Handbook

5inger's

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

C o l a P S e dc n e s l Good alignment
Shoulders forced back

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
4. Maintain Your comfort
To establishgood posture' start with a comfortably
and keePYour ribs oPe
high chest, rÀlaxedknees (not locked), and feet
with your chestcollaPse.
hip-distance apatt' As you become familiar
good posrure,it will feel more natural to you' When inhaling, don't over
buring singing, be sure to keep your chest your lungs createstenslon
in
comfoitabty ttiglt Try practicing while standing before you even make a so
good by expandingaround vour
front of a mirror. It may be easierto see
posfure than to feel it' 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 én.ri
comfbrtably
high.
2. Inha\e through your nose
and mouth by
expanding around your waistline
and ràlaxing
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.
srart $'rrh a comfortably
4. Maintain your comfortably
rot locked),and feet high chest position,
and keep your ribs open, u, yJ.,
becomefamiliar with sing. ôon,t let'
your chest collapse.
cre naruralto you.
reepvour chest a When inhaling, don,t overfill your
lungs. Stuffing
t : . : : { x h i l e s t a n d i n gi n your lungs creates tension
in your throat and jaw '.
ea_ircr ro seegood before you even make u ,orr.râ. {
I"ilù complerely
il

by expanding around your waistfirre

lower abdominal area, taking
lna in your $
carcnot to qeate
tension by lifting your shoulàers.
d

;
 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.
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

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 agarî.
 .-"..ifl

Breath
Managemeni

l Diaphragm TheAbdominal
Muscles
la: =us.-le.cun'ed rn a Thesepowerfulmusclescoverthe entire
rdla:atlng the chestcaviry abdom_
inal region,running verticallyand diagonally
:a\':rv It connectsto the acrossyour belly.your lower abdominal
rn.: rs the floor of your rib 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-àut"rrrpport
will
help you keepyour neckand throat
relaxed,
bringingyou a full and resonanttone.
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 Èei 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
(inopr'<

BreathinExercises Abdom
Releasing
This exercisewill help vou i
BreathObservation 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 waist-
line.
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 Releasing
Abdominat
Muscles
This exercisewill help you releasethe lower
fi Observation 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 whàn
you
inhale.
7. Repeat steps3-6, this time standing
upright.
5inger's
Handbook

Extending
YourBreath Step Three
This exercisecan help coordinate and energize
1 . Inhale in a quick catch breat
your breath support. Practice Step One until you
Exhale for 20 beatsusing re1
can make it through comfortably, then add Step
fwo hissesper metronome h
Two, then Step Three. Take care not to inhale too
fast or raise your chest when you inhale. During 2 . Inhale in a quick catch breat
exhalation, maintain the opennessin your ribs for Exhale for 20 beatsin a con
the entire count. When all three stepscan be 3 . Inhale in a quick catch brea
performed consecutivelywithout stopping, Sing "ah" for 20 beats.
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, contin-
uous sip. Exhale in a slow continuous hiss to a
count of 20.
3. Inhale again to a count of 10 in a slow, contin-
uous sip. Sing "ah" on a comfortable pitch for
20 beats.Try to maintain the feeling of open-
nessin your ribs for the entire exhalation.
(Continue without stopping to Step Three if
you successfullycomplete the first two steps.)

to
 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
:'l
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 . ù. :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 tèelingof open_
::e cî:tre e.xhalation.
lti:ng ro StepThreeif
:lere rhe t-rrstfwo steps.)
tlEsilqqqee!

Routine
Practice Practice Routine
I. BeginningWarm-uP
(2-:
a.PhysicalStretches
An organi zed practice routine helps you achieve
waste
more becauseyou stay mentally focused and b.Warm-uPVocalizatio
you will
less time. If you follow a routine daily, II. VocalTechnique(10-20
your practice time
find that you look forward to
III. SongSrudY(15-20mint
and gainthe benefits of daily vocal exercise'
IV. Cool Down (2-5 minutt
Practice
TiPsfor Productive
not be
Location. Work where you can relax and l. Beginni
self-conscious.You need to feel free to make
mistakes,and not hold back for feat of disturbing You probablv rvouldn't rul
to
neighbors or family. If there is no place at home before warming uP and str
pritice, inquire at a local school or house of way, it is advisableto \\'ar
worship to iee if there is a room that you could working on vocal techntq
use regularlY. lent of stretchingvour leg
you warm-ups increasethe blo
Keyboard /Guitat Wherever you practice'
for and graduallv releasetens
wili need some kind of keyboard or guitar
for activiry.The i'en'minu
checking Pitches.
and warm-uP vocalizatlo
on
Mirror. Practice in front of a mirror, focusing intendedto PrepareYour
your body, posfure, and expression'Observe andare generallYnot eno
iension in the face, neck, and jaw, which indicates up your instrument' For z
a problem. Use the mirror to help correct warm-up, comPletethe bt
awkward or tense looking movements' The the vocal techniquesegm
musclesof your throat can become tight to practiceroutine.
compensate for a collapsed chest posture' Align
yorribody in order to allow the musclesof your A. Physical Stretches(2-
throat to function freelY'
Tape Recorder. To hear a realistic (though imper- It is imPortant to begtn s
fect) representationof your voice, use a cassette freedom.We sing and Pe
,rrordât in practice and at your voice lessons'
You bodies,which need to be
singing' Try
can learn a lot from hearing your own Notes on warm-ups:
to listen objectively,and don't be distractedfrom
1. If you feel Pain,stoP
your goals by being overly critical'
2. Don't hold Your brea
Metronome. A metronome wilt help you establish
and 3. A stretchedmuscle is
and maintain tempos when working on songs
so don't stressit br. ti
keep you from rushing when practicing scales'
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

