The Singing Voice Vs. The Speaking Voice

Robert Lunte

At my vocalist studio, we don’t “warm up our voices” - more accurately, we warm up to “get into our singing voices”. If vocalists want to achieve a profound increase in range and enjoy overtones with absolute physical freedom from gripping and inefficient physical “ticks”, the modern vocalist must learn how to get into his/her "singing voice" and get out of the speaking voice. The speaking voice and all the bodily responses that produce speech is not a platform for producing the singing voice.

When a singer lacks the knowledge and practice of a legitimate voice technique, the brain will send creative commands from the right brain that can not be effectively executed because there simply is no learned behavior or coordinated muscle memory responses developed to drive the singing voice. When this happens, an internal battle between the well-intended right brain signals and untrained, physical limitations of the body are out of synch. Yet “the show must go on” and the body must respond, so it does so by hurling the speaking voice at complex melodic ideas that require the muscles, normally facilitated for speech, to respond in an extraordinary way, it is not designed to do. This is an approach that is inevitably doomed.

Consider this perspective. The human larynx did evolve to produce speech, but it did not evolve to be able to produce vocal overtones of great volumes, definitive of a “singing voice”. Unlike animals born to produce vocal overtones, such as whales and birds, the ability to produce powerful vocal overtones and project our communications to great distances, were never critical to the survival of the human race. We don’t need to know how to sing to survive, or to feed and breed, like other animals. The point is that students of singing must spend a lot of energy training to facilitate the physics that will transform their bodies into wind instruments that can produce vocal overtones. To be sure, the process of learning how to sing and the experience of teaching people how to sing, is an abstract endeavor.

However, with practice and physical workouts, the body can be trained to produce the most beautiful and effective overtones of all the animals on Earth and transform a mechanism facilitated for speech, into a system that is the most beautiful instrument of all. It is widely agreed by musicologists and music lovers of all points of reference that the human singing voice, when properly aligned, is the most beautiful and most versatile instrument of all, capable of producing athletic feats that no other musical instrument can.

Studio Singers

Ann Ruckert

Being a studio singer is a wondrous thing but it seems to be as hard a field to get into as being an artist with a label deal. So decide which you want to do and begin your preparation.

Learning Your Craft Skills

Number one is the voice. Aside from the standard vocalese training and bel canto, developing muscle memory is essential. Muscle memory is the ability of your voice, on command, to produce the sound in tune and on time that it sees and/or hears (as in sightsinging). More precisely, muscle memory is your voice doing what you tell it to do - without fail. Much the same as a piano player uses the Hanon Book of Exercises, the singer should be developing the voice with studies of intervals. Sightsinging is also essential. Sightsinging means that when you pick up a written piece of music, you can sing it the first time through - perfectly, even though you haven't ever heard it. A very good singing teacher is a wonderful asset as a mentor and teacher. He/she will also help you with health tips that singers need.

Another skill that is important is being able to play the piano. I have been on numerous sessions where someone says, "Ann, take the singers to the piano and 'woodshed' while we set up."..No one has ever asked me if I play piano. It is assumed that if you are working at this level, and you are not someone's girlfriend or boyfriend, your skills must be as sharp as a tack.

Now that all of your craft skills are perfect, how do you let the vocal contractors know that you are ready?

You can make a demo reel. A demo reel is a demonstration of your singing abilities which shows you can sing in different styles: effectively in a group, that you can blend, that you phrase properly for different genres of music (jazz to opera to country), etc. In one week, here in New York City a few years ago, I sang on an Aretha Franklin session, a guide tape for Sarah Vaughn, and I sang in "The Soldiers Chorus" for the New York City Opera recording of Faust. So you see that being flexible is very important.

Vocal Support: Breathing and Control

Bob Rose

Vocal Support, although a commonly used term in the singing community, is not so commonly understood. Perhaps this could be because there is some confusion with many singers and vocal coaches alike as to how it works.

Actually, support is quite simple when understood from the standpoint of the anatomy. The voice is a biological instrument. Therefore, you just need to know a little biology. Although not as involved as a medical class but enough to understand what the respiratory system basically looks like and how it operates in breathing and singing.

