Singer’s Vocal Workout

Singing High Notes

Not once has an award been handed out for singing glass-shattering high notes.  Likewise, no song has ever become popular simply because it contained some birdcalls.  Yet, we singers tend to fixate on range as if it’s the reason we’re not winning awards and racking up the downloads on iTunes.  True, there is an emotional lift when a melody soars upward, but the pitches should always be proportionate to the instrument.  Sing at the height of your voice’s potential and your audience will assume your abilities are limitless. Sing beyond your boundaries and you merely call attention to your limitations.  This does not mean you are stuck with the measly dozen or so pitches you sing well these days; rarely does a singer access his or her full genetic range without some training.  It does mean, though, that before you worry about expanding, it helps to embrace what you have.

Vocal range is a lot like the range of motion of your limbs.  Can you drop down into a split without warming up?  Even after warming up?  For most, the elasticity necessary for a move like that requires a long program of stretching.  The same is true for your voice.  The vocal folds are membranes (a little smaller then your eyelids) that close over the windpipe.  When air streams through the tiny opening they create, their edges vibrate.  The vibration is nothing more than a microscopic wiggle.  Look closely at a guitar string after it’s played and you’ll see them same thing.  The speed of the wiggle, or vibration, is called the frequency.  We refer to frequencies, or pitches, by their beats per second.  The pitch, for instance, that an orchestra uses when tuning is A – 440, meaning the frequency wiggles 440 times in one second (the larger the number, the higher the pitch).  To sing high, your vocal folds have got to vibrate fast.

The action required to sing different notes is very much like tuning a guitar.  Muscles surrounding the larynx pull or release the folds to create high and low pitches.  The amount of movement required for your entire range is microscopic.  I suggest you reread that previous line about a thousand times until it is embedded in your subconscious.  The root of all vocal problems is that we perceive the activities involved with singing as big events.  They are not.  We ball our fists and load up enough air pressure to create an aneurysm just to get through the chorus of a song.  The automatic reaction to such force is resistance; the body braces for the assault.  Rigid muscles surrounding the larynx deny flexibility and lock up the vocal folds.  No flexibility, no range – it’s that simple.

The key to singing high notes is volume.  Reducing the volume of your voice removes the burden of excess air pressure so your folds can become more elastic.  Just as it takes a little stretching every day to get your legs into a split, vocalizing daily at a low volume will allow you to visit higher notes without stress.  It’s best to sing scales rather than songs at first; the memory of a song’s performance will lead you to pushing.  Allow you higher notes to venture into falsetto or head voice.  It’s okay if the transition cracks or skips out; this is just a symptom of your imbalanced ways.  Don’t worry that the light voice you vocalize with is not up to performance standards.  Only after you are completely comfortable with producing a note at a low volume should you attempt to raise the output.  Increasing the volume in very small increments will allow you to monitor muscle independence.  If facial or neck muscles join in to support a note, you’ve added too much air pressure.  Your controllable range for the day lies waiting at the balance point between force and flexibility.  And as always, tomorrow is another day.

Great Singers Know This:

Expert Answers About Vocal Registers

A Killer Growl

No one subject fills my email inbox more then questions about growling. The irony is that these singers are genuinely concerned about the welfare of their voices and would like to avoid any problems down the road. In other words, they have no business growling. Don’t get me wrong, I am all about singers taking good care of their voices and investigating when something feels wrong. Growling, though, is an intentional departure from balanced vocal behavior and needs to come from a fearless heart. Otherwise the effect backfires and makes the vocalist sound weaker.

Fearless doesn’t mean reckless. If you’ve decided that growling is something that fits your personality (notice I didn’t write, “Would get a reaction from the crowd.”) there are a couple of things to keep in mind in order to reduce the amount of wreckage left in the wake of singing many songs in a row. Remember this: Growling is a sound, not a physical sacrifice. It’s the noise and distortion projecting from you that stirs the listener not the amount of force you apply to your larynx. The other tidbit of wisdom is that your reflexes will do a much better job if you don’t micro-manage them.

For instance, there’s a bit of a debate regarding the use of the false folds when growling. The question is: Should a singer engage the false folds in order to growl? Unfortunately, there’s no definitive answer to this question because no two singers get their sound exactly the same way. Genetics, physical condition, personality and desire all play equal roles when it comes to calling up a roar. The different techniques people use are more to survive the growls then to create them. Even under the best circumstances growling, rasp and screaming are somewhat irritating to the tissues within the larynx. So the best rule is to use the minimum amount of force to get your sound.

