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and
library of Congress Cataloglng-In-Publlcatlon Data Peckham, Anne. Vocal workouts p. cm.
for the contemporary
ISBN 0-87639-047-5 1. Singing-Instruction MT820.P33
singer / Anne Peckham.
(978-0-87639-047-4) and study.
I. Title.
2006
783' .043-
Copyright ~ 2006 BerkJee Press. AI! Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher.
Printed in the United States of America by Vicks LIthographic and Printing Co" Inc.
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CORPORATION
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Contents
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a: CD Tracks
iv
Acknowledgments
vi
Introduction:
Exercises for Contemporary Vocal Styles
vii
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PART
I.
VOCAL
ESSENTIALS
1
Chapter 1. Getting Ready to Sing
3
Practicing with the Vocal Workouts CO...................
..
.4
Getting Your Voice into Shape.............................
..
5
Listening to Your Body.......
.
5
Chapter 2. Breathing
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8
The Four Steps of Effective Breathing
9
Neutral Posture
..
9
Deep Breathing
14
Keep Your Ribs Open
..
A Quiet Breathing Exercise
15
.
15
Chapter 3. The Four P's: Essential Building Blocks for Vocal Training
16
Practice.............................
..
17
Patience
30
Perserverance
.
Play..........................
31 .
31
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Chapter 4. Vibrato, Vocal Registers, and Belting
32
Vibrato..........
..
Registers...
.
32 34
Belti~..
.37
Chapter 5. Essential Vocal Care
39
Maintaining Vocal Health.
.
39
Detecting Vocal Problems..
..
.41
Signs of Possible Vocal Problems..
..
42
If You Suspect You Have a Problem
..
Chapter 6. Auditioning
44
Taking Criticism in Stride
.45
Auditions Gone Bad.........
.
You Never Know Who's Watching........... PART
II.
COMPLETE
.42
VOCAL
WORKOUTS
.45 ....45 47
Warm-ups for All Voices
51
Workout 1. Basic Workout
60
Workout 2. Advanced Workout
78
Singing Harmony: Two- and Three-Part Exercises
100
What Next?
114
About the Author
116
>
CD Tracks Track
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...
1
Introd uction
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~ Warm-ups for All Voices, Tracks 2 7
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2
Exercise 1. Warm-up Slide
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3
Exercise 2. Descending Fifth Slide
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,4
Exercise 3. Descending Fifth Run
In
5
Exercise 4. Pop/Rock Slide
6
Exercise 5. Descending Arpeggios (Swing)
7
Exercise 6. Octave Slides
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Basic Workout for Low Voices, Tracks 8-14 ."
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8
Exercise 7. Rock Steps
9
Exercise 8. Rock Syncopation
10
Exercise 9. Minor Octave Scale
11
Exercise 10. Latin Long Tones
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12
Exercise 11. Gospel Swing
m
13
Exercise 12. Jazz SWing Scale
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14
Exercise 13. Latin Vocalise
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Advanced Workout for Low Voices, Tracks 15-21
15
Exercise 14. Rock Vocalise
16
Exercise 15. Latin Octave Skips
17
Exercise 16. Jazz Waltz ("Maybe on Monday")
18
Exercise 17. R&B Pop Pentatonic ("Wait for Me")
19
Exercise 18. R&B Pentatonic Pattern ("Hey Yah")
In
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20
Exercise 19. Rock Pentatonic Arpeggio ("Bah, Bah, Bah")
21
Exercise 20. Jazz Ballad EtUde
Basic Workout for High Voices, Tracks 22-28 22
Exercise 7. Rock Steps
23
Exercise 8. Rock Syncopation
24
Exercise 9. Minor Octave Scale
25
Exercise 10. Latin Long Tones
26
Exercise 11. Gospel Swing
27
Exercise 12. Jazz SWing Scale
28
Exercise 13. Latin Vocalise
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Track
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Advanced Workout for High Voices, Tracks 29-35
29
Exercise 14. Rock Vocalise
30
Exercise 15. Latin Octave Skips
31
Exercise 16. Jazz Waltz ("Maybe on Monday")
32
Exercise 17. R&B Pop Pentatonic ("Wait for Me")
33
Exercise 18. R&B Pentatonic Pattern ("Hey Yah")
34
Exercise 19. Rock Pentatonic Arpeggio ("Bah, Bah, Bah")
35
Exercise 20. Jazz Ballad Etude
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Singing Harmony: Two- and Three-Par! Exercises, Tracks 36-44 36
Exercise 21. Two-Part Pop/Rock ("Who")
37
Exercise 22. Two-Part R&B/Pop ("Got to Believe")
38
Exercise 23. Two-Part Funk ("Take a Break")
39
Exercise 24. Three-Part Country/Rock ("Let Me Try"): All Voices
40
Exercise 24. Three-Part Country/Rock ("Let Me Try"): Middle Voice Out
41
Exercise 25. Three-Part Rock ("Hey Yah"): All Voices
42
Exercise 25. Three-Part Rock ("Hey Yah"): Middle Voice Out
43
Exercise 26. Three-Part Blues ("Sing for Your Supper"): All Voices
44
Exercise 26. Three-Part Blues ("Sing for Your Supper"): Middle Voice Out
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Acknowledgments
SPEC IA L THAN KS TO Adriana Balic, Debbie Cavalier, Jonathan
Feist, Peter
Kontrimas, Susan Gedutis Lindsay, Matt Marvuglio, Rick Peckham, Lisa Thorson, and Jan Shapiro. CD Credits Piano: Bass: Drums: Guitar: Vocals:
Mark Shilansky (www.markshilansky.com) Bruno Raberg (www.brunoraberg.com) Take Toriyama Rick Peckham (www.rickpeckham.com) Robin McKelle (WWW.robinmckelle.com) Paul Pampinella (Five O'Clock Shadow: www.focs.com; Vox One: www.voxone.net) Anne Peckham (www.annepeckham.com) Jeff Ramsay
I
,I
Introduction: Contemporary
for Exercises Vocal styles
HIS BOO K IS FO R SIN G ERS who are interested in contemporary, non-classical singing styles. It is a look at breath support, tone production, and voice strengthening, plus material for more experienced singers who want to continue to develop their voices. By following the Complete Vocal Workouts presented here, you will be able to sing with improved range, agility, sound, and overall expressive power.
In part I, you will find a review of the basics to help anchor your technique with renewed awareness of healthy singing. Some of these topics, and many others, are covered in greater depth in the companion book, The Contemporary Singer (Berklee Press, 2000).
INTRODUCTION
The Complete Vocal Workouts in part II form the heart of this volume. These exercises will help you warm up your voice before you sing, as well as develop your range, agility, stamina, and other aspects of your instrument.
Each vocal exercise is writ-
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ten out so you can follow along with the music as you sing. You can isolate specific
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exercises, or follow through the entire CD workout. If you don't read music, you can
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just use your ear, and learn the exercises from the CD, though scanning the notation for lyrics may be a help to you. Icons show the complete range of each exercise in the book, from the highest to the lowest note. When the exercises in the Advanced Workout divide into low and high voice versions, both ranges are indicated.
This will
help you determine whether the high- or low-voice workout is best for you
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You will find a variety of fun and challenging vocal workouts that will stimulate your creative side while you refine your voice. You will also see Two- and Three-Part Exercises. In these, you can sing in harmony along with other voices on the CD. You will learn to tune your voice to other singers, just as you would when performing
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background vocals. It's fun to sing with other voices, and these exercises will help
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you develop valuable skills needed by all singers .
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The following chart suggests several practice routines. Choose whichever fits your vocal needs and your schedule.
one best
INTRODUCTION
COMPLETE
VOCAL
WORKOUTS
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Timings Warm-ups:
12 minutes
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Basic Vocai Workout:
15 minutes
Advanced Vocal Workout:
12 minutes
Singing Harmony: Two- and Three-Part Exercises:
8 minutes
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Cool Down:
5 minutes (Tracks 2 and 3,
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repeated from Warm-ups) Always sing the Warm-ups for All Voices before singing the Basic, Advanced, or Part Exercises. Choose either the high- or low-voice version of the Basic and Advanced Workout for the suggested routines below. Repeat tracks 2 and 3 to cool down after singing.
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Suggested Vocal Workout Routines
o Complete Basic Vocal Workout (32 minutes)
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cr Warm-ups
+ Basic Vocal Workout (choose high or low voice) + Cool Down =
Complete Advanced Workout (29 minutes) Warm-ups + Advanced Vocal Workout (choose high or low voice) + Cool Down = 29 minutes Advanced Extended Vocal Workout (44 minutes)
+ Basic Vocal Workout + Advanced Vocal Workout + Cool Down =
44 minutes Part Singing Vocal Workout (40 minutes) Warm-ups + Basic Vocal Workout + Two- and Three-Part Exercises + Cool Down = 40 minutes Advanced Extended Vocal Workout with Parts Exercises (52 minutes)
+ Basic Vocal Workout + Advanced Vocal Workout + Two- and Three-Part Exercises + Cool Down = 52 minutes Warm-ups
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32 minutes
Warm-ups
u
INTRODUCTION
HEALTHY
SINGING
RANGES
If the highest notes in the vocal exercises on this CD are out of your range, be sure you're not forcing your lower < o
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register up beyond your comfort lone. Try to release into
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a lighter head-voice tone to sing higher notes, instead of
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pushing. Work to make these transitions as smooth as
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possible. Lighten up just before the switch when going
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upward, and keep your tone light as you descend in pitch. Read chapter 4 for more information on vocal registers .
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•
Getting
•
Breathing
•
The
•
Vibrato,
•
Essential
•
Ruditioning
VOCAL
a:
Ready
Four
t o
Sing
P's Vocal
Registers,
Vocal
ESSENTIALS
Care
and
Belting
, ,
I
Chapter
1. Getting
Ready
HERE ARE TWO BASIC TYPES OF VOCAL EXERCISES
to
included
in part II's workouts: warm-ups and voice builders. Warm-ups will gradually prepare your muscles for the higher intensity of performa nce. They wi II hel p re-esta blish efficient breath ing techniq ue and bring your attention to the body/mind connection in singing. Warm-ups will also help you sing high notes more easily. The best types of vocal warm-up exercises are descending slides, lip or tongue trills, scales with changing vowels, and staccato arpeggios.
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= 104
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Eb
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Noh The voice-building
exercises you will find here are stylistically diverse and can be helpful
and fun for singers of rock, pop, jazz, and r&b music. You can gain all the benefits of regular
Sing
PAR
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I
VOCAL
ESSENTIALS
practice, keeping your voice in shape, building new skills, and learning new patterns and riffs for improvising. You can also develop a good vocal sound, build strength and stamina, and build rhythmic, tonal, and pitch skills. You will do all this while using sounds and patterns that are stylistically appropriate to your idiom. Depending on your vocal <
needs, the best voice-building exercises may consist of long tones, pentatonic arpeggios,
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intervallic leaps, and scales or other patterns covering an octave or more in range on
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various vowel sounds. In these workouts, you will encounter all of these types of voice
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builders. The long-tone exercise below is another example of an effective voice builder.
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1. Brrr (lip trill) 2. Nee
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3. Noo 4. Noh
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PRACTICING
WITH
THE
VOCAL
WORKOUTS
CD
Regular practice will help you to improve your voice and to maintain your sound. The Vocal Workout CD makes it easy to stay focused. Just sing the Warm-up for All Voices,
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then choose one of the Complete Vocal Workouts on the CD, and sing along. (See the
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introduction, page ix, for suggested practice routines.) A variety of styles are used to
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make the workouts fun and to develop skills that you'll need to sing contemporary music.
