Position of the larynx

Posted on August 13, 2012 by Susan McAllister-Bee

Speech Level Singing has been given a bit of a bad rap when it comes to the position of the larynx. Let’s review.

First of all, our larynx has a default position when we speak. Everyone is different. My larynx rises ever-so-slightly when I speak. I just happen to have a slightly “twangy” speaking voice. I can speak (and sing) with my larynx lower, but that is not my “default” position or my most-natural position.

Some people incorrectly think that Speech Level Singing demands a “low” larynx. This is not the case. SLS simply achieves a larynx that is “neutral” when singing….in other words not too high, and not too low.

I think this is a great way to train the voice. Good singing starts with balance. Balance is the ability to sing your entire range with a relatively neutral larynx.

Then comes style and your signature sound. And, yes, your larynx will rise a little when you belt.

How should I train my voice?

Posted on August 12, 2012 by Susan McAllister-Bee

So I’ve been jogging lately to get in better shape and stay healthy.

The first time around in my neighorhood is my warm-up. I start out walking at a medium pace and by the end of the round I’m ready to step it up.

The second round I’m jogging. I set a pace that has me breathing in a rhythmic pattern that I know I can endure to the next round.

By round three I’m feeling tired. I’ve reached my peak and my technique is starting to fail. I go back to walking the rest of the way home.

Why am I telling you this? Because this is a good way to train your voice.

First round is your warm-up. Second round is your work-out. Third round is your warm-down.

How long each round is can vary, and what you do each round can vary. For me, lip rolls and sirens through my entire range is both my warm-up and warm-down. My work-out is my longest round, but that’s because I’m in good shape (vocally that is, certainly not jogging!) You may find you spend most of your time in the warm-up, and your round two of working intensely is for only a short time. That’s OK. Being a vocal athelete takes time, commitment and training….regular training, every day.

The benefits of amplified acoutics on your voice

Posted on August 10, 2012 by Susan McAllister-Bee

Have you ever noticed how nice your voice sounds in the shower? Do you not agree the shower is the absolute best place to listen to yourself sing!

There are a few good reasons for this. First, the steam from a hot shower is a healthy treat for your voice box. Second, you are usually showering alone (notice I said usually), and nothing helps you relax more than when you’re singing and no one is listening!

Third is the benefit of a reflective acoustical space created by the hard surfaces present in most bathrooms (mirrors, tile floors, and no carpet!) The reverbant sound of your voice feeds your mind with a lush, velvety smooth sense of one’s own voice. Now if only you could amplify that! (And yes, you can!)

My experience has always been that when I’m singing with amplification and some reverb added, I am really able to enjoy listening to myself. It fills me with a sense of being in a much bigger place with a much bigger voice……and who doesn’t want a bigger voice?!

This scenerio is likely to lessen the urge to sing too loud and push too much air through your vocal cords. Listening to yourself in an enjoyable way helps you relax and “feel” your instrument. Ultimately that is what good singing is…..the ability to feel how good you can sound! What do you think? Do you sound good in the shower?

Sounds that make a difference

Posted on August 8, 2012 by Susan McAllister-Bee

There are many sounds you can practise that will help your singing improve.

One great sound is “neighing” like a horse. You want to make the sound a bit witchy or nasty. The problem is, if you force the sound, you are actually causing constriction, which is not going to help at all. This is a sound you can practise everyday that should feel relaxed. It is not a loud sound. You want to practise this at a speech-level volume with thin folds (your head voice).

Some singers will be able to do this easily, others will not. If you have trouble singing in your high voice, then this may be difficult so go slowly. Simply do it everyday, as often as you can, and it will gradually start to become brighter, louder, edgier, and less breathy. This can’t be forced…it must be “experienced” regularly. This is a fabulous head voice workout.

If you are doing it correctly then you will be working the aryepiglottic sphincter muscles in your larynx. When the AES is narrowed, the voice becomes more intense and more resonant at certain frequencies. AES narrowing is also called twang.

Check me out here at www.soundcloud.com for an example.

Ladies, we have double trouble

Posted on August 6, 2012 by Susan McAllister-Bee

I see this time and time again, and I just have to write about it…. again. I had another female student today with a fabulous head voice, that she could carry down to her “belly button!”

This is such a familiar trait of female trained voices. The throat is wide open, the larynx is low, and the tongue is nicely placed between the two back teeth. Perfect, right?

