Study finds those who attend choir rehearsal report less
anxiety1 By Eric W. Dolan on April 16, 2013 Mental HealthResearch
published online this month in the scientific journal Psychology of
Music has found those singing in a choir report a positive impact
on their psychological health.Singing in a choir is a leisure
occupation performed by millions of people in different cultures
which requires a collaborative action, Ahmet Muhip Sanal and
Selahattin Gorsev of the Abant Izzet Baysal University in Turkey
explained in their study.Like other leisure occupations, singing in
a choir has been reported to promote human health and well-being.
However, the effects of music on human psychological,
physiological, social, intellectual and physical processes still
remain to be explored.The study of 70 college students discovered
that choir rehearsal was associated with reduced anxiety and
decreased negative moods in those who participated. However, a
salivary amylase test failed to find the physiological indicators
of stress reduction. Stress has been shown to increase levels of
salivary amylase, an enzyme that breaks down starch.For their
study, Sanal and Gorsev split the college students into two groups.
For 8 weeks, one group participated in a one-hour choir rehearsal
each week, while the other group participated in an hour of free
time each week. The students, who were all enrolled in choir
courses, were tested before and after the sessions.Our findings
suggested that singing in a choir had a significant impact on
decreasing the negative affect and state anxiety levels of the
singers, the researchers concluded. Salivary amylase levels showed
a tendency to decrease in the singers, but not significantly.Future
research should examine the long-term effects of choir singing, and
compare the effects of group singing with non-singing control
group. Also the social aspects of group singing versus other social
activities such as craft or drama groups would require further
studies.Wurgler, P.S. (1994). An Adjudicator Lists Ten Common Vocal
Sins. Choral Journal (May), 31-33.AN ADJUDICATOR LISTS TEN COMMON
VOCAL SINS
by Pamela S. Wurgler
Group vocal training is possible, even in a large choral
setting, but in one-on-one instruction, when the choral director
assumes the role of voice teacher, the individual singer really
progresses toward the ideals of efficient, artistic singing. The
student can experiment with concepts of voice production and
expression, modifying and refining them as immediate feedback is
received from the teacher. Choral singers are strengthened by
taking responsibility for their own performances as soloists (this
is the "Oh so that's what you mean" time). Voice production
rudiments encountered in the ensemble setting are amplified and
personalized. The unique qualitites of each vocal instrument, often
subdued in choir for the sake of blend, are discovered and
enhanced. A more resonant tone production is encouraged as the
"noble" voice emerges. Interpretation of a solo song demands a
student's complete familiarity with the composition and evokes a
personal response to the text and the music. The choral
director-cum-voice-teacher has a golden opportunity to build
singers who, in singing solo, learn to contribute even more to the
choir. After twenty years of judging singers, I have found that
many fundamental principles of vocal production need to be restated
for singers of all ages and at all levels of study. In fact, I have
considered having rubber stamps made to simplify writing
adjudication sheets. If I did, the following headings indicate what
they would say.Open the MouthThe comment most frequently given
admonishes the singer to open his or her mouth. It may be directed
toward the singer who tries to sing out of a tiny opening, the
stiff singer with "lockjaw," the shy singer who m umbles, or
singers with many other vocal production problems. All singers need
to visualize their voices as instruments. The sound emanates from
the mouth, as sound is projected from the bell of a horn. In
singing, space created by opening the front of the mouth enlarges
the resonating tube that extends from the larynx through the throat
and mouth (pharynx). This increased resonaating space enhances the
tone. Many psychological as well as technical implications are
embedded in this directive, some of which will be discussed later.
Stand Tall As an instrument must be positioned correctly to produce
an effective tone, the singer's body must be positioned properly to
create a free and efficient vocal sound. This directive is easy to
assess; it may be evaluated visually by both singer and observer.
Are the feet spaced about a shoulder-width apart, with the weight
balanced on both feet? Is the sternum lifted? ("Chest held high"
may be the right idea but an embarrassing verbal directive to young
women.) The singer should think "proud" or of being held up by a
marionnette's strings. Are the shoulders back and relaxed? Be
certain that shoulders do not move with the intake of air. Is the
head in line? Visualize the spinal column (vertebrae) as it runs
from the lower back through the neck to the base of the brain
--vertically, is the spine in line (head tall, back straight,
derriere tucked, knees not locked)? Are the arms relaxed and held
loosely at the sides? The question of what to do with one's hands
can be most efficiently addressed by placing thumbs at the side
seams of the singer's clothing, a posture which promotes good
singing alignment and discourages the ridiculous-looking and
problem-causing "fig leaf" or "opera diva" hand positions. Overall,
does this body look energetic, alert, and ready to sing? Breathe
LowThe breathing mechanism is the motor that generates energy to
turn mental images into audible sounds. The maximum capacity of
this energy is attined when the ribs are lifted up and out, the
diaphragm and abdominal muscles work in a give-and-take
relationship, and the breath motion is felt (and seen) at the belt
level. Panting and sipping through a straw are activities which can
be used to check the breath motion. The analogy ofinhaling to fill
up a spare tire all around the waist also promotes the desired
effect. Bending over from the waist and placing the hands
waist-level at the sides will help the student monitor this
expansion externally. Move the Air When the body is properly
aligned and the breath is taken low (unlike quiet respiration or a
runner's winded chest-heaving), the singer's next goal is to move
the air. We sing by sustaining tones on a steady stream of air.