"Air is the most critical component for your instrument." Without it, everything else means nothing. Breathing and the control of breath is the essence of not only singing, but the connection to life itself. Without air you can only last in this atmosphere for a matter of minutes before your body will cease to function. Think about it - it’s just a wonderful thing to breathe! Though many people take it for granted and use their respiratory system just enough to stay alive.

Vocal Support is knowing how to maintain the proper amount of air in your lungs and the control of that air when you’re ready to sing or speak. Once this is understood and applied, it will not only clear up misunderstandings, but also enable you to obtain a good vocal posture, diaphragmatic breathing, and the control of your breath. This gives you more confidence and ability in making the performance of your instrument much easier and more dynamic without air stream interruptions that cause breaks in your notes.

Chest/Lung Expansion

Chest expansion keeps the upper portions of the lungs open via the intercostal (i.e., rib) muscles. This enlists the aid of the atmospheric pressure of 15 lbs. per square inch, helping to open up the lungs, creating the basis of a good vocal posture and encouraging the diaphragm and lower lungs to do their job in deep breathing.

This is what the expansion of the chest is setting them up to do, unlike the state of a normal respiratory system, which is basically in a semi-collapsed state most of the time.

Application:

Standing sideways to a mirror:

• Take a deep breath, expanding the intercostal (rib) muscles, while creating a good internal posture. (Do not use your spine or back muscles to do this.)
• Hold the chest in place via the intercostal (rib) muscles.
• Breathe in and out through the stomach while watching in the mirror to see that only the stomach is moving in and out while the chest remains stable in its expanded position encouraging deep (or stomach) breathing.

Expanding the chest cavity establishes a good posture from the inside out, opening up and staying open – instead of tightening up the back muscles, which creates tension and strain. When the chest is expanded, it keeps the lungs open. This is what I refer to as a good vocal posture for maximum efficiency and performance.

Diaphragmatic Breathing and Control

Vocal Hygiene For All Singers

Bob Rose

When it comes to maintaining our voice, so that it can operate at peak performance, a major stumbling block for many is poor vocal hygiene. You might ask, “What is vocal hygiene and what does it have to do with my voice? Why do I need it?” Anything from a cold to a diet or inadvertent vocal abuse could represent symptoms, or causes, of poor vocal hygiene. Because your voice is biological, it requires upkeep even more so than a manufactured instrument.

A serious challenge in dealing with vocal hygiene is mucus. Whether we’re aware of it or not, our bodies are producing mucus from the time we awake right on through to the hours when our bodies sleep. Please take note, I am not advising a major change of lifestyle solely for the sake of the voice, but merely trying to bring to light certain issues to monitor and/or steps that can be taken in order to better maintain and develop the vocal instrument.

So it is with a vocal program: we don’t do it because it’s the right thing to do (although it is) or to become more disciplined (although we do), but because the lack of such a program often leads one to consciously or subconsciously worry about what one may, or may not, be doing correctly as a singer – instead of just going about the business of singing.

Respiratory mucus is mostly caused by diet, environment, and activity (which may include poor singing techniques, vocal fatigue, or over-singing). With all this being said, let’s get on with some of the causes, effects, and treatments that can aid you in developing and maintaining a more smoothly operating instrument with confidence.

Hygiene Charts

The voice is an instrument subject to physical, mental and emotional impact. All things that affect you and your body affect it. This is why it is important (and essential, in some cases) to follow a few simple health suggestions to ensure your instrument’s well-being.

Use the following list only as a guideline. Consult with your doctor or throat specialist (E.N.T,/Laryngologist), if anything regarding your health or well-being is in question. The following are a few common sense suggestions and are not intended to replace any doctor’s advice or counsel.

Vocal Do’s

“Vocal do’s” are designed for vocal health maintenance and treatment. Followed with a degree of regularity these suggestions will help you sing better and feel better.

1. ·        Get sufficient sleep.
2. ·        Drink plenty of water (4-8 eight-ounce glasses per day; build up slowly).
3. ·        Drink herbal tea for opening up, warming, and soothing the throat and nasals, but follow with water, as tea may have a tendency to dry you out prior to singing.
4. ·        Gargle morning and evening (more frequently, if needed) with a light, to-the-taste salt-water solution (a teaspoon in a cup of lukewarm water). You may also add a pinch of baking soda to the water, if you desire. Also, occasionally gargle with plain cold tap water (i.e., nothing added) to help cool down an irritated throat.

