Tag Archives: speech level singing

Good singing is when you have control

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While I was studying SLS I had some interesting experiences while actually singing songs.

Before I explain, let me say that mixed voice and balancing the voice is the best way to gain control over your abilities to do other coordinations. It’s your baseline. It’s the place where you return when you get out of whack. (And, by the way, you can access these great scales at Vocalize U. These scales are an octave and a half and if you can get through the scales comfortably, then you are indeed mixing!)

Speech level singing lessons are great for training sound and safe voice technique, but they leave the artist out of the equation.

My experience was when I was singing Somewhere Over The Rainbow in the key of C. The first two notes are low C to high C. You go through your first passagio at about A (ladies). My coach wanted to change my mix at high C. He wanted a headier sound on high C. I was quickly able to change it for him, but it was at that moment that I realized there must be more.

And indeed, there is.

 

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.

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.

Speech Level Singing versus Estill Voice Technique

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One of my goals is to share with you the similarities and differences with Speech Level Singing and Estill Voice Technique.

They are both great voice methods, and there is something to be learned from both. In its’ simplest form, SLS is one recipe among the many Estill Voice Technique possibilities.

I love SLS because it balances the voice, which I think is an important element of good singing. What I don’t like about SLS is that it doesn’t allow the commercial singer to learn how to belt or to have more “chest” in the mix. My SLS lessons strengthened the overall balance of both my registers…chest voice and head voice. But, my coach continually had me cutting back on my chest voice in my mix (near high C for instance). I could do this at his request, but it left me wondering where is the “me” in my voice. I needed to “belt” out my high C’s (and I’m in a mix!) when I wanted. I really felt the SLS method let the performer in me “down”.

With Estill voice training, you learn voice qualities….speech, sob, twang, opera, belt, and falcetto. SLS talks about a “neutral” larynx, while Estill recognizes that the larynx moves up and down and tilts according to the sound you want to make.

This is an important point. The larynx can tilt and move up and down safely, depending on the sound you wish to make. SLS leads to confusion about the larynx when they draw so much attention to it remaining “neutral”. The larynx cannot remain neutral in rock singing or musical theatre where the singers needs to give a belt sound (*note: I am not referring to the Estill version of belt here). These sounds can be done with freedom and good technique, but the larynx is slightly raised. Note: that if the larynx is too high, you will not be able to transition well into head voice, therefore, you cannot mix.

But, singers beware. Belting correctly is not easy to do, however, it is possible!  Lea Michele (musical theatre), Steven Tyler (rock), and Carrie Underwood (country). All these singers have something in common. They are balanced, and they are able to take their singing voice to the extreme …. called belting.

Belting well simply means a singer is using relatively thick folds, possibly has a sob quality in their voice, and their tongue may be slightly raised (this may alter the vowel sound). Belting requires optimal breath control. In other words, the ability to control the release of breath under great pressure while resonating in both the head voice and chest voice with thick folds. Belting is indeed a great “talent”.

Questions? Comments? Please leave them here.

Who Says That “Mix” Is Dead?

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I’ve heard it said that “mix” is dead.

I beg to differ. In my world mix is alive and well.

The term “mix” stems from the speech level singing technique. It’s not some new-found idea for learning how to sing, it’s simply a way of describing balance of resonance when you sing.

Singing in the mix simply means you have the ability to allow the shift of resonance from your “chest voice” to your “head voice” while ascending (and descending) through your entire range.

You can think of mixing as simply allowing the voice to freely move throughout each register….and especially being free in the “middle voice”. This is where register changes (gear shifts) can sometimes cause havoc to a singer. Learning how to control these register shifts simply means you can “sing in your mix”.

Questions? Are you finding your mix?

Position of the larynx

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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.

 

 

 

 

Are you singing with too much breath?

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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!

 

 

 

Controversy, I welcome you back…….

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I’ve recently returned from an Estill Voice Workshop, and what a truly eye-opening experience it was. So interesting to see and hear singers learning how to belt and make sounds that others would consider “extreme” and damaging.  Yes, that’s what we were doing…..experimenting with our voice in a safe and controlled manner.

