THREE SECRETS TO HIGH NOTES

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  1. DON’T STRAIN OR PUSH
    When it comes to high notes, most people think that if they just try a little harder, those notes will come out. Singers often sabotage themselves by straining to hit a note that they could probably hit if they weren’t straining to hit it!
    Start by relaxing through your shoulders, neck and jaw. Take this to another level by trying this bent over with your arms hanging down while singing- at least until you can be just as relaxed when you’re upright.
  2. TRY A SPOKEN SOUND
    Strangely enough, many people hit those high notes in their everyday speech, free from strain. Then they go to sing the same pitch range and it’s suddenly much harder. (It’s a Right Brain VS Left Brain thing – but I’ll cover that in a future tip).
    Try this: say “Woo-hoo!”, really excited, like you’re cheering for your favorite team. You just hit some fairly high notes, free from strain and effort. Now go back and forth between the spoken and sung sounds in that range until your sung notes feel just as easy.
  3. OPEN UP
    Technically speaking, one of the biggest obstacles to reaching higher pitches is the position of your larynx (pronounced LAIR-inks) or voice box. Most singers instinctively raise their larynx as the pitch goes up. This puts strain on the vocal cords by needlessly stretching them, actually inhibiting the pitch (usually causing the note to go flat).
    So open up. Start a little extreme by dropping your larynx like you’re about to yawn. Holding your hand on your throat to feel the bump of your larynx, and see if you can sing without the voice box moving back up. This takes some practice. Notice where your body really wants to fight it and work to control those areas. Once you’ve proven to your brain that the larynx doesn’t need to come up when you sing, you can try singing with it neutral (which is the goal) rather than dropped (in the yawn position).

VOLUME WITHOUT EFFORT

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Many singers aren’t aware that singing louder doesn’t mean more effort. Surprised? I didn’t always believe it either. Yet the more I experience good singing the more I realize that, when I want more out of my voice, I need to relax and get out of the way!
Ironically, when you want more volume from your voice, the first step is to start with as little volume as possible.
I liken it to the experience of weight-lifting. Imagine a beginner weight-lifter walking into the gym and attempting to lift 200 lbs right off the bat. What would happen? Lots of straining, bad form and trips to the chiropractor.
When working with a trainer, the first thing they will do is to make sure your FORM is correct using little or no weight. Once the form is correct they will gradually increase the weight until, someday, their protege is lifting 200 lbs like a pro.
When it comes to the vocal cords weight equals air pressure (air that the vocal folds are resisting), which results in an increase in volume. Getting the form correct, then gradually adding weight is the key to singing effortlessly loud.

Working with an experienced teacher who knows how to guide you towards a louder sound with less effort is the best way to get there. Book a lesson now to get started.

PERFECT PRACTICE

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I don’t agree with the adage, “practice makes perfect”. I prefer “PERFECT practice makes perfect”. The reason being that the brain will gravitate towards whatever it has done the most. Repeating something correctly or incorrectly will lock it into your muscle memory exactly the way you practiced it.
Inevitably, when I begin to make changes in a voice, the body/nervous system resists at first. When it comes to muscle memory, the brain’s job is to keep the status quo and defend it’s established neural pathways. My job as a teacher is to use the tools I have to prove to the brain that another way exists, then take the voice there often enough that this new way of vocalizing becomes what the body now naturally falls into.
At first, a student may feel unsure of how to find a new coordination on their own – that’s why I may not be too quick to encourage them to practice what we are learning until they can find it independently. There is a moment I watch for when a singer does it incorrectly, then self-corrects before I have a chance to redirect them. This is when I encourage them to practice their hineys off. When I know they are repeating a technical exercise correctly at least 90% of the time (and they correct themselves the other 10%), this is when we start building it into their muscle memory.
Ideally I would have a “beginner” voice come for shorter durations of lessons so we don’t overload the brain with new sensations – but vocalize them multiple times a week . Once the momentum of “self-correction” kicks in we can lessen the frequency of lessons and increase practice time. As we advance through technique and move on to song application, a singer will often need to increase their lesson time to provide space to apply the technique.
When you practice correctly, your “perfect practice” will be rewarded.

WHY TAKE SINGING LESSONS?