Preventing Hoarseness In Your Voice

Jessica Ford

Hoarseness is the term often used by singers to describe changes in their voice quality. Any singer with hoarseness persisting for more than two weeks requires a complete evaluation. Voice abuse is one of the most common causes of hoarseness and can lead to other vocal problems such as vocal nodules. Good vocal hygiene can prevent and treat some problems, and voice therapy is a cornerstone of management in some cases of hoarseness.

Vocal Care

An important aspect of the prevention of vocal hoarseness is the maintenance of good vocal hygiene. Singers should be advised to avoid straining their voices by shouting, whispering or attempting to talk over excessive background noise. Hydration i.e. water, is also very important! Certain medications, such as antihistamines, anti depressants and drugs that dry the mucosa, may also create unfavorable voice changes, and these drugs should be avoided if possible. Irritants such as tobacco, alcohol, illegal drugs and industrial chemicals should be avoided.

Singer's Guide to Weight Training

Joanna Cazden

Twice last week, I met new clients whose voice problems traced back to the time they had started serious weight-training. I've seen others who got sudden lesions, including one nasty vocal hemorrhage, when they changed trainers or otherwise increased their workout intensity.

Most voice problems have more than one reason, so I won't argue for an exact correlation. But when this is the only new lifestyle element, and its time frame matches the beginning of a voice problem, I get suspicious.

It's totally possible to have a buff body and a clear-sounding, flexible, pain-free voice.  You just have to be smart about both.

Vocal mechanics review: in addition to their job making sound, the vocal cords work as a valve in your airway.  For instance, they open extra-wide during aerobic exercise to help you manage bigger amounts of air. And they close tightly to protect your lungs every time you swallow.

The vocal valve also closes when you lift something heavy. A dumbbell, a suitcase or a big screen TV—if it's hard to move, you'll hold your breath for an instant. Closing the airway is an automatic reflex that makes your torso more stable, better able to push & pull. Try it.

Perfect Mic Technique

Joanna Cazden

As the house lights go dark, I look up from the program to see the first performer of the evening, a solo singer/songwriter, stride onto the stage. The artist moves to the mic, strums her guitar, and tests her foot-pedal drum sounds. She starts her first number, and suddenly I'm frowning, puzzled. It's not that I can't hear her voice; her tone is gutsy, sincere, and adequately balanced with the instruments. A few of the lyrics are clear, but most of the words are mushy or simply missing. The only thing I'm sure of is the hook, which repeats a lot. I figure the sound person will have things cleaned up soon, but the second song is no better.

By now, I've gone from relaxed listener to vocal analyst. What's wrong? The sound engineering? The performance? The hall? I can't quite peg the problem until the set is over and the next act--a duo--starts in. I'm effortlessly drawn into their stories. Even with their British dialect, every word is audible and understandable.

Getting the Message Across

Maybe you have the best mic in the world, a great P.A. system, and an engineer who knows every nuance of the hall and your material. Still, all of this is useless if your words don't make it into the mic in the first place. Your mic position, diction, and attitude must all come together so your lyrics fly through the P.A. and into the hearts of your audience.

Unless you're using a headset microphone, the first challenge is to position the mic so it captures your voice but doesn't hide your face. Generally, pointing the mic toward you from slightly below your mouth--aiming at your chin--lets you communicate easily over the top of it without sacrificing tone quality.

Placement is easy if you use a handheld mic. But for those of us who play an instrument as we sing, coping with a mic stand might be unavoidable. Don't place the mic so high that you have to stand unnaturally tall to reach it, but don't set it so low that you'll slouch. Instead, adopt your best, most confident onstage posture, with your instrument in place, and then bring the vocal mic in to meet you.

Each mic has its own sensitivity pattern and ideal distance from the sound source. In some situations, you need to "eat" the mic, nearly touching it with your lips. Other gear and environments allow you to be several inches away. It's most important to be consistent; once you've established an effective distance during the sound check, maintain the same position throughout your set.

"But," you protest, "that's so boring! How can I communicate my emotions while standing still?" I'll tell you how: by feeling the truth of every word you sing and making sure that the meaning of the words--as carried by your unique vocal style--is clearly audible and intelligible to listeners. If your lyrics are well-written, sung with honesty and commitment, and easily understood, people will pay attention. Unless it is specified that your job is to dance, to provide visual entertainment, think of stage movement as an accompaniment to the song. It should be an extension of your voice and lyrics, not an excuse for garbled words and sloppiness.

