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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01.05.08
Posted in Uncategorized, Practicing, Write-In Questions at 10:07 am by Administrator
“Is it important for me to practice on my own, outside of lessons?” - Virginia W.
Virginia,
Singing is a physical discipline as much as yoga or swimming. As with yoga or swimming, practicing for an hour, once a week will yield some improvement, but ridiculously less than if practicing, say 30 minutes a day. Much of singing practice is about retraining muscles and breathing patterns. So, basically our practice time of 30 minutes has the mammoth job of fighting the other 23.5 hours a day that we “practice” our bad breathing habits.
Also, singing is a collection of techniques that must be practiced in order to sing the range, rhythm and notes that we need to. Imagine how capable a pianist would be if he knew the notes to a piece of music, but never practiced moving his fingers as needed to play it. The outcome would be a lot of wrong notes and sloppy rhythm - which makes for bad music.
So, Virginia, I suggest starting with four, 15 minute practice sessions a week. If you take voice lessons, ask your teacher to recommendation a practice CD. If you do not take voice lessons, and you are a beginning singer, I suggest checking out Lisa Houston’s practice CD, Lisa Houston Voice Studio Practice Session 1 (available on CD Baby).
Above all, be consistent and enjoy the results of your hard work!
Rebeqa
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11.09.07
Posted in Uncategorized, Vocal Health at 11:18 pm by Administrator
The basic principles of yoga are proper relaxation, proper exercise, proper breathing, proper diet, and positive thinking with meditation. This five-element equation is pretty much what the doctor ordered for any musician. Our profession demands long hours in high-stress situations, while balancing technique with emotional vulnerability. Yoga is an attainable discipline that simultaneously addresses the physical, mental, and emotional disciplines demanded of musicians.
As a vocal instructor I often assign yoga to students struggling with physical tension, or overwhelming performance anxiety (an assignment I learned from my first voice teacher). Here is how each of the five principles of yoga can benefit you as a musician:
Proper Relaxation: Releasing tension caused by daily life (e.g. hours in front of a computer, loading heavy sound equipment. etc.) is critical for musicians. Not only are tense muscles at a highter risk of injury, but muscles that are tense are not really in your control. Onstage we need to know that our bodies are on our side. Many singers, whether they want to or not, carry shoulder and neck tension that puts extra strain on their fragile vocal mechanism. Releasing that tension will take the local stress off the voice and will certainly improve the singer’s vocal health.
Proper Excersize: In addition to increasing energy and strengthening the immune system, excersize releases nervous energy and will help decrease any performance anxiety or pre-show jitters.
Proper Breathing: deeper, slower breathing increases oxygen to the brain and body. More oxygen means increased alertness and energy. Also, breathing is the number-one important technique for singers. Yoga breathing promotes breath-awareness, as well as depth and control of both the inhale and the exhale: all necessary techniques for singers.
Proper Diet: Eating healthily is key in maintaining your health. Also, certain foods can make singing more difficult (see my blog, “Maintaining Vocal Health” for more on voice-friendly eating practices.) Try not to eat too much before a rehearsal or performance, you don’t want to be mentally and physically sluggish when you should be focused on the music.
Positive Thinking: The mental discipline of positive thinking is key in practice productivity and mastering performance anxiety. Controlling overly-critial feedback and mentally visualizing yourself performing well are age-old practices for performers. So, next time you’re nervous before a performance and you’re thinking “what if I mess up,” just stop, focus, and try asking the question “what if I do everything right?”
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11.01.07
Posted in Uncategorized, Performer Resources at 9:00 pm by Administrator
All performers get nervous - I guarantee it. For most people, those jitters never go away, they just become used to them. Eventually even the feeling of anxiety will be as familiar as feeling the shoes on your feet. The key to getting to that point is to get to know your anxiety, analyze it, understand it…then poke it in the eye and go perform.
Here are some practical ideas for learning to perform through anxiety:
Realize that paralyzing-anxiety is simply a fixation. Anxiety that causes a raised heartrate and a little sweatiness is natural. However, obsessing into a frenzy over what the audience will think of your song, or whether you will trip on the stairs, or why your ex is in the front row is not healthy. Instead of saying “what if I mess up” - calmly keep your focus on your technique so that you won’t mess up. Rather than asking “what if they don’t understand my song” - calmly keep your focus on being real and honest so that people have a good chance of feeling the same emotions you feel. Before you get to the venue make a mental list of 4 or 5 things that you are committed to focusing on. These could be as simple as “plugging into the soundsystem correctly” or “minding my feet so I don’t trip” or as abstract as “feeling real emotions during my song so it’s obvious that I’m emotionally engaged.”
Be prepared. Make sure you have all of your instruments, cords, hookups, stands, music, etc. before you leave your home or studio. Think about getting a transport consol (check out the rolling tool storage cases at
Home Depot) in which you can keep everything you need. First of all, it’s a lot more professional to show up with one organized box of stuff, rather than assorted loose cords and bags. Secondly, having a consolidated carrier that you pack the same way every time will help you realize when something is missing or out of place. Also, you can keep a constant stock of promo material in the case so you are never without posters, fliers, and business cards.
