TMV World Team

("Enigma" by Mati­as Argudin) The third and fourth parts of Leaving The Ashram are respectively entitled The Tabla Master's Enigma and The Ordinary II. Our unidentified introspective hero has completed his retreat and is going back to ordinary life. As I now leave behind the echoes of complaints The struggles of ego in the hall of constraints I recall my time here one of introspection Of intense pondering and of liberation Long I sat by myself in silence and darkness One by one noticing the causes of distress Observing unmoving ever firm in my oath Persistence consistent is rewarded by growth On the way there's a man playing on the tabla The master gatekeeper singing his enigma The question is no test but rather a message Telling me the ordeal was a rite of passage Just a few steps away from the ordinary I pause for one last glimpse of my sanctuary The shelter dissolving having served its function The master and the gate fading to oblivion Different from the rest eccentric by nature I had spent my whole life avoiding the matter Once to burn sensitive of the whirl centrifuge I return to the world may it be my refuge "If you live the sacred and despise the ordinary, you are still bobbing in the ocean of delusion." Lin-Chi The Music Of Poligraf series are reposts of writings and demo audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

Here is a journal entry from 17 May 2006: Yesterday I did something that was hard yet necessary. I told (by email) a potential student that I did not think I could help her with her goals. I explained why, and it seemed harsh - not my style of expression - I mean the information. I'm not used to bringing bad news. She's 27 with no musical experience and wants a pro singing career, with piano too. I told her I could help her sing better but could not promise her a pro career and I think this is what I had to do. To participate in her dream would not feel right. She wanted to know how long it would take to master singing. I tried to answer in a way that doesn't seem mean or bitter, but telling her that I can't help her because she's unrealistic is not pleasant. As I think about this, it becomes apparent that her issue is my issue. Degrees of difficulty are not so relevant here. The basic issue of coming late to the game is something I have struggled with. How late is too late? How long is too long? When does lofty become stupid? ===============end of journal entry================ Problem One - Not Understanding What it Means to Study Singing: I take beginners of all ages into my studio, and I love working with all of them. However, the person's goals were so ambitious, and her assumptions so erroneous, that I felt it would be a bad experience for both of us. I'm not going to quote her email here even if I could find it again, but she had the idea that you put in a certain amount of time, then you will reach a certain level, and then you can have a pro career. Whether the student has professional aspirations or not, the message I need to hear before I can say yes to a student, is that they really want to become a better singer. I don't really care so much what their other purposes are, but they must want to work on singing technique, or it isn't going to be a good experience. Problem Two - Age and Personal Development: The other issue is the age issue. Not the age that they start studying voice, but the age at which they hang on to delusions of how life on Earth works. A person who has never sung or played any instrument by age 27 doesn't have a strong enough strand of music in their being to make a go of it in any kind of professional setting. On the other hand, someone who has played drums in bands their whole life but feels that they want to branch out into singing might do very well. That drummer has a musical part of himself that always seeks expression. If a person is 27 years old and suddenly wants to "do music" - great. But if they choose to ignore the dozens, or maybe hundreds of stories they have heard of super-talented people who worked hard for years to make a living from it, then they don't have the presence of mind to be good students. And they probably can't handle a lot of other things in their lives either, such as finances, showing up on time, or understanding the rules of the game. I totally understand marching to the beat of a different drummer, exceptions to the rule, cosmic accidents, and all that, but as a teacher running a studio where the worlds of music, business, human relations, and dreams intersect, this is how I see it. What do you think? Reporting from Maryland, Brian Lee www.vocalability.com

(Daniel-Johnson's Manic 5 dam in Quebec, Canada - photo by Pierre cb) Part 4 of The Dam is entitled simply Dam In the storyline, this is when the obstacle is recognized and the necessity of dealing with it is accepted. Once again the lyrics are pretty much ready, so better let them tell the story. 1st verse The feeling is getting stronger / I'm aware of a dam Building internally / This is not who I am Conflicting directions / Identity crisis Time has come to make a choice Quiet the fearful voice This current is pushing me / To play for the wrong team I don't see how this course / Is leading to my dream Water which has no outlet / Will die of stagnation This is all making me daft I am in the wrong craft 2nd verse Too many lives at once / I need some time for me Foreshadowed Schizoid Man / 21st century Self-serving purposes / And matter over mind This boat is sinking fast The delusion can't last Streaming the superficial / Life without an essence Seeing through to the bottom / I can't find any sense There's a need for something deeper / That is left unaddressed Many questions, one answer Myself I must enter The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

("Introspection" by Alberto Baumann) "Introspection I" is the third part, and first vocal section, of "The Chrome Lake," which itself constitutes the core middle chapter of the "Entering The Stream" trilogy. The title of the whole suite was inspired by Voivod's "X-Ray Mirror" from their "Nothingface" album : The present part's subject matter is, as implied by its title, looking into oneself. Here are the lyrics: Verse I see you're down you know you can always confide in me Over your head in haze, I will always reflect the true story The picture that I see may not be complete but just the same Since you don't open up, I'll start, it's a part of our game The one I see before me is lost, it's not a pretty sight A living dead, a ghost, a black hole starving for some light I see you feel ignored, exploited, always out of breath I see you feel damaged, depressed, contemplating death It's too hard on your nerves to recall who you must be The way you must behave to please, please everyone you see You don't know who you are, you just try to fit their scheme You even let your mind become slave, slave to their dream Looking for advice it's about time you found Chorus Another you - the real you Afraid of the way they will see The one who hides inside Another you - let them see The flame in your heart Shine Only you can end your misery The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

