04.24.09
Posted in Uncategorized, Vocal Health, Performer Resources, Practicing, Write-In Questions at 11:21 pm by Administrator
“I’m a singer/songwriter and I sing out about 5 times a month at coffeeshops and local venues. I’ve taken a few months of voice lessons before and feel comfortable with how I sound. The only thing is that my pre-show warm-ups aren’t consistent and often I feel the difference in my singing and later hear the difference in live recordings (I record my shows.) What do you recommend for warming myself up? Should I warm up right before going onstage?”
Dave W.
Hello Dave,
Boy, you’ve hit on the #1 consideration that most singers let fall through the cracks! Warming up consistently before you practice and perform will yield excellent, and nearly immediate results. When warming up, here are the first few things to remember:
1. Find a place where you can warm up without distraction. Warming up should have some method and focus to it, so don’t sabotage yourself by trying to do it somewhere where you’re concentration is compromised.
2. Focus on your technique. Warming up has two purposes: the first is to “wake up” the voice so that it’s ready for onstage acrobatics. The second is to review technique and put ourselves in a “singing mindset.” So, while you’re warming up, make sure that you’re breathing properly, that you’re neck and shoulders are relaxed, etc. Don’t just make noise for 20 minutes and assume that you’ve warmed up…you could have just “woken up” your voice, but weren’t getting your body coordinated to sing. Don’t leave that stuff up to chance, pay attention.
3. Choose a set of vocal “warm ups” that you do every time, and stick with them. The consistency will help you set up a thorough routine that’ll ensure you’ve warmed up completely and didn’t miss anything. Sure, it gets old to sing the same exercises…but so does going on stage unprepared. Here’s a suggested warm up set:
- Start with 5 minutes of deep breathing and body relaxation. Make sure you’re breathing into your abdomen and back - your shoulders and chest should remain relaxed. Scan your body from head to toe for any tension or stress. If you find any, shake it out and relax.
- Next, hum gently through your range in big, sweeping “sirens”. Basically start humming at your lowest comfortable note, and slide up slowly on a hum to your highest comfortable note, then hum a slow slide back down to your lowest comfortable note again. Stay relaxed the whole time. Do this 10 times through.
- Then, on a relaxed vowel (”oo” or “ah” work well) choose a comfortable lower key and sing a little scale up and down the first 5 notes of each key. For example, start on a low A, sing up 5 steps, and back down to A. (If you know solfeggio, you’ll be singing do-re-mi-fa-sol-fa-mi-re-do.) Then move up a half step and repeat this little scale. Repeat until you get up to where the high notes are at the top of your comfortable range, come back down the scale chromatically doing this same scale until you’re down to your lowest comfortable notes. Do this 2 times through your range.
- Finally, choose a song that’s easy for you to sing and run through it a couple of times. Often a folk song or traditional number works well because the melodies are simple. Focus on your technique and leave your attention to your delivery for when you get onstage. Is your breath under control? Are you on-key for every note? Is each note well supported?
- The entire process of the previous 4 steps should take you about 12-15 minutes and should leave you warmed up.
- Singers should always warm up before practicing. On performance days I suggest warming up earlier in the day, two hours after you wake up (to “wake up” the voice) and then again an hour before you go onstage (to “set the technique”).
One of the keys to warming up is consistency. I can’t emphasize enough how important it is to be consistent. Consistently warming up will show consistent results, which both you and your audience will consistently appreciate. Get my point? Find a routine that works and stick to it. It’ll take the guess-work out of your performances and will eliminate that question of “is this an ‘On Night’ or an ‘Off Night?’”
Best of luck in your warm-ups, Dave!
~Rebeqa
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Posted in Uncategorized, Practicing at 10:14 pm by Administrator
In today’s economic climate the conversation of “Job Searching” and “Job Marketability” is everywhere. Recently I read an article about the rise of plastic surgery as middle-aged job-seekers try to stay competitive with younger counterparts. Wow, that is a competitive job market if I’ve ever heard one: forget experience and skills, we’re looking for a firm chin and perky whathaveyou’s.
