How to Memorize Vocal Music
by Bruce Schoonmaker
1. Brute repetition. Speak the text repeatedly. Sing the text repeatedly.
2. The rule of three: Work a long phrase until you can repeat it perfectly from memory three times consecutively. Do the next phrase the same way. Combine the phrases and work them as one longer phrase. Build by phrases until you sing perfectly from memory an entire section of the aria/song three times consecutively. Build by sections until you have memorized the whole song.
3. Memorize the text without the music. In other words, memorize it as a poem, rather than as a song. Then put it with the music.
4. Speak the rhythm. Sing the rhythm, on one pitch.
5. Try memorizing while lying on your back. Studies have shown that actors memorize roles faster while working on memorizing in a supine position.
6. Memorize the song backwards. Memorize the last section first, then the next-to-last section, working your way forward.
7. Reward: Reward yourself with each song memorized. Get a frozen yogurt or goody that you really like. Don't get it until you've sung the piece successfully in the presence of others (in other words, performed it from memory under pressure).
8. Write the words on paper while repeating the song from memory.
9. If you visualize the words in order to memorize, visualize the words in the upper left quadrant of your vision. I read this in a book on Neuro-Linguistic Programming. Oddly enough, it seems to settle in the memory quicker and more deeply by using the upper left quadrant.
10. Try to "hear the piece in your head," and to "listen" to it, preferably right before you go to sleep -- or to "hear" it while you are listening to something else.
11. Delay Gratification: When working on an entire role (opera, musical, or song cycle), memorize your favorite piece last. Memorize the most difficult music first. Memorize ensembles before solos. In other words, delay the gratification of memorizing your favorite parts until the other sections are memorized.
12. Try working on memorization while doing some mindless chore. Repeat phrases over and over again while cleaning up or washing dishes or sweeping. Refer to the score when necessary, then return to the mindless task and work the memory.
13. Get a friend to "repetiteur" for you, playing the piano accompaniment over and over again while you sing, in order to memorize. Don't try to make the song technically perfect while doing this kind of drill; you may even "mark" the voice. Just repeat the music many, many times in order to drill it into your mind.
Tuesday, January 26, 2010
Monday, January 11, 2010
January 10, 2010
Vibrato (David L. Jones)
[ "What is vibrato and how do I develop it in my voice?" ]
Another question that arises is "Are there certain singers who just don't have that kind of sound in their vocal production? Can vibrato be developed?" I will try to address these questions and offer some thoughtful advice to those who wish to have vibrato defined. I will also give some concrete ideas on how to vocalize in such a way that vibrato is encouraged to develop.
I define vibrato as a "slight variation of pitch resulting from the free oscillation of the vocal cords". This free oscillation of the vocal cords results from (1) an open pharynx or what many call the "open throat" along with (2) healthy "closure of the cords" (see article on vocal cord closure) I consider that vibrato is a result of these two opposites working together: open throat and closed cords. (3) Another major factor to be considered in regard to vibrato is the even sub-glottic breath pressure. This is regulated by the "support system" which involves the abdominal muscles, lower lumbar/upper gludial muscles, intercostal muscles and pectoral muscles. (See articles on breath and breath management).
Environmental Factor: As a child, I always had a vibrato. Whether developed through vocal freedom or imitation I do not know. I had an older sister who was an excellent soprano and used to sing a lot of opera and operetta in the home. I found great joy in imitating her vocal sound while I was still a boy soprano. I could match it quite well and was later asked to join the Texas Boy's Choir because I had a healthy and even vocal sound. Other cultures encourage different types of vibrato. For example, in some Asian cultures, a wide and slow vibrato is very desirable. Many French pop singers use a faster tighter vibrato. Neither of these examples represent healthy vocalism.
Vibrato Problems:
(1) The Vocal Wobble: We often hear singers that have a wide and slow vibrato (see article on the vocal wobble.) The causes have been described in the article entitled "The Vocal Wobble". A wide vibrato is usually a lack of proper "resistance of the breath pressure" or a lack of "focus in the tone". It can also be a result of a lack of proper adduction of the vocal cords. One or all of these problems create a sound that our culture defines as "age in the voice". I have found that singers in their 20's can have a wobble. I have students in my studio who are in their 70's who have no sign of such a vocal characteristic. In fact, they have what our culture calls a youthful, and more importantly, healthy sound. I have found the primary cause of the vocal wobble to be misuse rather than age. An unhealthy vocal technique used over a short or long period of time can be the cause such a vocal problem. The solution is quite simple: vocalize exercises that require body support along with focus. The "ng" is a healthy sound that can help develop focus in the voice. The sustained "hiss" can help a singer learn what muscles to use in order to "hold back" the breath pressure or "support the tone".
