Handbook

5inger's

BreathManagement
Your voiceis a wind instrumentthat needsbreath
to producesound'Trainingyour body and unconsciusmind to managethe breathingprocesswill
giveyou the controlyou needto singlonger
noteswell' and to
ihrur.t, to singhigh and low
gain betterconffol overdYnamtcs'

Shoulders forced back

C o l a P S e dc n e s l

Good alignment

FourStepsto Effe
Try this simPleexercisetha
the breathingProcess.

1. Stand with Your bodY al

distanceaqart,and 1'ou
high.
2. InhaIe through Your no:
expanding around 1'our
your lower abdominal r

3. Allow Your lower abdo

contract slightiY,as )'ou
tone in the middle of vt
To establishgood posture' start with a comfortably
high chest, rlaxedknees (not locked), and feet
with
hip-distance apatt' As you become familiar
good posrure,it will feel more natural to you'
buring singing, be sure to keep your chest
in
comfoitabty ttiglt Try practicing while standing
good
front of a mirror. It may be easierto see
posfure than to feel it'

4. Maintain Your comfort

and keePYour ribs oPe
your chestcollaPse.

When inhaling, don't over

your lungs createstenslon
before you even make a so
by expandingaround vour
lower abdominalarea.tak
tensionbY liftrng vour sho

-_=_-

Breath
L\4anagement

runnenr thar needsbreath

:ng )'our bod-"-and uncon_
he brearhingprocesswill
need ro sing longer
, .trr\ noteswell, and tO
ii:anlcs.

IT
AbdominaJ
area (oul)

-';:t:$"
Diaphragm
ascends

FourStepsto EffectiveBreathing
Try this simple exercisethat
outlines fbur stepsof
the breathing process.
1. Stand with your body aligned,
your feet hip_
distance apaft, and your n.ri
comfbrtably
high.

srart $'rrh a comfortably

rot locked),and feet
becomefamiliar with
cre naruralto you.
reepvour chest
t : . : : { x h i l e s t a n d i n gi n
ea_ircr
ro seegood

2. Inha\e through your nose

and mouth by
expanding around your waistline
and rlaxing
your lower abdominal muscies.
3. Allow your lower abdominal
musclesto
contract slightly, as you start
to sing a long
tone in the middle of your range.
4. Maintain your comfortably
high chest position,
and keep your ribs open, u, yJ.,
sing. on,t let'
your chest collapse.
a

When inhaling, don,t overfill your

lungs. Stuffing
your lungs creates tension
in your throat and jaw
before you even make u ,orr.r.
I"il
complerely
by expanding around your waistfirre
lna in your
lower abdominal area, taking
carcnot to qeate
tension by lifting your shoulers.

'.
{
il

Handbook
5inger's

TheDiaphragm
The diaphragm is a flat muscle, curved in a
double-dome shape,separatingthe chest cavity
from the abdominal cavity. It connectsto the
bottom of your ribs and is the floor of your rib
cage.

Diaphragm descends to a lower posrlron.

drawing a r into lungs.

D achragm nses lo a hrgher arched position,

lo expel aLrlrom ungs.

RibsandLungs
Your rib cage is comprised of bone and cartllage.
During breathing, the attached musclesopen and
close your rlb cage,filling and emptying your
lungs. When you sing, steady flow of air to your
vocal cords is achievedby opening your ribs and
slightly contracting your abdominal muscles.
This exercisewill help increaseyour awarenessof
the expansion of your rib cage.
1. Place your fists on your sidesabove your waist.
2. Take a fuIl breath, and feel the expansion of
your rib cage.
I

J.

Exhale, and feel your rib cagebecome narrow.

4 . Take a secondbreath, spreadingyour ribs as

wide as you can. Don't lift your shoulders.

5 . Hold your breath but keep your throat open.

Slowly, count to four. Maintain an open rib
cage as you hold your breath. You will feel the
external intercostal musclesof your ribs
working to stay open.

6 . Exhale, and allow your rib cage to become

narrow agar.

TheAbdomin

These powerful musclesco*

inal region, running vertica
acrossyour belly.Your lo*.e
relax ourward during rnhala
inward slightly during e.xha

During singing,vour nb cag

while your abdominal musc
This is called support; it ena
to ascendto its high positio
allowing you to sustain long
tain better pitch control. If r
immediately, atr wili rush or
phrasing,or a breathytone r
your ribs and chesttightens
muscles,preventingyour lar
freely. This can causeyour s
feel constricted.Good abdo
help you keep your neck anc
bringing you a fuIl and resor

.-"..ifl

Breath
Managemeni

l Diaphragm
la: =us.-le.cun'ed rn a
rdla:atlng the chestcaviry
:a\':rv It connectsto the
rn.: rs the floor of your rib

nd Lungs
:scd ot bone and cartilage.
ana;hed musclesopen and
rne and emprying your
s{eadvflow of air to your
r t'r t'rpeningyour ribs and
r at"iominal muscles,
:nf:easevour awarenessof
nb cage.
r.r:: srdesaboveyour waist.
u:c ei rhe expansionof
;: ::b cagebecome narrow.
:. spreadrngyour ribs as
rn': iift r'our shoulders.
rt keep vour throat open.
: \laintain an open rib
:: brearh.You will feel the
::usclesof vour ribs
:
r::: ::b cageto become

TheAbdominal
Muscles
Thesepowerfulmusclescoverthe entire
abdom_
inal region,running verticallyand diagonally
acrossyour belly.your lower abdominal
muscles
relax outward during inhalation and
contract
inward slightly during exhalation.
D.ulinSsinging,your rib cageshould
stay open
while your abdominal-,rr.1., move
in shgirtty.
This is called support;it enablesyour
diaph rugm
to.ascendto its high positionat a slower
rate,
allowingyou to sustainlongerphrases
and main_
tain betterpitch control.If youi ribs
descend
immediately,air wiil rush olt too quickly
for good
phrasing,or abreathytone may r.*tr.
Collapling
your ribs and chesttightensyour
neckand throat
yuyle , preventingyour larynx from functioning
freely.This can causeyour singingto
soundand
feel constricted.Good abdo-ut"rrrpport
will
help you keepyour neckand throat
relaxed,
bringingyou a full and resonanttone.

(inopr'<

BreathinExercises
BreathObservation

Abdom
Releasing

This exercisewill help vou i

abdominal musclesto take ;

This exerciseis helpful in encouragingproper

abdominalaction.
1. Lay on the floor and placea smallbook
approximately1 1/2 inchesthick underyour
head.
2. Focuson your breathing.As you inhale,your
abdominalmusclesbelow your rib cagerise,
and as you exhale,they moveinward. Observe
the opennessof your nbs aroundyour waistline.
3. Restyour handson your abdomenand
breathe,observingthe riseand fall of your
belly.
4. Standup, and reproducethisbreathingaction,
expandingas you inhale.

1. Standwith your feet abc

from a table (or the bach
2. Lean forward ."r,ithvour
the table.

3 . Take a slow,deepbreatt
toward the floor. A1lori'
musclesto drop.

Exhale, with firm abdon

Inhale again, feeling the

back musclesand the re
inal muscles.

6 . Sing a few easypassage

your abdominal muscle

inhale.

7. Repeatsteps3-6,

Breathing
Exercises

:xerctses
fi Observation

Releasing
Abdominat
Muscles
This exercisewill help you releasethe lower
abdominal musclesto take a full breath.

:;^ :n encouragingproper
ani piacea small book
I I :nchesrhick under your
:.'.I1:1{ As r.ou inhale,your
'ft'.rr$
:-:
rour nb cagefiSe,
: ::cr :nove inward. Observe
r\tr: -'fs around your waist_
! : \ , . - : a b d o m e na n d
i ::c ::se and fall of your
:.t:.c

:hrsbreathingaction,

1. Stand with your feet about 1g inches

away
from a table (or the back of a chat).
2. Lean forward with your hands on
the edge of
the table.
3. Take a slow, deep breath, letting your
belly fall
toward the floor. Allow your abdominal
musclesto drop.
4. Exhale, with firm abdominal muscles.
5. Inhale agarn,feeling the expansion
in your
back musclesand the releaseof your
abdom_
inal muscles.
6. Sing a few easypassagesof a song,
letting
your abdominal musclesdrop whn
you
inhale.
7. Repeat steps3-6, this time standing
upright.

5inger's
Handbook

Extending
YourBreath
This exercisecan help coordinate and energize
your breath support. Practice Step One until you
can make it through comfortably, then add Step
Two, then Step Three. Take care not to inhale too
fast or raise your chest when you inhale. During
exhalation, maintain the opennessin your ribs for
the entire count. When all three stepscan be
performed consecutivelywithout stopping,
increasethe exhalation count to 25 or 30. put your
metronome on 80 b.o.m..
Step One
1. Inhale to a count of 10, taking in two tiny sips
of air per metronome beat, expanding your
lower abdominal musclesand ribs. Exhale for
20 beatsusing repeatedshort hisses,rwo hisses
per metronome beat. After 20 counts, begin the
next inhalation.
2. Inhale again to a count of 10, taking in two
tiny sips of air per metronome beat. Exhale for
20 beats using one long, sustainedhiss.
3. Inhale again to a counr of 10, taking in rwo
tiny sips of air per metronome beat. Sing ,,ah"
on a comfortable pitch for 20beats. Maintain
the opennessin your ribs. (Continue, without
stopping, to Step Two if you successfully
completethis with no problem.)
Step Two
1. Inhale to a count to 10, taking in one long,
continuous, slow breath. Exhale for 20 beats
using repeatedshort hisses,two hissesper
metronome beat.
2. Inhale again to a count of 10 in a slow, continuous sip. Exhale in a slow continuous hiss to a
count of 20.
3. Inhale again to a count of 10 in a slow, continuous sip. Sing "ah" on a comfortable pitch for
20 beats.Try to maintain the feeling of opennessin your ribs for the entire exhalation.
(Continue without stopping to Step Three if
you successfullycomplete the first two steps.)

to

Step Three

1 . Inhale in a quick catch breat

Exhale for 20 beatsusing re1

fwo hissesper metronome h

2 . Inhale in a quick catch breat

Exhale for 20 beatsin a con

3 . Inhale in a quick catch brea

Sing "ah" for 20 beats.

