurity that cling to the poor management of a dream at the expense of success and joy. By the decision to stop listening to the voices that whisper, We came, we saw, we learned: Where to now??? Modern culture in many ways tells us that we have no right to more than one dream. We believe that success means to make a choice, pay your dues, collect your proverbial pension, and remain. But don't forget that once upon a time, our lowly Jack-of-all-trades was considered a Renaissance man, back when families gathered around a piano rather than a television. Turn down the noise. Listen to what your heart now longs for and dreams of and follow it at all costs with wisdom and reverence. Listen to what your soul believes it means to be successful. Then become it, every day, no matter what anyone else says or thinks. Happiness will be there waiting. This essay first published April 13, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. To read more from Jennifer, visit: http://jenniferhamady.blogspot.com/.

I've been having a wonderful conversation with my friend and colleague Kate Sawert about confidence and competition. The struggle to both attain and maintain the former and the dual-edge sword of motivation and isolation that the latter bears. In sitting down today to share some of what we've learned and discovered together, I was struck by the overlap of many ideas I've had for future blogs, as well as themes from my past ones. The topics vary, but a fundamental issue binds them together. That issue is scarcity-based thinking: a mentality that says there's a limited amount of time, money and love to go around. A belief that there's a restricted amount of opportunity, talent, success and power in the world and that life is a game of chasing, rather than creating, of reacting rather than enacting. A mindset and that there is no such thing as too good to be true-- that indeed something's always gotta give. In my studio, this way of thinking presents itself in what I call the either/or mentality. The choice that seems to be made between concentration and joy; consciously understanding and intuitively knowing; technique and abandon and between thinking and singing. I see musical geniuses refusing to attempt to develop their technical minds for fear of somehow detracting from their creative gifts. Conservatory-trained singers clinging to their technical understanding of music, rather than considering that an entirely new way of experiencing and sharing that sacred language might exist. This scarcity dance is not only performed by singers and musicians, but by all of us. It's in the water. It's our second National Anthem, and we start drinking the Kool-Aid and singing along when we're very young: Are you a real man, or a pansy? Are you going to be spiritually or financially fulfilled? Are you a professional or an artist? Are you successful or a dreamer? What one thing are you? For women, the choice we're asked to make at a very early age is whether we're smart or pretty. Logically, we know, as we get older that we can be both. Intellectually, we're aware of the mind-tricks of the media and society. Publicly, we encourage each other to be both, demand recognition of both, and adore both in ourselves. But in our quiet moments, in the center of our beings, most of us are still stuck clinging to the one that we chose long ago to root our confidence, while aching for, and envying in others, the one we're certain we lack. A corporate client and I were exploring this issue a couple of weeks ago. A beautiful, feminine, classy woman, she had worked her way up the ranks and taken over the top role in her firm. She had done this all while raising a family, going to graduate school, starting a charitable organization, sitting on five corporate boards and happily and meaningfully partnering with her husband of 25 years. Still, she struggles with simultaneously wanting to enjoy her sensuality and femininity, and feeling guilty for what have always been and continue to be constant hindrances in the workplace. Struggles with the opposing desires of wanting to be sexy and feminine, and respected, admired and needed. We can put a person on the moon. We can create symphonies of the most beautiful music. We can cure disease, graft skin, clone animals why have we yet to cure the world and ourselves of the ridiculous notion of scarcity? Contrary to the fear-filled, power-hoarding voices that tell us we need to divide and conquer the best of what we are, the world -- and we -- are temples of abundance that only find peace in a state of balance. We are yin and yang, dark and light. Without one, the entire system falls. Imagine it. Women feeling smart and sexy, demanding respect for both aspects of themselves from themselves and others. Men as comfortable with their emotional sides as their masculinity, and the educational and cultural systems finally holding accountable the schoolyard bullies and those that raise them. Young adults, who seek economic and spiritual enlightenment, who become artists in any and every profession. Being technically flawless and vocally liberated. That would be one giant leap for mankind. This essay first published April 28, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. To read more from Jennifer,visit: http://www.jenniferhamady.com/.

A client and I were talking about communication yesterday. We were marveling at how seemingly simple conversations sometimes go so wrong, the meaning gets incomprehensibly lost in translation. The language we use is so crucial to communication that I spend an entire chapter of The Art of Singing discussing the many ways that it can help or hinder learning and understanding. On the surface it seems obvious, but in fact it's often an incredible challenge to be certain that what you say is an accurate reflection of what you truly feel and think. More important than the language you choose however, is ascertaining the actual number of people involved in a conversation. It sounds like simple addition, but look closely. When two people are talking, they are not alone. Both bring to the table not only their current, conscious selves, the part of them that hopes and longs for specific things in the specific present, but also the aspects of themselves that have been formed, often unconsciously, by their conditioning and past experiences. If you're not sure what I'm talking about, consider the last important decision you made. See if you can recall the distinct, and likely disparate, messages from your brave and centered self, and your fearful, uncertain self. Recall the part of you that knows who you truly are and where you stand in the world, and the part that is still caught up in less than ideal thoughts and patterns from long ago. Two people are talking, but four entities are communicating and reacting to what is being said (and not said), each with their own very distinct agenda. No wonder things get so confusing! In singing it's even more complicated, as there are actually three energies wrestling for the spotlight when a single person steps up to the microphone: the present-day person, the collection of that person's past pains, fears and experiences, and the voice. Certainly singing is about the physical instrument, and its development, so training is obviously important. But the voice is only one aspect of the entity that is The Singer. Truly effective vocal training, if it wants to be holistically integrated with long-term results, cannot only be about isolated technical development. It must also involve and listen to the hopes and dreams of the person actually standing before you, as well as the fears and issues that oftentimes push that person both forward and back. It's a powerful lesson for all of us; we must become aware of every message we're sending out as well as hearing, giving space to each aspect of ourselves and others. When all of who we are feels acknowledged, listened to and understood, communication -- and learning -- is effortless. This essay first published June 27, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.

