TMV World Team

Calling on all Passionate TMV Community Builders, TMV needs help from its members to build membership quickly and make our push for a 5000 membership become a reality. We thank you greatly ahead of time for your help in this endeavor. Here are some suggestions for letting people know about The Modern Vocalist: THE MODERN VOCALIST o Use the invite tool at the top of the web site, titled "Invite Your Friends". Simply put your invitee's email address into the tool and the invite tool will send out a very professional template inviting your friends and colleagues. It sends out a very professional looking template and you can personalize it to make it special. Its easy! CLICK HERE >>> o Viral Marketing: Put Logo or Badge on your web site Put the new TMV logo or Badge on your web site; www.yourwebsite.com , myspace.com, facebook, etc. This can be done by pasting the embed code that is provided from the TMV badge (on the right column, click on where it says Get Badge to find your options and get code), or if you need a file you can click here to download a stylish jpeg from the box.net window for your web site. CLICK HERE >>> (If you use the jpeg file, make sure that the logo links back to http://www.themodernvocalistworld.com/). o Email Blast: Send an email blast out to your clients, friends and colleagues and invite them to our community. You can cut/paste the template below if you like, or compose your own version. (Name) I have recently been given the opportunity to join a cutting-edge new online community for singers called The Modern Vocalist World. http://www.themodernvocalistworld.com/ This project was developed by a special team of some of the most experienced subject matter experts on the voice in the world. Together, they have joined forces to produce the #1 Community for Singers on the Web The Modern Vocalist.com is a social network that offers its members the world's most cutting-edge Web 2.0 features in the business. At TMV you can: create your own customized profile, befriend other singers and the world's leading voice experts, post articles & essays, gain access to some excellent educational content, create and join private groups, share videos, upload your music, schedule and promote your events and engage in our world class forum that is the most robust, feature-rich forum for singers in the world. There are also great opportunities to partner with companies that build the best products and services for singers in the world. Since the community is private, you have to register to enjoy the services. It is free to join. However you can read some of the press and news regarding TMV here:http://archive.constantcontact.com/fs096/1102470516931/archive/1102... (signature) o Facebook, MySpace & Twitter Bulletin/Blast: Send a bulletin blast out to your friends on Facebook, MySpace, Twitter and invite them to our community. o Reach out to other communities: Don't be afraid to reach out to other blog sites, vocal forums, web sites and let people that share the same interests about The Modern Vocalist World. o Signature: Add, Member of http://www.themodernvocalistworld.com/ to your email signature. Thank you for helping us to make our membership growth strong.

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

I had my monthly voice lesson today. I love my lessons. My teacher has fantastic ears and many, many years of experience singing and teaching. He is very good at giving feedback and suggesting improvements, and he really knows the business. Like many (most?) people, I record my lessons. I usually wait longer than I should to listen to them. After all these years I dread what I might hear, so I procrastinate. This is a silly old habit, since I know very well what I sound like in general and that I'm improving. When I finally listen to the recording I always seem to have a reasonable mix of gotta fix that and that was good running through my head. I have not listened to myself for a long time where I thought that my life should grind to a halt because I'm such a failure and fraud as a singer. As you can imagine from the foregoing dramatic sentence, there is always a little extra judging going on when I listen to myself. It is very different from listening to recordings of other people! So I know that I need to listen to the recordings soon after the lesson, so that I can work with the ideas for the maximum amount of time before the next lesson - heck, the maximum amount of time before I'm dead! So how do I actually listen to the recording? As I'm listening, I have a pen and a sheet of paper in front of me and my sheet music for rep that was sung in the lesson. I pause the recording and write down important points. If I remember a personal note or feeling that ran through my head in the lesson, I sometimes capture that as well. I find that looking at these notes daily when I practice is quite helpful. But as I was driving the half hour from lesson to home today, I was thinking that there is something else that is usually missing from my post-lesson process - simple reflection! Sometimes when I get out of a lesson or coaching (and my coach is fabulous too!) I just want to bolt out of there and think about lunch, or rush off to work, or knock off items on my to do list. But wouldn't it be wise to actually sit quietly and think about the lesson, mentally going through what I remember, and writing down those points, and then listening to the lesson? Then compare what I remembered before listening with what I get after listening. I have sometimes done all these steps, but not consistently. When I listen to the recording, it is always surprising how very important points come back to me that I did not remember an hour after the lesson! This all makes me think about my students, and all of my fellow singers, and how we don't really discuss how we record and process the important stuff from our lessons and coachings. How do YOU operate? Do you find that you go to your lesson, do what is asked and feel pretty good about it, and then not think about lesson things, apart from working on your repertoire, until the next lesson? Probably you are neither completely negligent nor completely studious. I would say that I do about half the work I could be doing after the lesson, because I let inertia and real life issues steal away the time and the will to mine all that I can from my lessons. If my teacher says the same thing about a particular point for three lessons in a row, and I'm able to fix it within the lesson each time, then there is something I'm probably not doing on my own. Time to get past shame on me! and get with the program! It's a waste of time, money, and one's talents to do otherwise.

So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 6 - REPERTOIRE Having a list handy of all the songs you sing in alphabetical order with a column for the key in which you sing each song can be invaluable when you meet musicians. If you are that organized, then you can probably fill the bill as a singer. Keep adding to the list as time goes by, until you've filled up two sides of the page. Try to include the composer of each song. Example: 1. A CHILD IS BORN C Thad Jones 2. A FOGGY DAY G Gershwin 3. A NEW WAY OF SINGING THE BLUES F J. Cartwright 4. AFRO BLUE Cm Coltrane 5. AIN'T MISBEHAVIN' Eb Fats Waller Versatility is a plus. It always helps to know songs in more than one genre. It may be necessary to have more than one list or categories, if you sing in two or more genres, for instance you may separate songs by: Jazz Blues Gospel Rock R&B Latin/Samba/Bossa Broadway Country Pop or Top 40 Hip Hop Reggae Contemporary Another way of categorizing songs is by composer or artist: Anita Baker Antonio Carlos Jobim Aretha Franklin Beatles Billy Joel Billie Holiday Cole Porter Duke Ellington Ella Fitzgerald Randy Crawford Stevie Wonder Whitney Houston Always have a list of your original songs, as well. That way people understand that you are a songwriter. Have a few copies of your songs in case other musicians want to play, sing or record them. In time, you will be respected as a songwriter and people will begin to request your songs, before they request songs of other artists. Buy this book at http://stores.lulu.com/divajc See all of Joan Cartwright's Books

