Singing for the Stars

f f i 4 F h t

I

Foreword

rT '-lhe

wide diversity of singing styles that exists in the world today demands a singing technique-a way of using your voice-that can be applied in the performance of all those styles. If a singing technique can't be applied to eaerystyle of singing, something is wrong with that technique. That's the premise we began with when Alfred Publishing Company's editors I and discussedthe development of a totally new kind of book about singinS. We wanted to do something that had never been done before-publish a book that actually taught people how to sing. But where would we find the author? There was only one PersonI knew of who could fill such a tall order-Seth Riggs, consideredby many to be the best and most successfulvoice teacherin the United States. He is certainly the busiest. No other teacher,past or present,has ever matched his phenomenal track record. His "Who's Who" of singers,actors,dancers,and entertainers students are a veritable throughout the world.* When you first meet Seth Riggs, you are overwhelmed by his dynamic personality, his flair for the outspoken, but most of all, his senseof purpose-his "mission" to clean up the messbeing made of singers' voices by voice teachersin schools,colleges,and private studios everywhere. The day I met with Seth about the possibility of putting his method in writing "Impossible,people could benefit from his work, his initial reaction was, more so you can't learn to sing from a book!" Well, I could understand his point of view. When Seth Riggs teaches,it's strictly on a one-to-onebasis. He quickly diagnosesa singers'svocal problems and then prescribesspecific exercisesto correct those problems. It's a very individual Process,one not easily adapted to the printed page. But we decidedto give it a try. Ithad to be done. I proceededto do my researchand to observehim closely over a period of severalmonths, trying to find a general or systematicapproach to something that, there was no question about it, was working miracles! The first time I sat in on a lesson,I thought I had gone to singers'heaven! Seth had his students doing incredible things with their voices-things you would have thought only those with a great natural gift could do. In the weeks that followed, "star" clientele he has most of the students I observedweren't even part of the becomeso famous for. But they soundedlike stars. Like so many others,thesesingers-young and old-had struggled un"voice teachers"to increasetheir range and successfullyfor years with other *

SeeAppendix for a listing of his clienteleon pg. 138.

vii

S/NG/NG FOR THE STARS

improve their tone quality. with Seth Riggs,however, the resultswere very different, and achievedin a very short time. You see,the Riggsmethod is application.Although he likes his studentsto understandthe basicprinciples underlyinghis method, he feelsthat just telling you how your voice *orit doesnothing to help you sing. You have to know how to get it to workt Well, finally the "impossible"had beenaccomplished.The manuscript was complete,as well as an audio tape that actually demonstrateshow to do the exercises usedin the training program. Yet, somethingwasn't right. oh, it was all there-the theory, the exercises, all the facts. But that special quality of the man you experiencebetweenthe actual momentsof instruction-his charisma,if you like-was missing. To remedythis, we includeda sectionentitled "The Author Speaks out," in which seth talks more informally about his method and responds very frankly (that is his way) to the controversialissuessurroundingthe teachingof singing in this country and abroad. I am confidentthat readersof this book will appreciateand utilize its direct, no-nonsense approachto developinga workable vocal technique-to begin Singing For The Stars.

The Editor

vl|l

Preface

"Open "Place your throatl" the tone fonn'ardl" Oi.,g from your diaphragml" "Give "Keep your it more supportl" Sound familiar? tongue downl" The language of voice teachers and choir directors abounds in such confusing and dangerous clichds. Every day, singers who never question "wisdom" of their teachers manipulate and strain their voices until one the "burned out." day they discover their voices are What most teachers never seem to understand is that you don't need to think about twenty different things every time you open your mouth. And you don't need to study singing for more than a few weeks before you begin to experiencepositive results. It doesn't matter whether you sing pop, rock, opera, or musical theatre. You should sing with a technique that allows you to just relax and concentrateon performing-which is what it's really all about, anywayright? This author has worked successfullywith hundreds of singers, actors, and dancers-top professionals-in all areas of musical performance and entertainment. And although some may not sing as well as others, all have achieved the ability to always sound confident and natural when they sing. Their secret is a technique called speech-leuelsinging, which allows you to sing with the same comfortable, easily produced voice you use, or should use, when you speak. No matter if you sing high or low, loud or soft, nothing feels different in your throat or mouth. Your tone and the words you sing always feel natural to you, and sound natural to your audience. With this book and the accompanying cassettetapes, you can now learn the same singing technique the pros use-one that will let you sing with a strong, clear, and flexible voice over a range that you never dreamed possible. But it does take patience and the ability to follow instructions carefully. Good luckl I wish you all the successin the world.

Jn,b tx

Contents

Foreword Preface

vii ix

About theAuthor Introduction How To Use This Book

11

Basr, Principles 13 How Your VoiceWorks:The Creationof VocalTone 13 V o c a lC o r dV i b r a t i o n- W h e r eY o u r V o i c eB e g i n s 1 4 B r e a t hS u p p o r t 1 6 VocalCord Adjustment 23 - W h y Y o u r V o i c el s U n i q u e 2 5 Resonance PhysicalSensations 26 W h a tT o R e m e m b e r 2 7 H o w Y o u r V o i c eW o r k sB e s t :T h e N a t u r a T l e c h n i o u eo f Speech-leye Sli n g i n g 2 8 - A FoundationFor Vocal Freedom 29 Your Speech-level Speech-leve Sli n g i n g- F e e l i n ga n d S o u n d i n gN a t u r a l 32 S i n g i n gL o w N o t e s 3 2 S i n g i n gH i g h N o t e s 3 2 The PassageAreas of Your Range 33 S i n g i n gT h r o u g ht h e P a s s a g eA r e a s 3 3 V o c a lC o r dT h i n n i n g 3 5 VocalCord Shortening 35 What to Remember 35 How To Get Your VoiceTo Work For You: The TrainingProcess 36 DevelopingCoordination-TheFirstStep 36 B u i l d i n gS t r e n g t h - A l l i n G o o dT i m e 3 7 What To Remember 37

xi

d*ttl ffis

conftdence

Exercise1 Exercise 2 Exercise 3 Exercise 4 Exercise 5 Exercise 6 7 Exercise Exercise 8 Exercise 9 E xe rcise 10 E xe rcise 11 12 E xe rcise 13 E xe rcise

40 44 46 48 52 54 58 60 62 64 66 70 72

Qart:/ Toward Speech-LevelSinging 14 E xe rcise 15 E xe rcise E xe rcise 16 17 E xe rcise 18 E xe rcise E xe rcise 19 Exercise20 Exercise 21 Exercise 22 Exercise 23 Exercise24 Exercise25 Exercise 26

xll

76 78 80 82 84 86 88 90 92 94 96 98 100

75

tuuJTechniqueMaintenance E xe rci se 27 E xe rci se 28 E xe rci se 29 E xe rci se 30

103

1 04 1 06 1 08 110

TheAuthor SpeaksOut

113

G e n e r aQ l uestions 113 C l a s s i f y i nV g o i c e s 11 3 R a n g eE x t e n s i o n 1 1 4 T o n eD e v e l o p m e n t 1 1 6 U s i n gM i c r o p h o n e s 1 1 7 S i n g i n gi n D i f f e r e n S t tyles 117 S i n g i n gO u t d o o r s 1 1 8 C h o o s i n ga T e a c h e r 1 1 8 E x p l o i t i nS g tudenV t oices 119 V o i c eS c i e n c e 1 1 9 Performersas Teachers 121 S i n g i n gi n C h o i r 1 2 1 Choir Directorsas VoiceTeachers 123 P o p u l a rM u s i ca n d T r a d i t i o n aTl e a c h i n g 1 2 3 S e l e c t i n gM u s i c 1 2 4 S i n g i n gi n F o r e i g nL a n g u a g e s 1 2 5 Practicing 126 S i n g i n gi n R e h e a r s a l s 1 2 8 VoiceCompetitions 129 The YoungVoice 129 T h e A g i n gV o i c e 1 3 1

xill

Hmlth and Carcof theSingefs Voire

132

YourPosture 133 BadHabits 134 UsingAlcoholandDrugs 134 Smoking 135 EatingBeforeSinging 135 YourCords 135 Shocking Volume 135 UsingExcessive OtherFactors 136 lmitation of OtherSingers 136 136 ThatDon'tWork Remedies 137 VocalRest Unnecessary Emotional Stressand Fatigue 137 Hormones 137 YourEnvironment 137

Appendix

138

Glossary

142

CassetteTapeand Compact DiscIndcx

xiv

149

Aboat theAuthor

.Ir, ,t " middle of his concert at the famous Forum in Los Angeles, superstar Stevie Wonder stopped the show to acknowledge, in front of thousands of fans, a man who has had much to do with the successand longevity of his vocal career. He wasn't referring to his manager or record producer. He was referring to Seth Riggs-his voice teacher. And, this isn't just an isolated case. Grateful stars often give credit to this man whose unconventional methods allow them to use the main vehicle for their talent-their voice-to its maximum degree of efficiency and effectiveness. Whether he has to go on location to a movie set, a concert date, or a recording studio to help a Natalie Cole, a Jeremy Irons, or a Michael JacksorySeth Riggs has helped many a star-and nervous producer---out of a jam. Recently he gave Waylon fennings a voice lessonby telephone. The country singer was in Tahoeto open a show with his wife JessieColter and his voice was ailing. It was Jennings' first contact with Riggs. However, Riggs was able to get the singer's voice in shape quickly with just a few special exercises. Seth Riggs's vocal technique and the methods he uses to teach the technique were forged and tempered by the fierce demands placed on the world's top performers, who must often perform several shows a night-night after night! A great deal of money is always at stake, so his clients' voices must be able to function easily,without strain. It is no wonder that whenever singers come to Los Angeles from other parts of the world, producers, directors and fellow performers send them to seehis master vocal technician. Seth began his careerat the age of nine as a boy-soprano singing music of Bach and Handel at the Washington National Cathedral in Washingtory D.C. His later training, however, reached into all areasof the performing arts. He studied acting with Lee Strasberg,Sandy Meisner, Bobby Lewis, and Frank Silvera and dancing with Peter Gennaro, Matt Mattox, and Luigi. He studied voice with John Charles Thomas, Robert Weede,Tito Schipa, and Keith Davis, and did repertoire coaching with Pierre Bemac, Matial Singhea Leo Thubman, Charles Wadsworth, fohn Brownlee, Hans Heintz, and Louis Graveure. He joined his first professional union, Actor's Equity, two years before completing his undergraduate degree. After that, he becamea member of all the performing unions: AFTRA, SAG, AGVA, AGMA, as well as ACRA (the Association of Canadian Radio Artists).

1

S/NG/NGFORTHESTAHS

on He spent ten years in New York City' For three years he performed Opera' City York New Broadway, and for six seasonshe was a guest artist with the greatest that his Yet, in the midst of pursuing his own singing career,he discovered him, singers with lessons few a taking After talent lay in his ability to help others. could they than consistently and were able to use their voices^*or" "g'nfitely usinganyconventionalapproach.Tnrsencouragedhimtotaketeachingmore seriously. so wellrarty in his new career/seth's successwith his students became to convince He tried him. wiih study to known that many singers left their teachers success. without but other teache* oith" merits of his teaching method, were frowned on by Nonconventional methods, no matter how well they worked, Associationof the teachingesiablishment. He was kicked out of the National he taught' Rejectedby Teachersof singing and lost positions at the collegeswhere he has establishedthe the establishment, Riggs heaied west to Los Angeles, where most versatile school of vocal technique of our time' and music with $330in his pocket, and.a rented truck carrying his motorcycle Ann-Margret (sent to scores,he arrived ln l.e. His first show business client was "belting" too hard-while singing and dancing in him by Allan carr), who had been St{ley iut V"gut. Next, Bob Fosseand Gwen Verdon hired him to prepare New York by in retained also was He Charity. Sweet movie the for voice Maclalne's and Hal Prince to Richard Rogers,Alan Jay Lerner, Jules styne, David Merrick results grew, so did teach their irincipal ,ir,!"rr. And, as his reputation for getting to recommend a his list of star clientele. br"gory Peck once asked Frank Sinatra seth Riggs' Mr' see to him sent good voice teacher for his son Anthony-sinatra to study with Geoffrey sinatra also suggestedto Roger Moore that he send his son voice teacher' Seth. Mr. Rlggi is considered the entertainment world's top recording, and screen, stage, the for known But, altlh'oughSeth Riggs is best won over a half of a have students television p"rroriuliti"s he il"orks with, his other last ten the over million dollars in prizes, grants, scholarships,and fellowships Winners, Chicago's years. These u*urd, inclide four NationaiMetropolitan Opera Awards, Young Musicians wcN, Rockefeller Foundation Grants, the Frank sinatra opera Award, and National Foundation Awards, salzburg Mozart Festival Award, have successful Fulbright and Rotary Scholar:shipsto Europe' Se1tr1opera -pupils Staatsoper, La careerJsinging in lf4unich, Hamturg, Frankfurt, Saltzberg,Vienna, Europe' Scala,CovJntbarden and other mafor opera houses throughout voice technique international two In the summer of 1982,Mr. Riggs replaced was in charge of he where teachersat the Banff Centre near Lake Lolise in Canada, Government' He was also vocal technique for 33 opera singers for the canadian His diversity of studentsasked to work with 20 yon"s uJott from stratford' singersofpop,oPera,andmusicaltheater,aswellasactorsanddancershis technique' con"stantlyr"uffir*r the universality and practicality of of He draws over 1000new voice students Per year without advertising' pop and theatre musical of mixture these,40 percent are opera, and 60 percent a I to a 75-seatrecital hall students. He teachesirom his privite studio, which converts with a 20-foot stage.

2

ABOUTTHEAUTHOR

He lecturesand conductsMaster Classeson vocal techniqueat collegesand universities throughout the United Statesand Canada. He also has assistedsome of the country's foremost doctors who specializein organic and functional disorders of the voice in vocal therapy (the elimination of vocal nodules,polyps, and various conditions of fibrosis). Consider a man who believeshis best credits include being kicked out of a national singing associationand severalcollegemusic facultiesfor encouraging pop and musical theatreteachingon an equal footing with opera,and you have seth Riggs. In the pragmatic world of show business,where time is money,seth Riggs,whose studentshave won 90 Grammy awards,is the man professionalsturn to for results. Seth Riggs

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* # 'lx=' ^*,* ai'lata

Kathleen Riggs

EaelynHalus Associate VocalInstructor LosAngeles lohn Fluker Gospel StyleInstructor LosAngeles WendyWarshaw Associate VocalInstructor LosAngeles

3

Introduction

hat do Michael Jacksonand BernadettePetershave in common? They, and many other music professionals and celebritiesin the entertainmentfield, have endorsedthe author'smethod of vocal training as a key to their vocal success. Here. thesecelebritiestell how this method helned them use their voicesmost effectivelyand survive the vocal stresses of live performancesand long recordingsessions.

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SING/NG FOR THE SIAFS

nyittg rlor.utr ttocnltrncksbt'ttt,t,r,rl 12 A.M. orrcday tutd4 A.M. thc rttxt, crutkill vour uoice. Sinct beginnittguocal strLdrlruith Seth Rrrggs, I trcter losemq ability to sirtgnt nt:lrly any luxrr. I'ttr a ytinnist,sttd uheu it cotncsto sittgittu, I't't olrm.rls l,rt:rrct'lrncnSnrrl.Ncrrctlnl I'uL' Iesrnednbout taking high pitthes irt n cttnnecttti "lrcud" "chest" cottrLiiuntion,l don't lnue to prill ttoicclikt l hsuein the 1tast.lt's n ottcsltlirectittrt I'zteneeded,bcciltseit lttLysn longcr sttstttirtittg Irnlllr for rrrrt,'oicc. lnmes Ingranr Rccording Arti st, Shryer l.,.rs 11l11t'1t'.

t t ; t n I L ' r! r / r ' l l r ' r { .tl1i l t Ll tll t i p r 'i1t tt t t u s l n , qt t t t i r t ' r r t r r l i ut,'?r r r n i s1. t t : , , 1l ,1t, q c tn t . v s t l ift tl r o t t l , l t /, r t l i r r ql r r r i r i , Ittttrnttcltnntl ltelting too,hard.Sethtnught me t0 u-ctt my lrcnrluoiccftr tnkc tlrcstmitt orL,rttl t't'omptiling irrl' "up." [tottttrtt rtul?e I can stry ft'eshr nou,,tt,ithltetter qualityand more corrtrol,ruithin a singlip|rfarrnruryi, , it i | i i l g r r/ , r i i ,cqr l , t n , ( { ' r n cl ot ttlr r . L ' l i n tH o l m e s Sirtqer I-r.s,4rrfr'/t's

xer lhe years,l ltauestudid on aud ot'futith -ooice tenclrcrsin the LLS.and Europt. Llmlttrto CsticLt,riy engineer,hnrlspoke n to rne tthoutScthRry.gs,I ttegnrrto luL)rkrLtith lfun. For tltc first time in rnq aocal " Iift , I Lliscttttered my countctat{headt)oice." I hegttnlo sirrq lt'rror,lriq/l Cs q!1lttt. ttttd The neutpower,rcnge md confrol zLlas fiftr(t.zitlg.Thnnky ou, 5 i l l t .f t t r. U t r t !nri i i r l a i l c eo r rH o m b r e S o l o . lulio lgtesias .(inlrr ltl,t,lritl

6

INTHODUCTION

tostudywithSethwhenI was14yearsold. began andsuened altthe"breaks'" octaues roday,y;;:';::;:i,3r',,1t

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d singing.RecentlyI hadthepleasureof playingthe title rolein a BBC lactiinilmeMikado and thnt the rol.eof Tnyo in Fiddler. roles,but he explains arenotexactlybreaking-into-singing thatthese In anycase,Ihauea aocal mmtionit until theyhadbeencompleted. 't'or of singingnow,whichwasbroughtaboutby a decentknowledge thank Riggs this training I Seth aoice works singing. t'or for

S/NG/NG FOR THE SIAFS

hen I write s song,I needa uocalrangettnd corrtrol

teatingsr:!;',:!,it'-;i:iH:::h7:,'L:i::'***' Sofar, therelnue beenno uocallimitationsfor mein my work. Withlhispnrtinilarapproach to singing,I canadaptmy aoiceto sirrgGod'spraises in a Gospel style,singa romantic

I;:H;;ri::i;';iif xltfX;!o:f;::::,::;:'urn(candAand Deniece Williams

?::ii:;:i,:''"' Ircnhebelieues in your uocalabilityheis relentless in makingsureyou neucrbackawayfromyourt'ull potmtial-instilling cont'idence is lhetruc giftof a great teacher.Becsuse of SethRiggs,I'm meeting any uocal challenge I'ueeuerwarttedto-relaxcdandhauingsomuchfun.

