Knowing your “attractor state”

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We all have habits. Some good, some bad. When it comes to singing, it’s important to understand what you already do well, versus what you don’t do so well.

In my case, I have a habit of not “yawning” enough. I don’t open the back of my throat very well. I get lazy and forget. I need to remember every time so I develop a new habit every time I sing. I also have a habit of poor posture when singing at the piano. My back isn’t straight, and tend to hunch over.

What are your habits? Which ones are good? Which ones are not so good? What are you focusing on when you sing?

Optimum breath control

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Breathing technique, for me, was learned instinctively. Let’s face it, if you want to sing long phrases with good control, you need to figure out your body (which includes your breathing) and ways to control the input and output of your breath.

Too much focus on your breath can sometimes cause you to push and tense up. Remember, everything about singing is a balancing act.

I suggest starting in a relaxed state. When you inhale (through your nose), sense the intake going all the way to your toes. Sense the rhythmic flow of your intake as your belly and groin area engage in this rhythm. Try to stay relaxed and comfortably balanced (with tall posture) with the amount of air you can intake at this effort level. In other words, find your ultimate relaxed state where you can do this exercise without being short of breath or lightheaded.

Close your eyes and relax into this buoyancy. Again, sense the rhythmic and relaxed manner in which you can breath deeply.

Going through this ritual regularly will get you in tune with your breath rhythm and cycle. Once you know you are taking the breath down in a controlled fashion, you can start to elongate the inhale and exhale process (through your nose). As you do this, visualize your abdominal muscles and upper stomach area and back muscles expanding (stretching) and contracting in rhythm with your breath. Sense the slow motion control you can manage as you engage your body in a fashion that will ultimately help you sing better.

If you are continuing to be light-headed or short of breath, then back up and focus on the point where you can manage the exercise at your effort level. Again, this is about becoming aware and in control of your body and breath. For some, it will be totally foreign because you have been shallow breathing for your entire life.

When in doubt, do this exercise when you are tired and lying down in bed. Notice your belly and relaxed state your body is in before you fall asleep. Try to capture this slow motion buoyant and relaxed feeling deep within your body. Then try to match your stomach, abdominal and back muscles with the rhythmic flow of your breath.

Hope this has helped you sense how your entire body should be involved in good singing. I don’t talk about breathing too much because if your vocal cords (onset) are not in good shape, then your breathing efforts simply get in the way. However, once you are mixing and getting good cord closure, your breath control is your ticket to control with volume, better tone, flexibility, endurance, stamina…..get the picture?

 

Bridging and Connecting

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All singers really want to bridge and connect. For those of you studying speech level singing, bridging and connecting is simply another way of describing mixing.

No matter what method you are studying, this concept is universal. A singer who isn`t bridging and connecting is either yodeling (flipping), pulling chest, or singing in falcetto.

Attack of the mask

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For those of you studying speech level singing, this term may make no sense. As a singer, you owe it to yourself to explore other methods and insights to be the best singer you can possibly be.

Attack of the mask is the same concept that all coaches are aiming for with their students…cord closure, breath control, and tone.

Let’s face it. Although the lingo and paths may differ, all methods are trying to do the same thing. And, that is pave the way for you to improve your singing voice.

I actually like the concept of “attack of the mask” (Vocal Release Program by Eric Frey) for some singers. I have also had results with “above the pencil” (Zen of Screaming by Melissa Cross) with some students as well.  Whatever concepts get you to thin out your vocal cords and control your onset so you are singing in your head voice are good options. There is also “covering” (The Vocalist Studio by Robert Lunte). If it works for you, that’s great!!

 

Great ladies of voice

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Why do we love Adele’s voice so much? Or Whitney Houston, Celine Dion or Christine Aguilera? Sure, it’s because they exude so much drama and passion when they sing, but how do they do that?

The ability to portray what you are feeling in a technically correct way is really what we are talking about here.  Once your voice is mixing and you are accessing your head voice with ease every time you open your mouth, then is the time to challenge yourself vocally with dynamics and different vocal textures.

These singers all display a wide variety of vocal textures and color, and a lot is due to their ability to change from thick cords to thin cords throughout their entire register. (Well, let’s just hope Adele is training to do more of this, so she doesn’t cause damage again to her cords on her next tour).