What is most interesting is that Estill looks at all “recipes” of the voice. In other words, every sound you can make is acceptable as long as it doesn’t make you cough, tickle or scratchy (I’m sure you know the feeling!)  This is what I love about Estill….a solid foundation of research on vocal coordinations that solve many mysteries of the voice. For instance, unlike SLS, Estill teaches the student how to move their larynx up or down. Yes, you can move it up and down on purpose! It’s perfectly safe! It’s perfectly normal! And, it’s also a must-do when you are learning to belt properly.  Sure enough, rock, pop and gospel singers have been doing this for years. Come to think of it……..so have I! But note….I’m not going to say it’s easy, and in fact, it’s quite the contrary to belt safely.

This made perfect sense to me. My experience with Speech Level Singing taught me to keep my larynx in a neutral position. Yes, it could move around a little, but belting was discouraged.  I had problems with hoarseness and strain from time to time in my career, and that’s what led me to SLS in the first place. Speech Level Singing helped me sort this out very well. When I became in great vocal shape with SLS exercises (in other words…a strong mix), I noticed I was able to sing higher than ever before in the middle area of voice without strain. Thank you SLS!

But……yes, here is the but…..now, I feel like I sound like everyone else. I feel anonymous. I don’t have the signature sound that I once had. Sure, I can sing well and safe in my mix, but the audience of today’s contemporary music is looking for an edge….more of a beltier sound. They love to hear a singer being on the edge…..just think Adele and Celine Dion and Steven Tyler!

That’s why I’m thrilled I went to this Estill Workshop…..Belting, here I come again. I welcome you back into my life! However, this time I have the ingredients to do it safely.  Yes, this time I will belt out that song and the next, and the next, and the next…..    And, by the way, did I mention……..the safest way to belt…..is in a mix! Did I say thank you Speech Level Singing yet????

And so my journey continues…..

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So, why do I write a blog? I write a blog to help singers everywhere learn as much as possible about their own voice. As most of you know, I have studied SLS for the last few years, and prior to that had many years of training with Bel Canto technique. I have recently attended an Estill Voice Technique Workshop and have had a fabulous time exploring my voice and understanding the many coordinations I was able to do! I look forward to sharing with you loads of useful tips that can be added to your “toolbox”.

What do SLS and EVT have in common? A few things, but the lingo is certainly different.  How do they differ? Well, the easiest way for me to describe the difference is that SLS is one of the many, many “recipes” that Estill can teach a student to do. Another difference is in the way the “recipe” is taught.

I will dive into more of these differences with some upcoming posts so stay tuned!

 

 

 

Singers, you have a choice!

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Times have changed, and they are going to continue to change for singers. This is a great thing! Singers now have a choice!

Gone are the days when there was one, and only one, way to train the voice. There was traditional voice training, and there was traditional voice training! You could go to university and develop a beautifully resonant head voice that soared through arias. Or, you could go to a private teacher, who either learned the same way, or taught what worked for them.

Traditional voice training was developed for traditional European music (where a singer had to be heard at the back of the concert hall with no microphone), but this type of projection was not what rock’n rollers and contemporary singers needed to help them sing better. Most traditional voice teachers considered these modern types of singing (which was predominantly a thick fold/chest voice coordination) wrong and damaging to the voice.

We now know this isn’t the case. Certainly there are limits to what the voice can do (in any coordination), but making unique and different sounds other than traditional classical, choir-like sounds is not always damaging to the vocal cords.

Seth Riggs was a pioneer in developing a vocal technique that strengthened the bridges in the voice and encouraged transitioning through the registers. No more vocal breaks. Hallelujah! This technique balanced the singer’s voice so they could sing whatever genre of music they wished.

Some teachers are now helping singers who want to make even more extreme sounds. Resonance and bridging is fundamental in these music genres to ensure the singer maintains a healthy larynx.

Singers, what do you think? Have you found freedom and balance in your voice, while at the same time you’re able to make sounds you are happy with?