Here is the problem. These ladies want to sound like Barbra Streisand, Celine Dion, Carrie Underwood and Lea Michele. I’m sorry, but the set-up mentioned above is not going to get them there.

If you read my previous post about “from the bottom up” then you will know exactly what these ladies need to work on…..their chest voice starting from a speech level coordination.

Working from the bottom up

Posted on August 6, 2012 by Susan McAllister-Bee

The chest voice is very powerful. I recommend all singers learn how to carry their “low voice” up into their higher register by learning how to mix from the bottom up. If you want to earn a living at singing, it is crucial to learn how to belt and sing safely in your chest voice.

First and foremost, you need to train regularly. Singers who belt regularly, are at most risk for vocal damage. Become a vocal athelete first. The ability to siren, lip roll and tongue trill through your entire range is a must. This teaches your body to pay attention to balance and amount of effort and breath you are using.

There are certain sounds that are precursors to being able to sing high in your chest voice.

1. Put a sob or a cry in your voice.

2. Practise a “witchy” sound or neighing of a horse.

3. “Meow” like a kitty.

Every voice is different. You may find one of the sounds above easier to do. Don’t force the sounds…..just think the sounds. Do it every day, many times a time. Pay attention to the volume at which you can continually accomplish the sound through your passagio. It may be breathy as you move higher, but with practise you will get less breathy. Try to be the same volume on all the pitches.

Ladies …. work from middle C to high C (make sure you are in your chest voice).

Men … work A below middle C to A above middle C.

Remember, these are sounds. They are not meant to be pretty. You are not singing these sounds….it may appear you are speaking these sounds. You need very little breath.

Good luck! Let me know it goes. Do you have any questions?

Are you singing with too much breath?

Posted on July 25, 2012 by Susan McAllister-Bee

There is a delicate balancing act happening in your body while you sing. Your breathing pattern is responding to how you just spent your last breath. This happens automatically and we don’t really need to think about it. Or do we?

Speech Level Singing takes the emphasis off of breathing technique, and puts it at the vocal cord level. The student is encouraged to make “correct” sounds at a volume that is least breathy and most manageable throughout their entire range. I like this approach because singers learn to control the voice throughout both registers at an even volume at the same time. Endurance and strength is built on a foundation of blending and smooth transitioning from the singer’s lowest note to their highest note. This blending (mixing) is a great technique for all genres of music.

Once a singer is mixing, it’s time to step up the workout and maximize effort and balance thoughout the body. The vocal cords are getting a great workout. Now the body needs to learn how to help the vocal cords control breath pressure. The better breath management a singer has, the more control is achievable by the singer.

There are many “visualizations” and exercises that can help a singer with breath control. One easy visualization is the sensation of picking up a suitcase in each hand. Notice how your abdominal muscles and rib cage engage as you “pretend” to do this. Be sure your neck and throat do not engage as well. This body anchor feeling is a great way to understand and sense how the body can help your breath control. Now, sing any vowel on a comfortable pitch without this body anchor, and then again with this body anchor. Did you notice a difference in your tone? Most likely the tone is less breathy with your body anchor (or at least it should be!)

The back, neck and head can also assist in breath management. This sensation is not tense, but simply anchored. In other words, the body, neck and head are engaged and ready to help the vocal cords do their job (which is closure). Be sure to embrace your entire “self” as you sing. There is no need to force the voice to make sounds that don’t happen easily when you are anchored well. Instead, repeat, repeat, repeat with different approaches. Try to take in more breath. Try to anchor more. Did it make a difference? Singing well is very physical………….the trick is putting the “physical” in the correct parts of the body!

Ladies, this one’s for you

Posted on July 20, 2012 by Susan McAllister-Bee

The female voice has so much potential. Typically our range extends much farther than the male voice, and because of this fact, the first passagio (or your break) can really feel like it divides your voice in two.

Men don’t have to deal with the same sensations at the first bridge. As the male voice drops after puberty, it is usually clear to them what their “chest voice” is. Then the challenge is usually how to negotiate their register shift so they can sing higher. Without the ability to thin out their vocal cords (mix) as they ascend, they may feel strain, or they may “flip” into falcetto. There are many great exercises available to singers who want to increase their range from their chest voice up.

However, ladies…..your scenerio can be much different.