Therefore, we must learn to support a consistent, energized flow of
air. Everyday speech offers little or no reinforcement for this
task; muscles must be trained specifically for producing a good
sound on a wind instrument--in this case, the voice. Blow out
imaginary candles; or better yet, blow so that the flame will
flicker, but not go out. Make a hissing sound or use your air
stream tohold a piece of paper to the wall. Without singing, the
breathing muscles can be toned and made ready for singing. Increase
Throat Space If student singers are learning to sing by listening
to the radio, they may have tight throats as a result of imitating
high-larynxed pop singers. Or perhpas some singers try to
articulate each tone with their throats. Most likely, they try to
sing as they speak, and the hallow mouth space used for
conversational speech is wrongly transferred to singing. The open,
relaxed throat is a very different feeling. The familiar directive
"drop the jaw" is a valid place to start, but it is not enough. The
mouth space must increase by relaxing the back of the throat too. A
yawn sensation helps achieve the down-and-back throat opening, as
does the "dumb jaw" analogy. Remember that the jaw is a hinge which
swings down and back naturally. The directive "feel as if you could
swallow a grapefruit" helps some singers, while the image of
keeping a big tube open assists others. The tongue should lie
comfortably low and out of the way of the throat. It should not
pull back from the front of the mouth nor hump up in the back of
the mouth. (There is no reason, however, to evoke a non-existent
problem by talking about the tongue.) If there is tongue tension
--the tongue humps up and pulls back--the singer must work
consciously to flatten the tongue by putting the tip of the tongue
at the base of the lower front teeth and leaving it there while
vocalizing on all vowels. Tongue depressors can illustrate the
point physically, as can holding the tip of the tongue (wrapped in
guaze).To relax the throat, attention is focused on the back of the
mouth. The internal sound produced using the additional mouth space
may seem quite dark or dramatic to the singer. With young singers,
one may capitalize on that sound sensation, having them speak in
their best "Dracula voices," "I vawnt to sawk your blawd." Use a
hand mirror to check mouth space. Two fingers inserted vertically
between top and bottom teeth can provide a memory aid. Arching the
soft palate also helps to increase throat space. Resonating space
in the mouth is not just "down-and-back" but also "up-and-over."
Both are essential for good tone production, resonance, and
increased range. Like the relaxed throat, the arched palate is used
less in everyday speech and pop music than it is in classical
singing. Without the lift of the soft palate area, a singer's upper
range is cut off at the passagio into head voice (approaching the
top of the staff). The notes immediately preceding that register
changeareusually produced withvocal strain and are often flat in
pitch if the soft palate is not raised. The tone is frequently
nasal because the upper resonating cavities are closed off. Often
the problem may be diaagnosed visually; the cheeks are flaccid, the
lower jaw is tight and possibly jutting forward, and the head may
be tilted back, causing visible strain in the neck muscles. Because
the feel of the head voice is alien to one's speaking voice, the
new sensation (and resultant sound) must be taught. Analogies and
imagery work better in developing an arched soft palate than
physical directives. Try an "inner smile" image and watch the
cheeks lift slightly, pulling the nostrils slightlymore open.
Recreate the beginning of a sneeze; inhale the scent of a rose.
Pretend your fist is an apple; start of bite into it and feel the
stretch of the soft palate muscles. Imagine a golf ball held by
your upper and lower molars. Hold your hand horizontally at mouth
level. Below your hand is your "dumb jaw"--let it hang; above your
hand is your "intelligent jaw"--lift it up. Try a wide-eyed,
open-mouthed, pleasantly surprised "aah." If the throat is relaxed
and open, and the soft palate is arched, there will be no no need
to delve into the confusing images of tone placement. THe
well-produced tone will already be rich yet ringing, forward yet
open; it will be a truly resonant sound. Pay Attention to Diction
It is said that vowels carry the sound, while consonants carry the
sense. Both demand the singer's attention. Vowels must be pure
(without diphthongs), centered, and focused. Vocalizing on the
vowels to "balance" them in all ranges and at all dynamic levels is
needed to form good habits. When a pitch is sustained, it is the
vowel whichis sustained. A challenging exercise is singing the text
of a song on only its vowels.Consonants must be clearly articulaed:
both beginning and ending consonants must be energized. We are
generally sloppy speakers; the feel of clear enunciation is
somewhat foreign to us. Most beginners have to be convinced of the
need to exaggerate their articulation with more physical energy.
Say and sing the articulators: "lips, teeth,tip of the tongue."
