TMV World Team

Hi, this a short piece on my findings with performing power vocals for recording, firstly you will overload the mic, you will move to far away from the mic, you will get to close to the mic & you will run out of breath & get worse after a number of takes. Regarding overloading the mic I found the first answer to this by pondering this, I am a guitarist & vocalist live & I sing without overloading the mic when playing Gigs, why because its fast Rock & Metal & the guitar work means I am already out of breath slightly before I get to the singing part & I don't have time to take huge breaths, also the guitar part is harder than the singing part in most of the music I do so I don't have time to be self conscious about how the singing is going anyway. So firstly get into the groove of the track your performing. As far as getting to far away from the mic by leaning back to get emphasis on notes the only way round this one is to perform the song a number of times & swap phrases that are faulty. Doing a number of takes is the only real answer to power vocals because you start cold & week, then you get a bit shouty & finaly with a bit of self analysis you get something in the middle, then there are probably a couple of takes where you've blown your cork ! So for mic distance I find that putting your elbow by your side then making a forward fist that nearly touches the mic stand is a good visual reference as to how your position is going during a performance & from my experience if you want energy in vocal recording these methods are worth a try hope this is helpfull in some way. Here is a write up of my latest Album HELL CAN WAIT on which I am lead guitar & lead vocals which was recorded using the simple techniques I have mentioned.... The HELL CAN WAIT Album, ISRC coded available for streaming, download or CD all Album linkshttp://www.roystone.com After the previous live sound Albums Vampyra, Rock In Chains & Sidewinder, the new Hell Can Wait Album is crisp, concise, clean & clear, all studio but still a direct reproduction of the current live sound, so at Gigs there is no change at all to the music apart from the addition of a tonne of excitement & power! The Tracks METAL REBEL ROCK is high powered metal Rock and Roll, with a lead guitar section to match. STAR CHASER is a bit more radical with heavy intro's & links, that come back round in the lead section, dynamic, harmonised verses & an unhinged vocal. BADLANDS this is the psycho madman track of the Album, pounding Metal & a crazy mid-section & lyrics that tell of a place where all are condemned to a grisly doom. DOUBTS SEED public humiliation & degradation not a good place to be & its all here in the atmospheric rock & poignant lyrics of this track with a touch of mockery thrown in for good measure! CRUEL LIES has raging rhythm but is actually a track with a pop rock feel & an inspired lead guitar section. STONEY GROUND is the musical track of the album. Wott !! Mooozical yeah a chord sequence worthy of any jazz track incorporates major 7th, minor 6th & c# 13 flat 9 as well, troubled mellow blues with a bright but angry chorus. HELLSFIRE DAMNATION true dark evil Metal describing the injustice of trial & burning at the stake in a howling medieval vocal & a multi chords harmony lead guitar section to top it of that only gets back to major in the last couple of bars, there are 14 key changes in this lead guitar section! HEAVEN CAN WAIT air attack in a Rock song, hopefully without sounding like an advertisement for action toys! This is a proper heavy metal track in the spirit of some of the older bands that now belong to another century but its pretty good anyway so there is justification! HELLBOY possibly the strongest track of the Album, partly because of its obvious Marvel comic & movie routes but also the dirty rock styling of the track, in your face guitar work & a chorus that has the feel of Hellboy in 2 lines of lyric, a chord timing & minor guitar fill, with a crescendo ending that comes back down to earth too. LITTLE SAVAGE pounding, rhythmic & shockingly evil, the lyrics describe a living tribal effigy that is out to kill, kill & then kill some more. Have a Rockin Good Week!ROY STONE http://www.roystone.com

Introduction Note: This article is a response to some recent Vocal Technique discussions over in the Forum. I thought this may be of some interest to ModernVocalists at large. In developing the full range (or compass) of the voice, its important not to forget that the lower ranges need some attention, too. The pitch control mechanism As a general principle, lower notes of the voice are produced when the vocal bands are short/thick, and higher notes of the voice are produced when the vocal bands are long/thin. Two sets of muscles coordinate to produce the full range of these positionings. The exercises for the lower voice are very direct, beginning on the B just a bit more than an octave below middle C. For Female voices, the B next to middle C is a good starting point. The goal of the exercises is for the singer to experience and practice vocal coordinations that have the following characteristics: short/thick fold configuration adduction adjustments with the short/thick configuration well-tuned notes of the lower range well-selected vowel shades that give best resonance in the lower range presence and consistency of twang, or singer's formant The basic exercise Beginning on the B, onset an /A/ (as in the English word 'hat'), in a bright, almost blatty pronunciation (without attempt at beauty or loud volume, only clarity), sustain a few seconds, and then convert the vowel to /a/ (ah). The first goals are to start the note well, clearly, and then make the vowel adjustment to the 2nd vowel without losing the intensity. After the clear tone has been accomplished on the beginning note, take a breath, transpose the exercise downward by a semitone, and repeat. Make a few attempts on each note, with the emphasis on clear and bright tone, even if it is not very loud as you descend. Proceed transposing downward until you get to a vocal fry. Rest a minute, and then go back to the B, and sing the single vowel 'Ih' (as in the English words 'mit', 'kit', 'fit'. Transpose as before. Building consistent tone quality The relationship of low pitch and thick cord is best stated when put this way: 'When the vocal bands short and thick, the pitch which results will be a low one.' Consistent tone quality, though, is not so much about how thick/thin the bands are, but about maintaining consistency of some key phonation and resonance characteristics: 1) the open & closed phases of the glottal opening 2) the speed with which the glottis closes 3) shading the vowel so that the harmonics and resonances align 4) retaining ariepiglotic resonances (ring or twang, depending on larynx position in the throat). The purpose of the deliberately thick-fold exercise is to work out the subtle changes in adduction and registration so that these other aspects do not change radically. As the folds shorten/thicken, slightly less adduction is needed. This is the inverse situation from what the singer does when going to the higher ranges of the voice, where slightly more adduction is needed to compensate for the thinning of the vocal bands. Expressed in another way, the lowest regions of the voice have the desired tone quality consistency (connection) with the neighboring part of the voice, and the range overall, compensating for the acoustic disadvantages of the lower ranges.. What usually happens In this low section of the voice, the tendency is to let the vocal bands get overly loose as they get shorter. This causes items 1 and 2 in my list to change... the open phase gets longer, and the bands close more slowly than previously. Working the thick fold configuration with an ear to maintaining quality helps the singer discover just the right balances of muscle action required for that region. For normally higher voice (i.e., tenors who have no trouble with high C ) this sometimes feels a bit like making the lower voice a bit more muscular or gutteral. If overdone, it will. Similarly useful to experience is #3- the alignment of the harmonics with the resonances. Whereas the mid voice usually aligns F1 to harmonics 2 to 4 (depending on vowel,) in the lower voice F1 aligns with harmonics 3 to 6. This transition has implications for the vowel color, the sensation of the vowel in the body, and the overall vocal strength. Because harmonics 4-6 have less energy than 2 and 3 do, the tone will feel less 'fat', and will be less powerful. The compensation for this is to be certain that the glottal closed phase stays equivalent, or is even a bit longer than it is in the mid voice... in colloquial, older terms, is 'chestier', by letting the vocal bands be short, but with a little more muscle involvement. Benefits for the voice overall Interestingly, work in this lower area to maintain clarity and vocal strength also will affect the rest of hthe voice. This work puts the vocalist in greater awareness of the action of the shortening/thickening muscles, and registration-related sensations overall. The usual result is that finer control of the powerful top is the result, and the entire voice experiences additional strength and security. For those interested in the muscle actions This exercise is not so much about building strength, as it is about building a vocal coordination which has greater Thyroarytenoid (TA) involvement. Yes, some additional strength is expected when a muscle is used, but what we are really trying to do is establish a different level of balance of activity of the TA and Cricothyroid (CT). In kinesiology terms... we are exercising both sets of muscles through the complete range of motion, and encouraging a different level of activity of both as we do so. Time to spend on the exercise daily As to the length of doing it... 5 or 8 minutes in a practice session should be sufficient. If you want to do more, alternate each downward scale with a high voice exercise... falsetto or light head voice. This is on the other end of the range of motion... CT is contracted and TA is stretched. You can think of this as working the 'ends' of the coordinative range. If you decide to do the alternating approach, then I'd recommend a total of about 15 mins, followed by exercises which coordinate... full-range sirens, arpeggios, messa di voce, etc., for another 10 minutes. Following that, take a few mins break, and then work on songs. This approach should lessen the issue with the mid voice exercises, as you are likely overdoing the lower part a little bit... and (as we try to keep in mind) the goal is to build the coordinated voice... the whole thing.

