Exercise For A Connected Vocal Melody

Voice Classifications

If The Shoe Fits . . .

Are you a size 8 or 13 when it comes to footwear? Do your feet create narrow little deer prints or do you leave triple-E, bear-sized craters in your path? Whatever your answers, there’s no sense in complaining; your shoe size was determined the day you were conceived. Voices also come in a variety of sizes. Just like the foot, the size of your larynx was determined by a genetic code. And like every other musical instrument, size determines range. If you have a small larynx, then your voice will be high-pitched. That’s why male and female children alike can sing into the stratosphere. As we age, the genetic code begins to unfold. Some people experience tremendous growth spurts during their teens. If you wind up with a super-sized larynx, your voice will be able to produce pitches much lower than the average bear can bellow. Most of us, though, grow to average proportions and wind up with average vocal ranges. Don’t fret. Just as your shoe size does not determine where you will go in life, an ordinary larynx does not mean an ordinary voice.

Centuries ago, when western music was evolving, a system emerged to classify singers by range and quality. This allowed composers to specify the type of voice for a particular part and get a result as consistent as with a violin, cello or bass. The highest female voice is called soprano, followed by the middle range of a mezzo-soprano and the lowest for women, a contralto. A male who has a high voice is called a tenor, a guy with an average range is classified as a baritone and those who can sing super low are basses. If you are familiar with music notation, the normal span of these voices is one octave above and below the notes B, G, and E for the females and A, F and D for the males. Experienced singers, though, routinely sing beyond these limits. The operatic world goes into further detail by adding character descriptions to a singer’s label. If you have a powerful voice, then you are classified as dramatic or robust. Sing with a light tonal quality and you will be dubbed a lyric-soprano, tenor, baritone, etc. If the descriptive add-ons don’t quite capture you, there are combinations of categories, like bass/baritone, that can stretch the boundaries even further. In the end, everyone gets a tag.

Labels have a funny effect on people; the profile always feels limiting. Yet, some singers are empowered when informed they are a soprano or tenor. They forget the classification is based on genetics, not how well they sing. Others become discouraged when told their vocal ranges are average, also forgetting that middle does not mean mediocre. What’s important to note is that these classical voice categories, formed so many years ago, have no significance in popular music. With few exceptions, the admired singers of today are mostly baritones and mezzo-sopranos (middle range singers) that push their voices into tenor and soprano ranges. The sound of their high notes is appreciated by their fans but not acceptable by classical standards. Remember the categories were formed so composers could control the quality of what is sung in their music. So often in pop music, the composer is the singer. Those that don’t perform their own songs have the luxury of changing the key until the fit is as comfortable as an old shoe. While it is necessary for pop singers to know their range, it’s not necessary to label their voice. Popular music is all about personality; simply hitting the notes is not enough. So, don’t stress over whether you’re a coloratura or lyric soprano, a heroic tenor or a basso buffo. The potential is there for every singer to receive a standing ovation. And that, my friends, is no ordinary feat.

Aggressive Singing

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Warming Up

Whether you rap, sing, belt, scream, croon or perform spoken word, you will get more from your voice if you warm up first. Actually, there’s no avoiding it. Those who feel it’s unnecessary, or silly, are simply warming up as they sing rather than before. There is a huge difference, however, when you gradually work the body up to performance level. Your pitch, range, power, expression, and most important, your longevity will greatly improve.

Any increase in any muscle activity raises the body’s core temperature. Shocking the body into action from a cold start triggers protective muscles to brace against the prospect of injury. Neck, jaw and tongue muscles lock in place requiring a vocalist to exert extra air pressure to sing. The tension creates friction that causes the vocal folds to over heat and swell. Translation: Punching out the first few songs of the set will make you blow out quicker and stay blown for most of the next day. Temporary vocal fatigue might not seem to be much of an issue when you’re gigging once a week. But what happens when your music “hits”?

Consider the schedule Emerson Hart, singer for Tonic, back when his album “Lemon Parade” was released. Management kept the band working five nights a week, with plenty of thirteen-dates-in-a-row stints. Often, Emerson’s day began at 7:00 AM with an unplugged song for a morning-drive show. Then, it was off to various promotions and afternoon interviews, finishing with a 90 minute set at midnight. When Emerson called me, he was satisfied with his vocal abilities but nervous about surviving his success. I devised a warm-up plan to prepare him for the daily routine.