When you are working with the practice CD, you will need a quiet room with a mirror and a CD player. Although you can sing along with the CD without a keyboard or guitar, an instrument can be helpful to check your range to see how high and low you are singing. Stand in front of the mirror while singing to check your posture and to see any signs of physical strain. Sing standing up, to maximize your breath capacity and to minimize any tension in your neck, shoulders, and chest.
I.' .
GETTING
READY
TO
SING
CHAPTER
1
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GETTING
YOUR
VOICE
INTO
SHAPE
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If you haven't maintained a consistent training regimen for a period of time, or if you are a beginner, you will need to gradually build your voice.
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To initiate your training, or to recondition your voice, start by practicing twenty minutes a day, three to four times a week. Over a period of several weeks, build up to practicing four to six times a week for up to forty-five minutes. Most of the benefits of any previous training are totally lost after four to eight weeks of vocal inactivity, so you will probably feel that you are starting from scratch, if you haven't sung in a while. Vocalizing two
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days a week or less will probably not improve your singing, if you're out of shape. On the other hand, vocalizing intensively for an hour or more, for six or seven days a week, increases the risk of overuse injury and does not improve vocal condition. Find a balance in your routine that challenges you but allows for some down time.
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If you are an experienced singer working to maintain or further develop your vocal sound, it usually isn't difficult to practice four to six times a week for thirty to forty-five minutes. Again, use common sense about the frequency of practice. Pay attention to the way you feel, and consult a vocal technique teacher experienced in working with contemporary
music singers if you have any questions about your voice. This book is
not meant to replace professional, private vocal instruction.
LISTENING
TO YOUR
BODY
If you feel tired after you sing, check to be sure you aren't forcing your voice or straining. Pay attention to how your voice feels during and after practice. Although you might feel some initial tiredness from using muscles that you've never exercised before, this should subside in a couple of hours after practicing. Your voice will become stronger as you continue to practice.
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PAR T
I
VOCAL
ESSENTIALS
Exercising new muscles might make you feel a little tired at first, but this is very different from the feeling of vocal strain. You will recover relatively quickly from fatigue caused by exercising new muscles. Fatigue caused by improper singing technique requires much more recovery time. < o
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Normal muscle fatigue caused by exercising your voice usually subsides in one to two hours. Fatiguecaused by vocal strain can lasta day or more. Discomfort from infection or viruscan take a week to ten days to heal. Although viruses can temporarily keep you
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from singing, you can help yourself by drinking lots of fluids and resting. If you have
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an infection, you must receive medical attention .
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If you practice for a sensible amount of time and end up with a raspy voice, consider other possible causes. ."
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• Are you coming down with a cold?
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• Did you sleep in a room with dry air?
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• Are you drinking enough water?
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• Do you drink more than two cups of coffee each day?
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• Did you consume a large, rich, or spicy meal just before bedtime and then wake up hoarse?
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• A woman's monthly cycle can make her voice sluggish and unusually low or heavy. • Are you singing too hard or pushing your voice?
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Payattention to your voice and body, and weigh all possible factors. If you are unsure of the cause of hoarseness,and if it is persistent, consult a voice specialist (Iaryngologist) to help you identify a course of action that will help you get better. If you're out of practice , gen tl e, regu Iar exercises . . . will. help progress your singing and develop the kind of coor diInat·Ion your vocal muscles need. Harsh, rough vocal work can overtax your voice . an d mi might lead to permanent damage. You don't need
GETTING
READY
TO
SING
CHAPTER
1
.... ... .. '"
"weight lifting" strength for singing. You need light, flexible, coordinated movement of your vocal muscles and balanced breath support. This can be developed with the right ki nd of practice.
There is no doubt that certain kinds of music are harder on the voice than others. For example, hard rock or heavy metal is a higher-risk style of singing that can wear out your voice faster than most jazz singing. Butall kinds of music can put your voice at risk
if you don't know what you're doing, especially if you don't warm up before singing.
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If you keep your body in good condition and your technique up-to-date, you can head
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off any problems before serious damage occurs. This requires a heightened sense of self-awareness. You have to know your voice, your requirements for healthy living, your limitations, and when to give your voice a rest. A lot of vocal problems can be prevented with some basic common sense and with devotion to a healthy lifestyle.
III
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Chapter
2.
Breathing
INGERS TYPICALLY
LEARN BREATHING
TECHNIQUE
first voice lessons. The idea of low-body, diaphragmatic
in their
breathing is not
a complicated concept. But remember: breath support takes minutes to learn and a lifetime to master. Understanding this concept intellectually does not mean that your muscles will automatically
respond when you
sing. You must consistently practice good breathing technique
until it
becomes second nature. This is why many professional performers check in with their voice teachers regularly to make sure their voices are functioning well, and put into place any corrective measures necessary to ensure efficient production that minimizes strain. The usual in and out of airflow is fine for everyday activities, but efficient management
of
your breath can give you better vocal control, make your voice freer and more powerful, and give you better stamina.
Even if you already know how to breathe properly for singing, spend a few minutes at each practice session refreshing your skills. When you reinforce proper breath manage-
_________________
B_R_E_A_T_H_I_N_G_I C HAP
T ER
2
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ment at the beginning of each practice, you'll be more likely to continue that action for extended periods of singing. This creates a better foundation for all styles of singing.
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THE
FOUR
STEPS
OF EFFECTIVE
BREATHING
1. Align your body with neutral posture (described below).
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2. Inhale, expanding around your waistline.
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3. Exhale with firm abdominals.
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4. Keep your ribs open as you exhale. Don't collapse your
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chest.
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NEUTRAL
POSTURE
The stresses of carrying bags, books, sitting at a computer for long periods of time, and other bad postural habits can pull your body out of alignment, causing tension, shoulder and back pain, and even muscle spasms. Proper alignment,
or keeping a
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"neutral"
spine, places the least stress on your muscles because you are balancing
the effort among all your muscles to maintain your position.
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To check for neutral posture, tryout
these various postural extremes. The postural
extremes described on the following pages are a method of finding your best body position. By stretching to extreme postures, such as an over-extended chest position, you can get a better idea of what neutral posture feels like as you release the stretch.
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PAR
T
I
VOCAL
ESSENTIALS
Establishing neutral posture 1.
Stand with feet hip-width apart.
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2. Bend your knees into a semi-squat, then straighten your legs, keeping your knees "soft," not locked .
BREATHING
I
CHAPTER
2
--------
"...
3. Exhaling, squeeze your buttocks together and pull in your stomach muscles, making your lower back very flat. Then, relax your muscles so that your pelvis
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tips back slightly. Be sure that you are not arching your lower back.
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PAR
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VOCAL
ESSENTIALS
4. Arch your upper back, extending your chest forward, and gently pressing your elbows behind you and your shoulders back. Then release the extended position , maintaining a comfortably high chest position. < o
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5. Lift your shoulders toward your ears, then drop them, letting your shoulders hang loosely.
BREATHING
CHAPTER
2
.. co
6. Elongate your spine, feeling as if you're lifting the top of your head to the ceiling. Relax a little, maintaining the feeling of spinal lift.
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Spine stretched
Spine elongated, but relaxed
.
PAR
T
I
VOCAL
ESSENTIALS
Neutral Head Position 1. Glide your head forward as far as it will go. <
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2. Keeping your head level, glide back, pu IIIng your . d roppmg . down . chin toward your chest without 3. Release to a position in between so that your ears are aligned with your shoulders .
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You're in a neutral posture when your ears are aligned with your shoulders, shoulders with hips, hips with knees, and knees with ankles.
DEEP
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BREATHING
Inhale
Exhale
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1. Standing in front of a mirror, inhale fully so your waist expands all the way around your body, including into your back. There should be no movement in your upper chest near your armpits.
2. In order to expel air to sing, your abdominal muscles contract slightly, causing your diaphragm
to arch
up against your lungs, pushing the air out of your lungs. 3. Try to keep your body open and don't collapse. If you push too hard with your abdomina Is, you will force all of your air out too fast. This action
I
should be gentle and firm, with an emphasis on keeping open as you exhale.
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your
body
B REA
KEEP
YOUR
RIBS
T H IN G
CHAPTER
2
.... ..
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OPEN
II>
>As you get to the end of your air supply, you'll feel the urge to squeeze your ribs and collapse your chest to expel the last of your air. However, good breathing technique dictates that you try to maintain an open chest and ribcage to the end of your breath.
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This will help you avoid becoming tense.
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Try to keep your ribs open, even if you feel you're at the very end of your breath. Some
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describe
this feeling as always maintaining
a cushion of air under the ribs as you
exhale. If you totally empty your lungs of every last bit of air, you are more likely to add
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pressure to your throat muscles. This creates strain in those muscles and will limit the freedom of your voice.
A QUIET
BREATHING
EXERCISE
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1. Stand in front of a full-length mirror.
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2. Take a deep breath with no chest lift (don't overfill), and hiss on a sustained "S" sound for as long as you can.
3. You will feel firmness in your abdominal muscles as you
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expel your air.
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4. At the very end of your air supply, be sure to keep your
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ribs open and your chest in a comfortably high position. Repeat two or three times, watching carefully to maintain good form. When you memorize good form by watching yourself, you are teaching your muscles to "remember"
this action
for singing.
1
•
Chapter
Buildin HE FOUR ESSENTIAL
BUILDING
BLOCKS for vocal training are
practice, patience, perseverance, and play. The "Four P's" are a good way to remember how to achieve balance in your studies.
PRACTICE Develop your skills
PERSEVERANCE A quality more rare than talent
I
THE
FOUR
P'S
CHAPTER
3
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PRACTICE Practicing
....
is the way singers develop skills. Singers with well-developed
instruments
can be more expressive. Regular practice can help fine-tune the craft of singing and
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supports the expressive process. Without
z
a sufficient skill base, or foundation, there can be no deep emotional or physical base
z
maintain a high level of skill, sothetechnique
on which to build. This is like the proverbial building constructed foundation
on sand. A weak
creates an unstable building that won't stand the test of time. Effective
practice can build a strong foundation of technique that can help support a powerful voice. A full, strong, self-assured voice that has stamina can have the ability to express any emotion. In short, a strong foundation
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makes it possible to use your voice to its
fullest capacity of creative expression. COMPONENTS
OF
COMPLETE
PRACTICE
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Your practice routine ideally should consist of four parts:
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1. Warm-up: Physical and Vocal
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2. Technical Work
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3. Song Performance
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4. Cool Down
Physical Warm-ups Stretching
allows your body to move more efficiently and perform at its peak. It can
release residual tension in your shoulders,
neck, jaw, and back that you might not
be aware of. Setting up good posture will increase your breath capacity. It's also an extremely soothing way to connect your mind and body, and it just feels good'
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PAR
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VOCAL
ESSENTIALS
M ista kes to avoid: • Don't bounce. Using bouncing to increase your stretch can activate your body's protective reflex, causing muscles to contract instead of stretch. <
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FOUR
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CHAPTER
3
Stretches Start with these physical stretches.
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Reach both arms above your head, with hands crossed and palms touching.
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Exhale and relax from the stretch before you repeat.
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Stretch 2. Shoulder Stretch 1. Raise one arm above your head, and bend your elbow so that your fingers point down your spine. < o
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Use your other hand to grasp your elbow above your head.
3.
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THE
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Stretch 3. Shoulder Rolls
1. 2.
Stand upright with your hands by your sides.
Lift your shoulders so that they are up by your ears.
CHAPTER
3
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Rotate them forward.
4.
Continue rotation downward.