Aggressive articulation will not only make the words more
understandable, but also will assist in forward placement of the
tone. Sing Phrases When we concentrate on refining the sounds of a
particular word, we often achieve our goal in the resonant
pronunciation of that word but forget to put each word into the
context of the phrase from which it came. Syllabic text settings
are particularly challenging. Early in the learning process, the
singer should read the text aloud. The expression and meaning
generated from this exercise not only will indicate appropriate
breathing places but also will motivate the breath motion and
dynamic intensity to shape the phrases. As the singer reads the
text, he or she will find words which communicate action and
feeling, natural text accents, climzses and denouements--all parts
of expressive phrasing. A middle stage int he process of transfer
from verbal expression to singing expression is to intone the text
on a comfortable pitch somewhat higher than the speaking voice. In
doing this, the singer will find that long notes, dotted notes, and
notes tied across bar lines should not just "sit" but should move
and grow with breath energy and intensity. Phrasing can be
reinforced kinesthetically by "painting" the rise and fall of each
phrase in the air with one hand. Or, in the same Dalcroze-inspired
sprit, the singer may walk the meter beat or accented beats and
move the upper body and arms to show phrases.Legato singing is a
goal of vocal technique development. The connection of tones as one
sings "on the breath" is a mark of vocal control and a standard of
artistic expression. The image of "spinning" the tone implis the
necessary breath movement. Florid or melismatic passages provide
special challenges to the beginning singer. These sections must be
sung without h's or pulses separating each pitch. The singer should
look for patterns and sequences to determine musical breathing
places and phrase shapes. Patterns may be isolated and used
throughout the range to practice singing with the free throat and
breath energy that the roulades require. Singers should avoid
linking phrases inappropriately to exhibit the maximum inhalation
possible, just as writers should avoid creating run-on sentences to
show how many clauses they can put together. The text and the
melody should inspire proper, logical phrasing. Beginners may need
to plan extra or alternative breathing places; shortof breathing in
the middle of a word, a singer should strive to make the best vocal
sound possible even if it means taking an extra breath to avoid the
physical tensions and loss of expressive potential that accompany
running out of breath. Balance RegistersAdjudicators often write,
"The sound and production of your lower range is not consistent
with that of your upper range." What usually follows is, "Work to
develop your upper range." Register terminology is fraught with
semantic confusion. Regardless of whether the terms "upper
adjustment" or "head voice" are used, singing in the upper range
must be taught. Neither everyday speaking nor singing with the
radio or CD player prepares young singers for the feel of a
head-voice production. Vocalizes that begin above the passagio area
and descend in pitch promote the ability to carry the upper
adjustment down, lightening through the "break" area to avoid a
rough shift into heavy chest-voice production. Eventually,
exercises must ascend and descend, combining registers. The singer
must not inhibit the change of register by tightening the throat
orfailing to givesifficient mouth space or breath support while
ascending in pitch. Balanced registers require the development of
both upper and lower registers and the freedom and energy to move
between them. "Train, don't strain." TEN VOCAL COMMANDMENTS1. Open
Your Mouth
2. Stand Tall
3. Breathe Low
4. Move the Air
5. Increase Throat Space
6. Pay Attention to Diction
7. Sing Phrases
8. Balance Registers
9. Communicate
10. Be Confident
CommunicateThe audience should perceive aurally and visually the
mood and message of a song. Visually, what do a singer's posture,
facial expression, and eyes say about the music being performed? In
any performance the eyes must be alert and focused, not glazing or
roving. If the student is not comfortable making eye contact, he or
she should focus ona point slightly higher than the heads of the
audience. Singers should practice using a mirror to check the
sincerity, consistency, and appropriateness of their physical
expressions. Videotaping a rehearsal is an excellent way to
evaluate the full effect of sound and sight. Be ConfidentThe
well-prepared, confident singer knows the music intimately and has
developed vocal control over it. The singer has had sufficient
rheearsal time with the accompanist and at least one dress
rehearsal, possibly videotaped for evaluation. A good appearance
will provide a psychological boost. The performer should be neat
and well-groomed. Clothing should look professional, not fussy or
trendy, and, most importantly, whould be conducive to singing,
neither restricting nor distracting. The singer should practice the
entire performance, including entrance routine, announcements
required, cues to the accompanist, and bows, if appropriate. The
well-prepared, confident singeris free to express the musicand
experience the thrill of artistic communication.The Basics of
SingingContest comments provide both teacher and student one means
of evaluation that can guide the pedagogical process. An
adjudicator may offer a fairly detailed list of which basics of
singing are and are not working. Constructive criticism of this
nature also suggests technical approaches to vocal problem-solving.
Comments are meant to inform the teaching process, an evaluation
more valuable than the rating itself.At first glance, this "rubber
stamp" list may appear to be a precontest checklist. It is actually
a primer in the basics of singing, elements that are constant and
transferable from solo to ensemble singing.Frost Choral Studies
Choral music at the University of MiamiThe Choral Studies Program
at the University of Miami is committed to musical excellence and
to the importance of the arts in the enrichment of life. The
curriculum is designed to build a skilled and well-rounded
musician, developing the inherent musical and personal strengths of
both the undergraduate and graduate student. All choirs are open to
any student, regardless of major. We believe that music ennobles
the human spirit.Dr. Karen Kennedy, directorChoral StudiesCCM's
Choral Studies Program is internationally recognized for over forty
years of excellence in training conductors for successful, lifelong
careers in the choral arts. The Master of Music and Doctor of Music
Arts programs provide professional level experiences in rehearsals
and performances, developing musicianship and technique, and
acquiring knowledge of styles, performance practices and
repertoire. MM and DMA graduates of CCM's Choral Studies Programs
are conducting and administrating highly successful professional,
collegiate, symphonic, secondary, children's and church choirs
programs throughout the world.The aim of the course is to train
musicians in the art of choral conducting; to instruct them in
diverse aspects of the history and practice of choral music, with
particular reference to theology and liturgy; to provide the
opportunity to learn the technical skills required to work with
historic repertoires and, for organists, to develop organ playing
skills as both soloist and accompanist; and to provide students