The false folds, also known as the vestibule folds, are above the true folds (the ones you sing with) and are much thicker. Their role in the body is to close off the windpipe in order to create pressure within the torso. They are what allow us leverage, by locking the air in the lungs, when lifting a heavy weight. Because of their strength, it would seem a good idea to utilize them when growling. The problem is that they rarely act alone. So when most singers think they’re using their false folds they’re also locking up the tongue, jaw and palate. All those rigid muscles make it difficult to maintain and control your sound.

Instead of micro-managing which muscles you’ll use to growl, stay focused on the sound you want. Just think of your eye. There are tiny muscles within the eye that stretch the lens so we can see at various distances. If you have trouble focusing on something, the muscles which surround the eye will join in and start squishing the shape of the eye until your target clears up. You certainly don’t need to think about using the orbicularis oculi instead of the ciliary muscle in order to see what you want. The same goes for calling up the growl from hell. That is, if your voice can handle it in the first place.

What most would-be growlers are missing is a foundation of strength and flexibility. Voice lessons from a qualified teacher can help you build an instrument that you can lean on. If you’re going the untrained route, check on your growl often by asking for the sound you want while keeping as many muscles as you can turned off. Let the lyrics dictate what gets pushed – not the inability to reach a pitch. The less you spend for your growl the more you’ll be able to access a killer growl without it killing your voice.

The Absolute Best Way To Vocalize

A Fool Proof Vocal Exercise

Singing With a Cold

Winter and show biz don’t mix. Biting winds and piles of snow keep potential audiences at home and make things difficult for load-ins. Then there’s the additional burden of protecting your voice while everyone around is coughing and sneezing. As a singer, you can’t afford to succumb to the average two colds a year. Even if you’re a trouper and refuse to cancel, your instrument will be compromised and susceptible to harm. Not to panic, injury to the vocal folds is reversible, but taking time off to recover will put the brakes on your band’s momentum. Prevention is the answer. The good news is, for every cold-forming scenario, there is a counter measure. The bad news is, by the time the first symptoms show, it’s too late.

The germs which cause colds are always around. Constantly washing your hands and avoiding contact with others is not enough. The best defense is to keep your immune system strong by eating right (fruits and vegies), hydrating (two liters of water per day), sleeping (around six hours), and exercising for better circulation. Staying warm is also an important factor. In frigid conditions, your body works hard to retain heat. Dressing in layers, with a hat, water-proof boots and a scarf allows your body to focus energy on fighting off incoming infections. Use your brains. Wait until you stop sweating before going outside after rehearsal, and, leave a coat stage-side if a club requires a load-out directly after the set.

The winter holidays are a notorious time for coming down with something. Heavier foods and less physical activity increases the amount of toxins in our system. After a while, our bodies will clean house by producing mucus. So, find a way to stay physically active between Thanksgiving and Christmas — and watch that third piece of pie. However, an abrupt change in lifestyle can also bring on a similar cleanse reaction. People who quit smoking cold-turkey or dramatically change their diet can expect cold-like symptoms to follow. I don’t want to discourage anyone from becoming healthier, merely suggesting a gradual change if you’ve decided to clean up as a New Year’s resolution.

Stress, of all the causes of illness, is number one. Juggling work or school with rehearsals and gigs, eating on the run with zero sleep, disrupts metabolism and forces the body to run on adrenaline. Anxiety saps vitamins, dehydrates, and leaves you vulnerable to whatever is around. That’s why colds always arrive right as your preparing for the big recording or showcase. Yes, you should be well rehearsed, but there comes a point where the push becomes counter-productive. Rest, like hydration, is an inseparable component of vocal ability. It’s important to remember that stress is 100 percent internal, and is always reduced by saying the word, “no.” So, for your voice’s sake, open up your schedule — and chill.

I know it’s seems uncool to worry about health, but ask anyone who has toured for a length of time — getting sick on the road sucks. It is not inevitable that you will catch a cold every winter. Hold firm to a belief that you will not get sick. If it’s too late for this season, then for next. Adopting healthy habits now will pay off in spades in the future when you’re in demand. There is no remedy as effective as prevention. I’m sure your mother already told you most of these things, but that was so you wouldn’t miss school. I’m telling you so you won’t miss a gig. Big difference.

Okay, now let’s pretend that, despite your best efforts, you’ve come down with a nasty, aching, head clogging cold three days before an important gig. Is there anything you can do besides crack open a bottle of Jack Daniel’s? The answer is yes, but they aren’t nearly as much fun. To minimize the effect a cold has on the voice you’ve got to act quickly. Keep in mind that congestion, mucus, is what your body produces to flush out toxins. Over-the-counter medications (anti-histamines) dry up congestion but prohibit the necessary house cleaning. They also dry mucous membranes, like your vocal folds, which will cause you to lose your voice. So, reach for the decongestants as an absolute last resort. However, it is better to experiment with medications at rehearsals, rather then waiting until gig day. You should always know the effect something will have on your voice before you use it under the spotlights.