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Vocal Warm-ups Once you've stretched out your body, get ready to warm up your voice. To do this, put on the CD, and sing along with tracks 2-7, the Warm-ups for All Voices. <
The most important thing you can do before you sing is warm up your voice. Vocal
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action. Warming up will also gently increase your range to its fullest capacity, so when
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you go for the high notes, your voice will feel freer. The exercises on the CD start in the middle voice. They help warm up the low range, then the high. Here are some sounds commonly used for warming up. Try some of these before you
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go to more structured scale work to help warm up your voice. All of these sounds are demonstrated on the CD in the warm-up routines (tracks 2-7) .
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ILip/tongue trills
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Benefits
Technique
Lip and tongue trills require a loose A bubbling sound made with lips or tongue. Can be used with scales jaw and steady airflow; beth benefior sliding. cial to free tone production .
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Sliding or siren sounds
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Humming
Sighing
Moving your voice up or down,
Helps free up laryngeal muscles.
gliding seamlessly through a series of pitches without stopping on
ment, gently strefching muscles
Requires smooth muscular
move-
scale notes. Sounds like a siren. Use any vowel, or hum .
involved in singing .
Creating tone with lips closed over teeth that are slightly apart. A buzzing feeling results in the lips, nose, face, and cheeks. Can be used with sliding (above).
The buzzing feeling produced when humming increases
Start with a feeling that you're about to yawn. Make a vocal sound (':ah" or "uh") on a midrange pitch, allowing your voice to glide
The "pre-yawn" feeling helps lift your soft palate slightly, making a more open sound. The following
downward with a release of air.
freely and allows a gentle muscle stretch.
your awareness
of resonance.
Resonance amplifies and colors tone, making it brighter, with better projection.
downward
glide releases
your voice
THE
FOUR
P'S
CHAPTER
3
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Technique
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Now that you're on your way to loosening up your voice, it's time to work on some voice-building
exercises. Choose a Complete Vocal Workout on the CD, and sing
along. Try to develop a variety of singing skills, such as better breath management, flexibility,
and range extension. Stop if you feel tired or if you're straining
in any
way.
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Here are some commonly included
used vocal technique
in the workouts in part
exercises, elements of which are
II. Use these ideas to better understand the benefits
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of each exercise pattern and to vary your routine.
Long Tones Technique:
Sustain a clear (not breathy) midrange tone for sixteen beats at a slow tempo. Tone should be at a medium-loud used with dynamic variation: soft-loud-soft.
volume. Can also be
Pitch should not waver.
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Long tones require efficient use of breath. A low intake of air and controlled exhalation, keeping the ribs from collapsing, will help coordinate and strengthen muscles used for breathing.
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Runs/Scales Technique:
Sing stepwise note-patterns at a medium-fast to fast pace.
Benefits:
Develops agility by training the vocal muscles to respond quickly and
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Staccato Exercises Technique:
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vocal cords. Staccato notes are to be sung lightly and articulated the breath .
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THE
FOUR
P'S
CHAPTER
3
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Arpeggios
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Sing skipping-note
patterns that outline chords. Arpeggios are
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typically built on major chords, minor chords, and pentatonic patterns.
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Articulation Exercises Technique: Use the five primary vowels (a, e, i, 0, u) combined with various consonants on musical patterns, creating nonsense syllables, such as < o
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Benefits:
combinations practiced throughout one's range develop facility and
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THE
FOUR
CHAPTER
P'S
3
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Dynamic Contrast Technique:
Sing a midrange long tone over eight slow counts, gradually becoming
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louder, then softer. Carefully pace the increasing and decreasing
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volume so it occurs smoothly, and so the pitch doesn't waver.
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Benefits:
Develops vocal control and increases awareness of dynamic contrast. Singing softly requires extra attention to maintaining consistent
breath
energy. Skillful singing at different dynamic levels will help you sing in
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Range Extension Exercises Technique:
Sing fast-moving musical patterns (scales and arpeggios),
briefly
touching on highest and lowest notes. Do not dwell at the extremes of your range. <
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Helps develop vocal strength. Gradual stretching of range and
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THE
FOUR
P'S
I
CHAPTER
3
Song Performance
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After you have worked with the CD, take some time to work out on a couple of
songs,
Choose any style that you like, and check the range to see if it's within your limits. To do this, look for the highest and lowest notes of the song. The majority of the song should be in the middle of your range. If your song has a couple of notes that seem a little high or low, you can work on them to see if they become easier in time. If too much of the song is outside your range, you're better off choosing a different song. Be sure to watch yourself in the mirror to check for expression and body alignment.
Experienced
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singers may already know how much body movement
for their performance.
stand and sing. Later on, when your technique
is solidly established,
ishing your vocal skills, you'll be able to present your music with personal style and If you accompany yourself on guitar or keyboard, practice your first, and progress to self-accompanied
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you can focus
use your hands and body more. Once you are able to focus on lyrics without dimin-
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good vocal technique.
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But while you're developing or refreshing your technique,
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vocal skills.
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Practice first without a microphone to establish good projection and resonance awareness. Be sure you're not relying on the microphone to create warm tone and projection. You have to develop these qualities as a part of your own vocal skills, to use with or without amplification.
Cool Down Spend about five minutes doing some less intense vocal exercises to cool down your voice. Tracks 2 and 3 from the Warm-up for All Voices can be repeated to cool down. This will help your speaking voice sound more stable, and ease the transition from very active singing to a more normal state for everyday vocal use by allowing the tissue temperature physical
exercise.
to lower. This is similar to what we should do after vigorous
After any kind of aerobic
exercise,
it is advisable to transition
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PAR
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VOCAL
ESSENTIALS
rate. After a lot of radually so that the muscles can ad'JUst to the change in heart . g singing the increased blood flow t0 th e vocal cords needs time to decrease gradu-
, to ally During cool down, the laryngea I m uscles also relax and return . . a more neutral . Cooling down also helps dirssipa . te some of the normal fluid.... buildup that OCcurs state. <
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Learning vocal technique requires patience, especially if there are bad habits to undo. The payoff for patience is having a well-trained instrument capable of greater expression. Most of the time, progress is gradual. Sometimes, we have "light bulb" moments in singing, but most of the time, progress comes after a long period of work that finally peaks, and then plateaus for a while. Sometimes, progress is made with two steps forward, then one step back, as we remind our muscles to memorize new actions and as we get used to different sounds and feelings. This is typical in the learning process for singing, and it requires a lot of patience.
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Your voice will grow, change, and develop all through your life. Your voice will change as you age, and your sound will vary depending on how you feel and the state of your emotions. The changing nature of the human voice requires you to think beyond your immediate goals, such as song learning and breath management. So, be patient. Your best sound will continue to emerge and change as you develop.
THE
FOUR
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I
CHAPTER
3
PERSEVERANCE
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Perseverance and patience go hand in hand. Musicians, actors, singers, and other
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artists know that while pursuing goals, we must keep in mind a bigger picture of what we want to achieve. With the many natural ups and downs in most singers' progress,
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Whether you are dealing with the sense of disap-
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pointment after an unsatisfying performance, or just learning to enjoy using your voice
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it is important to stay determined.
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to express yourself, keep trying to do your best.
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PLAY In the process of learning, it is easy to become worried about all the things that you haven't yet achieved. Remember that singing should be fun.
Devote a portion of every practice session to singingjustforfun.
Try sing-along record-
ings or karaoke. Turn off your critical thinking for a while, and just enjoy expressing yourself through music.
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When you're developing your voice, you should practice what you can do, not just what you can'tdo.
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I
III I
Chapter 4. Registers,
Vibrato, Vocal and Belting ocx;
WORKOUTS
Will
BRING
YOUR ATTENTION
to different
parts of your voice that you may not have noticed before. Vibrato, vocal registers, and belting are three important issues singers notice more when they are working out. Attention to these might help answer any questions that occur as you develop your voice.
VIBRATO Vibrato is the steady oscillation (a wave-like sound) above and below a pitch center. It is created in the larynx by the alternating currents of nerve impulses and usually occurs naturally in voices that have balanced support and freedom of the muscles in the throat, neck, and jaw. If you don't have vibrato and you want to develop it, most voice teachers will start by working on breath support and releasing excessive tension.
It is helpful to have an awareness of your own vibrato and how to develop and control it when necessary. Although some singers don't use vibrato at all, many want at least a little
VIBRATO,
VOCAL
REGISTERS,
AND
BELTING
CHAPTER
4
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to round out their sound. A healthy vibrato can be produced when a voice has a bal-
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ance of adequate breath energy (or support) and relaxation. Vibrato speed and width
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can vary depending on the pitch or volume of the sound being produced.
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There is a wide range of acceptable vibrato sounds. Most singers who want vibrato can develop it on their own, as their voices become balanced. The sound of a vibrato is a part of what singers hear and tend to imitate in voices on recordings, so it comes with-
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out effort to many young singers. On the other hand, singers with a persistently straight
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tone who want to develop vibrato need to be sure they release excess tension.
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need to learn to control vibrato and sing with
more straight tone when performing contemporary difficult,
commercial
music. This can be
but it is a necessary skill in order to sing with authentic style in many genres
of non-classical
music.
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Practice this by singing the long-tone exercise here. Imagine that you send a thin stream of air to the center of the tone to control vibrato.
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REGISTERS Most singers are keenly aware of shifting in their voices as they sing up or down. These areas in your voice are called "registers." This shifting feeling often results in a change <
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in sound quality.
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When you sing, your vocal cords and larynx go through many adjustments
in order to
be able to produce different types of sound. Vocal cords vibrate at different lengths and thicknesses in different registers. For example, in chest register, there is light tension along both the length and width of your vocal cords. The higher you sing, the more the tension increases as the thickness decreases, so your vocal cords thin out as you ascend in pitch. Atthe same time, your arytenoid cartilages adjust to shorten your vocal cords for the change to head voice register. The shifting you feel is this complex series of muscles making the changes necessary for you to sing with different tone qualities.
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These adjustments can happen smoothly if your laryngeal muscles are coordinated, and the other aspects of your vocal technique are balanced. Because we can't see our vocal cords, using imagery and singing by "feel" are important methods in learning.
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Try this sliding exercise. The slide should feel smooth and flow to the next pitch without any obvious bumps or changes in register.
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VIBRATO,
VOCAL
REGISTERS,
AND
BELTING
CHAPTER
4
..'" There are many different names for these registers, and quite a few opinions about
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how many registers there are and at what pitches the shifting occurs. Many rock,
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pop, r&b, and gospel singers-both
shift registers in their
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songs for stylistic effect. Shifting registers smoothly can help you access higher pitches
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men and women-audibly
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without strain and can help you to achieve a certain color or style of expression. Your
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voice doesn't need to sound exactly the same from top to bottom, but it should be
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smooth enough that it's difficult to tell where the shifting occurs, unless you're yodeling. Yodelingis the technique of accentuating a change between registers very quickly, flipping to head or chest register with a stark change of vocal quality.
For women,
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chest voice is the lowest register, head voice is the upper
register,
and middle voice is a mix of the two in between. According to the book Singing: the Mechanism
and the Technique by William Vennard, because the heavy mechanism
(chest register) is two-thirds of the lower range, and the light mechanism
(head regis-
ter) is two-thirds of the higher range, either mechanism can be involved for the middle third of the voice.' With training, the middle register can be extended and strengthened, establishing a blend between low and high registers. This mix provides the flexibility needed for singing all styles of music.
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Some women also have an additional register above head voice that's very light and fluty sounding, often called the flute register. This is the sound that Mariah Carey makes on her very highest tones, particularly in her early recordings.
In classical music, women mostly sing in a head-register-dominant ates a pure, balanced tone that gives the singer endurance, projection without electronic amplification.
sound. This cre-
high range, and strong
Vibrato is a predominant
characteristic
of
Western European classical style singing, as well.