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henthe" tracks"archot,sweetening and balance still to consider, andrelease datespending,thcreis precious little timeto accommodate an srtist'suocalindisposition. lt has beenmy experience thatmyriadproblems suchas

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knowing,practicalaocaltechnique. SethRiggshas an uncsnnyabilityto prepare uocalists sothatthere is little timelostto theusualuocalproblems.His assistance duringtheMichaelJackson 1988World TourhaskeptMichaeltunedup likea Ferrari. QuincyJones

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\-..17 inging iazz means a great many syncopated rhythms and a uide range of pitches. Ozserthe years I'd pirUia up some bai oocal habits u:hich began to cause uocal strain and fatigue. ln other words, I'd "trash" my ooice. By helping me take pressureoff mV chest range and getting into my head begunto Seth Riggscontributed a relaxation and, ultimately, a better longeuity for my caleer. coordination, Al Jarreau Recording Artist, Singer Los Angeles "utobble" eth was my 74th poice teacher.I came to him uith a minor third. and neuer singing aboue a high F. After a couple months, I was taell into my head uoice, and Seth suggestedthat I go into the Metropolitan Opera auditions. (Actuallv, he bet me $700 I could utin it.) I uas a pop singer and hadn't sung in In fiue more months (seuenin aII), I uent into the'72 foreignlanRuag,es. 'Metipolitin iuditions. I came in second in the N.Y. finals, the only male finalist (There u.tere2,000 applicants.)I sang operain Belgium, France,Germany. that Vear. Italy and lreland for seueral years. I enioyed singing opera, the big sounds, extended ranles and precisecontrol, but I returned to my first loue-musical theatre. Seth is an old time BeI Canto feacher,perhaps the first to extend Bel Canto into pop and musical comedy styles. I knou his uocal approach works. Thomas McKinney Baritone New York City P.S. There hatre been three more of your studenfswho haue been National Metropolitan winners sincemy uitt in 1972. They are all singing in maior housesin Europe.

s a ilntfoft.r., tlou usttnllylmuenrt idenof ttou,you d Itkey(tttrtnusi( strng.I like lltt, . sntSC.r to cotntnunicalc lhe textu,ithss bcntrtiftrl a t,ocnlsortndas possibfu.Hou,cuer,if t ocat p,roble ms grt in tlrc wn.ry, tlrctt'fcctit,tnestcan bc d$troyL,don tnany leuals. !,uenlwnqsttriovrd Sallr Riggs's.singers, becttuse they singeierrly'iri tnntry kt'ysiuith ptttwerarrdcontroi. Ttir., I trit,c thc "preserrce,, freedomto t'ind the best t'or tlte text, the aoice,aild the chnrt. Msrain Hamlisch Cornposer, Pianist NezuYork Cittl

'ke all y.oungsingers,Iwantto getmy uoict'togtthcrtt,itltrtsmtrch strength,qualityandcontralnsI catr.It scents to tnethnttlrcreis alwcysso:ne,neru style,neu soundor newdirectiortin poTuilttr nrusic.I'd like to bcrearlq hnppers.workirrg tpirhsrtltis itritdir4q a uocnr for rchntcut'r caordination whichprepares meto meetall thtsechnllengt:s.

{(onn2 Ac I rcss.Composc r, Si n cer, Dnrrct'r -Los " - Anqeles ' -o--'"

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netter.3tutg bet'orc, uty ttoiceis aslazuass bass,['d nettertried "higtrcr ranges."I bagana t'ilnt whtret\rc scriyttcalletion trrycharacter io siir.g. , I figuredthevruoultlprobchlydubmy uoice.ThestuLlio sentmeto stilr. Nit ortlydil IuittLlt4tsiri{ur{'ffiy 07r1sottqs,btrl wealnrt,s! tlidn song front LeonnrdBernsfuiris Mass.I knozunou,haztr to gtt fromntydeeprmtgeintothe highutithnochunge in quality, In skort,I'tn not neru(n$aboti singing tltrytw)re,

Whoopi Goldberg Come,lintt,Actrcsi LosAngeles

]tttr yL'nrs o.qotu(nt,'dt'ri 0 r,oict'conch lo nssist Sltirlcrl MncLnitre to gttlrcruocnl cltopsirrslnpttfor tttafilursweetcharity. BohFossi nrrdGrcrttve'rl,rott rccommcrrdnl Srl/rRiggsfrrtlrcTtrpjy;1. Wrlr I nrriueditt LosAngtlcslo ssllfieuocalktlls Shirlcy, I dccidd fhntshautnsshleto usen*icJteaer keysttitedtlrcailian of thechar{lcier for in thescene.Thatnernt shecotid singin seuercl Llit'ferent keys.I nlwnysnppreciated the qunlitytcorkthaf SltirltvntrtlSctltpttl itrtul,rop,trti'prrcltrrri,rruoicalr,t tl'rcroltof Ctnrity Cy Coleman Crrnrpost'r, Pimrist Nrw YorkCitrl

II

How To UseThisBook

C(lnlike the starswhoseendorsements appearat the front of this book, you may not be able to arrange for a personal lesson with the author. But this book and accompanying tapes can be the next best thing to it. Here are some guidelines and suggestionsto help you get the most out of this training program. 1. Is this book meant only for those studying a certain kind of music, such as classical music or popular music? No. This book teachesa vocal technique based on speech-levelsinging. Speech-level singing is a way of using your voice that allows you to sing freely and clearly anywhere in your range, with all your words clearly understood. Since you are not learning what to sing but rather how to sing, you can apply this technique to any type of music. 2. Can anyone learn this technique?, or do you need prior singing experience or musical training? This book has been designed to be used by singers at any level-from ner to advanced.

begin-

3. Can I study this book without a teacher? Yes. You can study either with or without a teacher. You can probably progress more easily and faster if you can find a teacher familiar with this method of teaching to guide you. Otherwise, you should be able to study successfully on your own by following the instructions in this book and on the accompanying cassettetapes. But you should pay special attention to the precautions advised. 4. What are the precautions advised in learning this technique? As valuable as the exercisesin this book are for training your voice, any exercise can be overworked or misused to where it will do you more harm than good. You don't develop your voice by pushing it to its limit. You develop it by gradually conditioning it to work efficiently with a balanced coordination. When doing the exercises,please follow along with the material in the book and the accompanying tapes as my students and I demonstrate how each of

11

S/NG/NGFOR THESTAFS

the exercises shouldbe done. It is important that you do eachexercise correctlybeforeyou proceedto the next. 5. Do I need to study the "Basic Principles" before starting the practical exercises? That's really up to you. If you are working with a teacher,you should follow your teacher'srecommendations. However, if you are working on your own, the "BasicPrinciples"sectionwill help you better understand how your voice works and how this method of voice training works. You will then be able to progressmore quickly. Don't worry about memorizingevery detail. When you feel you understand As you do the exercises, the material,go on to the exercises. if you find an instruction unclear or have difficulty carrying it out, go back and study more closelythe text or illustration that applies.A glossaryhas beenprovided at the end of the book to make it easierto locatedefinitionsof unfamiliar words. 5. Are there any guidelinesfor doing the practical exercises? Theseare suppliedon the tapesand in the accompanyingtext. If you have personalquestionsabout your training or career,or how to take the best care of your voice, you may find some answersin the two sections "Health at the end of the book-"The Author SpeaksOut" and and Care of the Singer'sVoice."

first metSethin thelate40safter WorldWar lI, whenI wastrying to learnto singat thePeabody in Baltimore,Maryland,and Conseraatory studyingundertheGI bill. "passagio" I neaergot the right. I hada gooduoicebut gettingthroughthe "bridge" consistently wasalwaysa problem. In my late60s,afteryearsot'frustration,I traaeledto LosAngelesand beganto studywith Seth.My passaggi arenoTtrintactand,at 72yearsof age, my aoiceis assteadyasa rockthroughoutmy rangefrom bass-baritone low E to the tenor high A. In my confusion, a major career was neaer aaailable to flat me,but I'aeaccomplished my lit'e's dream,that is,to learnto singeasily , confidentlyandconsistentlythroughoutmy operaticrepetoire.Thankyor.r, Seth. Gaspari Vecchione Bqltimore,MD

12

BasicPrinciples

Before you begin your training program, we should first go over somebasic principlesabout how your voice works, how it works best, and then finally, how you will get it to work for you.

How Your Voice Works: The Creation of Vocal Tone There are two factors involved in making vocal tone-aocal and resonance.

cord uibration

1. Vocal cord vibration Theair you exhale from your lungs workswith your vocalcords to createan initial tone.

Vocalcords

2. Resonance That tone is then modifiedand as it

travelsthrough the spaces above your vocalcordsbefore Ieavingyour

Exhaledair

Let's examinethesefactors more closelv.

13


Vocal cord vibrationwhere your voice begins

Locatedat the top of your windpipe (trachea-pronouncedtr6y-key-uh) is a group of cartilages,ligaments,and musclesthat functionsas a single unit. This unit known commonly as your voicebox,is your larynx (pronounced16las in cat] -rinks). Insideyour larynx, attachedfrom front to back, are the main musclesof your larynx-your vocal cords.

The location of your vocal cords

Larynx Topview

Vocalcords (openfor breathing)

Trachea (windpipe)

Esophagus (passageway to yourstomach) Epiglottis

Vocalcords (insidelarynx) Trachea (windpipe-

passageway to yourlungs)

Larynx Side view

14

Larynx Frontview

8AS/C PRINCIPLES

If your vocal cords are closed (or almost closed) at the same time you exhale, air'pressure builds up below them.

cordsclosed vEw

Vocal Cords Trachea

When the air pressurebecomestoo great for your vocal cords to hold back, the cords are blown apart. The suddenreleaseof air pushesthe air moleculesabove your cords together and.oututard, creatinga wave of compressedair molecules-a sound u)alJe. cordsopen

Waveof compressed air

Once the air pressureis released,your vocal cords spring back to their closed(or almost closed)position.

15

lr

S/NG/NGFOR THESTAFS

As your vocal cords come back together again and again, they are blown apart again and again-creating a seriesof sound u)Aoes'which is picked up by the listener'sear. This processis called ztibration.

But, now let's examinevocal cord vibration as it relatesto the more d"tn".di^s.eq.rit"-et tt of ln" singer'svoice. To do this, we must consider breathsu/poi and pocal cord adiustment. Breath support Normally, your respiratory system-which you use to send air to your v .ordr-opetates automatically,without any'consciouseffort. Its primary function'is to supply your body with the life substance,oxygen, and eliminate the waste product, carbon dioxide. Inhalation beginswhen too much carbon dioxide builds up inside body.

16

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S/NG/NG FOR THE SIABS

lnhalation:Normal 1. Signal Your brain signals your breathing musclesthat your body needsoxygen.

Brain

2. Action Your diaphragm -your main breathing muscle -descends (flattens), enlarging your chestcavity at the bottom, while your rib muscles lift your ribcage, enlarging your chest cavity at the sides.This crebtesa vacuum inside your chestcavity.

Signal from brain

3. Result Air fills your lungs, as the outsideair rushesin to fill the vacuum.

Exhalationbeginsas soon as inhalation has taken place.

18

8AS/C PRINCIPLES

Exhalation: Normal 1.Signal Yourbrain signals yourbreathing muscles that your bodyneedsto get ridof carbon dioxide. 2. Action Yourdiaphragm andrib muscles relax.The diaphragmreturns to itsup positionand yourribcagecomes down.This allows yourlungs to shrinkback. 3. Result Air is squeezedout ofyour lungs.

Brain

Signal from brain

I -l

J

In singing and speaking, however, you can regulate inhalation, as long as it doesn't interfere with your body's requirements for life support.

19

S/NG/NGFORTHESIABS

lnhalatlon:Slnging 1. Signal Your brain signals your breathing musclesthat you need a suPPlYof air to make sound. 2. Action Sameas normal inhalation, except you regulafehow much air you need and at what rate you will take it ih. Be sure your chest "comfortremains ably high" (see p.132) and that your abdominal (stomach)muscles are relaxed to let your diaphragm descendeasilY, without any resistance.

vrG5t Chestshouldbe "comfortably high'l

RibMuscles i

qiu"g*-l

3. Result Air fills your lungs.

You can also regulate exhalation.

20

BAS/CPRINCIPLES

Exhalation:Singing 1. Singing Yourbrain signals yourbreathing that you muscles needto send air to yourvocal cords. 2. Action Not the same as normalexhalation. To be able to regulatethe amountof air you sendto your vocal cords,you must be ableto control yourrate of exhalation,Your rib muscles, therefore, continueto keep yourribcage (thus yourlungs) expanded,while your abdominalmuscles takeover control. Yourabdominal push your muscles diaphragm(in a stateof flexible tension)up steadily andslowly against yourlungs.

Brain Air

Signal from brain

ryil

RibMusclesI

-J

Diaphragm

3. Result Air is releasedto yourvocal cords as needed.

21

Balanceeguars Support

Breathingfor singing is a very relaxed process.When we say you can regulateit, we only mean you allout it to happenso that inhalation and exhalation are done in a way that best suitsyour musicalneeds.You do not have to uork at breathingcorrectly, unlessyou have poor postureor a tendencyto raiseyour chestand shouldersand take shallow breaths.Nor do you needto do any specialexercisesto strengthenyour breathingmuscles. Your diaphragm(pronounceddie-uh-fram),rib muscles,and abdominal musclesare already strong enoughfor your needsas a singer. If you maintain good posturewhen you sing, and are carefulnot to let your chest "collapse" as you exhale,your diaphragm is able to move freely and be regulatedby your abdominal musclesautomatically. There is no need to consciouslyexert tension in those muscles.If you try to directly control your breathing muscleswhen you sing, the extra tension in your body will only causeyour vocal cords to overtense-to jam up. V'ery little air is required to produce a good tone. Even for a loud tone, the amount of air you use need only be enough to support the vibration of your vocal cords-no more, no less-so that your tone is produced without any effort or strain. Justas trying to control your breathingmuscles directly will causeyour vocal cords to jam up, so will using too much air. That's because,when you sing, your cords are instinctivelycommittedto holding back (or at leasttrying to hold back) any amount of air you send their way. And, the more air you sendthem, the tighter your cords have to get to hold it back. You know you have proper breath support when there is a balance betweenair and muscle.There will be a mutual and simultaneouscoordination of the proper amount of air with the proper adjustmentof your vocal cords. Imbalanceequals Effort and Stlain Air

22

8AS/C PRINCIPLES

Vocal cord adiustment As your exhaledair reachesyour vocal cords, your vocal cords, assistedby the other musclesof your larynx, adiust with your breath flow to createthe pitch and intensity of your tone. When we talk about the action of your vocal cords, we are actually talking about the combined efforts of all the musclesin your larynx that influencetheir activity. musclesof larynx

Larynx Muscles

Larynx (voicebox) Larynx Muscles Trachea (windpipe)

S/NG/NG FOR THE SIARS

Pitch (lrequencyof vibratlon) Definition

Pitch is the frequency of completedvibration cyclesin a given tone. It is measuredin hertz (cyclesper second).The human ear has a rangeof 20 to 20,000hertz.

How pitch applies to your

Pitch is determinedby how often, or how frequently, your vocal cords vibrate (open and close),which is determinedby the tensionin your cords. The more tensionthere is in your vocal cords, the more quickly they will return to their closedposition once they are blown apart. The greater the frequencyof vibration, the higher the pitch. When we talk about vocal cord tension,however, we don't meanthe type of tensionthat resultsin vocal cord strain. They are two different things. Vocal cord tension,which you shouldn'tfeel if you are singingcorrectly, is createdby the interactionof the muscleswithin your larynx as they help your vocal cords balanceagainstthe air pressurefrom your lungs. The kind of tensionthat can lead to vocal cord strain, on the other hand, is createdwhen you use the musclesoutside your larynx to pull on and tighten around your larynx to control the pitch and intensity of your tone.

voice

lntensity(force oI vibration) Definition

Intensity is the force of each sound wave on the ear. It is measuredin units of loudnesscalled decibels.The relative degreesof loudnessare called dynamics.

How intensity applies to your voice

Intensity is determinedby the force of the air releasedby your vocal cords, which is determinedby how long your vocal cords can hold back the mounting air pressurebefore they finally blow open. The louder the tone, the more air pressureand vocal cord resistanceis neededto produce that tone. In softer tones,your vocal cords (offeringlessresistance)open sooner and stay open longer in eachvibration. In louder tones,your vocal cords (offering more resistance)take longer to blow open but then closeagain almost immediately. You don't necessarilyneed more air when you sing loudly than when you sing softly-just more air pressure.Becauseyour vocal cords stay closed unused.Air pressure,therefore,has longer in louder tones,little air escapes point where, when it finally doesblow your a chanceto build up to the vocal cords open, the force of the air released(and thus the soundwave)is much greater. Pitch also affectsloudnessbecausethe ear is more sensitiveto higher frequencies.

24

8AS/C PRINCIPLES

Although your vocal cords continually adjust to meet the pitch and dynamic (the degreeof intensity or loudness)requirementsfor each note you sing, we simply refer to all vocal cord adjustmentsin terms of the physicil sensationsthey produce in the singer. Youl- chestooice, or chestrigiiter, refersto the lowest tonesin your range,while your headuoice, or-head register, refers to the highest ones. The part of your range where qualities of both head and chest overlap is called your middle uoice, or middli register. Yet, the sensationsyou feel are not the result of vocal cord vibrationlthey are the result of resonance.

Resonancewhyyour voiceis unique

Between the time your tone leaves your vocal cords and the time it exits your mouth, it goes through a process of transformation. The interconnected spacesabove your larynx-including the surface condition of the walls which define those spaces-reinforce and augment sound waves of certain frequencies, while damping or even eliminating others. This process is called resonance.

Yottrresonance

Soft palate Resonancesoaces (wheretone is

transformed)

Vocalcords (wheretone begins) Trachea

25

SING/NG FOR THE SIAFS

Physical sensations A by-product of resonanceactivity, as we have already mentioned, is the creation of physical sensationsin the singer. Low tones feel like they are in your throat and mouth and, at times, can even be felt in your chest-thus the term chestuoice. As you sing higher, your voice (if you are singingcorrectly) feelslike it leavesyour throat and mouth and goesmore and more behind your soft palateuntil, finally, it feelslike it goesout the back of your head-thus the term headaoice. But the physicalsensationsyou experiencehave nothing to do with what the listeneractually hears.What thesesensationscan do, however,is help guide you in the correctand consistentuse of your voice. There will be more about this in the training program itself. Physicalsensations ol the singer's voice MiddleVoice A blendof chestand lt's headsensations. in themiddle. HeadVoice Highesttonesfeellike theytravelout the backof yourhead.