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The first questions I often ask new students are: “What do you wish your voice was able to do?” and “What do you wish your voice would stop doing?”. Many singers assume they are stuck with the default setting on their voice and don’t realize (until they take lessons) that there are often easy solutions to the things that have been bothering them about their voices for years. Of course, some of these solutions can take minutes and some of them need months or more of consistent work. Nevertheless, almost anything they can think of has a do-able fix. Working with a teacher can open up a world of possibilities for their voice.

Even professional, working singers sometimes are unaware of how much they have shaped their singing around their vocal limitations. When pro singers are sent by their agent or record company to work with me, they often express a concern that voice lessons might change what is unique and marketable about their sound. As a teacher, I feel it is ultimately my job to keep a singer working, so I agree I don’t want that to happen either. Instead, I explain it this way: some artists can make something beautiful with only a few, limited, colors on their palette; but what if they had access to every possible color? They would still have the tried-and-true colors but would now have the choice to add in more if needed.

I’ve often asked students, “Did you do that interesting thing with your voice because it was your choice as an artist, or because that’s the only thing your voice could do at that moment?” Inevitably those same artists observe that they like their voice more and feel more “at home” in it after we’ve worked together. Adding more artistic choice will always benefit any singer.

So now, let me ask you those questions:

  • What do you wish your voice was able to do?
  • What do you wish your voice would stop doing?
  • If you have an answer to either or both of those, book a lesson with me so you can find all the colors available to you.

6 MISTAKES NATURALLY GIFTED SINGERS MAKE

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You know the one. That kid who got the lead every year in your school musical because she had the highest and loudest belt on the planet while the rest of us were still navigating pubescent vocal cracking. As a young singer I felt frustration and envy. As a vocal technique teacher, those are the voices that sometimes concern me the most. Here’s why:

  1. “SELF-TAUGHT” LABEL
    Naturally gifted singers may wish to retain the “self-taught” label. When something doesn’t feel right, they don’t seek help.
  2. VOICES PUSHED BEYOND CAPACITY
    They are often complimented on how far they can push their voice – which encourages them to push it beyond capacity.
  3. YOUNG VOICES BOUNCE BACK
    Their voice bounces back easily from abuse because they are young but once they get older, issues start to snowball.
  4. SURROUNDED BY “YES-MEN”
    Naturally gifted singers can be drawn to teachers who support and cheer their unbalanced vocal habits. They may shut down teachers who say things they don’t want to hear.
  5. PEAK CAREER CRASHING
    They establish careers based on out-of-balance vocal habits until their voices fail, and worlds crash – often at the peak of their careers.
  6. TEACH THEIR OWN IMBALANCES
    Once their voices fail, they fall back on teaching other singers. Students are drawn to them because of their performance reputations. Since they’ve never had to deconstruct and understand their own vocal problems they tend to recreate those same issues in their students.

I see it all the time – whether it’s an emerging singer or a successful singer on an international stage. Sometimes they get far enough for us to witness their voice losing its luster but, more often than not, we never hear of them beyond their 30’s – their voice doesn’t make it that far. Finding a good teacher can mean the difference between a long career and a short one. Of course, some of the most ideal voices out there are singers who continue to study with a voice instructor long after they’re successful. Don’t just find a vocal cheerleader. Find a teacher who understands how to make your voice the best it can be, for as long as possible.