(Pocket Stereoscope by Joaquim Alves Gaspar ) Stereoscopy is the definitive title of a song which I used to refer to as Point Of View. I changed my mind about the title while writing and singing the melodies, thinking that the word doesn't get the chance to be employed very often. Well, not around me that is. Until now. The underlying idea of the song is that of the benefit of sharing perspectives, for instance to get rid of old oldness or discover new newness. Stereoscopy means : three-dimensional vision produced by the fusion of two slightly different views of a scene on each retina. Thus the word evokes many perspectives and added depth, which is exactly the point. Of you. For once, the lyrics came about almost effortlessly : 1st View Imagine our paths / As leading up a hill Through the many stories / Directed by our will Minuscule points in time / Observers raising high Unique by the picture / Reflected in our eye 2nd View Envisage our tales / Sceneries if you will On so peculiar paths / We ascend our hill Us, tiny points in time Growing to the skies Unique in our ways Singular in our tries 1st Chorus Speak / High on your point of view Paint / Me the picture that you see Hear / I'll share my mind with you Mutual stereoscopy Tell / I don't know your story Show / How is your reality Look / It's not the same for me New perspectives can set us free Thriving in interdependency 3rd View Consider our lives / All the time that we fill With the many stories / Written by our quill Our sight reaching far / Our vision ranging wide Unique by the ways / We have ignored or tried 4th View Massive panorama / Our senses abide An endless flow of scenes / Amended by the tide You give me your relief I'll cast my own light Sharing between us We deepen our insight 2nd Chorus Speak / High on your point of view Paint / Me the picture that you see Hear / I'll share my mind with you Mutual stereoscopy Tell / I don't know your story Show / How is your reality Look / It's not the same for me New perspectives can set us free Thriving in interdependency The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

("Between the waves" by Ivan Aivazovsky) The seventh chapter of "The Dam" is entitled "Flow" and presents our protagonist/narrator having passed the test, overcome the obstacle, levelled the dam, and moving forward into the dream, responding to the calling of the ocean. The lyrics are almost done, although I'm not completely satisfied with the choruses : 1st verse Have I ever been here ? / Memories I'm recalling Of similar currents / And one ingenuous starling Only doing the things / That kept his heart beating Not much of a skipper / Misguided but well-meaning Though it's a different stream / And time has made me wiser I still have the same dream / The ocean is calling I'm headed for the goal / No more changing the bearing I have chosen the boat / I have chosen the river 1st chorus Riding high I defy The ordinary Advancing into the dream Still I can't clarify Was it I at the helm ? Did I really have a choice ? 2nd verse I feel I could stay here / For all eternity Purposeful and passionate / In creativity Driven forth by the flow / Sailing effortlessly Doing what I'm feeling / Is best for you and me No trace of the old barrage / Completed its demise A necessary passage / Into maturity Still I am wondering / Never really knowing This life I call my own / Could it have been otherwise ? 2nd chorus Riding high I defy The ordinary Advancing into the dream And I cannot deny I found my inner light Now at last I feel alright The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

Clocking in at 22 minutes The Dam is my longest composition thus far. The piece uses the metaphor of water flowing from source to ocean to illustrate this mysterious process that we usually refer to as life. It comprises eight distinct movements, identified as follows : 1. Source 2. River 3. Rapids 4. Dam 5. Immersion 6. Surface 7. Flow 8. Ocean As the title suggest, the focus is directed on one major obstacle/life-changing experience, symbolized by a dam on the river, which the protagonist/narrator has to conquer in order to reach his intended destination. The storyline is inspired by my own life and my struggle to reach my goal of earning a living through my artistic output, as opposed to working a day job to support myself and invest what's left of my energies in my artistic pursuits on a part-time basis, as I've done for the best of the last ten years or so. The second part expounds the situation before the obstacle is recognized and dealt with. Here are the lyrics, which have pretty much reached their definitive form : 1st verse How long have I been here ? / Feels like it's been forever Doing what I've been told / Taking in what I've been sold Constantly pondering / Never remembering When did I choose this boat ? / When did I choose this river ? How long must I stay here ? / Not sure I want to be Ever meandering / Throughout eternity Whose aim am I serving ? / Whose game am I playing ? Doing what I assume / Is expected of me 1st chorus Waking up on a boat That barely stays afloat Going down with the mainstream Though I cannot deny It is I at the helm Do I really have a choice ? 2nd verse I used to have a dream / The ocean was calling Drawn off course by the flow / Perpetually striving Debased by the shallow / Never really reaching I used to have a goal / Where is all of this leading ? I'm heading for a dam / I'm falling prey to doubt The current getting stronger / Rapids ahead of me Evermore wondering / Never really knowing This life I call my own / How else could it have turned out ? 2nd chorus Waking up on a boat That barely stays afloat Going down with the mainstream And I can't justify Why should I go along ? When I feel it is all wrong The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

"Introspection II" is the fifth section, and second with vocals, of "The Chrome Lake." And as is the case for its almost-but-not-identical twin "Introspection I," the subject matter is pretty much self-explanatory. Verse I see you feel restrained, mechanized, dehumanized I see you feel estranged, incomplete, dissatisfied Anything for a refuge, an island for your mind, a flight, a break No amount of diversion or substance will ever dissolve the lake Low confidence, you can't make a move without a guide Right now should you laugh or cry ? Live or die ? Can't even decide ? The choice is so easy if only through my eyes for once you'd see You can break down your wall or endure all that will be You wanted advice ? It's about time you showed Chorus Another you - the true you Afraid of the way they will see The one who hides inside Another you - let them see The flame in your heart Shine If you try you can end your misery The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

(Erie Steam Road Roller scanned by Andy Dingley from the "New Catechism of the Steam Engine.") Steamroller is probably the most busy piece of poligrafic music that I've written up to now, and features my new personal record of odd meters with an organ riff in 23. It is intended to hit hard and convey a feeling of inexorable mercilessness. In the Juggernaut storyline, it represents the apex of pain, and the metanoia. The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