How many of us reach for the medicine cabinet when we are in need of some relief? I know when I first started singing years ago I did not have the gift of knowing what I know today about the effects and dangers of chemicals and prescription medications on the voice. Nor did I know what safe and natural alternatives were available to me. I did not think twice about taking Sudafed or slamming down some Nyquil at the first sign of any symptoms of a cold or sore throat. I also was a favorite at my local doctor's office often taking prescription medicines for what was ailing me. Below you may find some of the more commonly used medications for throat, respiratory and various other conditions that are often prescribed for voice professionals; the side effects, and the natural alternative to those medications. The medications and their side effects for this short list were taken directly from a more comprehensive list found at The National Center For Voice and Speech website- http://www.ncvs.org/e-learning/rx2.html. Always check with your health care provider before stopping or adding any medications or herbs to those you may already be on. The alternatives found below are suggestions. I am not a doctor nor do I profess to be one. I am merely bringing attention to the side effects of various medications and the suggested natural alternatives to those medications. Accupril- Excessive coughing, can lead to hoarseness and possible vocal tissue damage.Natural Alternatives-Comfrey and Fenugreek- An even combination of both Comfrey, Lobelia, Marshmallow, Mullein, Slippery Elm- An even combination of all five These combinations are excellent for Lung disorders, Allergies and Bronchitus Adderall- Adderall may have a drying effect on vocal fold tissues, which can lead to hoarseness, soreness, voice changes or laryngitis. Additionally, dry vocal tissues may be more prone to injuries such as nodules. Natural Alternatives- Gotu Cola, Ginseng, Ginko Balboa, Bee Pollen, Cayenne, Peppermint, Ginger, Nettle, Pennyroyal Allegra, Claritin, Promethazine tabs- The antihistamine component has a drying effect on mucous membranes that may cause hoarseness, sore throat, voice changes or laryngitis. In addition to irritation, dry vocal folds may be more prone to injuries, such as nodules. Natural Alternative-Get a blood test to see if you are suffering from any food allergies. Burdock , dandelion, Echinacea. Take 2 to 3 teaspoons of Yerba Mate in 16 ounces of hot water on an empty stomach. Black Cohosh, Blessed Thistle, Pleurisy Root, Skullcap- An even combination of all four. Acetaminophen, Ambien- The use of sedatives/narcotics may produce an uninhibited or diminished drive to speak. Symptoms of dysarthria (slow, slurred and uncoordinated speech movements ) may also be linked to sedative/narcotic use. Natural Alternatives-Boneset, Queen of the Meadow, Pleurisy root, Hops, Passion flower, Skull Cap, Catnip Paxil, Prozac, Zoloft-Antidepressants have shown to Increase cough and gastroesophageal reflux have been reported, both of which can adversely affect the voice. Rarely, asthma, laryngitis, bronchospasm or sputum increase may occur. Natural Alternatives-St. Johnswort, Kava Kava, Borage oil, theanine, gren tea, Clacium/magnisium, Ginko Bilboa, Balm ( also known as lemon balm ) Peppermint. Zantac- The antihistamine component has a drying effect on mucous membranes that may cause hoarseness, sore throat, voice changes or laryngitis. In addition to irritation, dry vocal folds may be more prone to injuries, such as nodules. Natural Alternatives-Drink peppermint tea before and after meals. Aloe Vera, Essiac, Acidophilus, Digestive enzymes, Alkaline foods,Read Kathy Pyrtle's book- "Performance without Pain." Flonase, Floven, Nasonex-Throat irritation and dryness, cough, hoarseness and voice changes are all possible adverse reactions. Natural Alternatives-Sage, Saw Palmetto Berries, Brigham Tea, Oregano Oil, Goldenseal, Comfrey, Cayenne See Superior Vocal Health blog posts on Nasal Irrigation Ibuprofen- Voice professionals particularly, should be cautious about using medications that decrease platelet function during periods of strenuous voicing demands, due to an increased possibility of vocal hemorrhage. Natural Alternatives-Boneset, Queen of the Meadow, Pleurisy root, Hops, Kava Kava, Passion flower. Borage oil or tea, Bromelian As always I wish you the best on your quest for Superior Vocal Health. David Aaron Katz Superior Vocal Health Superiorvocalhealth.blogspot.com