I teach and write books to help singers because of all the twists and turns in my quest to finding my own real voice and learning how to sing with ease, freedom, and FUN. My first book is good for beginners. It contains a lot of science written in layman's terms with drawings to help you understand the voice production mechanism and how it works -- air, vocal cords, pharynx, and so on. Then we start exercises to separate and correct problems in each register. If you've got a problem in any one register, it will still be there when bridging breaks or correcting problems in other areas. Discomfort or difficulty producing pitches in either the chest or head register creates all kinds of unnatural ways of singing, usually in attempts to mask the problem while performing. Over time, unnatural manipulation with the neck and belly muscles to hide these problems can lead to injury. A singer can sound one way in exercise and completely different when singing songs. The idea is to get them to match for practice, maintenance, and protection of the instrument. As a one-time student, professional, and now instructor , I have found it EXTREMELY important to learn some things on the intellectual level first. Then ,when you've physically experienced what has been ingested on the intellectual level, the AH HA moments become more frequent. Once that happens, you have gained true knowledge (the understanding that comes AFTER one has had the physical experience). Feeling and sensation became the road to becoming my OWN teacher. I had to learn what felt wrong before I could get it right. I also found that words like 'good' and 'bad' made me overly critical and judgemental, making it harder for me to train because I was unable to separate my sense of self-worth from my voice. Words like 'correct,' 'incorrect,' 'right,' and 'wrong' kept me evaluating just as my teachers along the way did. Going about practicing exercises in this way made it challenging and fun. I never knew how competitive I was until I began serious training, practicing exercises and applying what I'd been learning technically and emotionally when singing songs. (There are techniques for getting into your emotions and out of your head.) Always tape every exercise and performance. The recording becomes the student. You become the guide. I can't tell you how many times I got mad at my tape recorder! I even yelled into it a couple of times. The voice was not going to win. I would no longer allow it to control me just because it didn't always know what it was doing. You have to learn how to change bad sense-memory habits on deep physical level that is hard to verbalize. Likewise, if an intuitively born-out-of-the-womb gifted singer doesn't learn what makes their voice such a gift, then somewhere down the road, bad habits can start creeping in without any awareness that it's happening until one day they find themselves having some vocal trouble. This is something they never imagined would happen because in the past the voice was the ONE thing that was always there for them. It Never Failed. Once the troubles have become clear to that singer, this hopefully will lead them to finding a teacher that can help. It is only then that those singers begin to really learn about their voices, become willing, hungry for information, and teachable. YOUR BODY WILL ALWAYS TELL YOU WHEN IT'S RIGHT AND WHEN IT'S WRONG. The trick is not to deny what you feel when you feel it. Some have been denying discomfort by barreling through troubles with the voice for so long that it's become a habit. The habit feels more comfortable than the effort it might take to change it, because of years of body sense memory. However, once you've begun you will begin to feel the difference as you are instructed into wrong versus right. Any trouble you may run into has NOTHING TO DO WITH YOUR ABILITY AS A GOOD PERFORMER/SINGER. These things always boil down to the acquisition of bad habits in efforts to achieve a certain sound. It's very important to any singer, beginner, intermediate, or advanced, to get good information and vocal technique under their belt -- especially those who sing rock, hard rock, and metal, because you must have a good foundation before learning how to correctly apply the effects that go along with those styles.If you desire these effects you should seek out an instructor who knows how to teach them correctly, e.g., Robert Lunte, Jaime Vendera, Alessandro del Vecchio. You can find any teacher you need on this site. They are ALL the best of the best. My best suggestion when seeking an instructor is to find one you can connect with, who 'gets' you and you 'get' them. Don't give up until you have found one. Most Sincerely, Dena Murray

If not for me asking questions and being approachable, I'd probably lose clients. In fact years back before I started asking questions of my students, I did lose a few. I wasn't unapproachable, but I didn't dig deep enough to find out what was really going on. Rob was at my house for his lesson a couple of weeks ago. He's been with me for awhile, lack of confidence being an issue. We'd work on a song, he'd get through some of it, stumble on parts, improve on others, and then I'd say, "let's try something else." What I meant was to try something else to switch gears and not stay on something that wasn't working and causing him anxiety. He felt comfortable enough to tell me that when I switched tasks like that, he felt like a total failure because he couldn't sing that song. I told him how much I appreciated that feedback, as I never would have guessed it on my own. I explained my motivation for making the change, which was having the opposite effect on him that I was going for. This helped me adjust my approach, perhaps in not as quickly changing over to a new song. It's so important to read our students and ask questions. It can make a difference between their perceived success and their perceived failure.

I have a vocalist who was in class last night. I noticed on the bridge of a particular song that her vocals changed and she really captured my ear. It was due to the vocal inflections and heart that she put into this bridge which evidently meant more to her sub-consciously than the rest of the song. I brought this to her attention and she was amazed as she had never noticed it until that moment. Now, she is working on her song to be more performance ready in making an impact upon her audience. As a fellow vocalist, performer and teacher I believe a vocalist is also an actor. As we know "The show must go on No Matter how You Feel!" I hope the following steps that I share can help a new artist or a seasoned in preparing for a future performance. 1st "Take your time in choosing your song. Choose a song that really speaks to you, reflects you personally and your life experiences. The song should resonate within your heart and speak volumes to you first before it can ever be translated to those you do not know." 2nd, "Make sure your song choice is within your vocal range and not to difficult in the area's of technique. Remember your audience wants to to have their hearts captured and they are not there just to hear another pretty song with tons of vocal licks. Use wisdom and keep it within your range and current vocal development. Many artists know when a difficult High vocal is coming up and begin to freak out before it ever takes place. Once that vocal part arrives you see fear within their expression and hear it within their voice. From that point on they have lost their groove and can not seem to obtain it through the rest of the song. This is why your song needs to become natural, not to difficult and with a subconscious flow. This is where Muscle Memory come in" 3rd "Begin developing muscle memory concerning your vocal techniques, pitch, area's for taking a breath, and so forth. The more you practice the more muscle memory will develop. In so doing everything will flow naturally as your muscles will INHERENTLY know what to do during your live performance. Also, remember you are an actor so there will be memory during certain lyrics where you may want to reach out to the audience or begin walking. Remember to keep it sincere and not ROBOTIC. Muscle Memory is an amazing gift that we have as vocalists but only comes through practice, practice, practice! Also, don't forget lyric memorization." 4th "Be special by putting your flavor and style into your music and performance. Do not be another repeat concert of another artist. There are certain artists that have (THAT SOUND.) You just know who they are when you hear them. They have certain inflections in their voice, little nuances that they do or they have that certain tone. Some artists wear a certain style or use a certain prop such as a scarf on their mic. stand as an example. 5th. "During your performance keep your visualization in tact. Sing your story to your audience as if you are singing to One person. If need be pretend the person you are singing about is in front of you. Be in the moment of that life experience you are singing about! Remember thoughts well up the emotions within you. When I am sitting in an audience, I want you to be PERSONABLE with ME as if you are my new friend. I want to FEEL you are directly speaking AND SINGING just to me!! Yes, I want to hear great singing but I want to feel your heart. In return you will get an awesome response from me and I will be talking about you for days!"