The Modern Vocalist.com is reaching out to the most influential leaders in voice pedagogy, voice research, science and executive from companies that build tools and technology for singers and have asked them to share a bit about their daily operations, past and present vision for singers. Enjoy these interviews, they are exclusive and found only here at The Modern Vocalist.com ! CURRENT RECORDED INTERVIEWS: - Peter Freedman, Founder & CEO of RODE Microphones - Kevin Alexander, CEO of TC-Helicon. - Scott Rabb, Founder of Just Gotta Sing . - Dave Pearlman, Founder of Pearlman Microphones Find more music like this on THE MODERN VOCALIST.com

(Globe of Integration by Eugen Hofbauer, Herbert Kalleitner, and Susi Muller. Photo by Manfred Kielnhofer) The Chrome Lake is the core middle part of Entering The Stream, the trilogy which begins with "Into The Ashram" and is completed by "Leaving The Ashram." Lasting a little over 12 minutes, the suite comprises seven sections identified as follows : 1. Introversion 2. Intervention 3. Introspection I 4. Introspectrumental I 5. Introspection II 6. Introspectrumental II 7. Integration Integration starts on a chaotic solo piano part which is soon backed up by the rhythm section that plays up the oddness and dissonance, intending to give the impression of having too many pieces to fit in a puzzle combined with an urge to complete it. The disarray slowly gives way to order and steady forward movement until the piece concludes on a peaceful release signifying the completion of the integration.

Vocal Health Tips from Denis D'Aoust Your voice is your instrument. Take care of it. Protect it. Would you let airline baggage handlers throw your guitar around without a hard shell case? You can't walk into a rock shop and buy a flight case for your vocal cords, but there are a number of things to consider when talking about vocal health. When you consider how thin a membrane a vocal cord is, you'll realize how fragile an instrument it is. Don't overtax your voice, even if you're young and can recover more quickly than people in their 40s and 50s. Many vocalists have had to take serious time off from performing because they strained their voices. The more you take your singing seriously, the more it becomes necessary to pay more attention to rest, sleep, nutrition, and hydration. Here are some important tips: FILL UP ON WATER Vocal cords are made up of two strips of muscle and need a moist atmosphere to remain supple, which results in optimal vibrations. This means drinking about a half-gallon of room temperature water each day NO ICE WATER! The dry winter months are a real problem when you're trying to keep your throat moist. One simple thing you can do is fill a sink with hot tap water, cover your head with a towel, lean over the sink and breathe deeply for five to ten minutes. Or, take a hot shower and breathe in as much steamy air as you can. SAY NO TO A CUPPA JOE The caffeine in coffee, tea, and various soft drinks is a diuretic, which also dries the vocal cords and aggravates stomach reflux. Avoid caffeinated beverages before you need to sing since this reflux causes mucus in the throat, making it feel like your vocal cords are covered. If you need a steaming hot beverage, try non-caffeinated tea with a bit of honey. DITCH THE DAIRY Avoid milk, yogurt, cheese, ice cream, or any type of dairy product since this produces phlegm and hinders your vocal cords' ability to ripple and produce a clear sound. Milk or cream added to coffee is a double no-no. LOSE THE BOOZE Alcohol also has a drying effect, causes reflux, and dilates blood vessels that can alter vocal fold function. Some serious singers will avoid alcohol consumption for up to a month prior to a concert. If you sing for three hours, three days a week and want a drink, I'd recommend having one the day after your three days are up, and maybe the next day, but NEVER before or during a singing engagement. The natural high of singing itself is the best performing enhancing drug. And the audience will appreciate the fact that you're in control. AVOID SPICE IT'S NOT SO NICE Put down the nacho chips smothered in salsa or the chicken vindaloo. Spicy foods also aggravate reflux in singers, which causes swollen vocal cords, excessive throat clearing, and a feeling that there is a lump in the throat. Speaking of clearing your throat, don't. A gentle cough should be enough to clear extra mucus. If not, have a sip or two of water, then cough. SKIP THE SMOKES This should be a no-brainer, but smoking and being surrounded by cigarette smoke irritates the respiratory tract, giving you a raspy voice predisposed to injury. The smoke impairs the mucosal wave, so in many singers, not all, range is decreased as is the quality of the voice, unless you like sounding like Joe Cocker. It also impairs lung function, which weakens support for the voice causing singers to compensate and strain throat muscles. RELAX, JUST DO IT Vocal naps, or simply avoiding talking for 20 minutes, will keep you from overstraining your voice before a concert or performance. If you're driving home from work or a gig, instead of singing along with the radio, just listen. COME ON DOWN There is so much emphasis on warming up, that few people realize it's equally important to warm down your voice after a performance. Voice doctors recommend five to 10 minutes of warming down after a robust concert where you push the envelope with your voice. To get the volume and pitch of your voice down to normal range, make a yawning motion with your mouth and sing "ahhh-ummm" from a high to low note. SOOTHE YOUR INNER SONGBIRD Slippery Elm throat lozenges work great to soothe the throat and don't contain any irritants that would aggravate the larynx. Used by opera singers, Thayers Slippery Elm lozenges can be found at local health and natural food stores, Vitamin Shoppes, and GNCs. KNOW YOUR VENUE If possible, visit the performance space before a concert to familiarize yourself with the settings and other factors you may not be able to control. Check the acoustics and sound system, temperature, where the bathroom is, and make sure water is available. Look out for unexpected irritants like smoke, stage fog, freshly painted sets, ammonia on floors, and other hazards that not only injure voices, but make the performance difficult if they are unanticipated. ESTABLISH RELATIONSHIPS WITH VOICE DOCTORS Ask your physician for a referral to a voice specialist or ENT, and have your vocal cords checked regularly. If you're traveling for concerts, look into the availability of specialists in the places you're performing. Besides avoiding irritants like caffeine, smoke, alcohol, and spicy foods, the best way to keep your voice healthy and strong is to live a healthy lifestyle. Getting the proper amount of sleep, eating a balanced diet, exercising, and drinking lots of water will keep vocal cords supple so they sound loud and clear when you need them the most.

