Handbook 5inger's
BreathManagement Your voiceis a wind instrumentthat needsbreath to producesound'Trainingyour body and unconsciàusmind to managethe breathingprocesswill giveyou the controlyou needto singlonger noteswell' and to ihrur.t, to singhigh and low gain betterconffol overdYnamtcs'
Shoulders forced back
C o l a P S e dc n e s l
Good alignment
FourStepsto Effe Try this simPleexercisetha the breathingProcess.
1. Stand with Your bodY al distanceaqart,and 1'ou high. 2. InhaIe through Your no: expanding around 1'our your lower abdominal r
3. Allow Your lower abdo contract slightiY,as )'ou tone in the middle of vt To establishgood posture' start with a comfortably high chest, rÀlaxedknees (not locked), and feet with hip-distance apatt' As you become familiar good posrure,it will feel more natural to you' buring singing, be sure to keep your chest in comfoitabty ttiglt Try practicing while standing good front of a mirror. It may be easierto see posfure than to feel it'
4. Maintain Your comfort and keePYour ribs oPe your chestcollaPse.
When inhaling, don't over your lungs createstenslon before you even make a so by expandingaround vour lower abdominalarea.tak tensionbY liftrng vour sho
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Breath L\4anagement
runnenr thar needsbreath :ng )'our bod-"-and uncon_ he brearhingprocesswill need ro sing longer , .trr\ noteswell, and tO ii:anlcs.
IT AbdominaJ area (oul)
-';:t:$" Diaphragm ascends
FourStepsto EffectiveBreathing Try this simple exercisethat outlines fbur stepsof the breathing process. 1. Stand with your body aligned, your feet hip_ distance apaft, and your én.ri comfbrtably high.
srart $'rrh a comfortably rot locked),and feet becomefamiliar with cre naruralto you. reepvour chest t : . : : { x h i l e s t a n d i n gi n ea_ircr ro seegood
2. Inha\e through your nose and mouth by expanding around your waistline and ràlaxing your lower abdominal muscies. 3. Allow your lower abdominal musclesto contract slightly, as you start to sing a long tone in the middle of your range. 4. Maintain your comfortably high chest position, and keep your ribs open, u, yJ., sing. ôon,t let' your chest collapse. a
When inhaling, don,t overfill your lungs. Stuffing your lungs creates tension in your throat and jaw before you even make u ,orr.râ. I"ilù complerely by expanding around your waistfirre lna in your lower abdominal area, taking carcnot to qeate tension by lifting your shoulàers.
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Handbook 5inger's
TheDiaphragm The diaphragm is a flat muscle, curved in a double-dome shape,separatingthe chest cavity from the abdominal cavity. It connectsto the bottom of your ribs and is the floor of your rib cage.
Diaphragm descends to a lower posrlron. drawing a r into lungs.
D achragm nses lo a hrgher arched position, lo expel aLrlrom ungs.
RibsandLungs Your rib cage is comprised of bone and cartllage. During breathing, the attached musclesopen and close your rlb cage,filling and emptying your lungs. When you sing, steady flow of air to your vocal cords is achievedby opening your ribs and slightly contracting your abdominal muscles. This exercisewill help increaseyour awarenessof the expansion of your rib cage. 1. Place your fists on your sidesabove your waist. 2. Take a fuIl breath, and feel the expansion of your rib cage. I
J.
Exhale, and feel your rib cagebecome narrow.
4 . Take a secondbreath, spreadingyour ribs as wide as you can. Don't lift your shoulders.
5 . Hold your breath but keep your throat open. Slowly, count to four. Maintain an open rib cage as you hold your breath. You will feel the external intercostal musclesof your ribs working to stay open.
6 . Exhale, and allow your rib cage to become narrow agarî.
TheAbdomin
These powerful musclesco* inal region, running vertica acrossyour belly.Your lo*.e relax ourward during rnhala inward slightly during e.xha
During singing,vour nb cag while your abdominal musc This is called support; it ena to ascendto its high positio allowing you to sustain long tain better pitch control. If r immediately, atr wili rush or phrasing,or a breathytone r your ribs and chesttightens muscles,preventingyour lar freely. This can causeyour s feel constricted.Good abdo help you keep your neck anc bringing you a fuIl and resor
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Breath Managemeni
l Diaphragm la: =us.-le.cun'ed rn a rdla:atlng the chestcaviry :a\':rv It connectsto the rn.: rs the floor of your rib
nd Lungs :scd ot bone and cartilage. ana;hed musclesopen and rne and emprying your s{eadvflow of air to your r t'r t'rpeningyour ribs and r at"iominal muscles, :nf:easevour awarenessof nb cage. r.r:: srdesaboveyour waist. u:c Èei rhe expansionof ;: ::b cagebecome narrow. :. spreadrngyour ribs as rn': iift r'our shoulders. rt keep vour throat open. : \laintain an open rib :: brearh.You will feel the ::usclesof vour ribs : r::: ::b cageto become
TheAbdominal Muscles Thesepowerfulmusclescoverthe entire abdom_ inal region,running verticallyand diagonally acrossyour belly.your lower abdominal muscles relax outward during inhalation and contract inward slightly during exhalation. D.ulinSsinging,your rib cageshould stay open while your abdominal-,rr.1., move in shgirtty. This is called support;it enablesyour diaph rugm to.ascendto its high positionat a slower rate, allowingyou to sustainlongerphrases and main_ tain betterpitch control.If youi ribs descend immediately,air wiil rush olt too quickly for good phrasing,or abreathytone may r.*tr. Collapling your ribs and chesttightensyour neckand throat yuyle , preventingyour larynx from functioning freely.This can causeyour singingto soundand feel constricted.Good abdo-àut"rrrpport will help you keepyour neckand throat relaxed, bringingyou a full and resonanttone.
(inopr'<
BreathinExercises BreathObservation
Abdom Releasing
This exercisewill help vou i abdominal musclesto take ;
This exerciseis helpful in encouragingproper abdominalaction. 1. Lay on the floor and placea smallbook approximately1 1/2 inchesthick underyour head. 2. Focuson your breathing.As you inhale,your abdominalmusclesbelow your rib cagerise, and as you exhale,they moveinward. Observe the opennessof your nbs aroundyour waistline. 3. Restyour handson your abdomenand breathe,observingthe riseand fall of your belly. 4. Standup, and reproducethisbreathingaction, expandingas you inhale.
1. Standwith your feet abc from a table (or the bach 2. Lean forward ."r,ithvour the table.
3 . Take a slow,deepbreatt toward the floor. A1lori' musclesto drop.
Exhale, with firm abdon
Inhale again, feeling the back musclesand the re inal muscles.
6 . Sing a few easypassage
your abdominal muscle inhale.
7. Repeatsteps3-6,
Breathing Exercises
:xerctses fi Observation
Releasing Abdominat Muscles This exercisewill help you releasethe lower abdominal musclesto take a full breath.
:;^ :n encouragingproper ani piacea small book I I :nchesrhick under your :.'.I1:1{ As r.ou inhale,your 'ft'.rr$ :-: rour nb cagefiSe, : ::cr :nove inward. Observe r\tr: -'fs around your waist_ ! : \ , . - : a b d o m e na n d i ::c ::se and fall of your :.t:.c
:hrsbreathingaction,
1. Stand with your feet about 1g inches away from a table (or the back of a chat). 2. Lean forward with your hands on the edge of the table. 3. Take a slow, deep breath, letting your belly fall toward the floor. Allow your abdominal musclesto drop. 4. Exhale, with firm abdominal muscles. 5. Inhale agarn,feeling the expansion in your back musclesand the releaseof your abdom_ inal muscles. 6. Sing a few easypassagesof a song, letting your abdominal musclesdrop whàn you inhale. 7. Repeat steps3-6, this time standing upright.
5inger's Handbook
Extending YourBreath This exercisecan help coordinate and energize your breath support. Practice Step One until you can make it through comfortably, then add Step Two, then Step Three. Take care not to inhale too fast or raise your chest when you inhale. During exhalation, maintain the opennessin your ribs for the entire count. When all three stepscan be performed consecutivelywithout stopping, increasethe exhalation count to 25 or 30. put your metronome on 80 b.o.m.. Step One 1. Inhale to a count of 10, taking in two tiny sips of air per metronome beat, expanding your lower abdominal musclesand ribs. Exhale for 20 beatsusing repeatedshort hisses,rwo hisses per metronome beat. After 20 counts, begin the next inhalation. 2. Inhale again to a count of 10, taking in two tiny sips of air per metronome beat. Exhale for 20 beats using one long, sustainedhiss. 3. Inhale again to a counr of 10, taking in rwo tiny sips of air per metronome beat. Sing ,,ah" on a comfortable pitch for 20beats. Maintain the opennessin your ribs. (Continue, without stopping, to Step Two if you successfully completethis with no problem.) Step Two 1. Inhale to a count to 10, taking in one long, continuous, slow breath. Exhale for 20 beats using repeatedshort hisses,two hissesper metronome beat. 2. Inhale again to a count of 10 in a slow, continuous sip. Exhale in a slow continuous hiss to a count of 20. 3. Inhale again to a count of 10 in a slow, continuous sip. Sing "ah" on a comfortable pitch for 20 beats.Try to maintain the feeling of opennessin your ribs for the entire exhalation. (Continue without stopping to Step Three if you successfullycomplete the first two steps.)
to
Step Three
1 . Inhale in a quick catch breat
Exhale for 20 beatsusing re1 fwo hissesper metronome h
2 . Inhale in a quick catch breat Exhale for 20 beatsin a con
3 . Inhale in a quick catch brea Sing "ah" for 20 beats.