with the experience of observing the daily workings of some of the
leading Cambridge Chapel choirs.Structure of the CourseThe course
consists of four elements:1. Choral Conducting: Weekly instruction,
leading to a practical examination;2. Seminar course: Weekly
seminars, leading to a written examination;3. Options: Candidates
select two out of the three options listed below;4. College
Placement:Students will have placements observing the work of
leading Chapel Choirs.Detailed Content of the Four ElementsChoral
Conducting: This part of the course consists of regular classes on
conducting technique and, in addition, occasional seminars on vocal
issues (such as rehearsal techniques, working with boys voices, and
vocal health) and issues of repertoire (such as interpreting early
choral repertoire and preparing modern choral scores). A weekly
rehearsal choir provides extra opportunity for conducting
experience and a resource for occasional masterclasses. At the end
of the course candidates will be required to rehearse and conduct a
choir for approximately thirty minutes, using set works announced
at the start of the course.Seminar course: These seminars will
cover a wide range of subjects including Music and Theology, the
detailed study of a number of major choral works (such as
MonteverdisVespers of 1610, and MacMillansSeven Last Words), and
case studies in differing performing traditions. At the end of the
course candidates will be required to take a three-hour written
examination based on topics studied in the seminars.Options:
Candidates are required to select two of the following three
options: An extended essay on any topic arising from the Seminar
course; An edition of a piece of choral music not otherwise
available in a modern scholarly edition; this should include an
introduction and full critical apparatus; A performance either in
the form of a choral recital or on the organ, either as a soloist
or continuo player (including performance on the
harpsichord).College Placement: The final element involves
placements with the leading Cambridge Chapel choirs. Each student
will spend time observing the work of the all-male choirs at Kings
and St Johns Colleges and several mixed-voice choirs including
those at Clare, Caius, Jesus and Trinity. Advanced singers may be
able to deputise, and conducting opportunities will also be made
available with these or other choirs.Duration of the CourseThe
course will last ten months, from 1 October to 31 July, and it is
expected that students will be resident in Cambridge throughout
University terms.Enquiries and ApplicationsWe realise that for many
potential applicants, funding is a major issue. SeeFunding Graduate
Studyfor information on costs and funding options, with links to
the Universitys graduate funding pages.Applications must be made
online; details ofHow to Applyare available here. (Video recordings
cannot be uploaded through the Universitys online application
system but should be submitted direct to the Faculty through
Dropbox by sharing electronic files with
[email protected]). If you live in the UK,
you will probably be invited to an interview; if you live elsewhere
we can usually conduct the interview using SKYPE or by phone if
necessary.Further details of graduate life at Cambridge may be
found on the Universitys Student Registry website.Choral Singing
Step by Step Eleven Concise Lessons for Individual or Choral
Ensemble Useby James Jordan 2011 by GIA Publications, Inc.
This unique self-study guide distills the essentials of good
choral vocal technique into eleven concise, accessible lessons.
Prepare by acclaimed teacher James Jordan, Professor and Senior
Conductor at Westminster Choir College of Rider University, Choral
Singing Step by Step is a perfect guide for amateur and novice
choir members who wish to improve their own singing technique and
understand the singing process. With this handbook, Jordan covers
the same techniques he has used to help thousands of singers
through his conducting workshops and clinics around the world.
Topics include: Strategies for good intonation and tuning,
breathing, inhalation and exhalation, support, resonance, vowel
colors, leaps, range extension, diction, and alignment (using
Alexander Technique and Body Mapping principles) Use of the sigh
for diagnosing vocal problems Maintaining rhythm and consistent
tempo
Choral Singing Step by Step is designed to stand on its own but
can also be used to support Dr. Jordan's comprehensive guide for
choral directors, The Choral Warm-Up: Method, Procedures, and Core
Vocal Exercises.
Choral Singing Step by Step is an innovative approach that
provides a sequential, self-paced program that extends beyond the
rehearsal. The exercises in this guide allow for both individual
practice and study.
It has been requested repeatedly that I write about vocal
techniques that can result in vocal stress or even damage. I have
hesitated to write about this because it is a difficult and
controversial subject. Nevertheless, I believe it is a subject that
needs to be responsibly addressed. Most singers know little if
anything about the voice when they begin to study singing. Nor do
they know what is healthy or unhealthy vocal technique. Having
suffered vocal damage myself, I can only speak from my own
experience. In the following paragraphs, I will list the causes of
such vocal damage. Not only have I witnessed vocal damage, I can
say I have suffered vocal damage and have recovered from it through
the concepts of Alan Lindquest, his students Virginia Botkin,
Martha Rosacker, and Dr. Barbara Mathis, and Dr. Evelyn Reynolds,
my present teacher who has studied the Italian School extensively.
All of these teachers have accomplished a deep understanding of the
concepts of the Italian School in great detail and they all
developed diagnostic hearing plus tools to solve vocal problems.
All of them have been extremely influential in my development as a
teacher and they have given me an expertise that I value greatly
today. This is why I encourage young teachers to find a real master
teacher with whom to study. Lindquest continued his vocal research
until his death at age 93. This is the sign of someone who pursues
the deepest truth in vocal concepts. Singing is a life-study. It is
exciting in the sense that one can learn at any age and the journey
need never end. The Damaging Effects of a Flat-Tongued Technique So
many teachers and singers are confused about the healthy position
of the tongue in singing. I have worked directly with singers who
have studied a 'flat tongued' technique and attempt to sing on this
type of production. The flat-tongued technique is basically a
non-productive futile attempt to find more acoustical space in the
throat. I can tell you without hesitation that this is an incorrect
and damaging technique. If the tongue is flat, then the mass of
muscle at the back of the tongue (tongue root) is forced into the
pharynx. This fills up the primary resonator (pharynx) with tongue
mass which can be compared to singing with a pillow in one's
throat. Trying to teach a singer with such a background can be a
difficult journey at best. Healthy nasal resonance cannot be
present in a flat-tongued technique. It is important to understand
that healthy nasal resonance (not nasality) is the only concept
that completely releases tension at the root of the tongue. In a
flat-tongued technique, the singer is primarily using a technique
which does not allow for a healthy change of register as one
ascends upward within any scale or arpeggio. The root of the tongue
places direct pressure or stress at the vocal cords or glottis.