Have you ever noticed that certain adjacent notes in your range differ noticeably in volume? For instance, are your Bbs strong and your Bs weak? If so, you may be a singer with 'trick notes'. These volume imbalances can result if your vocal tract aka your resonator (throat, mouth and nose) resonate certain notes too well which can make adjacent notes weaker by comparison. To figure out if 'trick notes' are a problem, you first have to find what your 'head' is; that means which resonant tone your vocal tract amplifies the best. Ladies, start by humming with teeth apart, lips together on an A below middle C. Keep moving the pitch up by half-steps until you get to a middle C#. If one of those 5 notes vibrates your whole face evenly AND is quite a bit louder than any of the other notes, you may have a trick note problem. Gents, try this around C below middle C up to F below middle C. Personally, I've got a Bb head and strongly so. As a result my Bs tend to be weaker and thinner sounding. To make all my Bs better, I lower my larynx so that my Bs match my naturally good Bbs. If you have a vocal tract which is strongly tuned to one of these notes, you may hear a weakness on the notes which are a half-step higher or a #4 higher throughout your range. Which 'head' do you have?

I get asked a lot on my YouTube channel about how to sing without your larynx shooting up really high behind your chin. This can be challenging to any singer beginner or advanced. We naturally raise our larynx when we speak and swallow so it can easily carry over into our singing unfortunately it's doesn't help our singing at all. A slight raise of the larynx is necessary for some vocal effects like twanging the epiglottal tunnel, but in general its unhealthy for singing. So what can we do to help us disconnect from raising the larynx when we sing? Try this exercise on for size. 1. Imitate the face of an ape or monkey saying oo, oo, oo your jaw should be low and the lips outstretched uniformly to form a small, round opening. (yes -you will look silly) 2. With OO sound, start in your middle range and slide down gently to your lowest note in one continuous sound. It should sound like an old air raid siren winding down. The slide down should be slow and as even as possible. 3. Slip into an AH sound at the very bottom each time you do it. 4. Gradually raise the pitch you start on step by step. Continue to let the OO sound drop and turn into the AH as you reach your lowest note. 5. Continue raising the start pitch until you start singing in falsetto and the OO slides through your break area. *IMPORTANT* Don't make any changes in how you physically do the notes or change your volume to get through the break area. 6. Keep the exercises as deep as possible by keeping your jaw low and the lips puckered forward. Your lips may tremble a bit as a result of the tension you are opposing, but that's OK, let it happen. What's Going On: The monkey face is not used for singing those vowel sounds but for disconnecting the muscles that lift the larynx. The Lifter Muscles as they are called, are part of the chain of swallowing and when they are stretched the larynx is given some freedom. The slide down in pitch helps coordinate the muscles used for making pitch but nothing else. Its common to have some falling off of the notes at first because the larynx isn't used to acting by itself. Thats OK let it happen. It gets better the more you do this exercise. The goal of this exercise is to achieve a very slow and smooth slide down through the break area without a flip in the voice or any extra effort. This helps promote depth in your singing and control of the pitch without using any external muscles that just aren't needed. Once you become comfortable with exercise, add a return slide back up to your starting pitch and that OO sound. This not only helps disconnect the lifting muscles but also aids in breath support. If you run out of air before you get back to the top go back and do some more breathing exercises!!! Till Next Time Keep Rockin Kevin Richards www.rockthestagenyc.com