(2) The Overly-Fast Vibrato: Some singers have an overly fast vibrato that can be as disconcerting as the wobble. Neither the wobble nor the fast-vibrato is the desired vocal sound for healthy singing. A fast-vibrato can be caused by a number of vocal situations. (1) Pressure at the root of the tongue. This pressure at the root of the tongue can have its origin at inhalation or at the attack or onset of sound. (2) Lack of vocal cord approximation: Many singers who do not quite understand that the vocal cords must close after inhalation. This lack of proper adduction of the cords can result in a faster vibrato speed. If the vocal cords do not approximate closely enough, the vibrato can become faster depending upon the size and shape of the vocal cords themselves. (3) Lack of support is another cause of this vocal problem. Most of us have heard singers with definite vibrato problems and we have experienced singers with healthy vibrato. One key factor in attaining a healthy sound is to be sure that the vibrato is vibrating at an even rate. An uneven vibrato can be caused by sudden changes in the sub-glottic breath pressure. This is caused by a lack of even "body resistance" or support in the body. The vocal cords then begin to separate and vibrate unhealthily. The result is an uneven vibrato sometimes accompanied by pitch problems. The fast vibrato is less noticeable if the rate of vibrato is even rather than sporadic.
(3) The Straight Tone: So often I have singers who come into my studio with a straight tone (no vibrato). Some of these singers are not aware of vibrato or how it is developed in the voice. Many come into my studio with the express desire to develop vibrato in their sound realizing that their voice is lacking in that particular area. In over 25 years of teaching, I have never had a singer in my studio that could not develop healthy vibrato.
Some straight tone singers have sung in choirs where the director has demanded straight tone. This is potentially a damaging circumstance. Straight tone singing is extremely unhealthy for the voice. Vocal nodules can result from such vocal production because of too much pressure held at the glottis to prevent vibrato from occurring in the tone. Choral blend is developed through vowel and acoustical alignment, not squeezing the voice into straight tone sound. The proper vowel and acoustical alignment can create a beautiful vocal blend. I experienced this personally in Berlin when 11 of my singers sang "Let Your Garden Grow" from Candide as a finale along with a men's choir. The resulting vocal sound of these 11 singers who were trained on the "ng" ring was amazing to say the least. Because these singers were trained with vowel and resonance alignment, the resulting sound was one of beautiful blend of tone along with fullness of vocal sound and blend. Several conductors from German opera houses came to me after the concert to ask about the training of these singers.
Most straight tone singers cannot use the idea of vocal cord closure during the first part of their training because "too much pressure" has been held at the vocal cords for too long a time period. I have found that vibrato comes into the voice when the singer achieves proper balance in the "support muscles" and when the singer keeps the feeling of the "u" vowel in the pharynx. The Italian "u" is a crucial part of a singer's training in order for vibrato to occur. The "u" vowel allows a healthy adduction of the vocal cords without too much pressure at the glottis. It is understandable that this vowel is crucial in the Italian School. I find that the "u" vowel must be produced without the "bunching" of the back of the tongue and with a "high and wide soft palate" in order to be efficient acoustically. The result is beauty and resonance simultaneously.
(4) Diaphragmatic Vibrato: A diaphragmatic vibrato is the pulsating of the diaphragm during a sustained tone to "create" a false vibrato. Music theatre singers develop this damaging vocal habit in order to have some sort of vibrato when none is present in the tone. This is a huge mistake. A diaphragmatic vibrato is difficult to repair because the lower abdominal muscles memorize the pulsating sensation so deeply. This situation can be repaired with lots of time and hard work. Solution: Use the idea of the sustained "hiss" and memorize what the body "feels" during this function. Then sing a tone while keeping the same "feel" in the body. This will stabilize the shaking diaphragm.
(5) The role of the vocal trill: In some cases, a singer can begin to awaken the vibrato function by using a trill. A trill is an educated yodel at the vocal cords that may or may not be easy for a singer to produce. Some connect with this idea and begin to release the "over-squeezing" of the vocal cords, therefore allowing for the development of a vibrato.
Healthy vibrato can be achieved in a rather short period of time. Usually the time factor is dependent upon the singer's mind/body coordination. Some singers have more of a connection to their body than others. I recently had a large-voiced baritone who began to develop some vibrato in his sound after only three lessons. I have had others who have taken much longer because of singing straight tone for so many years. At any rate, any singer can achieve a properly regulated and even vibrato with concentration, proper instruction, and by embracing the process rather than the result. Patience is a most important aspect while training and balancing vocal production.