Chest Voice Lowesttones feel like they travel out of your mouln.

26

BAS/C PRINCIPLES

Vocal cord vibration determinesthe initial quality of your tone, but resonancedeterminesthe final quality-the quality that makesyour voice sound different from anyone else's.That differenceis due mainly to the unique sizeand shapeof your own resonancesystem. perconhas a voice

Both vocal cord vibration and resonanceshould work independently. Yet, problemswith one always affect the ability of the other to do its job. Fortunately,theseproblemscan be avoidedwith good singingtechnique.

The two factors involved in creatingvocal tone are: 1. Vocal cord tsibration.The air you exhalefrom your lungs works with your vocal cords to createthe pitch and intensifyof your initial tone. Breathing for singing is a very relaxed processin which very little air is requiredto producea good tone. 2. Resonance.The initial tone is modified and amplified as it travels through the spacesabove your vocal cords before leaving your mouth. Each person has a different resonancesystemthat makes his Or her own voice unique. Physicalsensations,which are a by-product of resonance activity, can help guide you in the correctand consistentuse of your voice.

27

S/NG/NGFOR THE SIAFS

How Your Voice Works Best: The Natural Technique of Speech-LevelSinging Most singers use excessivemuscular effort when they sing. Muscles the body normally uses to chew and swallow food, as well as open the throat wider when it needs to get oxygen into the lungs quickly, are used to manipulate the larynx-forcing it up or down. This is done to accomplish a difficult "improve" pitch, increase intensity, or the quality of one's tone. We call these muscles the outer muscles, becausethey are located outside the larynx.

q:

Wrong: Reaching for highnotes

Right: Speechlevel

Whenever you use your outer muscles to control your voice in any way, however, you prevent the free vibration of your vocal cords inside your larynx, and alter the relationship (and the over-all condition) of the resonance spacesabove your larynx. The result is a labored and unbalanced sound. Only when your larynx is in a relaxed, stable position can your vocal cords adjust easily with your breath flow, to create the pitch and intensity of your initial tone. And, only when your larynx is in a relaxed, stable position will your final tone contain a balance of top, middle, and bottom harmonic qualities-like a good stereo system-so you never sound "splatty" "muddy" on high ones. on low notes or Yet, there's another important reason why your larynx must be kept free of outer-muscle interference. Many of these muscles are involved in the production of speech sounds, and their interference in the tone-making process inevitably disrupts the word-making process as well. It's hard to form vowels and make consonants when the muscles controlling the movement of your tongue and jaw, for instance, are also trying to control your tone. Hence, voice production using the muscles outside your larynx is a hopelessbattle in which both your tone and your words become the casualties.

28

BASICPRINCIPLES

Yourspeech levela foundation for vocalfreedom

Generally, when you speak in a quiet, comfortable manner, your outer muscles do not interfere with the functioning of your larynx. That's because tone is not your primary concern-communication is. Therefore, your larynx is allowed to rest in a relatively stable, or what we call a speech-leuel, position. This is the ideal vocal condition or posture with which to sing.

If you can learn to initiate and maintain your tone with this comfortable speech-leuelposture when you sing, you can sing with the same easily produced voice you use-or should be using- when you speak. Nothing will feel any different in your throat or mouth. Both your tone and words will feel natural and sound natural. "sing like you But be carefull Speech-levelsinging doesn't mean speakt"

29


Singing High Tones production RIGHT:Speech-level

Larynxstays relaxedat speechlevel.

"full." Result:Toneis "bright"and Wordssoundclearandare easyto produce. WRONG:Larynxforcedup. Larynxis forced up. Swallowing muscresmay also be squeezing arounoyour throatand rarynx.

and"brittle." Result:Toneis "strident" andaredifficultto produce. Wordssounddistorted

30

8AS/C PRINCIPLES

SingingLow Tones production RIGHT:Speech-level

Larynxstays relaxedat speechlevel.

love I "fqll." is "bright"and

you-

Result:Tone Wordssoundclear and are easyto produce. WRONG: Larynxforceddown.

Larynxis forced down.Muscles may also be squeezrng arounoyour throatand

rarynx.

tove

you-

Result:Toneis "dark"and "throaty." andaredifficultto produce. Wordssounddistorted

31


When you talk, you only use a limited pitch and dynamic range of tones, so it doesn't require a great deal of cord tension to create those tones. In order to meet your needsfor the higher pitch and greater dynamic levels often required in singing, howevef;,your vocal cords must be able to achieve greater degreesof tension. Increasedcord tension is what brings your cords back together more quickly each time they are blown apart, when you need to sing a higher tone. Increasedcord tension is what enablesyour cords to hold back that extra bit of air pressurebefore they finally blow open, when you needto sing a louder tone. If your vocal cords and the other musclesin your larynx are unable to provide the requiredtensionthemselves,you can be sure that your outer muscleswill volunteer their help. But, that's the kind of help you don't wantt Any outer muscleparticipation in the vibration processwill only causeyou vocal problemsby pulling you off your speechlevel.

Speech-level singing-feeling and sounding natural

You should be able to sing through your entire range-from the lowest notes of your chestvoice, up through the highestnotes of your head voice-in a smooth, even, or what we call connectedmanner, and still maintain a relaxed speechlevelposture. Singing low notes The lower part of your range is never a problem as long as you are careful not to pressdown with your larynx in an effort to scrapethe bottom of your range to get your lowest notes, or do anything in your throat or would mouth that alters your speech-levelposture. An exampleof the latter "creating more space"in your throat or mouth, to achievea "deep, rich, be resonant"quality. To begin with, the lowest note in your rangeshould be the lousestnote you can sing easily while still maintaining your speech-levelposture. As far as the resonancequality of your voice, it should be whatever resultsnaturally from that samespeech-levelposture. You should never try to make yout voice resonant.You should never try to make it do anything. Singing high notes It doesn't take a genius to know that a singer'sbiggestproblem, at least from a vocal standpoint,is singinghigh notes.Therefore,we will be most concernedabout extendingyour range upward. As you free your upper range, your lower range will also increasebecause,when your outer muscles are relaxedin the vibration process,they allow your larynx, thus your vocal cords, to relax as well.

32

BAS/CPRINCIPLES

The passageareasof your range As you sing higher into your range,,you quickly encounterareaswhere muscularand/or resonanceactivity make it difficult to negotiatesmooth transitions betweenvocal cord adjustments.Most singersknow theseareas all too well. They are placeswhere the voice iams up, suddenly shifts in quality, or even breaks-things that can discouragesomeonefrom ever exploring the full potential of his/her voice. We, however, refer to theseareasas passageareas.That's because, when you approach them the right way, they becomepassageways between zphereyou are comingfrom and whereyou want to go in your aocal range. Singing through the passageareas Your first passageareais the most critical. It's where your outer muscles(if they haven't done so already) are most likely to enter into the adiustment process.When they do, they pull on and tighten around the outside of your larynx in an effort to stretch your vocal cords to get the necessarytension for the pitch or dynamic level you require. But, as we have said, stretching your cords in this manner causesyour entire singing mechanism-tone and words-to jam upl Fortunately,there is a better and much easierway to stretch your vocal cordi to achievethe necessarytensionswithout disrupting your tone-making processor your word-making process. The key is to do lessin order to do more. To be specific, the higher you sing, the lessair you should use.When you reducethe amount of air you sendto your vocal cords, you make it possiblefor the musclesinside your larynx to stretch your vocal cords by themselves.Your outer muscles are lesslikely to interferebecausethere isn't as much air to hold back.* Your outer musclesuill interferein the aibration processuhenezteryou use more air than your oocal cords and the other musclesinsideyour larynx are able to handle.

*You

"Intensity" don't need a lot of air to sing loudly (see on page 24).

33

S/NG/NG FOR THE SIAFS

The PassageArcas: Women

-Rppro*itut" I

Performance {

Ranges

t

The Passage Areas:Men

.nppro"imate I Performance {

Ranses

Tenor-i

,--f-i---l-

Baritone Bass-----.

- t i

t

*These.are approximate ranges. There are individuals whose ranges extend beyond, but they are exceptions.

BAS/CPRINCIPLES

Vocal cord thinning When your vocal cords are stretched, they begin to thin. And the thinner your cords get, the less cord "weight" there is for your exhaled air to move. When the thinning takes place at your speechlevel, however, your cords are able to thin without disrupting your tone or words. Vocal cord shortening Then, something very interesting takes place when your vocal cords reach the point where they can't thin (be stretched) any farther-the vibrating "shorten." length of your cords begins to Let me explain why and how it happens. Your vocal cords never open all at once and then close all at once when they vibrate. Even in your lowest tones, your vocal cords open frorn front to back and close from back to front. That's because they are more flexible the closer they get to where they attach to the inside front of your larynx (where your Adam's apple is), and air breaks through that point first. If you continue to use less and less air past the point where your cords have thinned as far as possible, the back ends of your cords stay together, with less and less of the front part opening and closing. This also means, however, that they open and close much faster, increasing the frequency of vibration which continues to raise the pitch of your tone. If, like the initial thinning, this shortening can take place at your speech level, you can continue to sing easily through the rest of your passageareas with your tone and word production intact. You will be able to extend your range far beyond what most singers can only dream about. As your vocal cords begin to thin and shorten automatically when you sing, you become less aware of your passageareas. Eventually you come to think of your chest, middle, and head voices as a single uoice-connected in the way it's produced and connected in qualityl "natural" Speech-levelsinging is a technique in which your voice is: '1,. Produced tuithout effort. When you don't allow the muscles outside your larynx-your outer muscles-to interfere with your tone-making process, your vocal cords are able to more easily balance with your breath flow. Also, when you free your tone-making process, you free your wordmaking process as well, letting you produce all your words easily and clearly. 2. Balanced in quality. A relaxed and stable larynx results in a stable resonance system in which your voice always contains an appropriate balance of top, middle, and bottom harmonic qualities, no matter where in your range you sing.

35

S/NG/NGFOR THESIABS

How to Get Your Voice to Work for

The Training Process

Training your voice, as you may have guessed, means learning to

and strengthenthe musclesin your larynx so you can sing with speechJevel posture over a wide pitch and dynamic range. Coordination and strength most easily developed by doing special exercises.You don't control your

voice directly by working on or thinking about breath support, vocal cord adjustments,or resonance.Thesethings are all by-productsof speech-level singing.They happenautomaticallywhen you condition your larynx not to move, by relaxingyour outer musclesand by allowing your vocal cordsto thin and then shorten for higher notes to insure that your outer muscles relaxed. As you do the exercisesin the training program following this section, you will memorize the physical sensationsyou experiencein your voice as you do each exercisecorrectly. Everything else will take care of itself.

Developing coordination-the first step

Coordination of your voice at your speech level must be developed before you can begin to build strength in your voice. As you do the exercises, don't feel you have to sing them loudly. That's not important. If you try to sing too loudly (using too much air) too soon, your outer muscles will give up their pulling and tightening reflexes. Have patience. You must first eliminate any outer muscle activity that interferes with your tone. This will free your tone and, consequently, free your ability to produce words easily and clearly. Your body's neuromuscular system, however, has been programmed by years of poor singing habits to activate every muscle it can to help you control your voice. It will attempt to resist any changes in muscular coordination you try to make. For a while you may feel tension in the muscles under your jaw, in your neck, in the back of your mouth, and in your soft "wrong" palate. These tensions are caused when the muscles (your outer "right" muscles (the muscles muscles) are reluctant to give up control to the producing your tone. of larynx) in Never work around these tensions by doing things like changing the

position of your tongueand jaw, raisingyour soft palate, making more spacein your throat, or changingthe pronunciationof your words. You only createother tensions.Justfollow the instructionsin the training program and do the exercises.Once you have successfullyreprogrammed your neuromuscularsystemto acceptyour voice'sfunctioning at your speech level, these tensions will disappear. You will then be able to sing release,a condition in which your voice works without your having to f about it, or'do anything to it.

36

hauehadthepleasure ot'associating with Mr. SethRiggsfor thepast20 years.Sethis oneof themostoutstanding teachers of aoicein thezaorld today,teachingthe majority of thepop singersthat areamongthe woild's most famous,as well as tainnersot'theMetropolitanOperaAuditions in New York City. His understandingof the natural deuelopment ot'the singing aoiceis much neededtoday,with all the inept teachersthat arehelpingto bring about thedeclineof the OperaticVoice. His book,Singing for the Stars, is oneof the mostoutstandingtreatiseson aoiceproductionaaailabletoday. I wasa memberof theMetropolitan Operafor 14 yearsas oneof their Ieadingtenorsandfor the last 28 yearshaaeseruedasArtist Teacherat SouthernMethodistUniaersitain Dallas,Texas.I haoestudiedaoiceusith someof thegreatestteachersoi thepast including Frank La Forge,Renato Bellini, EdnaForsytheand DeIIaHayward. TheyaII stressedthnt "singing and speakinglspeaking and singing" is oneot'the mostimportantfunctions of the gifted singer. This is discussedthroughoutSethRiggs'sbook. Sincemy tenure at SouthernMethodist Unioersity,zuehaaehadsomeof the mostoutstanding teachersin the world giaing Master Classesin aoiceincluding LiIy Pons, Eaelyn Lear,I eromeHines, RamonV inay and, of course,SethRiggs. Mr. Riggs'sbookis usedby many of our studentsand teacherszaithoutstanding results,and I can only giae thehighestpraisefor Mr. Seth Riggs.) ) ThomasHayward Tenor Professorof Voiceand Opera Dallas

Buildingstrength Don't be concerned about building a strong voice right away. The ability to -all in good time increase the loudness of your tone will come by itself, after the coordination of your vocal muscles has been established. Once the "crutch" of depending on your outer muscles to help keep your vocal cords balanced with your breath flow is gone, your vocal cords will develop their own independent strength. Little by little, your vocal cords will be able to hold back more and more air in the vibration process, eventually providing you all the dynamic (loudness) flexibility you'll need. In the meantime-or at any time, for that matter-you should sing only as loudly as you are able to stay on your speech level, with a clear, connected, and easily produced tone throughout your entire range.

Voice training: 'J-. Deuelops coordination. The first step in training your voice how to function at your speech level, is to condition your vocal cords to adjust with your breath flow without interference from your outer muscles. This frees your tone and, consequently, your ability to produce words easily and clearly. 2. Builds strength. Once you have conditioned your outer muscles not to participate in the production of your tone, your vocal cords gradually develop their own independent strength. This allows you to sing louder "outside" without your vocal cords needing any muscular assistance.

37

PracticalExercises Caution Pleasefollow along with the material in the book and the accompanying cassettetapes as my students and I demonstrate how each of the exercises should be done. It is important that you do each exercisecorrectly before you proceed to the next. As valuable as the exercisesin this book are for training your voice, any exercisecan be overworked or misused to where it will do you more harm than good. You don't develop your voice by pushing it to its limit. You develop it by gradually conditioning it to work efficiently with a balanced coordination. IMPORTANT: You must stop doing any exercise whenever you begin to lose your speechlevelposture, lose your connection from chest to head voice, or feel any strain or effort in production. Do not continue the exercisesif you feel your voice is being damaged even slightly. Seea doctor before proceeding. It'is not necessaryto go as high as the piano. The exercisesin this book will work best if you are relaxed-mentally as well as physically. Singers who have not yet achieved confidence in their instrument will often develop a nervous tension-a fear of failing to make a good sound. It is this fear, however, that sets up even more tension throughout your body, which in turn exerts more tension (the wrong kind of tension) in and around your larynx, which makes you more tense, and so on, creating a vicious cycle of fear and anxiety. There are ways to minimize this and other tensions. As you practice the exercisesbe sure you: 1. Maintain good physical posture. Stand comfortably so you don't place stress on any part of your body. For example, don't slouch or lean on one leg. Seepage 132. 2 . Practice in as quiet an environment as possible. Try to eliminate any surrounding noise.

3 . Keep a positive mental attitude. These exercisesreally work. If you follow instructions, you will accomplish your goal. 4. Stay relaxed. Induce relaxation, if necessary,by deep breathing, and by doing any stretching or other exercisesthat promote blood circulation and eliminate nervous tensisn. We have used a variety of different voices to demonstrate the exercises.Our purpose in using them is not to give you vocal models to copy but rather to demonstratehow each exerciseshould be practiced.

38

Building Confidence 1rI ou will

begin your voice training by developing the confidence that it is possible to increaseyour vocal range to its full potential and to sing from the bottom to the top of your range without your voice jamming up, shifting in quality, or breaking. Some of the exercisesare designed to directly bypass your neuromuscular reflexes--they won't work unlessyour outer musclesare completely relaxed. some, on the other hand, are designedto deliberately activate certain musclesin order to deactivateothers, or to demonstratean important concept. Just keep in mind that ail the exercisesin this first part of the training program are only temporary devices to help you begin the process of freeing your voice and keeping it connected through your passageareas. They may sound somewhat peculiar to you, but that's part of what makes them work. You can rest assuredthat how you sing theseexercisesdoes not represent the way you will sound by the end of the training program.

5rr

-

-J

39

S/NG/NG FOR THE SIABS

Exercise1. Instructions: listen to tape

Placeyour fingertipson your cheeksso that you pick up the weight of yo.r, ,ki., frorr, ar.,ut d your lips. Feelwhere your teeth come together.You push the skin in that far. This keepsthe musclesrelaxed so you don't feel you have to use a lot of air to move them' "UH" sound, (listento tape),Iet your lips "bubble"as Then, using an looselyand as evenly as they can as you sing the exercise' i.et the air do ihe work. Justrelax your lips as well as the rest of your face and throat muscles.The slower you can control the vibration speedof your lips, the better. Don't worry too much about pitch accuracyat first. The relaxation and freedomof your lips, as well as the maintenanceof a connectedtone, are what's most imPortant. "disconnecting"suddenly into a Try to do the entire exercisewithout lighter production. (Listento tape,) In Exerciset and in all your exercises,you must get used to the your transferenceof resonancesensation.In the lower part of your range, higtrer, you sing as while, your mouth, tone will appear to go straight out of behind more and go more into your h"ud t'oicl, yorrrlor," will appear to waves from your vocal cords iound the you are feel palate. Whai Vorrr'r"ft activating thoseresonancespaces'

Notes:

40

PARTONE:BUILDINGCONFIDENCE

( L i pr o l l )

Approximatestarting pitch:

T-rar

T"tio'

Soprano

ar

= Alto

Tenor

Bass

Practicelog: Datestarted Dateaccomolished

41

S/NG/NGFOR THESIARS

ExerciseSuggestions(L-4) If you use too much air or anticipate the higher notes in Exercises1 th 4, your outer muscles will activate thus stopping the movement of your and tongue. When this happens, bend forward as you approach the top notes of the problem exercise, returning to your standing position at its pletion. Your concern about singing the higher notes will be lessened the oncoming floor will make you think you're going "down" instead of " You can use this bending technique whenever you find yourself "tightening" "reaching" for notes.

l/)\

+' / t

42

\

ee L

f

akid. I thinklwasa tenor.I eaenflirtedwith usedtosingwhenlwas theideaofsingingfor a liaing,butI couldneverfind anylneto helpme

get into my high aoiceproperly. Acting taokoaerand,lo and behold,lgot into a part whereI had to sing. Theproducerscalledin Seth,and,t'irst lesson,Iwaswell into my headaoiceand "passaggio," "transition," through the beganto learnhow to makethe t'rommy "where going" I'm It is deaeloping,but I know still chestinto theheadaoice. whenI sing. Thsnkuou Seth.) ) Armand Assante Actor LosAngeles

Problem note(s)sung at thisooint.