After hearing a singer trained in this destructive technique, it
becomes obvious that this incorrect vocal concept does not allow
for the healthy pivoting of the vocal folds. Therefore there cannot
be a healthy transition into the head voice register. Loss of high
notes is typical in such an approach to singing. When the tongue is
too flat, then the singer has to force the voice into the upper
register with a tremendous amount of breath pressure. This breath
pressure irritates the vocal cords and the result is usually
hoarseness and an inability to phonate healthily. Some singers have
also suffered damage such as vocal hemorrhage, bowed vocal cords,
nodules, or polyps from singing with the tongue depressed or flat.
This constant pressure on the larynx and vocal cords created by
this technique is completely unhealthy for the voice. I warn
teachers and singers that those who pursue such a technique to get
a 'bigger sound' (this kind of sound is only big in a small room
and is quite small in a theatre.) can destroy their vocal health.
Case Study: Tenor Singing Baritone Recently I had the opportunity
to work with a young professional baritone. At 23, he was loosing
his voice through hoarseness after each performance. There were two
primary culprits that worked together to destroy healthy
production: tremendous breath pressure and a flat-tongued
technique. Because he was trying to create false color with the
back of the tongue and because he thought he was a baritone (see
article on Vocal Fach), this young singer was flattening his
tongue. There were four negative results (1) absence of healthy
nasal resonance, (2) inability to achieve 'ring' in the voice
through nasal resonance, (3) chronic hoarseness from a flat tongue
position creating direct pressure on the vocal cords, and (4)
absence of an easy transition into the upper passaggio and high
range. After working with this singer for a period of about 10
minutes and having heard the absence of true resonance in the
voice, I decided to vocalize him higher. Because of Lindquest's
great understanding of the tenor voice, partly from his association
with Jussi Bjoerling, and because his exercises invite balance in
the upper passaggio, this singer could quite quickly go up to the
high C and even to the high D without major difficulty. I began to
analyze the singer's tongue position and realized that at times it
was completely flat in an attempt to manufacture a baritone color
in the voice. Since he was not really a baritone, this was
impossible. After listening to his first lesson, he described his
own voice as sounding simply like a "tenor who was trying to make a
baritone sound". By the third lesson, this singer was singing the
tenor solos in Handel's Messiah with great beauty of tone. It
became more and more obvious to me that this young singer was
singing in the wrong fach. The flat tongue position was only one of
the negative results of singing in the incorrect vocal fach. As I
mentioned above, chronic hoarseness would follow each performance.
This is yet another case of a young singer who was on the road to
vocal damage because of an insistence from his instructor that he
was a baritone. There is absolutely no denying the truth; that he
is a high tenor. This is an example of a situation where a
teacher's ego dominates over real concern for the singer. This is
criminal and there should be laws to protect singers. True, he
could sing in the baritone range by depressing the larynx with the
root of the tongue. However, this created false color and forced
the voice to phonate lower than intended. As a light skinned blond
person, (usually these singers have blood vessels right on the
surface of the vocal cords.) had he continued to sing with this
false and unhealthy technique, he most certainly would have
suffered vocal damage, probably through a major vocal hemorrhage.
Tongue depressors: The ultimate in vocal abuse: I have taught
singers who were taught to depress the tongue with a tongue
depressor while looking into a mirror. This is absolute vocal abuse
that most certainly results in vocal damage. In this kind of
circumstance, there is absolute and obvious confusion by the
instructor. The confusion lies in the idea that what appears to be
filling the mouth space can be flattened to make more space in the
throat. This concept represents a basic ignorance in the physiology
of the voice. In actuality, flattening of the tongue is filling up
the pharynx or back wall of the throat with tongue mass. Singers
trained in this way often sound as though they are gargling marbles
and trying to sing at the same time. On the other hand, when the
mouth space appears to be filled with the forward and arched
tongue; the back of the throat (pharynx) is actually much more
open. Remember Lamperti's quote: "The singer's pronouncer is in the
pharynx NOT the mouth." When the tongue is arched healthily as in
the 'ng' position (Lindquest's home position of the tongue), then
the singer can pronounce the vowels clearly. The integrity of the
clear Italian vowel sounds is never sacrificed. The tongue should
never be frozen in place. Otherwise clear pronunciation is
impossible. Those who have forced the tongue flat cannot make a
clear transition from vowel to vowel. The result is a large forced
ugly sound with lots of breath pressure forcing the voice to go
higher. Many singers have suffered vocal hemorrhage or nodules from
this tremendous breath pressure alone. I warn teachers and singers
alike that this is extremely dangerous. A singer who has suffered
from this kind of instruction and suffered vocal damage should seek
legal action. One famous court case in the United States awarded a
singer a very large sum of money. The technique taught this singer
was extremely destructive and included an unhealthy depressed
tongue approach. I had one lesson with a New York teacher who
taught this technique because he had a big name. I was searching
for another teacher at the time because Mr. Lindquest had died.