Breathing the Sound: yoga practice guidelines for singers Joanna Cazden Whole Life Times, July 2010 http://www.wholelifemagazine.com/blog/?p=1066 The tropical pavilion where I was about to perform was awash with color. Meditation teachers in orange and white, clergy robed entirely in orange, and hundreds of devotees in summer pastels waited patiently for our guru, who would soon address and bless is from the flower-laden stage. My own clothes for this achingly important retreat had been lost by the airline, so amidst such profusion of sensual color, I was clad in hastily borrowed, unfamiliar garb. Further humbled by sweaty days of meditation and nights of cramped-floor sleep, I abandoned any thought of personally inspiring the crowd. All I could do was concentrate on the guitar strings under my fingertips and my oft-rehearsed vocal technique. Spirit would have to do the rest. Devotional singing is central to most spiritual traditions. Music has well-known powers to soothe the mind, open the heart and amplify group intention, which was exactly why I'd been invited to participate in this event. The throat chakra is a brilliant transformer of energy, and the yoga culture lends itself to magnificent vocal artistry in many styles. But how does yoga practice itself affect singers? As a voice teacher and speech therapist, as well as a long-time student of yoga and meditation, I'm not surprised to hear many people say that yoga has helped their voices. Relaxation, balanced strength, breathing, concentration all are nicely in sync with singing technique. Unfortunately, some clients also find themselves with vocal problems that seemed to begin when they started or changed yoga routines. It's important to be aware of how yoga practice will best serve your vocal instrument. Finely Tuned System Inside your voice box, or larynx, your vocal cords function as a valve in the airway, and they are exquisitely sensitive to airflow. They can get dry, tired or irritated if the airflow is too forceful. If the airflow is too weak, the cords tend to tighten and squeeze, rubbing against each other and thickening over time. So while hatha yoga postures (asanas) are generally good for singers, the way you use your breath during those postures is even more important. Advanced breathing exercises (pranayama) should be approached with extra care. Here are some specific recommendations: The singing breath does not use the balanced, equal-in-and-out rhythm common to most yoga teaching. Voice production requires a very swift inhalation followed by a long, slow exhalation. You do this automatically when you talk, but it takes practice to quickly inhale enough to sing and then exhale very gradually. Try occasional cycles of breathing in quickly and out slowly during your asanas, with a relaxed throat, to reinforce this asymmetrical rhythm. Some yoga teachers train a particular sequence of inhalation, such as drawing air into the belly first, then the waist, then the upper chest. These techniques are not harmful, but when singing, you don't have time to inhale in stages the whole breath system must open simultaneously. Again, just being aware of the difference can help you switch gears from yoga practice to vocal rehearsal. You need to protect those sensitive vocal cords, which are vulnerable to dryness and fatigue when vigorous forms of audible breathing, sometimes called ujaya, are focused in the throat. The louder the breath sounds and the longer such practice, the greater the risk of vocal cord irritation. I've treated more than one person for vocal nodules (callouses) that seemed to be caused primarily by intense ujaya practice. If you do this type of pranayama, place the friction higher, near the soft palate, and allow at least half an hour of rest before vocalizing. In general, politely avoid any teacher who always wants to hear you breathe. Effective breathing for most styles of yoga can be totally silent, and experienced teachers can check on you by sight rather than sound. Vocalists need this extra safety to avoid drying the cords. What the larynx really likes is moisture. So enjoy those yoga retreats in lush humid locales like Hawaii but if your home region is more dry, keep the vaporizer ready for when you get home. More Safe Singing Secrets Do use meditation for counteracting stage fright, as well as relaxing and energizing your throat. Don't force yourself to sing or chant when you're hoarse, such as during a cold or after a loud party. Chant mentally for a few days instead. If vocal expression is your dharma, it is proper (not wimpy) to protect it. Don't perform neck-intense postures, such as shoulder stand, headstand, plow or fish for six weeks after vocal surgery, or until cleared by your health practitioner. Visit my website for more healthy singing ideas, and my guided meditation CD, Visualizations for Singers. JC

Commercial singers outside of the musical theater world may wonder what belting is and isn't. To be completely truthful, that same conversation is very common even IN the musical theater world! Traditionally, belting was the term used to describe a loud, resonant yelling vocal sound used in a live stage setting without amplication. The contrary style was (and is) called legit, a term with a built-in negative bias. The connotation was that a legit singer has legitimate training (aka classical voice training) and that belters were not trained; they simply got on stage and blasted away. As in all human endeavours, the barre has raised over time. Skiers jump farther, planes fly faster and singers are often expected to sing in multiple styles. So how does belting relate to the commercial singer? The simplest way to describe belting is that in musical theater, it's a style and in pop, rock, R&B or any combination thereof, belting is a technique. Belting is the ability to take a talky or yelly sound to the top of the range. Pure and simple. The trick is how to do that without hurting yourself. Remember, the only thing a singer can injure are the vocal cords. Period. You cannot hurt your tongue, your neck or your mouth. (That is unless you're perfoming some crazy stunt involving hanging from ropes upside down, by your neck!) No matter what kind of singing you do, protecting the cords is paramount. When you begin on the road to healthy belting, the two most important things to remember are 1) don't press/squeeze your vocal cords and 2) make sure you support properly. Perfect support (not too little, not too much) helps you do whatever you want with your voice with complete control. Too many wanna-be belters just bear down and blow. No bursting of blood vessels. Not on my watch. For any singing: keep your chest up, gently firm your upper belly OUT, gradually clutch your lower belly IN. Make sure to relax your bellies for breathing. Do NOT keep your bellies tight and working if you want to have a healthy voice. Work them (in the correct direction) for singing, then relax them for breathing. Next, try belter's bite: take your pinky fingers and stick them between your back molars in your mouth. Bite down gently on your fingers and feel how your chewing muscle (masseter muscle for you technical types) is engaged. Remove your fingers from your mouth, relax your tongue, and flex your lower jaw up and down rapidly just to make sure it's flexible. You may notice that your jaw protrudes slightly- that's fine; just make sure your lower jaw is firm but flexible. Now that you've got your support muscles ready to go, you've got your belter's bite on, it's time to make sound! Take a breath, hold your breath and call out Comesere Baby as though it's coming through your face, not through your throat. Try it again, really feeling like you're holding your breath as you call out. If you do this correctly, you should hear your voice fly across the room as though you're a ventriloquist. Call the phrase or any other phrase which comes to mind on even higher pitches. Don't try to be loud...when done correctly you will be loud. That's what good belting feels like. In the next issue, I'll be sharing with you the latest scientific research and other tips on easy, impressive and safe belting to top of your range. Belt on!

I suppose I've always assumed the opportunity to participate in group singing was one of those inalienable rights granted by the Constitution or an Amendment or something. Those who have experienced it know that there is nothing quite so magical as singing in a group letting go of personal identity in order to aspire to something grander, we become a small cog in a very large wheel of harmony. Many of you, like me, grew up singing in these groups: children's chorus in Sunday school, Glee Club in high school, college chorale, adult worship choir. Community chorus would seem the next logical step. The Music City Community Chorus, founded in Nashville in 2004 by renowned voice coach Renee Grant-Williams, will be holding auditions at Grant-Williams studio in downtown Nashville through September. The all-volunteer chorus, fully funded by philanthropic donations from Nashville individuals and businesses, performs two concerts each year, often donating proceeds from its events to raise funds and awareness for charities that have included The Red Cross Haiti Disaster Relief, Susan G. Komen for the Cure, and theVeterans of WWII Memorial. The chorus first concert of the 2010-2011 season will be held later this year to help highlight the Dominican Sisters of St. Cecilia's 150 year celebration. Rehearsals will begin on Monday, September 13th, although the specific location has yet to be determined. Due to budget cuts in continuing education, the MC3 will be unable to rehearse at Glencliff High School, which has provided rehearsal space since the chorus inception. Grant-Williams is pleading with churches, schools, and any other businesses in the Nashville community with adequate space to rehearse up to 70 chorus members once a week from September through December and again from March through June to contact her at (615) 244-3280 or email MyVoiceCoach@comcast.net, which is also the number and email address for those interested in auditioning for the chorus to contact to schedule their audition. About the Music City Community Chorus (MC3) The MC3 is a 501©(3) non-profit broad-based volunteer performing chorus formed in Nashville, Tennessee under the direction of Renee Grant-Williams, founder and former conductor of the San Francisco Community Chorus. The overall goal is to create an organization that builds a bridge between disparate Nashville music communities and styles. To make a gift call (615) 244-3280. Visit the MC3 website at www.MusicCityCommunityChorus.com