Breathing
Exercises

ng YourBreath

Step Three

' ;rrcrdrnate and energize

):a.-'!rceStep
One until you
omronabll'. rhen add Step
Take care not to inhale too
I s hen vou inhale. During
he opennessin your ribs for
n ali rhreestepscan be
:.r ri'rrhoutstopping,
r .ounr ro 25 or 30. put vour

1. Inhale in a quick catchbreathin one counr.

Exhale for 20 beatsusingrepeatedshort hisses.
fwo hissesper metronomebeat.
2. Inhale in a quick catchbreathin one count.
Exhale for 20 beatsin a continuoushiss.
3. Inhale in a quick catchbreathin one counr.
Sing "ah" for 20 beats.

:'l

l . . :akrng in fwo tiny sips

ne beat.expandingyour
u.x-.esand ribs. Exhale for
ateJ shorr hisses,two hisses
t .{ler 20 counts,begin the
rur: of 10. taking in two
ne::rrnomebeat.Exhale for
ong. sustainedhiss.
un: oi 10, taking in two
nel:onomebeat. Sing ,,ah',
:ch rcr 20 beats.Maintain
r nb's (Continue,without
;o :f vou successfully
,,-'p:oblem.)

10. :akrngin one long,

arh Exhale for 20 beats
hrsses.nr.o hissesper
nr of l0 in a slow, contin_
s.orr continuoushissto a
nr oi l0 in a slow,contin_
: a comfortablepitch for
:a:: :he telingof open_
::e c:tre e.xhalation.
lti:ng ro StepThreeif
:lere rhe t-rrstfwo steps.)

tlEsilqqqee!

Routine
Practice
An organi zed practice routine helps you achieve
waste
more becauseyou stay mentally focused and
you will
less time. If you follow a routine daily,
time
practice
your
find that you look forward to
and gainthe benefits of daily vocal exercise'

Practice Routine
I. BeginningWarm-uP
(2-:
a.PhysicalStretches

b.Warm-uPVocalizatio

II. VocalTechnique(10-20

III. SongSrudY(15-20mint

IV. Cool Down (2-5 minutt

Practice
TiPsfor Productive
not be
Location. Work where you can relax and
self-conscious.You need to feel free to make
mistakes,and not hold back for feat of disturbing
to
neighbors or family. If there is no place at home
of
pritice, inquire at a local school or house
worship to iee if there is a room that you could
use regularlY.
you
Keyboard /Guitat Wherever you practice'
for
wili need some kind of keyboard or guitar
checking Pitches.
on
Mirror. Practice in front of a mirror, focusing
your body, posfure, and expression'Observe
iension in the face, neck, and jaw, which indicates
a problem. Use the mirror to help correct
awkward or tense looking movements' The
musclesof your throat can become tight to
compensate for a collapsed chest posture' Align
yorribody in order to allow the musclesof your
throat to function freelY'
Tape Recorder. To hear a realistic (though imperfect) representationof your voice, use a cassette
You
,rrordt in practice and at your voice lessons'
Try
singing'
can learn a lot from hearing your own
to listen objectively,and don't be distractedfrom
your goals by being overly critical'
Metronome. A metronome wilt help you establish
and
and maintain tempos when working on songs
keep you from rushing when practicing scales'

l. Beginni

You probablv rvouldn't rul

before warming uP and str
way, it is advisableto \\'ar
working on vocal techntq
lent of stretchingvour leg
warm-ups increasethe blo
and graduallv releasetens
for activiry.The i'en'minu
and warm-uP vocalizatlo
intendedto PrepareYour
andare generallYnot eno
up your instrument' For z
warm-up, comPletethe bt
the vocal techniquesegm
practiceroutine.

A. Physical Stretches(2-

It is imPortant to begtn s
freedom.We sing and Pe
bodies,which need to be
Notes on warm-ups:

1. If you feel Pain,stoP

2. Don't hold Your brea

3. A stretchedmuscle is
so don't stressit br. ti
4. Readthe directionst
oughlY before atteml
5. Choosea few of the
onlY what feels right
to Your bodY and us

6. ModifY stretchesto :
ical limitations.

t2

Practice
Routine

loutine
rrceroutlne helps you achieve
r stav mentally focusedand waste
ollori a routine daily,you will
: toni'ard to your practicetime
:l:s ot'Jailv vocai exercise.

,r hoductivehactice
r ic:c \ tru Drelax and not be
:: :cc: :o tel free to make
':ack
:o.;
for fear of disturbing
r I: :hereis no placeat home to
I a .txa. >.-hoolor houseof
ie:c :,i a room that you could
, \\':c':rver vou practice,you
:J ,.r: levboard or guitat for
: *t-t:: oi a mirror, focusing on
a:; e.rpression.
Observe
:e;i. and jaw, which indicates
:r::-o: ro help correct
ooi::g movements.The
'oa: can become
tight to
r..ased chestposture.Align
:,. :llorv the musclesof your

Practice Routine
I. BeginningWarm-up
a.PhysicalSrrerches(2-3 minutes)
b. Warm-up Vocalizations(3*5 minutes)
II. Vocal Technique(10-20 minutes)
III. SongStudy(15-20minutes)
IV Cool Down (2-5 minutes)

l. Beginning
Warm.up
You probably wouldn't run a couple of miles
before warming up and stretching.In the same
way, it is advisableto warm up vocally before
working on vocal technique or songs.The equiva_
lent of stretching your legs before yo, ,rrn,
vocal
warm-ups increasethe blood flow to your
muscles
and gradually releasetension to prepare your
body
for activity. The few minutes of pnyiical stretches
and warm-up vocalizationsrecommended
here are
intended to prepare your voice for more activity
and are generally not enough to completely
*ur_
up your instrument. For a more comprehensive
warm-up, complete the beginning warm_up
and
the vocal technique segmentof this recommended
practice routine.
A. Physical Stretches (2-3 minutes)

1ea: a realistic(though imper_

rcrur r.oice,use a cassette
"-rj
:J at vour voice lessons.you
hea::ng vour own singing. Try
a:; ;on'r be distractedfrom
ove:-l cntrcai.
r:o:ne rr'rli help you establish
rs hen w'orking on songsand
rg u'hen practicingscales.

It is imporranr ro begin singing with physical

freedom. V/e sing and perform with ur
entire
bodies, which need to be preparedfor activiry.
Notes on warm-ups:
1. If you feel pain, stop immediately.
2. Don't hold your breath while stretching.
3. A stretchedmuscleis in a weakenedposition,
so don't stressit by forcing or bouncing.
4. Read the directions for each exercisethor_
oughly before attempting it.
5. Choosea few of the following stretches.
Do
only what feels right and good ro you. Listen
to your body and use common sense.
6. Modify stretchesto suit your needsand phys_
ical limitations.

t2

t3

!.sq!'^9!99!
Gentle llead Rolls
the neck
Purpose:to stretchthe strongmusclesof
and to releasetension'
this
Let your jaw hanglooseand openthroughout
your head
stretch.Go at your own pace,circling
keepyour
in both directions.If you becomedizzy'
eyesopen.
closeto
1. Gently drop your headso your chin is
let the weight of your head
your hest,-and
Do
stretchthe strongmusclesof your neck'
not pushyour headdown-let it hang'
your
2. Startingfromthis position,slowlyroll
to
close
is
headaiound until your right ear
your right shoulder'
3. Continueroliing your headuntil you're
looking upward,elongatingyour spine'letting
yorr, orrth and jaw hang opel' Avoid dropthe way back' which would
pi.tg yo,r, head a-11
sffessYourneckmuscles'
4 .C o n ti n u e th e h e a d rollcir cleuntilyour |eftear
is nearyour left shoulder,pausingto stretch
your neck.
head
In a continuous,slow movement,roll your
ear
througheachof thesepositions:chin to chest'
If
to shoulder,eyes,rp*uid, and earto shoulder'
let
your feeltensionin a particularspot' pauseand
ihe weight of your headstretchit out before
continurng.Completefwo or three full rotations
and then reversedirection'
Neck TensionReleaser
that
Purpose:to releasetensionin neckmuscles
-uy inttiUit free laryngealfunction in singing'
Your neckmusclesare complexand canbe
to injury if you forceyour headinto
susceptible
use
any position'Be gentlewith this exercise'and
commonsense.
and
l. Leanyour right eafto your right shoulder
feel the weight of your head elongatethe
muscleson the sideof Yourneck'
2. Reachyour right arrn overthe top of your head
and restyont tight palm on your left ear'simply
letting the weight of yo"t arm increasethe stretch
in vour neckmuscles'Do not pull your head'

t4

3. After You have stretchedsu

seconds),move Your arm I
just let Your head hang in t
few seconds.
4. Next, support Your head s
using it to bring it back to
To avoid stressingthe stre
use your neck musclesalo
head. RePeaton Your left

Shoulder Rolls
Purpose:to releasetensiontn
shoulders.