This teacher gave me a vocal hemorrhage trying to make me a high C
tenor when I was actually a lyric baritone. I left his studio
unable to speak and cancelled all of my teaching for the next 3
days. Later when I had my vocal cords videoed at the University
Hospital at Groningen, The Netherlands, the scar on my right vocal
cord from the hemorrhage was evident. I now have a scar on my right
vocal cord because of this teacher's dalliance and irresponsibility
(he had a huge ego!) Luckily the scar is on the fold and not on the
vocal lip. Therefore it does not impede my singing ability. Jaw
Forward Technique I remember the first time I had a singer who had
been taught to place or relax the jaw forward. The resulting sound
was that of a small child; extremely breathy and throaty. The
throat was completely closed and the vocal cords would not
approximate properly. The voice lacked any kind of color or warmth
and would fatigue very quickly. When the jaw is forward, there are
several negative results: (1) the vocal cords do not approximate
correctly. (2) The tongue usually goes back into the pharynx,
filling the primary resonator with tongue mass. (3) The larynx
functions in a high position allowing only a thin immature sound to
be produced. (4) The soft palate assumes a low position, often
resulting in nasal or thin tone. (5) Legato line is impossible
because the tongue is so tense that there cannot be a healthy
separation between the jaw and tongue function. (6) There cannot be
a healthy breath line because the breath is choked off by the root
of the tongue. (7) It is impossible to create a musical phrase
because the singer cannot crescendo or decrescendo healthily. (8)
The vowels are usually distorted because of a large of amount of
tension at the tongue root. (9) Since the back wall of the pharynx
is closed, there cannot be healthy resonance present in the voice.
High Larynxed Technique: Often Associated with the Boy Choir Sound
I can speak from personal experience about this subject. I was
trained as tenor even though I was actually a lyric baritone. This
is extremely damaging to a young singer. My personal belief is that
many teachers are not taught to hear the difference between healthy
ring in the voice and a 'squeeze' of the throat. Often college,
university, or conservatory teachers are teaching very young
singers and are afraid to address the issue of the high larynx.
Their fear, and I understand that fear, is of a depressed larynx
technique which is truly incorrect and damaging as well. However,
it is crucial that the singer learn a slightly low larynx
production without overly depressing the larynx with the root of
the tongue. If taught with the nasal resonance and the 'ng' tongue
position, the slightly lowered larynx makes for a healthy, warm,
and balanced vocal tone which includes both higher and lower
overtones. I understand that many teachers are afraid to allow
young singers to make a big sound. However, it is critical that
teachers understand that if they are teaching a young large-voiced
singer and the singer is not allowed to use the fullness of the
instrument, then the result is usually a squeezed throat which can
be damaging. The singer is trying desperately to 'lighten up the
voice'. This concept of lightening the voice needs to be taught
with a deep body connection. The only way a large voiced singer can
lighten up his/her tonal quality is to connect deeper to the body.
One of the largest problems for me personally was when I was
required to sing as a tenor in choirs when I was in reality a lyric
baritone. This created constant hoarseness, especially when I was
required by a conductor to sing a boy choir sound with a straight
tone. I would have difficult speaking clearly after any choral
rehearsal. This was primarily due to the fact that I could not
sustain the tenor tessitura with a lower larynx position. The
result was a constant irritation of my vocal cords. A depressed
larynx or a high larynx can cause irritation. I am fortunate that
the scar on my right vocal cord is not at the vocal lip. However,
this scar could have been catastrophic to my singing and I could
have suffered damage that would not allow me to sing again. Scar
tissue does not stretch as healthy tissue does. The 'boy choir'
sound is not a sound that is designed for any adult to make.
Demanding this kind of sound by voice teacher or choral director
from an adult singer creates all kinds of vocal difficulties as I
listed at the top of this paragraph. Straight Tone Singing:The
Early Music Trap Some of my favorite music is of the Baroque
period. I love Bach and Handel and the beauty of their music. I
personally sing this music with a healthy shimmering vibrato. A
healthy vibrato shimmers with fast vibrations. It is not to be
confused with a wide vibrato or 'vocal wobble'. I certainly
understand that choral directors do not want any of their singers
to 'wobble' because tuning becomes impossible. However, attempting
to solve this problem with straight tone singing is futile and
destructive vocally. Usually the singer with the wide vibrato gets
even worse because of the holding in the throat. This is of course
a response to trying to 'straighten out' the tone. Why is straight
tone singing damaging? The answer to this question is simple. When
a healthy tone is produced, the result is a taut and shimmering
vibrato. The vibrato is a result of the healthy function of the
vocal cords. It has a direct relationship to Flagstad's comparison
of a 'silver sound' or 'silver thread'. If a singer is required to
sing a straight tone for any choral director or teacher, then that
singer has to squeeze the vocal cords in order to stop the vocal
cords from fully vibrating. This does not allow a healthy amount of
air through the vocal folds. This holding of tension in the throat
can create all sorts of negative results including a closed
acoustical space. The largest problem is vocal fatigue accompanied
with an imbalance of the registers. Most straight tone singers find
it impossible to allow for a healthy transition into head voice.
This kind of singer is actually unaware that he/she is belting from
the lower register upward. However, the straight tone sound is so
thin and light with a high larynx that it disguises chest voice as
head voice. I speak from personal experience on this issue. When I
was singing as a high larynxed tenor, I thought I was singing head
voice when in actuality I was belting the middle voice as high as I
possibly could. The vocal cords became extremely fatigued and
beauty of tone was impossible. The healthy pivoting process of the
vocal folds was impossible and I had no sensation of a high soft
palate. With age, my voice became more and more brittle in sound.
