Singers check out my blog on correct breathing.
http://ping.fm/mXwED
Saturday, June 27, 2009
Let it all hang out...
This will be short and it is especially for a girlfriend of mine who I work with when we have the chance… She has some difficulty letting her abdomen out to make room for the diaphragm to drop. Many times, especially with women, we hold a lot of tension in the abdominal area… Have to hold those stomachs in… right girls…..
Well I was reading something today and I thought I would talk about this with her, and I will, but I want to share it with all of you as well. The basic gist of the paragraph was that breathing is like digestion or circulation. It is a natural function of the body and the best way to really improve the function is by changing the whole organism… or more simply put for our use, by changing the tension patterns in the body that interfere or many times completely inhibit proper breathing patterns. We have to learn to expand the low ribs and relax the abdomen enough to let it “fall out” as my teacher used to say, when we inhale.
Singers, we need to take in a low breath in order to support the tone … So, although it may, and probably will, feel strange to open the rib cage and let the stomach fall out when you breathe in; do it anyway!
If you’re really having trouble with this concept, get with someone who understands proper breathing and body function that can help you master this concept. It is one of the most important things you can do for yourself as a singer. Not to mention, better breathing habits will help the body function at its peak performance. No small thing!
Well I was reading something today and I thought I would talk about this with her, and I will, but I want to share it with all of you as well. The basic gist of the paragraph was that breathing is like digestion or circulation. It is a natural function of the body and the best way to really improve the function is by changing the whole organism… or more simply put for our use, by changing the tension patterns in the body that interfere or many times completely inhibit proper breathing patterns. We have to learn to expand the low ribs and relax the abdomen enough to let it “fall out” as my teacher used to say, when we inhale.
Singers, we need to take in a low breath in order to support the tone … So, although it may, and probably will, feel strange to open the rib cage and let the stomach fall out when you breathe in; do it anyway!
If you’re really having trouble with this concept, get with someone who understands proper breathing and body function that can help you master this concept. It is one of the most important things you can do for yourself as a singer. Not to mention, better breathing habits will help the body function at its peak performance. No small thing!
Thursday, June 25, 2009
Effortless singing....
Goals are important…. But, more focus should be placed on the process of gaining the goal, and not the goal itself… having a goal is important as a guide, you want to have great performances and sing great in the studio, but the steps or the process is where you should place most of your attention. The end result will follow if the steps and the process of getting there is what you are focused on…
One of my favorite teachers, Maestro David Kyle, used to use an analogy of a boxer. Part of what he was trying to get me to understand was that the boxer trains in the gym day after day, focusing on every little detail of how is body is moving and where the position of his body is best utilized. Each step of the training became an end in itself. Among other things, he trains aerobically, he trains to become stronger, faster and have more endurance, so that when he steps in the ring he is completely prepared to reach his goal and win the fight. The point is if he didn’t focus on the practice he must do everyday in the gym, he wouldn’t be able to win the fight or attain his end goal.
Singing is much the same way. If you focus on your practice and your rehearsal, your goal of a great performance will follow effortlessly! If you want to improve your performance focus your attention on the process of developing your tools (your body and voice) for the job, not the end result.
If you focus on the end result and not the process you may get some immediate results but you will sacrifice substance and this sacrifice will take it’s toll on you and your performance over time.
I realize I’m not telling you anything new, just a reminder to pay more attention to the “how” of things….
And one more thought that will make this all easier … In order to be great, you must learn to get free of the fear of failure… think on that one and happy practicing…
One of my favorite teachers, Maestro David Kyle, used to use an analogy of a boxer. Part of what he was trying to get me to understand was that the boxer trains in the gym day after day, focusing on every little detail of how is body is moving and where the position of his body is best utilized. Each step of the training became an end in itself. Among other things, he trains aerobically, he trains to become stronger, faster and have more endurance, so that when he steps in the ring he is completely prepared to reach his goal and win the fight. The point is if he didn’t focus on the practice he must do everyday in the gym, he wouldn’t be able to win the fight or attain his end goal.
Singing is much the same way. If you focus on your practice and your rehearsal, your goal of a great performance will follow effortlessly! If you want to improve your performance focus your attention on the process of developing your tools (your body and voice) for the job, not the end result.
If you focus on the end result and not the process you may get some immediate results but you will sacrifice substance and this sacrifice will take it’s toll on you and your performance over time.