loutine
ùrrceroutlne 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 ùâDrelax and not be
:: :cc: :o tèel free to make
:o.;
':ack
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
1ea: a realistic(though imper_
rcrur r.oice,use a cassette
"-rj
à:J at vour voice lessons.you
hea::ng vour own singing. Try
a:; ;on'r be distractedfrom
ove:-l cntrcai.
rû:o:ne rr'rli help you establish
rs ç hen w'orking on songsand
rg u'hen practicingscales.
t2
Practice
Routine
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)
It is imporranr ro begin singing with physical
freedom. V/e sing and perform with àur
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.
t3
!.sq!'^9!99!
3. After You have stretchedsu
Gentle llead Rolls seconds),move Your arm I
the neck
Purpose:to stretchthe strongmusclesof just let Your head hang in t
and to releasetension' few seconds.
this
Let your jaw hanglooseand openthroughout 4. Next, support Your head s
your head using it to bring it back to
stretch.Go at your own pace,circling
keepyour
in both directions.If you becomedizzy' To avoid stressingthe stre
eyesopen. use your neck musclesalo
closeto head. RePeaton Your left
1. Gently drop your headso your chin is
your Ëhest,-and let the weight of your head Shoulder Rolls
Do
stretchthe strongmusclesof your neck' Purpose:to releasetensiontn
not pushyour headdown-let it hang' shoulders.
your
2. Startingfromthis position,slowlyroll
is close to Proceed at a slow, relaxed Pa
headaiound until your right ear
positionto the next without s
your right shoulder'
using a full rangeof motton'
3. Continueroliing your headuntil you're breathe normallY.
looking upward,elongatingyour spine'letting
yorr, Àorrth and jaw hang opel' Avoid drop- 1. Bring both shouldersuP t
pi.tg yo,r, head a-11 the way back' which would them back so Your shoulc
sffessYourneckmuscles' touch in back.
4 .C o n ti n u e th e h e a d rollcir cleuntilyour |eftear 2. Brittgthem down to a rel
is nearyour left shoulder,pausingto stretch then forward to round vc
your neck. 3. Reversedirections'and r
head
In a continuous,slow movement,roll your motion'
ear
througheachof thesepositions:chin to chest' Rib Stretch
If
to shoulder,eyes,rp*uid, and earto shoulder'
your feeltensionin a particularspot' pauseand
let Purpose:to stretchand deve
rib muscles,and imProvefu
ihe weight of your headstretchit out before
continurng.Completefwo or three full rotations Rib stretcheshelP releasete
and then reversedirection' body for the extendedbreat

Neck TensionReleaser 1. Stand with Your feet abc

that aqart.
Purpose:to releasetensionin neckmuscles
-uy inttiUit free laryngealfunction in singing' 2. Reach uP with Your rigt
ceiling, and stretch it uP
Your neckmusclesare complexand canbe of Your head a bit, lean
susceptible to injury if you forceyour headinto
use 3. To increasethis stretch
any position'Be gentlewith this exercise'and as You stretchYour righ
commonsense. should remain straight)
and
l. Leanyour right eafto your right shoulder good stretchin Your rig
feel the weight of your head elongatethe 4. RePeatthis stretch on r
muscleson the sideof Yourneck'
2. Reachyour right arrn overthe top of your head Full Roll-Down
and restyont tight palm on your left ear'simply PurPose:to increasea\\'are
letting the weight of yo"t arm increasethe stretch rib exPansionduring breat
in vour neckmuscles'Do not pull your head' back, leg, and Posruralmu