Practice Makes Perfect

How do you get to Carnegie Hall? An excellent way to practice is to set up a mic stand in front of a full-length mirror at home. (Doesn't every recording star have a childhood memory of holding a hair brush like a microphone and singing in front of the mirror in their parents' bedroom?) Go through your material and watch yourself from a detached, nonjudgmental point of view. Simply observe and identify what you want to improve step-by-step.

At Home In Your Range

Joanna Cazden

Every voice teacher is asked, "Can you show me how to hit really high notes?" And the answer is, "Maybe, maybe not." The pleas continue: "My rock band is getting some local buzz, but I need to sound like Steven Tyler of Aerosmith, or else we'll never get a record deal."

One singer I know was told that a hit record requires a high, edgy male vocal because that type of sound cuts through best on the average car radio. Pushing the upper limits of the voice seems to be a male preoccupation; female performers these days are often expected to sound low and husky. These goals bring to mind Procrustes, a nasty character in ancient Greek mythology who required that all his guests fit in the same bed. Short visitors had their limbs roped to the bedposts and stretched; those who were too tall got their feet chopped off. This is not a pretty story, but it's a good analogy for the demands imposed by some musical fashions.

The obvious message is that straining your voice in either direction might win an immediate gig or contract but can hurt your voice in the long run. A cello can't be played effectively in a piccolo's range any more than a Sumo wrestler can dance ballet en pointe. Each voice has its own limitations, and to make your best music, you must respect those limits. The first step is to identify your natural vocal range.

Muscular Acoustics

Let's begin with an overview of some anatomy. The vocal folds (or "vocal cords") are small, semi-elastic muscles. When you sing a scale or melody, your vocal folds are stretched longer and thinner for higher pitches, and they relax and thicken for lower pitches.

When your vocal folds are inflamed and swollen (when you have a bad cold, for example), your voice sounds lower than it normally does. Conversely, when you are excited or anxious, your voice sounds higher than usual, because stress activates hormones that increase the tension in the vocal folds, tightening them just like a guitar string.

These pitch-controlling muscles are neither consciously manipulated nor outwardly visible, so we learn to control them by ear. Different pitch ranges also require modification of breath support, but this is less significant than the length and tension of the vocal folds. With careful practice over time, you can make your vocal folds stronger and more supple, but their flexibility is finite.

Yoga for Singers

Joanna Cazden

Meditation teachers in orange and white, clergy robed entirely in orange, and hundreds of devotees in summer pastels crowded the tropical pavilion in front of the mic where I was about to lead songs. Behind me was a flower-drenched stage from which our guru would soon bless and address us.

My own clothes for this achingly important retreat had been lost by the airlines, so I was in hastily borrowed, unfamiliar garb. Further humbled by sweaty days of meditation and nights of cramped-floor sleep, I abandoned any thought of personally inspiring the crowd. All I could do was concentrate on the guitar strings under my fingertips and whatever voice technique my weary muscles might recall. Spirit would have to do the rest.

Devotional singing is central to most spiritual traditions. Music has well-known powers to soothe the mind, open the heart, and intensify group feeling. The throat chakra is a brilliant transformer of energy, and the current wave of yoga culture roars with wonderful vocal artistry in many styles. But how does yoga practice actually affect singers?

As a voice teacher and speech therapist, as well as a long-time student of yoga and meditation, I'm not surprised to hear from many clients that yoga has helped their voices. Relaxation, balanced strength, breathing, concentration—all are nicely in sync with singing technique. Unfortunately, I see other patients whose vocal problems seemed to begin when they started or changed their yoga routine. Here are some guidelines to help keep you out of trouble and integrate your yoga routine with what best serves your voice.

Singer's Tuneup

Joanna Cazden

The singing voice is often considered to be the most sensitive and expressive instrument of music. It offers a wide dynamic range, a "fretless" flexibility of pitch, and a nearly infinite variety of tone colors. However, its sensitivity presents several challenges that must be addressed when warming up for a gig.