Many interrelated problems plague singers, most of which are dealt with simultaneously. The problems listed below are prevalent in many types of singers, regardless of training and experience. 1. POOR POSTURE: What is of primary importance to voice production? Body alignment. Problems in posture range from "collapse" of the chest and rib cage, with corresponding downward "fall" of the head and neck, to the hyper-extended, "stiff" posture of some singers, that results in tension throughout the entire body. A singer should be aware of their posture, vertical, but not tensed, with the head slightly tilted downward. 2. POOR BREATHING, NO BREATH SUPPORT: Some beginning voice students seem to "gasp" for air, showing shallow breathing patterns. Trained singers, on the other hand, use primarily diaphragmatic breath support. The muscles of the lower back and abdomen are consciously engaged, in conjunction with lowering of the diaphragm. As the breath stream is engaged in phonation, there should be little tension in the larynx itself. Sometimes, in an attempt to increase loudness (projection), a well-trained singer may over- support or "push" the airstream. This extra effort may affect vocal quality by producing undesirable harmonics. 3. HARD GLOTTAL OR "ASPIRATE" ATTACK: "Attack" or "onset" (a preferable term for singers) occurs with the initiation of phonation. Some singers (possibly related to poor speech habits) use a glottal attack, which is too hard (produced by to much tension in closure, hyper adduction. Vocal cord nodules may develop with habitual use of a hard glottal attack. The opposite problem is the "aspirate" attack, in which excessive air is released prior to phonation. While this type of attack rarely damages the vocal cords, it causes a breathy tone quality (This technique may, however, be utilized to help correct a hard glottal attack). 4. POOR TONE QUALITY: Many terms are commonly used to describe a singer's tone, and among those familiar to singers are: clear, rich, resonant, bright, dark, rough, thin, breathy, and nasal. Although, "good tone" is highly subjective, according to the type of singing and personal preference of the listener, in general, a tone that is "clear" (without extra "noise") and "resonant" (abundant in harmonic partials) is acknowledged as "healthy" and will have a naturally good projection. The use of amplification may allow a singer the choice of employing a less acoustically efficient vocal tone for reasons of artistic expression. A breathy tone, for example, may be perceived by the listener as "intimate" or "sexy", and even a "rough" sound( Louis Armstrong or Joe Cocker), may represent a the unique character of a performer. 5. LIMITED PITCH RANGE, DIFFICULTY IN REGISTER TRANSITION: All singing voices exhibit an optimal pitch range. Typically, untrained voices have narrower pitch range than trained singers, due to lack of "register" development. The term "register" is used to describe a series of tones that are produced by similar mechanical gestures of vocal fold vibration, glottal and pharyngeal shape, and related air pressure. Singing requires transitions from one register (e.g. chest)to another (e.g. head); each of these transitions is called a "passaggio" ("passageway"). Lack of coordination of the laryngeal musculature with the breath support may result in a "register break", or obvious shift from one tone quality to another. Untrained male voices and female "belters" tend to "break" into falsetto/head voice in the upper range. Regardless of the style of singing, a "blend", or smooth transition between the registers is desirable. 6. LACK OF FLEXIBILITY, AGILITY, EASE OF PRODUCTION, ENDURANCE: The traditional voice training in 18th-19th century Itlay "bel canto" ("beautiful singing") method placed emphasis on vocal flexibility or agility -- for example, the singer's ability to execute rapid scales and arpeggios. Virtuosic technique demands excellent aural conceptual ability, coordination of an abundant airstream with energetic diaphragmatic support, and clear, resonant tone quality. The use of rapid melodic passages in vocal training helps to develop a relaxed, yet vital voice production, that contributes to the development of increased vocal endurance. 7. POOR ARTICULATION: Pronunciation with excessive tension in the jaw, lips, palate, etc., adversely affects the tonal production of the voice. Problems of articulation also occur when singers carry certain speech habits into singing. The longer duration of vowel sounds in singing necessitates modification of pronunciation; the increased "opening" of certain vowels in the high soprano voice, or elongation of the first vowel in a diphthong (the sound of la for example being the ah sliding into ee), are examples. Retroflex and velar consonants (such as the American "r" and "l") need careful modification to allow sufficient pharyngeal opening for best resonance, and the over anticipation of nasal consonants ("m", "n", "ng") may result in a "stiff" soft palate and unpleasant tone. 8. LACK OF DISCIPLINE, COMMITMENT, COMPLIANCE: As any athlete knows, regular practice is essential for optimal development and performance. Unfortunately, the need for disciplined training is not always apparent to singers. Furthermore, "artistic temperament" may contribute to a lack of compliance with the advice of teachers on issues of vocal technical development. When a teacher's advice is contrary to a singer's own established ideas and work habits, the singer may tend to overwork, over-perform, or simply "try too hard" in practice. The singer's practice and performance regimen must be sensible, productive, and acceptable to both teacher and student alike. One would think that, if you love what you do, you do whatever it takes, but that's not always the case. 9. POOR HEALTH, HYGIENE, VOCAL ABUSE: Many singers ignore common sense and good vocal hygiene. The physical demands of singing necessitate optimal health, beginning with adequate rest, aerobic exercise, a moderate diet (and alcohol consumption), and absolute avoidance of smoking. Many singers are careful with their voice but abuse them by employing poor speaking technique. Professional singers who travel are frequently confronted with changes in their sleep and eating patterns. Performing in dry, dusty concert halls, or singing over the din in smoke-filled clubs increases the risk of vocal fatigue and infection. A minor cold or allergy can be devastating to a professional singer, who is obliged to perform with swollen vocal cords. Good vocal hygiene, good travel habits, and vigilant protection of ones instrument is an important responsibility of every singer. 10. POOR SELF-IMAGE, LACK OF CONFIDENCE: Although many singers appear to have "healthy egos" and may display the aggressive behavior that is known as "prima donna" temperament, such behavior is a cover-up for anxiety and/or insecurity. Since the slightest aberration - phlegm, for example - can result in momentary loss of voice (even in the greatest of performers!), singers often feel that they are always in a state of vulnerability. Despite unpredictability in vocal performance, the singer does gain confidence through repeated performance and increased self awareness.