The American music scene seems to be experiencing a phenomenon of painfully loud and meaningless over-singing which could be due in part to hit talent shows like American Idol, according to Renee Grant-Williams, one of the nation's leading voice experts and coach to some of the music industry's biggest stars. Grant-Williams points to this week's painful duet by two former Idol contestants as an example, "By shamelessly over-singing, Demi Lovato and Joe Jonas managed to destroy what might otherwise have been a perfectly decent song. Their performance was over-loud, over-ornamented, mutually over-competitive and ultimately banal." "The lyrics to Make a Wave written by Scott Krippayne and Jeffrey D. Peabody are very positive and send a very powerful message," says Grant Williams. "However, these two singers obscured the words so badly by over-singing, that I had to look up the lyrics to see what they were actually saying. The very essence of a song is to touch the listener by conveying a message of some kind. That's difficult to do when no one can get a grip on the melody or understand what's being said." Grant-Williams feels these non-verbal squiggles should be there for one reason only to emphasize the powerful emotion of the song. "When a singer ornaments, it should be because, at that moment, the singer's emotions are running so high that words will not suffice; the singer is only capable of a visceral response too powerful to put into mere words," she says. Grant-Williams also says singers she encounters are increasingly belting out songs to the point where words don't matter. We seem to be caught up in an epidemic of loud, says Grant-Williams. "Singing should be more subtle than just slinging a lot of voice around. If you sing with a thundering voice, you sacrifice the honesty, intimacy, and integrity of music. Yet, this style is presented to millions of TV viewers as desirable. "You just don't hear the level of ear-splitting over-singing in Australia and other places like you do here in America," says Grant-Williams, who recently returned from a sold-out teaching-tour of Australia. Observations she made during tours in Europe and South America confirm that this phenomenon is especially prevalent in the United States. "I'm convinced it's due in part to the tremendous influence in the U. S. of talent shows where over-singing is rewarded. I still think America has the best singers on the planet, says Grant-Williams. They just need to bring down the volume and focus on the words and the emotions. I'm determined to do what I can to curb these phenomenon before they get out of hand. Grant-Williams has as few simple suggestions to help singers get back to the basics of good singing: 1. A song is a one-way conversation, a singer must be very intimate with the words.2. Singing should be like speaking with the audience, there's no need to yell. 2. Use consonants and silence to indicate the most important words of the song. 3. Use inflection sparingly as you would use spices, too much will ruin the song. Grant-Williams coaches aspiring performers as well as celebrities including Keith Urban, Kenny Chesney, Miley Cyrus, Faith Hill, the Dixie Chicks, Tim McGraw, Christina Aguilera, Linda Ronstadt, Randy Travis, and Huey Lewis. She has been quoted by Cosmopolitan, the Associated Press, Business Week, UPI, Southern Living, the Chicago Tribune, the Boston Globe, and the San Francisco Chronicle. She has appeared on many broadcast outlets including ABC, CBS, NBC, Fox, Bravo, USA, MTV, GAC, BBC, PBS, and NPR. Grant-Williams is a former instructor at the San Francisco Conservatory of Music as well as the former director of the Division of Vocal Music at the University of California, Berkeley. For more information or to schedule an interview with Renee Grant-Williams, call 615-244-3280 or visit www.myvoicecoach.com/media.html

NOTE: I am NOT a specialist I'd like to state that I am not a doctor or vocal health specialist and the following tea is not intended to treat, prevent, or diagnose, any health or vocal health issue that may be related to your specific situation. It's something I've come up with for my own personal use and thought I'd share it:) It's that time of year rockers. Lots of sore throats and snotty noses, haha. Luckily for you, I am king of the concoction-the legal kind, so don't get too excited:) Here is one of my concoctions to help singers battle sore throats, overall fatigue, and boost their immune system: SINGER'S TEA For singers tea you will need the following ingredients: Throat Coat Tea, which can be purchased a traditionalmedicinals.com or a local GNC one bottle each of liquid Zinc, Slippery Elm, Licorice, Ginseng and Stevia (optional) Packets of orange Emergen-C or orange peels of one organic orange Packet of X20 (singerswater.com) Bottle of distilled water 1. Start by adding a packet of X20 to your bottle of water and shaking for 15-20 seconds. Let bottle sit for 15-minutes. 2. Pour water into sauce pan, add one Throat Coat tea bag and bring to boil. Do not microwave! Optional: You can add the orange peels to your water as you boil. Use this option if you are not going to use Emergen-C 3. Once boiling, turn off stove, then pour tea into coffee mug. 4. Add the following to your tea: A. 5-7 drops of Slippery Elm, Licorice and Ginseng and 3-5 drops of liquid Zinc. B. Half packet of Emergen-C if not using orange peels during boiling. C. 5-10 drops of Stevia natural sweetener, but only after you've tasted your tea. If the mixture is a little too tart for you liking, you can simply sweeten it to taste with Stevia. So, what does all this do for a singer? Well, I've been told the following: X20 and Vitamin C (from orange peel or Emergen-C) helps boost the immune system. Throat Coat Tea contains Slippery Elm and Licorice. Slippery Elm is a demulcent and will coat the lining of the throat to ease dryness. Licorice is like a natural form of cortisone which will help reduce swelling. By adding liquid Slippery Elm and Licorice, we are super charging the tea. The Ginseng is an energy/adrenal booster for when you feel worn down. It is much better than caffeine which will dry you out and actually diminish your energy. Emergen-C or orange peels add vitamin C which boosts the immune system. I elect to only use half a packet of Emergen-C because of tartness, but you can use one full packet if desired. Zinc is the singer's mineral and help rebuild vocal tissue. Stevia is a natural sweetener that will not drain your energy like white sugar. There you have it lead screamers. Make you a cup to sip or a batch for a thermos to drink while on stage...Don't forget to drink plenty of water too!!! Jaime Vendera virtualvoicelessons.com theultimatevocalworkout.com

Here's another drink similar to the tea, and it is what i am using right now as I prep for a German and Japanese TV show. Remember, I am not a doctor or vocal health specialist and the following drink mix is not intended to treat, prevent, or diagnose, any health or vocal health issue that may be related to your specific situation. Every day right now as I am in training, I simply take a bottle of water, add a few packets of Emergen-C, 10-15 drops of each liquid zinc, liquid Licorice, liquid Slippery Elm, Liquid B-complex and Stevia. After I shake up this mixture I add one packet of X20 (singerswater.com). You can do an Internet search to discover why I use each of these ingredients. For RYV owners, it's all explained in there too;) I don't use this all the time and I am always trying different combinations. But this one works well. My voice feels amazing, my glass breaking power is at an all time high and the Zep tunes I am singing for the German show are solid... Oh yeah, I DO do a lot more than just drink this tea. You got to do your exercises every day, including vocal and cardio. In fact, I do an 60-90 minutes on the treadmill in the morning, and during that time, I do lots of lip bubbles and scales and sing some songs;) Hope this is of some use to someone, just though I'd share:) Jaime Vendera virtualvoicelessons.com theultimatevocalworkout.com