[ "What is vibrato and how do I develop it in my voice?" ]
Another question that arises is "Are there certain singers who just don't have that kind of sound in their vocal production? Can vibrato be developed?" I will try to address these questions and offer some thoughtful advice to those who wish to have vibrato defined. I will also give some concrete ideas on how to vocalize in such a way that vibrato is encouraged to develop.
I define vibrato as a "slight variation of pitch resulting from the free oscillation of the vocal cords". This free oscillation of the vocal cords results from (1) an open pharynx or what many call the "open throat" along with (2) healthy "closure of the cords" (see article on vocal cord closure) I consider that vibrato is a result of these two opposites working together: open throat and closed cords. (3) Another major factor to be considered in regard to vibrato is the even sub-glottic breath pressure. This is regulated by the "support system" which involves the abdominal muscles, lower lumbar/upper gludial muscles, intercostal muscles and pectoral muscles. (See articles on breath and breath management).
Environmental Factor: As a child, I always had a vibrato. Whether developed through vocal freedom or imitation I do not know. I had an older sister who was an excellent soprano and used to sing a lot of opera and operetta in the home. I found great joy in imitating her vocal sound while I was still a boy soprano. I could match it quite well and was later asked to join the Texas Boy's Choir because I had a healthy and even vocal sound. Other cultures encourage different types of vibrato. For example, in some Asian cultures, a wide and slow vibrato is very desirable. Many French pop singers use a faster tighter vibrato. Neither of these examples represent healthy vocalism.
Vibrato Problems:
(1) The Vocal Wobble: We often hear singers that have a wide and slow vibrato (see article on the vocal wobble.) The causes have been described in the article entitled "The Vocal Wobble". A wide vibrato is usually a lack of proper "resistance of the breath pressure" or a lack of "focus in the tone". It can also be a result of a lack of proper adduction of the vocal cords. One or all of these problems create a sound that our culture defines as "age in the voice". I have found that singers in their 20's can have a wobble. I have students in my studio who are in their 70's who have no sign of such a vocal characteristic. In fact, they have what our culture calls a youthful, and more importantly, healthy sound. I have found the primary cause of the vocal wobble to be misuse rather than age. An unhealthy vocal technique used over a short or long period of time can be the cause such a vocal problem. The solution is quite simple: vocalize exercises that require body support along with focus. The "ng" is a healthy sound that can help develop focus in the voice. The sustained "hiss" can help a singer learn what muscles to use in order to "hold back" the breath pressure or "support the tone".
(2) The Overly-Fast Vibrato: Some singers have an overly fast vibrato that can be as disconcerting as the wobble. Neither the wobble nor the fast-vibrato is the desired vocal sound for healthy singing. A fast-vibrato can be caused by a number of vocal situations. (1) Pressure at the root of the tongue. This pressure at the root of the tongue can have its origin at inhalation or at the attack or onset of sound. (2) Lack of vocal cord approximation: Many singers who do not quite understand that the vocal cords must close after inhalation. This lack of proper adduction of the cords can result in a faster vibrato speed. If the vocal cords do not approximate closely enough, the vibrato can become faster depending upon the size and shape of the vocal cords themselves. (3) Lack of support is another cause of this vocal problem. Most of us have heard singers with definite vibrato problems and we have experienced singers with healthy vibrato. One key factor in attaining a healthy sound is to be sure that the vibrato is vibrating at an even rate. An uneven vibrato can be caused by sudden changes in the sub-glottic breath pressure. This is caused by a lack of even "body resistance" or support in the body. The vocal cords then begin to separate and vibrate unhealthily. The result is an uneven vibrato sometimes accompanied by pitch problems. The fast vibrato is less noticeable if the rate of vibrato is even rather than sporadic.
(3) The Straight Tone: So often I have singers who come into my studio with a straight tone (no vibrato). Some of these singers are not aware of vibrato or how it is developed in the voice. Many come into my studio with the express desire to develop vibrato in their sound realizing that their voice is lacking in that particular area. In over 25 years of teaching, I have never had a singer in my studio that could not develop healthy vibrato.
Some straight tone singers have sung in choirs where the director has demanded straight tone. This is potentially a damaging circumstance. Straight tone singing is extremely unhealthy for the voice. Vocal nodules can result from such vocal production because of too much pressure held at the glottis to prevent vibrato from occurring in the tone. Choral blend is developed through vowel and acoustical alignment, not squeezing the voice into straight tone sound. The proper vowel and acoustical alignment can create a beautiful vocal blend. I experienced this personally in Berlin when 11 of my singers sang "Let Your Garden Grow" from Candide as a finale along with a men's choir. The resulting vocal sound of these 11 singers who were trained on the "ng" ring was amazing to say the least. Because these singers were trained with vowel and resonance alignment, the resulting sound was one of beautiful blend of tone along with fullness of vocal sound and blend. Several conductors from German opera houses came to me after the concert to ask about the training of these singers.