The article got me thinking, though, about first impressions and how desperately important they’ve become for survival in the workforce. I started doing some research on what makes a good first impression and here’s an excellent summary I found on www.helium.com:
“First impressions are generally projected on three levels or criteria -: your visual appearance, your vocal presentation, and your verbal invocation. Although these three are distinct, they are usually observed simultaneously. In other words, getting two out three correct is generally not good enough to create a good first impression.“
Ah ha! Vocal presentation is in the top 3 - as I suspected. One only needs to remember the iconically dull voice of the teacher from Ferris Bueller’s Day Off to know how quickly poor vocal tone can make listeners lose interest. Or even refer to Singing In the Rain - a movie based entirely around the fact that the lead actress’ voice is so annoying that it’s unsuitable for consumption.
So, how does this apply to us mortals? And what can we do to make the best vocal impression? Well, in researching further I found another helpful article titled “
Improving Your Voice Quality Can Improve Your Career” on the Legal Job Search Resource, www.lawcrossing.com:
“In her book The Gentle Art of Verbal Self Defense, linguist Suzette Haden Elgin states that a lower-pitched adult voice is more acceptable in our culture than a higher-pitched voice. Another characteristic of tonality that is perceived negatively is pronounced nasal quality. So if you speak in a high-pitched, nasal voice, you may be in danger of projecting a less-than-professional image. In the words of Elgin, “if you sound like a child, you will be treated like a child.”
“As unfair as it may seem, we are all judged by the way we sound, and one’s career may be hindered by an unpleasant voice. Results of research have indicated that “a whining, complaining, or nagging tone” of voice is generally perceived as negative and annoying.
“To paraphrase Dr. Elgin, it is not so much how you look or how you dress or even the shabbiness of your surroundings; it is the quality of your voice—and, thus, the power of your voice—that is your most effective tool for commanding respect.
“Do you really know what you sound like? Most people will say that they don’t like how their recorded voices sound because they are so different from what they are used to hearing in their heads. But when you listen to your recorded voice, do you cringe just because it is different or because it really is unpleasant? If it truly sounds unpleasant to you, it will sound unpleasant to everyone listening to you.
“What exactly are you doing to produce this whining, complaining, or nagging tone? Technically, it is produced the same way as the very pleasant voice. When air passes through your vocal cords, they vibrate, and these vibrations travel into cavities in your head. The cavities of your head and neck act as resonators and, subsequently, shape the quality of your voice. You change the size and shape of your oral cavity when you move your lips, your tongue, your lower jaw, or your soft palate…According to Dr. Elgin, there is a simple and inexpensive way to dramatically improve the quality of your voice.
“Step one is to find someone whose vocal qualities you admire and would like to emulate. Step two is to record approximately 30 minutes of conversational speech. If you have a friend who will make this tape for you, that’s great. If not, you can record a voice that you like from the television or radio. Just make sure the sample is conversational and not a dramatic reading or prepared speech.
“Next, select a line of recorded speech from your tape that is not too long and not too short. You don’t want to repeat the words after the speaker as you would in a foreign-language drill; you want to say them along with him or her and make the necessary adjustments to sound as much like the speaker as you can. Repeat this exercise at least a dozen times, and then move on to a different sentence.
“Continue to practice this technique faithfully for the next six weeks. According to Dr. Elgin, you will be amazed at how the adjustments you make become ingrained in your brain and become automatic. By adopting this simple and inexpensive technique, you may not only improve others’ perceptions of you but also fix a vocal quality that has been driving your friends crazy for years.
So, for any of you who’ve had the unfortunate experience of being laid off recently, don’t forget to consider Vocal Quality when taking stock of your job skills arsenal.
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10.08.08
Posted in Uncategorized, Practicing, Write-In Questions at 4:26 pm by Administrator
“I’m always having trouble where am i suppose to come in, in a song. Most of the time i dont recognize what music is playing without the voice singing. Is there any hope for me?”
-Ferdy
Dear Ferdy,
Welcome to challenge #1 of making the move from being “just a singer” to being a musician. We’ve all had to go through it, so don’t be discouraged, there is certainly hope - and plenty of it. The good news is that finding the vocal entrance in a song is as easy as counting. All songs have a rythm that can be counted, sometimes it can take a little listening work to find the rhythm, but it IS there to be found. When you are learning a song try listening to a recording of someone else singing it with the instruments behind them. First try to locate the beat, or pulse of the song. If you’re having trouble finding it try walking around the room at the “speed of the music” - there’s a good chance that you will take steps in rhythm with the beat.