Quite often vocal training for ladies starts with focus above the first bridge (rather than in the chest voice which is below the first bridge). In other words, from about E above middle C to F or G above high C. This is a common range when working with female voices in a choir. Your first bridge is around A or B above middle C and your second bridge starts around E flat. Notice that this range of pitch encompasses TWO passagios. Included with this traditional approach is the purity of Italian-formed vowels and a low tongue (open throat).

What you might notice is songs requiring you to sing below middle C are breathy or light. Or, you might notice that some songs have the sensation of singing from the bottom and going up……..while other songs have you feeling like you are singing from the top and going down…..giving you the impression of two different voices; a low voice for low songs, and a high voice for higher-pitched songs. Does this ring true for any of you?

I draw attention to this because knowing how to negotiate the first passagio from the bottom up is important when singing certain styles of music including pop, musical theatre, gospel and R&B. Working from the bottom up will usually have you using less air, and work muscles that require the larynx to tilt as you sing higher, which in turns will let you move through your passagio without flipping into your “other” voice.

Do you experience this? If so, please leave a comment. Tell me what it feels like and how you handle this break in your voice. Susan

Yes, everyone can sing!

Posted on July 17, 2012 by Susan McAllister-Bee

I have a wonderful motivating story for you!

Mister W. has been seeing me for singing lessons for about 3 months. He is 33 years old and his favourite band is Stone Sour ……… He has never sang in school or a choir, or in front of anyone for that matter. He was what you would call a “closet-singer”. He only made sounds when he knew no one was listening.

Mr. W. had a lot of trouble matching pitch during first few lessons. For one thing, he was nervous, which is totally normal when you first meet someone and you have to try and sing in front of them. But, he was determined. He had always wanted to be able to sing and I told him it was definitely possible if he is willing to do the work.

Three months later, he is proving to himself, that indeed, he can sing. He has been doing his exercises regularly, and he is now vocalizing at the level of what I call …. A Singer!! Yes, he is matching pitch ascending and descending through his 1st and 2nd passagio.

His family thinks this is incredible, however, the truth is …. he has worked hard and it is paying off. I paved the path and he has followed diligently. He did exactly what he was asked to do …. twice a day ….. everyday!

Working on the whimper

Posted on July 14, 2012 by Susan McAllister-Bee

The ability to make certain sounds can have great benefit on your overall vocal ability. The trick is being able to make these sounds correctly without constriction (pushing). It’s always a good idea to have a coach work with you on these sounds to make sure you are going about it the right way.

A great exercise is making the sound of a whimpery puppy dog. The trick is finding the correct pitch to start in your vocal range to engage the effort. Once you get connected to this coordination, you can take it up and down in pitch.

For women I would suggest starting about B flat (above middle C). This is just above your first passagio. Working through the passagio is a challenge in itself. It shouldn’t be loud. It is simply a sound…no singing. If the top note is breathy, try the thought of holding your breath while making the sound. If you feel pull on the high note (as if you are trying to talk higher but can’t reach it) then relax and let the note simply be soft and lighter. You may flip into falcetto at this point. If this is the case, then try it again at a quieter volume but with increase effort. Do not let it flip. What you are trying to do is engage the cricothyroid muscle to tilt the thyroid cartilage. Other sounds to try are meowing like a cat, or talking like a small child. Other muscles become involved as well when making different sounds, but they are all beneficial. You will likely find one that is easiest.

I wouldn’t lower the starting pitch too much. It’s most ideal to work in the middle area of the voice with the descending 5-note scale. Then take it higher as you gain success. You will notice the first note is the one that needs the most effort. If you are connecting on the first note with ease, then that’s when you can increase the volume. It should be brassy and bright. If breath is getting through then take the volume back down and keep working it. Remember, you do not need a lot of air to do this.

Men, this can be challenging for those of you with big voices. This exercise requires you to allow yourself to go to a smaller place first to make sure you are getting the edgy sound correctly with very little air. I suggest starting at about F# above middle C and using a five-note descending scale. It might feel vunerable. It might feel weak. You should feel no throat strain, but you will likely feel a tremendous effort in the body and back of the head as you attempt to hold back air and make a whimpery noise on a note above your first passagio. It might be breathy, but not so much to actually call your falcetto…just keep working at this. If you do flip to definite falcetto, then start at a lower pitch. The idea is to stay connect to your chest voice (speech-like sound), but allow it to switch to this unique coordination on your higher notes.

Give it a try and let me know how it went. Please leave a comment below. Thanks.