l5
t4

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.
4
Practice
Routine
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 taîge 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 improvefullnàssof 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
Self-Massage
your
When you are bent over at the waist' keep Purpose:to releasetenslon
as far
knees loose (not locked), and only bend over muscles,and jaw.
palms to
as it feels comfortable. Do not force your
touch the floor. You can target Your o\\'n sl
routln€
in this self-massage
1. Standing with feet hip-distance apart, slowly
drop your chin to your chest' Continue to ro11 1. Standingor sittrngcorr
down, leading with your head, proceeding one head level, massagethc
vertebra at a time until you are bending over
at neck with the Padsoi r
the waist. circular motion.
2. Inthis position, take a fullbreath that expands 2. Work Your fingers uP t
your beily and ribs. (The belly expansionwill your earsand along th
make you rise from the floor slightly') Then 3. Let Your mouth droP c
exhale. Check the back of your neck to make soft sPotdirectlYunde
sure you are not lifting your head, but rather thumbs.
letting the top of your head drop to the floor' 4 . G e n t l Yc o n t i n u eu P t h
3. Still in this rolled-down position, breathe your head, PlaceYour
normally as you slightly bend and straighten scalP,and move lour r
your knees a few times, feeling the stretch in Imagineair enteringb
the back of Your legs. your scalP.
are
4. Shift your weight back slightly, so your hips 5. End Your massagebr'
ou., yorr feet. With slightly bent knees' take with Your fingers alon
one more breath, exhale, and slowly roll up a time, from the insid
one vertebra at a time, sensingyour feet push corner.
into the floor. This action will help you use
your legs to stand up again, instead of your B. Warm-UP Vocalizatit
newlY stretchedback muscles'
Sighs,humming, slidrng
Chewing getting the "cobwebs" ou
Purpose: to induce relaxation in the facial muscles flow to Your vocal cords
and free Your jaw. nontraditional vocallzatr
Stand or sit in a comfortable, relaxed position
and suggestedhere allow vou
imagine the sensationof your head floating effort- and prePateYour voice t
lessly toward the ceiling.
Slides
1. Pretend you have two large piecesof bubble Purpose:to begin vocall
gum in your mouth, one on each side' Chew especiallYfor singersri.h
with exaggeratedmovements' with an open
mouth, saYing"mum-mum-mum' " During this exerclse,cht
tension,and releaseit a'
2. Chew for a few secondsand rest' Do three or
middle raîge of Your vc
four repetitions of these exercises,then rest'
freelyand havea consis
3. Sing or speak a line of text using the chewing front of a mitror, and L'
action with vigorous movement of the lips' your voice uP and don'r
jaw, and cheeks'This exercisecan be done in
brief intervals throughout the day'

t6

\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
ièeling rhe stretchin
\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'îtefll of the lips,
exe:rlsecan be done in
hour rhe dar'.
6 l7
Practice
Routine
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)
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 sÀould
flow
freely and have a consisrenrrone quality.
Stand in
front of a mirror, and begin to voiahzeby
sliding
your voice up and down.
 Handbogk
5inger's

Sliding Warm-UP
1. Start at or slightly aboveyour speakingpitch
and gently say,"hoo," letting your voice slide Combinesliding,which helPsi
down in pitch in a slow smoothdescent' relaxationand liP trills,to mar
Imaginethat you let the soundfall out of your airflow,for an effectivebeginn
body without trying to control or manipulateit' Repeatthe PatternmovinguP r
steps.
2. Startat a slightly higher pitch and repeat'
3. Continueto a comfortablyhigh level,and then
.,=1o
proceedback down agatn' â-'
& -._--e*- ! t
-
Lip Trills 'LIl lnll I

Purpose:to initiatetone productionwith a steady

airflow and relaxedjaw.
Humming
Lip trills can be valuableat the start of a warm-up Purpose:to initiatetoneProd
session,partly becausethey soundsilly and help increasing Yourawareness ot' I
free you from inhibitions about singing' Practice
to developevennessin the trilling of your lips and Light humming can be an tde
rzatronbecause the buzzingse
in your tône quality' Don't be discouragedrf at
first you cannotmakeyour lips bubbleconsis- mouth, and nosehelPsensur
tently.Many singersfind that they can vocalizeon placement.
a lip trill .uri.t than on any other syllable'If this 1. Takea relaxedbreathand
is tiue for you, take inventory of your vocal your iiPsbarelYtouching'
production,posture,and the sensations in your your liPs shouldbuzz u'rtl
ihroat and neckwhen trilling' Evaluatehow your 2. As you continueto vocal
voicefeelsand how you might developthe same descending slides,then u'r
senseof freedomsingingon vowel sounds' pitchedat the keYboard/g
1 . First try to make the sound of a motorboat by vibrationsin Your "mask'
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 C

them vibrate. ;
*=.--.4

2 . When this becomesconsistent,add pitch' Slide Hnr

freely through the middle raî1e of your voice

using a descendingPattern.
3. If you havetried to make your lips trill without
,rrà..rr, placeyour index fingersgently at each
coïner ol yont mouth. If this helps,vocalize
lip trills with your fingersin this position' Take
cârenot to slouchif you bring your handsto
your mouth' If you still cannot do a lip trill'
usethe humming exerciseinstead'

l9
l8
 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.
ontbrtably high level, and then
ts'n again.
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.