Breathing Exercises
ng YourBreath
Step Three
' ;rrcrdrnate and energize ):a.-'!rceStep One until you omronabll'. rhen add Step Take care not to inhale too I s hen vou inhale. During he opennessin your ribs for n ali rhreestepscan be :.r ri'rrhoutstopping, r .ounr ro 25 or 30. put vour
1. Inhale in a quick catchbreathin one counr. Exhale for 20 beatsusingrepeatedshort hisses. fwo hissesper metronomebeat. 2. Inhale in a quick catchbreathin one count. Exhale for 20 beatsin a continuoushiss. 3. Inhale in a quick catchbreathin one counr. Sing "ah" for 20 beats.
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l . ù. :akrng in fwo tiny sips ne beat.expandingyour u.x-.esand ribs. Exhale for ateJ shorr hisses,two hisses t .{ler 20 counts,begin the rur: of 10. taking in two ne::rrnomebeat.Exhale for ong. sustainedhiss. un: oi 10, taking in two nel:onomebeat. Sing ,,ah', :ch rcr 20 beats.Maintain r nb's (Continue,without ;o :f vou successfully ,,-'p:oblem.)
10. :akrngin one long, arh Exhale for 20 beats hrsses.nr.o hissesper nr of l0 in a slow, contin_ s.orr continuoushissto a nr oi l0 in a slow,contin_ : a comfortablepitch for :a:: :he tèelingof open_ ::e cî:tre e.xhalation. lti:ng ro StepThreeif :lere rhe t-rrstfwo steps.)
tlEsilqqqee!
Routine Practice An organi zed practice routine helps you achieve waste more becauseyou stay mentally focused and you will less time. If you follow a routine daily, time practice your find that you look forward to and gainthe benefits of daily vocal exercise'
Practice Routine I. BeginningWarm-uP (2-: a.PhysicalStretches
b.Warm-uPVocalizatio
II. VocalTechnique(10-20
III. SongSrudY(15-20mint
IV. Cool Down (2-5 minutt
Practice TiPsfor Productive not be Location. Work where you can relax and self-conscious.You need to feel free to make mistakes,and not hold back for feat of disturbing to neighbors or family. If there is no place at home of pritice, inquire at a local school or house worship to iee if there is a room that you could use regularlY. you Keyboard /Guitat Wherever you practice' for wili need some kind of keyboard or guitar checking Pitches. on Mirror. Practice in front of a mirror, focusing your body, posfure, and expression'Observe iension in the face, neck, and jaw, which indicates a problem. Use the mirror to help correct awkward or tense looking movements' The musclesof your throat can become tight to compensate for a collapsed chest posture' Align yorribody in order to allow the musclesof your throat to function freelY' Tape Recorder. To hear a realistic (though imperfect) representationof your voice, use a cassette You ,rrordât in practice and at your voice lessons' Try singing' can learn a lot from hearing your own to listen objectively,and don't be distractedfrom your goals by being overly critical' Metronome. A metronome wilt help you establish and and maintain tempos when working on songs keep you from rushing when practicing scales'
l. Beginni
You probablv rvouldn't rul before warming uP and str way, it is advisableto \\'ar working on vocal techntq lent of stretchingvour leg warm-ups increasethe blo and graduallv releasetens for activiry.The i'en'minu and warm-uP vocalizatlo intendedto PrepareYour andare generallYnot eno up your instrument' For z warm-up, comPletethe bt the vocal techniquesegm practiceroutine.
A. Physical Stretches(2-
It is imPortant to begtn s freedom.We sing and Pe bodies,which need to be Notes on warm-ups:
1. If you feel Pain,stoP 2. Don't hold Your brea
3. A stretchedmuscle is so don't stressit br. ti 4. Readthe directionst oughlY before atteml 5. Choosea few of the onlY what feels right to Your bodY and us
6. ModifY stretchesto : ical limitations.
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Practice Routine
loutine ùrrceroutlne helps you achieve r stav mentally focusedand waste ollori a routine daily,you will : toni'ard to your practicetime :l:s ot'Jailv vocai exercise.
,r hoductivehactice r ic:c \ tru ùâDrelax and not be :: :cc: :o tèel free to make ':ack :o.; for fear of disturbing r I: :hereis no placeat home to I a .txa. >.-hoolor houseof ie:c :,i a room that you could , \\':c':rver vou practice,you :J ,.r: levboard or guitat for : *t-t:: oi a mirror, focusing on a:; e.rpression. Observe :e;i. and jaw, which indicates :r::-o: ro help correct ooi::g movements.The 'oa: can become tight to r..ased chestposture.Align :,. :llorv the musclesof your
Practice Routine I. BeginningWarm-up a.PhysicalSrrerches(2-3 minutes) b. Warm-up Vocalizations(3*5 minutes) II. Vocal Technique(10-20 minutes) III. SongStudy(15-20minutes) IV Cool Down (2-5 minutes)
l. Beginning Warm.up You probably wouldn't run a couple of miles before warming up and stretching.In the same way, it is advisableto warm up vocally before working on vocal technique or songs.The equiva_ lent of stretching your legs before yo, ,rrn, vocal warm-ups increasethe blood flow to your muscles and gradually releasetension to prepare your body for activity. The few minutes of pnyiical stretches and warm-up vocalizationsrecommended here are intended to prepare your voice for more activity and are generally not enough to completely *ur_ up your instrument. For a more comprehensive warm-up, complete the beginning warm_up and the vocal technique segmentof this recommended practice routine. A. Physical Stretches (2-3 minutes)
1ea: a realistic(though imper_ rcrur r.oice,use a cassette "-rj à:J at vour voice lessons.you hea::ng vour own singing. Try a:; ;on'r be distractedfrom ove:-l cntrcai. rû:o:ne rr'rli help you establish rs ç hen w'orking on songsand rg u'hen practicingscales.
It is imporranr ro begin singing with physical freedom. V/e sing and perform with àur entire bodies, which need to be preparedfor activiry. Notes on warm-ups: 1. If you feel pain, stop immediately. 2. Don't hold your breath while stretching. 3. A stretchedmuscleis in a weakenedposition, so don't stressit by forcing or bouncing. 4. Read the directions for each exercisethor_ oughly before attempting it. 5. Choosea few of the following stretches. Do only what feels right and good ro you. Listen to your body and use common sense. 6. Modify stretchesto suit your needsand phys_ ical limitations.
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!.sq!'^9!99! Gentle llead Rolls the neck Purpose:to stretchthe strongmusclesof and to releasetension' this Let your jaw hanglooseand openthroughout your head stretch.Go at your own pace,circling keepyour in both directions.If you becomedizzy' eyesopen. closeto 1. Gently drop your headso your chin is let the weight of your head your Ëhest,-and Do stretchthe strongmusclesof your neck' not pushyour headdown-let it hang' your 2. Startingfromthis position,slowlyroll to close is headaiound until your right ear your right shoulder' 3. Continueroliing your headuntil you're looking upward,elongatingyour spine'letting yorr, Àorrth and jaw hang opel' Avoid dropthe way back' which would pi.tg yo,r, head a-11 sffessYourneckmuscles' 4 .C o n ti n u e th e h e a d rollcir cleuntilyour |eftear is nearyour left shoulder,pausingto stretch your neck. head In a continuous,slow movement,roll your ear througheachof thesepositions:chin to chest' If to shoulder,eyes,rp*uid, and earto shoulder' let your feeltensionin a particularspot' pauseand ihe weight of your headstretchit out before continurng.Completefwo or three full rotations and then reversedirection' Neck TensionReleaser that Purpose:to releasetensionin neckmuscles -uy inttiUit free laryngealfunction in singing' Your neckmusclesare complexand canbe to injury if you forceyour headinto susceptible use any position'Be gentlewith this exercise'and commonsense. and l. Leanyour right eafto your right shoulder feel the weight of your head elongatethe muscleson the sideof Yourneck' 2. Reachyour right arrn overthe top of your head and restyont tight palm on your left ear'simply letting the weight of yo"t arm increasethe stretch in vour neckmuscles'Do not pull your head'
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3. After You have stretchedsu seconds),move Your arm I just let Your head hang in t few seconds. 4. Next, support Your head s using it to bring it back to To avoid stressingthe stre use your neck musclesalo head. RePeaton Your left
Shoulder Rolls Purpose:to releasetensiontn shoulders.