Identity Crisis: Producers and Engineers Can Avoid This with a Few Valuable Tips On the heels of the wildly successful American Idol, contest TV has yielded some of our new superstars. During one of the many talent contest shows recently there was a scene where an artist broke down crying and said over and over again, if only I could find someone (presumably a producer) to work with who really got ME. This seems to be a recurring dilemma for many singers both new and established. They know who they are and just want to be recorded authentically by someone who believes in them and is truly inspired by their individual talent and special identity. Most artists are under the impression that the producer's job is to tell them what they have to do to attain their goals. This holy grail perception of the producer's role is truly misleading and has become somewhat of a myth for vocalists. Who knows how many great careers have been compromised because the artist was under the impression that they should do as they were told rather than be who they are. It would seem that there is a giant void in time between when an artist gets signed to a recording contract and when they actually make their first CD. This void in time also exists for accomplished artists who are looking tore-invent themselves. The process of self discovery is the key to laying the foundation for making a great CD yet there is rarely an opportunity for an artist to go into a studio with someone who will allow them to experiment, develop and explore their vocal identity. All singers hear their voice in their mind. Unfortunately, the voice they hear in their mind rarely makes it to the recording. The reasons for this are many, but stem from the importance of the almighty dollar. Setting up studio sessions is complex and expensive. It is also difficult to find someone who will patiently work with them in a way that empowers them to take chances and truly experiment with their voice. Singing is a deeply profound, personal and physical form of communication. Just as a great public speaker will refine every detail in their vocal inflection and phrasing, so do singers. The catch is that the only way to know if an idea is working is to hear it recorded. Because there are so many options in recording vocals, it is also imperative to experiment with everything including the engineering aspects from EQ, compression, headphone mixes and effects. Just changing an effect might motivate a singer to completely re-interpret a song. When working in the studio with a singer, it is also very important to give them information about studio technology that they might be interested in. So many singers feel a sense of intimidation by the equipment. This can also inhibit delivering a great performance. Creating a supportive and comfortable learning environment is essential. So many artists have questions about technology they just do not feel comfortable asking when there are many people in the room. Learning some basics and developing a working vocabulary will help a vocalist more effectively communicate with an engineer and/or producer. By giving the artist this knowledge, they feel less isolated from the recording process. Armed with some studio knowledge, an artist can effectively participate in the making of their own record. Just as they can hear their voice in their mind, they can also hear the music for the song. When an artist makes a suggestion, they usually have a great idea, but feel shy about saying anything. Given some understanding of the studio lifts their confidence and they are more likely to make wonderful contributions to their project. The process of working in the studio really addresses one very fundamental skill. This is the ability to become a great listener. Because making CDs is usually a hurried process, the vocalist has to be able to actually hear all the detail in their voice. They have to listen for the technical aspects of performance such as pitch, tone and rhythm. More importantly, they have to learn to listen for all the nuances that comprise a great performance. That is a lot to listen for at once. By spending time listening only to their voice, their skill level skyrockets, as does their ability to judge their own work. Studio work also teaches something that is a learned skill. It can be called listen and react. This means that as they sing they learn to connect what their ears are hearing to their vocal cords and soul and react instantaneously. Fundamentally, we as human beings are naturally conditioned to react to visual stimuli. We effortlessly react to what we see. The same is not true with sound. Connecting our brain to sound and reacting is a learned skill, and therefore it takes time. When a singer can connect their ears to their voice, something truly magical and liberating happens. They are no longer distracted by the mundane technical aspects of singing. A powerful freedom emerges that allows them to channel their emotions into the song. Great singers have sung all their lives. They probably sang before they spoke. They have, as part of their talent, a deep sense of singer's confidence. This is what motivates their need to communicate through vocalization. Working in a private studio environment focuses in a subtle yet nurturing way on singer's confidence. When this confidence starts to flourish is when the great performances and true vocal consistency becomes a reality. Another issue that most all singers struggle with is consistency. One night they might be great on stage, and the next night not so good. Frustration sets in when they are unable to identify the root of why. One reason is that vocalists sing based on instinct, not consciously knowing exactly what phrasing, inflection or vocal ornamentation they are going to use. After working in the studio and identifying their vocal vocabulary, they can better know, in a much more defined fashion, what they are doing at all times. They become free to pick and chose what aspects of their voice will work the best for any performance. For every performance their approach has been like putting a puzzle together without a picture of what it is supposed to look like. It takes a long time and a lot of guess work to do that night after night. Instead of just singing, a plan for each song emerges accompanied by a palette of vocal choices from which one can consciously continue to evolve. Vocalists young and old need to remember Shakespeare's words To thine own self be true. Jonell Polansky is a Nashville based producer/engineer that specializes in vocal technique in the studio. She can be reached at www.dacapomusic.com. She is also the Founder and Executive Director of Music Competition Network, www.musiccompetitionnetwork.com.

Join Renee Grant-Williams at the 11th Annual REO Sonwriting Retreat July 11, 2010. What makes the REO Songwriters retreat different from any other songwriting camp? Start with an incredible setting right on the edge of a beautiful jade-green river canyon. Add rushing rapids, snow-capped mountains, wildflowers and wilderness. Then add four of the best songwriting mentors on the planet; a low instructor-to-student ratio to enhance the intimacy and one-on-one time with our instructors and other songwriters; a private critique session with your choice of instructor/mentor; daily social hour, open-mic and co-writing sessions. Finally, choose an optional whitewater rafting (exciting) or scenic float rafting (relaxing) adventure on the Nahatlatch or Fraser Rivers. Join songwriters from around the world for a truly amazing week! Only Renee will be joining: Pat Pattison: Professor at Berklee College of Music in Boston, Pat developed the first Songwriting Major in the USA. He has published three best-selling books on songwriting including Writing Better Lyrics (Writers Digest, 1995). Pat has hosted nine Songwriters Retreats at REO since 1997. Pat teaches across the North America, Australia and New Zealand and is involved with TAXI, NSAI, SAC and many other songwriting association Bonnie Hayes: A Grammy-nominated songwriter with huge international hits including Have a Heart and Love Letter, which restored Bonnie Raitt to superstardom with the multi-platinum, multi-Grammy-winning CD Nick of Time. Writing for artists as diverse as Bette Midler, Robert Cray, Adam Ant, David Crosby, Booker T and the MG's, and Cher, Bonnie has continued to craft songs one critic described as "sparkling clockwork mechanisms with a tendency to do the unexpected." Plus, Bonnie has toured as a keyboardist/backing vocalist with such arena acts as Belinda Carlisle and Billy Idol. Mark Simos: Acclaimed "neo-traditionalist" songwriter Mark Simos brings a deep grounding inAmerican roots music - old time, bluegrass, Celtic - to his work. His signature style, combining finely crafted lyrics with surprising turns of melody and modal harmonies, has yielded four songs recorded by Alison Krauss and Union Station, and 100+ cuts overall with artists including Del McCoury, the Infamous Stringdusters, Doyle Lawsonand Laurie Lewis. As a songwriting professor at Berklee College of Music, Mark's teaching combines solid technical content with explorations and exercises developed at dozens of workshops, camps and clinics over the years. In his writing and teaching, he champions craft, diversity, versatility, risk-taking, and innovation through renewal of timeless forms. To sign-up or for more information go to REO Songwriters Retreat