These singers can easily “back up” their voice to the “fry” level,  as well as, safely belt hard and strong. Their vocal cords are resilient and can withstand a huge amount of breath pressure.

IMHO, it’s only Christine who at times belts purposely without mixing. This is that dull yelling/groaning sound she makes in the back of her throat when she’s not allowing the resonance to go into the “mask” (in other words her head voice). But get this, Christine is no amateur. This lady chooses to do this coordination (pull chest). She knows her voice well. Christine can do cartwheels through her first passagio when she wants. In one phrase she’ll sing with thick cords and pull her sound as high as she can in the back of her throat. Then, in the next phrase, she’ll thin out her cords and soar easily through her first bridge and even up through her second!  Christine has her vocal ability mastered. Just listen to her speech. I detect no rasp or fry damage….just clean, crisp cords that haven’t thickened too much over the years from extreme use. She knows her voice is big business, and she takes care of it well.

Adele has very thick cords (a naturally big and loud voice) and I don’t think she had ever really learned the importance of thinning them out regularly to allow for flexibility and endurance while singing so hard on the road. Everyone knows about the vocal problems she has had.  Hopefully she will still be able to amaze her audiences with her huge voice, and stay away from vocal damage on her next tour.

Whitney’s voice was superb in her day. The problem was, of course, her lifestyle choices and simple lack of attention to details to maintain a  healthy voice over the years. Her ability to thin out the cords deteriorated. What was once an easy soar through her entire range, became a huge challenge because the cords were no longer able to master this co-ordination. This is not unlike maintaining good physical technique and stamina to achieve a long list of physical abilities. For example, playing the piano, ballet dancing, perfecting your golf swing. The list goes on.

I admire Celine Dion. This woman is in total control of her vocal destiny. She is known for not talking before shows, mastering warm-ups, cancelling shows when she knows she is not healthy. Here is a singer who pays close attention to her technique and abilities on any given day.

I hope this post has inspired you to continue your journey to sing better every day. Keep learning and keep addressing your vocal issues, so you become the best singer you can be!

 

The illusion of power

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Too many times I hear over-compressed cords from students who think  they are singing with power. Unfortunately this sound is dull and to be quite blunt … ugly. Over-compressing the cords will only cause students trouble as they try to sing higher, because  they can’t release this sensation without flipping into falcetto. The answer is; mixing with head voice and allowing the cords to thin and stretch as you sing higher.

Men, you can find your head voice by singing a G above middle C in a connected, stable and controlled sound. This isn’t falcetto. This is head voice. If you feel your throat “choking” you then your larynx is probably too high. This coordination is not going to help you sing in optimum head voice mix, so work on getting that larynx down first.

Women, you can find your true head voice by singing a high C. Again, make sure this isn’t breathy or you are probably in falcetto (which means the cords have come apart).

Working this area of your voice is very important for mixing. Learn to love your head voice. It may seem weak and foreign to you, and that is all-the-more reason to figure out this area of your voice from this approach. Keep the volume at a medium to low level.

There are other elements that will help build a powerful and strong mixed voice too. Once your head voice is easy to control and identify, then you can work on pharyngeal sounds and exercises to bring out the illusion of power. Yes, the illusion of power. The illusion of a super-human sound that is actually just your head voice in a mix!

Pharyngeal sounds

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For those of you familiar with speech level singing exercises, the nasty “nay” sound is probably all-too-familiar. This is a sound that many singers do wrong. The goal here is to feel the resonance behind the cheek bone and nasal area, not in the mouth or at the back of the throat.

In Estill Voice Technique this sound is the schoolyard sing-song taunt. Again, it can be done incorrectly if you are using the wrong coordination.

The challenge is making this sound above the first passagio.

I suggest starting with a puppy dog whimper in your head voice. This will get your cords thinned out. Close your mouth and work this whimper in a hum. Raise your cheeks and think a “cry-like” sound.  If you are having trouble, take your volume down to a level where you can manage a simple light coordination of a whimper sound in your head voice. Keep your mouth closed……now you have thin cords.  Your larynx may want to rise, and certainly the ideal condition is for it to remain neutral. Take note of this. To counter the raising of the larynx, consider what is going on inside your mouth at the back of your throat. Lift your soft palate as best you can.