Proceed at a slow, relaxed Pa positionto the next without s using a full rangeof motton' breathe normallY.
1. Bring both shouldersuP t them back so Your shoulc touch in back. 2. Brittgthem down to a rel then forward to round vc 3. Reversedirections'and r motion'
Rib Stretch Purpose:to stretchand deve rib muscles,and imProvefu
Rib stretcheshelP releasete body for the extendedbreat
1. Stand with Your feet abc aqart. 2. Reach uP with Your rigt ceiling, and stretch it uP of Your head a bit, lean 3. To increasethis stretch as You stretchYour righ should remain straight) good stretchin Your rig 4. RePeatthis stretch on r
Full Roll-Down PurPose:to increasea\\'are rib exPansionduring breat back, leg, and Posruralmu
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Practice Routine
e sirong musclesof the neck rseand open throughout this in pace,crrclingyour head ;ou becomedizzy, keep your read so vour chin is closeto thc'ri'eightof your head :us;.c'sof VOurneck.Do I jrr$ n-let it hang. \rs:::on. slowlyroll your .Lru::tght ear is closeto ru: head until you're )asa::ng vour spine,letting r, :ang open. Avoid drop_ he rrav back, which would .\.c:.
:e-r.. c:rcleuntil your left ear u,,jer.pausingto stretch ro\ c:nent, roll your head lrs:::ons:chin to chest,ear ;, and ear to shoulder.If r-:.ular spot,pauseand let i s::erchit out before ro ,:r rhreefull rotations t:
on rn neck musclesthat al runction in singing. onple.xand can be (r- :orcevour head into r::h :hrsexercise, and use J rp'.;1nght shoulder and :: head elongatethe i lrtur neCk.
rrr.'rhe top of your head n on vour left ear,simply )ur arrn lncreasethe stretch )o not pull your head.
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3. After you havestretchedsufficiently(10_30 seconds),moveyour arm from your ear and just let your headhangin this position for a few seconds. 4. Next, supportyour headwith your right hand, usingit to bring it backto its uprightposition. To avoidstressingthe stretchedmuscle,don,t useyour neckmusclesaloneto puil up your head.Repeaton your 1eftside. ShoulderRolls Purpose:to releasetensionin the upperback and shoulders. Proceedat a slow,relaxedpace,moving from one positionto the next without stopping.Focus on usinga fuIl taîge of motion. Rememberto breathenormally. 1. Bring both shouldersup to your ears,then roll them backso your shoulderbladesalmost touchin back. 2. Bring them down to a relaxedposition,and then forwardto round your.rpp., back. 3. Reversedirections,and roll in a continuous motion. Rib Stretch Purpose:to stretchand developawareness of the rib muscles,and improvefullnàssof breath. Rib stretcheshelp releasetension and.prepareyour body for rhe extendedbreathingusedin singini. l. Standwith your feetaboutshoulder_width apart. 2. Reachup with your right arm, palmflat to the ceiling, and stretchit upward urrdou.. the top of your heada bit, leaningto your left. 3. To increasethis stretch,bendyour right knee as you stretchyour right arm up (your left leg shouldremain straight).you shouldfeel a good stretchin your right_siderib muscles. 4. Repeatthis stretchon your left side. Full Roll-Down Purpose:to increaseawareness of abdominaland rib expansionduring breathingand stretchyour back,leg, andposturalmuscleito releasetension.
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HaMbook 5inger's
your When you are bent over at the waist' keep as far knees loose (not locked), and only bend over palms to as it feels comfortable. Do not force your touch the floor. 1. Standing with feet hip-distance apart, slowly drop your chin to your chest' Continue to ro11 down, leading with your head, proceeding one at vertebra at a time until you are bending over the waist. 2. Inthis position, take a fullbreath that expands your beily and ribs. (The belly expansionwill make you rise from the floor slightly') Then exhale. Check the back of your neck to make sure you are not lifting your head, but rather letting the top of your head drop to the floor' 3. Still in this rolled-down position, breathe normally as you slightly bend and straighten your knees a few times, feeling the stretch in the back of Your legs. are 4. Shift your weight back slightly, so your hips ou., yorr feet. With slightly bent knees' take one more breath, exhale, and slowly roll up one vertebra at a time, sensingyour feet push into the floor. This action will help you use your legs to stand up again, instead of your newlY stretchedback muscles' Chewing Purpose: to induce relaxation in the facial muscles and free Your jaw. and Stand or sit in a comfortable, relaxed position effortimagine the sensationof your head floating lessly toward the ceiling. 1. Pretend you have two large piecesof bubble gum in your mouth, one on each side' Chew with exaggeratedmovements' with an open mouth, saYing"mum-mum-mum' " 2. Chew for a few secondsand rest' Do three or four repetitions of these exercises,then rest' 3. Sing or speak a line of text using the chewing action with vigorous movement of the lips' jaw, and cheeks'This exercisecan be done in brief intervals throughout the day'
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Self-Massage Purpose:to releasetenslon muscles,and jaw.
You can target Your o\\'n sl routln€ in this self-massage
1. Standingor sittrngcorr head level, massagethc neck with the Padsoi r circular motion. 2. Work Your fingers uP t your earsand along th
3. Let Your mouth droP c soft sPotdirectlYunde thumbs. 4 . G e n t l Yc o n t i n u eu P t h your head, PlaceYour scalP,and move lour r Imagineair enteringb your scalP. 5. End Your massagebr' with Your fingers alon a time, from the insid corner. B. Warm-UP Vocalizatit
Sighs,humming, slidrng getting the "cobwebs" ou flow to Your vocal cords nontraditional vocallzatr suggestedhere allow vou and prePateYour voice t Slides
Purpose:to begin vocall especiallYfor singersri.h
During this exerclse,cht tension,and releaseit a' middle raîge of Your vc freelyand havea consis front of a mitror, and L' your voice uP and don'r
Practice Routine
\er at the waist,keepyour :i). and only bend over as far : f)o nor force your palms to : h:p-distance apart,slowly r our chest.Continue to roll h rour head,proceedingone untrl vou are bending over at ire a tuIl breaththat expands tThe bellr.expansionwill : :i^.ei'loor slightly.)Then rJ.i t-rirour neck to make :::g vour head,but rather ou: head drop to the floor. poslrton,breathe bend and straighten ièeling rhe stretchin
Self-Massage Purpose: to releasetension in your neck, facial muscles,and jaw. You can tatget your own specific muscle tensions in this self-massage routine. 1. Standing or sitting comfortably and with your head level, massagethe back and sides your of neck with the pads of your fingers in a gentle circular motion. 2. Work your fingers up the musclesin front of your ears and along the edge of your jaw. 3. Let your mouth drop open and massage in the soft spot directly under your ctrin withyour thumbs. 4. Gently continue up the back of your neck to your head, place your fingers f,rrmly on your scalp, and move your entire scalp around. Imagine air entering befween your skull and your scalp. 5. End your massageby tracinglong, firm strokes with your fingers along your eyebrows, one at a time, from the inside corner to the outside corner. B. Warm-Up Vocalizations (3_5 minutes)
\ar:on rn the facialmuscles :able.relaxedpositionand i r 1'';.1p head floating effort_ t.rlargepiecesof bubble rrlc trn each side.Chew ,ic'arcrtS.ri.ith an open '-T'!m-mrrm
tt rrtulll.
:.:s and rest.Do threeor esc e.rercises, then rest. 'f :cr: usingthe chewing tirr"c'îtefll of the lips, exe:rlsecan be done in hour rhe dar'.
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Sighs,humming, sliding, andlip trills are greatfor getting the "cobwebs,,out and increasing blood flow to your vocal cords. Vocal slides and other nontraditional vocalizationslike the ones suggestedhere allow your voice to function freely and prepare your voice for more vigorous activify. Slides Purpose: to begin vocalization exercises; useful especiallyfor singerswho are very tense. During this exercise,check your jaw and neck for tension,and releaseit as you go. Explore the middle range of your voice, which sÀould flow freely and have a consisrenrrone quality. Stand in front of a mirror, and begin to voiahzeby sliding your voice up and down.