43

S/NG/NGFOR THESIABS

Exercise2 Instructions: listen to tape

"[JH" sound as you Let your tongue lightly flutter as you make the same made in Exercise1. The notes are the same. (Iisten to tape). Remember, the object is to keep the tone connected as you sing into your head voice.

lVotes.'

44


( T o n g u et r i l l )

Approximatestarting pitch: -rTfia)

io'

F

Soprano

o Alto

Tenor

Practicelog: Datestarted Dateaccomplished

45

S/NG/NGFORTHESTARS

Exercise3 Ingtructions: listcn to tepe

46

the The instructions for Exercise3 are the same as for Exercisel-only your morc range area of wider a covering are larger, skips between the notes notcs the because quickly. Exercise L gave you a running start, so to speak, were closer together. In Exercise3 the interfering outer muscles must let go even more. Your cords must be free enough to adjust to the wider skips. Don't slide from one note to the next. EaChnote should be done clearly and cleanly. (Listen to tape.) Sornetimesit helps, whenever you sing from one note to another note higher in pitch, to approach the second note as if you were going to ie that sing the same pitch as or lozner than the one you are corning from. This helps to keep you from reaching.

ee

singingwhenI utasll yearsold. Besides first beganto study "head"coordination, Sethtrickedmeinto my "chest"and connecting

T L

nn extremelyhigh area,zohich,as we continuedto work, beganto join into the rest of rny aocalrange. I signedwith my t'irst major labelat age11. From that earlyage,I alwnysaocalizedand performedoaer3'lz octaaes.Thesedays,when singershauebegunto usestratospherichigh notes,I'ae neoerhad to fear exiemely lout io extremelyhigh notes. Tiank you Seth. ) ) ShaniceWilson Singer LosAngeles

r L

{., t' *

(Liproll)

l.

r I i,


4_ T--U

T-to

a

Soprano

t

U

Alto

Tenor

Bass

Practice log: Datestarted Dateaccomplished

47

S/NG/NGFOR THESIAFS


The instructions for Exercise4 are the same as for Exercise2. Again, only the notes and rhythms are different.

lVotes;

48


)

(Tonguetrill)

Approximatestarting Pitch: t-

4

L

zr-

TFr--

a1A--

T

i

-

du

Soprano

_ o

Alto

Tenor

Bass


49

S/NGINGFOR THESTAAS

ExerciseSuggestions(5, 6) Once you can do the lip rolls and tongue trills with little effort, it will indicate that you aren't gripping your larynx with your outer muscles(it's hard to roll your lips or trill your tonguewhen the musclescontrolling them are aleo trlnng to control your larynx to make pitch). It will also indicate that your cords are thinning and their vibrating length is "shortening"as you sing higher, and that you are using just the right amount of air to support their vibration. The lip rolls and tongue trills, however, rely on the closing of your lips and tongue to lrclp counteract any excessair pressureyou may be using. Therefore, coordination of air and rnusclecan't yet be said to be taking place solely at the cord level. Developingthe coordinationthat allows your cords to thin and shortenat your speechlevel (usingjust the musclesof your larynx to do the work) takestime. Unfortunately,your motivation can run out beforeyou get to that point. So, beforeyou go any farther in the program, it's important that you get to expertencethe concept of cord thinning and shortening at the cord level-even if it meansactivatinga few unwantedouter musclesto do itl We will do this in Exereises 5 through 1-L.You must quickly abandontheseexercisesas soon as they seruetheir purpose! Exercises5 and 5 are called high larynx exercises.They use the muscles above your larynx to pull it up. A raised larynx will stretch, and thus thin your vocal cords, making it possiblefor them to go into the shortenedcondition necessaryto sing high pitches.But again, you are only using these musclestemporarily, iust to demonstratea concept.You don't want to use this teehniquewhen you sing. This is not yet speech-leveltone production.

50

S/NG/NGFORTHESTAFS


"nay nay" sound into your nose. It will be nasal enoughwith Don't iam the "n" sound. the exaggerationof the Also, be careful not to reach up in chestvoice.

l\lofes.'

52

Q Q (rr,

Riggsteachesa technique that doesn't detract from the basic qulitv of the actors' spokm sowtd. Actors Studio West b most appreciatioe of hb Wl classes,and lack of intimidation for actors uhm approaching the act of singing,) / Rltt Muk Rydell/Mutht Landu/Morth Actors Studio West Los Angeles

Approxlmatestartlngpltch:

-at i , _ _ f,e

aJf;e

Soprano

Alto

Tenor

Bass

Practlcelog: Datestarted Dateaccomplished

53

\

S/NG/NGFORTHESIARS


The instructions for Exercise6 are the sameas for ExerciseS-the notes and rhythms are different.

IUotes.'

54

PARTONE:BUILDING CONFIDENCE

nay nay nay nay nay nay nay nay nay nay nay nay


+I - =(

E

t

i

Soprano

=u Tenor

Practlce log: Datestarted Dateaccomplished

55

S/NG/NGFOR THESIAFS

ExerciseSuggestions(7-lT) Lout-larynx exercises(Exercises7 through 11) use the muscles below your larynx to pull it down. They also get your cords to thin and shorten. Yet, they do it with your larynx in a low position. It's lower than actual speech lerrel, but it's closer to speechJevelposture than the high-larynx coordination. As you sing into your head voice, the feeling of thinning and shortening-if the exerciies are done correctly-is similar to the high-larynx thinniig and shortening. That is, you will experiencea connected production of tone from chest into head voice. Yet, it's different enough so that you have to work through the connection all over again. Your cords will still thin and shorten as you sing higher, but this time without any assistancefrom the high-laryni muscles. In fact, the low-larynx exercisesactually help deactivate your tendency to use your highJarynx muscles. Just remember, if you operuse either the high-larynx or the low-larynx exercises,there is the danger that you will lock into one or the other of those extreme vocal postures, producing all your pitches off your speech levell So again, once you get yourself through the passageareas with a connected tone, you should discontinue Exercises5 through 11. ExercisesL through 4, however, can continue to be used. They make good warm-up exercises.

56

, w

57

S/NG/NGFOR THESIAFS


As you do 7-a through 7-e, put a little "cry" in your voice-but don't overdo it. (lrsf en to tape.) This little cry slightly imposes your larynx down by activating the low larynx muscles, and deactivating the high larynx muscles. "imposition" But this is only temporary. You want to cancel the tendency of your larynx to rise as you sing higher-the opposite of what you did in Exercises5 and 6. "imposition" You will discard this low larynx by the time you get to Part Two of the program, because you neper want to force your larynx down when you sing, just as you never want to force it up. When you do 7-a, make sure your soft palate stays very relaxed, with the sound going behind it more and more as you sing higher. And, make "Mum" sure you continue to say as you sing higher. Don't go to "Mam"-that would mean your larynx is starting to come up. In Exercise7-b through 7-e, don't take the exerciseas high as you did "G" "K" with 7-a. The sound (7-b through 7-d) and the sound (7-e) are "Mum" much more difficult to sing than the sound because of the motion of your tongue. Only take them as high as is comfortable.

l\lotes.'

58

utantedto takethis momentto thankyou t'or helpingmy dreambecsme a reality. Throughyour wonderfultechniqueand teachingI wnsableto

builda firm foundationuponwhicht0grour. dit'ficultyin Thankyoufor beingtherefor mewhenI wasexperiencing certainpassages of music.Afterall, Aida ls noutalkin thepark. AlthoughI wassome3,000milesau)ay , youcalledor I calledand'wewere " problems ." Then,on the ableto soluewhatseemed to meto be enormous phone,you reminded meof thingsyouoncetaughtmebutI hadforgotten. problems" wereno mlre. those"enormous Suddenly You'reagem.)) asAida PriscillaBaskeruille Aida-M et ropolitan Opera Fung@1991. Drawingby Selene Usedby Permission

( a )m u m (b) guh (c) so (d) gee (e) koo

mum guh go gee koo

Piscilln Baskeruille Soprnno New York City

mum, etc. guh, etc. go, etc. gee,etc. koo, etc.

Approximate

Soprano

Alto

Tenor

Bass


59

S/NG/NGFOR THE SIARS


The instructions for Exercise8 are the same as they were for exercise7only the notes and rhythms are different.

l\lotes:

60


(a) mummummum,etc. (b) guh guh guh,etc. (c) go go go, etc. (d) gee gee gee,etc. (e) koo koo koo, etc.

startingpitch: Approximate

_0_

0 t--

a-r--

a

-l-

J U

v

l

Soprano

U

Tenor

Bass )


61



62

As before, use a slightly imposedlarynx as you do the exercise. "hootier" or more "hollow" soundingyou The higher you go, the should get to keep from grabbing.Don't worry if your tone soundsbreathy or weak on the higher pitches.Iust try to stay connectedfrom the beginning of the exerciseto the end of it. Even though you are imposingyour larynx down slightly, you must sing eachvowel with the samepronunciationyou would useif you were "Oh" sound incorrectly, it will speakingit. For example,if you do the "splat" as you take it higher. You've got to keep your larynx slightly imposedto keep it from raising. (Listento tape.)You may want to think of "Oh" through "Oo" lips. singing As you get into the upper part of your range,let your jaw drop just slightly to give the sound more space-but don't grab with it.

la

'a'f,a , + p

or 2/z years I had the great opportunity to play the role of Eaita on broadtoay... Seth Riggsgaue me the technique and personal ability to L guide myself oocally and guard against oocal abuse and fatigue') )

Derin Altay Actress,Singer New York City

(a) (b) (c) (d) (e)

Oo oh Uh Ee Ah


a,

't'

-:'T YFT--

-^?FTi

u

Soprano

ar

=

Alto

Tenor


63

S/NG/NGFOR THESTAFS

Excrdgc 10 krbucdm: lletca to tapc

Thc instructions for Exercise10 are the same as they were for Exercise9only the notee and rhythms are differmt.

Illotcc:

)

64

CONFIDENCE PARTANE:tsUILDtNG

(a) Oo (b) oh (c) Uh

(oEe (e) Ah

Approxlmatestarthg pltch:

+ i l i l o o

o

a

Soprano

o

o Tenor

Bass


65

S'NG'NGFOR THESIAFS

Exercise11 lnstrucdons: listen to tape

Still keep your tone a little breathy, as before. The obiect of the larger skips between the notes is to increaseyour ability to releasethe tone. You have to let go of the pressure of one pitch so your cords can re-tune to the next one. But, don't releaseso much that you disconnect into falsetto. You must continue to connect your chest voice into your head voice. (Lbten to tape.l

IYoles.'

00

e C

'zte "belter" beena aII my life. I didn't eaenthink I hada headuoice. f WhenSethconnectedmy middleaoice,I wasableto drop the wearof 20 L yearsof hard singing. ) ) Carcl Burnett Actress,Singer Hautaii

!

(a) (b) (c) (d) (e)

Oo oh Uh Ee Ah

)


Soprano

Tenor

Bass


67

FORTHESrABS S/A/G/NG

ExerciseSuggestions "muscled Occasionally,an individual'svoice is so up" that it is very difficult to get the cords to thin and shorten enough to achievea connected sound from chest into head voice. When the exercisesprescribedso far fail to accomplishthe task, you may have to start with the "disconnected"condition of cord vibration, usually calledfalsetto.If you have alreadyachieved 12 and L3, and proceed a connectionin your tone, you may skip Exercises to Part Two. The disconnectedfalsettovoice, like the connectedhead voice, lets you experiencethe freedom of singing in the higher part of your range without strain. But, unlike your head voice, falsettocannot blend with your chest "disconnected").This, and the fact that it is impossible uoice (thus the term to increaseintensity past a certainpoint, makesfalsettoimpracticalto use, except for occasional special vocal effects. Falsetto, however, is easier for untrained voice to sing. Becauseof this, it can be useful in leading you into the preferred connected condition of head voice.

Equalintensity capability Chest

----t'"1"1'ntensity

capability -->

Same resonanceareasactivated

68

Head(connected)

(disconnec Farsetto

S/NG/NGFOR THESIABS


Start with a falsetto sound. As you come down into your chest voice, try to make the transition as smooth as possible. Come down gently so you don't "fall" into it. Then try to bring in your chest voice more firmly each time you do the exercise.You want to replace your falsetto production, wh,ich can't blend, with head voice (which can). As you do the exercise, don't panic when you feel the chest voice come in. Come in lightly, till you feel it start to take-don't grab it in (listen to tape), and don't fall into it (listen to tape). "Gee" sound, be careful. It's not as easy When you do L2-b, with the "Wee" to start it as high as the sound becauseof the activity of the tongue. Remember, you may feel you are making your falsetto stronger-but you're not. Falsetto production merely gets you to relax in the higher part of your range so you can work on your head voice.

Notes.'

70

e' o t n

ago,MCA Recordssuggested I work with Seth Riggsin order to \ ometime "gospel get my chops"in shape.In the middleof our work, alongcomesthe lJ role of Charity ln Sweet Charity t'or the LosAngelesand New York reaiaals. "belter," "get "high Charity wasa but now I can't wnit to dotan" with that gospel"soundand style. Seth'stechniquemakesit easy.) ) DebbieAllen Director,Actress,Singer LosAngeles

(a) Wee wee (b) Gee gee

Wee Gee

wee gee

wee gee

wee gee

wee, etc. gee,etc.


-i---sl--

+

trTr-u

a

Soprano

) Alto

Tenor

Bass


71

S/NG/NGFOR THESTAFS

Exercise1.3 Instructions: listen to tape

You will now start in chest voice, go into your head voice and then back into chest voice. "Gee" sound in 13-b as high as you do the And, again, don't take the "Wee" sound in 13-a.

Note:

Once you can make a smooth transition from head to chest and chest to head voice, you may want to try Exercises5 through 11 again.

72


(a) Wee wee wee, etc. (b) Gee gee gee,etc.


Soprano

Alto

Tenor

Bass


73

hen I was 13 yearsold, Quincy lonessuggestedI work with Seth "boy whileI mademy change soprano"to my adult aoice. t'rom Mostpeopleadaisedmeagiinst siudying uoiie duing this dilt'ficultperiod. Sethnot only knewhow to balancemy unruly uoicebut, whenI cameout on theolhersideat 75 yearsold, my uoicewaseasyand eaenlytogether.What usedto be,theboysopranourasnow a man'sconnected headaoicewith no strain. Thankyou Seth. T.E.V.l.N, Campbell Singer LosAngeles

o!d..Weco_nnected my uoiceup ye.ars ftrst cameto-Sethwhen.I.w.as-19 to an E flat aboaetenorhigh C, with nofalsetto.Oaertheyears,as I pursueda singingcareer,I usea lot ofi'throatgraael"t'or"et'fect. It ,began"to beganto hurt thequalityof my aoice,so Sethgaae me an alternatiue " cdrdination and i'm bick'inti aotalhealth.

lohnnyGill Singer LosAngeles

"chest" 'ae into the beensingingsinceI wasa child. Always,the "head" uoicewasa stickyproblem. I now hauea t'irm graspon the "connection" in my middle.I canleaninto a gospel,R&8, stylingwith much "pure chestbelling"morepower,and knowingthat I won't getcaughtin what a relief.

Marilyn Singer LosAngeles

'ue

alwayssung a kind of baritone-tenlrrange. At'teryearsof in all kindsof conditions,lt'oundI washauingto work harderto producethehigherpitches.Now that I'ue begunto usemore" heqdaoice,"I sing purer aowelson thehigherpitcheswithout strain. My new aocal techniquekeepsmet'resherand giuesme moreendurance.Workingwith Seth madethe two-show-a-nightengagement in LasVegasa pleasureinsteadofa fatiguingjob.

Geoffrey Singer,Produce.*, LosAngeles

TowardSpeech-Level Singing tjo fur, you have done exercisesthat let you experiencesinging with a connected tone over a wide range of pitches, without much concern about the overall quality of that tone or the way in which you achievedit. Each exercise served as a mechanical assist, that permitted your vocal cords to maintain a connection through your passageareas and, in so doing, became a psychological assistbecauseit gave you confidence that you could accomplish that connection. We will now proceed with exercisesthat condition your voice to work only at your speech level. This means from this point on we will only use exercisesthat bypass your neuromuscular reflexes completely. We will "edge" basically use what we call an unfinished or sound. This sound needs very little air and cord to work. Like the exercisesused in Part One, the "edge" exerciseswill assistyou in maintaining a connectedtone through your passageareas-but this time, in a way that directly leads you into singing with a speech-levelposture. Your larynx won't raise or lower very much as your vocal cords make their adjustments, so you will experiencea blending of resonancequalities. Also, your vocal cords will begin to relax, allowing you to sing even your lowest notes more easily.

-

t --

75

S/NG/NGFOR THESTAFS

ExerciseL4 Instructions: listen to tape

This is the first time in your program you are going to be doing an exercise that gives you the feeling of where speechJevel sound is made. Starting in chest voice, just below your break area, make a sound (with your lips closed) like a squeaky door hinge and inflect into your head voice. (Listen to tape.) Be careful not to break into falsetto; you have to keep it connected. (Listen to tape.)

IVotes;

76

e C

ike mostnatural singers,I had no knowledgeof how to getfrom my f "break," "false" or changein without a noticeable chestinto my J-/ quality. As a pianisi I had no troublesetting the key to hidemy pribtem. When I ioined Prince,the decisionof keysrnasno longerup to me. Princehnd worked with Sethand hadsent SheilqE theretoo,soI wassent to him also. Halleluiah! "break" mendedquickly,but my style hasbecomemuch better Not only was the which to riff .) ) notes with I had more because Rosie Gaines Singer LosAngeles

Mm


77

S/NG/NGFORTHESTABS

Exercise1.5 Instructions: listen to tape

"edge" Using the samesqueaky door or sound you made in ExerciseL4, start lower in the scale. This time add a little "whimper" or "cry" to the sound to help keep the cords connected-but don't overdo it. You don't want to overcompressthe air so usejust enoughto keep the connectionas you sing higher. (Listento tape.) More doesn'tmeanbetter in this instance. The stopping and starting of the tone keepsre-establishingyour tone at speechlevel so that you don't get off that level as you go through the exercise. Once you can maintain a connection all the way through Exercise15, go on to Exercise1,6.At this time you may want to start monitoring any speechmuscle activity by feeling the musclesunder your jaw. Thesemuscles should always be soft, with no tensionwhatsoeveroccurringwhen you do the exercise.*If there is any musculartension,listen to the tape again to see if you have followed the instructionscorrectly.