I realize I’m not telling you anything new, just a reminder to pay more attention to the “how” of things….
And one more thought that will make this all easier … In order to be great, you must learn to get free of the fear of failure… think on that one and happy practicing…
Monday, June 22, 2009
Vocal Health
I ran across this doing some research on the voice and thought it was concise, accurate and repeats everything I’ve been telling students for years…. So of course….. I’m passing it on… Enjoy and stay vocally healthy!
David Otis Castonguay
Radford University
This is a copy of a handout presented to students in choral conducting and vocal pedagogy classes at Radford University. In addition to the sources cited in the bibliography, and my own experience, this material is drawn from the work of Van Lawrence, M. D., Otolaryngology and Paul Brandvik.
1. Try your best to maintain good general health. Avoid viral colds (a regimen of washing hands hasbeen shown to reduce the transmission of cold viruses). Some advocate vitamin C and zinc lozenges, while I find these effective I would recommend their use these only after the student has consulted a physician.
2. Emotional and physical stress both contribute significantly to vocal distress. Exercise regularly. Using your major muscle groups in jogging,etc. is an excellent way to diminish stress. NOTE: extensive power weight lifting will place some wear on the vocal folds, this should be avoided during times of extended vocal use or vocal fatigue.
3. Eat a balanced diet. At times of extended vocal use avoid large amounts of salt and refined sugar, spicy food such as Mexican, Szechuan Chinese, as well as excessive amounts of food and/or alcohol. One may note hoarseness in the larynx or dryness of the throat after drinking significant amounts of alcohol, caffienated, as well naturally or artificially sweetened beverages. The body needs water to metabolize these foods and beverages, excessive consumption of these items will reduce the amount of water available to hydrate the voice.
4. Maintain body hydration (7-9 glasses of water a day) and avoid known dietary diuretics such as caffeine and alcohol. Moisture is a necessary lubricant of the vocal folds. When one's body is dehydrated laryngeal lubrication diminishes and wear takes place at a much greater rate than normal.
5. Avoid dry, artificial interior climates. Laryngologists recommend a humidity level of 40-50%. Much body moisture is lost while breathing air in low humidity climates, i.e., air conditioned or heated rooms (routinely 10-20% moisture), cars, buses, etc.
6. Avoid smoking cigarettes, cigars, pipes. These are bad for the heart, lungs, and vocal tract of not only yourself, but others around you as well. Avoid other irritant inhalants, i.e., marijuana. In addition to the debilitating effect on the vocal tract, you need your head on straight when you sing.
7. Avoid breathing smoggy, polluted air, i.e., car exhausts, smoky bars and lounges when you are vocally tired.
8. Avoid the use of local anesthetics when you are singing. The anesthetic effect masks any signs of injury, therefore encouraging further abuse of the folds. Additionally, singing under their influence is like playing the piano with gloves on (Chloroseptic, Parke-Davis Throat Discs, etc.).
9. Question the use of progesterone dominant birth control pills. These cause a virilization of the female larynx and a decrease of range in your upper register. There may be no other solution for your particular situation, however. The treatment of endometriosis often includes pharmaceuticals which cause permanent vocal changes. Inform your doctor that you are a singer if you are undergoing treatment for this disease.
Vocal Use Practices
1. Avoid hyperfunctional use of your voice, i.e., learn to use your voice with as little effort and tension as possible. A high school or collegiate singer in training should be able to sing for 3-4 hours per day (when healthy) without debilitating the next day's singing activity. If one cannot sing for this length of time without some disablement, then one should consider a reevaluation of present singing or speaking habits.
2. Keep in mind that the degree of individual vocal conditioning and innate vocal capacity to endure wear and tear relate directly to the amount of singing or speaking one can do each day.
3. Avoid singing in a tessitura which is continually near the extremes of your own range (both high and low). Carefully pace the use of register extremes (such as pushing the chest voice into the upper range for effect, i.e, belting). MISUSE OR OVERUSE HERE CAN BE VOCAL SUICIDE.
4. Before singing or using the voice in unusual ways (public/dramatic speaking), do some vocal warm-ups. As in any physical activity, the warm-up should proceed from general stretching through less strenuous to more strenuous usage. Loud volume and high range are the most strenuous of usages,therefore, begin in the mid-range with easy production. At every stage along the way, evaluate your present day vocal condition, and adjust your rehearsal activity accordingly. Every voice is different, but 7-10 minutes of warm-up is usually the minimum.