SO, YOU WANT TO BE A SINGER by Diva Joan Cartwright CHAPTER 9 - RECORDING: STUDIO TIME AND MATERIAL Another investment to prepare for is recording a demo compact disk. The cost of recording can be $0, if musicians ask you to record with them or if a friend owns a studio. But you can pay as much as $17,000, if you must pay: Musicians @ $100 - $250 each, per session Engineer @ $75-125 per hour, if not in-house Studio time @ $50 -150 per hour Mixing and remixing @ $50 - 125 per hour 2" Master reel-to-reel tape or DAT tapes @ $50 to $200 Other costs may include: Mechanical licenses for songs that are not originals @ $55 to $95 depending on length and number of reproductions. Reproduction costs from $1,500 to $2,500 for 1,000 copies. The first run requires extra money for artwork on covers. To save money in the studio, you and your musicians should rehearse all of the music prior to the session. It can take from 30 minutes to three hours to record one song, depending on how many takes you do or how much overdubbing and mixing is required to get the sound you want. The studio can be from four to thirty-two tracks. Four-track studios are usually found in the basement of a musician. Professional studios with 24- and 32-tracks have the capability to make products that you can put on the market and on the radio. But, 4, 8 or 16-track recordings are sufficient for demo purposes. Purchase the book at http://stores.lulu.com/divajc www.joancartwright.com

What is mixed voice? Mixed voice is a blending of the chest register with the head registers at a point where they share resonances of both registers. Blending chest resonance into head resonance is actually a very simple technique but difficult to master. The spacing between middle C and tenor high c is called the “bottleneck octave. It is called the bottleneck octave, because all singers encounter problems singing between these two notes. Why you may ask? Because all singers have to msing through one or two of their register breaks between these two notes. For male singers the first register break occurs at F#4 above middle C and again at A#4 below tenor High C. For females the first register break appears at A# below tenor high C. In the typical male voice, mixed voice occurs at F# above middle C and carries through to the A below tenor high C. In the typical female voice, mixed voice occurs at around the D above tenor high C. In both places singers must employ the use of pharyngeal resonance to thin out the voice and blend it into the head register. For each singer to avoid a falsetto like quality as they sing into the head register, they must apply more and more pharyngeal resonance to their sound. If pharyngeal resonance is not applied to their tone the voice becomes too hollow and hooty sounding. Rock singers want to avoid this hollow sound and go for a sound that has more of a metallic or edgy sound. By contracting the pharynx, upper harmonics are added to the singer's voice, thus creating a matching resonance to the chest register. The pharynx consists of three parts the laryngopharynx, the oropharynx, and the nasopharynx. The laryngopharynx is where chest resonance comes from, the oropharynx and nasopharynx aid in creating the metallic, edgy head resonance all Rock singers strives for. Because the frequency becomes more rapid the higher ones sings the short waves pass through the ringed laryngopharynx and oropharynx without being applied until he reached the nasopharynx ray resonator can be found to match the faster frequency. In nthe middle of the octave between the two C's, which is approximately F sharp, the resonators should share the reinforcement of sound at about a 50-50 ratio coupling the laryngopharynx with the oropharynx plus the nasopharynx in this ratio. This is how blending the resonators of the chest register with the resonators of the head register creates a mixed sound. Most singers are unaware nof this principle. So they end up tightening the larynx or the pharyngeal muscles in an effort to squeeze a large resonator in the chest voice down to make the fast frequency of the high notes. When the proper resonator for the fast frequency is opened correctly by lowering the soft palette and pulling away from the back wall of the throat singer does not need to strain because he has a resonating cavity ready to adjust for the desired pitch. If a conscious effort is made to select the proper resonator, the necessary muscular adjustments within the larynx appear take place all by themselves. I have found most singers eliminate problems within their voice if they simply get out of its way. Far too often singers try too hard to sing, thereby bringing in more muscular movement and constriction than is needed for singing. With some very minor adjustments to a singer's technique, the voice is capable of many beautiful sounds without a lot of effort. As a teacher I have found that all voices, male or female base or soprano and counted the greatest difficulties on exactly the same pitches i.e. over the octave from C4 to C5 (aka "the bottleneck octave"). Therefore, both singers male and female must apply mixed resonance in exactly the same way. To simply say to a singer "use both upper and lower resonances" is not clear enough to make the proper adjustment. One must hear an example to clearly get an understanding of how it is applied. A major part of the trouble in this critical range is created by the reflex action of the swallowing muscles, which most individuals use to some extent while speaking. Interference occurs, the instant the swallowing muscles are engaged, because they pull the larynx up against the nhyoid bone. The degree to which this pulling takes place determines the extent of the interference. There are just as many different incorrect combinations possible as there are correct combinations. The ability for the singer to keep the soft palate lowered at all times is critical in making a mixed resonance. A high palate restricts these shared resonances making them near impossible to achieve over the bottleneck octave. Keeping the oropharynx and nasopharynx (the upper resonators) fully available at all times makes the resonance mixing and adjustments possible. Kevin Richards www.rockthestagenyc.com

As I stated in my last article (Belting Basics Part 1), the broadest definition of belting may be the best: carrying a speech-like or yell-like sound to the top of one's range. It is usually loud and resonant but not always. The point is that belting can be many things. There are even belting substyles which can be mastered for artistic effect (e.g. heavy belt, nasal belt, ringy belt, brassy belt and speech-like belt). What belting can't be is breathy, heady (meaning female head voice or male falsetto) or produced in the lowest part of one's range. Before I share with you some techniques for safe and comfortable belting, you may be interested to learn some of the recent findings into the science of belting. The vibrational pattern of singers vocal folds in belting resembles the shape and action of modal or chest register. In this action, the edges of the vocal folds are tall, with a square-shape. If you imagine two walls hitting each other, you'll get an idea of the shape. The folds also approximate (come together) in what's called parallel closure, meaning that the front ends and back ends meet at the same time. This is different from the vibrational pattern of head voice/falsetto, in which the vocal fold edge is thinner and they close from front to back (or in other individuals back to front), which is called zippering. Other differences found in belting is that the folds come together more quickly (higher speed quotient), stay together longer during each cycle (higher closed quotient), and the top and bottom of the folds close simultaneously. The main muscle inside the vocal fold, called the vocalis muscle is more engaged in belting. Belting requires more pressure in the air which vibrates the folds so precise support is crucial. This heightened pressure underneath the folds allows more of the vocal fold tissue to flap. And the more flesh that flaps, the louder the sound which the vocal folds can produce. But there's more! The two main laryngeal cartiilages interact differently (in terms of tilting, holding still or pulling) though we're still figuring out that stuff. One really interesting and relevant element is the action of the hyoid bone, the little horse-shoe-shaped bone under your tongue. I believe that in belting it pulls forward. I can feel it quite clearly with my finger. As I start to ascend pitch in belting, I can easily feel my hyoid bone pushing forward against my finger. Tha is at least until I get to my high E at which point, my larynx goes into another mode of pitch-raising so I can get to my highest note with this sound. Pretty wild to think that most of what our bodies do, our brains have no knowledge! OK, enough technical talk. What singers really want to know is: how can I make this sound without killing my voice. In Belting Basics Part 1, I mentioned the calls technique; speaking with a projected sound such phrases as Come ere baby and Come ere daddy with a sensation of breath-holding. Calls are the easiest, first choice way to experience natural, projected voice. Let's review the basics and then I'll talk about three other approaches which can help you belt effortlessly. Singers always need to manage their alignment and support tasks (chest up, upper belly magic spot OUT, lower belly IN) before embarking on technical exericses or actual singing. One category of techniques is pressure sounds. My favorite one is bee, bee, bee, bee, bee using the note pattern of 54321, all done stacatto. The trick is to take a sippy breath, then without breathing again, do the exercise, feeling like you’re holding your breath the whole time you're singing. Each bee should sound strong and clean with no audible air coming through. Many teachers use gee or gay which are also pressure sound exercises, but I prefer starting each syllable with the b sound which produces less tension in the back of the tongue. Another category are the nasals which use resonance to alter the laryngeal function. You may know of them as nays or naaas and they can work well or not at all but they are a good tool to have in one's arsenal. They work best for men and least for classically-trained women. I also use a series I call the lean series, a challenging, advanced set of exercises which help singers feel the action of belter's bite, the hyoid bone pulling forward, and the other sensations I call laryngeal lean. Never just go for it. If you do, you risk hurting your vocal fold tissue. Belting doesn't mean uncontrolled screaming and yelling. Support, the sensation of breath-holding, beltier's bite, pressure sounds and always singing as though through your face (rather than shouting as though through your neck) as only a few of some of the winning techniques which result in a how does s/he do that?! performance.