/-.

/\.

sb' r<*,

*This doesn't include transitional tensions that take place as you change vowels and consonants. It only refers to sustained tones.

78

PART TWO: TOWARDSPEECH-LEYEL S/NG/NG


ar

o Soprano

ar

io'

Alto

Tenor

Bass


79



Exercise16 is the same as Exercise15, except you are reducing the number times you stop the sound to re-establish your tone at speech level.

lVotes.'

80

a e q/l y

u, all theactiaitiesonemust weighandbalancein our wildly thereis neaerenoughtime to get your uoicein fluctuatingbusiness, shape.Singing seemsto be the last thing to consider,when that recordinggets started.It shouldn'tbethat way, but...I'ttealwaysbeenableto maintain confidencethat I can pull it togetherraith my own personalapplicationof a practicalaocalwarm-up. Thankyou Seth,snd becool! ) ) )

y

MauiceWhite Earth, Wind and Fire LosAngeles


4_ IF'--IE-O

o

Soprano

A

io'

Alto

Tenor

Bass


81

S/NG/NGFOR THESIAFS


This time you will take the edgesound straight through, only establishing your speechlevel at the beginning of the exercise. Remember,you shouldn'tfeel any build-up of air pressure.It should stay even all the way up and all the way down. If too much air pressure starts to build, your voice will get stuck and you will start to "squeeze" tone. You should feel as if you are using just a little pieceof the cordsthe insideedges.As you learn to do it better, you can involve more and more air and cord as long as your outer muscles don't interfere. Keep ing under your jaw with your finger to make sure the swallowing muscles aren't tightening up.

82

PARTTWO:TOWARDSPEECH-LEYEL S/NG/NG


0

A

--'-

-*--

IITT-

rtF\-y

a)

ict

Soprano

a)

IU

Alto

Tenor

Bass

Practice log:

Datestarted Dateaccomplished

83

S/I/G/NG FOR THE SIABS


84

Still using the same edge sound-however, not as much-sustain the top note of the exercise. When you get to the top note, be sure you don't prevent a natural "pinched" vibrato from occurring. There is a danger of producing a straight sound if you use too much cord tension (which demands too much breath pressure), or too much breath pressure (which demands to much cord tension).

ee L

began singingon Broadway whenI waseightyearsold. Likemost children,I wasbeltingfor all I wasworth,andthenshiftingintoa "boy "thing"

f

soprano"for the soft singing. I did this kind of aocal for seaernlyears. WhenI beganto study with SethRiggs,l discoaered that thereroqsno needto sing in tw"oaoices. I itarted to usei blendand connectionof the lrrororrrr. This gaueme morepozoer,control,nnd znaslessfatiguing. Nout,as my aoiceis beginningto brondennnd deepen,Iam easinginto my adult aoiceznitha balanceand without that dnrn crackingwhich usually comeswith puberty.) )

Scott Gimes Actor, Singer LosAngeles


_0__ .r--

t--U

O

Soprano

Q.t

U

Alto

Tenor

Bass


85


Exercise L9 Instructions: listen to tape

Your neuromuscular system should now be convinced that your vocal cords can function without any interference from your outer muscles. Therefore, it's time to begin eliminating the edge sound, gradually allowing more air and more cord to become involved in the vibration process.Eventually you will reach a point of balance where your vocal cords can function efficiently and independently of your outer muscleswithout the assistanceof the edge device. Each time you do the following exercise,let your vocal corfs relax more by subtituting more air for the little edge sound. Take care not to disconnectthe tone. When you feel that your vocal cords have started to relax, go on to Exercise20.

Notes;

86

PARTTWO: TOWARDSPEECH-LEYEL S/NG/NG

Approximate

io'

Soprano

Tenor

Bass


87

S/NGINGFOB THESIAFS


Start with as little of the edge sound as you need to hold the connection. As you sustain the top note of the exercise, open your lips slightly to form each vowel sound. If your throat begins to tighten when you open to any of the vowel' sounds, don't blast more air through. Instead, relax your cords by making your tone a little breathier. That is, don't make it so breathy that you lose the connection in your tone or have to enlist your outer musclesto force the connection to continue. Rememberto check the musclesunder your iatu for tension. Don't be concerned that some vowels will be easier to sing than others. fust stay on your speech level and work on coordinating each vowel from "home base." that When you have successfully completed Exercise2Q, go on to Exercise 21",this time starting with the vowel sounds.

Notes:

88

eC

f l-

thankSethfor introducingmeto a superbaocaltechnique, which in musicaltheatreaswellastheextended rangedemands ot' t'unctions

internationaloperaticliterature.) ) Angela Blasi Lyric Soprano Munich operahouse La Scala CooentGarden Vienna Staatsopera DeutscheGrammophonRecordingArtist

(a) (b) (c) (d) (e)

Mm Mm Mm Mm Mm

Oo

oh Uh Ee Ah

Approximatestarting pitch: -t-

-t--

d

f;e Soprano

c/fte Alto

Tenor

Bass


89


/:

Exercise21. Instructions: listen to tape

90

Starting with each vowel, keep only the amount of edge sound you feel is necessaryto maintain the connection in your tone. "splat" Make sure that the vowels don't alter or as you sing higher. When you stay on your speech level, your higher tones will have a softer, less intense, feeling than will your lower tones. The lower tones will sound a lot brighter and stronger to you. However, what you feel isn't what the listener hears. The listener will hear a very free and clear sound when you sing into your head voice.

PARTTWO: TOWARDSPEECH-LEVEL S/NG/NG

(a) Oo

(b) oh ( c) U h (d) Ee (e) Ah


# # o

a

Soprano Practicelog: Datestarted Dateaccomolished

)

S/NG/NG FOR THE STABS


Practice Exercise22 until the edgesound, which originally led you into a connectedspeech-level condition, is completelyeliminated.(Listento tape.) This may also be a good time for you to becomeaware of any excess body movement you may be using when you sing. Such facial motions as frowning, raising your chin, and so forth can only invite the participation your outer muscles.

lUotes.'

92

a \ a\

(a) (b) (c) (d) (e)

T I

graduatedt'rom one of the maior conseraatories in the l.lnited States.I am L a tenor, but afterfour yearsof training I could not sing oaer the F# aboae middle C. I studiedzoith two major MetropolitanOperastars of the 1920sand '30s. After graduation,I interaiewedaocaltechniquetedchersall across the United States.I decidedto study with Seth Riggs.After two years,I not only had a completetenor rangethrough Eb abor:ehigh C, but I could sing the La Bohemearia a wholestepup. ) ) James Wagner Lyric Tenor Munich

Oo

oh Uh Ee Ah


a I'FT

h

4^

d

TF

d b o

Soorano

Alto

Tenor

Bass


93



94

By now, you should be initiating and maintaining your tone with a relaxed speech-levelposture anywhere in your range. Up to this point, though, all the exercisesyou've done have featured only single vowel sounds. You also need to be able to maintain your speechlevel production when a vowel changes to another vowel during a sustained tone. However, be sure you don't overproduce your vowels in the'process. Keep the same position in your mouth for the second vowel as you for the first vowel moving your tongue and lips only slightly to change had pronunciation.

PARTTWO: TOWARDSPEECH-LEVEIS/NG/NG

oh

(a) oo (b ) u h

Ah Ay Ah

(c) Ee

(d ) o h


4_ tr----oa

u

o

6rr--

Soprano

o Tenor

Bass


95

S/NGINGFOR THE STABS

Exercise24 Imtructions: listen to tape

This exercisecontinuesthe sameidea as Exercise23, only the number of vowels has beenincreased.

Alotes;

96

e e IT thought"high all I had to do in this businesswas sing, sing, sing, but I needed -L

some gospel" soundstpith no strain. Seth shoued me hou to find and strengthenthosesounds, Nou I am discooeringa tohole ne.u range, nevn pouer and intensityfor my uoice. Thank you Seth.) ) June Polnter Singer LosAngeles

oh

(a) Oo (b) Ee (c) Oo (foot)-

Oo Uh

Ah Uh Ah


r

o

-

=T-o

?

Soprano

o Alto

Tenor

Bass

Practicelog: Datestarted Daleaccomolished

97



In Exercise 25, you are going to start in the middle of your first passage "break" area, which is usually the most difficult place you area, your main can begin a tone. You must learn to accept the split activation of sound waves, with half in your mouth and half behind your soft palate. Accomplishing Exercises25 makes singing with speech-levelproduction in this part of your range easy, becauseyou get used to starting your tone in "spot." that "headier" side of the pitch with a As you do this exercise, stay on the thinner piece of cord so you don't drop suddenly into your chest coordination. (Lr'sfento tape.) Let your chest voice come in gently, by degrees. (Listen to tape.) Don't be too concerned if the muscles under your jaw activate a little. They will begin to relax as you get more comfortable with the exercise.

lVotes:

98

S/NG/NG PARTTWO:TOWARDSPEECH-LEVEL

(a) Oo (b) Oo (c) Ee

Oo Oo Ee

Uh

oh Ay

Uh

Oo Oo Ee

oh Ay

Uh

oh Ay


4_ tki

#o

a

Soprano

)

Alto

Tenor

Bass


99

S/NG/NGFOR THESIAFS


In Exercise 26, you will take every vowel individually through your range until, with each one, you get the greatest amount of tone with the least amount of effort. Remember, you must pronounce each vowel exactly as you would if you were speaking it. Nothing-absolutely nothing-should feel any different in your throat or mouth. Only then can you be sure you are singing with speech-levelproduction.

l\lotes.'

100

Q ' T - Q n the Spanish-speaking countries,the Mariachi singersare the most t numerous.The Spanishlanguage,zoith the shallout'ah' oowel, tendsto lpuII the larynx upwards.Thosetwo t'actsassistthoseof us who sing pop to belt too much. Seth got my larynx down and built a whole neutmiddleooicetoith which I can soundlike "chest," but not damagemy aoiceor oocalenergyin my concertsand recording.) ) Daniela Romo Singer Mexico Citv

(a) (b) (c) (d) (e) (f) (g)

Ah Ay Ee

oh A (eat) Oo Oo (foot)

Approximatestarting pitch: ----

-

TFI-

U

TFT--

(

a

'

Soprano

r

G Alto

Tenor

Bass


'101

t'romindustry. hadheardaboutSethRiSgs'suocallechnique cameto seehrmas s00nas and his book bought ' 1 nrofcssionals for uears bttt uocalt'atigue, relieac me help *o\r,-upt thl cxercis, did I could.'ii,iirtv ease' same the m1in.la.i.n in"applyingit to my songshelpedm7. his assistance in theexercisel'm butldtngmore and powerthat I'd control '- "-"'' ": ' 'ifound "";'to singmorecorrectlv'Thanks trving bv for making uotc mY tn dependabtlircs it e&sier,Seth.

tffi**oo'u LosAngeles

coupleof vearsago,SteuieWonderput meon a counse!phonehoak't with Seii, nnd ie atanged to startsomeuoicestudy' SoonI bunnu inuoluedin Seth'stechnique.Ibought thebookand slsos{ttin onlessons'l (whom with CBS Recards jtmior " Star Search"winner u'ho.1btq.'con.tra,ct makesthehigh notessolid,easyandno approach producinil. aocal Seth's 'lo o.,*!!: (unless approachi,t resorl'to t'orsomespccialeffect)'.This t'alsetlo the and extends naailqble, alzuays additionto'makingyour stylingeasy, y o u ra 0 | c e .

Luther Producer,

LosAngeles

studiedwith oII thebig retiredMetropolitanstar singersand repertoire on the WestCoast'After two yeatsof not getting into the coaches suditions,Iquit the ^ Regional semifinalsof theMetropolitanWester:n hnLl furthcraocalstudyfor a yrarl' ThenI catnet?,Se:l:li88l,tl0 competition . Wehadonly i'l' monthsta prepnrtfor.tnet!e,tr1y1i,1an stuiy uocaltechnique "Let'snot learnany neToarens,let'srebatance ttrc Opeiaauditions.Sethsaid, I statei. the 50 (ouer singers 2,000 competitiott the from ol'd ones.,,I enteyed u]\nontheWestCoast,zuenttoNewYorkCityandwonthet'inalstherealso.I signeda th.ree-year . . fletuto Zurich and won a two-yearcontract' Next,I 'contract lyric and lyricospinto major I'm singing at theMr.michaperaiuhere at manyot'thet'inestEuropennopera,houscs roles.Notu,l am guestittg aocaltechnique It is excitingtiat the il,lestCoist hsssuc'ha maraelous , aaaiy$iein thearea.It alwaysamusesme that old operastarsfu-nd teqcher how theysangand caIIit ttocal describe neaer-was-beens) mastacademic 'pctlagogy. ,;k;i ilteyt'ailto tmderstandis that if a youngsingerdoesn'thaaehis sang,thus aocal hecan't sing like theteacher paitirulor aocalt'acilities, teacher,s repertoire become techniquesessions 2essions'.. Thanktlou,Seth.I could still be diggingditchesand layingcinderblockm SnnlaBnrbaro. Eduardo Villa Lyric Tenor Munich

I I I I

I

=

Technique Maintenonce ou should now have a free. clear. flexible tone. with a blend of both upper and lower resonancequalities. It shouldn't matter where in your range you start your tone, becauseif you stay on your speechlevel, you should be "talk able to just on pitch." However, bad habits die hard. As such, singing an actual song often becomescomplicated when the inclusion of certain consonants,vowel combinations, and musical requirements threaten to disrupt your speech-level technique. When this happens, there are several things you can do to help you keep your speech-levelproduction intact. You have done most of these already in some of the earlier exercises.Now we will do them with songs,

10 3

S/NG/NGFOR THESIABS


Bend forward as you approachthe problem note(s)of the song. This will help you break your anxiety about accomplishingthat note. Rememberto return to a standingposition at the completionof the note(s).

Notes.'

104

PARTTHREE:TECHNIQUEMAINTENANCE

Annie Laurie (Traditional)

ton braes

c#. ly falls

And it's

dew.

87

her

prom

S/NG/NGFOR THE SIABS


"cry" in your voice to discourageouter-muscleactivation. Use a little "remind" your neuromuscularsystem However, only do this temporarily to from your outer musclesis unnecessary. that assistance

Notes.'

106

Qa

theendof oneproiectand rehearsal schedules between to coordinate Trrrtry Ithe beginningof anothercan behectic,Thereneuerseemsto beenoughtime to prepareas well as you would like. One morning in 1967,Allan Cat calledto tell me he had found a oocaltechniqueteacherwho taught a techniquethat was efficientand quickly learned.The teacherwqs Seth Riggs.The techniquehas seraedme well, has kept me togetheroocallythroughmany difficult and trying situations.) ) Ann-Margret Actress, Singer Los Angeles

TheStreetsof Laredo(Traditional)

As

walked out

l-

Ff,'

the

streetsof

do, as

La

G --------7

walked out

a young

rf. dressed in

La

E

A

spied

in

white

day;

do

E

A

cow - boy wrapPed u p

G

E7

lin

cold

ln

white

lin - en, all A

the

clay.

107



Sometimes it's hard to sing a certain note becausethe vowel you need to "anchored" sing it with stays to the lower part of your range. You can remedy this by starting with another vowel that, by its acoustical nature, makes it easier to sing that note without activating your outer muscles. After you use that vowel to start the problem note, you can substitute the original "place." vowel for the temporary one, keeping it in the same If the problem vowel is:

Try:

a (as in "may")

ee (as in

"cat" a (as in "let") eh (as in "sit") ih (as in ah (as in "father")

"let") eh (as in "sit") ih (as in "we") ee (as in uh (as in "mother")

uh (as in "mother")

oo (as in "foot")

oo (as in "foot")

oo (as in "toot")

Notes:

108

"we")

PABT THREE:TECHNIQUEMAINTENANCE

HouseOf The Rising Sun (Traditional)

A7

a house

There Em

c al l A7

man-y

New

Or - leans they

G

the Ris - ing

Sun.

It's 87

been

the ruin

of

S/NG/NGFOR THE STARS


Finally, you can sing the pocal line higher than it's written. If you transpose the notes of your song higher, you will avoid getting locked into any one part of your range, and the problems that can arise from doing so. You may even want to do this occasionallywith songsyou aren't having any particular problem with, just to double check.

Alotes:

110

PARTTHREE:TECHNIQUEMAINTENANCE

Shenandoah (Traditional )

Oh,

Shen-an-doah,

way

you

rol - lin'

c Shen-an-doah,-

| long to

'crossthe

hear You.-

way, we'rebounda-

Mis-sou

111

S/NG/NGFOR THESIABS

Generally speaking, though, if you remain sensitive to any excesspressure building up in your voice and do what's necessaryto releasethat pressure, you will always promote and maintain a natural speechJevel sound.

112

TheAuthor SpeaksOut The questions in the following section are the types of questions most frequently asked of the author during his private lessons, and in his many lectures and master classeson vocal technique.

GeneralQuestions Questions and anstuers

How do you define singing? Well, artistically speaking, singing is using your voice in a musical manner to communicate ideas and emotions to an audience. Technically, however, singing is nothing more than sustained speech over a greater pitch and dynamic range. What is the key to singing well? The ability to always maintain a speech-levelproduction of tone-one that "connected" stays from one part of your range to another. You don't sing like you speak, but you need to keep the same comfortable, easily produced vocal posture you have when you speak, so you don't "reach .rp" for high "press notes or down" for low ones. Is singing really that easy? Yes. There's no great mystery involved. But although it's easy to understand, it takes time and patience to coordinate everything so that you can do it well.

ClassifyingVoices Questions and ansuers

How do you classify a singer's voice? I don'tl At least not right away. It's wrong to prematurely classify a voice before you really get to know what it can do. Too often, existing range is the sole determining factor in placing a singer into a certain category. The most important factor to consider is the basic quality of the voice. Assuming that your speaking voice is clear and unforced, your singing voice should be based on the quality of that speaking voice.