In non-classical
singing, women are likely to use a middle-, mixed-, or chest-register-
dominant sound. A microphone can diminish the need for vigorous projection of sound for ballad singing, and will amplify voices to project over other electronically
1. Vennard, William. Singing: the Mechanism and the Technique. New York: Carl Fischer, 1967; p. 238.
amplified
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PAR
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VOCAL
ESSENTIALS
, Th e d eve Iopm ent of your upper register is important, even if it is not your Instruments, primary performing register. Men usually have a sense of where their chest register shifts into falsetto, a very high < o
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middle registers as well, but they are often less obvious feeling than chest register and falsetto, If you're not sure what falsetto sounds like, listen to singers Aaron Neville,
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Smokey Robinson, Prince, and AI Jarreau, They, and many other singers, use their fal-
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setto register frequently, Finding a light head-register sound without going into falsetto
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can be a challenge for men, but it is a very valuable and rewarding skill that can be used
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and light sounding register, which is a man's highest register, Men have head and
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in a wide variety of contemporary music styles, This can best be achieved with the help of a vocal technique teacher who can help you discover and develop your full range,
If women can sense head register and chest registers in their voices, and men can
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sense chest register and falsetto, it's a good place to start, From there, work to develop your middle register, A strong middle register will give you the best of both worlds: some of the warmth of your lower register, and the ease of your upper register, Such skills are
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best learned in private voice lessons where a teacher can give you immediate feedback
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about your singing and help to correct any mistakes before they become detrimental.
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Some voice qualities that might be considered unacceptable in classical singing can be appreciated for their uniqueness in popular music, Voice sounds such as twang
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(a bright, nasal tone that can facilitate belting), growls (a throaty rumble sometimes
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used at the beginnings of phrases), and glottal fry (a rapid series of low-pitched
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pulses, creating a creaky quality) are used to create sounds that are more speechlike, Although these sounds would be considered inappropriate
to use in classical
singing, in non-classical singing, these sounds are used to color tone and create
I I I I
III
style, Use these non-traditional your vocal cords,
sounds with discretion, though, as they can tire out
VIBRATO,
VOCAL
REGISTERS,
AND
BELTING
I
CHAPTER
4
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BELTING Contemporary commercial music singers often use beltingas a style of singing. Belting generally refers to the act of singing loudly with a lot of energy. It can also refer to the specific technique of carrying up or mixing the chest register's quality, delaying the full
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release into head voice. This quality is similar to speech-level singing, which means
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carrying a speech quality high into the singing range. Belting usually requires more
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sound projection. Both speech-level singing and belting require a high breath pressure and a clear, strong sound. This sound can be strident when performed improperly at the highest pitch levels.
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Belting can be accomplished in a healthy manner with careful attention to maintaining a resonant tone, breathing, and maintaining muscular relaxation in the neck and jaw. However, it can lead to vocal problems such as hoarseness and even vocal nodules, if it's done improperly, or in singers who aren't careful about maintaining their overall physical health. Excessive tiredness, a lack of vital physical health, and singing too much-too
loudly, too high, too long-can
lead to vocal problems as well.
Remember: even if you are primarily a belter, you should be ableto sing in your head voice too. In fact, strengthening head and middle voice registers generally improves the quality of the lower registers by introducing brighter overtones and flexibility on high notes. Think of your head register as the mother of your entire voice.' If it is strong, it will nurture your entire range. Even if your head voice is weak at first, it will become stronger with use. Contemporary music singers need the same type of comprehensive training that classical singers receive. Vocal problems commonly associated with singing non-classical music are often caused by a lack of the training that is part of every classical singer's basic education. If non-classical singers do not obtain proper training, they are risking their voices, and will be ill-prepared for the demands of performing this music. Sometimes, non-classical singers are fearful that their individuality will be compromised if they study vocal technique. Developing good vocal skills can benefit all types
2. Mary Barton-Saunders, Chair of the Musical Theater Department at Pennsylvania State University.
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VOCAL
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of singers without making their voices sound "classical." In fact, non-classical
singers
can benefit from the same instruction and corrective actions used with classical singers, including paying better attention to vocal health and hygiene, watching
out for
excessive tension, and maintaining a resonant tone. < e n
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The demands of singing require all performers to learn everything they can about their
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voices in order to make informed decisions and choices that will not be detrimental
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their vocal health.
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to
Chapter
N THE PROCESS
5.
Essential
OF WORKING
Vocal
OUT, you may notice some changes
in your voice, so vocal maintenance is an important aspect of working out. Not everyone reacts to medications, caffeine, or even vocal overuse the same way. While a cup of coffee might trigger the jitters, dry throat, or excess mucus production in some people, it might have little effect on others. You have to know yourself, your limits, and your triggers for vocal problems. Remember: it's easier to prevent problems than to correct them once you've done damage.
MAINTAINING
VOCAL
HEALTH
For professional vocalists, taking care of your voice is a primary responsibility. You will want to be able to sing not just when you're healthy and happy, but through adversity as well. When you have a cold, low physical energy, or stressful performing situations, you need to know how to use your acquired vocal technique to get through it all. It's even better if you can prevent problems by following some basic heathcare principles that will
Care
PAR
T
I
VOCAL
ESSENTIALS
help you stay well. If you know how to take care of yourself, you'll be able to perform better under challenging circumstances.
Water < o
One of the easiest ways to improve your health is to be sure you are drinking
eight
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8-ounce glasses of water each day. Your body needs water to function
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flushes toxins out of your system and keeps the mucus thin in your throat. This
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well. Water
can make for less throat clearing and coughing that will tire out your vocal cords. Water also helps keep your vocal cords supple. It's like having enough oil in your car engine. With lubrication, the parts of the engine glide instead of grind. In your singing, this means your voice will work more efficiently.
Your entire body needs to be hydrated for your vocal cords to function smoothly. Drink ."
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water well in advance of your vocal practice and performance. Caffeine and alcohol dry out your body and voice, countering the effects of water drinking. It's smart to limit these drying substances .
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Many singers find that inhaling steam can be soothing, especially if you have a cold, or
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if you live in a dry environment. You can carefully heat plain water in a pan, and when
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it is hot, put a towel over your head to make a sort of a tent, and inhale the steam. (Be
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very careful that you don't stand too close to the heating element!) Instead, you can use a gadget called a "personal steam inhaler." It has a small reservoir for water and
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a mask that fits over your nose and mouth. When the water is heated, place your nose
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and mouth on or near the mask, and inhale the steam for ten to fifteen minutes several times a day. I recommend that you don't add anything to the water, such as menthol medications, because those can dry you out further. Just inhaling the steam can soothe your nasal passages and throat. Don't Smoke Smoking is bad for your voice. When you inhale the hot chemicals
in cigarette or
marijuana smoke over your vocal cords (which are located at the gateway to your
ESSENTIAL
VOCAL
CARE
I
CHAPTER
5
.... ... '"
lungs), you dry out and irritate them. The chemicals from smoke deposit in your lungs, making it harder to breathe deeply. Coughing further irritates your cords. Even inhaling second-hand
smoke affects your health. So, don't smoke. Quit if you have
already started. It will be well worth the trouble, in terms of increased lungpower and
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overall health. And avoid inhaling secondhand smoke.
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Stress Since our voices are closely linked with our emotions, stress can have a devastating effect on a singer's ability to perform. Instead of just trying to push through stressful times, try to find effective ways to alleviate your stress.
Dealing effectively
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with stress means that we consider the whole person, not just the
voice. Physical activities including walking, swimming, yoga, tai chi, as well as quiet time, listening to relaxation tapes, and receiving professional counseling are all effec-
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tive in relieving stress and anxiety.
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Overall Health Your voice reflects the state of your overall health. Your mind, body, and spirit together have a balanced relationship. When you are sick physically, or troubled emotionally, your voice will probably reflect these problems. Balance in all areas of your life can provide a fuller, more satisfying singing experience. eating, relaxation techniques
Moderate exercise, healthy
such as meditation, and regular sleeping habits are a
good way to start.
DETECTING
VOCAL
PROBLEMS
When you're having problems with your voice, it can be frustrating and upsetting. Since we can't see our vocal cords just by looking in the mirror, we have to pay attention to symptoms that may indicate a problem. These symptoms may be early signs of injury or other problems and must not be ignored.
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PAR
T
I
VOCAL
SIGNS
ESSENTIALS
OF POSSIBLE
VOCAL
PROBLEMS
•
loss of high range or the loss of the ability to sing softly on
•
high notes a strained, hoarse, or husky sound that persists for more
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hoarseness without any other symptoms (such as a cold)
•
singing or speaking requires noticeable effort
•
increased need for breath support
•
repeated vocal fatigue or deterioration of your voice after
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singing
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•
a constant feeling of excessive mucus or a post-nasal drip
•
a feeling of pain or irritation after singing
•
any unusual long-term symptoms that affect your voice or overall health
•
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your intuition tells you that something is not right with your voice
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Consult a qualified laryngologistwho specializes in treating professional singers. He or
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she will be able to advise you of your options for managing your vocal health. A laryn-
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YOU
SUSPECT
YOU
HAVE
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gologist can tell you if you need medical treatment, or if you can ease your symptoms with home care. Most conservatories or music schools can recommend a laryngologist who specializes in working with singers.
'" Singing When You're Sick If you have to perform and you're not feeling up to par, you will have to make a judgment call. Sometimes, a slightly scratchy throat and nasal congestion won't inhibit singing. If this is the case, a light warm-up will tell you if you should carry on. If you sing for fifteen to twenty minutes and your voice clears up, your high range is accessible, and you have enough energy to support adequately, you might be able
ESSENTIAL
VOCAL
CARE
I
CHAPTER
5
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to perform.
Be sure to drink lots of water to keep the mucus in your throat thin and
to help avoid excessive throat clearing and coughing. Inhalation of steam by placing your face over a source of warm steam (as described earlier) can help by directly moistening
the surface of your vocal cords. However, if you're an inexperienced
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singer, leave this kind of judgment call to your teacher or a doctor.
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On the other hand, a husky, pressed-sounding
voice, and loss of high range that
doesn't improve with a light warm-up can signify a more serious condition.
It's best to
consult a doctor right away if you have any questions about your vocal health.
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Avoid taking pain medicines when you're performing.
You can easily over-sing and
end up hurting your voice because the pain medications interfere with your perception of your vocal condition. You won't be able to feel if you're over-singing, and then you can lose your voice completely. Also, aspirin and Ibuprofen can make the capillaries in your vocal cords fragile and more susceptible to breaking. Hard singing paired with
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medicines problems.
that stop pain and promote fragile capillaries is a recipe for serious vocal
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Chapter
6.
Auditioning
OST SING ERS ARE AWA R E of the close connection between our emotions and our ability to sing well under challenging circumstances. If you're working out your voice to prepare for an audition,
here are
some tips to help you through this demanding situation.
Whether you're new to performing or have a lot of experience, you'll probably have to audition for a gig or otherwise be evaluated by others in the industry. If you are prepared for criticism and maintain the right attitude, you can learn and grow from the process. You might come away from a performance where you've received feedback that was right on target, and that evaluation can help you improve your singing. It is understandable that criticism meant in the spirit of helpfulness can surprise you and might hurt your feelings. But if you are prepared mentally, these experiences can have excellent learning potential.