First, the voice is located entirely within the body, and its muscles are under far less conscious control than, say, the hands and fingers. Second, because singing seems so instinctive, even the most experienced performers might feel exempt from--or even fear--the care and discipline they routinely devote to other instruments.

As a result, warming up the voice is a different experience than the typical instrumental routine of opening the case, setting the instrument up, plugging it in, and limbering up your fingers. But it's no less important to your performance or to your longevity as a working musician.

The warm-up sequence I recommend for singers includes four basic steps: (1) focusing the mind; (2) warming and loosening the body; (3) strengthening the breath; and (4) developing the tone and pitch range. This might sound like a lot of things to handle, but the procedure is simple and efficient once you learn how.

Find Your Focus

The first step corresponds to the moment you lift the lid of the guitar case or first unpack your keyboard. To "open" your voice, you must turn your mind inward toward your body and emotions. This is best done by finding a place where you can concentrate; a restroom, hallway, or spare office will do if you don't have an actual dressing room. Bring some water, juice, or tea with you.

Now do a quick internal check-in. Have you had a good day or a stressful one? Try to notice, label, and then set aside any mental distractions so you can concentrate on the task at hand. This process is what actors call "returning to neutral," and it will help you develop vocal awareness and project a strong stage presence.

How To Take Care Of Your Voice During Winter

Joanna Cazden

I've always loved the winter solstice. As a child spending holidays in Maine, I was awed by the clear, cold, stillness in the air, the moon reflecting on icicles and snow. The music in that house was Beethoven, not folk. But when the sun hung low for shortening days, and then stopped and turned around, we all took notice.

Many folks also stop -- or slow down -- when the winter season brings colds and flu. Singers especially despise these bugs, but a few simple habits can help you get through. Please note that what follows is general advice. See an ear-nose-throat doctor if your voice stays hoarse for more than two weeks, or if vocal symptoms linger when the rest of your cold is gone.

The common cold -- what we in health care call an upper respiratory infection or URI -- is caused by a type of virus that likes cold, dry conditions. You can ward off some URIs by washing your hands frequently when in public places, and keeping your immune system strong with good nutrition, exercise, rest, and social support. But a further recommendation, especially for singers, is to keep your breathing environment humid rather than dry.

Vocal Casanova

Diana Yampolsky

In my previous column 'Vocal Impotence - In Need of Vocal Viagra', I outlined how to use your voice correctly in order to protect it from damage and avoid succumbing to 'vocal impotence'. It also explained how to use 'Vocal Viagra' to cure any existing voice problems and ensure the sound your voice produces is longer, fuller and stronger.

In this article, I would like to talk about how to use your newfound or recovered instrument in such a way that you will truly be able to satisfy any audience. After all, you may have taken Vocal Viagra, which solved your physical problems, but you really would have only succeeded in fixing your instrument. The question then becomes, 'Do you know how to play it?' 'And do you know how to play it for an audience so that they would ask for an encore?'

Essentially, the moment you went from merely singing in the shower to singing on a stage or in a recording studio, you changed from someone who is solely singing for yourself to someone who is singing for other people. There are many reasons you may have done this. It could have been a need to be the center of attention. Maybe you want to share your musical talents with other people? Or, possibly you have a desire to communicate your thoughts and feelings to others. Regardless of the reason, you most likely want to impress the audience and leave them with a positive impression of your performance. It is has been my observation that the most successful singers are the ones who know how to interact with their audiences in the same way that an accomplished lover does with his or her partner. It is for this reason that I have titled this column 'From a Vocal Impotent to a Vocal Casanova'.

The word Casanova comes from the name of an 18th Century Italian writer, Giacomo Girolamo Casanova, who was reputed to be an extremely skilled and legendary lover. He knew how to please women like no other man and always left them begging for more. Historical records note that while he was average looking, he had exceptional charm, charisma and knowledge of lovemaking. What does this have to do with singing? A lot, actually. Firstly, your goal as a singer should not only be to physically sing for the audience, but to make love to them through your voice! Secondly, you do not have to be the most talented singer in the world or have a five octave range to make an impression, but you do need to know how to use what you have and infuse it with your own natural charisma and charm.