FIVE COMMON MISTAKES OF A TOURING SINGER

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  1. LACK OF SLEEP
    Late nights followed by catching a few winks on the drive to the next show (if you are lucky enough to have a driver) can spell trouble for your body and voice. Limiting your tour time, planning more days off between shows and sleeping in a hotel room rather than the back seat of a UHaul can go a long way to meeting your sleep needs.
  2. NOT STAYING HYDRATED
    Your vocal cords need to be hydrated in order to keep elasticity (vocal agility and range), viscosity (mucus membranes help the vocal cords vibrate without friction) and prevent vocal trauma. So learn to love drinking water! Adding a squeeze of fresh lemon or lime to your water will hydrate you more deeply. Also, a “personal nebulizer” (I recommend this one) can help directly hydrate the vocal cords before a performance.
  3. SMOKING, ALCOHOL, CAFFEINE
    Inhaling smoke, whatever its source, dries out the vocal folds. If you want to stay in top vocal shape, quit smoking or leave the room if it is smoky. Alcohol and caffeine also cause dehydration. For every cup of coffee or pint of beer, increase your water consumption to compensate.
  4. BAD TECHNIQUE, NO WARM UP
    You may be able to sing that note over several takes in the studio but did you plan on how you’d do it live – night after night – for months on end? Meeting regularly with a vocal coach in the months leading up to a tour can help you establish good technique and head off vocal issues before they start. That and a proper vocal warm-up can make those challenging choruses feel easier and make sure you can keep repeating your performance without harming your voice.
  5. TOO MANY PERFORMANCES, NOT ENOUGH RECOVERY TIME
    Early morning radio shows after a late-night concert that involve meet-and-greets accompanied by alcohol, cigarette smoke and yelling over a crowd will take its toll on any voice. If you want your career to last beyond your first tour you need to set some limits and be prepared to draw some boundaries.

As an artist, you are your own best advocate. Before the tour is planned, meet with your manager and establish your limits right from the start. Having some days in between to recover is always better than cancelled shows. In addition, ironing out potential vocal issues before you head out will lead to fewer problems while on tour. I’ve prepared many bands and singers for tours and would love to help you get ready for yours.

P.S. If you are already on tour and experiencing vocal issues I can meet with you over Skype to help you sort things out so you can keep your focus on sharing your music with your fans!

BREATHING AND BREATH SUPPORT FOR SINGERS

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Breathing and support are hotly debated topics among singing teachers. One of the first things new students often say to me is that they’ve been told they had poor breath control or diaphragm control.
There are some teachers who focus almost entirely on breathing and supporting that breath with their singers, and some who don’t.
I’ve also known some pretty incredible singers who swear that their particular breathing technique is essential to their singing success.
I’m not here to claim that one way is more right than another. If it’s working for you, more power to you. If it isn’t, or you’re still having some vocal issues that aren’t being solved by better breathing or more abdominal support, here is my personal take on breathing and support for singers.

BREATHING AND SUPPORT AREN’T MY FIRST PRIORITIES
If there are issues at a vocal fold level, adding more air for the folds to resist will generally make a problem worse. Here’s what my priorities look like:

ELIMINATE EXTRINSIC MUSCLES
If a voice is strained or “tight” or the larynx is moving up and down with the pitch I need to make sure the singer knows how it feels to sing without un-needed muscles getting in the way. I would first make sure their voice is released and easy throughout their range.

INCREASE CORD CLOSURE
If the sound is too “breathy” or airy (like a sigh) then there is too much air escaping and not enough being resisted by the vocal cords. To add more “cord closure” I’ll use an exercise that will increase the percentage of time the vocal cords stay fully closed between vibrations, thus increasing the amount of air being resisted by the vocal cords. Try saying “mm-mm-mm” like you see your favorite dessert – you’ve just increased your air resistance or “cord closure”.

ADD MORE AIR SUPPORT
Once issues at the vocal cord level are addressed I will gradually add more air support to the equation – as long as we can maintain an equilibrium of cord closure and muscle balance.

Of course, if I notice someone is hyperventilating and “shallow breathing” (lifting chest and shoulders to breathe rather than filling up with a “low” breath) I will immediately redirect/retrain them to relax their top half and breathe more deeply – more to keep them from becoming light-headed. Generally, though, I find that more relaxed and efficient air resistance leads to better breathing.

PROJECTING YOUR VOICE

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USE YOUR BREATH, NOT YOUR THROAT
Many singers (and speakers) instinctively squeeze the muscles around their vocal folds when they want more volume – but those muscles are completely unnecessary for this task and even can inhibit the very thing you are trying to accomplish. Try this: keeping your throat, neck, shoulders and jaw very relaxed, say “Yeah!”; then say it again, gradually increasing volume, while at the same time staying in that relaxed position. This way, instead of squeezing to get volume, you are training your body to use a comfortable resistance of air to achieve it. It will take a period of focus and mindfulness to retrain your nervous system but eventually this more relaxed approach will take over as your new muscle memory.