Proceed at a slow, relaxed Pa

positionto the next without s
using a full rangeof motton'
breathe normallY.

1. Bring both shouldersuP t

them back so Your shoulc
touch in back.
2. Brittgthem down to a rel
then forward to round vc
3. Reversedirections'and r
motion'

Rib Stretch
Purpose:to stretchand deve
rib muscles,and imProvefu

Rib stretcheshelP releasete

body for the extendedbreat

1. Stand with Your feet abc

aqart.
2. Reach uP with Your rigt
ceiling, and stretch it uP
of Your head a bit, lean
3. To increasethis stretch
as You stretchYour righ
should remain straight)
good stretchin Your rig
4. RePeatthis stretch on r

Full Roll-Down
PurPose:to increasea\\'are
rib exPansionduring breat
back, leg, and Posruralmu

l5

Practice
Routine

e sirong musclesof the neck

rseand open throughout this
in pace,crrclingyour head
;ou becomedizzy, keep your
read so vour chin is closeto
thc'ri'eightof your head
:us;.c'sof VOurneck.Do
I jrr$ n-let it hang.
\rs:::on. slowlyroll your
.Lru::tght ear is closeto
ru: head until you're
)asa::ng vour spine,letting
r, :ang open. Avoid drop_
he rrav back, which would
.\.c:.

:e-r..
c:rcleuntil your left ear
u,,jer.pausingto stretch
ro\ c:nent, roll your head
lrs:::ons:chin to chest,ear
;, and ear to shoulder.If
r-:.ular spot,pauseand let
i s::erchit out before
ro ,:r rhreefull rotations
t:

on rn neck musclesthat
al runction in singing.
onple.xand can be
(r- :orcevour head into
r::h :hrsexercise,
and use
J rp'.;1nght shoulder and
:: head elongatethe
i lrtur neCk.

rrr.'rhe top of your head

n on vour left ear,simply
)ur arrn lncreasethe stretch
)o not pull your head.

3. After you havestretchedsufficiently(10_30

seconds),moveyour arm from your ear and
just let your headhangin this position
for a
few seconds.
4. Next, supportyour headwith your right
hand,
usingit to bring it backto its uprightposition.
To avoidstressingthe stretchedmuscle,don,t
useyour neckmusclesaloneto puil up your
head.Repeaton your 1eftside.
ShoulderRolls
Purpose:to releasetensionin the upperback
and
shoulders.
Proceedat a slow,relaxedpace,moving from
one
positionto the next without stopping.Focus
on
usinga fuIl tage of motion. Rememberto
breathenormally.
1. Bring both shouldersup to your ears,then
roll
them backso your shoulderbladesalmost
touchin back.
2. Bring them down to a relaxedposition,and
then forwardto round your.rpp., back.
3. Reversedirections,and roll in a continuous
motion.
Rib Stretch
Purpose:to stretchand developawareness
of the
rib muscles,and improvefullnssof breath.
Rib stretcheshelp releasetension and.prepareyour
body for rhe extendedbreathingusedin singini.
l. Standwith your feetaboutshoulder_width
apart.
2. Reachup with your right arm, palmflat
to the
ceiling, and stretchit upward urrdou.. the top
of your heada bit, leaningto your left.
3. To increasethis stretch,bendyour right knee
as you stretchyour right arm up (your left leg
shouldremain straight).you shouldfeel a
good stretchin your right_siderib muscles.
4. Repeatthis stretchon your left side.
Full Roll-Down
Purpose:to increaseawareness
of abdominaland
rib expansionduring breathingand stretchyour
back,leg, andposturalmuscleito releasetension.

t5

HaMbook
5inger's

your
When you are bent over at the waist' keep
as far
knees loose (not locked), and only bend over
palms to
as it feels comfortable. Do not force your
touch the floor.
1. Standing with feet hip-distance apart, slowly
drop your chin to your chest' Continue to ro11
down, leading with your head, proceeding one
at
vertebra at a time until you are bending over
the waist.
2. Inthis position, take a fullbreath that expands
your beily and ribs. (The belly expansionwill
make you rise from the floor slightly') Then
exhale. Check the back of your neck to make
sure you are not lifting your head, but rather
letting the top of your head drop to the floor'
3. Still in this rolled-down position, breathe
normally as you slightly bend and straighten
your knees a few times, feeling the stretch in
the back of Your legs.
are
4. Shift your weight back slightly, so your hips
ou., yorr feet. With slightly bent knees' take
one more breath, exhale, and slowly roll up
one vertebra at a time, sensingyour feet push
into the floor. This action will help you use
your legs to stand up again, instead of your
newlY stretchedback muscles'
Chewing
Purpose: to induce relaxation in the facial muscles
and free Your jaw.
and
Stand or sit in a comfortable, relaxed position
effortimagine the sensationof your head floating
lessly toward the ceiling.
1. Pretend you have two large piecesof bubble
gum in your mouth, one on each side' Chew
with exaggeratedmovements' with an open
mouth, saYing"mum-mum-mum' "
2. Chew for a few secondsand rest' Do three or
four repetitions of these exercises,then rest'
3. Sing or speak a line of text using the chewing
action with vigorous movement of the lips'
jaw, and cheeks'This exercisecan be done in
brief intervals throughout the day'

t6

Self-Massage
Purpose:to releasetenslon
muscles,and jaw.

You can target Your o\\'n sl

routln
in this self-massage

1. Standingor sittrngcorr
head level, massagethc
neck with the Padsoi r
circular motion.
2. Work Your fingers uP t
your earsand along th

3. Let Your mouth droP c

soft sPotdirectlYunde
thumbs.
4 . G e n t l Yc o n t i n u eu P t h
your head, PlaceYour
scalP,and move lour r
Imagineair enteringb
your scalP.
5. End Your massagebr'
with Your fingers alon
a time, from the insid
corner.
B. Warm-UP Vocalizatit

Sighs,humming, slidrng
getting the "cobwebs" ou
flow to Your vocal cords
nontraditional vocallzatr
suggestedhere allow vou
and prePateYour voice t
Slides

Purpose:to begin vocall

especiallYfor singersri.h

During this exerclse,cht

tension,and releaseit a'
middle rage of Your vc
freelyand havea consis
front of a mitror, and L'
your voice uP and don'r

Practice
Routine

\er at the waist,keepyour

:i). and only bend over as far
: f)o nor force your palms to
: h:p-distance apart,slowly
r our chest.Continue to roll
h rour head,proceedingone
untrl vou are bending over at
ire a tuIl breaththat expands
tThe bellr.expansionwill
: :i^.ei'loor slightly.)Then
rJ.i t-rirour neck to make
:::g vour head,but rather
ou: head drop to the floor.
poslrton,breathe
bend and straighten
ieling rhe stretchin

Self-Massage
Purpose: to releasetension in your neck,
facial
muscles,and jaw.
You can tatget your own specific muscle
tensions
in this self-massage
routine.
1. Standing or sitting comfortably and
with your
head level, massagethe back and sides your
of
neck with the pads of your fingers in a gentle
circular motion.
2. Work your fingers up the musclesin
front of
your ears and along the edge of your jaw.
3. Let your mouth drop open and massage
in the
soft spot directly under your ctrin withyour
thumbs.
4. Gently continue up the back of your
neck to
your head, place your fingers f,rrmly
on your
scalp, and move your entire scalp around.
Imagine air entering befween your skull
and
your scalp.
5. End your massageby tracinglong, firm
strokes
with your fingers along your eyebrows,
one at
a time, from the inside corner to the
outside
corner.
B. Warm-Up Vocalizations (3_5 minutes)

\ar:on rn the facialmuscles

:able.relaxedpositionand
i r 1'';.1p
head floating effort_
t.rlargepiecesof bubble
rrlc trn each side.Chew
,ic'arcrtS.ri.ith an open
'-T'!m-mrrm

tt
rrtulll.

:.:s and rest.Do threeor

esc e.rercises,
then rest.
'f :cr: usingthe chewing
tirr"c'tefll of the lips,
exe:rlsecan be done in
hour rhe dar'.

Sighs,humming, sliding, andlip trills are greatfor

getting the "cobwebs,,out and increasing
blood
flow to your vocal cords. Vocal slides
and other
nontraditional vocalizationslike the ones
suggestedhere allow your voice to function
freely
and prepare your voice for more vigorous
activify.
Slides
Purpose: to begin vocalization exercises;
useful
especiallyfor singerswho are very tense.
During this exercise,check your jaw
and neck for
tension,and releaseit as you go. Explore
the
middle range of your voice, which sould
flow
freely and have a consisrenrrone quality.
Stand in
front of a mirror, and begin to voiahzeby
sliding
your voice up and down.

l7

Handbogk
5inger's

1. Start at or slightly aboveyour speakingpitch

and gently say,"hoo," letting your voice slide
down in pitch in a slow smoothdescent'
Imaginethat you let the soundfall out of your
body without trying to control or manipulateit'
2. Startat a slightly higher pitch and repeat'
3. Continueto a comfortablyhigh level,and then
proceedback down agatn'
Lip Trills
Purpose:to initiatetone productionwith a steady
airflow and relaxedjaw.
Lip trills can be valuableat the start of a warm-up
session,partly becausethey soundsilly and help
free you from inhibitions about singing' Practice
to developevennessin the trilling of your lips and
in your tne quality' Don't be discouragedrf at
first you cannotmakeyour lips bubbleconsistently.Many singersfind that they can vocalizeon
a lip trill .uri.t than on any other syllable'If this
is tiue for you, take inventory of your vocal
in your
production,posture,and the sensations
ihroat and neckwhen trilling' Evaluatehow your
voicefeelsand how you might developthe same
senseof freedomsingingon vowel sounds'
1 . First try to make the sound of a motorboat by

loosely bubbling your lips without any pitch'

Let your jaw hang as if you have no control
over the musclesin your mouth and tongue'
Start by blowing air over the lips and letting
them vibrate.
2 . When this becomesconsistent,add pitch' Slide
freely through the middle ra1e of your voice
using a descendingPattern.