""~------=--.-;;;;;;~~~==~:..====-----------
AUDITIONING
I
CHAPTER
6 a: w
T A KIN G C R I TIC ISM
INS
T R I D'E
If you have an audition or performance experience in which you feel you have done your best and you still don't receive positive feedback, consider other aspects of your performance that may need improvement. Your presentation, singing skill, movement, and lyric delivery all can affect your audition. Also, sometimes, auditioners are looking for a specific "look" or physical type, and if you don't fit that image, you can be ruled out. As harsh as this sort of elimination can be, it is a fact of many auditions, and persistence and hard work can be the key to getting the gig you want.
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AUDITIONS
GONE
BAD
Sometimes, auditions just don't go well. Nervousness, lack of preparation, performing a song that doesn't flatter your voice, and many other issues can affect your performance. You might receive well-deserved negative feedback. Vow to be better prepared next time, and practice performing in front of others. Record yourself doing a mock audition on videotape. You might be surprised at habitual body or hand movements that are distracting. You might also hear mistakes in your singing that you weren't aware of. Some singers say that when they're performing, they feel as if they're using a lot of great facial expression, but when they see their recorded performance, they are surprised to see thattheir expression is blank. Videos will give you unbiased feedback. It isn't always fun to watch yourself, but it is one of the best ways you can improve your performing skills.
YOU
NEVER
KNOW
WHO'S
WATCHING
Present yourself at your best every time you perform because you never know who will see you and remember you. Even if auditioners aren't looking for someone with your skills at that time, there is always a chance that they will remember a good, charismatic performer and hire you in the future. Many singers get gigs because someone remembers them from another performance, audition, or gig and wants to hire them at a later
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PAR
T
I
VOCAL
ESSENTIALS
date. So don't lose hope if you don't get the gig the first time. It may lead to something better farther down the road. You have to be true to yourself. Be the best performer you can be. Discover your unique qualities and show them off' Don't just try to imitate your favorite singer; discover your own true voice. Be persistent, always present yourself at < o
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your best, and learn from honest criticism. If you are having trouble handling criticism, or feel unfairly treated, talk to someone who can help you put things into perspective. Keeping negative thoughts bottled up inside or obsessing over negative comments is not productive or healthy. Consider the subjective nature of auditions, and let the experience create an opportunity for you to improve.
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•
Warm-ups
for
All
•
Workout
1.
Basic
•
Workout
2.
Advanced
•
Singing
Harmony:
Voices Workout Workout Two-
and
Three-Part
Exercises
IT
COMPLETE
VOCAL
WORKOUTS
PART
II
FEATURES
COMPLETE
OF THE
VOCAL
WORKOUTS
CD
These exercises provide a complete warm-up and basic and advanced voice-building exercises for singers. The CD contains vocal examples with a rhythm-section <
back-
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ground. The vocal examples appear on only one stereo side of the CD so that you can
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sing along with them, or turn them off to practice with the rhythm section tracks alone.
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To listen and practice with the rhythm section alone, adjust the balance control on
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your stereo to eliminate the right channel. If you transfer the CD to an MP3 player to
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practice, you can simply remove the right ear bud to hear only the instruments. if you don't have easy balance adjustment capabilities on your computer,
Even
you can
still benefit from singing with the voices on the recording. The singers demonstrate authentic style and phrasing models. I feel that it is important for you to hear real voices
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performing the examples. Singers who have worked with this CD have found the vocal guidelines helpful, and often keep the voices sounding even when they are familiar with the exercises.
At the beginning of each track, you'll hear a beginning note and a countoff, and then the exercise begins. You might find it helpful to follow along with the written music in the book until you become familiar with the exercise patterns, the order in which they
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occur in each workout, and the syllables and lyrics used for singing.
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If you are working on particularly challenging exercises, especially
those in the
Advanced Workout, you can go back to the start of the track to review it a few times before moving on.
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Sometimes, the exercises move up by half steps to new keys, and sometimes they modulate down, depending on what part of your voice is being exercised. You'll be able to follow along easily listening to the instrumentals Whe . ·t· b t . n warming up, I IS es to warm up your middle range first then low voice followed b hi h .. ',y Ig range warm-up. This plan ISfollowed in the Warm-up for All Voices.
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_______________
1
WAR
M - UPS
FOR
ALL
V 0 ICE
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The Basic Workout will help you take your singing to the next level. Musical concepts
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such as syncopation, minor scales, and pentatonic patterns are presented in rock, jazz,
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r&b, and gospel style exercises. These are designed to help you develop your range,
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flexibility, and sustaining power.
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The Advanced Workout contains more complex rhythmic concepts, more challenging intervallic leaps, as well as longer phrases. Be sure to maintain energetic breath support, and don't push yourself beyond your limits, especially the first few times you sing
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through this workout. Change the syllables or words to a favorable vowel, such as "00" or "ah," until you become familiar with the notes and rhythmic patterns.
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In high- and low-voice workouts, you will alternately hear male and female voices demonstrate the exercises. Notice that a man's voice always sounds one octave lower than written on the treble clef. This is a concept that most singers adjust to automatically,
VI
without much thought. If you are a man, and a woman is demonstrating the exercise,
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you should sing the exercise in your own octave (one octave lower than the woman's
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voice). If you try to sing in her octave, you will probably be singing high in your range, or in falsetto, and you won't gain the benefits of low- to middle-voice exercises. If you are a woman, and a man is demonstrating the exercise, you should sing one octave
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higher than the man's voice. The Two- and Three-Part Exercises on the last section of the CD are a fun bonus to your singing workouts. By adjusting your balance control, the different voices on these tracks can be individually eliminated for practice. Turn off the left channel to eliminate the high voice. Turn off the right channel to eliminate the low voice. In the three-part exercises , there are two tracks of each exercise. Again, turn off the left channel to eliminate the high voice. Turn off the right channel to eliminate the low voice. Go to the second track to hear the track without the middle voice part. After you work with the CD a few times, you might find that the key ranges of some of the exercises suit your voice better in a higher or lower workout, depending on the
PART
II
COMPLETE
VOCAL
WORKOUTS
style of the exercise. For example, if you are a tenor or soprano, you might discover that the exercises in the low voice workouts fit your voice better. You might even put together a combination of some of the high and some of the low exercises to create your own personal workout. The key is to try both high and low workouts to find what < o
works best for you.
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As you follow the CD's vocal workouts, remember these tips:
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• Watch yourself in a mirror. Look for good posture, facial expression, and signs of
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tension . • Expand around your waist when you breathe. There should be no movement
in
your upper chest. Even quick breaths need to expand around your waist, not at chest level. ."
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• Stop immediately if you feel that you're becoming tired or straining in any way .
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• Keep a bottle of water at hand to help stay hydrated.
Worm-ups
for
• A II VOices
HIS WA RM - U PRO UTI NEwill help prepare your voice for singing.
It is like stretching your legs before you run. Various vowel sounds are introduced, as well as the lip trill, which can be very effective in balancing your airflow and bringing your attention to the buzzing feeling associated with tone that is resonating efficiently-what placement. "
singers call "forward
PART
II
EXERCISE
COMPLETE
1.
VOCAL
WARM-UP
WORKOUTS
SLIDE
This exercise will help you to warm upyour middle voice. Lip trills combined with sliding help induce laryngeal freedom, and help gently stretch your singing muscles. < o
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A lip trill is a loose bubbling sound made with the lips. Imitate the sound of a motor-
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boat by blowing out air, letting your lips bubble, first with no vocal sound, then adding
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voice.
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Lip trills require a loose jaw and steady air pressure. If you have trouble doing lip trills, perform this exercise by rolling or trilling your tongue instead.
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Sing five times modulating up by half steps .
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Range
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J
= 92
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Ab
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Ab/G
t
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Eb
I. Brrr (lip thrill)
brrr
brrr
2.00
_
00
00
3. Ee 4. Brrr
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ee brrr ee
ee --------brrr -------ee -------
S.
Ee
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Ab
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Ab/G
t
Eb/G
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F-
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F-
t
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Brrr
brrr
00
00
Ee
00
ee
Brrr
ee
brrr
Ee
ee
brrr
brrr
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WARM-UPS
FOR
ALL
VOICES
.... EXERCISE
2.
DESCENDING
FIFTH
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This exercise will help you to warm up your middle and lower voice. Sliding helps free up your voice by gently stretching the muscles before you sing. To slide, make a siren sound starting in your middle range, and glide down without stopping on individual pitches.
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Sing this exercise six times, modulating down by half steps each time. Alternate the
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syllables "wee" and "zoo" until the end.
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TIPS •
The position of your throat just before you yawn helps you open up for freer singing. Imagine that open feeling as you slide.
•
Be careful to tune the descending minor third in the last two bars. Keep your breath support active to avoid flatting the pitch.
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Range
>
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J
= 88
F-
'~I'h~tt>s __ ~>s-J 1. Wee __
2. 3. 4. 5. 6.
Zoo __ Wee __ Zoo __ Wee __ Zoo __
Db
F-lEb
wee __ zoo __ wee __ zoo __ wee __ zoo __
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C7(b 13)
iji - -= J = wee zoo wee zoo wee zoo
F-
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,
PART
COMPLETE
II
EXERCISE
3.
VOCAL
WORKOUTS
DESCENDING
fIFTH
RUN
This exercise will help develop flexibility needed to execute the quick moving scale, and the descending pattern helps establish relaxed production as you gradually increase range. < o
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Singing on "Nee, nay, noh, noo" will help you find your best tone placement. Use the "N" to increase your awareness of resonating tone. You should feel a slight buzz in your cheeks or nose on this voiced consonant. If you prefer, substitute "M" on subsequent modulations.
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Sing this exercise six times, modulating up by a half step each time.
TIPS •
Work for clean but smooth articulation of the descendingfifth pattern. Sing the pattern without separating the individual pitches. (Avoid "Nee-hee-hee-hee-hee.")
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Put the initial consonant on the pitch. Be careful that the descending pattern is supported with adequate breath
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energy so the pitch doesn't flat.
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Range
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= 144
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~t~t Nee
~t _
Nay
~t _
Noh
~ _
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Noo
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-
WARM-UPS
FOR
All
VOICES
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EXERCISE
4.
POP/ROCK
z
SLIDE
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This exercise will help you to blend registers by sliding between notes. Continue the gentle stretching of your vocal cords by singing lightly and being careful to energize your breath support.
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IZ
Work to blend your registers in this exercise by sliding between notes that are stepwise. This requires more vocal control than the previous slides, because you are connecting notes of the scale, but briefly stopping on each tone. On the ascending part of the scale, keep a steady flow of air to assist with the upward slide.
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Experiment with other vowel sounds such as "nee," "yah," or lip trills, to equalize all vowels on this pattern. Try to sing all vowels freely.
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Sing this exercise six times, ascending by half steps.
o
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TIPS
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•
Try to sing each 4-bar phrase in one breath.
•
Sing the last note of the 8-bar pattern short, allowing you
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to breathe as the key modulates. •
Minimize vibrato, keeping an even, steady tone.
Range
2
~
J
2
2
•
.7
= 120
J
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F
Bbsus4
Eb
G-
§
J
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j
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Noo
~q Noo
J
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F
Bb
Eb
G-
J
pJ
r
W
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,
PART
II
EXERCISE
COMPLETE
5.
VOCAL
DESCENDING
WORKOUTS
ARPEGGIOS
(SWING) Warm up your middle and lower registers and further develop harmonic awareness by <
singing major descending arpeggios with changing harmonies. Sing each descending
n
note with a slight jazz-style scoop, as demonstrated on the recording.
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Change initial consonants to experiment with different onsets of the tone. Try "W," "M,"
..
and "Y" to increase your awareness of resonating tone. Are some consonants
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to start a tone on than others? Notice which consonants and vowels flow more easily, and try to make all of them equally free. Sing this exercise five times, descending by half steps .