...and why haven't you ever heard of it? "Everyone has a beautiful voice, it's just a matter of learning how to use it!" --Josephine Estill (EVT Founder) Estill Voice Training is a state-of-the-art, comprehensive approach to voice training for singers, speakers, actors, voice teachers, voice clinicians--ANYONE interested in voice! Based on the the most current voice research, EVT is a simple and direct approach that not only allows one to identify and control (with learning and practice) the various parts of the voice that create ANY sound in any style (Classical, Pop, Opera, Folk, etc.), but also debunks the many myths that have surrounded voice training for the past 400 years! Benefits of EVT: -Replaces mystery with knowledge -Reduces performance anxiety, increases confidence -Empowers students to take charge of their own learning, technique and choices -Allows for vocal versitility -Brings consistency to your vocal performance -Leads to a balance between vocal health and aesthetic freedom Estill Voice Training is broken down into two components: Level 1: Figures for Voice Breaks the voice down into it's components or Figures and allows each student to feel, hear and see how each movement directly effects voice quality. Some of the Figures explored are: True Vocal Folds, False Vocal Folds, Velum, Tongue, Thyroid Cartilage, Aryepiglottic Sphincter and Head, Neck and Torso Anchoring. Level 2: Figure Combinations for Six Voice Qualities Puts everything back together again by showing how we can combine the Figure options to create "recipes" for Six Basic Voice Qualities: Speech, Falsetto, Twang, Sob, Opera and Belt and BEYOND! For more info about EVT, Estill teachers and Estill courses and events in your area visit: www.trainmyvoice.com EVT has been invaluable in my career as a singer and voice teacher! It has turned out to be the missing link in my training that allows me to synthesize voice understanding, movement and learning in new and innovative ways! Check it out! It's FANTASTIC! Robert (Certified Course Instructor, Estill Voice Training)

Once your breath is free and relaxed and the pressure is reduced from below your true vocal folds now you can release any pressure above or throughout the folds themselves. Here's some basic vocal anatomy first: This is the view as seen from above and behind the larynx. Often, when we are straining at the level of the true vocal folds we are squeezing in on them from just above in the false vocal folds. This happens naturally when we swallow and cough, but when it happens when we are singing it can be detrimental either immediately or over time. So, what can you do? Here's a taste of some Estill Voice Training: 1. Get to know what Constriction of the False Vocal Folds feels like. Constriction of the FVFs is when the FVFs are squeezing inward. When we are breathing quietly our FVFs are at rest. In Estill terms this condition would be Mid. When we wheeze they are squeezed inward (Constricted). Alternate between breathing quietly and wheezing. Where do you feel the movement in your larynx when you are wheezing? Can you feel it release when you go back to breathing quietly? Now, try it with sound by beginning with breathing quietly then adding tone (without changing anything else in your larynx). Then, wheeze and keep the wheezing feeling while you add tone. This may feel quite uncomfortable*. Don't do it too much or with too much force but just enough to feel and know what it's like to Constrict the FVFs and release the Constriction to Mid. 2. Learn to do the opposite Retract The False Vocal Folds! The FVFss move out of the way of the true vocal folds when we are about to laugh and cry and when we are breathing absolutely silently (you can stick your fingers in your ears and when the false vocal folds are pulled out of the way you won't hear anything!). This is FVF Retraction. Keep the feeling in your larynx while breathing silently as you add tone. The sound will be a bit fuller, clearer, more resonant and will feel like there is no pressure on the True Vocal Folds at all! Aaaaaaah! Happy vocal folds! *Make sure that your breath stays easy beneath the true vocal folds while you explore these movements in the false vocal folds! If you feel like practicing squeezing them inward is causing trauma (tickle, cough scratch, hoarseness), leave it and practice the opposite! Robert

God's smile Elisabetta Errani Emaldi's collection of saying and thoughts If we pollute Mother Earth, we also poison ourselves and our future. Who does not respect nature is an involved man separated from love for himself and for humanity. The depressed does not know that he is the victim of himself, because he does not realize that the thought is energy that creates, then he crushes himself from his pessimism and pain. Man, when he realizes that hurting the others, he hurts himself to; then, he will never be again the victim of his ignorance. Today's bad luck depends on what has been sown in the infinite past. Today's fortune is the fruit of what has been sown in the infinite past. Bad luck is not the result of the case, but the fruit of our thoughts and selfish actions, so luck will surely come neither from a charm nor a horn, but only from altruism. Truth contains an energy that leads evolved human beings to recognize it; on the other hand, confusion and blindness have born in minds of those who haven't yet made a certain path in order to recognize it. Destiny of each person is the cause and effect of what we have sown in the past. The kind of fate that awaits us depends only on what each of us has sown in the past. So if everything goes wrong , we have only to blame ourselves. One who truly wants to change for the better is already on the track, because the thought is energy that creates, then with an accurate reflection he will reach the goal. Continually complaining of our mishaps, we only increase them, creating other negative thoughts form that in due course we will have to undergo. The hatred grows only in the minds of fools, because they do not know that the energy they create with their self-feeling is self-destructive, only forgiveness can redeem the danger of running that risk. The racist is an alone man, separated from love for humanity, at the mercy of waves in storm that will drag him in the hellish suffering of his ignorance. All religions, when teaching love and brotherhood, lead the man's soul to the union with the one and only divine source. Man must remember that is a unique soul united to humanity, then we are all brothers, because sons of the same God, for this reason we must abandon individual nationalism and selfishness, working instead for the good of the community. Energy follows thought, then the man, in his small, feeling of desire, becomes a creator. For this reason, if he wants a better future, he must turn his thoughts to the common good and abandon the selfish one, because only then he becomes a creator of love that gathers what seeding. We collect what we sow, said the Christ. But we must remember that those who will sow only for the good harvest, will not have created a work of love, but of interest, so will not have the same value. Let us remember that insurmountable barriers are created by our limitations, which exist only because we believe in them, then we must realize our way of thinking pessimistic and transform it in positive. One day man will understand that the body is a temple that simply serves to keep prisoner on this earth the soul, which evolving through the experience, at the death of the body, leaves the material world and go back, emancipated, to the original heavenly dimension. We must remember that our suffering is the result of the energy that follows our selfish thoughts, aimed at personal pleasure. The only way to the inner peace is going to be crossed by whom will be able to leave himself for the good of the community. Without reflection we do not reach the goal, we will remain prisoners of our limitations, drown in ignorance, that inevitably will poison our heart of naughtiness and suffering, delaying our inner development. Who will be able to remove from his mind the negative thoughts and fill it with love for all creation, will be illuminated, then will live in peace, even if unfortunately he will be surrounded by the suffering of those who still have to work hard on themselves, to achieve it. The vicious, until he will not release its attachments to drugs, smoking, alcohol, etc., will remain just a poor slave at the mercy of his auto destruction. We must realize that the thought poorly directed not only leads to sufference, but the energy that animates it contaminates the psyche, causing depression and at the end attacks the body with the disease. Our attachments make us slaves, then we must detach quickly to be free from a world where unfortunately the prevailing ignorance enslaves people and causes suffering to its neighbours. The human being's energy, when he prays for the good of humanity, follows the thought, then he becomes a small creator of love that will gives life to thought forms of light always more powerful that will illuminate the world. The human being, once he has realized that he is responsible for his happiness, then will be able to detach from his illusions, break down the pride and direct its energies to build a better future. Loneliness is the result of a selfish way of directing thoughts by the man who, however, is not able to use his time in a constructive way. Who believes that it is an utopia to do great things for the good of humanity, and doubts from the altruist, is a mediocre that reflects his ignorance on others. Who does not believe in the inner development of men, is an ignorant who has not even been able to note the examples of the big evolved in the past. Great human beings thoughts appear as utopias to mediocre people. Fear is a negative thought form that goes back with the same speed of a boomerang to the sender, who becomes then a martyr of his creation. All religions lead to the same source, while the fanatics in their ignorance act with violence and stupidity to divide and sow terror. There are no boundaries, we are all brothers, but the fanatics do not want to understand, so they fall under the blade of their self knife becoming victims of their damned work. No matter what you do for the good of the community, there will always be some mediocre who does not believe in your good faith and will try to discourage you for envy or for ignorance, but you, knowing to be on the good track, do not get distracted by anyone, carry on undaunted and complete your work. Let us remember that every problem arises from our minds bad directed by ourselves, then we must learn to direct it with optimism and intelligence, and we will discover a new world, without the hell that usually each of us create.