The Five Systems of the Human Voice By John Daniel Scott Every vocal technique has a strategic focus. Some break the voice down into modes, or types of sound production. Some focus on the mix of chest and head voice. Others work with ideas about support and resonance in order to improve tone production. I use an approach that focuses on the body, and helps the student understand their voice based on five different systems that affect the singing voice: Vocal Cords, Larynx, Air Control, Outer Muscle, and Pharynx. When you becomes aware of these control elements, and learn how to exercise them properly, a remarkable improvement in vocal production can be achieved. Below is a brief outline of these five systems. The Vocal Cords The vocal cords are small bands of muscle inside your larynx that are similar to the string of a guitar: They are where the sound of your voice comes from, and they represent the central focus of the Balance Point. Singers who have healthy vocal cords are happy, and singers who have vocal cords that are tired, inflamed or swollen have a hard time singing. The health of the vocal cords depends on all the other systems of the voice functioning properly. Often, beginning singers load too much pressure and tension on these fragile muscles, and experience breaks, cracks and other issues associated with a voice out of balance. When the a singer masters their vocal technique, the vocal cords are capable of amazing feats: vibrating at a thousand times a second, creating extremely loud sounds, and enduring long periods of singing with minimal strain. The Larynx The Larynx is an amazing shell of cartilage that houses the vocal cords, opens and closes the windpipe, and controls the pitch and volume of the voice. There are many muscles inside the larynx that control the vocal cords, and many muscles outside the larynx that control the position of the larynx within the throat. The most important thing to know about your larynx is that it tends to rise and fall with pitch, which can cause a lack of control of the voice and tension leading to tired and scratchy vocal cords. Singers who reach the Balance Point understand that the larynx can float freely within the throat,without rising and falling with pitch. Once this freedom is of the larynx accomplished, the vocal cords can become fully activated without limitations of range or power. Air Control There are many ways in which air is controlled by a singer, but the main muscle we're concerned with is the diaphragm. This sheet like muscle runs across your mid-section, and draws air into your lungs when it contracts. One of the most important keys to good singing is the coordinated control of the diapragm, so that the air that is sent to the vocal cords is in balance with the muscles controlling the vocal cords. Often in untrained singers, the air comes out in large gushes that overwhelm the vocal cords, and push up on the larynx. One of the central goals the JDSMethod of singing is to find the correct balance of air support to vocal cord tension. Most singers are surprised how little air is needed to create a very powerful sound once the Balance Point is reached. The Outer Muscles By outer muscles, we are referring to the muscles that are outside the larynx, primarily the neck, jaw, and tongue. Tension in these large muscle groups tend to cause constriction around the larynx, resulting in strain and a lack of power and range. The JDSMethod of singing has a series of unique exercises that reveal hidden reflexes in these critical muscle groups, allowing a singer to see the tensions that limit the voice and move past them. Often singers get stuck for years without realizing that tension in the jaw can significantly limit the freedom of the voice. I can't tell you how many singers come to tears of joy with the immediate benefits that result from the relaxation of these outer muscles. The Pharynx I refer to the Pharynx as the space behind and above the mouth that leads to the resonant spaces of the head and into the nose. This powerful resonator can multiply the volume of the voice by three or five times when focused properly. Untrained singers often sing without the proper activation of this critical resonator, and suffer from sound that tends to leak out of the nose, resulting in a lack of breath, a nasal tone, and an inability to sing in their head voice. On the other hand, singers who have reached the balance point enjoy a great ease of singing high notes cleanly and evenly as a result of the subtle yet powerful effect of a coordinated nasopharynx. The Balance Point The Balance Point represents the place of perfect harmony between the five systems that control the voice. You can tell you're at the Balance Point because your voice feels easier and lighter, it has a full range and blend of chest voice and head voice, pitch is accurate and easy to control, your voice sustains for a long time on a little bit of air, and there is little or no strain or fatigue on the vocal cords. It's hard to express the joy that students have when they reach this state! Sometimes it comes as a surprise that you stumble upon, and sometimes it can be the fruit of years of diligent work. The Balance Point represents the state of the human voice where all the systems function at their full range of motion and in complete harmony. I hope you'll contact me to learn more about this technique. John Daniel Scott www.jdsvoice.com jdsvoice@gmail.com