Most straight tone singers cannot use the idea of vocal cord closure during the first part of their training because "too much pressure" has been held at the vocal cords for too long a time period. I have found that vibrato comes into the voice when the singer achieves proper balance in the "support muscles" and when the singer keeps the feeling of the "u" vowel in the pharynx. The Italian "u" is a crucial part of a singer's training in order for vibrato to occur. The "u" vowel allows a healthy adduction of the vocal cords without too much pressure at the glottis. It is understandable that this vowel is crucial in the Italian School. I find that the "u" vowel must be produced without the "bunching" of the back of the tongue and with a "high and wide soft palate" in order to be efficient acoustically. The result is beauty and resonance simultaneously.
(4) Diaphragmatic Vibrato: A diaphragmatic vibrato is the pulsating of the diaphragm during a sustained tone to "create" a false vibrato. Music theatre singers develop this damaging vocal habit in order to have some sort of vibrato when none is present in the tone. This is a huge mistake. A diaphragmatic vibrato is difficult to repair because the lower abdominal muscles memorize the pulsating sensation so deeply. This situation can be repaired with lots of time and hard work. Solution: Use the idea of the sustained "hiss" and memorize what the body "feels" during this function. Then sing a tone while keeping the same "feel" in the body. This will stabilize the shaking diaphragm.
(5) The role of the vocal trill: In some cases, a singer can begin to awaken the vibrato function by using a trill. A trill is an educated yodel at the vocal cords that may or may not be easy for a singer to produce. Some connect with this idea and begin to release the "over-squeezing" of the vocal cords, therefore allowing for the development of a vibrato.
Healthy vibrato can be achieved in a rather short period of time. Usually the time factor is dependent upon the singer's mind/body coordination. Some singers have more of a connection to their body than others. I recently had a large-voiced baritone who began to develop some vibrato in his sound after only three lessons. I have had others who have taken much longer because of singing straight tone for so many years. At any rate, any singer can achieve a properly regulated and even vibrato with concentration, proper instruction, and by embracing the process rather than the result. Patience is a most important aspect while training and balancing vocal production.
Friday, January 8, 2010
Where does great vocal tone come from?
There are two major parts of the tone making process. The first is where your tone is created... at your vocal cords.
The second is the spaces that the "initial" tone resonates through, in your throat, mouth, and head (nasal cavity).
So to create rich tone, you need to...
Create a pure, high quality tone at your vocal cords.
And then, balance the vocal resonance... the amount of your sound that resonates in your throat, mouth and head.
When your tone is created at your vocal cords, there are a few factors...
Your air support...
the amount of muscle pressure applied to the vocal cords...
and the position of your larynx (your voice box) (By the way, if your larynx has moved up or down, you are singing incorrectly.)
Do This Little Exercise For Me...
Place your hand gently on your adams apple. (It's the notch in your neck... there are two, it's the top one)
Now swallow for me. Make a little noise if you like!
Can you feel how your larynx moves upwards?
This is what you don't want to happen when you are singing!
The muscles that are moving your larynx upwards are your swallowing muscles. When you sing, these muscles must stay completely relaxed. If they move the position of the larynx, your initial tone created by your vocal cords will lose quality.
This will result in a loss of tone quality.
The extra payoff here, is once you do this, singing becomes as easy as talking! These swallowing muscles are the main cause of vocal tension, and strain. So disengage them, and the pain goes away!
Balancing The Tone
Once your sound has been created at the vocal cords, it will move up in the spaces in your throat, mouth, and head. As the sound resonates through these spaces, it changes tone quality depending on the proportion of each cavity.
As a singer, you can learn to sing in a full range of different vocal colors.
You can learn to balance your vocal resonance once again, through good vocal tonality exercises. Once you learn to do this, your voice will be rich in tone quality, and balanced through your entire range.
You will learn to balance your voice by paying attention to the sensations that each note creates.
The "perfect" balance of resonance changes as you sing up your range... lowest notes having much more throat and mouth sensations. And higher notes having mainly head, with a little sensation in the mouth. It's like an artist having access to a full palette of colors...
There are two major parts of the tone making process. The first is where your tone is created... at your vocal cords.
The second is the spaces that the "initial" tone resonates through, in your throat, mouth, and head (nasal cavity).
So to create rich tone, you need to...
Create a pure, high quality tone at your vocal cords.
And then, balance the vocal resonance... the amount of your sound that resonates in your throat, mouth and head.
When your tone is created at your vocal cords, there are a few factors...
Your air support...
the amount of muscle pressure applied to the vocal cords...
and the position of your larynx (your voice box) (By the way, if your larynx has moved up or down, you are singing incorrectly.)