How to Achieve a Successful Vocal Performance (and Avoid Making a Fool out of Yourself)

Diana Yampolsky

A long time ago I read a book about singing by another writer who gave some simple advice about how to handle stage fright and nervousness. He exclaimed: "Lighten up, make eye contact with the audience and don't be afraid to make a fool out of yourself." Now I understand what he was saying, but he didn't really take into account one really important fact: the reason that many amateur singers are worried about performing live is because they don't have enough training to be 100% sure that they will be able to fully control their voices! Positive thinking is definitely useful but it can only be taken so far. You wouldn't tell a prospective pilot with little flying experience to get in the plane, act confident and not be afraid to make a mistake, would you?

The truth is that I have had many students over the years who were confident, charismatic and self assured people in every aspect of life - except singing. Confidence in any discipline generally comes from training and experience. So the fact of the matter is that if you want sing successfully and be 100% sure you won't make a fool out of yourself, you need training.

One of my previous students was actually a professional pilot and once pointed out that the training he received as a pilot was similar in many ways to the training that I was giving him as a singer. He was trained using a flight simulator and the goal of his exercises was to program him to automatically respond correctly to all possible situations that might confront him as a pilot. Examples include extreme weather, equipment malfunctions, engine fires and violent passengers. The one common thread to all situations was that he had to act instantly and always know the right response as a pilot. If he was wrong, it could mean the life of himself and his passengers. The training that I gave him as a vocal coach was also concerned with instant and 100% correct responses. We "simulated" hundreds of musical situations and trained him to always respond to them correctly. I always tell my students that they should be able to perform all of the technical components of singing subconsciously - leaving their conscious brain capacity towards style, emotion, stage presence, etc.

Essentially, singers should be free to lighten up and take their feet off the brakes when they know how to drive. Actually, they have to do it! I believe once a singer is trained, professional singing should be produced with a minimum of effort. There is actually a danger to over training as well. This truism applies to almost all disciplines, not just singing. I remember one time I went to the ballet and saw a ballet dancer who was so tight and rigid that I could not wait for her to get off the stage. Ideally a ballet will appear graceful and composed without appearing rigid or tight. The same general rule applies to singers as well. You should have good posture, stand up straight and apply all of the required muscles in your body, but also look completely relaxed and composed at the same time. The perfect analogy is actually a hitter in baseball who possesses what baseball aficionados call a sweet swing. A baseball hitter uses all of the muscles in his body to hit the ball but he does it in a relaxed fashion; he does not grip the bat so tightly that his knuckles are white. A "smooth swing" is what singers should strive for as well. In many ways, hitting a baseball with the sweet spot of the bat is akin to properly lifting the voice off the vocal chords and "nailing" a high E.

I'm Not Crazy, I'm Just A Little (Vocally) Unwell

Diana Yampolsky

"I'm not Crazy, I'm Just a Little Impaired," sings Rob Thomas (Grammy Nominated Singer and Songwriter) of Matchbox Twenty in his song "Unwell". This song certainly contains a universal truth. I often think of this song when somebody who wants to become a singer enrolls into one of my introductory sessions (or, to take it even further, takes part in the Canadian Idol auditions). Some people are literally looking and sounding insane while trying to resemble some kind of a sound. However, when you get to know these people you realize that not all of them are necessarily crazy, they are just a little "vocally" unwell.

How to Comply with the Standards of Professional Singing

Diana Yampolsky

Whenever an aspiring singer approaches me to become their vocal coach I always ask them what they are trying to achieve. One of the most common answers is that they want to become a professional singer. In most cases, after I hear them sing a couple of lines I know they have quite a way to go if they want to comply with the standards of professional singing. I do make a distinction between professional singing, which is essentially getting paid money to sing, and the standards of professional singing, which are what you should aspire to if you truly want to learn your craft and gain the respect of your peers.

Vocal Insurance

Diana Yampolsky

Insurance is a must! No insurance? No car driving. That is the law! No proper technique? Possibly no performance. Examples of a few well known artists who neglected to take out some form of 'vocal insurance' are Julie Andrews, Run of Run-DMC, Elton John, Leann Rimes - all lost their voices and were unable to continue performing at their previous capacities and had to cancel tours.

Regular insurance agents suggest buying term insurance as they say life insurance is not going to give a sufficient return to a beneficiary compared to the money spent to obtain the policy. I say otherwise!