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TIPS •
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Sing this exercise in a swing style with a slight scoop at the start of each pitch, as demonstrated on the recording.
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•
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•
Keep breath support active, to avoid flat intonation.
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•
Take a relaxed breath, but don't overfill between phrases.
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Tune your voice to the changing harmonies by carefully listening and thinking while you sing.
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easier
-
WARM-UPS
®
FOR
All
VOICES
..... '"... z
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Range
Swing
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J
= 138
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C
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z
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A~
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Nee
_
FMaj9
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o
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_
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Noo
...
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BI>Maj7(#1l)
Noh
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PART
COMPLETE
II
EXERCISE
6.
VOCAL
OCTAVE
Finish warming up your middle-to-high
WORKOUTS
SLIDES range with slides, to blend registers. Using
slides can help you access and warm up your high range because you won't be focused <
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on sustaining the high note. You should just slide up, touch on the note, and slide back down .
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Many singers find this exercise successful on "00" vowels or lip trills. "00" helps lift
o
your soft palate for easier access to your upper register. Also, singers tend to use a
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more consistent airflow when singing lip trills, instead of worrying about the pitches or
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tone quality. When you focus on breath rather than tone quality, you often can sing the high notes in your range more easily. At the end of this exercise, the highest notes might be out of range for low voices. Continue with the modulations only as high as you feel comfortable. You can skip ahead
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to the next workout when you've reached your limit.
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Sing this exercise five times, ascending by half steps.
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notes. •
Imagine that your voice glides on a steady stream of breath.
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Keep your voice light, to ascend smoothly to the highest
Imagine the tone vibrating on your teeth, for forward placement.
•
Use no vibrato on slides, keeping the tone even and steady.
-
WARM-UPS
FOR
ALL
VOICES
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Range
J
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=92
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G-
A-
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1. Bm (lip thrill)
bm
bm
bm
2.00
00
00
00
3. Brrr
bm
bm
bm
4.00
00
00
00
5. Bm __
bm
bm
brrr
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bm
bm
brrr
00
00
00
00
Bm
brrr
bm
brrr
00
00
00
00
Bm
bm
brrr
bm
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,
workout
1.
Basic
HE BASIC WORKOUT
workout
isan essential voice-building workout. You will
sing basic scales and patterns to build skills. Before you start the Basic Workout, warm up with tracks 2-7, stretch your body to release tension, and align your body with good posture. For these exercises, low voices should use CD tracks 8--14; high voices should use CD tracks 22-28.
WORKOUT
1
BASIC
WORKOUT
..... EXERCISE
7.
ROCK
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STEPS
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Work to develop flexibility for singing fast-moving notes and riffs on one continuous
co
syllable.
o
...
Sing each 8-bar phrase in one breath, if possible. If you can't make it through on one
......
breath, breathe after the dotted half note in bar 4.
u
lE
z o
...z ...
.. ..
Sing this exercise five times, modulating up diatonically.
o
TIPS •
For the final modulation, make up your own syllables or repeat previous syllables that feel and sound best in your voice.
•
'"...
=o
Use energetic breath support, and don't pulse air on each
....
moving note. Your air should flow in a steady stream.
o
~
co
u
o
8
>
n
V)
22 HI
G H
J
= 138
Rock
~.
-
E-
D-
C
~~.
FIG
~ffl=@~.~J¥ij~.~~
1. Ee 2.00 3. Ee 4.00 5. Ee
_ _ _ _
-¥d. -
C
FIG
CMaj7
~.
~.
----
~
:~
PART
II
EXERCISE
COMPLETE
VOCAL
8.
SYNCOPATION
ROCK
WORKOUTS
Develop coordination and a strong rhythmic concept by singing syncopated rhythms in a rock style. Syncopated rhythms accent an offbeat. Try to sing these rhythms without < o
rushing.
n :D
~
:eo
,.
Focus on your breath support, keeping gentle firmness in your abdomina Is. Don't push your abs too hard. Stay open in your ribs.
"oc: ....
'"
Sing this exercise five times, moving up by half steps.
TIPS •
Take a relaxed, quiet breath in the beginning of the exer-
..,.
cise, and at the beginning of bar 4. Don't gasp or tighten
o
....
'"'
up your throat for the quick breaths. •
Try different syllable combinations, such as doc-yah and
m
way-oh. You can also make up your own scat syllable phrases. Be creative' (Avoid "scooby dooby doo," as it's a jazz cllche.)
'"...
Range
z
",. m
Fast Rock
J
= 144
F-
Db
'~I'j,~t IIGJ~~II Dah
bah
dah _ bah
~~ dah
Dah
Bb-
F-
m~.~t~:~
~!~~~I' ~~~:a=t\3~~~~~ ~ I,~~ 11-= ~ ~ Dah
bah
dah _
bah _ dah Dah bah
bah
dah
WORKOUT
EXERCISE
9.
MINOR
OCTAVE
1
BASIC
WORKOUT
SCALE
..... "z... on
.. >-
Develop flexibility and extend your range singing on a minor scale pattern. Sing legato,
a:
using continuous, gentle air pressure. Be sure not to pulse on each individual note.
.. o
For ease in initiating tone, try usinga voiced consonant at the beginning of each phrase.
...~
"" :E
This will help you keep the tone vibrant and ringing. Try "N," "W," "M," "Y," or "L." Sing this exercise six times, modulating up by half steps.
z o
u
...:c
~
.. .. o
TIPS •
Breathe with a relaxed throat, being careful not to gasp.
•
Keep your chest comfortably high and your ribs open as you sing. Don't collapse as you use your air supply.
...a:
u
o
>
PART
II
COMPLETE
Range
Rock
< o
n :D
~
:co
l!
J
VOCAL
WORKOUTS
•
= 132
A-
A~G
Ee
:D
'"oc ... '"
...
,
A-/D
CMaj7
0 :D
... '"'"'
n 0
z
...
"' z
"
0 :D :D :D
-<
'" ... I
z
..,
I
"'
:D
II
00
~.
t A-/D
E-
CIF
G
A-
.====================~ ah
WORKOUT
1
BASIC
WORKOUT
".to.. �
...
Range
24
Z
.."
'" Rock
J
C-
l&I'I.t
'""
= 132
o "-
C-/B~
..... :IE
--
-
Nee
_
z
o
....
...
.. ".. :I:
o
nay
C-/F
_
E~Maj7
.. '"
'&1'1.
.." ::>
-
-
noo
_
C-/F
G-
E~/A~
B~
C-
, &1'1.
o o
~ ~
'"....o >
nah
_
PART
II
EXERCISE
COMPLETE
10.
LATIN
VOCAL
LONG
WORKOUTS
TONES
Work to extend your breath control to sing the long phrases in this exercise. Deep breaths expanding around your waist paired with consistent opening of your ribs will < o
give you better control over long phrases.
n
... :D
~ o
Use the initial consonant to place the tone forward in your mouth. Try to feel a buzz on
:D
your lips and nose on the "M." This will help establish forward placement to make a
""
resonant, clear tone that doesn't waste your breath.
o c
... '"
Sing this exercise five times, modulating up diatonically.
TIPS •
Check your body alignment, and be sure your chest doesn't collapse, especially as the exercise reaches the higher pitch levels.
n
o z
... '" :II:
"
o :D :D :D
-<
'" ...
...z '" :D
•
Challenge yourself by adding a controlled crescendo and decrescendo within each 4-bar phrase.
WORKOUT
1
BASIC
WORKOUT
.. '"...
LOW
11
... Z
Range
u
'"
>-
'" '"o... a:
J = 92
Latin
'~I ~ GMaj7
Mah
meh
FI3
GMaj7
AbMaj7(#1I)
o--1o mee
moh
~ggj
~~.
moo
..... ........ '".. z
_
z
o
:z:
112.
I.
'$ ~ Bb7
EbMaj7
Ab7(#II)
Ab7(#II)
~t
o~o~~~.
Mah meh mee moh
GMaj7
moo
o
:~~'-'o ~
__
...'" :>
~
_ .......
Range
25 I
o
'"'"
o
H
Latin
~
J
...a:
J
J
Mah
meh
~II
mee
moh
BMaj7(#II)
BbMaj7
Ab 13
BbMaj7
'I
...o
= 92
moo----
J" ---I.
B7(# II)
B7(# 11)
>
§
fl· 112.
BbMaj7
J~"~__ ~@~.~t :II~_" ~II Mah meh mee moh
moo
___
"
PART
II
EXERCISE
COMPLETE
11.
VOCAL
GOSPEL
WORKOUTS
SWING
This exercise will help you develop a good rhythmic concept for singing swing eighth notes and minor arpeggios with basic scat syllables. Make sure that the second note in < o
n :D
~
the eighth-note pair occurs on the last third of the beat. The arpeggios outline a minor chord and are easily tuned with careful listening.
~ o
'"o
Sing this exercise three times, modulating up by whole steps.
:0:
c
...
TIPS
III
•
Don't rush the swing eighth notes. Keep them loose and relaxed.
•
Use the scat syllables in the example, making sure that you don't over-pronounce. The syllables should sound relaxed.
n
o
I
z
... '" z
"o
'" '".. :D
...z
III
"'"
'"
WORKOUT
1
[
BASIC
WORKOUT
'"~
ow
w
12
...
Range
v
Z
II'
>Gospel
J
Anne Peckham
= 132
0-7
G7
~~m : ~-'~~~. =~J ~'1 ~
bah doo ya doo
yah
co
o Q.
0-7
~'2§J~=~J ~'1 Dwee __
..'"
Owee_~
bah doo 'n
Z
w
tZ
o
u w
:c
G7
C7
C#7
0-7
t-
G7
eo
~'~J~~J ~1§~~1,1 day
000 wee
~_. ~
ah
dah
bah
dah
way
.. o
ow
112
J.
II'
,~~.
~~~7~.
C~#~7:~~.
~~_~.
~
t::>
.. o
000
wee
ah
dah
bah
dah
co
dow
dow
o
~
-..
u
o
>
Anne Peckham
~ 3-
Gospel G-7
J = 132
.~.,
G-7
~
Dwee __
day
bah doo ya doo
_
000
wee
~If
~_·~tfg·' ~r~'1~~~ Dwee __
yah
ah
dah
bah dah
C7
a.
,&
~ 000
wee
ah
dah
bah
dah
dow
ow
112.
J.
G-7
way
bah doo 'n
F7
-'
F#7
C7 :~. dow
-'
PART
II
EXERCISE
COMPLETE
12.
JAZZ
VOCAL
SWING
WORKOUTS
SCALE
Continue to explore a swing eighth-note feel in this exercise with scat syllable articulation. You will also be working on range extension. Work to increase breath control in < o
n
'"~
order to sing the first eight bars in one breath. Add breaths at bars 4 and 12, if you can't sing this in two long 8-bar phrases yet.
~ o
'"'"o c
Sing this exercise six times, modulating up by half steps.
.. ...
TIPS •
Keep the articulation of the scat syllables forward in your mouth, at the tip of your tongue. Articulate lightly in a
.. 0
...'" '" m
I
n 0
...z m Z
" 0
'" '"
.....'"... z
'" m
'"
relaxed ma nnero •
Lighten up your voice as you ascend, for ease on the highest notes.
______________
W_O_R_K_O_U_T_l_1BAS lew
0 RK0 U T
a:
13 v
J
...... z
....