Sliding Warm-UP
Combinesliding,which helPsi
relaxationand liP trills,to mar
airflow,for an effectivebeginn
Repeatthe PatternmovinguP r
steps.
.,=1o

-'

& -._--e*'LIl

lnll I

Humming
Purpose:to initiatetoneProd
ot' I
increasing
Yourawareness
Light humming can be an tde
the buzzingse
rzatronbecause
mouth, and nosehelPsensur
placement.
1. Takea relaxedbreathand
your iiPsbarelYtouching'
your liPs shouldbuzz u'rtl
2. As you continueto vocal
slides,then u'r
descending
pitchedat the keYboard/g
vibrationsin Your "mask'

C
;
*=.--.4
Hnr

3. If you havetried to make your lips trill without

,rr..rr, placeyour index fingersgently at each
coner ol yont mouth. If this helps,vocalize
lip trills with your fingersin this position' Take
crenot to slouchif you bring your handsto
your mouth' If you still cannot do a lip trill'
usethe humming exerciseinstead'

l8

l9

practice
Routine

rlr' 356y. your speakingpitch

"hoo," lening your
voice slide
n a slorv.smooth descent.
ru let the sound fall out of your
vrng ro control or manipulate jt.
.r higher pitch and repeat.

Sliding Warm-Up
Combinesliding,which helpsinduce laryngeal
relaxationand lip trills, to maintaina consistent
airflow, for an effectivebeginningwarm_up.
Repeatthe patern moving.rp oido*n by half
steps.

ontbrtably high level, and then

ts'n again.

:one production with a steady

_a\\
lab^e at the start of a warm_up
;*re:hev sound silly and help
,itonsabout singing.practice
rn rhe rnlling of your lips and
Don r be discouragedif at
(e \ur lrpsbubbleconsis_
lrn,j rhar they can vocalizeon
r_rrDv orher syllable.If this
inventon' of your vocal
a:; :he sensations
in your
: :::.iing. Evaluatehow your
ru :nrghrdevelopthe same
t.:q on vorvelsounds.
rhe sound of a motorboatbv
r ou: l:ps u.ithoutany pitch.
g as ri vou have no control
l:t \ ur mouth and tongue.
r,:ro\.erthe lips and letting
e> consistenr,add pitch. Slide
mrd.ile rangeof your voice
g paftern.
o nake vour lips trill without
: :niex fingers gently at each
ruih Ii this helps, vocaljze
lingersin this position. Take
:i vou bnng your hands to
; srili cannor do a lip trill,
:.rerciseinstead.

t8

Humming
Purpose: to initiate tone production
while
increasing your awarenessof forward
resonance.
I-ight humming can be an ideal beginning
vocal_
ization because thebuzztng sensatlon
in your iips,
mouth, and nose helps ensure correct
natural tone
placement.
1. Take a relaxedbreath and lightly hum
with
your lips barely touching. The inside
edgesof
your lips should buzz with vibrations.
2. As you continue to vocalize, first
with
descendingslides,then with descending
fifths
pitched at the keyboard,/gaitar,try
to feel the
vibrations in your ,,mask.,'

SingeHandbook

(10-20minutes)
ll. VocalTechnique
This part of practicing will complete your
warming up and help you work out vocally'
to
During iechttique work, identify what you need
improie in your singing (increasing-rarlge' aglbty'
brth control, improving tone quality)' Regular
in
vocal technique work will help keep your voice
The
shape, readyfor the demands of singing'
skills
new
prrrpor. of iechnical work is to develop
learn
and reinforce muscle memory' In singing, we
by
by intellectually understanding conceptsand
a
and
tiatntngmuscles. It is both an intellecfial

&r=,-

physical Process.
I
If you have skipped the beginning warm-up'
that you back up and complete 2-3
,..o--.td
minutes of light vocaliztng first' Though many
singers start practice by vocalizing scales,
pre"cedingvoial technique work with a beginning
easy
*ut--np that includes physical stretchesand
vocalizirtgon a descending slide pattern is much
fleximore effective.If you are working on vocal
that
find
bility and agl\ity, for example, you may
youi voice feels sluggish and resistantto quick'
If
light movements,if you have not warmed up'
yu complete the recommended beginning warmagile
,rp, you can work more directly toward free'
pionctio.t and avoid the frustration of trying to
is
sing before your voice is agile and your body

=:

:t

relaxed.
pracIdentify your goals for your vocal technique
tice. Have a pupose for every exerciseor scaie
you sing. You can adapt exercisesyou know to
suit your needsor make up your own exercises'
Repeat the patterns, moving up by half steps'

20

2l

Practice
Routine

que(l20 minutes)
u : . . c o m p l e t ey o u r
t'tlj \\ OIk Out vOCally.

:. :Jcnrrh'rvhatyou needto
E ( :ncreaslng range, agility,
rs ione qualiry). Regular
,':ll help keep your voice in
::ands of singing.The
::i rs to developnew skills
ctr)r\'. In singing,we learn
:anJ:ng conceptsandby
..:l an rnteliecfualand a

L1'+-:-!2"",
Ee

*'

"a)

;--ctt<&oo

]-n.oooe....
eh

ah

oh

Ec

ch

|
l

n
rJr

Lrlr

'r*g:nning

warm-up, I
;i up and complete2_3
::g irsr. Though many
\ rraa:lzlngscales,
..lc\\ t)rk rvith a beginning
'hr s:calstretches
and easy
:ng slrdepaftern is much
c' \\ r):klng on vocal flexi_
:r:.c. \ ou may find that
::; :esistantto quick,
l:r' ne1rvarmedup. If
:c': ied beginningwarm_
:::c.iir torvard free, agile
: :::;srrationof trying to
ag:.cand vour body is

c(ilc(;7(

+I--.--'-.-......-

r::: rocal techniqueprac_

11c'IV e.\ICtSeOr SCale

erc:clsesyou know to
-:: \ r)ur OrVneXerCiSeS.
lng uF,bv half steps.
trlec

nch

mrh

mrh

nlo(,

2l

lgiflunqlgok

--

(15-20minutes)
StudY
lll. Song
It requiresflexibility to sing words-andmelody
,og..r, so after you havewarmed up and worked
o, yorr voiceshouldbe readyfor the more
.."u"ahg task of singingsongs'Setasidethis
to perfectnotesand
iitt yoir practiceroutine
itytttrnt, stuylyrics,add stylisticinterpretation'
and
and combineall thesedetailsinto a technical
musicalwhole.
SevenStePsto Learning a New Song
l. Rhythm
first'
Learnthe notesand rhythms of your songs
Take the time to read through the songrhythmically,and clap or say"tah" on the.written
rnyittms.Use a metronometo maintaina steady
bet. though you may take libertieswith written
purposes'you
notesand rhythms,for expressive
needto know the original written notesand
Then
rtrytttmsto seewhat the composerintended'
yol, .un developyour own interpretation'
2. MelodY
After learning the rhythms,plunk out the melody
on a keybourdot guitar'Learn the shapeof the
tune and review any tricky intervals'How does
the melodylie in your voice?You shouldbe able
the
to sing through the songwithout straining' If
songieelsto ttigtt or too low, experimentwith
diffJrent keys.Once you havedecidedon a key'
you needwritten musicor alead sheetin that key'
bo .rot askan accompanistto transposeon sight
during an audition or performance'
3. Rhythm and Melody'Without Lyrics
and
Standup, awayfrom the pitched instrument'
,irrg yo.tt ,ottg itt rhythm on a favorablevowel
,orin, but without the iyrics' Make the melody
flow from note to note, observedynamic markings, and checktricky rhythms and intervals'Plan
where you will breathe,and work out your
phrasingby marking(') in your music' If you've
ptutttt.Jyur phrasingwell, you won't run out of
air at the wrong times'

22

4. Add Basic AccomPaniment

Sing the melodY in rhYthm on a
with the accompanimentor basl
Don't skrPthrs steP.Never take ;
don or Performancesiruations't
with the accomPaniment lt can
concept of the melodY and thro'
in the pressureof a Performanc

5. Study the LYrics

Look uP words You don't unde
underlying meaning in the text
it enough to give a good lnterp
yourself as an actor interPretin
an audience.

6. Listen to Recordings
Listen to recordingsbY other a
observationsthat helP vou det
(
a song. You can learn a great
by observingthe Phrastng'ten
and interPretation. Hori' does
the melodY,rhYthm, and harn
the song higher or lorver than
singing?Notice the singer'sr.c
like it? Is the rhYthmrc feel or
accompanimentwhat vou im;
'
like? How is it different tiom
What is the stYlethe song (ba
jazz,Latin, etc')?Answenng I
you listen will helP You hne-r
a song.