There was a complete absence of warmth of tone in the voice. By the
time I got to Alan Lindquest, I was suffering vocal damage at age
29. The Smile Technique There is one large-scale incorrect
technique that I must speak about; the smile technique. So many
teachers and singers think that it is important to smile at the
mouth opening while singing. This absolutely is destructive to the
throat. The Italian School teaches the inner smile which is
actually a high and wide soft palate, lifted cheeks under the eyes,
sunken cheeks at the back teeth (this creates more acoustical space
in the pharynx), and all this with an oval mouth shape. The smile
is actually in the eyes, NOT the mouth. So many singers are taught
the smile technique in an attempt to brighten the tonal quality of
the voice. Instead brilliance of tone should be produced by
bringing the tongue forward and arched out of the throat. The smile
technique is related to the 'boy choir' sound in an adult voice;
something that should never be taught. It does nothing to enhance
the voice and the results can be extremely damaging over time. This
smile of the mouth technique raises the larynx, drops the palate,
invites the jaw to move forward, the tone to be bright and thin,
and usually the singer is flat in pitch. The vocal cords also do
not close properly. Absolutely NO body part is in the correct
position for healthy singing to occur. The absolute negative result
is a closed throat that causes hoarseness after singing. Again this
is another technique which is widely excepted as one of vocal
health. The truth is that is it extremely dangerous and detrimental
to true vocal health and should never be taught. This has been
scientifically proven through the use of fiberoptic research.
Although there are some excellent early music singers, this smile
technique is quite popular amongst many in that genre of music.
Those who use this concept in an attempt for authenticity will and
do suffer the consequences. I can name several early music singers
who have large scale recording careers, yet they sing constantly
flat and out of tune. I have never understood why their recordings
sell. Do people not hear that they are singing flat? Over time the
voice will deteriorate completely. Again, I am speaking from
personal experience. I was taught by a high tenor who had me smile
while singing. The result was an extremely high larynx position and
constant vocal fatigue. By the time I got to Alan Lindquest in
1979, my voice was stiff, rigid, and had a flat and unpleasant
tone. It was impossible for me to go into the upper passaggio and
high range because the larynx position was too high. The vocal
cords could not pivot properly for the correct register changes.
There is not doubt that the smile technique is quite dangerous. The
Pulled Down Facial Posture in Singing I have witnessed many singers
who pull down the cheeks and cover the teeth completely while
singing. This simply makes singing very difficult and hooty. Again,
the Swedish/Italian School attempts to create a balance between
higher and lower overtones. The lift of the cheeks under the eyes
brings the soft palate up. Quality of tone is directly effected by
one's facial posture because of its effects on the interior posture
of the throat. If the facial posture is pulled down, then singer
must work twice as hard with breath pressure to blow the soft
palate out of the way. The result is usually pushed and unpleasant
tone. When the facial posture is lifted, then high overtones come
into the singer's production. Without lift, the singer's voice does
not carry properly in a concert hall or opera house. The lift
brings ring into the voice and therefore carrying power. It seems
that men are often the singers who use this technique the most. I
remember hearing a British baritone who was flown over to sing
Elijah in a concert in Connecticut. This was a catastrophic
performance. The production was hooty and dark and he sounded
somewhat like he was imitating a moose call. I actually felt sorry
for the singer because of his own obvious discomfort. The audience
was shocked and disappointed at the lack of beauty of tone. I
believe that people can keep their voice as long as they can keep
their health. This is also very related to exercising the voice
properly. If a person is physically healthy and exercises his/her
voice properly, then vocal longevity is quite easy. This baritone
was only about age 55 and should have been at his peak. Sadly the
voice was quite stiff and ugly and the high notes were completely
flat in intonation. All this was directly related to his confusion
regarding correct facial posture. Since I had a mezzo in the
performance, then I got more of the inside story. This man was
quite arrogant because of his own insecurity. It made him quite a
bad colleague. His own unhappiness and insecurity turned him into a
difficult and demanding performer. I will be writing an article on
facial posture and the acoustical relationship to healthy tone
shortly. It will also be a long chapter in my upcoming book. The
Belting of Breath Pressure: Over-Development of the Chest Register
The more of this article I write the more it becomes obvious that
every vocal concept is connected to another. If one element is out
of alignment, then the result is that other aspects of the voice
become unhealthy as well. When I was incorrectly trained as a high
larynxed tenor, I had to use a tremendous amount of breath pressure
to force the voice upward. This was not a conscious or aware
reflex, but there was really no other choice. My tongue not only
was flat, but in the upper range it also dipped like a spoon. This
tongue problem was a direct result of the breath pressure that I
had to use to try and go up into the higher range. I especially
wanted to try and go higher because teachers had told me I was a
tenor. I was actually a lyric baritone. This tenor training was
extremely damaging. This was because it resulted in every body part
being in the wrong position for healthy singing. This includes a
larynx high, flat and back tongue position, breath high under the
chest and little or no lower body support. The result was the
support of tone by the tongue, little or no vowel clarity because
of the forward jaw and low palate, and tremendous lack of resonance
because of a complete lack of acoustical space. It became obvious
in later years that I was constantly doing a close dance with vocal
damage and no one really offered me any answers until I met Alan
Lindquest and the other teachers I mention at the first of the
article. One thing is for sure; hard belting is damaging to the
voice. There is absolutely no way to belt with breath pressure and
have the vocal cords survive without damage. It is unfortunate that
pop and Broadway singers feel the necessity to belt in order to
compete. Usually the singer must use a lot of breath pressure or
breath compression in order to push the chest register upward
further than it is designed to sing. I was fortunate to survive
with only one vocal hemorrhage. I have the scar on the right vocal
fold to prove my vocal distress. I was intelligent enough in my
instincts to seek help and it took years to find a teacher who knew
about vocal technique. Locked Solar Plexus Technique Tragically,
many young singers are taught a technique that tries to get only to
the 'big vocal sound'. Some teachers think that a singer must have
this in order to compete in the business of classical singing. True
that any singer needs a large amount of 'ring' in the voice. But
this is not created by pumping a 'big sound' out of the mouth space
with lots of breath pressure. Healthy resonance is created with the
help of nasal resonance that takes away the pressure at the root of
the tongue. This 'big vocal sound' (which has become popular!) is
manufactured by pumping a tremendous amount of breath pressure
through the larynx. I call this the over-compression of the breath.