Once you have found the beat/pulse, go back to the beginning of the song, and from the second that the music starts count the beats until the singer comes in. Note the number of beats that took place before the singer’s entrance, and rewind to the beginning again. This time cound the pulses and come in where you think the singer is supposed to - checking yourself against the recorded singer to see if you’re correct. Try this a few times, you should notice yourself getting more confident about when to come in.
As for recognizing the music without the singer, this can be affected by many factors. First of all, various versions of a song often use different instrumentation and sound entirely different than the version you’re used to hearing - which makes them very hard to recognize. This can throw off even the most experienced singer! If, however, you have an instrumental version of a song that is the same as what you’re used to hearing with the singer, I suggest listening to it over and over and “getting it in your ear.”
The key to being able to recognize music easier is to make sure that you’re not just passively hearing the music, but that you’re actively listening! This means that you listen closely, looking for musical clues. Are there distinctive instruments or tunes? Is there a melody instrument solo, such as a flute, or electric guitar? Is there anything interesting going on in the drums, or bass? The better you are at finding those musical clues, the sooner you’ll be able to recognize songs without the obvious musical clues of the lyrics and melody.
Most of all, try to enjoy the music as a whole, not just the vocals. Singers are notorious for just listening to the voice part, without paying attention to anything else - which can make us very two-dimensional. But by tuning into the instrumentals just as much as the vocals we take our singing to the next level and become true musicians.
Keep singing,
~Rebeqa
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Posted in Uncategorized, Vocal Health, Write-In Questions at 7:50 am by Administrator
“I am a minister and speaker who speaks about 260 annually–mainly helping people with their money problems. 12 days ago my voice went hoarse — Vandy Voice Clinic scoped me and found vocal cord bleeding on left side– put me on 2 weeks voice rest and steroids. I checked today (tried to speak 5-10 words.). Could barely talk. Didn’t want to push it. But I have dozens of engagements and flights–what is the worst? ALSO, MOST IMPORTANT: I HEAR ABOUT KTP LASER AS A SIMPLE FIX FOR THIS–BUT DON’T KNOW IF THEY’RE DOING IT AT VANDY. ANY THOUGHTS? Thank you.”
- Steve Diggs
Dear Steve,
Since I don’t know the cause of your vocal hemmoraging, this is a difficult question for me to answer. As far as my research shows, KTP Laser Surgery is used primarily for the removal of vocal cancer and for the treatment of abnormal blood vessels (which are likely to repeatedly burst and cause bleeding.) In which case, KTP Laser Surgery is a better option than risky radiation treatment for cancer, or reoccuring bleeding problems from abnormal blood vessels.
However, if the hemmoraging is being caused by an exhausting speaking schedule, then KTP surgery is an expensive and risky way to temporarily treat a symptom of a much larger problem. The vocal cords are very fragile and any surgery poses risks of permanently damaging them. Also, keep in mind that patients who undergo KTP Laser Surgery are often required to follow it up with a few weeks of vocal rest to let the surgical site recover. So, there is still the possibility that you would be out of your speaking schedule for a time.
While KTP surgery is relatively new, and only recently becoming available beyond the reach of the doctors who first conceptualized it, it does seem to be a relatively safe and accessible surgical option for certain vocal issues. It’s still not an overly-common procedure and some research might be required to locate a doctor in your area who can perform it. The good news is that it is an FDA approved procedure and is covered by most health insurance plans.
I noticed that you said the vocal problems really kicked in about 12 days ago - and you’re still having trouble speaking. While I do understand the pressure to get back to work, fulfilling your speaking engagements, please keep in mind that 12 days is not very long for the body to heal. I would continue working with your Ear-Nose-Throat doctor to find a solution that will work for your condition. Also, I would seriously consider paring down the demands you put on your voice. If your hemmoraging is being caused by overuse, or by a vocal cord abnormality it’s quite possible that it will reoccur, even after treatment. Whether you can reduce your speaking schedule or not please consider seeing a vocal therapist, who will help you use your voice more efficiently to avoid getting to this place again.
Best of luck, and please take care of those pipes!
~Rebeqa
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05.12.08
Posted in Uncategorized, Practicing, Write-In Questions at 3:55 am by Administrator
“I really enjoy singing, but my friends all call me ‘tone-deaf.’ Is there any hope for me to get better?”