AIM FURTHER THAN THE MICROPHONE
Sometimes a new student will come to my studio and, after taking them through some vocal exercises, I’ll ask them if they are used to singing with a microphone. This is because I will have observed that they only project their voice about two inches in front of their face – only aiming as far as a microphone. Mentally aiming your vocals towards your audience, or even a point at the back of the room, instantly changes how far your voice is projecting (and also helps your audio technician prevent mic feedback).

ENUNCIATE (PRONOUNCE YOUR CONSONANTS)
While singing mostly involves holding notes on the vowels, consonants are, of course, also important. Singers often don’t notice that they are under-pronouncing their consonants and even feel uncomfortable when asked to do so. When I’ve demonstrated this idea on a student in a workshop and had them “over do” their consonants, the consensus for the rest of the listeners is that it sounds just right (note: the degree to which you “over do” your consonants will often depend on your genre of music). It can feel strange to emphasize your consonants when you first try it but, after awhile, it will start to become your new normal.

VOCAL ACOUSTICS (DROP YOUR JAW)
Sound waves and harmonics play a big part in projecting the voice. If you’ve ever sung in the shower and enjoyed the way your voice bounced off the smooth tiled walls you’ll understand that different acoustic spaces can change the range of harmonics that hit the eardrum. By adjusting your vocal acoustic spaces in your mouth and throat you can “aim” those sound waves so that the listener perceives a louder sound. Dropping your jaw is a simple technique that allows an additional range of harmonics to reach the listener’s ear, without actually singing “louder”.

3 SECRETS TO A GOOD VOCAL WARMUP

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A SHORTCUT TO MIX VOICE

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left-brain-right-brain

When it comes to teaching someone to find their mix voice I’ve observed that I can often use a “short-cut” to get a singer there much faster: with some singers, all of the sounds and sensations I need them to feel are already present in their speaking voice – however, that particular coordination of the vocal cords simply isn’t accessed when they are singing.

First, a little context: our “Right Brain” is where our musical abilities primarily live and so, when we’re singing, that hemisphere is dominant. When we are speaking, our “Left Brain”, or logical side, takes over. Interestingly, research has shown that stroke victims, when robbed of speech due to damage to their Left Hemisphere, can often be taught to use the singing ability still intact in their Right Hemisphere to communicate their needs – even while they are still unable to form spoken words. (Click here for article).

By using a spoken sound (with pitches ranging in the mix voice area) that is easy and free of strain, and technically in a mix coordination, I can take a voice through steps that incrementally build a pathway between the Left and Right Hemispheres of the brain, until they are able to physically coordinate that range in the same way, regardless of their dominant area of the brain. Sometimes, by the end of a first voice lesson, I can have someone singing strong in their mix voice for the first time.

I have to be sneaky about this “short-cut” in order to build a neural pathway between the two hemispheres. The nervous system will always resist the change at first because the brain’s job is to keep the status quo: when the brain senses we are trying to make changes to it’s neural programming, it will momentarily sabotage our efforts in defense of what it’s used to. My strategy is to go back and forth between spoken and sung sounds until they are able to make the same sounds in both contexts. These singers are always surprised to find just how easy and effortless it feels to sing in mix if they’ve never done it before. Then, since most singers assume (wrongly) that singing beyond chest voice has to involve a lot of strain and effort, I spend a lot of time affirming through vocal exercises that the strong, yet “too easy” sound is the right one.

This is not a trick I can use with every singer but I am surprised just how many people it works for – and I will say that it tends to work a little more often with female voices than with male voices. (There are reasons for this – send me an email if you’re curious).

There are some singers, of course, who have never experienced a mix coordination in their voice, whether speaking or singing. I, personally, was one of them. I had never spoken or sung pitches beyond my chest-voice that weren’t in a light head voice and so, had to take the long road and spend time building that coordination into my voice from scratch. For those singers like me, there is a very effective – though longer – journey to build a solid mix voice. Consequently, as a side-effect, once I was able to experience a clear, easy sound beyond my chest voice I found that my speaking voice became much healthier and I began to use much more vocal range to express myself in daily life.

Whichever path your voice is ready for – whether a short cut or the long way round – a healthy mix-voice is within your reach.