Rainbows of love and peace From the infinity of the Universe rainbows of love and peace arrive to us, invisible wires of the Divine creative energy. From The Planet Earth, balls of destructive human energy are expanding into the Universe, created by ignorance which flares wars, crimes, hatred, and evil. We are small creators!!! The thought is energy that creates!!! Our uncontrolled minds are polluted from the dark energy of evil. The thought is invisible energy that transmit our aggressive inner world to the collectivity. We are the good and evil in the world!!! Our imbalance leads to our destruction and our planet one. We are the architects of our destiny, unaware of having created our universe of suffering and disease. We can control our minds, heal our ills and cover the whole planet with love and peace. A collective and balanced thought will throw millions of rainbows on earth and in the universe, illuminating the darkness. We are divine collaborators, we must abandon ignorance, stupidity, drugs, vices and become responsible creators of love and peace, worthy of being God's children.

How to Sing HIGH Notes - Sing Like You Speak - Detailed Vocal Training Click here to see the VIDEO lesson. Hey all- This funny yet improvised SKIT on How to Sing HIGH notes is an introduction to the reality off what SINGING HIGH MEANS. Singing High Notes can no longer be a myth. What you think of being High and Low doesn't make you a better singer. Singing better makes you sing high notes. Don't be shy visit the VOCAL BLOG. A Slice of Singing right now for more vocal tips and if your serious about singing and what to start vocal lessons today you can do that SingLikeYouSpeak:http://www.singlikeyouspeak.com/

SO, YOU WANT TO BE A SINGER? by Diva Joan Cartwright CHAPTER 7 LOOKING THE PART: WARDROBE AND MAKE-UP Males invest in a tuxedo. It's great for New Year's Eve and weddings. Females should have three evening dresses, more if you can afford them. Flowing silks and cottons, black pants and tops with beads and decals will suffice. Years ago, it was necessary for singers to be flashy. They wore long, flowing gowns that were heavy with beading or sequins. After touring Europe for eight years, with luggage that was always overweight because of these heavy dresses, I decided to lighten up and wear less glittery clothing that is comfortable and hand-washable. Today's performers are more laid back and comfort-conscious. The rule is "To each his or her own." Creativity is the key. Mix and match your wardrobe. Bright colors on soft chiffon look really beautiful on stage. Ladies, if you wear high heels onstage, be sure to carry flats with you. Your feet are going to hurt! Trust Pearl Bailey and me! There's nothing worse than having sore feet and not going home for two or three hours, after the gig. Always think comfort! Likewise, if you wear contact lenses, be sure to keep rewetting drops in your make-up kit. Excessive smoke dries your eyes, causing considerable discomfort. Carry your lens case with you, so you can remove your lenses, after you perform. Have your glasses, too. For many singers, make-up is not as important, today, as in years past. Many women are not wearing it. But lipstick adds color to the face. If you wear foundation, powder, blush, eye shadow, mascara, etc., be sure it is hypoallergenic, that is, healthy for your skin. The best way to find the right make-up for your skin type is by getting a facial and make-up special at the department store of your choice. The specialist will tell you what colors are good for your complexion and what cleansers you need to keep your skin in good condition. Make-up can destroy your skin, if you don't clean it off your face every single night. Keep a small carrying case that you can slip in and out of a larger bag that holds your shoes, microphone, hand-held instruments, music books, promo material, CDs, DVDs, cards, photos and brochures. Don't be bogged down with too many bags. Try to have one large bag probably on rollers that you can carry comfortably. Band members are not happy, when you ask them to carry loads of stuff for you. Be simple and independent. Buy this book at http://stores.lulu.com/divajc See all of Joan Cartwright's Books

We are soon entering competition and audition season. American Idol and Got Talent shows are but a few of the competitions that draw thousands of singers to stand in line from the early hours of the morning in hopes of making it through the audition levels and into the public eye. Auditioning and singing in front of a panel of judges can be one of the hardest things a performer can do. The pressure alone can cause you to make vocal mistakes that might otherwise never occur. What are the ingredients that add up to an effective performance and how do you really sock it to the judges or auditioning panel? Are You Ready? Your voice needs to be developed and your performance skills need to be sharpened. You can consider that your vocal technique is adequate when you have achieved freedom of expression and can deliver a song with good tone, consistency, control and passion. The passion in your expression must come out without creating vocal strain or off-pitch phrases. Common Problems The problems many contestants have in common are: They sing off pitch (Pitchy singing). The choice of song is wrong for their voice. Their song choice is incorrect for the competition. They have not developed a unique vocal sound or performance style to avoid sounding like a record copy. These are some of the obvious difficulties. However, even more basic is this: Their voice is not developed to the level of being able to trust how it's going to work and be able to use it even under pressure; they have not done the work needed to develop their skills from vocal technique to vocal performance yet assume they are ready for competition. They've become too serious about the audition. As a result they've lost their spirit of fun and with it their sense of freedom of expressiveness. They're too concentrated on creating a good impression rather than reaching out to their listeners and touching them with their song performance. They've forgotten that performing is for the listener, not for the performer. Choosing the Right Song You may have an excellent voice. But if you have not picked the right songs, you have a big strike against you. If you're not singing your own material, it can be challenging to take a song that is well known and turn it into something uniquely different enough to give it your own signature. The songs you select must include several factors: You believe in the message enough to pour your own heart and soul into it. The style of the music allows you to do things with your voice that bring out the best in your tone and unique attributes. The song has adequate emotional dynamic to be used for an audition or competition. It is a song or interpretation that will not automatically compare you with the original artist. The song permits you to take chances both emotionally and vocally. The song inspires you emotionally and musically to make certain melodic and phrasing changes from the original recording, while still keeping true to the basic song. Selling� Your Song Once you selected the right song(s), you need to know how to sell it; how to really bring out your voice and take the risks that will make this song the most memorable performance your audience or judges have heard. You need to know how to bring out the best of yourself and be willing to do so. When you practice, focus first on resolving any technical details. Then practice the performance of the song. It is folly to think that you can arrive at an audition or a gig and just magically engage your audience. These are skills that must be honed within your practice so as to bridge from rehearsal to the actual performance. Competitions and auditions are in fact performances. Judges are People Too Singing in front of a panel of judges can make you feel like you are under a microscope. But remember, the judges are people too. They, like all who listen to music, desire to be touched by the song performance. In big competitions the judges have to sit and listen to singer after singer. It is an intense job. They will be grateful to receive courtesy, respect and a genuine performance. When it's your turn to perform, remember that the judges hope to be touched and moved by you and your performance. Sing to them. Do it for them not for you. Reach out to them as you should do to any audience and make a difference in their day. They will remember and appreciate you for it. Most successful performers develop their skills from experience over a long period of time. But if you work on each aspect of performance as you should do the technical development of your voice, you'll be able to acquire these skills faster than by hit or miss experiences. Special Note: If you are serious about your voice and are ready to take it and your performance to the next level, Jeannie Deva may accept you as a client. Contact us at this email with your interest. She is currently accepting a limited number of new singers to coach. c. 2010 All Rights Reserved. Jeannie Deva is the Celebrity Voice and Performance Coach seen on E! Entertainment and TV Guide Channels as well as many other television and radio talk shows. Author of the internationally acclaimed "Contemporary Vocalist" book and CD series, as well as the Deva Method Vocal Warm-Up CD, she is flown to recording studios worldwide for album vocal production and is endorsed by producers and engineers of the Rolling Stones, The Cars, Aerosmith, Fleetwood Mac and others. She is the Originator of The Deva Method® - Complete Vocal Technique for Stage and Studio and founder of Jeannie Deva® Voice Studios celebrating over 33 years of helping singers be outstanding. Past and present clients include Grammy Award Winners, American Idol finalists, Lynda Carter (Wonder Woman), Felecia Howse of Bone Thugs n Harmony, members of the J. Geils Band and Foghat, Broadway leads in Fame, Color Purple, Lion King and Wicked, backing singers for Sting, Stevie Wonder, Celine Dion, Pink, Joss Stone, Christina Aguilera and others. There is a growing network of certified Deva Method teachers in the US and Australia. Jeannie's private studio is located in Los Angeles. She teaches in-house and was one of the first to teach Internationally via Internet web cam. www.JeannieDeva.com