Do This Little Exercise For Me...
Place your hand gently on your adams apple. (It's the notch in your neck... there are two, it's the top one)
Now swallow for me. Make a little noise if you like!
Can you feel how your larynx moves upwards?
This is what you don't want to happen when you are singing!
The muscles that are moving your larynx upwards are your swallowing muscles. When you sing, these muscles must stay completely relaxed. If they move the position of the larynx, your initial tone created by your vocal cords will lose quality.
This will result in a loss of tone quality.
The extra payoff here, is once you do this, singing becomes as easy as talking! These swallowing muscles are the main cause of vocal tension, and strain. So disengage them, and the pain goes away!
Balancing The Tone
Once your sound has been created at the vocal cords, it will move up in the spaces in your throat, mouth, and head. As the sound resonates through these spaces, it changes tone quality depending on the proportion of each cavity.
As a singer, you can learn to sing in a full range of different vocal colors.
You can learn to balance your vocal resonance once again, through good vocal tonality exercises. Once you learn to do this, your voice will be rich in tone quality, and balanced through your entire range.
You will learn to balance your voice by paying attention to the sensations that each note creates.
The "perfect" balance of resonance changes as you sing up your range... lowest notes having much more throat and mouth sensations. And higher notes having mainly head, with a little sensation in the mouth. It's like an artist having access to a full palette of colors...
Wednesday, January 6, 2010
January 6, 2010
Breathing Properly
Breathing is so natural that most of us take it for granted until we cannot breathe. I've been involved in sports enough to have seen a lot of folks, including myself, get the wind knocked out of their lungs and the panic that envelopes them within seconds as the realization occurs that air is not coming into the lungs. That is not a feeling any of us wants to experience often, for sure.
The truth is, we can live days without water and food, but only minutes without air. So, if air is that important to us perhaps understanding more about it and how our body uses it might be helpful in our quest to be healthy. The amount of air we breathe and the quality of that air is incredibly important in this quest for balance and health.
Breathing is the process by which air passes into and out of the lungs to allow the blood passing through the lungs to take up oxygen and dispose of carbon dioxide. Carbon dioxide is part of the waste product produced by the cells during metabolism and must be disposed of efficiently. Breathing is controlled by the brain stem and no conscious effort must be made to breathe. However, the depth and rate of breathing can be altered voluntarily.
The average adult male can hold 1 ½ gallons of air in his lungs while the average female can hold about 1 gallon in her lungs. Most of us breathe in 13 to 17 times per minute while resting, although it can increase to 80 breathes per minute during vigorous exercise. During normal breathing only about 10 % of the air in the lungs is replaced with new air.
When air is inhaled, the diaphragm (the muscle that connects to the ribcage, separating the lungs from the intestinal area) contracts and flattens out. This causes the lungs to expand and pull in air. To exhale the diaphragm muscle relaxes and takes on a dome shape that lets the ribcage and lungs to contract, squeezing air out.
Because many people do not breathe properly it is a good idea to check your breathing technique by paying attention to how you breathe. Put your left hand on your sternum just above your breasts and the right hand over your navel. Take some deep breathes and see how you are doing. The right hand on the navel should move first and the most. Don't be alarmed if that is not the case, simply understand that you have been breathing poorly for some time and need to retrain yourself and your muscles to breathe deeper.
Breathing Technique
A wonderful Yoga breathing technique will help you focus on your breathing and teach you to relax at the same time. Although this technique may be done in almost any position, I'd encourage you to start doing it in an upright position with your back straight. Key: Place the tip of your tongue against the tissue at the base of your upper front teeth and keep your tongue there during the entire exercise. Exhale completely through your mouth, making a whooshing sound. Next, close your mouth and inhale gently through your nose to a count of 4. Next hold your breath for 7 counts or beats, then exhale through your mouth as you whoosh out the air for a count of 8. This is considered one breath. Repeat this for at least 6 breaths and do the exercise at least twice daily.
Please keep in mind that the amount of time you spend on each part of the exercise is not important, however, the ratio is very important and should be counted as exhale, inhale 4 counts, hold 7 counts, exhale 8 counts each time. You may speed up or slow down the counts or beats as you gain better control of your ability to breath this way. It may be helpful to put your hands over the sternum and navel as described above to help you better understand the muscles needed for breathing and how to use them more effectively.
Dave Carpenter, N.D., L. Ac.
Breathing is so natural that most of us take it for granted until we cannot breathe. I've been involved in sports enough to have seen a lot of folks, including myself, get the wind knocked out of their lungs and the panic that envelopes them within seconds as the realization occurs that air is not coming into the lungs. That is not a feeling any of us wants to experience often, for sure.