T.InterPret the Song

Add Your own PersonalexPr
can be in the way You deln'e
stylisticaliYaPProPriate'chan
rhythm. It can include chang
dynamics, a different harmor
subtraction of vibrato 1n vou
mentation with different \.oc

Study the lYrics.Understand

and trY to exPressthe feeling
lyrics to Your audience lf vo
mirror, You will seethat sut'l
eyescan enhanceYour comr

23

Practice
Routine

(1120minutes)

4. Add,Basic Accompaniment

lns *'ords and melody

,'ervarmed up and worked
: readl' for the more
rg songs.Setasidethis
iine ro perfectnotes and
i srvlrsticinterpretation,
:alls into a technicaland

Sing the melody in rhythm on a favorable

vowel
with the accompanimentor basic chord
changes.
Don't skip this step. Never take a song
into an audi_
tion or performance situation withouifirst
working
with the accompaniment. It can change your
entire
concept of the melody and throw you
off balance
in the pressureof a performance situation.

a \ew Song

lrns c'ttI'our songsfirst.

rush rhe song rhythmi" (rn
rhe written
:e io maintain a steady
.e .:berrieswith written
l:essivepurposes,you
\\':lnen notesand
r:rlposerintended.Then
:::erpretation.

. plunk out the melody

:arn rhe shapeof the
:nrervals.How does
el \bu should be able
::hour straining.If the
o\\'. experiment with
rve decidedon a key,
a iead sheetin that key.
: ro rransposeon sight

ithout Lyrics
:chedinstrument,and
'l a tr'orable
vowel
s \lake the melody
::'.c ..ivnamicmarkn':sand intervals.plan
sork out vour
rr;..r:
muslC.If yOU,Ve
\ r)U \\'OD't rUn OUt Of

5. Sfudy the Lyrics

Look up words you don't understand,
and look for
underlying meaning in the text. Can you
relate to
it enough to give a good inrerpretation?
Think of
yourself as an actor interpreting
dramatictext for
an audience.
6. Listen to Recordings
Listen to recordings by other artists,
and make
observationsthat help you define your
concept of
a song. You can learn a great deal from
recordings
by observing the ph_rasing,tempo, rhythmic
feel,and interpretation. How does the singer
interpret
the melody, rhyrhm, and harmony?
Ii the key of
the song higher or lower than the key
you are
singing?Notice the singer'svoice quality.
Do you
like it? Is the rhythmic feel or g.oo*
in rhe
accompaniment what you imagined
it would be
like? How is it different from te printed
music?
What is the style the song (ballad, up_tempo,
rock,
jazz,,Latin, etc.)?Answering
these questionswhen
you listen will help you fine_tur. yorr
concept of
a song.
7. Interpret the Song
Add your own personal expressionto
a song. It
.ul.b9 in the way you deliver the lyrics,
or if
stylistically approp.riate,changes to
the melody or
rhythm. It can include chang in
specified
dynamics, a different harminjzation,
addition or
subtraction of vibrato in your voice,
and experi_
mentation with different vocal colors.
Study the lyrics. Understand what you
are singing,
and try to expressthe feelings and
emotions of the
lyrics to your audience.If yu watch yourself
in a
mirror, you will seethat subtle ."p..rrio.,
in your
eyescan enhanceyour communication
of a stng.

23
:l

lnopr'
. - . . -Handbook
---

lV.CoolDown(2-5minutes)
vocally' ?ft" !:::--^
It is as important to cool down
back to a lessactlve
tice,to bring your vocal cords
doesn'tfeelunstable'
r;; ; t;ir'speaking voice
cool down if vou are
iiLtp..ially importtt to
weather'or if vou havebeen
colud
;;;iint
ii"gi""g high notesfor a while'
and voicework of
To cool down, repeatthebody
the.firstpart of your
the beginningwarm-upfrom
parts
Are your shouldersor other
r^rrirr.r,io"'
out physiof your bodv sore uf'L' p'urrit:?,Tl:"h
in your body'
lutiy, rurgrtingthe tension spots
can be combinedwith light
;i;i;t tit.t.ht'
also,111eat
ft r*ng or sighs,and you-should
exercrses'
;;;; oritte lessintensetechnical
Mental Practicing
without usingyour
Mental practicingis rehearsing
you arevocallytired'
voice.It canbe usedwhen
but are not mentally
i11,or when yo" u" healthy
at hand Mental pracfocusedenoughn tne tasks
but alsocanbring
tice not only restsyour voice'
mentalalertnessbacktoapracticesessionandcan
problemsolving'It can
be an effectivemethodof
from regularvocal
alsobe usedto tak'eabreak
volce'
Practiceto conserveYour
intensity'you
If you mentally practrce,asgns.with *: -t:1t1t
can learn witrror'lfactual$ singing'.At
musclecontractlons
practice,we actuallyproduce
atesimilar to the
(so smalltrreycannoiUt fttt; that
perform' Try this guided
oneswe proOtt* *ht" *t
your mentalfocus'
i-"g*V ete'ciseto improve
Guided ImagerYExercise
Relaxinacomfortablechair'andnoticeyour
relaxed'Imagine
breathing.tt sirutabe deepand
practiceor
yourselfin the placewhereyou 1suallV the
peaceful
perform.tmaginehow quietand
details:the floor'
the
surrounding'u"' No* imagine
of the room' the
the heightof tire ceiting'the 56s11 place'
of the
i.-6o*te, the soundand feel
where you
room
Mentally go to the placein this
feelasyou prepareto
,irrg.Noti.e how yur muscles
of your body positionin this
sing.Take-*ory

24

d
imagined space,and ieel
performance.Imaglne vou
and beginning Your song'
phraseflawlesslY'In I'our
;
breathe in the nght sPots
Proceedthrough l-our Per
not skiPPing,but singing
through in Your mind Sr
ance,feelingthat vou har

Repeatthis exercise'em
r
of iound and feel' It is
succeed.Imagine vour:
accomPlishmentat the
tice. Sensethe feel' sou
audience.Imaginea Po
and Your feeling of acc
Strongemotionsare in
tice of correctvocal sk
imagerY,if negative tht
into Your thinktng' sto
a videotaPein Your mr
agaitin slow motlon'
yourself executethe tr
anY catches'Work thr'
and turn them lnto Po
Breathing for Relaxa

Breath is essentialto t
Concentratingon dee
and Performancervill
focus Your mind' Wit
relaxedbodY,You rr'r
don t take the time tc
is much harder work
residualtensionand
mus
Preventefficient
Take a deePbreath'
uP the bottom of vo
abdomenrelax and r
mout
Your nose and
relaxed. Your diaPh
and Your abdomen :
Your lungs to exPan
exhale all of Your a
musclesin to comP

Practice
Routine

Down(2-5 minutes)
, ;ool dorvn vocally,
after prac_
Lrcalcords back to a lessactive
:ng rorce doesn'tfeel unstable.
::anr ro cool down if you are
\\c'arher.or if you have been
,r: a u hile.
r: :hc'body and voice work of
-ra :rom the first part
of your
' \ ur shoulders
or other parts
:c': pracrice?Stretchout physi_
':,i:on spots
in your body.
rc eombinedwith lighi
:J \ ou should also repeat
:sc :cchnicalexercises.

'ehearsrng
without using your
r\ ncn vou are vocally tired,
ealrhvbut are not mentally
c' iasksat hand. Mental prac_
r: \r)lce,but also can bring
i,-)a prctice session and.can
r tri problem solving.It can
::cak from regular vocal
lu: r'oice.
:e a song with intensiry you
ailr singing.As wc mentally
ircuce musclecontractions
c rlt) rhar are similar to the
n.c perform. Try this guided
t:o\ c' \'our mental fOCUS.
:ise
:har:.and notice your
een and relaxed.Imagine
re vou usuallypracticeor
u:c'tand peacefulthe
magrnethe details:the floor,
:he smellof the room, the
::; relof the place.
::l :hrs room where you
'..r,...ies
tel as you prepare to
t.ru:bodv position rn this

imagined space,and feel the anticipation

of the
performance.Imagine yourself
taking a deep b,reath
and beginmng
song, singing through ecn
)/our
phrase flawlessly..In
your image&, ,o., will always
brearhein rhe right spots ana ling'tf,e
way yo., #unr.
Proceedthrough your performa.rie
phruse fv pfrr"r.,
--,
not skipping, but singing the song
all the wa;.
through in your mind. Sing thro;gh
the perform_
ance,feeling that you have done y"our
best.
Repeat this exercise,emphasizing
your awareness
of sound and feel. It is importait
to seeyourself
succeed.Imagine your sense
of pride in your
accomplishment at the end of yur
mental prac_
tice. Sensethe feel, sounds, un
ro"rgy of a live
audience.Imagine a positive
audiencereaction
and your feeling of accomplishment.
Strong emotions are involved in
the mental prac_
tice of correct vocal skills. During
your guided
imagery,if negative thoughts
o. irirtakes creep
into your thinking, stop te imagery,rewind
it like
a videotape in your mind, and
pioceed forward
again in slow motion, frame bi
frame,seeing
yourself executethe trouble
spots easily,without
any catches Work through any
negativethoughts
and turn them inro positive l*g.J
Breathing for Relaxation
Breath is essentialto making
sound for singing.
Concentrating on deep brealhhg
Ueforepractice
and performance will help,.tu"lorr.
musclesand
focus your mind. With u ro..rr.jirrd
and
relaxed body, you will be ready
fo, sirrgirrg.If you
don't take the time to relax, you
will find singing
is much harder work. you may
U. gfrti.rg *itl,
residual tension and,negatiu.
it orrghrs that
prevent efficient muscle coordinatiln
Take a deep breath, imagining
that you are filling
bottom of your lungs firrt. Lt yo,r.
"l.rh.
abdomen relax and.ribsop-en.
nr.fr. in through
your nose and mouth. your
throat should feel
relaxed. your diaphragmwilt
stretJ downward
and your abdomen should..la"
ort*ard, allowing
your-lungs to expand. Let your
ribs relax, and
exhale all of your air. Draw your
abdtminal
musclesin to completely empty
your lungs.