There is more than music. When planning your performance don’t forget that you will be doing more on stage than just music. Think about your entrances and exits for each set. If you have multiple band members do you want to enter or exit in a certain order? Do any of the bandmembers need to switch positions between songs? Don’t wind up milling around on stage akwardly - choreograph it beforehand. Also, do any of the instruments need re-tuned during the performance? Make sure you have some ideas for filling “air time” in case the tuning takes longer than expected. Learn some jokes, tell a story about the time you got your tattoo, whatever. Just keep it natural and talk to the audience like they’re in your living room. Remember, every second that people can see you is part of the performance.
Keep your clothing simple. Don’t make the mistake of choosing your clothes without thinking about your performance. High heels are great, but if you’re going to be on a small, rickety stage with crooked stairs maybe you should opt for flats. Yeah, the tight jeans look hot, but are you really going to do all the equipment loading and hookups in them? Always do a mock-up runthrough of the evening in the clothes you plan to wear. Also, many synthetic blends are 100% see-through when strong light shines on them. (I remember the performance where the singer’s bra and panty set were more clearly visible than her synthetic-blend dress.) Check the fabric of an outfit by shining a flashlight onto yourself in front of a mirror and see if you can see your underpants - if so, either wear nice underpants or choose a different outfit.
Breathe deeply. Shallow breathing brought on by nerves does 2 things:
1. It initiates a fight-or-flight response by simulating hyperventilation.
2. It causes your oxygen levels to fall, leaving you less prepared to deal with situations as they arise.
Take 10 minutes before your performance to breathe slowly and deeply into your abdomen, keeping your shoulders relaxed. Just breathe.
Be ready for things to go wrong. A rule that good performers quote often is that
“something always goes wrong.” This is not a scary thing if you just accept it. There will always be problems - the most important thing is to keep your cool and do what you can to fix them. But ultimately the best thing you can do is to take a few deep breaths, relax and present your material as honestly as you can while maintaining your well-practiced technique.
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Posted in Uncategorized, Vocal Health, Performer Resources at 7:56 pm by Administrator
Demanding performance schedules, smoky venues, and working two jobs can wreak havoc on a singer’s instrument. Unlike other instruments, the voice is directly affected by each and every thing we eat, drink, and generally do throughout our lives. Keeping this in mind, here are some important guidelines for keeping your voice healthy when life is kicking your ass:Sleep! I cannot stress enough how important this is. The fact is: without sleep your voice will stop working - your vocal folds will swell and you will lose the ability to make sound. There is nothing you can do about this. A regular sleep schedule is best, but if you can’t manage that at least get 6-8 hours of consecutive sleep a day.
Stay hydrated. Caffeine, alcohol, salt, and sugar all dehydrate you. This means that coffee, sodas, and beer really don’t do squat to keep you hydrated - in fact they do the opposite. I do, of course drink coffee and wine - but I keep it within moderation and I increase my water intake to compensate for their dehydrating effects. Carry a 12 oz. water bottle and drink through it 5-6 times a day. If you don’t like water put some lemon or orange in it, or mix 1 part fruit juice with 3 parts water, or try some of the flavored waters that have no added sugars. And if this just seems like a lot of water to drink, remember: you are a singer and one of the hazards of choosing this profession is that you need to be more hydrated than everyone else.
Don’t socialize in loud places. Hanging out with friends and bandmates in loud bars, clubs, parties, and restaurants leads to what is known as the Lombard Effect. The Lombard Effect is the tendency to increase vocal volume and force in response to background noise. This tendency causes us to strain our voices in the effort to be heard. Avoid this unnecessary stress on your voice - choose a quieter place to meet.
Keep your speaking to a minimum. For singers who have a serious performing schedule (such as those on tour) speaking needs to be kept in check. All-night phone conversations with your significant other back home aren’t the best idea. Not that you have to adopt a “strong, silent type” persona, but try to shut off the speaking vocals after 10:00pm and don’t volunteer to lead the band pep talks.
You are what you eat. What we eat very much affects our vocal production. First of all, eating healthily supports your immune system (an absolute must for a singer.) Keep up the fruits and vegetables, and think about taking an immune system support supplement. Secondly, dairy products, and greasy or sugary foods increase phlem. Avoid milk, cheese, ice cream, and other dairy products the entire day of a show. If you do find yourself plagued with phlem, drink some lemon water (not sugary lemonade!) or eat a tart green apple. The light acidity of these fruits helps to break down the phlem so it can move along more quickly. Finally, don’t eat a large meal within 4 hours of a performance. Your lungs need room to expand when you inhale and you may find yourself quite short of breath if all the room in your body is taken up by chimichangas and beans with rice.
Look out for yourself. Of course everyone wants the fun lead-singer to come to their party and drink with them. Socializing is, of course, one of the perks and necessities of being a musician. Everyone has limits, however, and only you can decide where yours are. Learn to politely decline invitations when you need to sleep or when you feel that a night of talking will strain your instrument. Remember that once your voice is strained only rest can fix it, so don’t let it get to that point.
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