The truth is, we can live days without water and food, but only minutes without air. So, if air is that important to us perhaps understanding more about it and how our body uses it might be helpful in our quest to be healthy. The amount of air we breathe and the quality of that air is incredibly important in this quest for balance and health.
Breathing is the process by which air passes into and out of the lungs to allow the blood passing through the lungs to take up oxygen and dispose of carbon dioxide. Carbon dioxide is part of the waste product produced by the cells during metabolism and must be disposed of efficiently. Breathing is controlled by the brain stem and no conscious effort must be made to breathe. However, the depth and rate of breathing can be altered voluntarily.
The average adult male can hold 1 ½ gallons of air in his lungs while the average female can hold about 1 gallon in her lungs. Most of us breathe in 13 to 17 times per minute while resting, although it can increase to 80 breathes per minute during vigorous exercise. During normal breathing only about 10 % of the air in the lungs is replaced with new air.
When air is inhaled, the diaphragm (the muscle that connects to the ribcage, separating the lungs from the intestinal area) contracts and flattens out. This causes the lungs to expand and pull in air. To exhale the diaphragm muscle relaxes and takes on a dome shape that lets the ribcage and lungs to contract, squeezing air out.
Because many people do not breathe properly it is a good idea to check your breathing technique by paying attention to how you breathe. Put your left hand on your sternum just above your breasts and the right hand over your navel. Take some deep breathes and see how you are doing. The right hand on the navel should move first and the most. Don't be alarmed if that is not the case, simply understand that you have been breathing poorly for some time and need to retrain yourself and your muscles to breathe deeper.
Breathing Technique
A wonderful Yoga breathing technique will help you focus on your breathing and teach you to relax at the same time. Although this technique may be done in almost any position, I'd encourage you to start doing it in an upright position with your back straight. Key: Place the tip of your tongue against the tissue at the base of your upper front teeth and keep your tongue there during the entire exercise. Exhale completely through your mouth, making a whooshing sound. Next, close your mouth and inhale gently through your nose to a count of 4. Next hold your breath for 7 counts or beats, then exhale through your mouth as you whoosh out the air for a count of 8. This is considered one breath. Repeat this for at least 6 breaths and do the exercise at least twice daily.
Please keep in mind that the amount of time you spend on each part of the exercise is not important, however, the ratio is very important and should be counted as exhale, inhale 4 counts, hold 7 counts, exhale 8 counts each time. You may speed up or slow down the counts or beats as you gain better control of your ability to breath this way. It may be helpful to put your hands over the sternum and navel as described above to help you better understand the muscles needed for breathing and how to use them more effectively.
Dave Carpenter, N.D., L. Ac.
Tuesday, January 5, 2010
January 5, 2010
WARMING-UP THE VOICE
Visit The Wake Forest University Baptist Medical Center website
While singing may seem heavenly, vocal production itself is a down-to-earth physical experience, requiring athletic discipline as well as artistry. As any athlete knows, an effective warm up is essential for optimal performance.
Why should singers warm up? No one would expect a gymnast to stand up and perform back-flips after a full meal, but singers who are dinner guests are frequently asked to perform "on-the-spot entertainment," after dessert and coffee. The wise singer will politely decline, rather than reveal his raw vocal product, which is further hindered by a bloated stomach! Warming up allows the singer to "get-in-touch" with herself or himself, both physically and psychologically, and to experience that kinesthetic self-awareness which is the foundation of a secure vocal technique.
Allowing time to warm-up . . . Ideally, the warm-up procedure should be unhurried -- a leisurely self-exploration that allows adequate time for gradual loosening and coordination of countless muscles, large and small, which contribute to vocal production. Warming-up should be an enjoyable experience, comparable to a luxurious massage. All too often, unfortunately, the singer is warming up while rushing to a rehearsal, or frantically trying to learn his music at the last minute. The pressure of "too little time" results in physical as well as mental tension, and warming-up is difficult, usually ineffective, or even counter-productive.
