Author Archives: Susan McAllister-Bee

Do you know your chest voice from your head voice?

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Hi everyone,

I watched the American Music Awards last night. Very entertaining but I tend to over-analyze the singers’ voices instead of just enjoying the show.

I can’t help but wonder if some of these singers know the difference between their head voice and their chest voice. I have a hard time listening to singers who don’t mix their head voice (high voice) well with their chest voice. There is no doubt that the chest voice is what is predominant in all these singers, but some know how to mix much better than others.  On the other hand, fans have fallen in love with Christine Aguilera’s shouty chest belt, so why would she bother to try and sing “better”?

Now, let’s define what “better” means to me. And to do this we need to make sure that everyone understands the difference between their head voice and their chest voice.

Your chest voice is the voice closest to your speaking voice. If you sing near the pitch that you talk and put your hand on your chest, you will notice that it vibrates. The resonance is mostly coming out your mouth. The “resonance” is the sound that we hear after our breath goes through the vocal cords, and reflects off bone, teeth, sinuses and soft tissue. As you start to sing higher, the resonance should shift from you mouth to higher up in your head. It actually splits and feels like it is going through the top of your head, as well as out your eyes, nose and mouth (the front of your face). This is a sensation that not all singers are familiar with.

Instead, a lot of singers will not “allow” the voice to shift gears into this split resonance, and instead they try and keep that “beefy” sound that they can create in their chest voice. This is the average singers interpretation of “power”. What they don’t realize is that it is definitely not the best way to get power out of the voice, and frankly, I think it’s very unpleasant to listen to.

To find your head voice, one just has to do a light sigh on a pitch above their “passagio”. The passagio is the “break” or “bridge” between the chest voice and the head voice. For men this is around E flat to G (above middle C), and for women the bridge is around A flat to C (above middle C).

MIXED VOICE: Of course, no one wants to sing just in their head voice….well, unless you are an operatic soprano or one of the Bee Gees. However, it is important to be able to sing in your head voice….to become familiar with it. Without your head voice, you cannot sing “in the mix” and mix is where it all happens. The mix is a wonderful blend of both the chest voice and head voice. Some singers find this naturally, and others struggle endlessly. Without a good mix, singers will fatigue quickly and struggle with pitch and consistency. Without a strong mix a singer is always missing a part of their voice.

Thanks for reading. I welcome your comments. I will try and blog more about “the mix” next time. Susan

Justin Bieber? Taylor Swift? Who really has the voice?

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Hi everyone,

I was speaking with the mother of a student yesterday, and the subject of Justin Bieber’s voice came up. She was going on about how he couldn’t sing well, and how annoying it was to listen to.

I didn’t interrupt her but let her finish and go on with her day. However, here is what I was thinking at the time.

Let’s face it, everyone’s interpretation of who is a good singer is going to be different. For example, most singing coaches in the classical world might not consider anyone singing on contemporary radio to be a good singer. Technique can be a crucial indicator to singing coaches, but not even a consideration to the general public.

I want to share with you what I classify as a good singer.

A good singer is someone who can sing in their mix, or in their head voice, or in their chest voice as they choose. And a good singer is someone who can make me, the listener, believe them when they’re singing.

If someone isn’t able to sing in their mix (which is the middle voice of chest and head voice combined), then straight away I don’t believe them. In general, my ears cannot enjoy a voice that is strictly in chest voice, or only head voice. I prefer the sound of using the entire registration.

Justin Bieber does that just fine. No, I don’t want to buy his CD’s, but my daughter certainly does!  I can relate to what this mother might be feeling as she listens to the same songs over and over and over. However, from a technical point of view, Justin Bieber is a very talented singer and will only get better and stronger as he goes through puberty.

On the other hand, I can think of many voices on the radio who can’t sing well in their mix. Let’s take Taylor Swift for instance. She has definitely made her mark in the world of song writing, but she is bad news for all those young girl singers out there trying to copy her. It’s these young girls who buy her CD’s! They love her stories about heartbreak and boys.  But, the bad news for these singers is that her songs are easy to imitate. By that I mean, these young girls don’t have to sing in their mix. They can sing any of her songs in their chest voice alone. This is extremely detrimental for young singing voices.