You've heard them, I've heard them. Some singers seem like they can do whatever they awant to do with their voice: endless range, dynamic expression, power and strength, yet control and finesse. But you know, the reality for most singers is that they are frustrated, to one degree or another, with a sense that their voice is dictating to them what they can and can’t do. They are not in control of their voice and experience limitations with range, tone quality, stylistic flexibility and the list goes on. Is it really possible for a singer to move beyond these limitations and discover the vocal freedom? Yes! And the key to unlocking vocal skills is the elimination of vocal tension. Vocal tension is any muscle outside the voice box (larynx) that manipulates the voice and its production. And while these different tension areas do help you can sing a little higher or a little louder, or navigate a difficult passage the limitations that come from these tension areas far outweigh the help they provide. If you can free-up the tension, you may never fear that one occasion where your voice falters when you least expect it. Your voice box is designed in such a way that all the flexibility you need is provided by its inner-workings. Your full range, all the dynamic contrast, and the style, nuance and color with which you sing is possessed within the voice itself. The key to realizing vocal freedom is identifying the areas of tension holding you back and developing a vocal exercise plan that will move you beyond these limitations. Identifying the Barriers There are five main areas where vocal tension can strike: jaw, neck, larynx, face and tongue. Following are several characteristics of each of these tension areas, along with some practical exercises to get you started in your journey toward eliminating the tension areas most pertinent to your voice. JAW TENSION occurs in the jaw muscles, right at the hinge of the jaw. Mostly it is characterized physically by the jaw thrusting forward and locking itself into place. Singers with jaw tension often experience difficulty maneuvering the voice and changing their vocal production as they move throughout their range. The top part of the range is generally pushed and forced because the voice is not releasing, but rather carrying the weight of the lower range to the upper range. The best way to alleviate the strain of the jaw muscles is by simply massaging the jaw as you begin vocalizing. Rub the jaw at the hinge, and allow the jaw to relax, feeling almost as if it is disconnected from the rest of your head. (If you drool on yourself then you know your jaw is relaxed!) With the jaw in this relaxed state, slowly begin working your way through the range allowing the voice to release as you sing your way up. NECK TENSION is probably the area of tension that affects a lot of singers, and is easily detected by the rising of the chin and the stretching of the neck muscles (a singer with neck tension looks like someone struggling to do a pull-up, straining to barely clear the bar with his or her chin). The sound generated by someone singing with neck tension is a strained tone that gets thinner and thinner, and more and more strained the higher the singer goes. To relax neck tension, roll your head around freely as you vocalize. Be sure that as you are doing this, you don't roll your head to the upright position with the chin up and neck extended described above, on the highest note of the exercise. If anything, you should be looking down on the highest note to ensure there is no reach involved. If you feel funny rolling your head, at least move it to one side or the other when you're going for a high note. This disconnect exercise keeps your muscles focused on something other than tightening up on your larynx. LARYNGEAL TENSION is characterized by the larynx rising up and constricting the space in the back of the throat. The sound associated with laryngeal tension is thin, whiny and often nasally. Singers who are plagued by this tension area often experience significant vocal fatigue, are usually hoarse within one to two hours of singing, and require anywhere from 24-72 hours to fully recover from a rehearsal, or performance. The way to relax the larynx and discover the descended position that opens the throat is to yawn. Place your fingers flush across the front of your throat and feel for the front of the larynx a little (or not so little) bump extending out from the rest of the throat. With your hand in this monitoring position, yawn and notice how the voice box drops. This is the position in which you want the voice box to remain as you sing an exercise throughout your range. The sound of this dropped larynx position will be very classical (open and dark) compared to the typical contemporary sound. It is critical that this classical sound be used consistently whenever singing vocal exercises. This will not confine you to singing in a classical style, but will actually increase your ability to sing your song in the modern, cutting-edge style you desire for your voice. You will acquire muscle memory by doing this yawning exercise. You will then have a tool to use in your regular vocal performances. FACIAL TENSION is present whenever a singer's face is doing something weird in order to sing a high note, navigate a certain passage or achieve any other challenging vocal production. A great loosener for this tension area is to buzz or roll your lips while singing an exercise. The more vibration you can create, the better the exercise will assist you in removing any tension that may be coming from the face (forehead, lips and cheeks). If you find it hard to loosen your lips, gently place your finger tips to each cheek, and lift slightly to take weight and tension off your cheeks. Now let some air through your lips, while letting them flap or roll. Try to keep the roll or flap frequency to a minimum, not quite like doing the sound of a motor boat, but more like that of a horse flapping its lips. TONGUE TENSION occurs when the back of the tongue pulls back and pushes down against the top of the larynx. This tension usually results in a dark and muffled sound to the tone. While many singers have never heard of tongue tension, I have yet to come across a singer who didn't have some work to do in this area, no matter how developed and accomplished they were as a vocalist. Working to eliminate tongue tension is not fun, but if done consistently it will have a tremendous effect on helping you achieve the freedom and flexibility you are capable of. To begin, cut a handi-wipe into a 3- or 4-inch x 1-inch strip. Then stick out your tongue as far as possible and use the wipe strip to hold onto your tongue and try to keep it in that position as you sing a vocal exercise throughout your range. If this is a new exercise for you, you will most likely feel quite a bit of resistance as the tongue tries to retreat back into your mouth so that the back of the tongue (in the throat) can push down against the larynx. Hold the tongue out against this resistance and eventually, with consistent practice, the tongue will stop resisting and relax, freeing the voice box from this tension. You can also just stick your tongue out, trying to reach your chin, then do this exercise: Stick you tongue out, sing these scale tones: 1-2-3-4-5-6-5-6-5-6-5-4-3-2-1, holding a bit on that first 5. Use an ah vowel when doing this, going chromatically up from a low scale (say A below middle C for males) to a high scale (like D above middle C) or as comfortably as you can do it in your range. Don't allow your tongue to retreat on those higher notes. As I said earlier, with consistent practice, the tongue will relax. Vocal Abuse While it's true these tension areas place limitations on your vocal flexibility and creativity, their long-term neglect can be much more serious. Over the long haul, vocal tension can lead to vocal damage that may sideline a singer for months, years or even the rest of their career. Often times, singers who sing in a contemporary environment are hesitant to dive into the type of vocal training described here because they are afraid their voice will end up sounding too pretty or classical, and lose its contemporary edge. This is simply not the case. As you gradually eliminate these tension areas from your voice and regularly practice vocal exercises with more of a classical sound and technique, your tone will improve, your range will increase, you will gain more control of your voice and you will increase your ability to sing in the cutting-edge style you desire to hear from your voice. Practice, Practice, Practice ( or How Do You Get To Carnegie Hall?) As a singer, you need to think of yourself as much as an athlete as a musician. Your voice is part of your body, and requires regular, consistent exercise to achieve its full potential. In order to see the kind of results that will keep you motivated to continue working on your voice, you need to practice a minimum of 20 minutes, three to four times per week, singing vocal exercises (not songs) that are specifically designed to help you reprogram muscle memory and coordination, build strength and control, and move beyond the limitations you are experiencing in your voice. Find a teacher in your area or a proven training method to help you in your journey as a vocalist. Ask friends for recommendations, or search for reviews of vocal teachers or online products. Start a blog on a vocalist-focused website requesting referrals.