Hey everyone, I wanted to address some issues regarding vocalise practice, perhaps get some feedback. For anyone who hates practicing scaled exercises, I hope to bring a new perception to it. They way I teach, exercises do not identify whether you are a good or bad singer. That's all in the way you sing songs, how much you like to perform and, hopefully, how much you like your own voice (since yours is really the only opinion that matters no matter how great others think you are). I'm often asked about the signifigance of such practice. Many singers don't feel the need, especially those who have good voices and haven't found their voice to ever fail them...yet. I teach from beginners to pro. Some of the advanced and professional singers come just for coaching and quick tips for songs. Yet every so often, I hear an advanced singer who is still struggling with certain sections of their voice, whether it be in foundation or with effects, or both. I subscribe to the idea that before adding effects, one must have a good clean foundation, all breaks bridged, good technique in order, and control over the instrument. If not, vocal problem areas manipulated with too much body effort to conceal wrong way may put the voice at risk for damage down the road. When I teach a singer a vocalise to practice, I don't want them to use this as some kind of barometer as to whether they have a good voice or not. From my perspective and the way I teach, practice is about breaking incorrect habits. When a wrong way of singing becomes habitual, it is hard to reverse -- much like breaking the habit of biting nails or cracking knuckles. It's so unconscious that you don't realize you are at it until, perhaps, somehwere in the middle of doing so. To reverse a physically ingrained automatic reflex requires active participation. I teach singers to use a tape recorder, a simple one because of rewind. I also teach them exactly what to listen for when listening back and steer them into evaluating with words like right or wrong, correct or incorrect, rather than words like good or bad. I've found that for real improvement, one must learn to separate self-esteem from their sound -- especially when trying to break a habit. It's in exercises that you are most likely to hate the way you sound because you are not used to hearing yourself (from the inside) a new way. Shift in acoustical perception -- to learn to listen as others hear you. -- may be required. To do that, I have singers listen for steady streams of sound, place their hands or fingers on their abdomen ,belly, or adams apple while literally WATCHING these areas as they perform the exercise to determine wrong from right. These are actions, not thoughts. The time to intellectualize is upon evaluating. This means once you realize you may have done something incorrectly, feel it, or hear it back on tape, you jump right back in, practice it again with ACTIONS and not thought. The very fact that you evaluated is the only thought needed. Yet, sometimes a habit is so ingrained it's unrecognizable to the singer. This is when I'll instruct to imitate what he/she heard on tape. Imitation is not about trying to figure out what you just did before imitating it. This only creates more problems and/or the repitition of the same one. Imitation requires going STRAIGHT for the sound you heard as SOON as you heard it -- NO THINKING ABOUT IT. It also requires the willingness to overexxagerate and make a complete fool of yourself. When I had to do this myself, I figured, "Well, no one else is seeing or hearing me but me, so what have I got to lose?" Besides, sometimes it was really laughable -- and it's been a source of great fun and laughter for both my students and me. After all, I want lessons to be just as fun as they are instructional. In short, if a singer can learn how to think of using vocalises and/or vocal exercises as breaking incorrect habits, remarkable progress can be had by this. Sometimes in just breaking a habit the voice automatically falls into place on its own. Also, what you think you heard that makes you not like your sound vs. what you hear back on tape after having just performed it --no matter what you were thinking at the time -- might just astound you. When I was in the process of getting my voice, I was shocked hearing the tape reveal what I'd been seeking from my voice all that time. Yet from inside my own head the song sounded wimpy or like I was in head voice all the way through. Once I heard it as others were hearing it, I had to ask myself about how hard I'd been making things. Could singing really be that easy? The more I separated my identity as a singer from my sound when practicing vocalises, the better I got. I like to teach students how to become their own teacher, the voice their student, and give to them what I have for myself today: independence and complete control over the entire vocal apparatus. I believe that once your foundation is in place, it's important to then seek out those who are skilled at teaching effrects properly. And there certainly are a variety of those teachers to choose from on thiswebsite. It's an honor to be a part of it. Very sincerely

Hi friends and music artists, Do you ever wonder if your music will get out there in a big way? Do you long for the right guidance and support that won't make you sell your soul and will honor your artistry? I know just how you feel. I've been an artist all of my life. I debuted my record at Carnegie Hall. I've been signed, honored, and sold over 15,000 records. And to some of you that may sound small - but to me and my fans it was (and still is) big. And - I'm on both sides of the industry. I am also a vocal coach and artist development expert who helps artists navigate the industry and create successful careers. So I just thought you might like to check out this video I just made at my studio in New York.. It's a great opportunity for artists like you to Step Up. AND - you want to know a really cool thing? An artist from TMV and I connected and I helped her win a major contest with 25 music industry folks judging. Isn't that cool? Here's the vid.. and when you're done watching that -- email me and I'll send you a copy of the latest teleseminar I did with the TMV artist's story! http://www.caricole.com/stepupII/index.html in love and support - all ways.. Cari Cole www.caricole.com