: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 \ùur lrpsbubbleconsis_
lrn,j rhar they can vocalizeon
r_rrâDv orher syllable.If this
inventon' of your vocal
a:; :he sensations in your
: :::.iing. Evaluatehow your
rûu :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 \ ùur mouth and tongue.
r,:ro\.erthe lips and letting
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.,'

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
SingeùHandbook

(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'
bràth control, improving tone quality)' Regular
in
vocal technique work will help keep your voice
The
shape, readyfor the demands of singing'
prrrpor. of iechnical work is to develop new skills
learn
and reinforce muscle memory' In singing, we C

by intellectually understanding conceptsand

and
by
a
&ræ=,-
tiatntngmuscles. It is both an intellecfial
physical Process.
I
If you have skipped the beginning warm-up'
,..o--.td that you back up and complete 2-3
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
flexi-
more effective.If you are working on vocal
find that
bility and agl\ity, for example, you may
youi voice feels sluggish and resistantto quick'
If
light movements,if you have not warmed up'
yàu complete the recommended beginning warm- :t
agile
,rp, you can work more directly toward free'
pioànctio.t and avoid the frustration of trying to
is
sing before your voice is agile and your body
relaxed.
prac-
Identify your goals for your vocal technique
tice. Have a puïpose 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'

2l
20
 Practice
Routine

que(lÈ20 minutes)
u : . . c o m p l e t ey o u r
t'tlj \\ OIk Out vOCally.
:. :Jcnrrh'rvhatyou needto L1'+-:-!2"", "a) *' -
;--ctt<&oo
|
E ( :ncreaslng range, agility, Ee eh ah oh
]-n.oooe....
Ec
n
l
ch rJr Lrlr
rs ione qualiry). Regular
,':ll help keep your voice in
::ands of singing.The
::i rs to developnew skills
cîtr)r\'. In singing,we learn
:anJ:ng conceptsandby
..:l an rnteliecfualand a

'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:rç' ne1rvarmedup. If
:c': ied beginningwarm_
c(ilc(;7(
:::c.iir torvard free, agile
: :::;srrationof trying to +I--.--'-.-......- 1 1
ag:.cand vour body is

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.À.r, so after you havewarmed up and worked
où, yorr voiceshouldbe readyfor the more
à.."u"ahg task of singingsongs'Setasidethis
to perfectnotesand
iitt æ yoir practiceroutine
itytttrnt, stuâylyrics,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 songrhythmi-
cally,and clap or say"tah" on the.written
rnyittms.Use a metronometo maintaina steady
beât. 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
songieelstoà 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
,orinâ, but without the iyrics' Make the melody
flow from note to note, observedynamic mark-
ings, and checktricky rhythms and intervals'Plan
where you will breathe,and work out your
phrasingby marking(') in your music' If you've
ptutttt.Jyôur 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

(1120minutes)
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
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 tàr'orable
vowel
s \lake the melody
::'.c ..ivnamicmark-
n':sand intervals.plan
sork out vour Study the lyrics. Understand what you
rr;..r:
muslC.If yOU,Ve
\ r)U \\'OD't rUn OUt Of lyrics to your audience.If yàu watch yourself
mirror, you will seethat subtle ."p..rrio.,
eyescan enhanceyour communication
Practice
Routine
4. Add,Basic Accompaniment
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.
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 tÀe 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 changà in
specified
dynamics, a different harminjzation,
addition or
subtraction of vibrato in your voice,
and experi_
mentation with different vocal colors.
are singing,
and try to expressthe feelings and
emotions of the
in a
in your
of a stng.
23
:l
çlnopr'ç
. - Ô . . -Handbook
---
d
imagined space,and ieel
lV.CoolDown(2-5minutes) performance.Imaglne vou
It is as important to cool down
vocally' ?ft" !:::--^ and beginning Your song'
back to a lessactlve phraseflawlesslY'In I'our
tice,to bring your vocal cords ;
doesn'tfeelunstable' breathe in the nght sPots
r;; ; t;ir'speaking voice
cool down if vou are Proceedthrough l-our Per
iiîLtp..ially imporàttt to
weather'or if vou havebeen
colud not skiPPing,but singing
;;Ë;iintâ
ii"gi""g high notesfor a while' through in Your mind Sr
and voicework of ance,feelingthat vou har
To cool down, repeatthebody
the.firstpart of your Repeatthis exercise'em
the beginningwarm-upfrom parts r
Are your shouldersor other of iound and feel' It is
ïr^rriîrr.r,io"' out physi-
of your bodv sore uf'L' p'urrit:?,Tl:"h succeed.Imagine vour:
in your body' accomPlishmentat the
lutiy, rurgrtingthe tension spots
;i;i;t tit.t.ht' can be combinedwith light tice. Sensethe feel' sou
ft rî*ng or sighs,and you-should
also,111eat audience.Imaginea Po
;;;; oritte lessintensetechnical
exercrses' and Your feeling of acc
Strongemotionsare in
Mental Practicing tice of correctvocal sk
imagerY,if negative tht
without usingyour
Mental practicingis rehearsing into Your thinktng' sto
you arevocallytired'
voice.It canbe usedwhen a videotaPein Your mr
but are not mentally
i11,or when yo" u" healthy agaitin slow motlon'
at hand Mental prac-
focusedenoughàn tne tasks yourself executethe tr
but alsocanbring
tice not only restsyour voice' anY catches'Work thr'
mentalalertnessbacktoapracticesessionandcan and turn them lnto Po
problemsolving'It can
be an effectivemethodof
from regularvocal
alsobe usedto tak'eabreak Breathing for Relaxa
volce'
Practiceto conserveYour
intensity'you Breath is essentialto t
If you mentally practrce,asgns.with *: -tÎ:1t1t
can learn witrror'lfactual$ singing'.At Concentratingon dee
musclecontractlons and Performancervill
practice,we actuallyproduce
atesimilar to the focus Your mind' Wit
(so smalltrreycannoiUt fttt; that
perform' Try this guided relaxedbodY,You rr'r
oneswe proOtt* *ht" *t
your mentalfocus' don t take the time tc
i-"g*V ete'ciseto improve
is much harder work
residualtensionand
Guided ImagerYExercise mus
Preventefficient
Relaxinacomfortablechair'andnoticeyour Take a deePbreath'
relaxed'Imagine
breathing.tt siràutabe deepand practiceor uP the bottom of vo
yourselfin the placewhereyou 1suallV the abdomenrelax and r
peaceful
perform.tmaginehow quietand Your nose and
mout
the details:the floor'
surrounding'u"' No* imagine relaxed. Your diaPh
of the room' the
the heightof tire ceiting'the 56s11 place' and Your abdomen :
of the
i.-6oî*te, the soundand feel Your lungs to exPan
room where you
Mentally go to the placein this exhale all of Your a
feelasyou prepareto
,irrg.Noti.e how yàur muscles musclesin to comP
sing.Take-*ory of your body positionin this