A Breaking the Chains student asks about vocal cord adduction: Hey Kevin, I have a quick question about vocal cord adduction because lately, I've been working very hard on trying to adduct, or zip up my vocal cords to smooth the chest/head registers. I use both Breaking the Chains and B. Manning's 'Mastering Mix', and I feel these two courses really complement each other. Manning advises to use the gee sound to learn what it feels like to feel the vocal cords open and close with the hard g. You, on the other had, advise to grunt and feel the vocal cords adducting. I understand and can feel the hard g close my cords, but I cannot for the life of me use a grunt to mimic that feeling. One question I have, is the ultimate adduction result of the hard g and the grunt the same? More importantly though, if I try to imitate that closing-the-cords feeling that I get with the gee exercise, it leaves me with very sore muscles in my neck, leading me to believe that I'm doing it totally improperly. Additionally and this leaves me even more confused I've watched Laryngoscope videos on youtube and I cannot for the life of me even see where the vocal cords are zipping up (the see the cords coming together on a planar level but never zipping up like the pictures show in the Breaking the Chains handbook. So, any advice is appreciated what does it feel like to adduct your cords? What muscles are you using specifically? Your Larynx? Your Soft Palate? Thank you, Greg My reply: Hi Greg, There are two ways to achieve adduction. 1. Physically producing cord compression by pressing the vocal cords together (Mastering Mix) and 2. Producing cord compression using mostly breath pressure and only slight physical pressing (Breaking the Chains and old school classical method) I have the Mastering Mix series and while it has many great exercises to relieve tension into mix it misses the one very important tool a singer needs projection. The Speech Level Singing (SLS) crowd emphasizes vocal cord compression over strong breath support. They have this you already know how to breath so just breath philosophy. I am the reverse. 'Mastering Mix' talks a lot about the light mix which is technically called medial cord closure. This is where you are only using the fine edges of the vocal cords to sing. Therefore you don't need a lot of breath support to produce sound. It's a lot like speech. Its also makes your voice very thin sounding. Unfortunately singing is more intense than speech (Rock & Metal is a lot more intense) therefore you need more intense breath support. That is where my method comes in. The SLS Gee exercise uses the heavy G consonant to force cord closure using just the vocal cords and very little breath. The problem is that method makes it very easy to squeeze inside the neck to produce a singing level sound. Using the soft grunt as used in "Breaking the Chains" requires you to push air from deep around your waist to produce the "singing level" sound. This leaves the throat to feel open and unrestricted. Your voice is essentially a wind instrument so to make it work properly you have to use a good amount of air just like any other wind instrument. To get it to work you literally have to sing while holding back your breath. It's hard to describe in words but try this: take the example of the Vocal Edge exercise on CD 1 of Chains. It's a very short little burst of sound using the uh sound, like in the word cup. Now take that short little sound and gradually drag it out longer and longer. You get the typical Manning light edge sound. Now take that drawn out, light edge sound and add a grunty/forceful exhale from the waist to it. What should happen is that very hard uh sound starts to soften, but it also become louder and deeper sounding. Do NOT press at the throat, take that very easy edge sound and add a lot of air behind it. With that big exhale of air from deep in the body you will feel less of a need to grasp inside the throat as the sound still happens without all that tension. The throat open and widens to accommodate that on rush of air. The cords stay closed because they naturally resist the air you exhale. Pushing air out rapidly gets them to exert pressure against themselves to stay closed. This creates what is called breath compression. This way is more in line to how the vocal cords work naturally top produce big sounds. In old school Italian voice technique this "breath compression" is often called appogio. This is how male Opera singers get such powerful sounding voices. Its perfect for Rock singing. We did this as kids without thinking. We could yell and laugh all day and never lose our voices. That's because we weren't consciously trying to manipulate our vocal cords. We just let them do what they do naturally. We stayed out their way. In my opinion the more we try to manipulate the vocal cords physically (like SLS), the harder it is to learn how to use them correctly in a big way. If your breath support is on target and you don’t need grip at the throat, the voice works the way it is designed. Feeling adduction: There is no way to fully feel the cords physically adduct, its merely a sensation of slight pressure when they are closed. Our cords adduct every time we speak (adduction means cords closing) and we don't feel that do we? There is no big, physical sensation to adduction aside from the sensation of sound buzzing in your throat. You don't usually see it on laryngoscope videos (unless they slow it way down) because it happens at 100's of times a second too fast for the eye to catch. The raising or lowering of the soft palate is not involved in adduction but the soft palate can be used to create proper support and tone manipulation. I hope that helps. Thanks, Kevin Rock the Stage NYC www.rockthestagenyc.com www.youtube.com/user/rockthestagenyc

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

We are often told that if we want more volume in our singing and speaking we need to use more breath. We're also told that if we want LESS volume we need to use more breath! We also hear this when we're out of tune, inconsistent the list goes on and on! Use more breath is somehow the go-to solution for just about any problem. But, does it really work? And if so, are we really doing what we think we are doing? Here's the issue with the use more breath strategy: 1. We cannot look at the function of breathing without looking at the entire respiratory system which includes the larynx and vocal tract! 2. Research shows that the brain does not send the signal to the breath then the larynx during vocalizing. The breath actually gets the signal secondarily from laryngeal neurons NOT the other way around (see Titze)!! 3. Too much breath pressure beneath the vocal folds builds up and can actually cause vocal fold trauma by forcing them to work too hard to resist that pressure when they need to be loose enough to vibrate quickly, easily and freely! What you can do: 1. If you're used to taking a big breath before singing or speaking, take in how ever much breath you normally would then EXHALE before starting the tone. See if singing/speaking is easier with less air. Next time, just take that much! 2. Once you have taken in an appropriate amount of air (not too much, not too little) make sure that your belly is soft and that you're not pushing from below! This pushing will also increase the pressure beneath your vocal folds and make things difficult. To monitor, you can rest your hand between your belly button and the bottom of your sternum (the epigastrum) and make sure this area stays soft and boingy beneath your hand! Unfortunately, all of this breath and vocal fold tension gets confused with support! I'll clarify this distinction in How to Avoid Vocal Fold Trauma stay tuned! Easy breathing! Robert

It always floors me when a Voice Therapy Client or Singing Student comes in with something unusual. I've dealt with Vocal Nodule Rehab cases to Chronic Laryngitis cases to Vocal Fold Paralysis cases over my 28 years of practice. So when one of my students went haywire during a vocal practice session when hiccups ailed him, I found it interesting. They wouldn't go away and there he was getting agitated, progressively nervous and he basically got so flustered that the hiccups would not go away. I instantly blurted out the "Old Wives Tales" cures one after another that we all know, but really it all came down to relaxing the abdominal muscles and doing a lot of deep breaths, yoga breaths, meditation, self hypnosis to get those abdominal muscles to stop the spasms. Drinking water obviously helps along with deep relaxed breaths and sometimes even holding your breath. If you combine all of the above and literally weed out all of the potential things that might agitate the symptoms and simply relax, you're out of the woods. Ironically, I looked in my various Vocal Pedagogy Textbooks and Bibles and found nothing on hiccups. Nerves can trigger them, but it's horrible when you're on stage performing and they hit. One preventative measure I think that you can take is to watch your diet and don't eat too close to a performance. I always have Brioschi, a lemon flavored Sodium Bicarbonate that is always handy to have. But one thing I think that everyone should be also aware of is Acid Reflux cases(GERD). Acid Reflux must be treated or patients suffering with GERD can do severe damage to their voice, esophogus and upper respiratory tract and can even cause throat cancer when the acid comes up into Upper Respiratory Tract chronically. A tell tale issue is chronic sinus infections that are also caused by stomach acid coming up. 50% of the adult population in the United States has Acid Reflux. A Startling Statistic!!! So get a GERD test from a good specialist. Many of these specialists can also do a Colonoscopy as well. If you have Colon Cancer as I have in my family history, you need to get those done when you're over 40. If you've read this article, I would love some feedback about your methods of curing hiccups. I am going to webmd.com now to do further research on this case for my Voice Student.