113

S/NG/NGFOB THE SIAFS

Range Extension Questions and anstoers

What do you expect the performing range of singers to be once they have studied with you? Everyone has a different vocal ability, but, on the average. Bassesshould be able to sing:

q---r--e from

n

tt-

l

to

Baritones should be able to sing:

Tenors should be able to sing:

M i d d l eC

114 I

THEAUTHORSPEAKSOUT

Altos should be able to sing:

M i d d l eC

trom

Mezzo-Sopranosshould be able to sing:

I I

_{__i_ A Izf,

I

a)

M i d d l eC

I

io'

from Sopranos should be able to sing:

I l

^

ffi a

M i d d l eC

;

from

to

And, all voices should be able to maintain a connected, speechJevelproduction of tone throughout their entire range.

115

S/NG/NGFOR THESIABS

Aren't those extremely high notes for voices in those classifications? They shouldn't be if the larynx stays resting in a relaxed, stable speech-level position, allowing your vocal cords to adjust freely with your breath flow. Those pitches are well within the technical ability of a great many more people than you'd think. They may not sustain those notes constantly, but they should be able to sing them with good technique. This way they will always have a reserve of notes beyond the usual range requirements of any song they sing.

Tone Development Questions and ansrDers

How do you determine what the tone quality of a singer's voice should be? Again, I don'tl A singer's tone should be determined by his or her own individual vocal anatomy and not a predetermined ideal held by a teacher-or the student, for that matterl It should be a blend of the top, middle, and bottom resonance qualities that results when the singer's larynx remains in a relaxed, stable position. What about breathing? Doesn't correct breathing play an important part in your ability to produce good tone? Of course. But the importance of breathing in singing has been overemphasized by voice teachersfor too long a time. Correct breathin g is a byproduct of good technique-just like one's resonance quality is a by-product. You should never work directly at developing your breathing. You indirectly develop the proper breath support for your tone as you condition your larynx not to move and your outer muscles to relax. When you use a speech-levelapproach to singing, everything, including how much air you use to move your cords, happensautomatically. My teacher says I must overdo my articulation when I sing, in order to make my tone clearer. What do you say? Many singers assume that the reason their tone gets "muddy" is because their articulation is wrong. Consequently, they change or overdo their articulation. However, when you overdo your articulation becauseyour tone "muddy," "muddy", is all you get is well-articulated, but still tone. You don't need to overdo your articulation if you maintain a speech-levelproduction of tone.

116

THEAUTHORSPEAKSOUT

What about using imagery to develop your tone? Vocal imagery doesn't always work. Imagery that evokes a positive muscular response in one individual's voice may evoke a negative response in your voice. I prefer to use exercisesthat have a definite cause and effect relationship, producing a desired result, rather than relying on the nebulous descriptionsof someoneelse'spersonal experience. Is humming beneficial to developing tone? Well, it dependson hotu you hum. Humming, if done correctly, can discourage many of the tone-manufacturing devices that singers think they need to make sound. In fact, we use a form of humming in some of our own exercises. Does cupping my ear help me hear my voice better? No. It doesn't give you an accurateaccount of how you sound. You are just hearing the vibrations in your head. What is the difference between projection and shouting? Projection is the acousticalphenomenon that occurs when you produce your tone with an efficient balance of air and muscle. Shouting, on the other "jam "blast," which causesyour voice to up." hand, implies the usage of air

Using Microphones Questions and anstners

Why should I bother so much about my tone quality if I'm going to be singing with a microphone? Electronic amplification and alteration of your voice have an important place in the communication and entertainment media, but they must not be thought to replace healthy and efficient vocal production.

Singing in Different Styles Questions and ansuers

Do you have to change your tone production when you perform different moods and stvles? No! Most differences in singing styles are built into the music itself-the sequenceof notes and certain conventions of singing that are popular during a particular place and time in history. When you adjust your voice to

117

S/NG/NGFOR THESIAFS

"ideals," you run the risk of interfering with your accomplish certain tonal speech-leveltone production, which is very dangerous to your vocal health. "colored Your voice can, however, be by your mind." If you are thinking about what you are singing, there will be slight differences in your deliuery, not in your basic production.

Singing Outdoors Questions and anszuers

Do you have to modify your production when you sing outdoois? Not really. Singers should always use resonance sensation to govern their tone production. In this way, they can be consistentin their ability to sing "enclosure" no matter what the or lack of it.

Choosinga Teacher Questions and anstoers

118

How does one select a voice teacher? First of all, you must be able to discern whether or not a teacheris primarily a voice technique teacher-one who shows you hou to sing, or whether he/she is primarily a voice coach-one who shows you tahat to sing. Of the two types, the voice technique teacheris the most important, because without the technical ability to sing flexibly and clearly in all parts of your range, you are very limited to the material you can do. For the initiated, a good voice technique teacher is hard to find. Many "cheerleaders," who bang away at a so-called voice teachers are just vocal piano while you follow along. That is not teaching you how to sing, however. You just get a lot of practice following a piano, and memorizing the notes of a song. Furthermore, when the teacher'smethodology consists mainly of using "give "sing terms such as it more support," from your diaphragm" and "open your mouth," you know you are in the wrong company. If you don't feel your voice improving in the areas of tone production and easily attainable range extension within a few weeks, you'd better find another teacher-fastl Many teachersgive their students the same vocal problems which killed their own careers and made them teachers. Before studying with a teacher, ask for a simple demonstration of the teacher's own abilityespeciallyhis/her ability to negotiate their own passageareas.Audition the teacher!

THEAUTHORSPEAKSOUT

Is there anything else to look for in choosing a teacher? Yes. Be wary of any voice teacherwho just teacheshis or her own sex, or just the opposite sex. If a teacherunderstandsgood singing technique, he/she can teach either sex, and at any age. Also, be careful of teacherswho try to make you sound like they do or like they think you should.sound. A voice teachershould only try to develop the vocal freedom that will bring out the specialcharacter of your own voice. Should a voice teacher know how to play piano? He or she should have as much piano facility as possible,but nevernever-at the exclusion of a thorough knowledge of the voice. He/she should at least know how to play all the scalesand exercisesused for vocal training. However, be careful of the teacher who substitutes the plunking "Sing this note." out of notes for knowledge of the voice. Anybody can say, Few teachers,however, can show you how. It is unfortunate that piano skill often implies that a teacherhas a more comprehensiveknowledge of the voice than he/she really has. Teachingsongs is no substitutefor uocal technique.

Exploiting Student Voices Questions and ansrDers

Many singers seem to have more trouble with their voices after they have been studying voice for a few years. Why is this? In high schools and colleges, as well as in private voice studios, teachers often exploit the talent of their students. Without really teaching anything, they take bows for their students'own natural abilities. But, as you have already indicated in your question, some students aren't fortunate enough to "training" received by these teachers. Students come away from survive the their voice lessons thinking they are stupid when they can't seem to do what the teacherasks them to do. Actually, the teacherdoesn't know what he or she is doing, and, if they do, he/she hasn't been able to communicate that knowledge to the student.

Voice Science Questions and anszoers

How about teachers who say they teach the "scientific" method of singing? Many teachers in recent history have fallen victim to what has been er"voice roneously termed science." You see, any time you associate

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"science," something with the word it automatically assumesan aura of truth. That's very attractive to both teachersand students, who are anxious to grab onto anything that offers them hope of understanding what has unfortunately become a very confusing subject. Of course your voice works, as does everything else, according to scientific principles. But those principles can be abused by those who aren't "scientists" able to apply them. Prominent voice have attempted for years to translate scientific findings into a useable vocal technique. They have made some remarkable observations as to what happens to voices during the process of singing. But that's all they are-obseraations. Science,however, is not only knowledge derived from observation, but the skill resulting from that knowledge. In singing, that skill can only be developed through special exerciseswhich balance your vocal coordination so that speechJevel tone production is possible. The foremost vocal "scientist" I ever knew couldn't even sing in his head voice, and the part of his "dark," "throaty," "wooden". range where he did sing always sounded and Then how does the "scientific" method work? There are many variations. However, all have in common the manipulation "open of the muscles in and around the larynx by telling students to your "lower your throat" and tongue," etc. Some even go so far as to manually force the larynx into position, which is extremely dangerous, becauseperrna, nent physical damage can result. Shouldn't singers sing with an open throat, and a lowered tongue? Yes, but that type of vocal posture is a result of good technique, not the cause of it. Imposing any kind of posture on a voice creates tension that can hinder the freedom of cord vibration, disrupt the balance of tone and make speaking words sound unnatural as well-even if what the teacher asks for "free" sounds like a way to the voice. But I've heard a few singers who studied with teachers who use those methods. Why did they sound good? It's very hard to know whether or not a singer already had a natural affinity for good vocal technique before his/her study with a teacher. Many voice teachersbuild their reputations around the successfulsinging of one or two students. Other people then go to that teacher becauseof the way those students sound, without knowing that those students would have sounded good uithout that teacher.

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Performers as Teachers Questions and anstners

Is it better to study with someone who has experienced successas a performer? Not necessarily.A lot of people, and many educational institutions, have "star" performers have a wonderful ability to teach the mistaken notion that vocal technique. More often than not, however, a star's teaching method consistsof a description of his or her own vocal ability. This is vocal death to a singer of lesservocal ability and almost as bad for even a superior voice. Vocal stars can be excellentfor teaching repertoire and stagetechniques, but unless their own voices are balanced, and they know how to get the same balance in the voices of their students, they should be avoided. It doesn't matter how many degreesa teacherhas, or how successful he/she has been as a performer. A teacherneeds to know how to get each of his students to sing through their range in a connected,easy manner, "breaks" or sudden changesof tone quality-again, speech-level without any singing.

Singing in Choir Questions and anstners

Should your vocal technique be the same for choral (ensemble)singing as it is for solo singing? Yes, you should always use the same vocal technique, whether you sing solo or in a group. However, choral directors sometimeswant you to modify your tone (changethe way you sing) in order to blend with the other singers in the group. This may be okay for those singerswho have developeda solid vocal technique, but dangerousfor those-the majority-who haven't. You blend, all right-but at what cost? A singer should never compromise correct speech-leveltechnique. Then how is a person able to blend with other singers and still use correct technique? In order to blend with other singers, you must give your interpretive powers to the director, but only in matters of dynamics (within reason), diction, and phrasing. That is, everyone must sing with the same volume, pronounce words the same way, and begin and end together. However, no attempt "darken" "brighten" the tone. Singers should or should ever be made to always maintain a clear tone with a normal speechJike depth. It's not the vocal technique itself that should be modified or restrained, but the degree of individual vocal expression put forth' If you're going to

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have good ensemble, nobody can be sticking out. A singer shouldn't want to "ensemble." stick out-that would destroy the concept of What about vibrato management? Now that's an interestingcombination of words! Management implies that you're going to have to "manage" or "manipulate" your voice - to do something to it. Well, that's very dangerous.It's impossibleto get a large group of singersto have the same number of undulations in their voices at the same time. Yet, it's also very dangerousto try to take the vibrato "flat" out-to sing straight, sounds. To do so, your cords must be pulled so tightly that there's no undulation in them at all. Choral directors really shouldn't be messingaround in this area. A relaxed vibrato should exist whenever you dwell on a note long enough for vibrato to take place. It is a natural function of a free voice. Are you saying that choral singing can be dangerous for the solo voice? It can be, if the director isn't careful. Most choral singers tend to belt out notes in their chest voice, without ever going into head voice as they sing higher. This is death for the solo singer. Is there a reason for the limited range development of choral singers? Yes. Choral music is usually written so that each vocal part has a limited range. The bassesnever have to go any higher than maybe a D or an E natural at the most, right at the top of their chest register. The same goes for tenors, whose part rarely goes above an A or B-flat. Consequently, there's no effort to develop the upper part of their range. They never have to sing through their main passaSearea, which in a man's voice begins around D or E natural. How about women's voices? The same thing is true for women. It's a big deal if a soprano sings past an A or B-flat in most choral music. But, you see, right at that high B-flat is a critical passagearea in her voice, where she goes into a sort of overdrive. "super-head" You could call the area above that passagearea a voice. You have your chest register, and you have your middle register, which is in the head, but is definitely what you call a middle sound. You have your head "super-head," voice, and then a which comes in around B-flat. But you have prepare to for it early, by keeping your voice balanced up to that point, just as with the other passageareas in your voice. If you are singing in an "pounding ensemble and go away" up to A or B-flat, I can guarantee that you're going to ruin your high C and your D and E-flat in solo voice.

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So this problem applies to all voices? Yes. A singer has to be able to hear his own voice well enough to be able to progress through his passageareas in a balanced manner. A solo singer can hear himself during solos, but a singer in a group finds it almost impossible to do so. He keeps singing louder and louder to be able to hear himself. This "grip" with his outer muscles,which prevents him from encourageshim to ever exploring the head voice area of his range. Singerswith wide ranges shouldn't be as rare as they are. Carelesssinging simply discouragesthe upper range development of those voices. Is choral or ensemble singing any good for the solo singer? It's good for general musicianship. That includes following a conductor's direction, sight singing, and ear training. However, you could learn the same things as an instrumentalist, then transfer what you learn to singing. Aside from the development of musicianship, there is very little you can transfer from what you get out of choral singing into solo singing, unless the director knows what he is doing in terms of vocal technique.

Choir Directors as Voice Teachers Questions and anstuers

Why aren't more choir directors good voice teachers? It has to do with the system that trains them. When you go to school to study to be a choir director-either undergraduate,or graduate-you are generally given the poorest voice teacherson the staff. Even if you have a good voice, the music department will figure that you don't need to have a solo voice. Yet, most choir directors will meet hundreds of singersevery week, when they conduct. They will also give voice lessonson the side. Inevitably, they will pass along the same poor vocal technique they were "place "support the tone further the tone," taught, using terms like "sing from your diaphragm," without any real knowledge of forward," or what those things actually mean.

Popular Music and Traditional Teaching Questions and ansrDers

Why has the attitude toward popular music been so negative in school? One reason for the furrowed brows when mentioning popular music in some institutions is that many singers who record and make these songs popular have had no training at all. But that doesn't mean there is anything wrong with the music. A lot of it is marvelous. It's not all good, though, just like

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music written in any style is not all good. Traditional styles just happen to have had more time to screen out the bad material. Another rarely admitted reason for the lack of attention to popular music is that most teachers, quite simply, can't teach it. Although basic vocal technique is, or should be, the same for all types of music, the stylistic requirements for popular music are beyond their own background as teachers. Interpretation of popular music is a very personal matter, with no hard-fast criterion for judging the successfulperformance of a song in that style. Tone quality and phrasing is determined by the singer. Often a teacher will avoid his lack of ability in this area by saying that the student should "right learn the way" first, and then sing the songs they want later, implying that any singing that isn't opera, or lieder is a prostitution of the vocal art. Their usual methodology-badgering students about diction, breathing, tone color, posture, etc-which may be barely tolerated in the "classical" idiom, does not apply at all to popular styles such as country, rock, jazz, blues, and gospel. Then what should they teach, if they can't teach those things? Vocal technique! Just vocal techniquel Teachers shouldn't substitute the peripheral aspectsof style interpretation for basic vocal technique. It's a totally different thing. Most pop singing has one thing in common, it's on a conversational level. Opera and other forms of traditional styles are not always that way, but you must still be able to go into your head voice without leaving your speech level. Most students and teacherswho sing opera base their modern idea of operatic tone on a concept of a"woofy," overproduced sound, which is dangerous to the health and longevity of the voice. What is interesting is that the best opera singers (of yesterday and today) sing in a clear, speechJevel manner that lets you understand their words all the way through their ranges. This is the same ideal that people listen for in any type of good singing.

Selecting Music Questions and ansuers

When a singer first begins to study vocal technique, what type of material should he sing? You should avoid any material that puts a great demand on your voice from a dynamics standpoint. Select songs that are more melodic, not those that "punch" "dramatic" need or require a dynamic level. As I've said already, singing songs is not vocal technique. Just becausea teacher encouragesyou "sing to out," or gives you hints on how to interpret what you sing, does

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not mean you are learning vocal technique. Style and interpretation are no substitute for vocal technique. Without good vocal technique, style and interpretation are greatly restricted.

Singing in Foreign Languages Questions and anstuers

Should beginning voice students sing in foreign languages? I believe singing in foreign languages gives a singer too much opportunity to sing incorrectly. The best way to tell if a singer is singing correctly is to hear whether he or she is singing in a clear and unmanufactured manner. Very few people are able to tell if a foreign language is being sung correctly. If "Mary Had a Little Lamb" in a garbled manner, someoneis someonesings sure to notice-but not if it's sung in a foreign language,where there can be "overproduce" tone. A person should not sing in a foreign a tendency to language unless he can sing in his own first. Then why are so many songs in foreign languages required in schools? One reason is that teachers in collegesand universities create work for themselves by encouraging recitals and concerts, promoting the same vocal literature they had to learn in school. Their students are usually being supported by their parents and the teachers are being supported by the school, so nobody is ever required to learn anything which would enable them to go out and earn a buck. You cannot earn money doing the art song repertoire that you learned in school, outside of school. No one is interestedbecause, even if they understood the lyrics, the subject matter doesn't relate to them. Even when it does, the style or idiom often gets in the way of their understanding the words. Is that the only reason? No. Colleges and universities must meet certain standards in order to become accredited. You have to have so much French, German, or Italian literature memorized or you can't be graduated.

whv? We've lived in the shadow of Western European-based art forms for so long that one is not considered learned or educated in the art of singing unless he or she can sing these forms of music in the original languages. It's really a ludicrous situation.

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What can be done to change the situation? Teachers should stop putting themselvesin ivory towers and acting as if there were nothing else but opera, nothing else but musical theatre, or nothing else but popular musicl A voice teacher must try to impress upon his pupils, actually insist, that they sing in an uncluttered, easy manner throughout their entire range-and be able to sing anything! Students must be given repertoire in all areas of vocal music, traditional andpopular.

Practicing Questions and ansuers

How soon in my training program can I expect to sing high notes easily? Immediately, since in our approach there is no strain involved in the production of tone anywhere in one's range. You must move quickly into the extreme ranges to ensure that you don't get locked in to any one part of your range. What about teacherswho say you should build your middle range before you try to extend it up or down? That is a very popular, yet self-defeatingphilosophy. Singing in just the middle of your range keeps you anchored to your chest voice, with a slightly lighter approach maybe, but giving you no concept of how to get into you head voice. You must expose the "break" area (the most critical passage area in your voice) right away. Then, once you've established that it exists, you must proceed to eliminate it. This business of working on your middle range first is nonsense. With our speech-levelapproach to vocal technique, there is no inordinate pressure either up or down one's range. A// your tones should be easily produced, and you should begin training your voice with that in mind right from the start. What is a good dynamic level to practice? Mezzo forte (medium loud) at the loudest. However, you must never forget tohy you practice exercises.You do so to set up the correct balance between your exhaled air and your vocal cords, allowing you to sing at a speech level, and to then have your neuromuscular system live with that balance. As far as volume goes, you should only sing as loudly as you are able to maintain your balance with a steady, normal vibrato. The intensity, or loudness, of that tone will come once the muscular coordination to produce pitches freely is established.