5. Reduce general voice use prior to a concert. While riding the bus to the program, have a quiet period when everyone can conserve energy for the task that is at hand.
6. Avoid shouting, screaming,loud laughter, and heavy throat clearing. Necessary coughing and sneezing should be as gentle and as nonvocal as possible.
7. If it feels bad, don't do it.
Common Signs of Significant Vocal Abuse
1. Throat is tender to the touch after use.
2. Voice is hoarse at the end of singing.
3. Throat is very dry, with a noticeable "tickle" that is persistent. Check dehydration.
4. Inability to produce your highest notes at pianissimo volume.
5. Persistent hoarseness or an inability to sing with a clear voice after 24-48 hours of vocal rest.
Treat your voice and body sensibly when you feel vocally run down. This necessitates the development of accurate perceptions by the singer of why the voice is feeling tired. Accurate self-evaluation will lead one to therapeutic practices which will return you to vocal health in the shortest period of time. In doubt? seek professional help.
David Otis Castonguay
Radford University
This is a copy of a handout presented to students in choral conducting and vocal pedagogy classes at Radford University. In addition to the sources cited in the bibliography, and my own experience, this material is drawn from the work of Van Lawrence, M. D., Otolaryngology and Paul Brandvik.
1. Try your best to maintain good general health. Avoid viral colds (a regimen of washing hands hasbeen shown to reduce the transmission of cold viruses). Some advocate vitamin C and zinc lozenges, while I find these effective I would recommend their use these only after the student has consulted a physician.
2. Emotional and physical stress both contribute significantly to vocal distress. Exercise regularly. Using your major muscle groups in jogging,etc. is an excellent way to diminish stress. NOTE: extensive power weight lifting will place some wear on the vocal folds, this should be avoided during times of extended vocal use or vocal fatigue.
3. Eat a balanced diet. At times of extended vocal use avoid large amounts of salt and refined sugar, spicy food such as Mexican, Szechuan Chinese, as well as excessive amounts of food and/or alcohol. One may note hoarseness in the larynx or dryness of the throat after drinking significant amounts of alcohol, caffienated, as well naturally or artificially sweetened beverages. The body needs water to metabolize these foods and beverages, excessive consumption of these items will reduce the amount of water available to hydrate the voice.
4. Maintain body hydration (7-9 glasses of water a day) and avoid known dietary diuretics such as caffeine and alcohol. Moisture is a necessary lubricant of the vocal folds. When one's body is dehydrated laryngeal lubrication diminishes and wear takes place at a much greater rate than normal.
5. Avoid dry, artificial interior climates. Laryngologists recommend a humidity level of 40-50%. Much body moisture is lost while breathing air in low humidity climates, i.e., air conditioned or heated rooms (routinely 10-20% moisture), cars, buses, etc.
6. Avoid smoking cigarettes, cigars, pipes. These are bad for the heart, lungs, and vocal tract of not only yourself, but others around you as well. Avoid other irritant inhalants, i.e., marijuana. In addition to the debilitating effect on the vocal tract, you need your head on straight when you sing.
7. Avoid breathing smoggy, polluted air, i.e., car exhausts, smoky bars and lounges when you are vocally tired.
8. Avoid the use of local anesthetics when you are singing. The anesthetic effect masks any signs of injury, therefore encouraging further abuse of the folds. Additionally, singing under their influence is like playing the piano with gloves on (Chloroseptic, Parke-Davis Throat Discs, etc.).
9. Question the use of progesterone dominant birth control pills. These cause a virilization of the female larynx and a decrease of range in your upper register. There may be no other solution for your particular situation, however. The treatment of endometriosis often includes pharmaceuticals which cause permanent vocal changes. Inform your doctor that you are a singer if you are undergoing treatment for this disease.
Vocal Use Practices
1. Avoid hyperfunctional use of your voice, i.e., learn to use your voice with as little effort and tension as possible. A high school or collegiate singer in training should be able to sing for 3-4 hours per day (when healthy) without debilitating the next day's singing activity. If one cannot sing for this length of time without some disablement, then one should consider a reevaluation of present singing or speaking habits.