How I Got (and YOU can get!) Nominated for Best Jazz Song at: The HMM (Hollywood Music In Media) Awards (Thurs., Nov. 18th, 2010) (by Cheryl Hodge) I'd like to take a moment to share my recent experience with you all, and to let you know that - YES! - there is hope for ALL of us to be acknowledged in the industry for our work & talent... and plenty of room, if you do the right things. And, to be competely honest, I'm also hoping that you will join me at Reverbnation.com after you read this article. I'd like for all of us to immediately join each other's fanbase there, and mailing list. It is an awesome site! It isn't often in this life that we unsigned singer/songwriters experience true recognition for our craft from our peers in the industry; especially in the highly competitive world of music. When I received my nomination for Best Jazz Song from the Hollywood Media& Music Awards committee for my song, "INDIGO"; I'll be honest; I thought there must've been a mistake! However, it turns out that I was in fact, nominated for my song INDIGO (hooray!). I thought to myself, this was going to be a good month. I knew I would have lots to share with my Songwriting and Business of Music classes especially when it meant that I would also be attending the Interactive Music Symposium (sponsored by the NAMM show folks). In my http://reverbnation.com/thecherylhodgegroup).case the nomination was mostly due to the visibility I have recently garnered as a top ten jazz musician for Canada on the ReverbNation charts (to check out my site, go to Of course, the whole awards show was done with impeccable taste. The red carpet walk at the Kodak Theatre Complex in L.A. was a long one, though; and while in line, I talked with many of the honourees and managed to make a few (always valuable) contacts. Once inside, I immediately began connecting with other potential winners and various giants of the music industry. The night flew by, and I barely even shrugged my shoulders when it came to my turn to hear my category - and found that my name was destined to stay in the nominated (not winning) category. It didn't really matter to me. I had already felt as if I had won, just by being present as a nominee. I was rubbing elbows with the Big Boys, like members of Matchbox 20, and producers like the infamous Nile Rogers. I was most impressed, though, by the executive producer of this event, Jim DeCicco, who has a mandate and purpose for this whole event: to help unsigned (should be signed), and talented songwriter/composer/performers, through honouring them and providing them with a slew of contacts in the industry. Naturally, I was curious about the selection process, and here's where YOU come in... I want you all to realize that there are still avenues out there for you that WORK. I was selected by submitting my music through the HMM contest at Reverbnation.com I went ahead submitting, even though I didn't think I had a chance in hell. Turns out I DID. Unlike some other sites I have read about and even joined, and put money into (like Sonicbids.com - which was a complete BUST, and yielded NOTHING after pumping money into it for over a year!), it turns out that Reverbnation is quite reputable, and actually comes through with real, tangible opportunities. Contests, my friends are THE way to go, for unsigned artists. Keep your heads up, and hang in there. It may be your turn next! All the best, Cheryl Hodge http://reverbnation.com/thecherylhodgegroup

Hello fellow friends and singers. Below you may find an article that just went up as my weekly post at Superiorvocalhealth.blogspot.com. I hope this is useful for you. Please feel free to visit my blog regularly as well on how to naturally care for your voice and throat. Getting rid of mucus in the throat, chest and lungs is one of the most difficult and pressing issues for the voice professional. We need mucus in our throat and a thin lining on our vocal cords to keep the cords hydrated and flexible. This is the way our body naturally takes care of our vocal cords. However, as voice professionals, to much mucus can be our worst nightmare. Over the counter and prescription drugs may remove the excess mucus but at what cost? Drying of the entire throat and vocal cords, dizziness, mental fog, digestive discomfort such as constipation or diarrhea and fatigue are just a few of the side effects that one can experience. In this post I will give you more than enough choices of excellent herbs that have been tried and tested through out the ages to get rid of excess mucus in the throat, chest and lungs without affecting the rest of your body negatively. They are safe, effective, and help the rest of your body to heal as well. Remember, from my other posts on food and diet, that excess mucus is almost always the body telling us we are off track with what we are consuming. Here are the herbs you may use, all of these herbs are very effective when used as a tea: 1. ANGELICA Angelica is a very good herb that may be used to break up mucus in the lungs. It is often used to ward off the flu or a cold and can break up mucus from a cold very quickly. NOTE: Angelica should not be taken by anyone who is pregnant or has diabetes. 2. BLUE VIOLET Blue Violet is excellent at relieving severe headaches and especially congestion in the head. It is known to clean mucus out of the system. 3. COLLINSONIA: Collinsonia soothes the mucus membranes. It has slight astringent properties relieving inflammation of the throat due to colds and flu. 4. COMFREY Comfrey is one of my personal favorites. It is used for lung problems, hoarseness, sore throat and is very effective in clearing the mucus membranes. It is also high in potassium providing the body with energy. 5. PLEURISY ROOT Pleurisy root is very good for all chest disorders. It is one of the best herbs known for breaking up colds and releasing mucus. The following herbs may be used as powders when crushed up and sniffed in the nose, gargles or applied to the chest or throat externally to release mucus. 6. COLTSFOOT Coltsfoot is very soothing to the mucus membranes. Boil a heaping teaspoon in a quart of water as a tea then take a cloth and moisten it with the freshly made tea. Apply it to the chest and throat for ten or fifteen minutes. This will loosen the phlegm and is good in all coughs and bronchitis as well as all lung troubles. For nasal congestion and obstruction, crush the leaves into a fine powder and sniff the powder into the nostrils. 7. FENUGREEK SEED Fenugreek seed is very useful when crushed up and sniffed into the nostrils. Especially when dealing with mucus from allergies and mucus in the head and chest. 8. HYSSOP Hyssop is mentioned in the bible in Psalm 51:7: PURGE ME WITH HYSSOP AND I SHALL BE CLEAN; WASH ME AND I SHALL BE WHITER THAN SNOW. It is extremely useful for all mucus problems in the chest throat and lungs. Use it as a gargle to loosen up mucus in the throat. NOTE: Never use for more than one week at a time. There you have some excellent herbal solutions to mucus problems in the throat, chest and lungs. Always consult an herbal practitioner and you doctor when you have questions about dosage and mixing herbs with any medications you may already be taking. As always, I wish you the best on your quest for Superior Vocal Health. David Aaron Katz

CHAPTER 10 - GIVE-AWAYS AND SALES TIPS SO, YOU WANT TO BE A SINGER? by Diva Joan Cartwright After producing a demo in a studio, you must be concerned with duplication and packaging. You can do it yourself, which is a lot of labor that you must consider when setting the price of your CD. Unless you have invested in a CD burner ($600-700) you must burn CDs on your computer, one by one, or take your master to a reproduction company to get copies. The more tapes, labels, covers and jewel cases you order, the less they cost per piece. The general amount to begin with is 500 or 1,000. Compact disks cost from 80 cents to $2.00 each 500-1,000 Labels, covers and cases cost $500 Artwork costs between $250 to $1,500, depending on paper, photographs, graphics, colors, size of leaflet, etc. You need at least one hundred (100) demo CDs to send out with press packages to radio stations, booking agents, promoters and club owners. Your family and friends can be your best promoters. Fans will buy your product at gigs, only if you display them and remember to offer them to the audience. Always display your product during gigs. A professional DVD of your live performance is a necessity, today. Sales Tips: CDs sell from $10 to $20, depending on how much music is on them. Have friends and family buy 5 to 10 CDs as gifts for their friends Place your music on consignment at small record and book stores for a commission of $3-5 on each sale The library system will buy your music for each branch (10-30 copies) Lesser known distribution houses will buy 10 to 100 copies of your product at a reduced price Expose and sell your CDs and digital tracks on the Internet at sites like CDBaby.com, MP3.com, netradio.com, Cdnow.com, Amazon, Ebay and many more. Surf the net to find the appropriate venues for your product. Get a PayPal account. This is the best way to manage your own sales. You pay a little for the service, but it's worth it! SO, YOU WANT TO BE A SINGER? A manual for up-and-coming Divas, musicians and composers. Purchase the book at http://stores.lulu.com/divajc