What you sing to warm-up is not as important as how. I recommend the simplest sounds. Your attention should be on physical freedoms rather than quality of sound. Release your breath with several long, low volume hisses. Then, loosen your face and neck while humming with a wandering, siren-like, motion. Don’t allow your face to change to reach for pitches. Alternate the hums with an extended zzz sound and gradually change this to an EE vowel and then an AH. Keep your melodies sweeping. I don’t recommend singing songs quietly because there are usually tensions programmed into them. As you loosen up, turn up your volume — but not before. As you get louder, stay with an EE or AH. The point is to wait until the body gives you permission to increase the load. The length of a warm-up should be in reverse proportion to the need. Long gig — short warm up, but if you’re doing a single song on Late Night with Jimmy Fallon, you should warm up and then sing for an hour for that, trusted, middle-of-the-set feeling.

The hardest part about warming up is making the time and finding a place. I used to be embarrassed to make the funny sounds required in front of others hanging in the back room — if there was one. Now I choose the dirty looks over the frustration of having a set end just as my voice is waking up. Be inventive; head out to the car or van in the warm months or, in winter, hang in the bathroom or stand in the middle of the crowd if there’s a band before yours. No one will hear a thing — I do it all the time. If you’re running late, warm up while driving to the gig or rehearsal. The best routine is to warm up slowly all day. Every chance you get, lightly vocalize on hums and zzz sounds. Just remember, for any style singing, starting with a loose, flexible instrument will allow access to your full potential. Where you take your voice from there, is up to you.

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Let Yourself Breathe

Few things are as important to singing as breath. Like the brush strokes of an artist, each breath makes a statement. The pitches and words we sing are as obvious as looking at a painting of a tree. Beneath the surface, though, lies a subtle message. What makes an artist’s rendition of a tree appear strong and majestic or weak and timid is the manner in which the paint was applied. The same is true for the breaths chosen to sing a song. When, where and how much you breathe become the details which invite a listener in.

With so much importance placed on breath control, it’s ironic that few things are as simple as a breath of air. Effortlessly, the diaphragm contracts and draws air into the lungs and then relaxes back to its neutral position. Most of us maintain this activity unconsciously; an average of 720 life-sustaining breaths without a single thought. And then we wake up. During the day, our breathing reacts to everything we do and think. Bolt up a flight of stairs and, if you’re out of shape, your breathing will become heavy. If you think you hear a stranger in your house your breathing will be suspended. Lift something heavy and the air inside your lungs is compressed. None of these changes require forethought. This ability to adjust to any physical demand or concern is both good and bad for singing. On the upside, it means that breathing is reflexive, no need to think about it when you sing. On the downside, it means that your physical condition and mind-set can easily interfere.

Since singing is low on the totem pole of physical necessities, all higher ranking bodily functions must be satisfied before your vocal needs can be addressed. If something triggers an increase in your heart rate, like running late to an audition, for instance, the stress will automatically shallow your breathing. The compromise to singing is immediate. Poor posture also hinders reflexive breathing. When we slouch, weight is placed on the ribs, forcing the body to work harder to fill the lungs. The result is a perception that your lungs are full when they’re not, which means less power for your voice.

Unconsciously, we often use our breath as a clock-of-life. Can’t remember something important? Your lungs will freeze in place in an attempt to stop time until it’s recalled. Any time we’re put on the spot when speaking or singing, the muscles which control the lungs will hesitate. Even if the words or pitches eventually come, the sound will still be unsure due to the lack of air flow. Another common circumstance which compromises breathing is perceived effort. Imagine a pitch is difficult to sing and your body will lock in anticipation. Creating a rigid torso is necessary for heavy lifting but devastating to vocal control. The abundance of air pressure will tighten your throat every time.

With so many factors dominating every waking breath, you might wonder how anything can be sung with finesse. The answer is that breathing is a two way street. Just as emotions and physical strength can negatively influence breathing, a change in your breathing can positively influence your mind and body. For instance, the best way to reduce anxiety is to consciously slow your breathing. The reduction of oxygen slows the heart which, in turn, calms the mind. Remember that next time you’re late to an audition.   A focus on breathing is also beneficial when working out in the gym. Releasing your breath on the exertion of an exercise will deliver more challenge to your target area. Notice, though, the goal is always to return breathing to a relaxed state, which is where singing thrives.

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