24

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
' \ ùur 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 prâctice 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 rèlt) 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
ùre vou usuallypracticeor
u:c'tand peacefulthe
magrnethe details:the floor,
:he smellof the room, the
::; rèelof the place.
::l :hrs room where you
'..r,...ies
tèel as you prepare to
t.ru:bodv position rn this
24
Practice
Routine
imagined space,and feel the anticipation
of the
performance.Imagine yourself
taking a deep b,reath
and beginmng song, singing through eàcn
)/our
phrase flawlessly..Inyour 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 yôur
mental prac_
tice. Sensethe feel, sounds, unâ
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 tÀe 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.jÀirrd
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. Àgfrti.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. LËt yo,r.
"l.rh.
abdomen relax and.ribsop-en.
nr.æfr. 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.
I
 Handbook
Singer's

Remernberto inhale and think of

relaxation' Your\l
Maintaining
this exer-
exhaleand releaseany tension' Rep-eat
of the day to s'hl
ciseseveraltimes over the course If singerswere to slng onlv
body and
releasetensionand invigoÏateyour completelYhealthr, and stress
for releasing
;i;J. This exerciseis specifically would neverbe ableto make a
is similar
tensionand improvingmentalfocus'-It That is whY it is imPortant to ç
but in rerax- \
;;;h. breath aition uied in singing' knowing Yourself,Your volce'
ation exercises, your rib musclesdon't resistthe how to take care of Yourseli'
;;;il of your di aphragmduring exhalation'
yourself If singing hurts, don't sing'
Think when you practice'Then allow
just sing'
,i-. ,o turn off your mind and
n p.tltio" will teachyour muscles
to remember Disregard for Your vocal health
fro* ro do the things yo""ot been
practicing' Then combined with Pressureiiom 't
let go. 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
rasPiness, a sPeakingvoice tt
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.

27
26
 -f*f

yourVocalHealth
Maintaining

d rhink of relaxation,
:ensron.Repeatthis exer_
re courseof the day to
Maintaining
YourVocalHeatth
lorare vour body and If singerswere to sing only when
rcrtrcally for releasing they feel
completely healthy, and stress_free,
nenral focus.It is similar many of us
would never be able to make a living
i rn singing,but in relax_ p..fo.._.rg.
That is why it is important ro prevent
nuscies don't resistthe problems by
knowing yourself, your voice, yorrr
n during exhalation. limits, and
how to take care of yourself.
: Then allow yourself
:rd and jusr sing. If singing hurts, don,t sing.
l: rrusclesto remember
:'r'ebeenpracticing.Then 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_artsmedicinà
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 Your instrument producest
and times when you should rest your voice. When singingvoice,so your singr
an occasional cold comes on, you can rely on affectedby poor speakrngh
breath support and body awarenessto get through employ touch-distancetalla
rehearsals and concerts without exacerbating who are within an arm's ler
fatigae or doing permanent damage. distance,away.This wrll he
shout and preventunneces
You can usually sing over a cold if you have nasal
whispering is tiring to _v-ou
congestionbut no throat symptoms. The first line
make the mistake of thrnkrr
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 Avoid prolonged talking ;
keep you from coughing, but the sugar and smoke.
menthol in them can dry you out. Caffeine,
alcohol, and smoking should be avoided because Performing
these are all drying to your voice and body. Herbal Performing environments.
teas (caffeine-free)can be soothing and add mois- and bars, are often dust1..s
fure to your system. things to be avoidedbv sin
Avoid spraysthat numb throat pain. Throatpain burnout:
indicates that you should not be singing. Singing 'Avoid smoky areas.
while you are numbing your throat pain canbe a 'Keep quiet on breaks.
recipe for problems. Consult your doctor for
music and other nolse n
advice about the use of any medication.
than normal and can lei
'Avoid alcohol and cafl
Choose repertoire carefully, and avoid music that
Your vocal cords shoulc
is taxing in range or intensity.
your voice to function b
If you need to change the key of a song, do it. It is dry your body and voca
them when performing.
not an artistic compromise to transposepop songs
your judgment about hc
to a comfortable range. Extend your range with
impair your abiliw to si
scalepatterns and exercises.But recognize that
unnecessarystrain. Dnr
some songsmay not be right for your voice, no
matter how much you like them. and caffeine can also le;