On a day-to-day basis, our lives are revolving around all kinds of insurance. We have car, home, business and all other kinds of insurance policies. How come nobody in the music industry ever thought to "insure" their prime commodity: the ARTISTS in whom they are investing thousands upon thousands of dollars for their recordings, performances, etc. What I mean by insurance is the intellectual property being instilled in the artists, which will allow them to insure the proper use of their voices in such a

In Need of Voice Repair? Obtain the "Tools" to Fix It!

Diana Yampolsky

In this article, I would like to talk a little bit about how to deal with voice problems. As much as I wish it wasn't the case, most untrained singers put unnecessary strain on their vocal chords and will as a result damage their voices. This is especially true for rock 'n roll singers who often strain to hit high notes to cut through the sound of distorted guitars and heavy drums. I don't know how many times I've heard amateur singers say that their throat is sore for quite a few days after a practice. And the problem is actually worse for professional but untrained singers; they go on long tours and, in countries that do not have anti-smoking legislation, have to sing every night in a smoky environment. These are the singers that you hear about having to cancel tour dates because their voices are giving out and hurting to the degree that they simply cannot perform. It also concerns professional actors, who act 24-7 and have to use their voice nonstop. Very often they require the same services as professional singers because, after all, professional speaking requires the same technique as professional singing, and safety measures are a must!

How NOT To Become A Singer

Diana Yampolsky

Please note: The below article is meant to be a humourous essay on the all too frequent use of various incorrect vocal techniques. As the disclaimer often goes: Do not take it directly and do not try this at home!

I thought that in this article I would vent a little of my frustration and have some fun while sharing some of the insights I've gained over the years regarding myths about learning to sing.

Since everyone knows it takes years of arduous work to become even a moderately good singer (myth #1), for once I'll go with the status quo and add what I know to it, so as to assist people in working harder at taking even longer at it. Most people have this under control, so this article is to keep it that way and is also for those few who may be breaking this long tradition (like myself) and doing it faster, easier and more naturally.

The first point is to be sure and drop your jaw while singing (a little is good but more is better) because it traps the sound in the throat preventing it from being lifted off the larynx to the upper palate, thru the four main vocal chambers or cavities and outward with anything close to your maximum power.

The second, and equally important point, is to sing from your diaphragm and push your stomach out. This prevents the upper diaphragm from expanding fully, therefore limiting your air supply and increasing the likelihood that you'll run out of air depending on the length of the note or phrase you're singing. An excellent way to train yourself for this is to lay on the floor and find yourself a nice thick book to place on your abdomen (the phone book works great) and "pump paper" up and down until you can stick that stomach out so that even a punch won't phase you. Then you'll be sure that the upper diaphragm will never open fully.

Vocal Narcissism- Me, Myself and I? and MY VOICE!

Diana Yampolsky

Music is often called the world's greatest communication tool. An effective piece of music crosses national boundaries and a good song transgresses any language barriers. That said, a common problem that I have found afflicts many aspiring singers is that they do not realize that singing is a great vehicle for communication - ideas, emotions, lust, pain, frustrations, love, etc. Through singing you can communicate them more efficiently and personally than with any other art form, be it film, writing or dance.

For those that aren't familiar with it, I would like to explain the meaning of the word narcissism. It comes from a greek myth; narcissus was a beautiful youth who refused the love of a nymph named Echo. In punishment the goddess Aphrodite condemned him to fall in love with his own image. Forced to gaze constantly at his reflection in a clear pool, he pined away and died. Quite a few modern day "Narcissus" have passed through my studio throughout the more than 25 years I have been teaching and they have been among the most difficult students in terms of delivering my method because they are so self-absorbed in the sound of their own voice that they forget the need to communicate something to the audience.

Vocal Congestion

Diana Yampolsky

In this column, I would like to talk about a common problem among many aspiring singers: singing with the nasal voice. Often at both the amateur and even professional level you will hear singers that sound like they are literally whining instead of singing. The sound they are producing is very thin and nasal because they are incorrectly singing through their nose. The mistake they are making is that they are placing the voice vertically starting at the throat and out through the nasal cavity instead of the vocal chambers. This prevents any resonation and the sound coming out of their mouth is very unpleasant to say the least. One way of describing this type of singing is to think of the difference between broadcasting with a small antenna instead of a satellite dish - it sounds quieter, fuzzier and frustrates the listener a great deal.