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Handbogk 5inger's
1. Start at or slightly aboveyour speakingpitch and gently say,"hoo," letting your voice slide down in pitch in a slow smoothdescent' Imaginethat you let the soundfall out of your body without trying to control or manipulateit' 2. Startat a slightly higher pitch and repeat' 3. Continueto a comfortablyhigh level,and then proceedback down agatn' Lip Trills Purpose:to initiatetone productionwith a steady airflow and relaxedjaw. Lip trills can be valuableat the start of a warm-up session,partly becausethey soundsilly and help free you from inhibitions about singing' Practice to developevennessin the trilling of your lips and in your tône quality' Don't be discouragedrf at first you cannotmakeyour lips bubbleconsistently.Many singersfind that they can vocalizeon a lip trill .uri.t than on any other syllable'If this is tiue for you, take inventory of your vocal in your production,posture,and the sensations ihroat and neckwhen trilling' Evaluatehow your voicefeelsand how you might developthe same senseof freedomsingingon vowel sounds' 1 . First try to make the sound of a motorboat by
loosely bubbling your lips without any pitch' Let your jaw hang as if you have no control over the musclesin your mouth and tongue' Start by blowing air over the lips and letting them vibrate. 2 . When this becomesconsistent,add pitch' Slide freely through the middle raî1e of your voice using a descendingPattern.
Sliding Warm-UP Combinesliding,which helPsi relaxationand liP trills,to mar airflow,for an effectivebeginn Repeatthe PatternmovinguP r steps. .,=1o
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& -._--e*'LIl
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lnll I
Humming Purpose:to initiatetoneProd ot' I increasing Yourawareness Light humming can be an tde the buzzingse rzatronbecause mouth, and nosehelPsensur placement. 1. Takea relaxedbreathand your iiPsbarelYtouching' your liPs shouldbuzz u'rtl 2. As you continueto vocal slides,then u'r descending pitchedat the keYboard/g vibrationsin Your "mask'
C ; *=.--.4 Hnr
3. If you havetried to make your lips trill without ,rrà..rr, placeyour index fingersgently at each coïner ol yont mouth. If this helps,vocalize lip trills with your fingersin this position' Take cârenot to slouchif you bring your handsto your mouth' If you still cannot do a lip trill' usethe humming exerciseinstead'
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practice Routine
rlr' 356y. your speakingpitch "hoo," lening your voice slide n a slorv.smooth descent. ru let the sound fall out of your vrng ro control or manipulate jt. .r higher pitch and repeat.
Sliding Warm-Up Combinesliding,which helpsinduce laryngeal relaxationand lip trills, to maintaina consistent airflow, for an effectivebeginningwarm_up. Repeatthe patern moving.rp oido*n by half steps.
ontbrtably high level, and then ts'n again.
:one production with a steady _a\\ lab^e at the start of a warm_up ;*re:hev sound silly and help ,itonsabout singing.practice rn rhe rnlling of your lips and Don r be discouragedif at (e \ùur lrpsbubbleconsis_ lrn,j rhar they can vocalizeon r_rrâDv orher syllable.If this inventon' of your vocal a:; :he sensations in your : :::.iing. Evaluatehow your rûu :nrghrdevelopthe same €t.:q on vorvelsounds. rhe sound of a motorboatbv r ou: l:ps u.ithoutany pitch. g as ri vou have no control l:t \ ùur mouth and tongue. r,:ro\.erthe lips and letting e> consistenr,add pitch. Slide mrd.ile rangeof your voice g paftern. o nake vour lips trill without : :niex fingers gently at each ruih Ii this helps, vocaljze lingersin this position. Take :i vou bnng your hands to ; srili cannor do a lip trill, :.rerciseinstead.
t8
Humming Purpose: to initiate tone production while increasing your awarenessof forward resonance. I-ight humming can be an ideal beginning vocal_ ization because thebuzztng sensatlon in your iips, mouth, and nose helps ensure correct natural tone placement. 1. Take a relaxedbreath and lightly hum with your lips barely touching. The inside edgesof your lips should buzz with vibrations. 2. As you continue to vocalize, first with descendingslides,then with descending fifths pitched at the keyboard,/gaitar,try to feel the vibrations in your ,,mask.,'
SingeùHandbook
(10-20minutes) ll. VocalTechnique This part of practicing will complete your warming up and help you work out vocally' to During iechttique work, identify what you need improie in your singing (increasing-rarlge' aglbty' bràth control, improving tone quality)' Regular in vocal technique work will help keep your voice The shape, readyfor the demands of singing' skills new prrrpor. of iechnical work is to develop learn and reinforce muscle memory' In singing, we by by intellectually understanding conceptsand a and tiatntngmuscles. It is both an intellecfial
C
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physical Process. I If you have skipped the beginning warm-up' that you back up and complete 2-3 ,..o--.td minutes of light vocaliztng first' Though many singers start practice by vocalizing scales, pre"cedingvoial technique work with a beginning easy *ut--np that includes physical stretchesand vocalizirtgon a descending slide pattern is much fleximore effective.If you are working on vocal that find bility and agl\ity, for example, you may youi voice feels sluggish and resistantto quick' If light movements,if you have not warmed up' yàu complete the recommended beginning warmagile ,rp, you can work more directly toward free' pioànctio.t and avoid the frustration of trying to is sing before your voice is agile and your body
=:
:t
relaxed. pracIdentify your goals for your vocal technique tice. Have a puïpose for every exerciseor scaie you sing. You can adapt exercisesyou know to suit your needsor make up your own exercises' Repeat the patterns, moving up by half steps'
20
2l
Practice Routine
que(lÈ20 minutes) u : . . c o m p l e t ey o u r t'tlj \\ OIk Out vOCally.
:. :Jcnrrh'rvhatyou needto E ( :ncreaslng range, agility, rs ione qualiry). Regular ,':ll help keep your voice in ::ands of singing.The ::i rs to developnew skills cîtr)r\'. In singing,we learn :anJ:ng conceptsandby ..:l an rnteliecfualand a
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warm-up, I ;i up and complete2_3 ::g irsr. Though many \ rraa:lzlngscales, ..lc\\ t)rk rvith a beginning 'hr s:calstretches and easy :ng slrdepaftern is much c' \\ r):klng on vocal flexi_ :r:.c. \ ou may find that ::; :esistantto quick, l:rç' ne1rvarmedup. If :c': ied beginningwarm_ :::c.iir torvard free, agile : :::;srrationof trying to ag:.cand vour body is
c(ilc(;7(
+I--.--'-.-......-
r::: rocal techniqueprac_ 11c'IV e.\€ICtSeOr SCale
erc:clsesyou know to -:: \ r)ur OrVneXerCiSeS. lng uF,bv half steps. trlec
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(15-20minutes) StudY lll. Song It requiresflexibility to sing words-andmelody ,og.À.r, so after you havewarmed up and worked où, yorr voiceshouldbe readyfor the more à.."u"ahg task of singingsongs'Setasidethis to perfectnotesand iitt æ yoir practiceroutine itytttrnt, stuâylyrics,add stylisticinterpretation' and and combineall thesedetailsinto a technical musicalwhole. SevenStePsto Learning a New Song l. Rhythm first' Learnthe notesand rhythms of your songs Take the time to read through the songrhythmically,and clap or say"tah" on the.written rnyittms.Use a metronometo maintaina steady beât. though you may take libertieswith written purposes'you notesand rhythms,for expressive needto know the original written notesand Then rtrytttmsto seewhat the composerintended' yol, .un developyour own interpretation' 2. MelodY After learning the rhythms,plunk out the melody on a keybourdot guitar'Learn the shapeof the tune and review any tricky intervals'How does the melodylie in your voice?You shouldbe able the to sing through the songwithout straining' If songieelstoà ttigtt or too low, experimentwith diffJrent keys.Once you havedecidedon a key' you needwritten musicor alead sheetin that key' bo .rot askan accompanistto transposeon sight during an audition or performance' 3. Rhythm and Melody'Without Lyrics and Standup, awayfrom the pitched instrument' ,irrg yo.tt ,ottg itt rhythm on a favorablevowel ,orinâ, but without the iyrics' Make the melody flow from note to note, observedynamic markings, and checktricky rhythms and intervals'Plan where you will breathe,and work out your phrasingby marking(') in your music' If you've ptutttt.Jyôur phrasingwell, you won't run out of air at the wrong times'
22
4. Add Basic AccomPaniment Sing the melodY in rhYthm on a with the accompanimentor basl Don't skrPthrs steP.Never take ; don or Performancesiruations't with the accomPaniment lt can concept of the melodY and thro' in the pressureof a Performanc
5. Study the LYrics Look uP words You don't unde underlying meaning in the text it enough to give a good lnterp yourself as an actor interPretin an audience.
6. Listen to Recordings Listen to recordingsbY other a observationsthat helP vou det ( a song. You can learn a great by observingthe Phrastng'ten and interPretation. Hori' does the melodY,rhYthm, and harn the song higher or lorver than singing?Notice the singer'sr.c like it? Is the rhYthmrc feel or accompanimentwhat vou im; ' like? How is it different tiom What is the stYlethe song (ba jazz,Latin, etc')?Answenng I you listen will helP You hne-r a song.