2. Keep in mind that the degree of individual vocal conditioning and innate vocal capacity to endure wear and tear relate directly to the amount of singing or speaking one can do each day.
3. Avoid singing in a tessitura which is continually near the extremes of your own range (both high and low). Carefully pace the use of register extremes (such as pushing the chest voice into the upper range for effect, i.e, belting). MISUSE OR OVERUSE HERE CAN BE VOCAL SUICIDE.
4. Before singing or using the voice in unusual ways (public/dramatic speaking), do some vocal warm-ups. As in any physical activity, the warm-up should proceed from general stretching through less strenuous to more strenuous usage. Loud volume and high range are the most strenuous of usages,therefore, begin in the mid-range with easy production. At every stage along the way, evaluate your present day vocal condition, and adjust your rehearsal activity accordingly. Every voice is different, but 7-10 minutes of warm-up is usually the minimum.
5. Reduce general voice use prior to a concert. While riding the bus to the program, have a quiet period when everyone can conserve energy for the task that is at hand.
6. Avoid shouting, screaming,loud laughter, and heavy throat clearing. Necessary coughing and sneezing should be as gentle and as nonvocal as possible.
7. If it feels bad, don't do it.
Common Signs of Significant Vocal Abuse
1. Throat is tender to the touch after use.
2. Voice is hoarse at the end of singing.
3. Throat is very dry, with a noticeable "tickle" that is persistent. Check dehydration.
4. Inability to produce your highest notes at pianissimo volume.
5. Persistent hoarseness or an inability to sing with a clear voice after 24-48 hours of vocal rest.
Treat your voice and body sensibly when you feel vocally run down. This necessitates the development of accurate perceptions by the singer of why the voice is feeling tired. Accurate self-evaluation will lead one to therapeutic practices which will return you to vocal health in the shortest period of time. In doubt? seek professional help.
Saturday, June 20, 2009
breathing exercise
Although I use all three breaths regularly when singing, if you have studied with me you know there are specific reasons I use the nose breath as often as possible. Since I know many of you have trouble breathing thru your nose, I’m going to give you this exercise to help you practice it. Keep in mind that you can use all three breaths: in thru the nose, in thru the mouth and nose or all in thru the mouth. With all three breaths it is important to keep the tongue dropped and throat open, and make sure you are relaxed and not tensing to draw the air in. You want to breathe low and horizontal or wide, not vertical.
I like this exercise because it helps you get used to the nose breath and it activates a passive inhale. In this exercise you shouldn’t feel as is your trying to inhale… if you stay relaxed your stomach or low abdomen should come out naturally or passively.
This breath consists of rapid, forced exhales followed by passive inhales. It is best done at the beginning of a practice session. Inhale and exhale thru the nose for this exercise.
Shake your arms out and come back to normal breathing if you feel lightheaded at any time!
1. Come to sit in a comfortable crosslegged position.
2. Take two or three deep inhales and exhales through the nose to prepare.
3. Inhale to a comfortable level, and then exhale sharply and forcefully through the nose, drawing the belly toward your spine in as you exhale.
4. Let the inhale happen passively, (the stomach should automatically and without stress just come out) and continue this cycle of forceful exhales and passive inhales at a fast pace, so that the belly is pumping continuously.
5. Do three rounds of thirty breaths each, coming back to deep inhales and exhales between each round.
I like this exercise because it helps you get used to the nose breath and it activates a passive inhale. In this exercise you shouldn’t feel as is your trying to inhale… if you stay relaxed your stomach or low abdomen should come out naturally or passively.
This breath consists of rapid, forced exhales followed by passive inhales. It is best done at the beginning of a practice session. Inhale and exhale thru the nose for this exercise.
Shake your arms out and come back to normal breathing if you feel lightheaded at any time!
1. Come to sit in a comfortable crosslegged position.
2. Take two or three deep inhales and exhales through the nose to prepare.
3. Inhale to a comfortable level, and then exhale sharply and forcefully through the nose, drawing the belly toward your spine in as you exhale.
4. Let the inhale happen passively, (the stomach should automatically and without stress just come out) and continue this cycle of forceful exhales and passive inhales at a fast pace, so that the belly is pumping continuously.