In some ways it is harder to learn to sing backup that being a solo singer. When you are singing solo, you do not have to worry about blending in or following someone else, they have to follow you! Not so when you are the second singer or "backup" as it is known. When this is the case, you have to be aware of the main singers phrasing, nuances and even possible mistakes. Listening Listening is the most important skill a backup singer has to learn. It is far more important to blend in and not over shadow the main vocal than it is to showcase your own voice. This is not the time for standing out, you are there to enhance, color and accentuate the main vocal, not to over power it. You will not be asked back if it is felt you are only interested in your self. The best backup singer is one who goes virtually un-noticed. Sometimes people may not even remember that there was a backup singer, this is ok, and you did your job! Blending In In order to blend in with the main vocal there are many things you must keep in mind. First, position yourself where you can see the face and lips of the main vocalist. This is so very important. You cannot know when they are going to start a phrase or end one if you cannot see them. Also you will definitely not be able to react when they make a mistake. Sometimes you will need to sing a different verse for example because they started on the wrong one. If you are just looking at the music or going by what you have memorized you will be singing over the main vocal with a different verse and guess who will be blamed? Sometimes they will indicate by a nod of the head or a hand gesture that they want to repeat a section or go back to "the top" and you will not know this if you have your head buried in the music in front of you. Learn to watch them all the time. Phrasing This goes along with watching the main vocalist but also deserves special mention. You must ideally start the phrase with the main vocal and end the phrase with the main vocal. This is very difficult to do but there are some little tips to doing a good job even if you are not familiar with this particular vocalist or their phrasing habits. (And everyone has theirs) First as mentioned before, watch them very carefully to see when they actually start the phrase. Begin your line only when you are sure they have started and start yours quietly. This allows room to grow and to blend in imperceptibly. This seems like a very easy thing to do, but most people forget and try to jump in where it seems best and they end up sounding awful because they came in at the wrong time. If you start quietly and come up to the level of the main vocal you will have much more success in this regard. The same thing applies in reverse in the closing part of the phrase, the end if you will. Start preparing your ending before they get there. Anticipate the end coming up and watch them. You will know by observing when the end is coming up. Make sure you watch their lips and face to see when they might end. Do not get caught singing after they have ended! This can be very, very embarrassing. Also a note about beginning and ending consonants. Sometimes when two or more people are singing a phrase there can be multiple popping "p's" or sibilant sounds as each singer attempts to sing at the same time. A neat trick to avoid this is to drop the first consonant entirely when you are the backup singer. If the line is something like "peter piper picked a peck of", you as a backup vocalist might sing "eter-iper-icked-a-eck-of". This enables the main singer to have the definite first consonant of the phrase without you running over them or being out-of-sync with them. So when you are called to be a backup singer, remember you are there to blend in, not stand out. Enjoy! Learn to Sing ,Play Music, Enjoy Music for life! http://www.SimpleMusicSecrets.comBackup

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.

My recent travels into the technology-free country have taught me so much. I've recognized not only that I have a default addiction to 'checking in' via the many means that technology provides, but how much I've been missing by not consciously creating and allowing for moments of stillness and silence. So many of us wake up and consider the day ahead based solely on the appointments, to-do lists and messages that flash out from our computers and blackberries, neglecting and therefore forgetting our spiritual, creative essence... our passion. Consider starting with a different focus... on the presence, caring and openness with which you hope to walk into the world. What a shift! A shift that allows everything you do... including errands and email... to become sacred. TODAY jh I will go out now and call to the winds To bring forth their joy Dance under the rising sun And celebrate the dawning of this new day. I will wander her lands And take in her splendor Listening to her call, Honoring her rhythms, Obeying her timelessness. I will feel, touch, taste, smell and see All of the gifts she silently bestows Upon the eager observer. I will pursue the stillness of my mind So that hers may become my guide; Our minds becoming one, our wisdom uniting. I will love all that I can, Cherish this gift called life, And revel in the endless possibilities Of countless pleasures in all things great and small In the wonder called... TODAY. To read more of Jennifer's Blog, please visit: http://jenniferhamady.blogspot.com/

I've recently been speaking to a man in England with a very interesting problem. Or better, a very common problem, caused by a very precious dynamic. Many people I work with are wrestling with fears of rejection, failure, and success. These fears manifest in the body and voice, causing issues that on the surface seem entirely physical in nature. This man in England, however is another matter. His fears are the same... of rejection, of failure, of success... but not for himself. Instead, he's worried that he is simply not good enough to express the gratitude he feels within his heart for life. He feels unworthy... not of the world or the audience, but rather, unworthy of music. Oftentimes, I've found that reverent and searching souls are plagued by a pervasive sense of not being good enough. Never feeling adequately wise or worthy to teach, they often remain in the role of perpetual student, seeker and learner. In ways, they feel worthy enough to take, but not to give... a rather curious irony... The reality though is that this man- and we all- are good enough to both give and receive. Not because of what we've done, or dream to do, but because we are, because we exist. And therefore- no better, no worse than anyone else- we have as much right to sing as we do to listen; to humbly give thanks, express our awe, and celebrate where we are and what we are experiencing in this moment with our breath and being. Ambition, as you might imagine, is another issue for this man. He becomes very uncomfortable when people compliment him, not because he feels inadequate in his performance, but because he doesn't like the attention. My advice was to him as is it to you... accept compliments like a wind that blows by you, touching your face for only an instant. They're not meant for you, anyhow. Your gift isn't the gift of the sound of your voice or your performance of the song that carried it, but rather, the place to which your voice has taken them, within themselves. You are a vessel through which life touches the lives of others. Hold that idea for a moment... is there any more reverent- or worthy- purpose? To read more of Jennifer's Blog, please visit: http://jenniferhamady.blogspot.com/

The October 09 issue of Songwriter's Monthly has been posted. It features articles on The Postmarks, Black Gold, Janet Robin, Nicky, Miss Issa, the Drums, Lantana and more! The issue is available free at: http://www.scribd.com/doc/21725699/SM-Oct-09-118 Allen

