Singing

The first step to being successful in Vocal Techniques is understanding that the vocal instrument is the entire body with no external instrument.  You cannot see your instrument, take it apart or put it away; it is with you at ALL times!  This may be quite an adjustment for the instrumentalist since working with a voice is especially personal. Students might initially feel helpless because they cannot directly control the voice. Over the course of decades of teaching Vocal Techniques, it has become apparent that certain instrumental playing techniques can affect the study of singing, both positively and negatively. I have the unique perspective of being an instrumentalist myself, as I began musical studies on the cello, and taught beginning and middle school band early in my career. Making students aware of how their external instrument affects singing has helped them progress faster during the semester, as well as to gain a deeper understanding of their own instrumental study, making them better educators.

Learning as much about the voice and singing process is in the best interest of the future vocal music educator. The more knowledge and skills future teachers have about the vocal instrument, the more capable they will be in teaching themselves and others. The best recommendation is to study voice privately. Although there are many “self-teaching” resources available, reading text and watching videos cannot replace another set of human ears. It is easy to misinterpret information and there is a lot of incorrect information on the web. Young students can take one concept (i.e.: drop your jaw) to the extreme, thus impeding their process.

Besides my vocal instrument (i.e ME), what do I bring to class?

Experience – Even if you have little experience with solo singing, there are resources that you bring to class. The most important is knowledge and skill from past experiences with music and singing. Along with that comes memories from those experiences, general perceptions, attitudes, and beliefs about singing.

Tools – There are a variety of tools and equipment necessary to aid in your growth as a singer. They include items for research (books, articles, library, computer), sheet music, recording device, pencil and notebook, piano, and practice space.

What role do my peers play in the learning process?

• To offer support and healthy competition
• To provide constructive feedback during the learning process
• To be an appreciative audience

HOW SINGING SOUND IS PRODUCED

All musical instruments have the first four elements in common in the production of sound. The fifth element is also common but has a different meaning unique to singing. The following chapters of this text are based on these elements.

1. Motivation (mind-body connection)

The brain and neurological system send commands to and receive messages from the body. Because the impulse behind all vocal sound is emotionally and mentally driven, one must consider the role of the brain and nervous system as the motivator of the vocal process.

2. Respiration (breath energy)

Parts of the body that aid in breathing coordinate to control the inhalation/exhalation of air for vocal tone.

3. Phonation (creation of tone)

Sound is created in the larynx as the vocal folds come together. Wind instruments also use air to initiate tone, while other instruments use vibrations in different ways. Piano/strings/percussion all initiate sound by a point of contact with the instrument

The voice is quite unique because the tone is created within the larynx, in a living being, made of membranes, muscles, ligaments, and cartilages. These all coordinate in managing airflow and adducting the vocal folds to create a fundamental tone (buzzing).

4. Resonation (enhancement of tone)

Combined resonance cavities (throat, mouth, and nose) act as acoustical secondary vibrators for enhancing the fundamental buzz tone created in the larynx.

5. Articulation (shaping of tone into recognizable speech sounds)

The organs of speech (tongue, jaw, cheeks, teeth, lips, hard and soft palates, and dental ridges) coordinate in producing all sounds of verbal communication. This necessitates the in-depth study of diction (how languages are produced) by singers.

HEALTHY SINGING

ENERGIZING THE BODY

The singer’s body is much like that of an athlete and must be conditioned for handling the physical and mental requirements of performing.  Health is of prime importance to singers.  This does not imply that other musicians do not need to be healthy.  ALL musicians must be in good health to perform at their peak. Wind players must be able to control their breath like singers, percussionists must have optimal motor skills, as do string players and pianists, and everyone must focus on posture as it pertains to their instrument.  But while other musicians may be able to perform if they have a bad cold or even laryngitis, singers cannot.  If one’s physical well-being is not optimal, it also affects the voice.

Like athletes,  singers must focus on fitness and exercise, diet and nutrition, and rest. These have a profound effect on the singing voice and of course, are beneficial for all musicians. When the body is healthy and fit you have more energy, which aids the progression of vocal study. Students with low energy levels tend to have more difficulty projecting sound and finding ease in singing. It may be difficult to breathe easily, or their posture is poor because the muscle effort needed to keep the body aligned feels strange or uncomfortable. Singing requires efficient muscle coordination throughout the body. In the torso for breathing, the neck and larynx in creating sound, and the throat and mouth in forming words.

Singers are highly dependent on their respiratory capacity and must learn how to optimize their ability for taking in air and managing it effectively. Many singers, especially young singers, either work too hard to inhale or do not use enough energy. Raised shoulders and noisy intake of breath are signs of excessive tension. Doing physical warm-ups before singing releases tension and creates energy.