Author Archives: Susan McAllister-Bee

Ladies, we have double trouble

Posted on by
Reply

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 by
Reply

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 by
Reply

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 by
Reply

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 by
Reply

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 by
Reply

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.

 

 

Controlled effort

Posted on by
Reply

One of the most important things you can do as a singer is to learn how to balance your voice. In other words, know how to negotiate the first passagio, so you have no issues with the transfer of resonance as you move back and forth through that bridge. Men, your first bridge is around D to F above middle C, and ladies your bridge is anywhere between A (above middle C) to high C. One key element to negotiating this passagio is the idea of “bridging early”. Don’t avoid this sensation, but don’t flip into falcetto either.

One of the easiest ways to know if you are bridging is simply to match the volume as you sing higher. Your body needs to figure out how to control the air (send less air) as you ascend in pitch.  You need to allow that heady feeling and turn on your body anchor. Without enough body effort you will likely notice the sound starts to become “weaker” or “not intense enough”.  You will likely want to sing louder, but that’s not how to improve your voice. Instead, turn on your body! Pretend you are lifting a heavy suitcase in each arm. Notice your rib cage engage as you exert some pressure there. Be careful not to tense up in the neck area. This may cause undo strain.

Good singing does take effort. The effort is a controlled feeling of energy all over the body.  Effort in the wrong places, such as at the vocal cords or inside the throat, will only constrict the sound. We want a free, open and controlled sound!

Some coaches don’t talk about effort simply because it can get in the way. But without the correct effort how do you expect to improve your voice? Never under estimate the value of “effort”.

Singing is an entire body experience

Posted on by
Reply

Have you ever noticed the body language of your favourite singer? Odds are their body is engaged in a way that relays emotion to the song. Watch their face. Notice how the eyebrows may rise or the nostrils may flare. Watch the mouth and tongue, and pay special attention to the chin.

These details are not simply “acts” to add to the performance. These details are necessary to great singing.

Have you ever noticed that when you sing alone, and really get into it, your voice and body feel free? Have you noticed when you get in front of your teacher or an audience, your voice and body have trouble finding that freedom?

Don’t underestimate the role your body energy plays in your singing.  Sometimes we take this for granted and never consider it. We can actually engage energy outside the larynx and in turn, create freedom in the voice.

 

 

More on Belting

Posted on by
Reply

So, I used my cricoid muscle extensively on Saturday night. Yes, I was more shoutier than usual. Since my workshop a couple of weeks ago, I have been revisiting some of my repertoire in a beltier way. This is similar to the way I sang about ten years ago, but also much different. Yes, this time was much different. It was interesting to see how the audience reacted. I had one gentleman come and ask me if I had ever sang opera. He said that my voice reminded him of many textures…many subtleties.  The audience definitely seemed engaged in a different way…..or maybe it was just me….knowing that I was singing more on the edge….the edge of right and wrong….the edge of freedom.

What has changed?  Quite a few things. Knowledge is power.  For one thing I made sure the mic stand was a little higher, and the microphone was angled slightly downward so that I could tilt my head back for the belt. (I don’t hold the mic because I am playing keyboard).  I would usually do this angle with my head anyway, but now I know why I’m doing it and why the placement of the microphone is so important. I notice that it indeed is necessary to free the voice from constriction. My soft palate was raised as high as it could go. My tongue was well placed and my mouth was big. My body was engaged like at no other time in the song…..yes, that feeling of certainty and strength is a familiar posture that keeps me aligned with the phrases and momentum of the music.

I experienced no hoarseness, no raspiness, no uncertainty. I experienced the maximum energy my body and voice had to give that evening. I experienced an audience who reciprocated with applause and awe. I experienced a sensation of total release and freedom. I experienced the ability to be able to do it again tomorrow.

 

Controversy, I welcome you back…….

Posted on by
Reply

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????