If you're the kind of singer who doesn't move your lips much no matter what the words are, I have a few tips which will make your diction clearer and your output louder, all without sounding like you're standing on a musical theater stage. Think of vowels as uninterrupted flows of resonated air. When your vocal cords vibrate, they make a complex buzzy sound, not unlike a duck call used by hunters. Then you shape your mouth and throat to amplify certain of those harmonics generated by your vocal cords to achieve different vowels like ah, oh, oo and so on. If you sing oh, then gradually change your mouth shape to ee or oo, you may be able to detect the shift in harmonics. I like to break down vowels into three basic categoris: Smileys, Fishes and Puckers. Smileys look like you're smiling; stick your lips out for the fishes and puckers are in between smileys and fishes, rather like you're sucking on a lemon with a slight puckering on the sides of your mouth. Then let's further divide these three categories into sizes small, medium and large. These sizes refer to how many fingers you can fit in between your upper and lower teeth. For example, a small smiley is the ee vowel, a medium smiley is the ay vowel and the large smiley is the ah vowel. The small size is a one-finger mouth, the medium size is a two-finger mouth and the large is a three-finger mouth (unless you have fat fingers!). The Fishes in order are: oo - small, oh - medium, aw - large. There are five Puckers: ih - small, eh and U (like in the words good and could) are mediums and the two large Puckers are aa (as in cat) and uh (as in love). Play with the Smileys, Fishes and Puckers to get the most out of your vowels

Live and Unsigned, the UK's biggest original music competition for unsigned bands and singers, is returning in the new year and is coming soon! The competition travels all over the country in a bid to find the UK's next break through recording artist and, of course, the ultimate unsigned act, with the overall winner being offered a two year management and recording contract. Open to all genres, Live and Unsigned promotes and supports all types of musicians from Rock and Heavy Metal to Indie Pop and RnB, and this versatility could have something to do with the competition's huge popularity. Over 30, 000 acts have auditioned live in front of the judging panel in its three years on the road. This year's auditions are set to kick off in January 2010, and one man who knows all about the rock and roll world of music is eagerly awaiting its return. Former Sex Pistols Manager and notoriously outspoken, Malcolm McLaren is returning to the Live and Unsigned Judging Panel in 2010, hoping to find that diamond in the rough who could be polished into the UK's next big thing. When talking about his experience of the competition last year, McLaren is full of excitement. Describing one former act as dysfunctional, impossible to define and wonderful and another as a post karaoke act that cuts up all of those groups Best Of, it's clear to see the music mogul is eagerly anticipating what 2010 will bring. Describing his journey to the 2009 Grand Final, McLaren notes the vast differences in acts today and warns the dangers of imitating someone else's craft, Two words sum up today's culture: authenticity is one, and the other is, well karaoke. Most artists spend their lives trying to authenticate (or make true) today's karaoke culture, but you have to be a magician to do that. Karaoke is mouthing other people's songs: it is life by proxy, liberated by hindsight and unencumbered by the messy process of creativity. Everything and everyone in a karaoke world is for sale, and so successful are its TV shows Pop Idol, The X Factor and Britain's Got Talent that I am racing to judge a talent contest, Live and Unsigned. I am on a mission: I have this undeniable thirst for something authentic. As McLaren touches on, Live and Unsigned is truly unique. The competition promotes live and original auditions (there are no demos or recordings), offers participants the opportunity to perform in some of the UK's most prestigious venues and the Grand Finalists go on to perform at the Live and Unsigned Festival sharing the stage with some of the UK's most influential musicians. And Impresario McLaren seems eager for its return and gives us a taste of what judging last years final was like, Surrounded by talent scouts and DJ's, I am told that 10, 000 acts across the UK have entered this competition: the names on the paper in front of me are the finalists. The panel has to award marks out of 20, according to look, originality and performance. The bands thunder forth like horses at the Grand National. Live and Unsigned Events Director Chris Grayston adds, This last year has seen Live and Unsigned explode and it's set to be even bigger and better in 2010. The involvement of some fantastic industry names and judges, an increased prize pool for winners, a UK winner's tour and a National sponsor courtesy of Marshall Amplification will mean we're in for a great competition. The Grand Final at the Live and Unsigned Festival is something new and exciting and will give acts the opportunity to perform alongside some of the UK's best musicians. We can't wait for the 2010 competition to begin! McLaren will be joined by a host of other celebrity judges and industry insiders for Live and Unsigned 2010, including Radio 1's Annie Nightingale. Auditions for 2010 are in high demand and are limited. For more information and to register for an audition visit the websitewww.liveandunsigned.uk.com

I have a great tea that I have developed through trial and error. It works really well for keeping the voice lubed and warming it up. Dave Heagle's Tea recipe: any de-caf tea will work 1 tea bag,8-10 0z. of hot water, let steep 1 teaspoon of slippery elm bark powder 1 teaspoon of honey mix very throughly and repeat mixing periodically, it tends to settle in the bottom and needs a quick jazzin up. I prefer mine really hot but be careful that you don't go overboard and burn yourself.I usually drink 1 full container before a gig and keep warm water handy throughout the performance. Slippery elm affects everyone differently so do your research before using this mixture. You will most notably notice a difference in your bowel movements,so go easy till you determine what your body can handle.

This is to inform TMV community about a new mini-book which has just been released onto amazon.com "A fate worse than death?" contains 8 articles about performance anxiety that I wrote whilst preparing "Performing in The Zone"**. Some of the articles became source material for "Performing in The Zone", a couple were downloadable as ebooks, and a couple aren't available in other places. The aims of this minibook were basically to have these articles in a tangible form (I prefer paper to the screen! and to provide people with a kind of introduction into "Performing in The Zone". For more information, visit: http://www.thezonebook.com/other_books.php Jon Gorrie -author, Performing in The Zone http://www.thezonebook.com **Performing in The Zone is a #1 best selling new release book about helping all performers achieve an ideal state of mind in performing situations