I imagine you will start to notice Taylor Swift’s range increase in the next album or two as she learns how to mix her voice better with the help of Brett Manning. He is, as I understand it, one of her vocal coaches. As her middle voice strengths she will be able to sing higher notes, but most likely this will present in her songs as a chest belt. This is typical of many singers in contemporary radio music. That happens to be the type of voice that music producers love to record, because they sell lots of CD’s!

I can think of some great singers who can belt well in their mix. Celine Dion is, of course, the master. And, let’s not forget Kelly Clarkson, and Adam Lambert. Oh my, how we love to listen to the mixed belt!

Style of music is a definite indicator as to the type of voice you may be listening to. Let’s take the beautifully-controlled and balanced voice of Barbra Streisand. Wow, is all I can say. This is “mixing heaven” to me, lol.

And, what about the voice and style of Leanne Rimes. Why do we love her so much? Well, she has a unique voice that is not only well balanced in the mix, but she can also do this fabulous flip (yodel) between her chest and head voice. This yodel is sooooooo smooth that it has really become her signature, and it really sets her apart from most other singers.

Well, that’s it for today. I want to thank the mom I spoke with yesterday for inspiring me to blog on this topic today. I welcome your comments. Bye for now. Susan

You need to start in the right place…

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One of hardest things to do as a vocal coach is tell a student that they are going about getting power in their voice the wrong way. Students will come to me with this great big chest voice that they think rocks the house. They want help getting to the higher notes. Yikes!!! How to tell them they have been going about it entirely the wrong way.

Power does not come from volume and chest voice alone. True strength and power starts on the edges on the vocal cords in a mix/blend of chest voice and head voice. If you can’t sing quietly with intensity on the edges of your vocal cords, then you are not “in the mix”.

Getting in the mix starts small. You must learn how to connect your chest voice to your head voice without a break or disconnection. This will happen when you stop trying so hard. This will happen when you back off the volume and let things go smoothly as they should. From there you gain strength and power and sing any note you want.

You must start in the right place. It may mean you need to “back-up” to a place where your voice can grow with intensity so great, that you will not recognize yourself!

So, why not get in the mix. Check out www.speechlevelsinging.com for a certified teacher near you!

Oh no! It’s cold and flu season…what’s a singer to do?

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Hi everyone,

As a singer, we should always be aware of what is happening with our body and voice. Singing with a cold or cough, is definitely not ideal, but it also doesn’t mean you have to put your head in the sand. Good technique and paying attention to your body will go a long way.

Obviously, there are things everyone should do to minimize their risk of catching a virus.

  1. Get lots of rest and drink plenty of fluids (water, that is!)
  2. Wash your hands regularly, and do not touch your face (nose, eyes, mouth)
  3. Get plenty of exercise and eat nutritious foods.
  4. Stay away from excessive alcohol and no smoking.
  5. Get the flu shot.

I’ve been singing through cold symptoms for years. It’s not ideal, but when you are being paid to sing…..well, you sing!

I’ve learned a lot over the years. I frequently had trouble with hoarseness with colds in my early years when I was playing music in the bar circuit with a band. Stages were generally small and I was usually put in the back beside the drummer. Everything was loud…the entire room was loud…and I had a cymbal crashing in my ear. Needlesstosay, these were the absolute worst singing conditions possible, especially when I had a cold. Sometimes at the end of the night, I had no voice left, and yet I needed to be ready to sing again on the next night.

I soon learned to pace myself to get through the bookings. Here is what I did…

  1. Made sure my voice was clear and loud enough in the monitor mix so I did not have to over sing to be heard above the other noise.
  2. Saved my “belting” songs for the end of the night….or, depending on how “sick” I was, I didn’t sing them at all.
  3. Took extreme special care at my first and second bridge (passagio) to make sure I stayed connected.
  4. Sipped water between each song.
  5. Sucked menthyl lozenges. I generally preferred Fisherman’s Friend.
  6. During breaks I would go to the band room so I didn’t have to talk to anyone in the loud environment.
  7. For symptom control I would take an antihistamine and use a nasal decongestant spray to keep my nasal passage clear. I would discontinue the spray immediately after the cold because these sprays can become habitual causing rebound congestion. Sometimes I would take an decongestant pill, but I find these can be too drying at times.