The warm-up procedure . . . Singers develop distinctive warm-up regimens appropriate to their personal needs; these may vary considerably with changes in physical, mental, and emotional well being. Nevertheless, consistency in the overall approach is most beneficial. Many singers begin by warming-up the entire body with gentle physical exercise (e.g., stretching, yoga, Tai Chi). This helps to alleviate the muscular tension that interferes with vocal production, as well as to stimulate the deep breathing which is necessary for good support of the voice. The muscles of articulation, which include the jaw, tongue, lips, and soft palate can be loosened with appropriate exercises, which also can help to activate the singer's expiratory air-flow. Before beginning to explore the day's potential for vocal resonance, the singer should be relaxed, yet vital. If the singer is fatigued, or not feeling well, it will be necessary to "energize" himself, so that he can provide adequate breath support for singing. It is wise to begin vocalizing in the most comfortable mid-range of the voice, and gradually work out to the higher and lower extremes of pitch. High notes (faster vocal cord vibration) may require substantial air-flow and increased pharyngeal space. Low notes, which use a "heavier" mode of vocal cord vibration (thicker vibrating mass), also require appropriate support. Recent biomechanical studies at The Center for Voice Disorders have shown that singing at the extremes of pitch -- both the highest and lowest notes of the vocal range -- can strain the laryngeal muscles, and can result in undesirable (and potentially harmful) patterns of muscle tension. Therefore, it is good common sense to avoid the "outer extremes" of the voice until one is well warmed-up. In the mid range, the singer may safely begin the daily search adjustments in the size and shape of the pharynx. Considering the countless possible configurations of the vocal tract, the process of developing a resonant tone is an on-going one, even for seasoned professionals. Most of a singer's warm-up is devoted to the objective of obtaining a beautiful vocal timbre through the use of an enormous variety of vocal calisthenics.
Finally, the singer is likely to test his vocal register transitions during the warm-up. Exercises that "blend" the "chest" ("heavy" laryngeal adjustment) and "head" ("light" laryngeal adjustment) registers eventually produce a smooth passaggio, resulting in an "even scale" from the "bottom" to the "top" of the vocal range.
Warming-down . . . The long-distance runner will spend a good amount of time stretching and massaging muscles after a marathon, and likewise, the singer who has extended himself should "warm-down" his voice, with exercises that "soothe" the vocal cords (vocalizing on "oo," for example). If the singer has been using a "belting" voice, it is especially helpful to sing in the "head" register (or falsetto), which stretches the vocal cords and alleviates laryngeal tension caused by the "heavy adjustment," or thick vibrating mass. Re-loosening the articulatory muscles, even without phonation, is therapeutic. Massaging the jaw -- the masseter ("chewing") muscles -- as well as other muscles of the neck and shoulders, particularly the trapezius (which arise from the back of the head and vertebrae in the neck and chest, and extend to the collarbones and shoulder blades) provides welcome relief to the singer.
T. Radomski
Teresa Radomski, MM, is an accomplished soprano soloist and Associate Professor of Voice and Theatrical Singing at Wake Forest University. In addition, Ms. Radomski is a consultant for the Center for Voice Disorders, and a contributing editor of this newsletter. Her column, "A Singer's Notes" is a regular feature of THE VISIBLE VOICE. Ed.
Monday, January 4, 2010
January 4, 2010
Simple Common Sense Tips To Take Care Of Your Voice For Guaranteed Vocal Health & Vocal Power
Most of us use our voices all day long but only a few people are aware of how to take care of your voice to guarantee optimum vocal health and vocal power. Common sense vocal rules can really help you to perform, present & speak well. These simple vocal care tips will help you to become more confident, keep your vocal cords in tip top shape & put your best voice forward.
Keep Your Vocal Folds Hydrated
A moist vocal tract will give you the best sound with the least amount of vocal effort so it is wise to stay hydrated. Vocal health experts agree that you should drink a minimum of eight glasses of water per day. To keep your vocal cords functioning optimally, before and during an important presentation, anything you drink should be room temperature or close to body temperature. Ideally drinks should not be too hot or too cold because extreme temperatures can de-neutralize your sensitive vocal instrument.
If you travel frequently via airplane, drink lots of water while flying. Recycled air in planes is extremely dehydrating to the voice & skin. Speaking above the level of the constant often-unnoticed engine noise can put a great strain on your voice so talk as little as possible if you need to deliver a presentation on the same day that you fly.
The day before and the day of an important presentation try to avoid alcohol, smoking and second-hand smoke, caffeine, antihistamines and chocolate - note that penicillin and many prescription drugs also dry out vocal cords.
Prevent Excess Vocal Mucous
Many people find dairy products phlegm producing so if this is an issue for you avoid dairy. Also limit your sugar intake, including sugary drinks before giving a speech, presentation or public speaking. Stick with warm or room temperature water on the day of a presentation for optimum vocal performance.
If you need to entertain for work or like the occasional alcoholic drink with dinner, the night before and the day of your presentation avoid red wine, grain alcohol, vodka and beer because they can sometimes spark allergic reactions that decrease your vocal power. If you must drink for social reasons or simply cannot abstain, choose white wine instead.
Women who are pregnant, lactating or menstruating will generally experience extra vocal mucous and vocal cord swelling. To manage this simply take more time to warm up than usual and drink extra fluids to ensure your vocal cords are moist and flexible.