Range
>a: a:
a: Jazz Swing
o "-
J = 144
$'ij'j7
A-7
... :IE
B-7
...z o
u
Dot
dah bah dot,
'¢~
doo
CMaj7
doo
ya
doo
'n
ya
doo - 'n
dot,
D7/F#
dot,
Dot
Dot
000
ya doo bah doo- 'n
E-
a:
E-
dah bah dot,
doo
~~g,D7/F#
dah bah dot,
G
G
dah
Dot
o
... ya
doo - 'n
dot,
D7/F#
..... :>
dah bah dot
D7/F#
doo ya doo-' n dot,
dah
bah
~ ~ a: u
dot
doo
ya
doo - 'n
dot
dot
07
doo
ya
doo - 'n
o
'"a:o
CMaj7
~l#Ej ~~-~-Dot
...:z: ...
dot
Dot
doo
ya
doo - 'n
dah
G
dah
bah
dot
o
>
PART
II
EXERCISE
COMPLETE
12.
JAZZ
VOCAL
SWING
WORKOUTS
SCALE
Continue to explore a swing eighth-note feel in this exercise with scat syllable articulation. You will also be working on range extension. Work to increase breath control in <
order to sing the first eight bars in one breath. Add breaths at bars 4 and 12, if you
:D
can't sing this in two long 8-bar phrases yet.
... o
~
:l! o
'"'"o
Sing this exercise six times, modulating up by half steps.
.. c
...
TIPS •
Keep the articulation of the scat syllables forward in your mouth, at the tip of your tongue. Articulate lightly in a relaxed ma nner.
...o ...'" :z: m
...o z
...
m :II: "0
., o
:D
'"-<
..... z
n m
'"
•
Lighten up your voice as you ascend, for ease on the highest notes.
-
WORKOUT
I
1
BASIC
WORKOUT
a:
13 v
/I
... "...z
Range
.... a:
a:
a:
J
Jazz Swing
o "-
= 144
G~7
~
z
...
~
'#!I====~=
1~ Dot
dah bah dot,
I-
z o
u
doo
ya
doo - '0
dot,
-,#~ ~~t_ CMaj7
doo
D7/F#
ya
doo
'0
dot,
D7/F#
Dot
dah bah dot,
G
Doo ya doo bah doo-
'0
001
doo
Dot
... :I: I-
a:
E-
G
dah
dah bah dot,
o
... ya
doo -
'0
dot,
D7/F#
.. I-
::>
dah bah dot
doo ya doo-
'0
dot,
o
'"a:
o
~
...
a:
u
Dot
dah
bah dot
doo
ya
doo -
dot
'0
dot
D7
doo
ya
doo -
'0
dot
001
doo
ya
doo -
dah bah
G
'0
dah
dot
o
>
\
'"
PART
COMPLETE
II
VOCAL
WORKOUTS
Range
< o
n
... :D
:Ii
.. o
J
.r~g:~~ Jazz Swing
Dot
= 144
dab bah dot,
dOD ya
doo - 'n
dot,
Dot
dah
bah dot,
;0:
o c
... '"
doo
ya
doo
G7(B
...o
..... ..
Dot
dot,
'n
C
C
'~~'§t~ 000
ya doo bah doo- 'n
dOD ya
dah bah dot,
Dot
dah
doo - 'n
dot,
G7(B
doo ya doo- 'n dot,
dah bah dot
:z:
n
o
..... z
:II:
"o..
A-
FMaj7
G7(B
~=t?~~~~ Dot
dah bah
dot
doo
ya
dOD- 'n
dot
dot
dah
..... :D
...'"z "
....
doo
ya
doo - 'n
dot
Dot
dOD ya
doo - 'n
dah
bah
dot
-
WORKOUT
1
BASIC
WORKOUT
..'"
EXERCISE
13.
LATIN
VOCALISE
This exercise will help develop agility and flexibility with dynamic contrast. Sing this exercise with a light, dancing feel. Use any syllable or combination of syllables that you like. Or better yet, create your own lyrics.
..."
.. z >
'" ...'"o a:
.. '"
IZ
Coordinate breaths as marked in music. Don't skip breath marks. You might end up straining, or become out of breath in the middle of a phrase.
o
.. v
:z:
I-
Use varied dynamics that follow the shape of the melody (softer on lower notes, louder
.. '"o
on higher notes), building to mezzo-forte in the bridge of the song. The etude is performed twice on the CD: once with the vocal, then the second time featuring just the instrumentals, to give you a chance to try the piece without the lead
~ o
.. TIPS
•
Sing with straight eighth notes throughout.
•
Eighth-note runs should flow evenly without pulsing air out on each note (not "nah-ha-ha-ha-ha").
•
Try singing on "00" as heard on track 14 or "ah" as on track 28.
•
.. I-
vocal line.
Watch out for the accidental in bar 24.
'"
o
~ ~ a: v
o
>
,
PART
COMPLETE
II
VOCAL
WORKOUTS
LOW
~
»
Range
~
/
.«
~
.. 7 Latin Vocalise
<
~
J
Anne Peckham
= 160
oro
C
o
... :D
~ ~
~
o :D
A-
"oc
0
''--~'
....
'"
J 00
_
--------.
oro
C
------
."
o :D
.... :z:
...
...o
00
z
....
... " o
_
:0:
:D :D :D
...
lID
C/E
FMaj7(# 11)
~' ~
~
'"...
., z
... :D
FMaj7(# 11)
J 00
_
t '"
WORKOUT
c
1
BASIC
WORKOUT
.. '"
oro,
z "...
'"~
'"'" o '" a.
mp
,.
..
IZ
o
.. u
'"
I-
'"o... 00
_
1.
Ab
sb
112. C
'" I00
_
::>
o
'"'"
o
-
~
'o" u
>
PART
II
r-.
'~i'l.
~ o
..,
:D
e-
WORKOUTS
H
Latin Vocalise
<
VOCAL
Range
28 HI
COMPLETE
Eb
~
J
Anne Peckham
= 160
Bb/D
g 00
_
~ o :D
"oc:
.. ...
.. o :z:
t
..,
~~I.~~·?~~
:D
... ...
c-
:J,
B b -lAb
Eb7
o
z
......
00
_
z
...
o
:D :D :D
... ...z
..
[ill
AbMaj7(#1l)
Eb/G
, ~II I~
00
_
... Cl
:D
00
,
I.
AbMaj7(# 11)
~ I.
_
Eb/G
' 00
_
00_
-
WORKOUT
1
BASIC
'~I'!, '~lll'~.~ ----'~I'!,~~. ~~.
[g
Eb
WORKOUT
.... ... '"
Bb/D
z
..
'"
'" o '" a:
mp
c-
Bb
z t-
Z
~
Ab
0-7
00
I.
F-
Bb7
B
Db
,~!'I.~§'~~.~S§. 00
o 00
_
C-7
u
:z: t-
'"o... _
112. Eb
~:~~. " _
.. .. Q,
..
'" to
'"'"
o
~ ~ a:
u
o
>
,
workout
2.
Advanced
workout
OR SIN G ER S looking for more challenging range and flexibility exercises, the Advanced Workout will broaden your skills. If you are beginning your workout here, be sure to stretch your body, take a couple of deep diaphragmatic breaths to anchor your breathing, warm up your voice with the Warmup for All Voices, then follow along with the next set of exercises.
If you
have already sung the Basic Workout and are continuing with the Advanced Workout, be sure you don't over do it, especially if you haven't been singing regularly. If any exercise feels out of your range, stop, and be sure you're not pushing.
This vocal workout requires more stamina, range, and stylistic acumen. Try to create a free, relaxed sound. Work to maintain energetic support so that your voice doesn't tire. Your energy should come from the center of your body, not from your throat. Maintain a loose jaw and neutral posture, and have Iun'
WORKOUT
2
ADVANCED
WORKOUT
....'" u
EXERCISE
14.
ROCK
VOCALISE
z
... "' >-
This exercise will help you develop agility singing fast pentatonic patterns in a rock style. Pentatonic patterns are used in many styles of contemporary music, including
a: '" o '" Q.
r&b and rock. This exercise can also help you develop a basic vocabulary for improvising or embellishing melodies. Work for clean, accurate note articulation.
Z
....
.... z o
... Sing this exercise three times, modulating each time up by a half step.
TIPS •
.... :z: ....
'"o...
Keep a clear tone with no added rock-style grit to the sound.
•
Sing the "H's" lightly so that you don't blowout too much air.
•
Slight diaphragmatic accents will give the line kick, but don't punch too much with the breath. Bring your attention to maintaining steady breath support.
"'.... :::>
o
'"'" o
~
...a:
...o >
PART
COMPLETE
II
VOCAL
WORKOUTS
LOW
15 v
Range
Anne Peckham
J
Rock
< n :D
~ ~ o
C/O
F7
~~~ Hey __
c-
hey __
hey __
F7
Z ."
,.
o
..,,. :D
...z ",. C/O
..
Hey ---
B~
A~
F=
,-3---,
~~~ '--'
'--'
~
hey _
hey _
hey _
hey,
B~
Dah bah dah dah
F-
A~
Hey
dah bah dah bah dah,
Dah bah dah
{j}
'~IIII~. '~ _~~II~I, .. Last Time to Coda
z
hey,
F7
==='
>
A~
o
hey __
C-
d'
l~'\~> '--" hey _
n
, F7
~~~~~§
~-
..'".... .... ..
C-
'~llllt~.
,. '"oc ....
= 100
c-
o
_
hey
hey
{j}
Gsus
07
A~
07
C-
~:~~~~~~&
oh
Hey __
hey
~
'----'
hey _
oh
_
WORKOUT
�
ADVANCED
WORKOUT co
,-
:~
Range
29
2
w
"...
.... Z
co
Anne Peckham Rock
J
= 100 F-
Q.
F-
B~7
4&1'1,&1 hey __
B~7
hey __
hey __
4&I'I'&~~' hey _
~
hey,
B~7
F-
_
hey_
hey,
o
...
Hey D~
_ E~
~~.
hey_hey
:IE w IZ
B~7
.'
Hey __ F-
~
Dah bah dah
E~
D~
C7
I-
:::>
"co
hey
hey
F-
C7
b====n.
~:i~f-~I'~f-~~~~~~~~::c::::E3~~~~ ~~ I!~ II
oh
:~
Hey __
.. o
o
Hey __
-$-0 ~
co
..
B~-
~4&~""&~~~~' ~~~~ dah bah dah bah dah,
w :I: I-
Dah bah dah dah
Last Time to Coda -$-
O~
Csus
'"coo
hey
hey _
oh
_
o
~ ~
'"...o >
PART
II
EXERCISE
COMPLETE
15.
LATIN
VOCAL
WORKOUTS
OCTAVE
SKIPS
This syncopated Latin style requires quick air intake. This exercise will help you develop coordination for quick breaths, as well as note accuracy for singing various intervals. < o
..... .. " .... n
Sing this exercise three times, modulating up by half steps .
~
TIPS
o o
c:
•
Work to keep your tone quality even and blended.
•
Take quick breaths every two bars, keeping a relaxed throat. The breaths should be quiet, and the inhalation action should quickly expand at your waist.
•
Put the consonant "M" exactly on the target pitch, with no scooping, to ensure accuracy.
WORKOUT
2
ADVANCED
WORKOUT
'" w
L 0 WI'
16
"... Z
Range
v
..
'" Latin
J
Anne and Rick Peckham
= 138
'~!It t§~~~,--" ~~~ '~!I~ »r~~~ Legato
Ep/G
Bp
Mah
may
Bp(F
Mah
mee _
F
'-'
'--"
Mah _
Bp/D
Ep/G
l~!:,J¥f ~ may
mee_
Mah _
moh ,
'"... o
Bp(F
~ mee
may
Bp
may mee _ moh
Ep
_
rnoh
L,
"w... Z
o v
moh_
w
:z:
...