I hope these tips are helpful to you. With care you can sing when y0u have a cold. Singers with good technique who sing every day are most likely to have minimal problems when they catch a cold. On the other hand, if you struggle with your bridges, tone and high notes all the time, then I recommend you get some vocal lessons from a great teacher in your area.

Singing should feel as easy as talking. If it is “work” for you to sing, then you have probably developed some poor singing habits. Have a professional watch you sing a song, and go from there. All the best…..Susie Q

Top 10 reasons music lessons with Music for Young Children is a better choice than traditional private.

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1. Learning to play a musical instrument can be a lonely venture. In MYC, parents and peers share in their musical experiences. Experiences that will be remembered forever.
2. In MYC, students are motivated to practise and move ahead at a steady pace. This is done with incentives and an age-appropriate curriculum that has been successful for over 30 years.
3. In MYC, students typically graduate with higher marks in conservatory exams, and they do this at a younger age.
4. In MYC, students don’t just learn the piano, they learn the language of music. This knowledge stays with them forever as they go on to learn other instruments.
5. In MYC, we keep learning music fun. We play games and sing songs to help us remember concepts.
6. MYC encourages students to play music with others. That is why we play scales and some songs together. This encourages the student to listen and play at the same time.
7. In MYC, lessons are very cost-effective. Lessons are one-hour long and cost about the same as a half-hour traditional private lesson.
8. In MYC, students make music friends.
9. In MYC, students learn how to chord and play by ear. This is an important element of music training. Most traditional lessons focus on sight-reading alone.
10. We all know that learning to play a musical instrument is not a easy thing to do. In MYC, the success rate of graduate students going on to private study and taking what they have learned to the next level is huge. These students are smarter. These students have learned so much. These students are your children!

What SLS has taught me…..

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I’ve only been studying Speech-Level Singing officially for a short time. I have made more improvements in my students voices in this short time, than I ever did before SLS.  Here is why.

SLS treats every voice as an individual. Let’s face it, no voice is the same. There isn’t a single recipe that works for everyone. Every voice is an individual personality with tendencies, habits and qualities.  Before SLS I treated most voices the same with similar exercises and goals. Not any longer.

With Speech-Level Singing, the teacher learns to listen for the singer’s habits and tendencies. These indicate the exercises the singer needs to do in order to have a healthy, stable and balanced voice from the low notes to the high notes. No longer will a singer feel like they have two voices, or that they can’t hit the high notes. No longer will a singer feel like they have to “change” or “manipulate” their voice in order to achieve the desired response.

With Speech-Level Singing, the singer can sing any style they wish. It’s fabulous instruction for musical theatre and classical voices. As for singing rock, we all know there is no way to sing rock without creating some abuse to the vocal cords. However, knowledge is power. SLS can help the singer stay balanced and healthy when not performing, and SLS will teach the singer tips that help create the sound they want with minimal damage.

I wish I started my journey with Speech-Level Singing 30 years ago! Hopefully I’ve inspired you to improve your voice with the SLS method!

Please leave me your comments. I welcome your thoughts!

It takes time and good habits to develop a good singing voice…

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Getting results from your singing lessons takes time. Don’t get discouraged. It took me years to get the quality of voice I have now, and I still take vocal lessons.

Your voice can maintain for as long as you are alive if you do it correctly. There are professional singers who really understand this. These singers have always had a coach because they know their voices are continually growing and developing. This is no different than developing the physical coordination it takes to be very proficient at learning to play an instrument. Your voice is an instrument. I am constantly learning more and more things about my voice. I am almost 50 and I’m doing things with my voice now that I could never do when I was 20 or 30 or 40!  Most people think your voice deteriorates as you get older….but that doesn’t have to happen!