24
I

Handbook
Singer's

relaxation'
Remernberto inhale and think of
this exerexhaleand releaseany tension' Rep-eat
of the day to
ciseseveraltimes over the course
body and
releasetensionand invigoateyour
for releasing
;i;J. This exerciseis specifically
is similar
tensionand improvingmentalfocus'-It
but in rerax;;;h. breath aition uied in singing'
your rib musclesdon't resistthe
ation exercises,
of your di aphragmduring exhalation'
;;;il
yourself
Think when you practice'Then allow
just sing'
,i-. ,o turn off your mind and
to remember
n p.tltio" will teachyour muscles
practicing' Then
fro* ro do the things yo""ot been
let go.

Your\l
Maintaining

s'hl
If singerswere to slng onlv
completelYhealthr, and stress
would neverbe ableto make a
That is whY it is imPortant to
\
knowing Yourself,Your volce'
how to take care of Yourseli'
If singing hurts, don't sing'

Disregard for Your vocal health

combined with Pressureiiom 't
bandleaderto rehearsesongsr(
strain Your voice.
Pain in Yourlarynx can be a srE
SrngersexPeriencingPain' husk
urrd lott of high rangeshould s
(laryngologist) exPenencedtn r
t
Performing arts venues'ITIlalc
ries, and other singerscan usu'
"ear' nol
doctor.Often, general
(otolaryngologists)do not have
expertisein Performlng-artsm(
help vocalists.

Singersshould watch tor sigr

,*.1littg, charactertzedbv sh
a sPeakingvoice tt
rasPiness,
huskier than normal' and a r
'
soundscoarseand lessthan
there is a loss of high range'
breath support than normal
vocal cord vibrations' A vtru
(
of Problem' as can overuse

If you have what seemsto I

cold, consult a qualified sP
treatment.

Don't delaY!Go to a larvng

singers'A skilled sPecialistt
your Personalfeelingsabou
can offer advice regarding a
engagements.

26

27

-f*f

yourVocalHealth
Maintaining

d rhink of relaxation,
:ensron.Repeatthis exer_
re courseof the day to
lorare vour body and
rcrtrcally for releasing
nenral focus.It is similar
i rn singing,but in relax_
nuscies don't resistthe
n during exhalation.
: Then allow yourself
:rd and jusr sing.
l: rrusclesto remember
:'r'ebeenpracticing.Then

Maintaining
YourVocalHeatth
If singerswere to sing only when
they feel
completely healthy, and stress_free,
many of us
would never be able to make a living
p..fo.._.rg.
That is why it is important ro prevent
problems by
knowing yourself, your voice, yorrr
limits, and
how to take care of yourself.
If singing hurts, don,t sing.
Disregard for your vocar health
and rong rehearsars,
combined with pressurefrom a
muslc director or
bandleader to rehearsesongs repeatedly,can
tire or
strain your voice.
Pain in your larynx can be a slgn
of a problem.
singers experiencingpain, husfiness,
or hoarseness
and loss of high rangeshould see
a throat specialist
(aryngologist) experiencedin
worti.rg with singers.
Performing arts venues,music colieges,
conservato_
ries, and other singerscan usually
refer you to such a
doctor. Often, general ,,ear,nose,
and.tltroat,doctors
(otolaryngologists)do not have
the specialized
expertisein performing_artsmedicin
to optimally
help vocalists.
Singersshould watch for signs
of vocal cord
swelling, charucterjzed by ,tigt
t hoarsenessor
raspiness,a speakingvoice that
feetshigher and
huskier than norm aI, and a vocal
qualiry that
sounds coarseand less than clean.
Frequently,
there is a loss of high range,
and you need more
breath support than normal because
of inefficient
vocal cord vibrations. A virus
can causethis type
of problem, as can overuseof your
voice.
If you have what seems to be
more than asimple
cold, consult a qualified specialist
for advice and
treatment.
Don't delay! Go to a laryngologist
who works with
singers'A sk'red specialistw'lle
more sensitiveto
your personal feelings-aboutyour
singing. They
can offer advice regardingany
upcom"ingsinging
engagements.

Handbook
5inger's

Singing over a cold.

Pay affention to the wa1' '

There are times when you can sing with a cold

and times when you should rest your voice. When
an occasional cold comes on, you can rely on
breath support and body awarenessto get through
rehearsals and concerts without exacerbating
fatigae or doing permanent damage.

Your instrument producest

singingvoice,so your singr
affectedby poor speakrngh
employ touch-distancetalla
who are within an arm's ler
distance,away.This wrll he
shout and preventunneces
whispering is tiring to _v-ou
make the mistake of thrnkrr

You can usually sing over a cold if you have nasal

congestionbut no throat symptoms. The first line
of treatment is moisture. Drink a lot of water to
keep your vocal-tract mucus thin. Inhaling steam
also seemsto be helpful. Cough drops can help
keep you from coughing, but the sugar and
menthol in them can dry you out. Caffeine,
alcohol, and smoking should be avoided because
these are all drying to your voice and body. Herbal
teas (caffeine-free)can be soothing and add moisfure to your system.
Avoid spraysthat numb throat pain. Throatpain
indicates that you should not be singing. Singing
while you are numbing your throat pain canbe a
recipe for problems. Consult your doctor for
advice about the use of any medication.
Choose repertoire carefully, and avoid music that
is taxing in range or intensity.
If you need to change the key of a song, do it. It is
not an artistic compromise to transposepop songs
to a comfortable range. Extend your range with
scalepatterns and exercises.But recognize that
some songsmay not be right for your voice, no
matter how much you like them.

Avoid prolonged talking ;

smoke.
Performing

Performing environments.
and bars, are often dust1..s
things to be avoidedbv sin
burnout:
'Avoid smoky areas.
'Keep quiet on breaks.

music and other nolse n

than normal and can lei
'Avoid alcohol and cafl

Your vocal cords shoulc

your voice to function b
dry your body and voca
them when performing.
your judgment about hc
impair your abiliw to si
unnecessarystrain. Dnr
and caffeine can also le;
Traveling

Develop your own unique voice.

Study great singers,transcribeand sing great solos,
listen to phrasing, and frgtxe out what makes these
singersunique. But it is not vocally healthy to
imitate others to the exclusion of developing your
own voice. Voices often don't fully mature until
singers are in their mid-twenties or even into their
thirties, so be patient and don't force your voice.

28

In cars,airplanes,trains.a
ground noise forcesyou to
normal, which can be detr

'Airplanes. The air on

;
dry and recycledthroul
tions that dehydratethe
body. Responding to a r
long flight can wear ou
alcohol can compound
Beforetraveling,prepa
hydrating, drinking erg
a day for severaldavs b

29

Marntaining
YourVocalHealth

Pay attention to the way you speak.

rn Vou can sing with a cold
r should rest your voice.When
omes on, you can rely on
rodv arvarenessto get through
::1s$'rthout exacerbating
'nanent
damage.
: over a cold if you have nasal
:r)ar Svrrrptoms.The first line
:urc Drink a lot of water to
:l1uusrhin. Inhaling steam
,rul Cough drops
can help
r:ng.but the sugarand
J:r vou out. Caffeine,
r should be avoidedbecause
) \ L)urvorceand body. Herbal
r be soothingand add mois_
:b rhroat pain. Thro at pain
ru,J not be singing.Singing
ig Vour throat pain canbe a
-onsultvour doctor for
':'anv medication.
refull1; and avoid music that
ntensity.
:he kev of a song, do it. It is
i:sc ro transposepop songs
' Errend your
range with
'j: jes
But recognize that
: :ghr fbr your voice,no
. : k c r. h e m .
gue voice.
:>.-r-rbe
and sing great solos,
':gJre
out what makesthese
nr)r Vocailyhealthyto
:iusronof developingyour
ion'r fully mafure until
nenrlesor even into their
; .ion't force your voice.

Your instrument producesboth your

speakingand
singing voice, so your singing .un
b. negatively
affectedby poor speakinghuUitr. fo prevent
this,
employ touch-distancetalking. Only
speakto those
who are within an arm,s length, or
touching
distance, away.This will help you
control the urge to
shout and prevent unnecessarystrain.
Likewise,
whispering is trring to your vocal cords,
so don,t
make the mistake of thinking it conserves
your voice.
Avoid prolonged talking around
noise, dust, and
smoke.
Performing
Performing environments,such
as theaters,clubs,
and bars, are often dusty, smoky,
and noisy_all
things to be avoidedby singers.'To
prevent vocal
burnout:
. Avoid smoky
areas.
. Keep quiet
on breaks. Talking over background
music and other noise makes you
tatk louder
than normal and,canlead to vocal
strain.
. Avoid alcohol
and caffeine while performing.
Your vocal cords should be well lubricated
for
your voice to function best.
Alcohol and caffeine
dry your body and vocal mechanism;
avoid
them when performing. Alcohol
can also limit
your judgment about how loud you
are singing,
impair your ability to sing in tune,
and lead to
unnecessarystrain. Drinks containing
alcohol
and caffeine can also lead to reflux
laryngitis.
Trovelng
fn cars, airplanes,trains, and other
vehicles,back_
ground noise forces you to speak
louder than
normal, which can be detrimental
to your voice,
. Airplanes.
The air on planes is typically very
dry and recycled throughout the piane_condi_
tions that dehydratethe vocal mechanism
and
body. Responding to a talkative
seatmateon a
long flight can wear out your
voice. Drinking
alcohol can compound this wear
and tear.
traveling, prepareyour body by
super_
.Before
hydrating, drinking eight io ten glasses
of warer
a day for several days beforehanl.

