The Instrument Inside

Mar 13, 2008 5:11 PM, By Joanna Cazden

           

MAXIMIZE YOUR SINGING VOICE WITH PROPER CARE AND TECHNIQUE

Spectrum Analysis

Once you've developed your power supply, enhance your projection and tone quality by optimizing the resonance in your throat, mouth, and face. This means lengthening your neck, letting your jaw drop open, and mentally projecting the tone through the front of your face. This is another area where a private teacher can help. You'll know it's right when your upper teeth, nose, and eye sockets vibrate lightly and your whole mouth fills with sound. If you have a deep alto or bass voice, you may also feel some vibes in your throat and chest.

If your voice seems flat and dull or it doesn't carry well, practice single notes and simple scales or arpeggios on the syllables “nee-nay-nah” or “mee-may-mah.” If your voice is too nasal, vocalize on “low-low-low,” “ago-ago-ago,” or “gullee-gullee.” These techniques balance the resonance spectrum.

It's also important to sing within a range of pitch and loudness that truly fits your instrument. Rather than straining to make your voice sound like a favorite star's or to meet an arbitrary goal, strive to stay internally mindful and develop your own sound to its fullest. (For more on this, see “Performing Musician: At Home in Your Range” in the February 1999 issue of Electronic Musician.)

Training Manual

Almost as much mystique has evolved around voice training as around singing itself. In addition, vocal styles are now extremely diverse, and most performers have a personal goal or target sound in mind and don't wish a teacher's preferences to shape their voices. However, just as instrumentalists do, you can acquire a solid, fundamental technique from an experienced teacher, then adapt the result for your own purposes.

Better yet, choose a mentor who teaches a style close to yours. For example, rock and R&B vocals are rooted in gospel, so a dynamic church-choir director may be an ideal teacher for these styles. On the other hand, singer-songwriters may benefit more from classes that target actors, because these support effective storytelling. Ask around, network, and take sample lessons from different folks. Another alternative is a voice-training program on audiotape or videotape; you'll find many examples at various music stores and on Web sites.

Maintenance Contract

Even if you take some lessons, practice what you've learned, and develop a sound that fits your individual instrument and goals, your voice remains vulnerable to damage from overuse, health problems that affect your throat or breathing, and the environment in which you live and sing. Sure, a rough, gravelly sound can add “character” to your performance, but even if it sounds cool now, you're putting your long-term career in jeopardy. Here are some general guidelines for keeping your voice at its best.

In addition to regular exercise, get adequate nutrition and sleep. Many of the voice clients who come to me with problems are simply run down, not even aware of how exhausted they are and what effect this has on their breath support and singing stamina.

Avoid vocal fatigue by pacing yourself, talking less on days when you have to sing and setting aside occasional days for complete vocal rest — no singing or talking. Minimize talking during set breaks, and try not to talk or sing over noise. For instance, after a show, chat with friends and fans in a quiet room instead of at the bar, and then shut up, pack up, and go home.

There's a lot of folklore about what singers should eat and drink, but what you breathe is more directly relevant. A humid environment is best, so take long showers and soothe your voice with steam when it feels stressed. Avoid dusty and smoky hangouts when possible, and don't take a day job where you're exposed to chemical fumes. And in case this needs repeating — don't smoke!