T.InterPret the Song Add Your own PersonalexPr can be in the way You deln'e stylisticaliYaPProPriate'chan rhythm. It can include chang dynamics, a different harmor subtraction of vibrato 1n vou mentation with different \.oc
Study the lYrics.Understand and trY to exPressthe feeling lyrics to Your audience lf vo mirror, You will seethat sut'l eyescan enhanceYour comr
23
Practice Routine
(1120minutes)
4. Add,Basic Accompaniment
lns *'ords and melody ,'ervarmed up and worked : readl' for the more rg songs.Setasidethis iine ro perfectnotes and i srvlrsticinterpretation, :alls into a technicaland
Sing the melody in rhythm on a favorable vowel with the accompanimentor basic chord changes. Don't skip this step. Never take a song into an audi_ tion or performance situation withouifirst working with the accompaniment. It can change your entire concept of the melody and throw you off balance in the pressureof a performance situation.
a \ew Song
lrns c'ttI'our songsfirst. rush rhe song rhythmi" (rn rhe written :e io maintain a steady .e .:berrieswith written l:essivepurposes,you \\':lnen notesand r:rlposerintended.Then :::erpretation.
. plunk out the melody :arn rhe shapeof the :nrervals.How does el \bu should be able ::hour straining.If the o\\'. experiment with rve decidedon a key, a iead sheetin that key. : ro rransposeon sight
ithout Lyrics :chedinstrument,and 'l a tàr'orable vowel s \lake the melody ::'.c ..ivnamicmarkn':sand intervals.plan sork out vour rr;..r: muslC.If yOU,Ve \ r)U \\'OD't rUn OUt Of
5. Sfudy the Lyrics Look up words you don't understand, and look for underlying meaning in the text. Can you relate to it enough to give a good inrerpretation? Think of yourself as an actor interpreting dramatictext for an audience. 6. Listen to Recordings Listen to recordings by other artists, and make observationsthat help you define your concept of a song. You can learn a great deal from recordings by observing the ph_rasing,tempo, rhythmic feel,and interpretation. How does the singer interpret the melody, rhyrhm, and harmony? Ii the key of the song higher or lower than the key you are singing?Notice the singer'svoice quality. Do you like it? Is the rhythmic feel or g.oo* in rhe accompaniment what you imagined it would be like? How is it different from tÀe printed music? What is the style the song (ballad, up_tempo, rock, jazz,,Latin, etc.)?Answering these questionswhen you listen will help you fine_tur. yorr concept of a song. 7. Interpret the Song Add your own personal expressionto a song. It .ul.b9 in the way you deliver the lyrics, or if stylistically approp.riate,changes to the melody or rhythm. It can include changà in specified dynamics, a different harminjzation, addition or subtraction of vibrato in your voice, and experi_ mentation with different vocal colors. Study the lyrics. Understand what you are singing, and try to expressthe feelings and emotions of the lyrics to your audience.If yàu watch yourself in a mirror, you will seethat subtle ."p..rrio., in your eyescan enhanceyour communication of a stng.
23 :l
çlnopr'ç . - Ô . . -Handbook ---
lV.CoolDown(2-5minutes) vocally' ?ft" !:::--^ It is as important to cool down back to a lessactlve tice,to bring your vocal cords doesn'tfeelunstable' r;; ; t;ir'speaking voice cool down if vou are iiîLtp..ially imporàttt to weather'or if vou havebeen colud ;;Ë;iintâ ii"gi""g high notesfor a while' and voicework of To cool down, repeatthebody the.firstpart of your the beginningwarm-upfrom parts Are your shouldersor other ïr^rriîrr.r,io"' out physiof your bodv sore uf'L' p'urrit:?,Tl:"h in your body' lutiy, rurgrtingthe tension spots can be combinedwith light ;i;i;t tit.t.ht' also,111eat ft rî*ng or sighs,and you-should exercrses' ;;;; oritte lessintensetechnical Mental Practicing without usingyour Mental practicingis rehearsing you arevocallytired' voice.It canbe usedwhen but are not mentally i11,or when yo" u" healthy at hand Mental pracfocusedenoughàn tne tasks but alsocanbring tice not only restsyour voice' mentalalertnessbacktoapracticesessionandcan problemsolving'It can be an effectivemethodof from regularvocal alsobe usedto tak'eabreak volce' Practiceto conserveYour intensity'you If you mentally practrce,asgns.with *: -tÎ:1t1t can learn witrror'lfactual$ singing'.At musclecontractlons practice,we actuallyproduce atesimilar to the (so smalltrreycannoiUt fttt; that perform' Try this guided oneswe proOtt* *ht" *t your mentalfocus' i-"g*V ete'ciseto improve Guided ImagerYExercise Relaxinacomfortablechair'andnoticeyour relaxed'Imagine breathing.tt siràutabe deepand practiceor yourselfin the placewhereyou 1suallV the peaceful perform.tmaginehow quietand details:the floor' the surrounding'u"' No* imagine of the room' the the heightof tire ceiting'the 56s11 place' of the i.-6oî*te, the soundand feel where you room Mentally go to the placein this feelasyou prepareto ,irrg.Noti.e how yàur muscles of your body positionin this sing.Take-*ory
24
d imagined space,and ieel performance.Imaglne vou and beginning Your song' phraseflawlesslY'In I'our ; breathe in the nght sPots Proceedthrough l-our Per not skiPPing,but singing through in Your mind Sr ance,feelingthat vou har
Repeatthis exercise'em r of iound and feel' It is succeed.Imagine vour: accomPlishmentat the tice. Sensethe feel' sou audience.Imaginea Po and Your feeling of acc Strongemotionsare in tice of correctvocal sk imagerY,if negative tht into Your thinktng' sto a videotaPein Your mr agaitin slow motlon' yourself executethe tr anY catches'Work thr' and turn them lnto Po Breathing for Relaxa
Breath is essentialto t Concentratingon dee and Performancervill focus Your mind' Wit relaxedbodY,You rr'r don t take the time tc is much harder work residualtensionand mus Preventefficient Take a deePbreath' uP the bottom of vo abdomenrelax and r mout Your nose and relaxed. Your diaPh and Your abdomen : Your lungs to exPan exhale all of Your a musclesin to comP
Practice Routine
Down(2-5 minutes) , ;ool dorvn vocally, after prac_ Lrcalcords back to a lessactive :ng rorce doesn'tfeel unstable. ::anr ro cool down if you are \\c'arher.or if you have been ,r: a u hile. r: :hc'body and voice work of -ra :rom the first part of your ' \ ùur shoulders or other parts :c': pracrice?Stretchout physi_ ':,i:on spots in your body. rc eombinedwith lighi :J \ ou should also repeat :sc :cchnicalexercises.
'ehearsrng without using your r\ ncn vou are vocally tired, ealrhvbut are not mentally c' iasksat hand. Mental prac_ r: \r)lce,but also can bring i,-)a prâctice session and.can r tri problem solving.It can ::cak from regular vocal lu: r'oice. :e a song with intensiry you ailr singing.As wc mentally ircuce musclecontractions c rèlt) rhar are similar to the n.c perform. Try this guided t:o\ c' \'our mental fOCUS. :ise :har:.and notice your een and relaxed.Imagine ùre vou usuallypracticeor u:c'tand peacefulthe magrnethe details:the floor, :he smellof the room, the ::; rèelof the place. ::l :hrs room where you '..r,...ies tèel as you prepare to t.ru:bodv position rn this
imagined space,and feel the anticipation of the performance.Imagine yourself taking a deep b,reath and beginmng song, singing through eàcn )/our phrase flawlessly..In your image&, ,o., will always brearhein rhe right spots ana ling'tf,e way yo., #unr. Proceedthrough your performa.rie phruse fv pfrr"r., --, not skipping, but singing the song all the wa;. through in your mind. Sing thro;gh the perform_ ance,feeling that you have done y"our best. Repeat this exercise,emphasizing your awareness of sound and feel. It is importait to seeyourself succeed.Imagine your sense of pride in your accomplishment at the end of yôur mental prac_ tice. Sensethe feel, sounds, unâ ro"rgy of a live audience.Imagine a positive audiencereaction and your feeling of accomplishment. Strong emotions are involved in the mental prac_ tice of correct vocal skills. During your guided imagery,if negative thoughts o. irirtakes creep into your thinking, stop tÀe imagery,rewind it like a videotape in your mind, and pioceed forward again in slow motion, frame bi frame,seeing yourself executethe trouble spots easily,without any catches Work through any negativethoughts and turn them inro positive l*g.J Breathing for Relaxation Breath is essentialto making sound for singing. Concentrating on deep brealhhg Ueforepractice and performance will help,.tu"lorr. musclesand focus your mind. With u ro..rr.jÀirrd and relaxed body, you will be ready fo, sirrgirrg.If you don't take the time to relax, you will find singing is much harder work. you may U. Àgfrti.rg *itl, residual tension and,negatiu. it orrghrs that prevent efficient muscle coordinatiln Take a deep breath, imagining that you are filling bottom of your lungs firrt. LËt yo,r. "l.rh. abdomen relax and.ribsop-en. nr.æfr. in through your nose and mouth. your throat should feel relaxed. your diaphragmwilt stretJ downward and your abdomen should..la" ort*ard, allowing your-lungs to expand. Let your ribs relax, and exhale all of your air. Draw your abdtminal musclesin to completely empty your lungs.