Singer's
Handbook

. Cars. Background noise makes you have to

sing louder to hear yourself. Your posture is
compromised by the car seat, so you are not as
likely to support your voice adequately.It is
more productive to practice in a place where
you can really hear yourself and concentrate
on what you are doing.
Avoid throat clearing.
Throat clearing is hard to avoid when you have a
stubborn spot of thick mucus rattling around and
you're trying to sing. But when you clear your
throat, you not only remove the bothersome
mucus, you can irritate the leading edgesof your
vocal cords. This makes your body produce more
mucus to protect them, and it becomesa circular
problem. When practicing, try to sing the mucus
off. If you must clear your throat, do it gently, and
avoid habitual throat clearing.
If you have severecoughing spasmscausedby
bronchial irritation, seea doctor. You might benefit
from medication that controls coughing, thereby
minimizing irritation to your vocal cords. A
doctor's treatment may also involve antibiotics,
reflux treatment, or mucus-thinning medications.
Be aware that many over-the-counterdecongestants
have the tendency to dry out your vocal cords.
Develop good rehearsal habits.
Warming up before rehearsalswill help you avoid
strain. During a long rehearsal,take breaks,drink
plenty of water, and use a well-positioned monitor
that lets you hear yourself sing with an amplified
band. Do not schedulea long rehearsalthe
evening before or the day of a performance; this
can take the freshnessout of your voice.
Stay physically fit.
Your body is your instrument. Whatever you do to
improve the health of your body and mind eventually shows up in your voice as increasedvitality
and energy.Singing is physically demanding, and
maintaining good health is essentialto success.
Physical exercisecan help you stay physically and
mentally alert, as well as have more energy.

30

Drink water.

Drink six to eight 8 oz.

This can help your vorc
your vocal cords must b
without too much fricti<
doesnot go immediatel
Although you feel the ir
your throat, water goes
passesthrough your ent
your vocal cords.It take
so be sure to drink wate

Drinks with alcohol and

but should not be count(
intake becauseof their d
Eat well-balanced mea

Eat lightly and well in a

Large amounts of food
your body and mav inte
ment. Milk productsca
production and should I
if they affectyou advers

Reflux occurs when the

migrate back into the es
causinginflammation. 5
react to a number of foc
impact their vocal cond
causingreflux laryngitis
prone to reflux due to tl
that is used in breath su

Dr. StevenZeitels, direc

Laryngology at the Mas
Infirmary in Boston, no
with laryngeal reflux do
commonly thought. Ref
production often associ
produces an ill-defined I
throat, andcan causehc
coughing, and difficuln
Consuming soda,crtrus
alcohol can precipitatee
Singersshould consult v
is suspectedto be a proL

Yullqll JourVocal
Heatth
norsemakesyou have to
r ourself. your posture is
e car seat,so you are not as
ur roice adequately.It is
tractlce in a place where
vourself and concentrate
rng

to avord when you have a

11u.usranling around and
;: shen you clear your
nore rhe bothersome
:he leadingedgesof your
\ our body produce more
a:J ;r becomesa circular
:g :.\' ro sing the mucus
,::: :hroat, do it gently,
and
*"^,5.

:ng spasmscausedby
ic\-ror. You might benefit
rirols coughing,thereby
'our r-ocal
cords.A
i-.ornr.olveantibiotics,
rs-rhrnningmedications.
ihe-counterdecongestants
out vour vocal cords.
habits.
.:saisu'ill help you avoid
:arsai.take breaks,drink
r rr cll-positionedmonitor
's:ns
w'ith an amplified
r)ng rehearsalthe
of. a performance;this
oI VOUrvolce.

enr. \\'hatever you do to

: bodr and mind evenru_
3 as lncreasedvitality
;:cailvdemanding,and
essentialto success.
\ou sra\.physicallyand
avemore energy.

Drink water.
Drink six to eight g oz. glasses
of water perd,ay.
This can help your voicefunction
betterbecause
your vocalcordsmust be well
lubricatedto uifrut.
without too much friction. The
wateryou drink
doesnot go immediatelyto your
vocalcords.
Although you feel the immeiate
relief of warerin
your throat, water goesto your
stomachand
passesthrough.yo_ur
entiresystembeforehyrating
your vocalcords.It takestime
for rhis to h;pp;;,-'
so be sure to drink water beforeyou
feel rh;st
Drinks with alcoholand caffeine
may containwater
but shouldnot be countedtoward
your daily water
intakebecauseof their drying.ffd
on your body.
Eat well-balancedmeals.
Eat lightly and well in advance
of a performance.
Largeamountsof food and liquia
iute ,rp spacein
your body and may interfere
with breathmanage_
ment. Milk productscan cause
excessive
mucus
productionand shouldbe avoided
beforesinging,
if they affectyou adversely.
Reflux occurswhen the contents
of your stomach
migratebackinto the esophagr,
*a throat,
causinginflammation.singe
serrsltive
to reflux
reactto a numberof foodsand
drinksthat can
impact their vocalcondition
u"Jrirrgirrg Uy
causingreflux laryngitis. Singers
arieparticularly
proneto reflux dueto the high
abdominalpr.rrrrr.
that is usedin breathrrrppori
Dr. StevenZeitels,director of
the Division of
Laryngology at theMassachusets;;
and Ear
Infirmary in Boston,notestfru,
_oj individuals
with laryngealreflux do not have
heartburn,as is
commonlythought.Reflux increases
the mucus
productionoften associated
with rh.tut clearing,
producesan ill-defnedfeeling
of fullnessin the
throat,and can causehoa.seriess,
at .orria
coughing,and difficulty in swallowing.
Consumingsoda,citrus,spicyfoods,
caffeine,
alcoholcan precipitateand a.ggravat'ereflux.and
mgersshouldconsultwith a laryngologist
if this
is suspected
to be a problem.

Singer'
s Handbook

Eating disorders such as bulimia and anorexra

plague many people, especiallywomen, and can
ruin your voice and health. In a music career,
appearancecan be consideredvery important and
singerssometimestake desperatemeasures.
Laxative abuse,bingeing and purging, starving,
and abusing weight-loss drugs can sap your
vitaliry and strength. Repeatedvomiting erodes
the lining of your throat and mouth and irritates
your throat. Becausetheseurges can become
uncontrollable and seriously affect your health, if
you think you have an eating disorder, get professional help.
Get plenty of rest.
Know how much sleepyou need and maintain a
regtlar sleep schedule.Rest your voice whenever
possible.Scheduletime to unwind during your
day. Don't wait until you burn out before you
scheduledown-time away from stressfulactivities.
If you sing with an amplified band, always use a
microphone.
Singerswho cannot hear themselvestend to
compensateby over-singing.This is a sure way to
wear out your voice. Use a microphone when
singing with an ampliflredband. Position yourself
so you canhear your voice from an amp or
monitor.
Keep your microphone in a separatebagthat's
easy to locate. All you have to do is grab it and go.
In addition to your microphone, it should contain
a mic cord and XLR-to-1/4 inch transformer for
connecting to a gtitar or keyboard amp. Find out
about the sound system,monitor, and other equipment in the performance spaceso you will know
what to bring.

32

Pay attention to common

contraceptive pills.

Only a trained doctor or vo

your needfor medications
prescriptionand nonprescn
their effectson your \otCe.r
and other common medtct
health.

In somewomen, btrth cor

of the vocal cords,resultt
loss of high range.The ler
thesedrugs vary accordin
as doestheir effecton tnd
If you are akeady takrng t
experiencechangesin vou
doctor. However,it rs bes
gist beforebeginningthes
Do not smoke.

Any singerwho is serlou

music should not smoke.
known to causeemPhvse
mouth and vocal tract It
membranesand )'our voc
membranesare dr1' and lt
cals in smoke,your bodl'
secretions.These make 1'
throat, which causesfurtt
Takecareof yourself.

Eat a variety of health

grains, fruits, and vege

Get enough sleePat re

Stick to a moderate ex
Wash your hands with
frequently.

Drink six to eight 8 oz

'r
\lairfeir.tig
Y'our
VocalHealth

'h as

bulimia and anorexia

. especrallywomen, and can
healrh.In a music careet,
onsrderedvery important and
tlie desperatemeasures.
e:ng and purging, starving,
oss drugs can sap your
Repeatedvomiting erodes
:rrai nd mouth and irritates
:heseurgescan become
:::ouslv affectyour health, if
: earlngdisorder,get profes_

ra \ ou need and maintain a

: Rcsrvour voice whenever
:e :r) un$.ind during your
rou Llurnout beforeyou
tlar tiom stressfulactivities.
mplified band, always use a
:a: ihemselves
tend to
ng:ng. This is a sure way to
. sc'a microphonewhen
:ei band. Positionyourself
o:.c' iiom an amp or
r : a separatebagthat,s
lar c ro do is grab it and go.
::olhone. it should contain
r-I -i rnch transformerfor
r: icr hoard amp. Find out
:. :tonltor, and other equip_
:e spaceso you will know

Pay attention to common medications,

including
contraceptive pills.
only a tratneddoctor or voice speciahst
can evaiuate
your need for medications.Ask your
doctor about
prescriptionand nonprescriptionmedications
anrJ
their effectson your voice.Antihistarnines,
asprrin,
and other common medicines can afTectyour
vocal
health.
In some women, birth control pills affect
the mass
of the vocal cords,resultinginless flexrbility
and
loss of high range. The levls of hormones
rn
these drugs vary according to brand
and dosage,
as does their effecton individual vromen,s
voices.
If you are akeadytaking birth corrtrolpills
and
experiencechangesin your voice,consult
vour
doctor.However,it is best to consult
. turyngoto_
gist beforebeginningthesemedications.
Do not smoke.
Any singer who is seriousabout havrng
a careerrn
music should not smoke.Smoking has
long been
known to causeemphysema and urr..,
of the
mouth and vocal tract. It irritatesvocal
rract
membranesand your vocal cords.When
these
membranesare dry and jrritated from
the chemi_
cals in smoke,your body tries to compensate
with
secretions.Thesemake you need ,o
.1"u, yor.
throat, which causesfurther irritation.
Takecareof yourself.
Eata varieryof healthfulfoods,inclucling
whole
grains,fruits,andvegetables.
Getenoughsleepat regularhours.
Stick to a moderate exerciseroutine.
Wash your hands with soap ancl warm \\.d.rer
frequently.
Drink six to eight g oz. glassesof. u,arer
each clav.