You know the candy I'm talking about crisp chocolate shell on the outside, ooey-gooey center (imagine your favorite filling). Mmmmm mmmm! Oh yeah! So, what does this have to do with good singing? Well, once your breath is free (How to Avoid TVF Trauma #1) and your Trueand False Vocal Folds are better organized (How to Avoid TVF Trauma #2) now it's time to find your support where it actually counts!! In Estill Voice Training, we make a distinction between the muscles of breathing and the muscles of support. The muscles of true support are known as the anchoring muscles: Torso Anchor, Neck Anchor and Head Anchor Torso Anchor: Engage the Lats, Pecs, and Quadratus Lumborum Muscles by 1. Standing as if you were about to walk backward. 2. (standing with your hands at your side) pretending to lift two heavy suitcases one in each hand! 3. Imagining there are small balloons under your armpits then squeezing them. Neck Anchor: Engage the Sternocleido-mastoids and muscles at the nape of the neck by 1. Bringing the back of your hand to your forehead. Without throwing off the alignment of your head and neck, pressing your hand against your head and your head against your hand, equally. (Notice the muscles engaging at the sides of the neck the SCMs and the back of the neck.) 2. Shivering your head quickly left and right with a very quick, but small movement as if your were actually cold and shivering to keep warm. Head Anchor: Engage the muscles above and behind the Soft Palate by 1. Snorting! Feel that lifting up sensation behind your hard/soft palates. Maintain that feeling and breathe in and out normally without snorting. 2. Sneering and flaring your nostrils while breathing in and out normally. With each of these exercises, be sure that your breath stays free, easy and soft, that your face and throat stay relaxed and that you can use varying degrees of effort (Low/Medium/High degrees of effort)! The muscular regions targeted by these Anchoring exercises ARE the regions of muscular support that actually make the difference when singing AS LONG AS the breath remains boingy and pliant below! Once you get the feeling of these and the previous exercises, try putting them all together while you speak and sing: 1. Release the belly, and reduce the air pressure 2. Retract the False Vocal Folds 3. Add Head, Neck and/or Torso Anchoring Remember: Hard Shell (Anchoring), Soft Middle (Easy Breath and TVFs)! = Healthy Singing and Speaking!! ***If it doesn't feel right or good while you are doing these exercises, you are doing something wrong! Check your breath. Retract the FVFs. Slow down, be gentle and stay aware! Try doing it a bit differently next time!! OR stop and rest.*** Enjoy! Robert

Urggg, that dreaded cold. If you are like me most humans these days, there are times when you feel like you're a flu magnet. But, there are precautions that you can take to battle, prevent, and flush a cold right out of your system. The following excerpt is from my book, Raise Your Voice Second Edition, to aid you in your fight against infection: Nothing is worse than having to deal with a cold. Many singers refrain from singing (and speaking in some cases) with a cold, due to the fear of damaging their voices. Singing with a cold is quite possible, although uncomfortable. If you use proper vocal technique, your voice will be fine. A cold is an infection in the sinuses, the throat, or the lungs, or it could be a combination of all three. An infection of the upper throat is referred to as pharyngitis. Your throat will be sore but you will still be able to speak or sing. Pharyngitis may be very painful, but as long as there is no infection in the vocal cords, you'll still be able to make it through a performance, although it won't feel that fun. Keep the sound out of the throat and focused into the resonant cavities of the head. The only time you should avoid speaking or singing is if you have laryngitis, which is an infection of the vocal cords. Your throat will feel swollen and sore. It could be so painful that you might not be able to speak. Swallowing will be difficult. The vocal cords are swollen due to the infection and enlarged blood vessels. In this state, the cords will not vibrate correctly. Do not speak or sing with laryngitis. You could damage your vocal cords. This includes whispering and gargling. Whispering is a quiet shout and gargling forces air past the irritated cords. The best remedy for laryngitis is plenty of water and absolute silence. Try a warm mist umidifier at night to moisten The air. Give your voice time to heal. Visit your doctor to see if antibiotics could help. If you are developing a cold, this is a signal that your body is full of toxins and needs to cleanse itself of toxin overload. Once you notice cold symptoms developing, there are several things you can do to help the cleansing process along and shorten the duration of the cold: When you notice the first signs of a cold's supply of vitamin C and Calcium are rapidly depleted. Bothsore throat, congestion, coughing, etc., you must take immediate action. If you are under physical or mental stress, your body are important nutrients in fighting infection. At first sign of a cold, I've been told that if immediately increase your vitamin C and Calcium/Magnesium intake, it will help to speed up the cold-elimination process. Both can be purchased at any drug store. Magnesium helps to increase the body's absorption of Calcium, so it is wiser to take a combination of the two. Zinc lozenges are beneficial during a cold. Zinc is proven to fight infection and to relieve a sore throat. An herbal combination of Goldenseal and Echinacea is excellent for fighting infection in the body. A few drops of Colloidal Silver under the tongue will be absorbed into the blood stream. Colloidal Silver is like a natural antibiotic and fights all forms of infection. Pneumonia is an infection of the lungs. If you feel you might have pneumonia, see your doctor. To break up chest congestion, tap repeatedly on your chest to loosen phlegm in your lungs. This will enable you to cough up and expel the mucus. Cup your hands and tap on your chest as if it were a drum. If you have someone tap on your back, the results will be better. Breathing steam or using a vaporizer helps to keep your lungs hydrated and will also loosen mucus. Choose wisely any over-the-counter drugs you might take to fight a cold. Many only mask the symptoms, slowing down the healing process. There are several herbs listed in the next chapter that relieve pain, loosen congestion, and aid the healing process. A throat gargle is beneficial for a sore throat. These methods are discussed in the next few chapters. Now you have the means to fight off a cold. Jaime Vendera Author of "Raise Your Voice", "Mindset: programming Your Mind for Success" and "Online Teaching Secrets Revealed" jaimevendera.com theultimatevocalworkout.com

The best role models in my life have been people who told me, "You can't sing," "You won't make," or "They will not let you." With each of these pronoucements, a new person was born inside of me who was willing to prove the speakers to the contrary. Why? Because, if I choose to sing, I sing. And, making it is to me something that I have already accomplished by standing for whom I am. Even for those who are still trying to figure out what they stand for, making it, is very well in their territority to reach their gifts. Therefore, discouragements or bars that get in the way are mere excercise to devise better strategies. It is so with music. During my first singing performance in a master class, I observed a couple tickled with shame, stifled in laughter, but my music was full of noise: hyena squeaks, crashing cutlery skreaks mixed with solid base. Several months prior, I had lived through reverberations of notices about what I couldn't or wouldn't do with my voice. I had just undergone reconstructive surgery and with singing and vibrations of the vocal instrument came the disabling pain in my face. I almost convinced myself several times that I could not do it. Meanwhile, the phobia for the facial pain was transforming into a schizophrenia for hearing my voice completely. At this point, I knew for myself that I must sing, and so I am.

Have you ever been to a performance and felt like you want to abandon your ticket because the performer had an ill-fitting microphone? Far too many times performers seem at a loss as to whether to eat or spit their microphones. Just as it is with any part of your stage attire, try the outfit and see if it works for your performance. Ask those with specific experience and jot down all feedback. Decide what you are comfortable with and go for it! Going for microphones with personality is everything. Your vocal impression is everything. Imagine an annoying telemarketer, even if you are not interested in buying what he or she sells, a beautiful tone will at least last you that phone call. A cracking microphone will get chairs sqeaking in the middle of your performance. A bipolar piece that goes in and out thrughout a song or recital will leave you with a big demand for refunds. That is why most people not only indulge in voice enhancing instruments, but also find them a necessity. Purchasing a high quality microphone, or speakers is a must to preserve a good reputation and to keep the voice for much longer. Not every voice can withstand high pitches without severe damage, and because you are not sure whether or not you are at risk until after the fact, enhancing your voice now to persuade regrets is not a bad idea.