Vocal Don’ts
Speakers often clear their throats as a nervous habit. Try not to do this. Instead, cough gently or silently. Then build up saliva in your mouth, lower your chin to your chest, and swallow.
If you are feeling unwell or struggling vocally, don’t speak with a forced whisper. The reason for this is that your tiny crycothyroid muscle at the back of your throat weakens and wears out much faster than if you just speak normally.
The best way to manage an ailing voice is to use your voice as little as possible or to give yourself complete vocal rest for 12 to 24 hours. If that isn’t possible, make sure you warm up slowly and gently with a nasal focus to keep any strain off of your throat and voice. Only light and gentle vocal exercises should be performed if you are unwell.
For optimum vocal performance before or during an important presentation don’t drink anything carbonated because it could cause you to burp.
Many peak performance trainers also suggest following basic food combining principles like not combining protein and starch in the same meal and eating fruit only on an empty stomach. The food combining rules aren’t for everyone but if you do choose to follow them you will have access to significantly more energy because the body doesn’t have to work as hard to digest the food in your stomach. Consequently more energy can be channeled into your presentation.
Vocal Do’s
You can chew gum or suck on lozenges to keep your vocal folds moist. I have found lozenges with glycerin to be the most soothing to the voice. Also stay away from menthol flavors because they tend to irritate delicate vocal folds.
To comfort a fatigued voice, many vocal professionals choose to drink honey and lemon in warm water. Warm peppermint or chamomile tea with or without honey can also be very soothing to the voice. The natural peppermint will give you energy and the chamomile will calm you. You can also mix peppermint & chamomile together for variety.
Finally, ample sleep and complete vocal rest are the best solutions to heal an overly stressed voice. If you are leading up to an important presentation and are in any way nervous about it, following these simple vocal rules will really help you. In order to perform, present or speak well it is best to do everything you can to get out of our own way physically, vocally and psychologically. Again, these simple vocal care tips will help you to become more confident, keep your vocal cords in tip top shape and put your best voice forward.
Copyright © 2006 ~ Deborah Torres Patel ~ All rights reserved
January 3, 2010
This is the first post of my actual blog. I have been working in the field of music and performance since I was in first grade, and hope to never stop growing in knowledge and wisdom, and believe it is better to share this along the way.
There will be at least one post every couple of days, so please feel free to check in and learn alongside. I trust that the time you spend will be profitable for stretching your understanding, increasing awareness of skills, artists, programs, scientific advances in related fields, challenging your current set of beliefs about many and varied topics, and creating a place where honest and thoughtful interaction can occur.
Here is the first of what I trust will be thousands of insightful posts.
Wishing you all the best!!!
MUSIC SETS BEAT FOR HEART AND LUNGS
Some people love classical music, others prefer country -- but regardless of our individual preferences, our bodies will respond to music in the same way. So much so, in fact, that new research from Italy demonstrates that music affects cardiovascular functioning and breathing in such a predictable way it may someday be used as a medical tool.
We’re all familiar with how music can impact our emotions, whether energizing or soothing. Research has also established that music can be used to elicit a relaxation response useful for health purposes, for example for preoperative patients and others under stress. Now this study finds that the physiological responses music triggers were virtually identical for all people in the study group.
RESEARCH NOTES
The Italian study included 24 healthy participants, half of whom were experienced choir singers, and the rest with no music training at all. Participants listened in random order to short selections from five classical compositions, including Verdi’s operatic aria "Nessun dorma" from Turandotand the orchestral adagio from Beethoven’s "Ninth Symphony" (Symphony No. 9 in D minor). Although the participants said they had no particular emotional response or preference for any of the music selections, they all showed similar subconscious autonomic response, which also corresponded to the compositions both in degree and timing. For example, crescendos or swelling of the music induced skin vasoconstriction and increases in blood pressure and heart rates... and, in a more complex response, participants synchronized modulation of the cardiovascular system (through naturally occurring fluctuations in arterial pressure) with the rhythm of the music. Where other researchers have accomplished this with yoga and prayer, this study achieved success by playing certain pieces of music.
When I contacted the lead author of the study, Luciano Bernardi, MD, of Pavia University in Pavia, Italy, he told me that the study shows that the physiological effects of music are predictable. For instance, he says, blood pressure "tends to follow the musical profile," dropping with slow meditative music and increasing at faster tempi. This provides a better understanding of how music works to affect the body and thus the role it could eventually fill therapeutically, Dr. Bernardi said. So it appears that we now have yet another instrument with which doctors can practice "the art" of medicine.
Source(s):
Luciano Bernardi, MD, professor of internal medicine, Pavia University, Pavia, Italy.
I will pay you $1 the next time I see you, if you mention the details of what is in this blog. :-)
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