!.eg! r..9!99!_
You only have one voice.
Somesingersseemto be ableto screamconstantly
careerin rock music.
and still sustaina successful
Otherscan havea singleincidentof voiceabuse
and end up with vocalcord nodules.
The limits of safevocal usevary greatly from
personto person.Learn what it takesfor your
voiceto be in peakshapeand readyto sing.Learn
what triggersstressfor you; it can sapyour energy
to illness.Know your
and makeyou susceptible
tendenciesfor talking too much, drinking,and
is one of the keys
Self-knowledge
other excesses.
to maintainingyour voice.
Somesingerspurposelytry to add huskinessto
their voicesby screaming,smoking,or drinking.
Suchsingerscan end up with no voiceat aII.
Tearingdown your voice is not the way to add
character.Instead,build it by learninghow to sing
and exploringall the possibilitiesof your instrument. Gain performanceexperienceand interpret
your songswith sincereemotion,ratherthan
manipuiatingyour voice in a way that can permanently damageand limit your vocalpossibilities'

of
Causes
Possible

Many factors can contrtL'u

vocal cord nodules,Polr'Ps
The list below shorn'ssome
of and contributing tactor
maladies.
Non-singingFactors

ar
Shouting,screaming'
cheerleading'
Poor sPeakinghabits.

straining,asr
RePeated

Talking over backgrou

clubs,or in airPlanesar

Making odd noiseswid

Reflux.
Smoking.
coughingan
Excessive

drYnessof tt
Excessive
causedbY Your envrro
hYdration,medication
alcohol and/or caffein

Singing Factors
Not warming uP-

Singing at the extreme

periods.

Imitating other singen

oping your own volce.

Singing without adeqr

Insufficient breath suP

Pushing your voice wl

OverusingYour voice

34

'f

Maintaining
YowVoctHealth

roice.
o be abie to scream constantlv
;ccssfulcareerin rock music.
rgie incident of voice abuse
ai cord nodules.
cal use vary greatly from
r:n u'hat it takesfor your
:ate and readyto sing. Learn
)r.)ou: lt can sap your energy
t:t'le ro iilness.Know your
:oo much, drinking, and
rou'ledgeis one of the keys
lr' trv ro add huskinessto
:ng. smoking, or drinking.
j3 rr:lh no VoiCe
at all.
:cc':s not the way to add
-: ::.ly learninghow to sing
rcss:b:liries
of your instru_
.e c.\penenceand interpret
e enorlon, ratherthan
:e :n a \\'aYthat can perma:: \our vocal possibilities.

Possible
Causes
of VocalMaladies
Many factors can contribute to the development
of
vocal cord nodules, polyps, and chronic
laryngitis.
The list below shows some of the possible
causes
of and contributing factors to thes
seriousvocal
maladies.
Non-singingFactors
Shouting,screaming,
andyelling,including
cheerleading.

Poor speakinghabits.
Repeatedskaining, as when tifting heavy
objects.
Talking over backgroundnoiseat concerts
and
clubs,or in airplanesand cars.
Making odd noiseswith your voice.
Reflux.
Smoking.
Excessivecoughingand habitual throat
clearing.
Excessiyedrynessof the vocal mechanism
causedby your environment,lack of
adequate
hydration,medications,or over_consption
of
alcohol and/ or caffeine.

Singing Factors
Not warming up.
Singingat the exffemesof your range
for long
periods.
Imitating other singersto the exclusion
of developlng your own voice.
Singingwithout adequateamplification.
Insufficientbre atb,supporr.
Pushingyour voice when overtired
or sick.
Overusingyour voice.

Handbook
5inger's

Conseruation
Marki forVoice
Marking is a way of singing that helps you save
your voice during rehearsals.To mark a melody,
sing just the first few notes of a phrase,and
mentally sing the other notes. Raise the lowest and
lower the highest notes in your song by an octave
(octave displacement)to avoid the extremesof
your range.Men can use falsetto to approach high
notes. All singing should be light when you are
marking.
Marking savesyour voice by minimizing its use. It
should be used when you are not feeling well, or
during rehearsalsscheduledjust before a performance. Too much practicing before a performance
can take the freshnessout of your voice. In theater
music, singersmark during lighting and technical
rehearsals,when it is not important for them to
sing at full volume.
Singersoften have strong emotions when
performing and become carried away by the
moment, losing self-control and singing full voice
when they should be resting, so listen to your
body.

Whatto Do

1. Warm up lightly fit:

2. Maintain energettc
3. Sing only the first ti
singing the rest mer
4. Displacenotes at th
your range by an oc
Plan this in advanc
5. Men can sing high
marking.
6. Always sing lightlr.

Whatto Avo

1. Don't sing even'thi

2. Don't whisper or u'

3. Don't lose concent

4. Don't succumbto I
tors and sing full r.c
your doctor.

5. Don't mark all of t

concert,recital. or
using your full voic
period of severalu
you are familiar u'r
pacing,and to helP

Conservation
Yqltng forVoice

oiceConseruation
:grng rhat helps you save
rrsals.To mark a melody,
rtes of a phrase,and
nores.Raisethe lowest and
:n \our song by an octave
r avordthe extremesof
e ialseno ro approachhigh
C be light when you are
'n'
:e
minimizing its use.It
u are nor feelingwell, or
rle,l tust before a perform_
ng beiore a performance
:: i vour r.oice.In theater
:g .:ghringand technical
::iportanr for them to
e:notlonsrvhen
:ar::ed aw'avby the
'o. and
singingfull voice
lng. so iistento your

IUhatto DoWhenMarking
1. Warm up tightly first.
2. Maintain energeticbreathsupporr.
3. Singonly the first few words of a phrase,
singingthe restmentally.
4' Displacenotesat the high and row
extremesof
your rangeby an octaveto avoidstraining.
Plan this in advance.
5. Men can singhigh notesin falsetto
when
marking.
6. Always sing iightly when marking.

Whatto AvoidWhenMarking
1. Don't sing everything down an
ocrave.
2. Don't whisper or withhold breath
support.
3. Don't lose concentration.
4. Don't succumb to pressurefrom
peers or direc_
tors and sing full voice against th
advice of
your doctor.
5. Don't mark all of the time. you
should sing a
concert, recital, or other long performance
using your fulI voice severalii-.,
over a
period of severalweeks or longer
to make sure
you are familiar with phrasing
and breath
pacrng,and to help you develp
sramina.

(inopr'rHandbook
'

J l l 16!'

.r

Aboutthe Author
and
Anne Peckhamis a singer,voiceteacher'
at
urr,frot.A professorin the VoiceDepartment
private
;;;.. cilege of Music, Anne teaches
Theater
uol.. lessons,directsBerkiee'sMusical
for
Wotltftop, and has developedcurriculum
a requiredcourse
"Elementsof VocalTechnique"'
vocal students'Anne is the
f- uUof Berklee's
'tlteCotentporrtrt
a book/CD
Singer'
authorof
'[he Conternpornrl
test'
i"i.trriitr-,ed bv Bertlee
released in lrJ:rpanescSirlszrt'has recentlv been
translation.

of Teachers
A member of the National Association
president of the
of Singing, Anne served as vice
Boston
board of dir..tots of the association's
annuai Song
,ipnr,and co-chaired the chapter's
as a clinician and
Festival. She frequently appearc
festivaisin the U'S''
u:,rai.u,or for choraltt-tottg
EuroPe,and Canada'
Festival Chorus
Anne sang with the Tanglewood
fwo recordingswith
for four years,performing on
solo in their
the Boston Pops, inciuding afeatued
televisedGilbertandSullivanplesentationthat
ui'edonPBs.Shehasperformedwithregional
section leader
companies,*u' the principal
,t *.t
of Needham for
at the Congregational Church
in recital
eleven years' and performs frequently
atd cabaretvenues'

t
!

ISBN:0-87639435n
HL:50448017
DVD
t19 95

lSBN:G87639{25-2
HL: 5044a038
DVD
5 1 99 5

Uo Closewith Pa
n
Makinglt in the
F e a t unr c P : : 1 : - . , :
L e tP a t : - . ; : : :

ISBN:047639{41{
HL:5M48031

i
Auslrl :, : .'
deveol .: . r:
:
i
on alc:a-':.frnanc a

DVD
!19.95

ISBN:O-87539427{
HL:50444039
DVD
(ra ct

The ContemPori
Elementsof Vo<
B yA n n e P e c r - . - '
-ll
This besl-le
curr c! ufr a- : i
Mus c, anc : :'::

'
-ISBN:0-634{0797-'1 V O C a l t e c n r i - a : '
HLi 50449438
a''" ::
a
"
a
Potential,
BOOK/CD recoTdeCer'::tr24 95 Pfactic the aai :-

ffi
%T
--:
#H.l
ISBN:G634dtrG'
HL: 54a9{2'
800<
t14 9a

38