Traveling
Develop your own unique voice. In cars,airplanes,trains.a
ground noise forcesyou to
Study great singers,transcribeand sing great solos, normal, which can be detr
listen to phrasing, and frgtxe out what makes these
'Airplanes. The air on
singersunique. But it is not vocally healthy to ;
imitate others to the exclusion of developing your dry and recycledthroul
own voice. Voices often don't fully mature until tions that dehydratethe
singers are in their mid-twenties or even into their body. Responding to a r
thirties, so be patient and don't force your voice. long flight can wear ou
alcohol can compound
Beforetraveling,prepa
hydrating, drinking erg
a day for severaldavs b
28 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
:l1uùusrhin. 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
îi: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
nçenrlesor 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.
Trovelîng
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
.Before super_
hydrating, drinking eight io ten glasses
of warer
a day for several days beforehanl.
Singer's
Handbook

. Cars. Background noise makes you have to Drink water.

sing louder to hear yourself. Your posture is
compromised by the car seat, so you are not as Drink six to eight 8 oz.
likely to support your voice adequately.It is This can help your vorc
more productive to practice in a place where your vocal cords must b
you can really hear yourself and concentrate without too much fricti<
on what you are doing. doesnot go immediatel
Although you feel the ir
Avoid throat clearing. your throat, water goes
passesthrough your ent
Throat clearing is hard to avoid when you have a your vocal cords.It take
stubborn spot of thick mucus rattling around and so be sure to drink wate
you're trying to sing. But when you clear your Drinks with alcohol and
throat, you not only remove the bothersome but should not be count(
mucus, you can irritate the leading edgesof your intake becauseof their d
vocal cords. This makes your body produce more
mucus to protect them, and it becomesa circular
Eat well-balanced mea
problem. When practicing, try to sing the mucus
off. If you must clear your throat, do it gently, and Eat lightly and well in a
avoid habitual throat clearing. Large amounts of food
If you have severecoughing spasmscausedby your body and mav inte
bronchial irritation, seea doctor. You might benefit ment. Milk productsca
from medication that controls coughing, thereby production and should I
minimizing irritation to your vocal cords. A if they affectyou advers
doctor's treatment may also involve antibiotics,
Reflux occurs when the
reflux treatment, or mucus-thinning medications.
migrate back into the es
Be aware that many over-the-counterdecongestants
causinginflammation. 5
have the tendency to dry out your vocal cords.
react to a number of foc
impact their vocal cond
Develop good rehearsal habits. causingreflux laryngitis
prone to reflux due to tl
Warming up before rehearsalswill help you avoid that is used in breath su
strain. During a long rehearsal,take breaks,drink
plenty of water, and use a well-positioned monitor Dr. StevenZeitels, direc
that lets you hear yourself sing with an amplified Laryngology at the Mas
band. Do not schedulea long rehearsalthe Infirmary in Boston, no
evening before or the day of a performance; this with laryngeal reflux do
can take the freshnessout of your voice. commonly thought. Ref
production often associ
produces an ill-defined I
Stay physically fit.
throat, andcan causehc
Your body is your instrument. Whatever you do to coughing, and difficuln
improve the health of your body and mind eventu- Consuming soda,crtrus
ally shows up in your voice as increasedvitality alcohol can precipitatee
and energy.Singing is physically demanding, and Singersshould consult v
maintaining good health is essentialto success. is suspectedto be a proL
Physical exercisecan help you stay physically and
mentally alert, as well as have more energy.
30

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.
Yullqll€ JourVocal
Heatth
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 immeâiate
relief of warerin
your throat, water goesto your
stomachand
passesthrough.yo_ur entiresystembeforehyàrating
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.singeÀ
serrsltiveto 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-defînedfeeling
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
ùmgersshouldconsultwith a laryngologist
is suspected if this
to be a problem.
 s Handbook
Singer'