Your voice is going to change over time, especially if you are performing. You need to keep this in check. Doesn’t matter what style you are singing. It takes time to develop good habits so don’t stop. Everyone can have a great voice. Don’t get in your own way to your ultimate goal….don’t get lazy….you can do it! Yes, it takes time….and enjoy the journey!

Careful balance between technique and freedom……

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Our goal as a singer should always be to create an experience for the listener. This experience could be many things…ie, emotions like joy or sadness, physical energy, or the recall of a memory.

The listener is just an everyday person wanting an experience that affects them positively. The listener is looking for a singer who can relay the feelings and thoughts that they maybe cannot relay themselves.

That is the singer’s job.

However, when a singer is “too” technical or careful, some of the essence is missing. Singing needs to be playful …. not too careful. The listener must believe the singer. A good singer has the freedom to “play” around good technique and express the magic of his/her song and voice. 

Without good technique, the singer can disturb the listener. The listener can be put off easily with squeezy vowels and splatty tones. The singer may have good intentions, but without good technique the listener is not likely going to have a positive experience.

Good technique and playful freedom go hand-in-hand with good singing. A singer who is technically sound and playful at the same time can express everything the listener wants to hear.

 

 

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What age should your child start piano lessons?

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What age did you start piano lessons? I was around 7 years old. My mother would drop me off at a lady’s house and we would sit beside each other at the piano for a half an hour. I really liked it at first. I can’t exactly remember when things started to change………

She was a nice lady and I tried hard to please her. I remember asking my mother if I could quit. I think I was 9 or 10. Quitting was not an option, so I had to stick with it. Thank goodness I had my grandmother around to show me fun things like chording and singing with the piano. And, thank goodness my mother made me stick with it!

The process of learning to play an instrument is not always easy. We all want the end results, but we are not always willing to put in the work to achieve these results. This is where the Music for Young Children program can help.

The curriculum in the Music for Young Children program is set up so that your child will succeed. With your loving support, and the fun atmosphere of learning the piano with new friends in the same class, your child is well on his/her way to establishing the happy habit of practising. Your child’s musical journey can start right away with the Music for Young Children program found all over the world.

Children as young as 3 1/2 are meeting the critters who live on the keyboard. These children have no problem remembering Fireman Fred who lives at the Fire Hall. They practise finding his note by sliding down the first black pole in the Fire Hall. 

You might think these lessons are expensive, but they are absolutely not. Classes for ages 4 & up are one-hour long and cost no more than the average half-hour piano lesson in your city/town.

So, what’s holding you back. Every child should have the opportunity to learn to play the piano. There is no easier way than with the Music for Young Children program.

Singers, has this happened to you?

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I haven’t been blogging much lately. I’ve been so busy with the kids, performing at festivals and keeping up with my gigs. The weeks are just flying by. However today, I had a booking that inspired me to share my singing experience with you straight away.

First, let me mention that I’m a seasoned singer. I’ve been singing professionally for years.  And, for the record, sometimes I neglect myself.  Yes, sometimes, I don’t practise what I preach.  By this, I mean, I neglect my voice…I don’t bother to warm-up adequately before a singing performance.  Sometimes I notice, sometimes it doesn’t matter. Today, it definitely mattered. Today, I noticed big-time. Today, I should have warmed-up better.

I always do liproll exercises while I’m driving to bookings. Today was proof that I needed to do more than that, but didn’t.

I could tell right away in the first song that the notes near my bridge (A, B flat) were giving me trouble. If the song was mostly set under my first bridge then I would really “get stuck” when I had to reach the A or B. This is most of my songs! I found I was preoccupied with “warming” into those notes, instead of focusing on the audience and the song.

It took about 45 minutes of careful singing to finally get the notes around my bridge to set in comfortably. By then I was crooning and ready for the night. The problem is, the gig was almost over! Only 15 minutes left!  By the end of the gig, I was very warmed-up and ready to sing.

This has happened to me before. You would think I would know better. After all, I’m a singing coach. I preach about warming up the voice adequately all the time…………maybe next time I’ll learn, ha! Don’t let it happen to you!