5. Do three rounds of thirty breaths each, coming back to deep inhales and exhales between each round.
Friday, June 19, 2009
Watch your body language
No matter how long I’ve been performing and singing, no matter how much I know, or think I know about what I do, I always try to keep in mind I am really only at the beginning of my learning and understanding. From beginner to professional, there is always something new we can learn. I encourage you to become a life long student!
Singers, you have to be tuned into stress and habitual movements in the body when you are singing… how you sing and what your body is doing can cause all manner of difficulties for you. You cannot rely on what it feels like you’re doing. If you can a coach that understands body movements and alignment, get with them. If you can’t, you can get in front of a mirror and watch what your body is doing… even better film yourself on stage and watch the video. Look for things like tension in your neck and shoulders. Lifting your shoulders, dropping your chest, lifting or dropping you chin, and turning your head to one side or the other, to name a few of the common things singers do. Anything that your mother would consider poor posture… you should probably note…. And correct…. Sorry, but your mother was probably right.
Bad habits can be difficult to break… but it’s worth it to make the changes… in the long run, your mind, body and spirit will thank you and you’ll be giving the best performances of your life with complete ease! Always remember, the way we use a tool determines its effectiveness. Keep practicing, and fully use your power to choose!
Singers, you have to be tuned into stress and habitual movements in the body when you are singing… how you sing and what your body is doing can cause all manner of difficulties for you. You cannot rely on what it feels like you’re doing. If you can a coach that understands body movements and alignment, get with them. If you can’t, you can get in front of a mirror and watch what your body is doing… even better film yourself on stage and watch the video. Look for things like tension in your neck and shoulders. Lifting your shoulders, dropping your chest, lifting or dropping you chin, and turning your head to one side or the other, to name a few of the common things singers do. Anything that your mother would consider poor posture… you should probably note…. And correct…. Sorry, but your mother was probably right.
Bad habits can be difficult to break… but it’s worth it to make the changes… in the long run, your mind, body and spirit will thank you and you’ll be giving the best performances of your life with complete ease! Always remember, the way we use a tool determines its effectiveness. Keep practicing, and fully use your power to choose!
Tuesday, June 16, 2009
singers and self talk...
I heard a great story I want to share with you singers out there because too many times we ruin performances or don't hit notes that are well within our technical ability because of what we are saying in our heads...
The story goes.... a young boy and his father hiking on a mountain side, the boy slipped and fell about 30 feet down the mountain.. he caught himself in some brush... he was unhurt but shaken and scared. He called out, Somebody help me and a voice came back.. Somebody help me.
The boy was surprised and confused.. he said Who are you.. and the voice answered, Who are you... the boy became angry and yelled You're a coward and the voice yelled back You're a coward... the boy shouted, You're a fool, the voice answered angrily, You're a fool... Just then the boys father reached him and the boy asked who it was that was yelling back at him... He explained that it was an echo but that it was also called life. He said let me show you something and shouted, You're a winner, and the voice said, You're a winner... the boys father shouted, You have what it take, and the voice said, You have what it takes... He bellowed, You've got what it takes, and the voice dutifully repeated, You've got what it takes... the father explained that was exactly how life works, what ever you send out always comes back to you!
Singers what ever you are saying before your performances, before you high notes or low notes, before your practices and rehearsals will ALWAYS come back and you will do exactly like you thought you would...
Just food for thought...
The story goes.... a young boy and his father hiking on a mountain side, the boy slipped and fell about 30 feet down the mountain.. he caught himself in some brush... he was unhurt but shaken and scared. He called out, Somebody help me and a voice came back.. Somebody help me.
The boy was surprised and confused.. he said Who are you.. and the voice answered, Who are you... the boy became angry and yelled You're a coward and the voice yelled back You're a coward... the boy shouted, You're a fool, the voice answered angrily, You're a fool... Just then the boys father reached him and the boy asked who it was that was yelling back at him... He explained that it was an echo but that it was also called life. He said let me show you something and shouted, You're a winner, and the voice said, You're a winner... the boys father shouted, You have what it take, and the voice said, You have what it takes... He bellowed, You've got what it takes, and the voice dutifully repeated, You've got what it takes... the father explained that was exactly how life works, what ever you send out always comes back to you!
Singers what ever you are saying before your performances, before you high notes or low notes, before your practices and rehearsals will ALWAYS come back and you will do exactly like you thought you would...
Just food for thought...
Sunday, June 14, 2009
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