- Christian H.
Christian,
Although the term ‘tone deaf’ is thrown around with the assumption that improvement is impossible, I simply don’t agree. The ability to ‘stay on pitch‘ or ‘match pitch‘ has more to do with listening and distinguishing a note than it does with the action of vocally reproducing it. We are language-based creatures and we learn to speak through imitation. Eventually we learn to imitate other noises, such as animal sounds, in such cases, even ‘tone deaf’ people do just fine reproducing sounds.
The key to improving your ability to match pitch, or sing the same note that you hear, is learning to listen closely, forming a clear mental image of the note you are about to sing. This is a discipline, and it’s best to start with some simple exercises:
1) At a piano keyboard, play various notes that are higher and lower than one another (notes on the left are lower, notes on the right are higher). Just listen to the notes and get used to what a higher note sounds like compared to a lower one. Have someone else play notes - two at a time - and try to determine (without looking at the notes they’re playing on the keyboard) whether the second note they play is higher or lower than the first.
2) Next, try to match a pitch that you play on the keyboard. Play the note three times, slowly, leaving space between the times to play it. Listen to the note, try to imagine what it sounds like. Then, when you play the note a fourth time, try to sing the same pitch. If you’re not sure whether you’re matching the pitch or not, try sliding your voice up and down and see if it seems to “match” with the piano pitch anywhere.
Eventually, after a bit of practice training your ear you should be better able to determine and reproduce a pitch. Just remember, even the best singer will go off pitch sometimes if he/she stops listening and thinking about what note they are about to sing.
Most of all, Christian, don’t be discouraged. Keep training your ear and enjoying to sing!
~ Rebeqa
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04.23.08
Posted in Uncategorized, Vocal Health, Performer Resources at 6:05 am by Administrator
After my last post about the unfortunate development of Jordin Sparks’ vocal cord hemorrhage, I did some more poking around the internet and discovered that there are very few helpful sources on vocal disorders in general. So, in efforts to change that fact, I am posting a glossary of Vocal Disorders, Injuries, and Illnesses.
Cancer - Cancer on the vocal mechanism, or larynx, is called laryngeal cancer. It is an invasive growth that tends to spread throughout the neck and lungs. Laryngeal cancer is usually caused by smoking, and is rare among non-smokers. Vocal cancer is treated with surgery to remove the cancerous cells, and radiation or chemotherapy.
Cyst - Cysts are small mucus or puss-filled pockets that can develop anywhere on the body. On the vocal cords they seem to develop from a mucus gland becoming blocked, an abnormal development of the vocal cords from birth, or from excessive or improper use of the voice. Vocal cysts are treated with voice therapy, sometimes extensive vocal rest (we’re talking months to years - it’s rare, but it does happen), and surgery.
Hemorrhage - Hemorrhaging of any kind is bleeding. Vocal cord hemorrhage is exactly what it sounds like: bleeding vocal cords. It is usually caused by excessive, prolonged, or improper use of the voice, which causes open wounds on the vocal cords. Vocal hemorrhage is treated with a brief period of vocal rest (days to weeks), and voice therapy for reoccurring cases.
Laryngitis - Laryngitis is a general term for inflammation of the vocal cords, resulting in hoarseness. I do not recommend self-diagnosing laryngitis, as prolonged hoarseness may have other, more serious causes than a little inflammation. Laryngitis is usually the result of a bacterial or viral infection in the body and is treated with vocal rest, hydration, and antibiotics if necessary.
Node/Nodules - A vocal Node/Nodule is, essentially, a callous, usually caused by extensive or improper use of the vocal cords. They are harder than polyps and usually form in a certain area of the vocal cords. Then can develop either slowly with a pre-node phase, or they can come on acutely with little warning (depending on the level of stress the voice is put through.) Vocal nodes/nodules are treated with vocal rest with subsequent therapy, and surgery in extreme cases.
Papilloma - Papilloma is the growth of warts on the larynx. It is caused by a virus and passed through intimate contact, including from mother to child during birth. The warts do not show up in everyone who carries the virus, and not everyone who comes in contact with the virus contracts it, either. Voice-use has nothing to do with the growth of the warts on the vocal cords. Just like other warts, Papilloma warts are nearly impossible to get rid of as the virus can never be rid from the body. Treatment is limited to repeated surgeries to remove repeated growths.