The Larynx Control System The muscles controlling and surrounding the larynx represent one of the most important control system affecting the human voice. For most singers, learning to stabilize the larynx is essential for vocal health, the increase of range, and the proper blending of chest and head voice. In this article I will attempt to shed some light on larynx position and offer some exercises that can help you improve your voice by stabilizing your larynx. Keep in mind that full time voice students may spend years on this! But a little awareness goes a long way in saving your voice from the harm caused by singing on a high larynx. The Problem of a High Larynx Consider the larynx to be a basket floating in a complicated web of tendons and membranes inside your throat. Your goal is to not allow the larynx to rise too much as you sing from low notes to high notes. To find your larynx, put your finger on the V that you feel in the front of your throat (commonly, the adams apple: the original problem J) If you swallow, you feel it rise. We refer to this as constriction, because you are squeezing the space around the larynx. Good for eating, bad for singing! You can tell if you're singing on a high larynx if you notice: A heavy chest voice and a large break between your chest voice and head voice Vocal cords that feel scratchy and producing a lot of mucous Your voice feels worse the next day after singing Your head voice feels breathy, airy, and unfocused There are some differing views on whether or not a high larynx is harmful or not, with some techniques suggesting that it's acceptable (even desirable!), and others suggesting that your larynx should be as low as possible. I base my findings on eighteen years of teaching, and constant study and testing of new ideas. I believe that advanced singers can learn to sing with a high larynx, provided that they are working with a professional who knows what they're doing. For most beginning singers, however, a larynx that is too high and surrounded by tense muscles can lead to significant problems with the voice. Keep in mind that larynx control is only one of the five control systems I describe in my vocal method: All of these systems function in concert, with stability of the larynx representing a long term goal of the method. The larynx houses the vocal cords, and operates in relationship with the whole voice (body, mind and Spirit), and is not in any way isolated. Each system effects the other systems in a structure of balance and coordination. How to Stabilize your Larynx There are a lot of techniques to help stabilize the larynx, but the first step of this long journey begins with awareness. Keep in mind that professional singers spend years getting this right! With your finger on the V of your larynx (or adams apple) sing along with a scale and notice if it is rising and falling with pitch. Notice the difference between different vowels: Sing oo (like boot), and then sing Ah (like Father). I refer to this as the kinesthetic approach: which means that you feel what's happening with your body. Gaining awareness of the position of your larynx is the first step Next, consider your larynx to be a basket floating in a network of attachments, some reach up into the jaw, tongue,and head, and some reach down into the chest, sternum and lower body. We want to relax the neck, jaw, and muscles around the larynx, so we can avoid the unconscious reflex that pull up on the larynx when we sing high. As you sing your scales, place your hands on the back of your neck and notice if there's tension. Next, place your hands on your jaw, and check to see if your jaw is clenching at all. The more release you have in these muscles, the easier it will be to stabilize your larynx. Proper breath support is also important in order to stabilize your larynx. The basics of this are 1. Breathe in without motion in your neck, shoulders, or face 2. As you inhale, feel your stomach inflate 3. As you sing a scale or song, keep some gentle pressure out against your abdominal wall 4. As you're singing, try not to let your stomach contract suddenly If you have any questions about the larynx, or singing generally, feel free to contact me at john@jdsvoice.com

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

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

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

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

So, You Want To Be A Singer? by Joan Cartwright CHAPTER 11 GIGS: CLUB OWNERS, PROMOTERS, FRIENDS AND FANS Once you decide to be a performer, you'll be looking for a gig every day for the rest of your life. Begin with these steps: Review the newspapers to see where others are performing. Know which clubs are presenting your style of music. Visit clubs. Get to know the owners, the musicians and the audience. Be prepared to sit in with musicians. Have one or two standard songs that all the musicians play. Know your key and tempo for each song. Always have one ballad and one up-tempo song you sing well. Stage presence is important. Sing for the audience and not just for yourself. If you are going to approach the club owner about a gig, make sure you are not stepping on the toes of the musicians who work there. Find out what the musicians who work at the club get paid and don't over or under-charge. It's commonplace for the bandleader to get double. Sometimes, this is possible, sometimes not. You be the judge, but don't underpay your musicians. You gotta pay the band! Abbey Lincoln Once you have a date, write it down, so you don't double book or forget about the date. Then, call each one of your musicians to make sure they are not booked on that particular date and ask them to calendar the gig and rehearsal date. Become acquainted with festival promoters and organizations that present music, such as music societies, municipal, civic and cultural organizations. Friends and fans will ask you to perform at weddings, birthday parties, anniversary parties, Christmas office and home parties, New Year's Eve parties, award ceremonies, dances, banquets, etc. Offer a special price to friends and fans, with the understanding that they can refer you to other friends in the future. REMINDER: New Year's Eve is the one day of the year that you can make more money than usual. This day is booked months in advance, but don't just take the first thing that comes along. Parlay this date, until you get what you think you and your band are worth. You may need to purchase a new outfit for this date and that takes a little extra income. If you book the date, definitely figure in leader's fee. How? If you work with a trio, that's four of you, plus leader's fee is payment for five (5) musicians. You get paid double and there is absolutely nothing wrong with that! You deserve it! Purchase the book at http://stores.lulu.com/divajc

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

Scat-Singing Scat Singing, is merely improvising without words. We aim to approach it the same way as an instrumentalist. Scat Syllables are only to serve the punctuation of the line and I feel strongly that the melody and rhythm used over given chord changes dictate the syllables, not the other way around. The scat syllables flavour the rhythmic inflection synonymous with Jazz. As any good instrumentalist develops his/her language and vocabulary, singers must do the same. This comes from continual listening and transcribing. There isn't a shortcut. Harmonic and rhythmic elements must be studied, for example outlining the relevant scales and arpeggios, patterns and extensions of the chords using a variety of rhythms. Aural training plays a big part in this and because singers rely so much on their ears when it comes to improvising, developing a sense of pitch memory is essential. The more one develops the ear to hear certain sounds the more creative and interesting the improvisation will be. Some people have a natural tendency to hear the harmony and understand rhythmic concepts, but collating and assimilating the vast amount of information, displaying it in performance, on the spot, anticipation of chords, implying multiple chord changes, using altered extensions, interaction and reaction and being emotionally honest in the performance takes a lifetime to hone. Feel, articulation and flow are important factors to consider. All instrumentalists work on this constantly. Having observed vocal improvisers, I"ve noticed difficulties regarding these aspects when using scat syllables. The eighth note feel (continuous line) in particular, is the hardest to develop. Attaining smooth and relaxed swung eighth notes (for bop lines) demands consistent attention and practice Like woodwind and brass instruments we use our tongues to articulate sounds. We'll take for instance- ba (off beat) with the lips and doo (on beat) with the tongue. The off beat (ba) is often articulated too hard and the doo (on beat) is too short, this coupled with over- expressed and affected syllables presents problems with the flow and feel of the line and doesn't swing. I feel that scat singing should be conversational, an extension of the speaking voice, not laboured and over- exaggerated to the point where it is no longer musical. Finally, I'd like to add that in recent years, many have become aware of the marked increase of highly talented jazz vocal improvisers who continue to raise the level of this growing art form. These vocalists regard themselves as musicians and consider it a priority to develop their improvisational skills. It's also a reflection of dedicated Jazz vocal educators with improvising skills, on a mission to encourage the search for educational opportunities in this field.