24 I
Handbook Singer's
relaxation' Remernberto inhale and think of this exerexhaleand releaseany tension' Rep-eat of the day to ciseseveraltimes over the course body and releasetensionand invigoÏateyour for releasing ;i;J. This exerciseis specifically is similar tensionand improvingmentalfocus'-It but in rerax;;;h. breath aition uied in singing' your rib musclesdon't resistthe ation exercises, of your di aphragmduring exhalation' ;;;il yourself Think when you practice'Then allow just sing' ,i-. ,o turn off your mind and to remember n p.tltio" will teachyour muscles practicing' Then fro* ro do the things yo""ot been let go.
Your\l Maintaining
s'hl If singerswere to slng onlv completelYhealthr, and stress would neverbe ableto make a That is whY it is imPortant to ç \ knowing Yourself,Your volce' how to take care of Yourseli' If singing hurts, don't sing'
Disregard for Your vocal health combined with Pressureiiom 't bandleaderto rehearsesongsr( strain Your voice. Pain in Yourlarynx can be a srE SrngersexPeriencingPain' husk urrd lott of high rangeshould s (laryngologist) exPenencedtn r t Performing arts venues'ITIlalc ries, and other singerscan usu' "ear' nol doctor.Often, general (otolaryngologists)do not have expertisein Performlng-artsm( help vocalists.
Singersshould watch tor sigr ,*.1littg, charactertzedbv sh a sPeakingvoice tt rasPiness, huskier than normal' and a r ' soundscoarseand lessthan there is a loss of high range' breath support than normal vocal cord vibrations' A vtru ( of Problem' as can overuse
If you have what seemsto I cold, consult a qualified sP treatment.
Don't delaY!Go to a larvng singers'A skilled sPecialistt your Personalfeelingsabou can offer advice regarding a engagements.
26
27
-f*f
yourVocalHealth Maintaining
d rhink of relaxation, :ensron.Repeatthis exer_ re courseof the day to lorare vour body and rcrtrcally for releasing nenral focus.It is similar i rn singing,but in relax_ nuscies don't resistthe n during exhalation. : Then allow yourself :rd and jusr sing. l: rrusclesto remember :'r'ebeenpracticing.Then
Maintaining YourVocalHeatth If singerswere to sing only when they feel completely healthy, and stress_free, many of us would never be able to make a living p..fo.._.rg. That is why it is important ro prevent problems by knowing yourself, your voice, yorrr limits, and how to take care of yourself. If singing hurts, don,t sing. Disregard for your vocar health and rong rehearsars, combined with pressurefrom a muslc director or bandleader to rehearsesongs repeatedly,can tire or strain your voice. Pain in your larynx can be a slgn of a problem. singers experiencingpain, husfiness, or hoarseness and loss of high rangeshould see a throat specialist (aryngologist) experiencedin worti.rg with singers. Performing arts venues,music colieges, conservato_ ries, and other singerscan usually refer you to such a doctor. Often, general ,,ear,nose, and.tltroat,doctors (otolaryngologists)do not have the specialized expertisein performing_artsmedicinà to optimally help vocalists. Singersshould watch for signs of vocal cord swelling, charucterjzed by ,tigt t hoarsenessor raspiness,a speakingvoice that feetshigher and huskier than norm aI, and a vocal qualiry that sounds coarseand less than clean. Frequently, there is a loss of high range, and you need more breath support than normal because of inefficient vocal cord vibrations. A virus can causethis type of problem, as can overuseof your voice. If you have what seems to be more than asimple cold, consult a qualified specialist for advice and treatment. Don't delay! Go to a laryngologist who works with singers'A sk'red specialistw'lle more sensitiveto your personal feelings-aboutyour singing. They can offer advice regardingany upcom"ingsinging engagements.
Handbook 5inger's
Singing over a cold.
Pay affention to the wa1' '
There are times when you can sing with a cold and times when you should rest your voice. When an occasional cold comes on, you can rely on breath support and body awarenessto get through rehearsals and concerts without exacerbating fatigae or doing permanent damage.
Your instrument producest singingvoice,so your singr affectedby poor speakrngh employ touch-distancetalla who are within an arm's ler distance,away.This wrll he shout and preventunneces whispering is tiring to _v-ou make the mistake of thrnkrr
You can usually sing over a cold if you have nasal congestionbut no throat symptoms. The first line of treatment is moisture. Drink a lot of water to keep your vocal-tract mucus thin. Inhaling steam also seemsto be helpful. Cough drops can help keep you from coughing, but the sugar and menthol in them can dry you out. Caffeine, alcohol, and smoking should be avoided because these are all drying to your voice and body. Herbal teas (caffeine-free)can be soothing and add moisfure to your system. Avoid spraysthat numb throat pain. Throatpain indicates that you should not be singing. Singing while you are numbing your throat pain canbe a recipe for problems. Consult your doctor for advice about the use of any medication. Choose repertoire carefully, and avoid music that is taxing in range or intensity. If you need to change the key of a song, do it. It is not an artistic compromise to transposepop songs to a comfortable range. Extend your range with scalepatterns and exercises.But recognize that some songsmay not be right for your voice, no matter how much you like them.
Avoid prolonged talking ; smoke. Performing
Performing environments. and bars, are often dust1..s things to be avoidedbv sin burnout: 'Avoid smoky areas. 'Keep quiet on breaks.
music and other nolse n than normal and can lei 'Avoid alcohol and cafl
Your vocal cords shoulc your voice to function b dry your body and voca them when performing. your judgment about hc impair your abiliw to si unnecessarystrain. Dnr and caffeine can also le; Traveling
Develop your own unique voice. Study great singers,transcribeand sing great solos, listen to phrasing, and frgtxe out what makes these singersunique. But it is not vocally healthy to imitate others to the exclusion of developing your own voice. Voices often don't fully mature until singers are in their mid-twenties or even into their thirties, so be patient and don't force your voice.
28
In cars,airplanes,trains.a ground noise forcesyou to normal, which can be detr
'Airplanes. The air on ; dry and recycledthroul tions that dehydratethe body. Responding to a r long flight can wear ou alcohol can compound Beforetraveling,prepa hydrating, drinking erg a day for severaldavs b
29
Marntaining YourVocalHealth
Pay attention to the way you speak. rn Vou can sing with a cold r should rest your voice.When omes on, you can rely on rodv arvarenessto get through ::1s$'rthout exacerbating 'nanent damage. : over a cold if you have nasal :r)ar Svrrrptoms.The first line :urc Drink a lot of water to :l1uùusrhin. Inhaling steam ,rul Cough drops can help r:ng.but the sugarand J:r vou out. Caffeine, r should be avoidedbecause ) \ L)urvorceand body. Herbal r be soothingand add mois_ :b rhroat pain. Thro at pain ru,J not be singing.Singing ig Vour throat pain canbe a -onsultvour doctor for ':'anv medication. refull1; and avoid music that ntensity. :he kev of a song, do it. It is îi:sc ro transposepop songs ' Errend your range with 'j: jes But recognize that : :ghr fbr your voice,no . : k c r. h e m . gue voice. :>.-r-rbe and sing great solos, ':gJre out what makesthese nr)r Vocailyhealthyto :iusronof developingyour ion'r fully mafure until nçenrlesor even into their ; .ion't force your voice.
Your instrument producesboth your speakingand singing voice, so your singing .un b. negatively affectedby poor speakinghuUitr. fo prevent this, employ touch-distancetalking. Only speakto those who are within an arm,s length, or touching distance, away.This will help you control the urge to shout and prevent unnecessarystrain. Likewise, whispering is trring to your vocal cords, so don,t make the mistake of thinking it conserves your voice. Avoid prolonged talking around noise, dust, and smoke. Performing Performing environments,such as theaters,clubs, and bars, are often dusty, smoky, and noisy_all things to be avoidedby singers.'To prevent vocal burnout: . Avoid smoky areas. . Keep quiet on breaks. Talking over background music and other noise makes you tatk louder than normal and,canlead to vocal strain. . Avoid alcohol and caffeine while performing. Your vocal cords should be well lubricated for your voice to function best. Alcohol and caffeine dry your body and vocal mechanism; avoid them when performing. Alcohol can also limit your judgment about how loud you are singing, impair your ability to sing in tune, and lead to unnecessarystrain. Drinks containing alcohol and caffeine can also lead to reflux laryngitis. Trovelîng fn cars, airplanes,trains, and other vehicles,back_ ground noise forces you to speak louder than normal, which can be detrimental to your voice, . Airplanes. The air on planes is typically very dry and recycled throughout the piane_condi_ tions that dehydratethe vocal mechanism and body. Responding to a talkative seatmateon a long flight can wear out your voice. Drinking alcohol can compound this wear and tear. traveling, prepareyour body by super_ .Before hydrating, drinking eight io ten glasses of warer a day for several days beforehanl.