I suggest making this your home base. Men, this will be around F or F# above middle C, and ladies, this will be around high C or C#.

Once you can master the puppy dog whimper in your head voice, then you need to work the whimper through the first passagio. For men, you need to master the whimper from F# below middle C to F# above middle C.  Ladies, middle C# to high C#. If you feel a “catch” in your voice, then you simply need to do it over and over and over every day until that “catch” evens out. (If you practise everyday, it will eventually even out).

Consider taking the volume down to the point where you can master this.  Do the whimper both ascending and descending. You can turn this into a continuous whimper siren if you like. Notice your head voice is clearly present. Try to coordinate a balance that works for you. In other words, the lowest notes are predominantly chest voice and your head voice needs to allow this transition. The high whimper is mostly head voice, so again you need to allow this transition. If you find this challenging, then consider your volume again. There will definitely be a level where you can coordinate this transition. You might not be happy with the sound…..but that doesn’t matter. It’s not about the sound! It’s about the coordination. This is your starting point. Do not increase your volume until you can master this transition of puppy dog whimper through your first passagio.

So, now that you have good cord closure and you are mixing well through your first passagio, you can actually begin to work on your pharyngeal sounds like the nasty “nay” or “meow” sounds.

Am I mixing yet?

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One of the most common questions I get asked is “how do I know if I’m just in chest voice or in mixed voice?”

My best answer is that mixed voice allows you the freedom to crescendo and decrescendo at will.

Now, you may not have the stamina yet to actually follow through with a crescendo or decrescendo when you are in your mix (in other words you are running out of breath)….but that should be one of your goals…..to have the ability to vary your volume at the peak of your performance.

If you feel like you are hanging on for dear life on your highest notes….there is a good chance you are not mixing.

The struggles of two voices……

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I still remember when I was 16 and had ‘two different voices’. That’s right. I had my ‘not-so-great’ American Idol voice, and I had my ‘choir-like’ sweet voice. They were two separate voices coming from my throat, and they never met each other in the same performance.

I struggled with the challenge of deciding “which voice to use” for years. I would go out and sing with my band, or at a party with my ‘power’ voice. I now know that this was my chest voice, and I was pulling like crazy. It wasn’t uncommon to become hoarse after a night of singing.

Then I would wake up the next morning and go to church and sing with my sweet voice. My sweet voice was breathier and not really that powerful…..but my choir director seemed to like it a lot. Every time I tried to add a heavier sound in the choir, I was instructed to blend with the other voices. I know now that I was singing in my head voice only….I wasn’t mixing…..it wasn’t until years later, that I finally figured out how to mix my two registers (mostly chest to head mix) to get a nice balance of both registers.

It took me 20 years to figure out how to mix my voice!! I’m 50 now, and my voice is sounding better that ever before! And that’s because I now know what I’m doing. I now understand exactly how to coordinate my laryngeal muscles to achieve exactly the sound and textures I want.

I still continually challenge my voice in new and different ways. IMHO, you never stop learning, and you never need to settle for “what is”.

I’m currently working on my 4th passagio.  And, although I may never make a noise beyond F6…..I know I will continue to vocalize everyday in the same manner that I have for the last ten years. Because, before the age of 40 I could never sing C6!  That’s right….these notes have transpired in the last ten years.  Who knows what notes I’ll be squeezing out at age 60!

Nasality or Twang?

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Nasality and twang are not the same thing. They may, indeed, seem or sound similar, but they are definitely not the same.

Nasality is the sound we hear when a singer has his nasal port open. Is this good or bad? Well, I guess that depends on what kind of sound you want to make with your voice. For the most part, nasality is not considered an esthetically-pleasing sound; however, some singers may indeed do this and consider this their signature sound.

Twang on the other hand is an important coordination that every singer should learn and understand. The ability to “twang” creates particular frequencies in the voice. There frequencies add volume, brassiness, brightness, crispness, and/or fullness. This is an important coordination that when used with other vocal coordinations gives the singer freedom to express themselves dynamically and with texture.

Twang may sound unpleasant in its’ purest form, but when added to the voice in varying degrees, allows a voice to be interesting and believable.