The big voice ………

Do you have a loud speaking voice? Are you the one everyone can hear yelling at the local arena because it’s so easy to do? Do you get hoarse easily? If so, and you are a singer, you need to know about thinning your vocal cords in order to sing into your high register. Without the ability to thin the cords you will simply be yelling louder and louder to reach higher notes, and the stress and damage this causes is hard on the vocal cords.

The first thing a singer with a big voice needs to recognize is how easy it can be to overuse the vocal cords without even realizing it. Because you find it easy to speak loud or yell, you are not aware it is damaging your voice by stretching the cords frequently. If this has been going on for years, your vocal muscles may have this memorized, and you are now faced with the challenge of creating a new memory of thinning the cords.

It is a common problem among singers, both male and female, but steps can be taken right away. It starts with your speaking voice. Instead of simply allowing your voice to do what it has been doing for years, now you can take steps that will allow you to ascend higher in your register.

First, try to add a “cry” to your voice. Let your volume come down and be aware of your intent to add this sensation when you talk. Get in the habit of talking this way. Notice the cry with help you take control of your voice in a way that you can be aware of. Another sensation that will help you stay in this mode is thinking a silent laugh. This will relax the muscles around the vocal cords and give you an easier starting point to put a cry in your speaking voice.

The larynx….an interesting subject….

As I study various singing methods, I realize that we are all trying to invent the same wheel safely…. just a little differently.

I want to talk today about one of the differences I see in Speech Level Singing and some other modern contemporary singing methods.

The subject on hand is the larynx.

From my experience with SLS, the larynx needs to remain stable and reasonably low (or neutral) as you ascend in pitch. However, in some contemporary methods it is said that the larynx will rise as the pitch ascends, especially around E flat above high C for women and A flat below high C for men. This is typically where the male and female 2nd passaggi are, or in other words the 2nd “gear change”.

This intrigues me and I explore it with most of my students.

In my studio, those who sing more “classically” are encouraged to keep their larynx low in song. This allows them to ascend higher with a nice warm, full and open classical tone. These singers have up to five octaves when vocalizing.

On the other hand, my students who sing rock and country in song are encouraged to monitor their larynx and surrounding muscles to ensure that there is no undue tension as they ascend into their 2nd passagio. The larynx will rise a bit as they belt out above their 1st passagio in song. However, they are encouraged to vocalize with a neutral larynx, which allows them to exercise in 5 to 6 octave ranges.

ALL my students under 16 are encouraged to sing with a neutral larynx, and a full balanced voice in exercise and in song.

The rising of the larynx is an interesting discussion among vocal teachers.

Is it safe and OK for the larynx to rise in rock/pop/belt singing? What do you think?

It starts with balance….

It starts with balance. My job as your coach is to help free your voice so you can achieve a sound that is crisp and clear, with no random weak spots from the bottom to the top of your range with ease. No voice is the same, and the process can be very different for each singer. I help you find “YOUR” voice.
A good coach should be able to tell you your strengths, weaknesses, and show and explain the exercises needed to improve your singing. These exercises must be done correctly and frequently to achieve the desired result.
There is no instant pill to better singing. Knowledge and practise will make the journey enjoyable and rewarding.

How do they do it?

That’s always the question? How do they do it?

The masters of rock and pop singing? Mariah Carey, Celine Dion, Bruce Dickinson of Iron Maiden. Steven Tyler, and more, how do they do it?

They are masters, indeed! Some may say it’s genetics, but vocal experts will say that there are a few key issues going on here.

First, the cry. This is a essential. A primal sound that is key to helping everyone sing better. It is more apparent in some styles, but it is a basic concept in helping the vocal cords come together and stay together for a duration in the higher voice.

Second, the twang. This is essential as well, in every form of singing. It is more apparent in some styles than others, but it is there. In Speech Level Singing, we experience this with “nay, nay, nay”. As I understand it, this, and the cry, will tilt the larynx, and change the vocal tract, and allow you “to mix” your lower chest tones with your higher tones”. If done without constriction for external factors (such as throat constriction, or false cord constriction) then the voice can resonate well and exhibit a loud, strong mix quality to the voice.
Do you have questions about the “cry” and “twang” of the voice? Please let me know. Susie Q.

Pavarotti soothes pain from video clip…

I just watched a video clip that I wish I never opened. I’m vocalizing now (well sort of, at the same time as I’m writing). Specifically I’m lip-rolling to Pavarotti…..he’s loud. It is soothing me, relaxing me after an exhausting weekend at a conference…specifically after watching a horrible video on line. It’s late and I need to go to bed.

Pavarotti and vocalizing is slowly calming me. Slowly, considering the stress I feel since finishing the video. Why the hell did I watch that. Damn you Eric Arseneau!

No, I don’t want you to watch the clip. I definitely don’t recommend it. How can anyone in their right mind record such hatred.