Polyp - A vocal polyp is, essentially, a callous caused by extensive or improper use of the vocal cords. They are softer than vocal nodes (or nodules), and may develop anywhere on the vocal cords. Vocal polyps are treated with vocal rest with subsequent therapy, and surgery in extreme cases.
Reflux - Acid reflux, or the flow of stomach acid up the esophagus, also can affect the vocal cords when this acid makes its way into the larynx. The vocal mechanism is much more sensitive than the esophagus and is much more effected by the acid, resulting in irritation and swelling. Over time, repeated fragility caused by acid exposure can make the vocal cords vulnerable to other complications, such as laryngitis and hemorrhaging. Treatment for reflux include dietary changes, antacids to manage stomach acid.
Scarring - Vocal cord scarring is usually caused by surgery on the vocal cords, but may result from diseases, or trauma to the neck or throat. The delicate surface tissue of the vocal cords lays loosely over the deeper tissues below, allowing for free vibrations when we vocalize. When this surface layer is partially made up of firm scar tissue, however, vibrations between the two vocal cords is severely limited and the voice is changed dramatically. Vocal scars should, overall, be prevented as much as possible. Once formed, however, vocal therapy and the gradual smoothing of the scar over time do yield some improvement. Surgery to smooth vocal scars is a rare and does not usually yield positive results.
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04.22.08
Posted in Uncategorized, Vocal Health at 9:16 pm by Administrator
While browsing Yahoo! News this morning, I learned that 2007 “American Idol” winner, Jordin Sparks, cancelled three shows this weekend, including an opening night spot on Alicia Keys’ concert tour. The article cited “acute vocal cord hemorrhage” as the cause for Ms. Sparks’ cancellation. It also asserted that after a brief period of vocal rest, Ms. Sparks will be singing her heart out on a breakneck schedule once again.
After reading the article I realized that it gave no indication of what “vocal cord hemorrhage” is, or of what causes it. So, let me break it down:
Hemorrhaging of any kind is bleeding. vocal cord hemorrhage is exactly what it sounds like: bleeding vocal cords (not pleasant any way you look at it.) Luckily for Ms. Sparks, there’s not much blood involved in your average vocal cord hemorrhage - it’s more about open wounds on the vocal cords than it is about major blood loss. The vocal cords begin to bleed when they are exposed to exessive phonotrauma, or the physical stresses caused by making sound with your voice. Extreme examples of phonotrauma are voicing too loudly (e.g. screaming), voicing too often for long periods of time (e.g. a rigorous performing schedule) or voicing when the vocal cords are fragile (e.g. while swollen). Really, the vocal cords are the same as the rest of the body - if you expose your fingertips to overuse, prolonged use, or use when they’re worn raw, you can expect them to bleed, too.
And so, with her vocal rest, Ms. Sparks will avoid any and all voicing (singing, speaking, whispering, etc) so that the open wounds on her cords can heal completely. Of course, this should lead us to question the performance, rehearsal, and recording schedule that caused this poor woman to literally sing until she bled. We must remember that our vocal cords are fragile and irreplaceable, and treat them with the appropriate respect. And primarily, I hope that Ms. Sparks’ managers and producers share in this appropriate respect so this might not happen to her again.
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04.21.08
Posted in Uncategorized, Performer Resources, Practicing, Write-In Questions at 5:13 am by Administrator
“Sometimes when I am singing in front of people I find that I become short of breath and can’t make it to the end of phrases that I otherwise had no problem with. Is there any advice you can give me to make this stop happening?”
- Michelle S.
Michelle,
Even for experienced performers, maintaining technique in front of an audience is a whole ‘nother bag of tricks than practicing by ourselves. There are two factors that are most likely affecting your ability to sustain a held note:
1. Nervous Tension. The anxiety of being on stage is the same as any other anxiety - it ignites our “fight or flight” instinct. One side effect of this is that our legs and stomach become tense, inhibiting diaphragmatic breathing. Next time you’re in front of an audience, be aware of any tension in your body - from your feet to the top of your head. Believe it or not, the entire body is actually connected (!gasp! No?!), and tension anywhere will migrate to other parts and cause problems for you. Also, when you reach the end of the breath, make sure you’re not contracting your sternum downward (as though you were doing a stomach-crunch). This collapses your lungs and can trap a little bit of air that you do have and make it unusable. Instead, keep your sternum lifted and focus on allowing the lower abdomen and pelvic floor press the air out (this will feel anti-instinct, but just try it a few times, I think you’ll be surprised).