Singer's Handbook
. Cars. Background noise makes you have to sing louder to hear yourself. Your posture is compromised by the car seat, so you are not as likely to support your voice adequately.It is more productive to practice in a place where you can really hear yourself and concentrate on what you are doing. Avoid throat clearing. Throat clearing is hard to avoid when you have a stubborn spot of thick mucus rattling around and you're trying to sing. But when you clear your throat, you not only remove the bothersome mucus, you can irritate the leading edgesof your vocal cords. This makes your body produce more mucus to protect them, and it becomesa circular problem. When practicing, try to sing the mucus off. If you must clear your throat, do it gently, and avoid habitual throat clearing. If you have severecoughing spasmscausedby bronchial irritation, seea doctor. You might benefit from medication that controls coughing, thereby minimizing irritation to your vocal cords. A doctor's treatment may also involve antibiotics, reflux treatment, or mucus-thinning medications. Be aware that many over-the-counterdecongestants have the tendency to dry out your vocal cords. Develop good rehearsal habits. Warming up before rehearsalswill help you avoid strain. During a long rehearsal,take breaks,drink plenty of water, and use a well-positioned monitor that lets you hear yourself sing with an amplified band. Do not schedulea long rehearsalthe evening before or the day of a performance; this can take the freshnessout of your voice. Stay physically fit. Your body is your instrument. Whatever you do to improve the health of your body and mind eventually shows up in your voice as increasedvitality and energy.Singing is physically demanding, and maintaining good health is essentialto success. Physical exercisecan help you stay physically and mentally alert, as well as have more energy.
30
Drink water.
Drink six to eight 8 oz. This can help your vorc your vocal cords must b without too much fricti< doesnot go immediatel Although you feel the ir your throat, water goes passesthrough your ent your vocal cords.It take so be sure to drink wate
Drinks with alcohol and but should not be count( intake becauseof their d Eat well-balanced mea
Eat lightly and well in a Large amounts of food your body and mav inte ment. Milk productsca production and should I if they affectyou advers
Reflux occurs when the migrate back into the es causinginflammation. 5 react to a number of foc impact their vocal cond causingreflux laryngitis prone to reflux due to tl that is used in breath su
Dr. StevenZeitels, direc Laryngology at the Mas Infirmary in Boston, no with laryngeal reflux do commonly thought. Ref production often associ produces an ill-defined I throat, andcan causehc coughing, and difficuln Consuming soda,crtrus alcohol can precipitatee Singersshould consult v is suspectedto be a proL
Yullqll€ JourVocal Heatth norsemakesyou have to r ourself. your posture is e car seat,so you are not as ur roice adequately.It is tractlce in a place where vourself and concentrate rng
to avord when you have a 11u.usranling around and ;: shen you clear your nore rhe bothersome :he leadingedgesof your \ our body produce more a:J ;r becomesa circular :g :.\' ro sing the mucus ,::: :hroat, do it gently, and *"^,5.
:ng spasmscausedby ic\-ror. You might benefit rirols coughing,thereby 'our r-ocal cords.A i-.ornr.olveantibiotics, rs-rhrnningmedications. ihe-counterdecongestants out vour vocal cords. habits. .:saisu'ill help you avoid :arsai.take breaks,drink r rr cll-positionedmonitor 's:ns w'ith an amplified r)ng rehearsalthe of. a performance;this oI VOUrvolce.
enr. \\'hatever you do to : bodr and mind evenru_ 3 as lncreasedvitality ;:cailvdemanding,and essentialto success. \ou sra\.physicallyand avemore energy.
Drink water. Drink six to eight g oz. glasses of water perd,ay. This can help your voicefunction betterbecause your vocalcordsmust be well lubricatedto uifrut. without too much friction. The wateryou drink doesnot go immediatelyto your vocalcords. Although you feel the immeâiate relief of warerin your throat, water goesto your stomachand passesthrough.yo_ur entiresystembeforehyàrating your vocalcords.It takestime for rhis to h;pp;;,-' so be sure to drink water beforeyou feel rh;st Drinks with alcoholand caffeine may containwater but shouldnot be countedtoward your daily water intakebecauseof their drying.ffd on your body. Eat well-balancedmeals. Eat lightly and well in advance of a performance. Largeamountsof food and liquia iute ,rp spacein your body and may interfere with breathmanage_ ment. Milk productscan cause excessive mucus productionand shouldbe avoided beforesinging, if they affectyou adversely. Reflux occurswhen the contents of your stomach migratebackinto the esophagr, *a throat, causinginflammation.singeÀ serrsltive to reflux reactto a numberof foodsand drinksthat can impact their vocalcondition u"Jrirrgirrg Uy causingreflux laryngitis. Singers arieparticularly proneto reflux dueto the high abdominalpr.rrrrr. that is usedin breathrrrppori Dr. StevenZeitels,director of the Division of Laryngology at theMassachusets;; and Ear Infirmary in Boston,notestfru, _oj individuals with laryngealreflux do not have heartburn,as is commonlythought.Reflux increases the mucus productionoften associated with rh.tut clearing, producesan ill-defînedfeeling of fullnessin the throat,and can causehoa.seriess, at .orria coughing,and difficulty in swallowing. Consumingsoda,citrus,spicyfoods, caffeine, alcoholcan precipitateand a.ggravat'ereflux.and ùmgersshouldconsultwith a laryngologist if this is suspected to be a problem.
Singer' s Handbook
Eating disorders such as bulimia and anorexra plague many people, especiallywomen, and can ruin your voice and health. In a music career, appearancecan be consideredvery important and singerssometimestake desperatemeasures. Laxative abuse,bingeing and purging, starving, and abusing weight-loss drugs can sap your vitaliry and strength. Repeatedvomiting erodes the lining of your throat and mouth and irritates your throat. Becausetheseurges can become uncontrollable and seriously affect your health, if you think you have an eating disorder, get professional help. Get plenty of rest. Know how much sleepyou need and maintain a regtlar sleep schedule.Rest your voice whenever possible.Scheduletime to unwind during your day. Don't wait until you burn out before you scheduledown-time away from stressfulactivities. If you sing with an amplified band, always use a microphone. Singerswho cannot hear themselvestend to compensateby over-singing.This is a sure way to wear out your voice. Use a microphone when singing with an ampliflredband. Position yourself so you canhear your voice from an amp or monitor. Keep your microphone in a separatebagthat's easy to locate. All you have to do is grab it and go. In addition to your microphone, it should contain a mic cord and XLR-to-1/4 inch transformer for connecting to a gtitar or keyboard amp. Find out about the sound system,monitor, and other equipment in the performance spaceso you will know what to bring.
32
Pay attention to common contraceptive pills.
Only a trained doctor or vo your needfor medications prescriptionand nonprescn their effectson your \otCe.r and other common medtct health.
In somewomen, btrth cor of the vocal cords,resultt loss of high range.The ler thesedrugs vary accordin as doestheir effecton tnd If you are akeady takrng t experiencechangesin vou doctor. However,it rs bes gist beforebeginningthes Do not smoke.
Any singerwho is serlou music should not smoke. known to causeemPhvse mouth and vocal tract It membranesand )'our voc membranesare dr1' and lt cals in smoke,your bodl' secretions.These make 1' throat, which causesfurtt Takecareof yourself.
Eat a variety of health grains, fruits, and vege
Get enough sleePat re
Stick to a moderate ex Wash your hands with frequently.