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There doesn't seem to be a great deal of variation in the types of exercises that you use, compared to other books that contain vocal exercises.How do you explain this? Who's to know if you are doing the other exerciseswith the proper balance in your voice? If just scaleswere all it took to establish a balanced voice, you wouldn't need a voice teacher. You could just sing scalesall day. The important thing isn't uhat you sing when you exercise, it's hou you sing it. An exerciseshould help you connect your voice throughout your range-to negotiate the passageareas. Almost any exercisecan be used, if you keep your voice balanced. Exercisesthat require you to sing pure vowels before you have developed the coordination to sing them correctly, do absolutely nothing to condition your larynx to function independently from your outer muscles. As soon as you senseyou are going to have trouble singing a note, your neuromuscular system activates those muscles, to try to make that note beautiful, or to somehow fix it. Of course, you may be able to temporarily muscle your tone, but all you are really doing is reinforcing the same bad habits that got your voice into the strained condition it was previously in. You will have done nothing to train your voice. Your larynx should already exhibit a good deal of independencefrom your outer muscles before you begin to use pure vowel "grip" "squeeze" with your outer and sounds. Otherwise, you will just musclesas you sing higher. Should I practice agility and velocity exercises? Yes, but only when they can be done accurately with balanced tone production. It doesn't do you any good to plow through an exerciseat a fast speed. Exercisesshould not be done quickly until you are able to sing each note clearly at a moderate speed, at your speechlevel. Otherwise, you only touch the notes so briefly that strained production is not detected. How much should I practice? You should practice as much as you perform, even more. They are not the same thing. Performance is the culmination of your vocal conditioning to meet the artistic demands you place on your voice for the purpose of communicating and projecting ideas and emotional experiencesto your listener. Regular vocal practice keeps your voice aligned for efficient coordination, so that any temporary diversion from good technique can be recognized easily and corrected quickly.

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When should I not practice singing? Whenever you are indisposed with such things as a head cold, fatigue, etc., that could interefere with the physical sensationsyou use to judge your vocal coordination. How often should I have a voice lesson? That depends upon your ability and the demands of the particular music you are singing. A professional opera singer, for example, may have his or her technique checked by a teacher once or twice a week. For a beginner, though, or someone learning correct technique for the first time, I would say a minimum of two lessonsa week, three days apart to start. Such a schedule should continue until the singer begins to grasp the fundamentals of the new technique. Depending upon the teacher and the student, this can take as little as one or two lessons. A teacher shouldn't lead you by the hand every day unless you are "crashing" both on certain problems that need to be solved quickly because of professional commitments. Preferably, you should have time alone to make mistakes and work them out for yourself. Eventually you can wean yourself from your teacher. You should only study regularly with a teacher until you are able to apply your technique to your songs. Then, all you need is an occasional check-up. Another pair of ears can be very valuable.

Singing in Rehearsals Questions and anszners

Should you sing differently in rehearsal than you do in performance? Yes, especially when learning something new. In rehearsals,all wise singers satsetheir voices-not in the sensethat you only have just so much to give, but to keep your voice relaxed during a potentially stressful situation. Rehearsalsby nature are very demanding on a voice. It's stop-and-go as you learn notes, check pitches, work on blend, and everything else. This makes it very easy to fall back into old habits. Therefore, you should do what is "marking" your music-singing lightly or even dropping the high called notes down an octave, until all the notes are learned and you know what's expected of you. Once you know where you are going with your voice, your neuromuscular system will be much more cooperative in helping you sing the right notes with the proper technique.

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Voice Competitions Questions and anstuers

What do you think about vocal competitions? Competitions can provide scholarships,some prestigeand national attention, and also an occasionalbeginning contract for performers. Yet, many of the world's best singershave never won a competition. Decibel (volume) level, not a balanced vocal technique, seemsto be the main criteria of the judges. Thus, lyric singersare passedover in favor "blasters" of who are headed toward vocal ruin. It has been my experience that most judges aren't good enough to have pupils in the very conteststhey are called upon to judge.

The Young Voice Questions and ansTzers

How do you teach young voices, say under fifteen years of age? For both boys and girls, basic musicianshipshould begin as soon as possible. A stringed instrument such as violin, viola or cello is good to learn. It gives "vibratoed" the youngster a feeling of long, continuous, bowed lines, and a quality of tone which is indeed similar to the singing voice. Piano and guitar are also very good as they will help in the later study of harmony and be useful as a means of self-accompaniment.Naturally, with all instruments, the involvement with reading music and rhythm is invaluable. Then, as the voice becomesmore responsivewith age, the already activated musicianshipsupports and enhancesthe overall musical ability. As far as actual voice training goes, however, one must be careful. In girls, it is not uncommon to find youngstersaround ten years old who can vocalize easily from low G and A to E-flat above high C and above. And it is possible to maintain that marvelous start if those handling that voice are careful not to require any heauy singing. That is, competition in groups of older voices or participation in school musicalswhich require belting. These young voices will become fuller (rounded out), without loss of range, power, and quality, if care is taken to keep strain absent. in male voices, the change from boy soprano to the beginningsof the adult male voice can be traumatic. It can happen dramatically (overnight in "cracking some cases),or hang in a limbo," bobbing back and forth within an octave range for a period of time. It is both embarrasingand bothersome, and indeed (if the young boy has experiencedsome successwith a beautiful soprano voice) a horrifying experience.There is no promise that his voice will return in any consistentstate of well-being.

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ihis is a difficult period to live through, unlessyou have knowledgeable and patient vocal guidance from an expert voice technique teacher.The youngster must be monitored regularly to insure that he is keeping his voice coordination as balanced as possiblethrough the change. "grab" onto any There is always the danger that a young singer will "grind part of the coming mature voice and begin to away" in an effort to retrive some of the vocal control he enjoyed before the maturation process began. It is therefore complete lunacy on the part of a choir director to ask a boy to dig for low G's or even A's in an effort to sing the bass line in an ensemble. Just because the boy soprano has been forced to temporarily retreat from singing high tones, it is assumedthat he is going to be a bass. Actually, when this happens, he should sing baritone, taking the low notes up an octave, or down an octave, should the vocal line become too difficult to sing comfortably. It is interesting-and there are always exceptions that disprove the rule-that most boy first sopranos drop to bass or baritone, and the boy second sopranosmove into tenor. Occasionally there is a boy soprano voice that deepensslightly and moves into tenor or male alto, with no apparent "change" or drastic reaction. It has been my experiencethat all young voices are subject to the same vocal principles as adult voices.

There seems to be numerous children's singing and performance workshops in most cities, any opinions? Children, with their undevelopedvoices and lack of maturity to make decisions,are the easiestprey to poor voice teacherswho use "performance "shill" workshops" as a to acquire vocal clientele. Children are allowed and encouraged to "belt" their brains out, trying to sing adult ranges or yelling shows like "Annie," which can have disastrouseffects on the eventual balanceof the "midrange," which everyone strives for as the maturation processcontinues. It is extremely rare to find any children's vocal performance workshop which is knowledgeableenough to encourageproper balancein the young voices,and set vocal keys whlch contribute to a youngster's vocal growth and understanding. Do you believe in student loyalties? Absolutely-loyalty to themselvesand their voices.If the student's voice has a wobble or a tremolo, leavetheteacher.lfthe musclesunder the chin reach down and tense as the pitch rises, leaoe theteqcher.lfthe student's voice has no vibrato,leaoetheteacher.lfa woman has all

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head voice and no connected chest voice, leauetheteacher.Ifthe man has chest voice and no connected head voice, Ieaoetheteacher. The above situations are what I call student loyalty, that is, loyalty to common sense. There should never be loyalty to a teacher who doesn't produce improvement within a short time. If the pupil's vocal talent is poor, that student should never have been encouraged to continue in the first place.

The Aging Voice Questions and anstuers

Is it natural for your voice to get weaker as you get older? No. Not if you sing with a balanced speechJevel technique. Your voice should only get better as you get older. There will be no loss of range, quality, or power, if you haven't relied on raw physical effort to sing. Otherwise, over a period of time, the extra muscles you've used to build your vocal technique will break down. That's when the wobble starts to appear, as well as other signs of labored singing.

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Heahh and Care of the Singer'sVoice Your voice is not something isolated from the rest of your body. Singing involves the coordination of many muscles-whether it's the musclesof breathing, or the musclesin your larynx. These musclescan get tired, weak, and out of condition from lack of generalphysical exerciseand/or poor nutritional maintenance. The overall health of your body is always the primary consideration good for vocal health. To give your voice the best opportunity to function at its maximum level of efficiency, your body must always be functioning at its maximum level of efficiency. As a singer, you should maintain a daily program that not only condiyour voice, but also helps to keep your body fit, rested, and well tions nourished, for both your health and physical appearance.You must also use good posture, avoid bad vocal habits, and be aware of any other factors that may affect the well-being of your voice.

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Your Posture Your spine contains your body's primary network of nerves-the spinal cord. The nerves for every limb and organ in your body are connected to your brain by this one network, which runs through the center of your spine. This main nerve cable branchesout into smaller nerves, and then into still smaller nerves, until they reach out into every part of your body, including your larynx. The function of your nerves is to pass along signals from your brain to other parts of your body. When your body is not aligned correctly, these signals become weakened or interrupted, becauseabnormal pressure is placed on your nerves as they pass through the openings in your spine. Poor posture inhibits not only the physical movement of your breathing muscles, which affects the air supply to your vocal cords, but also the nerve signals from your brain. />

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"comfortably Your head, chest (always high" so you can get a fuller and quicker supply of air), and pelvis should be supported by your spine in such a way that they align themselves, one under the other. You shouldn't stand rigidly, but comfortably prepared to sing. Your posture can work against you if you concentrateon it too much. Modifications in your basic posture can be very effective in the performance of certain styles of music, helping you to create specific moods. However, until you have developed and feel confident with your basic vocal technique, you should avoid any type of extreme posture when you sing.

Bad Habits Your larynx, like any other organ of your body, is composed of living tissue, which makes it susceptible to injury and abuse. Often, you can abuse your voice without even realizing you are doing so. Things you do can directly or indirectly affect the healthy functioning of your voice. They can be just as harmful as using poor singing technique.

Using alcohol and drugs

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Stimulants and depressants,whether or not prescribed by a physician, can disrupt your neuromuscular system, reducing the ability of your vocal cords to function as you would normally expect them to.

HEALTHAND CAREOF THES/NGEB'SVOICE

Smoking

Besidescontaining chemicals that can cause muscle and nerve problems, smoking dries out the mucous lining of your vocal cords. Without this natural lubrication, the edges of your cords can swell, making vibration very difficult and allowing air to escapeunused. And it doesn't matter whether it's vour smoke or someoneelse's.

Eating before singing

It is suggestedthat you don't eat before you sing. After a meal, your body tends to slow down, because the body's energiesare directed toward digestion. This inhibits your mental alertnessand the vocal coordination you require during a rehearsal or performance. Also, the excessmucous that secretesonto your vocal cords can interfere with the vibration process itself .

Shocking your cords

Excessivecoughing, sneezing, forced throat-clearing, and starting your tone with a sudden burst of air can strain or even damage the delicate muscle tissueof your vocal cords.

Using excessive volume

When you can't hear yourself sing-or talk for that matter-there is a tendency to overcompensate by using more muscle to control your larynx, which in turn requires that you use more air to move your cords. A "battle" soon begins to take place between your vocal muscles (in muscular your larynx) and your outer muscles to resist the escalating air pressure. This leads to hoarsenessand added tensions that cause the muscles in and around your larynx to become sore and painful.

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Other Factors Imitation of other singers

Often singers try to imitate the voice or singing style of a famous entertainer or other person they admire. A sound that's appropriate for one person's voice, however, is not necessarilygood for another's. When you try to adopt vocal qualities that your own vocal equipment is not designed to handle, you only abuse your voice.

Remediesthat don't work

Sprays, lozenges,hot tea, etc., do not help you sing better. They only soothe irritated membranes when you have a sore or irritated throat. Most of them have no effect on the vocal cords themselves,becauseyour vocal cords are located below the point where most of these preparations can reach. But even when they do reach your vocal cords, these "remedies" do nothing to correct the problems that put your voice in the condition that prompted their use.

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Unnecessary vocal rest

It isn't natural for your voice to become hoarse or tired with normal (optimal) usage. However, if you abuse your voice, either through poor vocal technique or anything else, it will not work its best for you. When you find that your voice becomeshoarse, weak, or too painful to use, vocal rest may eliminate these symptoms temporarily. But don't think all you need is vocal rest. Eventually the problems will return unless you eliminate the cause-vocal abuse.

Emotional stress and fatigue

When you are tired or your body is under emotional stress, your neuromuscular system can't function properly. Under such conditions, you run the risk of overexerting your vocal muscles and using the muscles outside your larynx for assistance.

Hormones

For women, natural changesin your body's chemistry, during pregnancy, menopause, and even menstrual cycles, will cause your body's tissuesto thicken-even your vocal cords. Be careful at these times, becauseyour cords will not respond or move as quickly as they do when they are thinner.

Your environment

There are a great variety of environmental factors that can affect your voice (not to mention your general health). Dust, fumes, smog, smoke, or any foreign substancesyou come into contact with can affect the muscular tissue of your vocal cords directly, or indirectly by affecting your neuromuscular system.

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APPENDIX SethRiggsVocalTherapyandTechnique

Stage,Screenand TelevisionPerconalities Current and former students of Seth Riggs: Bryan Adams Donnie Ray Albert Edward Albert Muhammad Ali Marcus Allen Loni Anderson Edward Andrews fulie Andrews Luci Arnaz Armand Assante Jim Bailey Philip Bailey Anne Bancroft Kim Basinger Tony Basil Priscilla Baskerville Alan Bates Brian Bedford George Benson Angela Blasi Michael Bolton Debbie Boone Pat Boone Tom Bosley kacy Bregman Eileen Brennan Didi Bridgewater Carol Burnett Levar Burton Tevin.Campbell Didi Canova Irene Cara Belinda Carlisle Vicki Carr David Cassidy George Chakiris Richard Chamberlain Stockard Channing Cher Stanley Clark fames Coburn

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Natalie Cole Gary Collins William Conrad Rita Coolidge Tom Cruise MacCauley Culkin Tim Curry Tony Curtis |ohn Davidson Billy Davis )r. Pamela Dawber SusanDey Patty Duke Sandy Duncan Nancy Dussault Emanuel Richard Eastham Lisa Eichorn Lola Falana Sherilyn Fenn George Firth Jane Fonda Steve Forrest Connie Francis Rosie Gaines Peter Gallagher Terri Garr BenGazzara Marla Gibbs fohnny Gill Sharon Gless Andrew Gold \tVhoopi Goldberg Leslie Gore Kathryn Grayson Melanie Griffith Robert Guillaume Gene Hackman

Lani Hall Monty Hall fonnie Halliday George Hamilton Dorian Harewood JessicaHarper Barbara Harris Greg Harrison Lisa Hartman Goldie Hawn Howard Hewitt Clint Holmes Linda Hopkins Thb Hunter Ron Husman ]ames Ingram Jeremy Irons JanetJackson Joe]ackson La Toya Jackson Marlon Jackson Michael Jackson Randy Jackson ReebieJackson Tito fackson Sonny |ames Al jarreau Anne jefferies Waylon Jennings Ann Jillian Don Johnson StaceyKeach Sally Kellerman Lynn Kellogg Paula Kelly Nicole Kidman Val Kilmer FlorenceLa Rue Piper Laurie

Eloise Laws Emmanuel Lewis Anne Lockhart Heather Locklear Lorna Luft Madonna George Maharis Steven Torme March Ann-Margret Cheech Marin Martika Marrero SteveMartin Mireille Mattheiu Les McCann Marilyn McCoo Shirley Maclaine Geraldine McEwan Ed McMahon Barbara McNair Bette Midler Liza Minelli Manuel Mijaris Mary Anne Mobley Shirley Murdock Eddie Murphy Don Murray Jan Murray Leslie Nielson Olivia Newton-John Nick Nolte Sinead O'Conner Pete Onorati Ceci Peniston Monica P6ge Donna Pescoe BernadettePeters CassandraPeterson (Elvira) fune Pointer

APPENDIX

Stage,Screenand TelevisionPerconalities(continued) Ruth Pointer JanePowell Prince Anthony Quinn Bonnie fkitt Molly Ringwald Lionel Ritchie Chita Rivera Jimmy Rodgers Daniella Romo John Rubinstein Telly Savalas John Saxon William Shallert

Cybil Shepherd Talia Shire ReneeSimard Helen Slater David Soul Dusty Springfield Rick Springfield Robert Stack Sylvester Stallone Frank Stallone Connie Stevens Sharon Stone Bo Svenson Toni Tenille Tiffany Lilli Tomlin

Liz Torres Tina Turner Tracy Ullman Brenda Vaccaro Frankie Valli joan Van Ark Gino Vanelli Sylvie Vartan Ben Vereen Eduardo Villa JamesWagner fessicaWalters RachelWard Leslie Anne Warren

Ted Wass Jody Watley Patrick Wayne Carl Weathers Raquel Welch Maurice \tVhite DenieceWilliams Lenny Williams Paul Williams Fred Williamson Angela Winbush Paul Winfield Stevie Wonder Syreeta Wright Ren Woods PiaZadora

Groups Kiss Paul Stanley

Eurythmics Annie Lennox

Stevie Wonder Ben Bridges Greg Phillinganes Ray Pound Hank Redd Mike Sembella Nathan Watts

Chicago Peter Cetera Bill Champlain JasonScheff

Lou Rawls Judy |ames Yvonne Wright Earth, Wind & Fire Philip Bailey Verdine White Maurice White

Bob Dylan Carolyn Dennis Helena Springs joAnne Flarriss Fleetwood Mac Billy Burnett

Supremes Cindy Birdsong Linda Laurence joanne Turrell Mary Wilson

Toto Brian DuPlessis Red Hot Chili Peppers Anthony Kaedis

Marvin Gaye |ohnny Simon Florence Lyle

Aerosmith joe Porter

Ray Charles Madeline Quebec

Mozart Adam

Lionel Ritchie FlorenceLyle Shalimar Howard Hewitt

139

S/NG/NGFOR THESIARS

BroadwayShows Rothchilds, 1972 Ioel Parks Richard Balin No, No, Nanette, 1972 Bill Biskup Dennis Atkesson Michael Mitchell Iason Holt JeannieMoore

Fiddler on the Roof, 1974 Lynn Cole Adcock Michael Kermoyan Peter Kavoian Aleko Korallis

Richard Chamberlain (Cyrano) Leslie Easterbrook Gone With the Wind Leslie Anne Warren (Scarlett) Udana Powers (Melanie) Larrie Miles Gigi, 1973 Gordon de Vol Udana Powers Janis Eckhard Oliver, 1973 Cherie Davis Leslie Easterbrook King and l, 1974 Leslie Easterbrook Eric Silyu Steve Ward 140

Derin Altay Little Johnny Jones David Cassidy

Macbeth, 1974

Priscilla Baskerville

Patricia Wynant Leslie Easterbrook

King and I, \979

Camelot, 1975 Leslie Easterbrook Charles Bergman Ron Husman

Robert Vega Michael Kermoyan Cho Yung Kim Lauretta Giles Tempest, 1979 Priscilla Baskerville

Odyssey, \975 Cyrano de Bergerac

Gregg Harrison Leslie Easterbrook Pamela Cordova Roger Case

Evita, New York Company

Timbuktu,1979

Sound of Music, 7972 Jani Eckhard Steve Ward Don Shrump Karen Yarmat Marvelee Cariaga

Festival, 1978

Martin Vidnovic Linda Vidnovic Bob Slater Suzanne Sponsler Gerron Douglas lltonderful Town, 1975 Leslie Easterbrook How To Succeed In Business...1975 Charles Bergman Purlie, 1975 Helen Gelzer Dennis Williams The Lltiz, \976 Carolyn Dennis Kutee Charles Harris Marcie Thomas

Evita,1930-81(LA. Co.) Cynthia Hunt Angela Blasi Sharon Scott Harold Clausing Derin Altay Vincent Pirillo Deena Su Cilmore Evan Richards Bruce Senesak Julia Hannibal Let's Call The ll'hole Thing Gershwin, 1980

Pirates of Penzance, Los Angeles Company Pam Dawber (Mabel) They're Playing our Song, New York Company Ted Wass Diana Canova Can Can, New York Company, 1981 Ron Husmann Sophisticated Ladies, 1982 Hinton Battle Dee Dee Bridgewater Lauretta Giles Chorus Line, 1982 Los Angeles Company

Barnum, National Company, 1981. Stacy Keach (Barnum)

Richard Orbach Daryl Yaeger Deborah Hahn Joe Farris Kevin Blair Bob Amarante Kevin Blair Iillian Walke Jaymi Marshall

Georgia Brown & Friends, 198'J.