2. Distractions. Most singers prefer to practice in an environment that allows them to focus. Unfortunately, the center of the spotlight is not such a place. On stage we’re worried about our balance, not tripping on instrument cords, and keeping the energy level up. It’s very important that you practice your technique enough that when you’re on stage it comes naturally. Then, focus on disciplining yourself to constantly monitor your technique, making sure it’s still intact throughout your performance. Check that your shoulders are relaxed, that your throat is open, that your posture is supporting the breath.
As you get more comfortable on stage you’ll find that tension will decrease and the normal distractions will fade into the background. Until then, try to relax and keep up the practicing!
~ Rebeqa
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04.20.08
Posted in Uncategorized, Vocal Health, Write-In Questions at 2:50 am by Administrator
“I recently went to a rock concert and woke up with a scratchy voice. Are there any tricks of the trade to help avoid this? - Chris R.
Chris,
To avoid “morning after” voice - or that scratchy, hoarse throwback from a long, loud night - there are steps you can take before, during, and after the vocal strain is going to happen.
Before: If you know you’re going to have a long, loud night, make sure that you hydrate that day. Also, take it easy on dehydrating agents such as caffeine, overly salty foods, and alcohol.
During: Of course, there’s a good chance you may be drinking alcohol throughout a long evening, so make sure you’re keeping up on your water as well. Also, during the event be aware of how loudly you’re speaking, singing, or cheering. Loud venues bring out The Lombard Effect, or an unconscious increase of vocal volume to compete with surrounding noise (this is also why people listening to music with headphones on, tend to yell when they talk.) The best thing to do is to enjoy the evening with no yelling or screaming. But we all know that a really great concert can make us scream ourselves silly, despite our best vocal intentions. So, if you must be loud, keep your breath supported and don’t max out your voice - keep it at 80% volume or less.
After: If you still find your voice scratchy the next morning, drink plenty of water, opt for herbal tea instead of coffee (caffeine dehydrates, remember), and take a hot shower and breathe deeply in the steam. Also, while you’re in the steam, do about 10 minutes of gentle humming through your range to warm up your voice. You should be sounding better after this, but if you’re still hoarse and breathy it means your vocal cords are probably swollen and you should really avoid singing, speaking or whispering for a few hours. In the meantime, keep that water and hot, herbal tea within reach - hydration and vocal rest (and a nap if you can get it) are your best bet for feel better soon.
Best of luck at the next concert, Chris!
~ Rebeqa
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02.18.08
Posted in Uncategorized, Performer Resources, Practicing, Write-In Questions at 7:38 am by Administrator
“What are some good exercises for me to do to keep my voice in shape when I’m not taking lessons?” - April S.
April,
I like the phrase “keep my voice in shape.” Many people forget that singing is a physical discipline and that our singing mechanisms can “get out of shape” just as much as the rest of us can. When you are between voice teachers, the two things you want to keep up are:
1. Muscle-memory for healthy breathing technique. Try to concentrate on your breathing for 10 minutes a day (I often practice mine when I’m waiting for the bus or waiting in line for coffee, etc.) Remember to keep your shoulders and neck relaxed as you expand low, into your abdomen. Pay attention to how your body expands, you may even feel it into your mid-back. Then exhale a slow, controlled breath, feeling your abdomen pull in - bellybutton toward spine. Focus on the breath - be deliberate and controlled.
2. Familiarity with your singing techniques. Whether it’s hitting high notes cleanly, or belting out a Broadway song with volume and power, you have probably worked on techniques with your voice teacher before. One part of keeping a technique “in shape” is staying familiar with how it feels to do it. Get a CD of vocal exercises (see my blog, The Importance of Personal Practice, for a link to a recommended practice CD.) As you use the CD focus on one technique per exercise. For example: just work on relaxing on the high notes, or focus only on keeping your throat open. Focusing on one technique keeps practice time streamlined and will help avoid frustration or boredom.
~ Rebeqa
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