Drink six to eight 8 oz
'r \lairfeir.tiîg Y'our VocalHealth
'h as
bulimia and anorexia . especrallywomen, and can healrh.In a music careet, onsrderedvery important and tlie desperatemeasures. e:ng and purging, starving, oss drugs can sap your Repeatedvomiting erodes :rrai ând mouth and irritates :heseurgescan become :::ouslv affectyour health, if : earlngdisorder,get profes_
ra \ ou need and maintain a : Rcsrvour voice whenever :e :r) un$.ind during your rou Llurnout beforeyou tlar tiom stressfulactivities. mplified band, always use a :a: ihemselves tend to ng:ng. This is a sure way to . sc'a microphonewhen :ei band. Positionyourself o:.c' iiom an amp or r :î a separatebagthat,s lar c ro do is grab it and go. ::olhone. it should contain r-I -i rnch transformerfor r: icr hoard amp. Find out :. :tonltor, and other equip_ :e spaceso you will know
Pay attention to common medications, including contraceptive pills. only a tratneddoctor or voice speciahst can evaiuate your need for medications.Ask your doctor about prescriptionand nonprescriptionmedications anrJ their effectson your voice.Antihistarnines, asprrin, and other common medicines can afTectyour vocal health. In some women, birth control pills affect the mass of the vocal cords,resultinginless flexrbility and loss of high range. The levàls of hormones rn these drugs vary according to brand and dosage, as does their effecton individual vromen,s voices. If you are akeadytaking birth corrtrolpills and experiencechangesin your voice,consult vour doctor.However,it is best to consult . turyngoto_ gist beforebeginningthesemedications. Do not smoke. Any singer who is seriousabout havrng a careerrn music should not smoke.Smoking has long been known to causeemphysema and àurr.., of the mouth and vocal tract. It irritatesvocal rract membranesand your vocal cords.When these membranesare dry and jrritated from the chemi_ cals in smoke,your body tries to compensate with secretions.Thesemake you need ,o .1"u, yor. throat, which causesfurther irritation. Takecareof yourself. Eata varieryof healthfulfoods,inclucling whole grains,fruits,andvegetables. Getenoughsleepat regularhours. Stick to a moderate exerciseroutine. Wash your hands with soap ancl warm \\.d.rer frequently. Drink six to eight g oz. glassesof. u,arer each clav.
!.eg! r..9!99!_ You only have one voice. Somesingersseemto be ableto screamconstantly careerin rock music. and still sustaina successful Otherscan havea singleincidentof voiceabuse and end up with vocalcord nodules. The limits of safevocal usevary greatly from personto person.Learn what it takesfor your voiceto be in peakshapeand readyto sing.Learn what triggersstressfor you; it can sapyour energy to illness.Know your and makeyou susceptible tendenciesfor talking too much, drinking,and is one of the keys Self-knowledge other excesses. to maintainingyour voice. Somesingerspurposelytry to add huskinessto their voicesby screaming,smoking,or drinking. Suchsingerscan end up with no voiceat aII. Tearingdown your voice is not the way to add character.Instead,build it by learninghow to sing and exploringall the possibilitiesof your instrument. Gain performanceexperienceand interpret your songswith sincereemotion,ratherthan manipuiatingyour voice in a way that can permanently damageand limit your vocalpossibilities'
of Causes Possible
Many factors can contrtL'u vocal cord nodules,Polr'Ps The list below shorn'ssome of and contributing tactor maladies. Non-singingFactors
ar Shouting,screaming' cheerleading' Poor sPeakinghabits.
straining,asr RePeated
Talking over backgrou clubs,or in airPlanesar
Making odd noiseswid Reflux. Smoking. coughingan Excessive
drYnessof tt Excessive causedbY Your envrro hYdration,medication alcohol and/or caffein
Singing Factors Not warming uP-
Singing at the extreme periods.
Imitating other singen oping your own volce.
Singing without adeqr
Insufficient breath suP
Pushing your voice wl
OverusingYour voice
34
'f
Maintaining YowVoctHealth
roice. o be abie to scream constantlv ;ccssfulcareerin rock music. rgie incident of voice abuse ai cord nodules. cal use vary greatly from r:n u'hat it takesfor your :ate and readyto sing. Learn )r.)ou: lt can sap your energy t:t'le ro iilness.Know your :oo much, drinking, and rou'ledgeis one of the keys lr' trv ro add huskinessto :ng. smoking, or drinking. j3 rr:lh no VoiCe at all. :cc':s not the way to add -: ::.ly learninghow to sing rcss:b:liries of your instru_ .e c.\penenceand interpret e enorlon, ratherthan :e :n a \\'aYthat can perma:: \our vocal possibilities.
Possible Causes of VocalMaladies Many factors can contribute to the development of vocal cord nodules, polyps, and chronic laryngitis. The list below shows some of the possible causes of and contributing factors to thesà seriousvocal maladies. Non-singingFactors Shouting,screaming, andyelling,including cheerleading.
Poor speakinghabits. Repeatedskaining, as when tifting heavy objects. Talking over backgroundnoiseat concerts and clubs,or in airplanesand cars. Making odd noiseswith your voice. Reflux. Smoking. Excessivecoughingand habitual throat clearing. Excessiyedrynessof the vocal mechanism causedby your environment,lack of adequate hydration,medications,or over_consÀption of alcohol and/ or caffeine.
Singing Factors Not warming up. Singingat the exffemesof your range for long periods. Imitating other singersto the exclusion of developlng your own voice. Singingwithout adequateamplification. Insufficientbre atb,supporr. Pushingyour voice when overtired or sick. Overusingyour voice.
Handbook 5inger's
Conseruation Marki forVoice Marking is a way of singing that helps you save your voice during rehearsals.To mark a melody, sing just the first few notes of a phrase,and mentally sing the other notes. Raise the lowest and lower the highest notes in your song by an octave (octave displacement)to avoid the extremesof your range.Men can use falsetto to approach high notes. All singing should be light when you are marking. Marking savesyour voice by minimizing its use. It should be used when you are not feeling well, or during rehearsalsscheduledjust before a performance. Too much practicing before a performance can take the freshnessout of your voice. In theater music, singersmark during lighting and technical rehearsals,when it is not important for them to sing at full volume. Singersoften have strong emotions when performing and become carried away by the moment, losing self-control and singing full voice when they should be resting, so listen to your body.
Whatto Do
1. Warm up lightly fit:
2. Maintain energettc 3. Sing only the first ti singing the rest mer 4. Displacenotes at th your range by an oc Plan this in advanc 5. Men can sing high marking. 6. Always sing lightlr.
Whatto Avo
1. Don't sing even'thi 2. Don't whisper or u'
3. Don't lose concent 4. Don't succumbto I tors and sing full r.c your doctor.
5. Don't mark all of t concert,recital. or using your full voic period of severalu you are familiar u'r pacing,and to helP
Conservation Yqltng forVoice
oiceConseruation :grng rhat helps you save rrsals.To mark a melody, rtes of a phrase,and nores.Raisethe lowest and :n \our song by an octave r avordthe extremesof e ialseno ro approachhigh C be light when you are 'n' :e minimizing its use.It u are nor feelingwell, or rle,l tust before a perform_ ng beiore a performance :: ùi vour r.oice.In theater :g .:ghringand technical ::iportanr for them to e:notlonsrvhen :ar::ed aw'avby the 'o. and singingfull voice lng. so iistento your
IUhatto DoWhenMarking 1. Warm up tightly first. 2. Maintain energeticbreathsupporr. 3. Singonly the first few words of a phrase, singingthe restmentally. 4' Displacenotesat the high and row extremesof your rangeby an octaveto avoidstraining. Plan this in advance. 5. Men can singhigh notesin falsetto when marking. 6. Always sing iightly when marking.
Whatto AvoidWhenMarking 1. Don't sing everything down an ocrave. 2. Don't whisper or withhold breath support. 3. Don't lose concentration. 4. Don't succumb to pressurefrom peers or direc_ tors and sing full voice against thè advice of your doctor. 5. Don't mark all of the time. you should sing a concert, recital, or other long performance using your fulI voice severalii-., over a period of severalweeks or longer to make sure you are familiar with phrasing and breath pacrng,and to help you develàp sramina.
(inopr'rHandbook '
J l l 16!'
.r
Aboutthe Author and Anne Peckhamis a singer,voiceteacher' at urr,frot.A professorin the VoiceDepartment private ;;;ù.. càilege of Music, Anne teaches Theater uol.. lessons,directsBerkiee'sMusical for Wotltftop, and has developedcurriculum a requiredcourse "Elementsof VocalTechnique"' vocal students'Anne is the f- uUof Berklee's 'tlteCotûentporrtrt a book/CD Singer' authorof '[he Conternpornrl Étest' i"iî.trriitr-,ed bv Bertlee released in lrJ:rpanescSirlszrt'has recentlv been translation.
of Teachers A member of the National Association president of the of Singing, Anne served as vice Boston board of dir..tots of the association's annuai Song ,iîpnr,and co-chaired the chapter's as a clinician and Festival. She frequently appearc festivaisin the U'S'' uà:,rai.u,or for choralâttà-tottg EuroPe,and Canada' Festival Chorus Anne sang with the Tanglewood fwo recordingswith for four years,performing on solo in their the Boston Pops, inciuding afeatued televisedGilbertandSullivanplesentationthat ui'edonPBs.Shehasperformedwithregional section leader companies,*u' the principal ,t *.t of Needham for at the Congregational Church in recital eleven years' and performs frequently atd cabaretvenues'
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38