Bp
may _
mee Bp
Mah may mee _ moh
'"o...
Mah may mee _ moh Ep(F
Mah _
may _
Mah ,
»r~ Bb
$!i4
'"a:
mee
PART
COMPLETE
II
VOCAL
WORKOUTS
Range Anne and Rick Peckham Latin
< o
n :D
~
..
J
= 138
C
Legato
F/A
C/O
~~s:=¥¥dE,---,,~~~~§ Mah
may
mee _
moh
Mah _
may
mee -
moh -
o ==
'" o c
.. ....
C/O
G
l~~ Mah
may mee _ moh
F
...
.. 0
[
....
II
'" m
n 0
z
.... m Z
"
.. 0
.....
:D
..... z
..'" m
C/E
Mah _
'·N~ _
may
mee _
C
C
moh ,
F/A
may _
mee C
~ Mah
may mee _ moh
F/O
Mah
C
:~ Mah may mee _ moh
Mah _
may _
mee
WORKOUT
2
ADVANCED
WORKOUT
...'" EXERCISE MONDAY")
16.
JAZZ
WALTZ
(UMAYBE
ON
"...
.... :IE
'" '"o.. a:
This exercise will help develop note accuracy and range with ascending arpeggio patterns. The lyrics intentionally include many voiced consonants such as "M," "N," and
"w."
These consonants help you feel your voice resonate in your "mask" (cheeks,
nose, forehead, teeth, and the front of your mouth). Sing the entire piece two times through as written.
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TIPS •
Lightly articulate the lyrics, keeping the consonants on the ti p of you r tongue.
•
Be careful to sing the pickup notes to each phrase accurately. The tempo moves fast, and you have to think ahead the first few times you sing this to sing the pickups in tune.
•
The etude is performed twice on the CD: once with the vocal, then the second time featuring just the instrumentals, to give you a chance to try the piece without the lead vocal line.
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PART
COMPLETE
II
VOCAL
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17 v
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II
COMPLETE
EXERCISE FOR
17.
VOCAL
WORKOUTS
R&B POP/PENTATONIC
(HWAIT
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This exercise will help you develop agility and a strong rhythmic concept singing pen< o
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Notice that you enter on beat 2 in bars 1, 5, 9, etc. and that you enter on the "and" of the beat, or the upbeat, in bars 3, 4, 7, 8, etc. Count as you sustain the first long note in bars 1 and 2. (If you lose count, it will be difficult to make the next entrance correctly)
Sing this exercise twice through, as written.
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TIPS
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Balance your voice so all notes blend and match in color .
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Sing at a slower tempo to study, and speed up to tempo as you learn the patterns.
each 4-bar phrase.
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EXERCISE 18. (UHEY YAH")
R&B
PENTATONIC
PATTERN
This exercise will help you develop agility singing pentatonic patterns. Each 2-bar phrase should be performed in one breath. Keep your ribs open as you sing to gain maximum control, especially on the ascending lines.
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Crescendo on ascending lines; decrescendo on descending lines.
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EXERCISE (UBAH
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19.
BAH
VOCAL
ROCK
,
WORKOUTS
PENTATONIC
ARPEGGIO
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In this exercise, develop accurate, fast articulation on a pentatonic pattern in rock style. <
This will help you extend your range and improve your accuracy. Each pentatonic
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pattern repeats in faster rhythmic units, beginning with the scale sung in half notes and
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ending with the pattern in eighth notes. Sing each phrase in one breath.
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Sing this exercise five times, modulating up by whole steps.
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Articulate the consonant "8" lightly, without pressure, especially in fast eighth-note arpeggios at the highest pitch levels.
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EXERCISE
20.
JAZZ
BALLAD
ETUDE
This jazz ballad vocal studywill help you develop a relaxed, free tone and efficient breath management. Sing with smooth, connected movement between notes throughout.
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Dynamics increase gradually, peaking in bar 10, then gradually decrescendo from bar 10 to the end.
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II
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Singing Harmony: Twoand Three-Part
•
Exercises
hen you first practice these exercises, begin by listening to the demonstration track with all voices, to get a feel for the style. Then work with the tracks by omitting each voice. In the two-part exercises, the top voice is in the left channel, and the bottom voice is in the right channel. Play the track with both voices featured to learn either part you like. Then use your balance control to eliminate the part you have learned, and sing along in harmony with the other part. For example, if you choose to sing the top part in track 36, you can sing along with both voices until you feel secure with the notes and rhythms. Then use your balance control to eliminate the part you have learned, to see if you can sing your part in harmony with the other voice. Challenge yourself to try to sing each of the different parts, one after the other.
To separate the three voices for individual study in the three-part exercises, there are two tracks of each exercise. In the first track of the exercise, the top voice is in the left channel, the bottom voice is in the right channel, and the middle voice is in both. To eliminate
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SINGING
HARMONY:
TWO-
AND
THREE-PART
EXERCISES
the top voice, adjust your balance to the right. To eliminate the bottom voice, adjust your balance to the left. To hear the top and bottom without the middle voice, go to the next track. Learn one part, then work to maintain your vocal line with the other voices. Practice singing in tune, and develop basic skills for singing background harmonies.
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PART
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EXERCISE
COMPLETE
21.
VOCAL
TWO-PART
WORKOUTS
POP/ROCK
(UWHO") Simple lines with contrary motion challenge you to sing independently
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harmony voice part. The top line requires attention to support so that the tone doesn't become flat as the line descends. The bottom part contains some harmonic nances that resolve quickly. This will help you develop your ear and accuracy.
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The top voice part is in the left channel, and the bottom voice part is in the right channel. Use your balance control to eliminate one part, so that you can sing along in harmony with the other.
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You can choose to sing either part, or play the track several times and learn both vocal parts. Take a breath every two bars.
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HARMONY:
TW
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COMPLETE
II
EXERCISE
22.
VOCAL
TWO-PART
WORKOUTS
C~GOT
R&B/POP
TO
BELIEVE") Developyour vocal skills tuning in thirds with another voice. The articulation of quick rhythmic patterns alternated with longer patterns will challenge you to sing musically,
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with variety in phrasing and dynamics.
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HARMONY:
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PART
II
COMPLETE
EX ERe IS E 2 3.
VOCAL
WORKOUTS
TWO - PAR T FUN K
C~T A K E
A
BREAK") Developrhythmic agility in this exercise. You will have to enter quickly and accurately < o
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for short bursts of harmony in thirds. In the bridge section, voices sing very close harmony-a dissonant interval of a second, resolving to a third. This requires careful listening and tuning.
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Listen to the singer doing a quick bit of improvisation at the end of the second repeat. Can you add other riffs or phrases that fit in this style? Experiment with a bit
III
of improvising.
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COMPLETE PART
VOCAL
WORKOUTS
II
EXERCISE (HLET
24.
THREE-PART
COUNTRY/ROCK
ME TRY")
This three-part exercise has several syncopated rhythms. Work to accent the offbeat < o
n
..
rhythms to bring them out. The voices sing in close harmony with uniform rhythmic movement in all parts. Synchronize your entrances and cutoffs with the other voices
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for the cleanest sound. The exercise is performed two times through on each track.
.. ...
TIPS • Count rests carefully, to be sure that each entrance is accurate . • Use the balance control to isolate the top and bottom voices on track 39. Use track 40 to hear the exercise without the middle voice.
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25.
VOCAL
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for singing the fast-moving turns. Be sure to breathe at the end of bar 4.
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After learning your own voice part, pay careful attention to the other vocal parts to be sure you are tuning accurately.
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BLUES
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This exercise is performed two times through on each track.
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Accent the syncopated rhythms at bars 3, 6, and 9.
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What
Next?
HAN K YO U for reading and singing Vocal Workouts for the Contemporary Singer. I hope that these techniques and exercises lead you to stronger, healthier, and more musical singing. If you would like to learn more about vocal technique, information in my other book, The Contemporary
you might find the
Singer (Berklee Press,
2000), to be helpful in learning about the physiology of the voice and how It relates to singing technique. To help advance your basic musicianship skills, you might also benefit from study of an instrument such as guitar or piano. Playing an instrument
can help you develop confi-
dence to learn and sing songs on your own. It also can help fuel your creative instincts and might develop your interest in writing original songs.
Look for opportunities to network with other musicians, as this will create performance opportunities. Be flexible and be resourceful.
,
-~~---
WHAT
NEXT?
Have a performance goal. A recording session or any kind of scheduled performance will give you a goal to work toward. Many communities have arts councils, theater groups, coffeehouses, and places of worship where musical performances are regularly scheduled. Also, look for advertisements for open mic or karaoke sessions to
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further your performance skills.
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The Amazing Slow Downerand
Transkribeare computer programs that have the capa-
bility of changing the tempo of songs without altering the pitch. They also can alter the pitch without changing the tempo of songs. You can use these programs to study fast riffs and solos of great singers. These programs provide a way for vocalists to learn
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directly from masterful performances. (Note that the farther you get from the original recording either in tempo or pitch, the more warbled the sound gets.) You also can slow down tempos on the workout CD of this book to study the more difficult exercises, or even change the keys to a more comfortable pitch. They also provide an easy means of looping material. Small sections from one to two bars can be repeated on a loop for
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more intensive study.
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For more information
sources
and updates,
please check out my Web site
~ ~ a:
www.annepeckham.com
. You also can find educational materials and resources at
www.berkleemusic.com.
I hope that you have found this book to be useful, and I wish you the best of luck in your musical endeavors.
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About
the
Author
NNE PECKHAM
is a singer, voice teacher, and author. A professor
in the Voice Department at Berklee College of Music, her work as a teacher and her publications
have influenced
popular singing peda-
gogy worldwide. Her approach embraces the foundations
of good vocal
technique, while building singers' skills in jazz, pop, and rock music.
At Berklee, she contributes to the voice program in many ways. In addition to teaching private voice lessons, she continues to develop curricular
materials for Elements of Vocal
Technique, a required course for all of Berklee's 600+ voice students.
Her work at the
college, including Berklee's Musical Theater Workshop and the Berklee Concert Choir, has helped enrich the musical experience of hundreds of students over the years. Alumni of Anne's classes and lessons include Susan Tedeschi, Juliana Hatfield, and many other professionals in the music industry.
Vocal Workouts for the Contemporary Singer is Anne's fourth publication
with Berklee
Press. It is the companion to The Contemporary Singer, a book/CD set that was recently
ABOUT
THE
AUTHOR
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released in a Japanesetranslation.
She isalsoauthorof Singer's Handbookin the Berklee
In the Pocket series and Vocal Technique: Developing Your Voice for Performance, an instructional
DVD released in 2004.
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A member of the National Association of Teachers of Singing, Anne served as vice president on the Boston chapter's board of directors. She has traveled extensively as a clinician and adjudicator for song and choral festivals in North America and Europe. Her master classes and vocal pedagogy seminars for students and teachers focus on approaches to rock, jazz, pop, and r&b music.
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Anne sang with the Tanglewood Festival Chorus for four years, performing on two recordings with the Boston Pops, including a featured solo in their televised Gilbert and Sullivan presentation, which aired on PBS. She has performed with regional theater companies, has worked as a professional soloist with area church choirs, and performs frequently in recital and cabaret venues.
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College Credit Online Certificate Programs And Courses Now Ava Hable From
Berklee Imusic. com ex ~ ... 01 tm
Areas of Study Include:
o Production o Theory, Harmony, & Ear Training o Songwriting o Arranging o Music Business o Guitar
r
$
U.S. $24.95 ISBN 0-87639-047-5
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HL50448044
1I11I1111111111111111111
9 780876390474