A few weeks ago I talked about the power of 'The Moment's that crucial crossroads in our lives when we're given the reins of opportunity to turn right or left, to rise or fall… those choices that looking back, meant everything. Most of us have had these moments in our professional and personal lives. But I believe that they're also there waiting in a place you might never expect in the formation of talent. Of course, there's no conclusive proof of what makes a musical genius. The debate goes back and forth between some combination of genetics, environment, brain chemistry and practice (10,000 hours of it, according to Malcolm Gladwell). In fact, the only thing experts do agree on is that they're uncertain. I certainly don't claim to have any definitive answers, either. But I would like to share what I've observed in my own practice over the past 13 years: commonalities that have led me to an exciting conclusion about the moment that perhaps -- talent is born. In my experience, brilliant musicians today -- singers and instrumentalists that speak the musical language fluently, intuitively, effortlessly and naturally -- all had initial language-less, non-technical and generally teacher-less experiences. In other words, they approached music's door, and -- finding it open -- walked in silently and usually alone, sat down and made themselves comfortable. In that space, immersed inside of music's house, they observed and played without inhibition, rules or criticism from self or others, and developed their ability as an extension of their soul's own language. Certainly, many of these musicians went on to study technique and to read music, but it wasn't part of their initial experience or engagement. Conversely, I've observed that those who began the study of an instrument or the voice with technical instruction, or as an individual, intellectual pursuit, seemed to master only two rather than three dimensions of proficiency. Yes, they can read music. Yes, they can play songs. But they're not fluent. It doesn't come as naturally to them. They always have to think about it, the way someone who studied French or Spanish in school has to think about and translate from one language into the other before being able to connect. For those scoffing at the idea that how we learn music might be as important as inherent talent, take a look at countries and cultures -- Ireland, African-American churches, the Native American tradition -- that teach and celebrate music as an uninhibited practice. It is astounding and inspiring to observe that most -- if not all -- bravely, comfortably and fluently speak the language of music with powerful, beautiful voices. This is not a function of a greater amount of inherent talent per capita, but rather, a difference in approach toward music and creative pursuits. The initial engagement -- if it wants to demonstrate as inherent rather than practiced, or show a natural ability rather than a learned one-- must bypass the technical, language-oriented, left brain and engage directly and immediately with the creative, right-brain emotional centers. The aforementioned cultures go right to these emotional centers. Our current teaching model turns sharply to the left. None of us can go back and change the way we experienced our initial musical, artistic engagements. But what we can do is to use this wisdom to our advantage as we walk into the world and approach learning, particularly things of a creative nature. Abandon language, judgment, and a sense of time. Ignore the temptation to name and perfect things. When the moment comes, sit in the house of your creative pursuit, make yourself at home, listen and play. This essay first published August 10, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. To read more from Jennifer, visit http://jenniferhamady.blogspot.com/.

More often than people realize, psychological distress is caused by some combination of lack of meaning, lack of social engagement, and lack of spirituality. These and other existential issues aren't often discussed in Western therapies (or in performance and voice coaching), but that doesn't make them any less real. Also not discussed in Western therapies are the concepts of duality and non-attachment, social service as a means of transcending self-absorption, and the importance of mindfulness, meditation and yoga. We come from a culture that insists that to resolve our mental health problems, we need to focus on them -- and ourselves -- more. How do I feel? What do I need? What am I missing? The answers are out there, if we're willing to listen, and looking in the right place. Recently, for me that place has been Eastern Philosophy, including Asia's two more prominent forms of psychotherapy, Morita and Naikan, both of which purport to offer complete psychological cure from fear, psychosomatic pain, perfectionism, anxiety and neurosis. How do they do this? In the case of Naikan, the resolution of these issues comes from asking and answering three simple questions about the people in your life. These questions are: What did that person do for me? What did I do for that person in return? What trouble and inconvenience did I cause that person? As you probably noticed, not one of the questions is about ME. Both Naikan and Morita believe that relief from anxiety and malaise comes not from asking "what's in it for me" and "what have I not been given" but rather "what have I not given?" It would be easy to dismiss Naikan as some Zen, optimistic ideal if it hadn't been proven in a series of studies to be as effective, if not more than, our own Western psychotherapies. Which means -- get this -- that the roots of anxiety may in fact be culturally created and empowered. Rather than an innate and inflexible response in all people to a host of performance, life and family circumstances, anxiety may in fact be caused in large part by our conscious preference for self-focus, self-obsession and self-absorption. This is a hard pill to swallow -- on a number of levels -- for us Westerners: one that many people can't or don't want to stomach. The idea that all psychological unease can be resolved by an increase in gratitude and a decrease in victimhood is uncomfortable. It takes away our right to pout, our right to dwell on our fears and insecurities both on and off the stage. The next time you take a yoga class, go for a walk or sit before the majesty of the setting sun, consider quieting the litany of thoughts running through your head: your to-do list, your drama, your issues, your pain, and ask... first about your mother, then about your father... next about your siblings, then about your children... then about your friends, your colleagues and your partner: What did that person do for me? What did I do for that person in return? What trouble and inconvenience did I cause that person? Similarly, the next time you get on stage to perform, quiet the pervasive fear and ME-based mantras, What will they think of me? How do I sound? How did I do? And ask yourself before your first note, How can I share? What can I give? How can I help to touch the souls and hearts of the people that have come here today? You don't have to be a believer in Naikan or Eastern Philosophy to feel the precious shift in both your performance and life. This essay first published November 3, 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.