Royal Opera, 1984 (Olympic)

Georgia Brown

Lawrence Dale

Jubilant Sykes Larry Ceder

APPENDIX

Film-Vocal Consultant New York, Netp York Liza Minelli

Victor Victorta Lesley Anne Warren

Mambo Kings Armand Assante

Dickkacy Madonna

SuteetCharity Shirley Maclaine

RhinestoneCowboy Sylvester Stallone

The MarryingMan Kim Basinger

CoolWorld Kim Basinger

Sluggers Wife Rebeccade Mornay

Tommy Tina Turner Ann-Margret

Wild at Heart Nicholas Cage

Ruby Sherilyn Fenn

Penniesfrom Heazten Steve Martin Bernadette Peters

Newsies Ann-Margret Christian Bale

ldol Maker Ray Sharkey Peter Gallagher

For the Boys JamesCaan Songwfiter Lesley Anne Warren

Color Purple Margaret Avery Rae Dawn Chong The Doors Val Kilmer Rondhouse BenGazzara Swizzle Loni Anderson

losephineBaker Story Carol Dennis (Voice for Josephine Baker) I'll Do Anything Nick Nolte Tracey Ullman SisterAct Whoopi Goldberg Boys on the Side Whoopi Goldberg

141

Glossary

Adam's Apple Common term used to describe the part of the larynx (voicebox) which protrudes from the front of the neck. Not noticeablein everyone, least noticeable in women. Air Blast Excessiveair flow which either overpowers your vocal cords or causesthem to overtighten in resistance. Air Flow The amount of air you send to your vocal cords. Generally implies the correct amount of air needed to coordinate with the proper vocal cord tension. Excessiveair "air flow is called blast." Alto

Low female voice.

Balance Occurs when air flow and cord tension produce tone with the least amount of effort from your speech level, allowing you to sing in an easy, connected manner from your chest voice through your head voice. Baritone Male voice located between bass and tenor in range and tone quality. Bass Low male voice. Belting Using excessiveair flow (air blast) and vocal cord tension in an attempt to sing louder.

142

Blasting

See belting.

Break A sudden shift in your tone caused when excessiveair flow overcomes cord tension, which causesyou to lose the continuity (connection)of tone production. This can be avoided, however, if your cords are allowed to gradually "shorten" thin and then their vibrating length with a corresponding gradual decreasein air flow, so excessiveair pressure or muscle tension never gets a chance to build up. Break Area An area in your vocal range where your voice is most likely to break. Seebreak. Breath Flow

Seeair flow.

Breath Support The amount of air your vocal cords need to vibrate efficiently. It should never be controlled directly. It should be a byproduct of speech-levelsinging. Cause and Effect Exercises Exercisesdone in such a manner that the desired vocal coordination is achieved directly as a result. Chest Register The term traditionally assignedto the lowest part of your potential range. Compression Caused when air pressure builds up against your

GLOSSABY

closed or nearly closed vocal cords. A certain amount is neededin order to blow the cords open to produce sound waves. However,-when too much compression is allowed to build up becauseof too much cord tension, or not enough air flow (see breath support) is provided the cords, you feel a pressure build-up in the voice (in the throat and soft palate areas,etc.). When air flow is balanced with proper cord tension, you do not feel any pressure. Connected Tone Tone that is produced evenly from chest through head voice, so there is a consistency "break" or of production with no producsudden change in your tone tion or quality. Consonant A speechsound produced as the result of a temporary partial or complete constriction of air flow (b, d, f , g, etc.). Diaphragm The large dome-shaped muscle that separatesyour chest and stomach cavities. Its main function is to initiate inhalation by contracting (flattening), thus enlarging the chest cavity so your lungs can fill with air. Direct Control The attempt to control your breathing and/or vocal musclesby consciouslytensing those muscles or any muscles that may affect them. An incorrect way to sing. Edge Sound A term used to "unfinished" describe the type of sound that involves the vibration of

just the inner edges of your vocal cords, so the full bulk of the cords is not activated. Used as a device for re-balancing an incorrectly produced voice so that speech-level production of tone can be possible. Epiglottis The leaflike cartilage that separatesthe functioning of your esophagus(channel to the stomach) from the functioning of your trachea (channel to the lungs). Esophagus The food channel to your stomach. ExcessiveMuscular Effort The primary cause of all vocal trouble. Occurs when one tries to control his or her voice with the wrong muscles.Seedirect control. Exercise In singing, a device (a note or sequenceof notes sung in a certain manner) used to condition and/or strengthenyour vocal muscles to work with the proper air flow in a speech-levelmanner. Falsetto A type of vocal production that, like head voice, lets you experiencethe freedom of singing in the higher part of your range without strain. But, unlike head voice, falsetto cannot blend (connect) with your chest voice. There"disconfore it is referred to as a nected" type of tone production. This, and the fact that it is impossible to increase sound intensity past a certain point, makes falsetto production impractical to use, except for occasional special vocal effects.

143

S/NG/NGFOR THESIARS

Flexible Tone The result of a balanced vocal coordination which allows you to move easily from the pitch and intensity of one tone to the pitch and intensity of another tone. Forced Larynx A condition in which the muscles outside your larynx (muscles primarily used by your body for chewing and swallowing food) pull your larynx up or down when creating tone. However, this is the wrong way to produce tone. Seehigh larynx, low larynx. Free Tone Tone that is produced as a result of speech-levelsinging, where your vocal cords work with your air flow to produce tone without interference from vour outer muscles. Free Voice

See free tone.

Full Tone As loud as a person can sing without creating an imbalance between air flow and vocal cord tension. Also refers to a tone that has a balanced resonancequality. Full Voice

See full tone.

Head Register The term traditionally assigned to the highest part of your potential range. Head Tone

See head register.

Head Voice

See head register.

High Larynx A condition in which the muscles above your larynx pull

144

it upward in an attempt to tighten (stretch) your cords by force. Indirect Control The type of control you develop after conditioning your voice to work properly. Larynx The organ at the top of your trachea (windpipe), made up of cartilages, ligaments, and muscles.Inside, attached from front to back, are your vocal cords. Certain muscles of your larynx affect the tension of your vocal cords as they work with the air from your lungs in producing vocal sound. Functions best when in a relaxed, speech-levelposition. Low Larynx A term often used in"relaxed" terchangeably with or "stable" larynx, in which case it is a by-product of speechJevel singing. Sometimes, however, it refers to the condition in which the muscles below your larynx are used to pull the larynx downward in an attempt to increase resonance space. This should be avoided, except when done as an exerciseto counteract a highJarynx condition. You should always sing with a speech-level coordination and accept what you get as being the true tone quality for your voice. See forced larynx, high larynx. Manipulation Consciously or unconsciously using your outer musclesto control the tension of your vocal cords in your larynx and/or the shape of your resonance areas, instead of allowing your larynx to function on its own. Also

GLOSSAFY

refers to the techniques used by some teachersto supposedlyget their students to free their voices. The latter is not only dangerous (i.e., pulling down on the larynx by hand or grabbing the tongue)-it doesn't work! See direct control. Mezzo Soprano Female voice located between alto and soprano in range and tone quality. Middle Register The potential blend area between your chest voice and head voice. Middle Voice

Seemiddle register.

Natural Singer An individual who has acquired a balance throughout his or her entire range or singing area without formal voice training. PassageArea An area in your range where muscular adjustment and/or resonanceactivity make it especially difficult to negotiate a balance between air flow and vocal cord adjustment. Men have about three such areas in their range, whereas women have as many as five or six. Range The extremes of pitches-upper and lower-you can sing. Your practice range is generally greater than your performance range, however. Notes sung in performance range should always be balanced and feel very comfortable. Seerelease. Release A condition in which your voice works easily without your having to think about it.

Repertoire The songs a singer is prepared to sing publicly. Resonance The reinforcement of initial cord tone in the cavities above the larynx. A secondary vibration factor. Should be a byproduct of speechJevel singing. ResonanceAreas Any of the areas (cavities) above the larynx which reinforce the tone originally produced by the vocal cords. "shortenShortening Refers to the ing" of vibrating length that occurs once the cords have thinned to their maximum degree. The cords do not actually shorten in length-instead, less of the overall cord length is involved in opening and closing. Soprano High female voice. Sound Wave A wave of compressed air molecules releasedfrom your vocal cords during the'vibrating process and received by the ear of the listener. Seevocal cord vibration. Speech-LevelPosture. level singing.

See speech-

Speech-LevelProduction. speech-levelsinging.

See

Speech-LevelSinging Generally, when you speak in a quiet, comfortable manner, the outer musclesdo not interfere with the functioning of your larynx. That's becausetone is not your main concern-communication is. Therefore, your larynx is

145

S/NG/NGFOR THESIARS

allowed to rest in a relatively stable, or what we call a speech-leuel,position. This is the ideal vocal condition or posture with which to sing. Super Head The area beginning around B-flat in the 4th passagearea of the women's range (seechart on page 34). There is a sensationof go"overdrive" ing into an beyond regular head voice-an additional feeling of release. The next areas of releaseare in the 5th and 6th passaSeareas. Support

Seebreath support.

Support the Tone A phrase used by many voice teachers and choir directors, along with similar "give phrases,i.e., it more support," "sing and with your diaphragm." Such direction, however, implies that the singer do things that are extremely dangerous to the voice, like using direct, effortful control or excessiveair flow. True breath support only exists when there is a balance of air flow with cord tension. You can have a tremendous supply of air and still not sing well. To produce sound waves, your cords merely need to resist your air flow until just enough air pressure builds up underneath to blow them apart. If you use too much air, however, your cords are obliged to increase their tension, which is certain to enlist the help of the muscles outside your larynx-your outer muscles.And, if your outer muscles are holding your larynx (thus your cords) in a certain tension to stabilizeyour tone, you are not free

to make your vowels and consonants without risking strain to your cords, producing a forced tone with limited range, or encouraging a "break" in the vibration pattern of the cords. Seebreak, breath support. Technique The way in which one produces vocal sound. Tenor

Highest male voice.

Thinning What happens to your cords when they are stretched.The best way-and the only safe way-for them to be stretched, though, is by allowing the muscles of your larynx to do the work, without assistancefrom any other muscles. This way, your larynx can remain in a relaxed and stable (speech-level)position. The result is a lighter, yet balanced sound that allows you to sing higher more easily. The self-containedstretching activity in the larynx also frees the musclesthat control your tongue, jaw, etc. (which otherwise pull on your larynx from the outside to stretch your cords) to form vowels and consonants.This, and the "shortening" that takes place when the cords have thinned as far as possible, prevents a "jammed up" vocal condition. Timbre The quality of your voice that results from the resonance reinforcement of the tone initially produced in your larynx. Best and most consistentwhen it is the result of speech-levelproduction, which stabilizesyour resonancesystem.

GLOSSAFY

Tone The overall term used to describe the pitch, intensitY and resonance quality (see timbre) of your vocal sound. Tone Quality Trachea lungs.

See timbre.

The air channel to your

Training The process of acquiring a skill through a course of study. In the case of singing, the skill to be acquired is speechJevel singing technique. Vibration tion.

See vocal cord vibra-

Vibrato A slight, but regular fluctuation in your tone. Caused bY the normal relaxation and contraction of the vocal muscles as they are activated by alternating nerve im"energy" to the pulses. Gives an tone during the vibration process. Not the same thing as a tremolo or a wobble, which are caused by the instability of one's outer muscles when trying to use those muscles to control tone. Vocal Cords Two muscular folds that connect from the inside front to the inside back of your larynx. Their change in thickness and vibrating length, due to adjustment in tension, affects the pitch and intensity of your tone. See thinning and shortening. Vocal Cord Adiustment What your vocal cords must do to work

efficiently with your breath flow to create the pitch and intensity of your tone. Some adjustments are more efficient than others for producing tone in different parts of your range. However, you must be careful to never think in terms of cord adjustment-just be concerned with keeping the tone connected from a speech level. All adiustments should take place automatically. The openirqg Vocal Cord Vibration your cords. If vocal of and closing your vocal cords are closed (or almost closed) at the same time you exhale, air pressure builds up below them. When the air pressure becomes too great, the cords are blown apart. The sudden release of air pushes the air molecules above your cords together and outward, creating a wave of compressedair molecules-a sound wave. Once the air pressure is released, your vocal cords spring back to their closed (or almost closed) position. The frequency and force of the sound waves determines, respectively, the pitch and intensity of your tone. Vocal Imagery The descriptions some teachersuse to conveY the physical sensationsone should feel "mental pictures" one should or the "images" see when singing. These supposedly translate into the vocal coordination needed to sing correctly. Opposite of using direct cause and effect exercisesthat are quicker and more accurate in training a singer. See cause and effect exercises.

147


Vocal Muscles All the muscles of your larynx, including the vocal cords, that control the tensions of the cords as they coordinate with your breath flow. Voice Break

See break.

Vowel A specific resonance structure through which a tone is sustained. Produced primarily by

148

altering the size and shape of the mouth cavity and changing the position of the tongue, which determines how the resonance cavities will reinforce certain frequencies of the initial cord tone. The result of each alteration is a recognizable "oh," "ee," sound ("ah," etc.). Windpipe

See trachea.

CassetteTapeand CompectDisc Index Cassette Tapes Tape 1, Side 1 Side 2

Introduction and Exercises1-4 Exercises5-11

Tape2, Side 1 Side 2

Exercises 72-79 Exercises20-30 and Closing Comments

Note to cassette users: It may be helpful to use your tape deck's counter while working with thesecassettes.However, sincetape deck counters vary, you will need to createyour own index. Return your tape deck's counter to zero at the start of each side. That way, you can list on the CD chart below the counter numbers for the location of each exercise,and the location of your practice range within each exercise. Whenever you want to listen to or practice a particular exercise,you can fast-forward or rewind the tape to that number.

CDI

Tiack

Page (andsupplemental

Track

information)

Introduction Exercise1

Exercise2

Exercise3

Exercise4

Exercise5

.........,,1

38

Instruction...........2 Example...............3 Practice.............4

40 (42)

Instruction...........5 E x a m p l e. . . . . . . . . . . . . . . 6 Practice.............7

44 (42)

Instruction...........8 46 (42) Example...............9 Practice.................10 Instruction...........11 48 (42) E x a m p l e. . . . . . . . . . . . . . . 7 2 Practice.................13 Instruction...........1.4 E x a m p l e. . . . . . . . . . . . . . . 1 5 P r a c t i c e . .. . . . . . . . . . . 7 6

52(s0)

Page (andsupplemental information)

Exercise6

Instruction...........17 54 (50) ExampIe...............18 Practice...... ...........79

Exercise7

Instruction...........20 Example...............27 Practice...... ...........22

ExerciseB

Instruction...........23 60 (56) Example...............24 Practice...... ...........25

Exercise9

Instruction...........26 Example...............27 Practice...... ...........28

sB(56)

62(s6)

Exercise10 Instruction...........29 64 (56) ExampIe...............30 Practice.................31 Exercise11 Instruction...........32 66 (56) Example...............33 Practice...... .........34

149


CD2

Tlack

Exercise 12 Instruction...........1

Page 70

Example...............2 Practice.................3

Track

Page

90 Exercise21 Instruction ........'..26 Example..............'27 ...........28 Practice......

72 Exercise13 Instruction...........4 Example...............5 Practice.................6

92 Exercise22 Instruction .......'...29 Example...............30 Practice.................31

Exercise14

94 Exercise23 Instruction ......'....32 ...............33 Example .........34 Practice......

Exercise15 Instruction ...........8 Example...............9 Practice.................10 Exercise16 Instruction ...........11 Example...............12 Practice.................13 Exercise17 Instruction ...........14 82 Example...............15 .......,...1'6 Practice...... Exercise18 Instruction ...........17 Example...............18 Practice.................19 Exercise19 Instruction ...........20 86 Example......,,.......27 ........-.22 Practice...... Exercise 20

Instruction ...........23 8B ExampIe...............24 ...........25 Practice......

Exercise24 Instruction...........35 96 Example...............36 .....'....'37 Practice...... Exercise25 Instruction..'........38 98 Example...............39 Practice.................40 Exercise26 Instruction...........41 100 Example..........'....42 Practice.................43

104 106 108 110

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Singing for the Stars

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