Eating disorders such as bulimia and anorexra Pay attention to common

plague many people, especiallywomen, and can contraceptive pills.
ruin your voice and health. In a music career,
Only a trained doctor or vo
appearancecan be consideredvery important and
your needfor medications
singerssometimestake desperatemeasures.
prescriptionand nonprescn
Laxative abuse,bingeing and purging, starving,
their effectson your \otCe.r
and abusing weight-loss drugs can sap your
and other common medtct
vitaliry and strength. Repeatedvomiting erodes
health.
the lining of your throat and mouth and irritates
your throat. Becausetheseurges can become In somewomen, btrth cor
uncontrollable and seriously affect your health, if of the vocal cords,resultt
you think you have an eating disorder, get profes- loss of high range.The ler
sional help. thesedrugs vary accordin
as doestheir effecton tnd
Get plenty of rest. If you are akeady takrng t
experiencechangesin vou
Know how much sleepyou need and maintain a doctor. However,it rs bes
regtlar sleep schedule.Rest your voice whenever gist beforebeginningthes
possible.Scheduletime to unwind during your
day. Don't wait until you burn out before you Do not smoke.
scheduledown-time away from stressfulactivities.
Any singerwho is serlou
If you sing with an amplified band, always use a music should not smoke.
microphone. known to causeemPhvse
mouth and vocal tract It
Singerswho cannot hear themselvestend to membranesand )'our voc
compensateby over-singing.This is a sure way to membranesare dr1' and lt
wear out your voice. Use a microphone when cals in smoke,your bodl'
singing with an ampliflredband. Position yourself secretions.These make 1'
so you canhear your voice from an amp or throat, which causesfurtt
monitor.
Keep your microphone in a separatebagthat's Takecareof yourself.
Eat a variety of health
easy to locate. All you have to do is grab it and go.
grains, fruits, and vege
In addition to your microphone, it should contain
a mic cord and XLR-to-1/4 inch transformer for Get enough sleePat re

connecting to a gtitar or keyboard amp. Find out Stick to a moderate ex

about the sound system,monitor, and other equip- Wash your hands with
ment in the performance spaceso you will know frequently.
what to bring. Drink six to eight 8 oz

32
 'r

\lairfeir.tiîg
Y'our
VocalHealth
'h as
bulimia and anorexia Pay attention to common medications,
. especrallywomen, and can including
contraceptive pills.
healrh.In a music careet,
onsrderedvery important and only a tratneddoctor or voice speciahst
can evaiuate
tlie desperatemeasures. your need for medications.Ask your
doctor about
e:ng and purging, starving, prescriptionand nonprescriptionmedications
oss drugs can sap your anrJ
their effectson your voice.Antihistarnines,
asprrin,
Repeatedvomiting erodes and other common medicines can afTectyour
:rrai ând mouth and irritates vocal
health.
:heseurgescan become
In some women, birth control pills affect
:::ouslv affectyour health, if the mass
of the vocal cords,resultinginless flexrbility
: earlngdisorder,get profes_ and
loss of high range. The levàls 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
ra \ ou need and maintain a vour
doctor.However,it is best to consult
: Rcsrvour voice whenever . turyngoto_
gist beforebeginningthesemedications.
:e :r) un$.ind during your
rou Llurnout beforeyou
tlar tiom stressfulactivities. Do not smoke.

Any singer who is seriousabout havrng

mplified band, always use a a careerrn
music should not smoke.Smoking has
long been
known to causeemphysema and àurr..,
of the
mouth and vocal tract. It irritatesvocal
:a: ihemselves tend to rract
membranesand your vocal cords.When
ng:ng. This is a sure way to these
membranesare dry and jrritated from
. sc'a microphonewhen the chemi_
cals in smoke,your body tries to compensate
:ei band. Positionyourself with
secretions.Thesemake you need ,o
o:.c' iiom an amp or .1"u, yor.
throat, which causesfurther irritation.

r :î a separatebagthat,s
Takecareof yourself.
lar c ro do is grab it and go. Eata varieryof healthfulfoods,inclucling
::olhone. it should contain whole
grains,fruits,andvegetables.
r-I -i rnch transformerfor
Getenoughsleepat regularhours.
r: icr hoard amp. Find out
Stick to a moderate exerciseroutine.
:. :tonltor, and other equip_
:e spaceso you will know 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. Possible of

Causes
Many factors can contrtL'u
Somesingersseemto be ableto screamconstantly
careerin rock music.
and still sustaina successful vocal cord nodules,Polr'Ps
The list below shorn'ssome
Otherscan havea singleincidentof voiceabuse
and end up with vocalcord nodules. of and contributing tactor
maladies.
The limits of safevocal usevary greatly from
personto person.Learn what it takesfor your
Non-singingFactors
voiceto be in peakshapeand readyto sing.Learn ar
Shouting,screaming'
what triggersstressfor you; it can sapyour energy cheerleading'
and makeyou susceptible to illness.Know your
Poor sPeakinghabits.
tendenciesfor talking too much, drinking,and
Self-knowledge is one of the keys straining,asr
RePeated
other excesses.
to maintainingyour voice. Talking over backgrou
clubs,or in airPlanesar
Somesingerspurposelytry to add huskinessto
Making odd noiseswid
their voicesby screaming,smoking,or drinking.
Suchsingerscan end up with no voiceat aII. Reflux.
Tearingdown your voice is not the way to add Smoking.
character.Instead,build it by learninghow to sing coughingan
Excessive
and exploringall the possibilitiesof your instru-
ExcessivedrYnessof tt
ment. Gain performanceexperienceand interpret
causedbY Your envrro
your songswith sincereemotion,ratherthan hYdration,medication
manipuiatingyour voice in a way that can perma- alcohol and/or caffein
nently damageand limit your vocalpossibilities'