Often in such a technique the teacher puts his or her fist in the
singer's solar plexus area and then has the singer 'push out' with
a great amount of pressure. The result is a loud and pushed sound
with little or no healthy nasal resonance. In healthy singing, the
solar plexus gradually turns freely as the singer gradually fuels
the small stream of breath through the larynx. Remember that Caruso
said he needed no more breath to sing than to have a casual
conservation with a friend. With this pressurized technique it is
quite impossible to achieve vocal freedom. The root of the tongue
becomes locked and yet again direct pressure is placed at the vocal
cords by the root of the tongue. Usually these singers suffer an
overly-chested technique. Again there is no possibility for head
voice development. The singer suffers difficulty with high notes
and there is a large imbalance of registration present. I once had
a French mezzo who had studied a teacher who used the 'fist in the
stomach technique'. She was admitted into a very exclusive
conservatory and at the end of her study she could no longer sing
thanks to this damaging technique. She was not allowed to perform
her graduation recital and after a threatened law suit, she was
allowed to study with me outside the school for credit. It took one
and one half years to rehabilitate her voice. Her teacher used the
'fist in the stomach' technique which creates a gag reflex at the
root of the tongue. Once this extreme reflex is taught to the body,
it is difficult to correct. After tremendously hard work at
recovering from the damage taught her, this singer graduated and is
now a successful voice teacher. She was indeed a victim of a
damaging technique taught by someone who was ignorant of the
resulting damage. She paid a large sum of money to attend a
conservatory, which not only did not serve her, but also damaged
her voice. Breathy Technique I first learned of the damage of
breathy singing from my friend and colleague Dr. Barbara Mathis.
Her research is ground breaking to say the least and she is on of
the finest voice scientists and teachers in the United States. She
teaches at Lamar University in Beaumont, Texas. During her vocal
research, she decided to have a 'vocal abuse' session using the
fiberoptic camera. The discovery was nothing less than amazing. She
told me that after singing with a breathy tone, the vocal cords
turned more and more red and the vocal lips swelled almost twice
their normal thickness. This was indeed an eye-opening event. I
have had the privilege of seeing Dr. Mathis' research. I consider
her to be a great vocal technician and she has done amazing work
with damaged voices. My personal experience with breathy tone was
revealed when I worked with Alan Lindquest. My vocal cords would
not come together properly because of years of using breath
pressure and a high larynx. The vocal cords were 'bowed' and would
not come together like healthy cords. He offered me exercises that
changed my singing life. Suddenly after only about 2 days my tone
became healthy again. Lindquest used some of Garcia's 'coup de
glotte' exercises that healed a great deal my vocal damage. I had
acquired this damage over about 15 years of incorrect instruction.
It is scientifically proven that breathy singing is damaging to the
voice. It is sad to say that this technique is being taught in an
attempt to 'lighten the voice'. Recently I had the experience of
hearing a Cabaret performance in New York City. The singer used a
lot of breathy tone for dramatic effect. This was a huge mistake.
After only about 3 songs vocal fatigue began to develop and by the
end of the performance the singer was trying desperately just to
get through the performance. All of this occurred because of the
swelling of the vocal cords due to breathy singing. The Final
Analysis: Causes of Vocal Fatigue In closing, I think it is crucial
that I list the causes of vocal fatigue. Because singing is such a
coordinated function, the list of causes might seem repetitive.
However, I feel it is important to review the causes of vocal
fatigue. Allow me to say emphatically, a singer should NEVER
experience vocal fatigue. If he/she is singing correctly, the voice
should not tire. I speak and teach 7 to 8 hours per day 6 days per
week and I never experience vocal fatigue in my voice studio. Never
should a singer feel fatigue after a lesson. I have heard so many
singers tell me that their last teacher told them that the 'muscles
had to get used to the new technique'. This is irresponsible for
any instructor not to take vocal fatigue as a red light for future
vocal damage. Hoarseness should NEVER occur after any voice lesson
unless the singer is executing the instruction incorrectly. Causes:
(1) Smoking or drinking alcoholic beverages. (2) Belting: using too
much chest voice pushed up to high in the scale. (3) Using a
technique with a tight solar plexus during singing. (4) Singing
with a high larynx. (5) Singing with a low soft palate. (6) Singing
with a forward jaw position. (7) Singing with the vocal cords too
far apart or too squeezed together. (8) Pushing too much breath
pressure through the larynx. (9) Incorrect posture; dropped chest
or hyper-extended chest. (10) Singing with the head posture pushed
forward from the spine. (11) Use of mouth vowels instead of
pharyngeal vowels. (12) Unsupported singing; lack of connection to
the resistance of breath pressure in the lower back and abdominal
muscles. (c) David L. Jones/2001Please direct questions to
[email protected]