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.
Possible
Causes
of VocalMaladies
o be abie to scream constantlv
Many factors can contribute to the development
;ccssfulcareerin rock music. of
vocal cord nodules, polyps, and chronic
rgie incident of voice abuse laryngitis.
The list below shows some of the possible
ai cord nodules. causes
of and contributing factors to thesà
seriousvocal
cal use vary greatly from maladies.
r:n u'hat it takesfor your
:ate and readyto sing. Learn
Non-singingFactors
)r.)ou: lt can sap your energy
Shouting,screaming,
andyelling,including
t:t'le ro iilness.Know your cheerleading.
:oo much, drinking, and
Poor speakinghabits.
rou'ledgeis one of the keys
Repeatedskaining, as when tifting heavy
objects.
Talking over backgroundnoiseat concerts
lr' trv ro add huskinessto and
clubs,or in airplanesand cars.
:ng. smoking, or drinking.
j3 rr:lh no VoiCe Making odd noiseswith your voice.
at all.
:cc':s not the way to add Reflux.
-: ::.ly learninghow to sing Smoking.
rcss:b:liriesof your instru_ Excessivecoughingand habitual throat
.e c.\penenceand interpret clearing.
Excessiyedrynessof the vocal mechanism
e enorlon, ratherthan
causedby your environment,lack of
:e :n a \\'aYthat can perma- adequate
hydration,medications,or over_consÀption
:: \our vocal possibilities. of
alcohol and/ or caffeine.

Singing Factors
Not warming up.
Singingat the exffemesof your range
for long
periods.
Imitating other singersto the exclusion
of devel-
oplng your own voice.
Singingwithout adequateamplification.
Insufficientbre atb,supporr.
Pushingyour voice when overtired
or sick.
Overusingyour voice.
 Handbook
5inger's

Whatto Do
Conseruation
Marki forVoice 1. Warm up lightly fit:
Marking is a way of singing that helps you save 2. Maintain energettc
your voice during rehearsals.To mark a melody, 3. Sing only the first ti
sing just the first few notes of a phrase,and singing the rest mer
mentally sing the other notes. Raise the lowest and 4. Displacenotes at th
lower the highest notes in your song by an octave your range by an oc
(octave displacement)to avoid the extremesof
Plan this in advanc
your range.Men can use falsetto to approach high
5. Men can sing high
notes. All singing should be light when you are
marking.
marking.
6. Always sing lightlr.
Marking savesyour voice by minimizing its use. It
should be used when you are not feeling well, or Whatto Avo
during rehearsalsscheduledjust before a perform-
ance. Too much practicing before a performance 1. Don't sing even'thi
can take the freshnessout of your voice. In theater 2. Don't whisper or u'
music, singersmark during lighting and technical 3. Don't lose concent
rehearsals,when it is not important for them to
4. Don't succumbto I
sing at full volume.
tors and sing full r.c
Singersoften have strong emotions when your doctor.
performing and become carried away by the 5. Don't mark all of t
moment, losing self-control and singing full voice concert,recital. or
when they should be resting, so listen to your using your full voic
body. period of severalu
you are familiar u'r
pacing,and to helP

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
:: ùi 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
Yqltng forVoice
Conservation
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 thè
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 develàp
sramina.
(inopr'rHandbook
J l l 16!' '
.r

Aboutthe Author
and
Anne Peckhamis a singer,voiceteacher'
at
urr,frot.A professorin the VoiceDepartment
private
;;;ù.. càilege of Music, Anne teaches
Theater
uol.. lessons,directsBerkiee'sMusical
for
Wotltftop, and has developedcurriculum
a requiredcourse
"Elementsof VocalTechnique"'
f- uUof Berklee's vocal students'Anne is the
'tlteCotûentporrtrt
Singer' a book/CD t ISBN:0-87639435n

authorof '[he Conternpornrl !

HL:50448017

i"iî.trriitr-,ed bv Bertlee Étest' DVD

t19 95
released in lrJ:rpanesc-
Sirlszrt'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 lSBN:G87639{25-2
HL: 5044a038
annuai Song
,iîpnr,and co-chaired the chapter's DVD

as a clinician and
5 1 99 5

Festival. She frequently appearc

festivaisin the U'S''
uà:,rai.u,or for choralâttà-tottg Uo Closewith Pa
Makinglt in the n
EuroPe,and Canada' -
F e a t unr c P : : 1 : - . , :
Festival Chorus L e tP a t :Â - . ; : : :
Anne sang with the Tanglewood Auslrl :, : .' i -

fwo recordingswith
for four years,performing on deveol .: . r:
on alc:a-- i :
solo in their ISBN:047639{41{

the Boston Pops, inciuding afeatued

':.-
HL:5M48031 frnanc a

DVD
televisedGilbertandSullivanplesentationthat !19.95

ui'edonPBs.Shehasperformedwithregional
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