If you have time, instead of squashing the symptoms, help speed up the cleanse. Flood yourself with water and real juices to thin the congestion, lubricate your folds and flush your body. The juice should be freshly squeezed in order to get the most benefit. The best types during a cold are Orange (vitamin C), Celery (retains fluids), Cucumber & Cranberry (cleans acid deposits) and Carrot (vitamin A). If you’re not into juices, take supplements. The water-based vitamins like C and B complex are the first to be depleted when you’re fighting a cold. Unfortunately, a Mountain-Dew slushy has no vitamins, but does give a great brain freeze.

An important benefit of hydrating is that it may keep a cold from reaching your lungs. Throat clearing and coughing, which normally accompanies a cold, is very irritating to the vocal folds. The delicate membranes in and around the larynx become swollen and rigid, which is why your voice gets so deep and restricted. Inhaling steam will help loosen congestion in the lungs as well as soothe the vocal folds. Be careful when inhaling steam, you can burn your lips and nasal passages. Gargling with warm salt water will also help draw phlegm away from your larynx. (If the salt is collecting at the bottom of the glass, you’ve put in too much.) This is a good routine to get into daily, to clean and increase circulation of the mouth and throat. Teas, honey, or any other coating therapy may soothe soar muscles but will not heal the vocal folds. To reduce the swelling and get singing again, you’ve got to vocalize (warm up).

Low volume, barely audible, humming is a great way to start. Let your larynx choose the pitches. It’s better to stay with one single note (whichever is most comfortable) than to push or force the range. Allow plenty of time for your voice to loosen. Rushing the warm-up when you have a cold will greatly reduce the longevity of your voice and make conditions worse the next day. I once did a ten hour warm-up for a forty minute set. Refer to the warm up routine in lesson three, but remember, it’s not what you’re singing to warm up, it’s how.

Sleep as much as you can during the days leading up to your performance, even if that means skipping rehearsals. But, on gig day, don’t hibernate. Get up, take a long hot shower and do some light stretching and exercising to get your blood circulating. Mentally prepare for the long day ahead. Yes, it would be much easier to numb yourself with a bottle of Jack, but your condition the next morning will be twice as bad. The bottom line is, if you want a career as a performer, you’re going to have to learn to sing with a cold. Might as well start now.

Don’t Wait to Hydrate

Every car comes with an owner’s manual which instructs you to pull over immediately if the oil light on the dash illuminates. A better idea, if you’re in the habit of waiting until the trouble light comes on before taking care of your engine, would be to put a “for sale” sign on the vehicle. Allowing a car to run without enough lubrication is a sure recipe for trouble down the road. The same is true for singers who don’t keep themselves hydrated. Without adequate protection, the activity of singing causes the membranes in the larynx to swell. The problem is friction. The body has a natural solution, however, if we would only follow the owner’s manual for our bodies.

Keeping yourself hydrated is an all-day affair. Often, we wait until we’re thirsty to reach for a drink. This is too late for singers — especially once you’re on stage. It takes at least twenty minutes, on an empty stomach, for water to cycle around your system and show up at the membranes where it’s needed. Other beverages take longer because they must be digested. This means drinks on stage don’t take effect until after the set. So why does it feel like a quick swig of something between songs offers immediate relief? Two reasons: The first is that there are receptors in the throat which signal the brain that fluids are on the way. The second is the physical action of swallowing.

Contrary to belief, nothing we swallow touches the vocal folds. All of the potions singers consume in an effort to wet their whistle are channeled away from the larynx by the epiglottis and sent down the esophagus. It’s just as well. Like the eye, the larynx should be awash in saline, not tea or honey. Even if your drink seeps down to the vocal folds, the air stream created to sing promptly blow-dries the area. If you are driving your voice hard, or are nervous, the muscles in the throat tighten. The tension closes the saliva ducts designated for the larynx. Like blinking, swallowing changes the muscles’ position for a second and allows the ducts to open and relubricate — that’s if you are hydrated in the first place.

Two thirds of your body weight is water. It would make sense, then, to replace what’s lost with the same. A general rule is to consume 1Ú2 an ounce of water for every pound of body weight per day. The water you eat counts, so if you’re not fond of drinking the stuff, load up on high-water content foods like raw fruits and vegetables. Unfortunately, beer, coffee and sodas don’t count. Even though each contains mostly water, their ingredients trigger the body to flush itself, leaving you with less water than before. Certain foods will also drain your internal water supply. Since digestion is the number one priority of the body, when we fill up on low-water foods like breads, crackers, chips, cheese and prepared meats and potatoes, the throat and larynx are robbed of hydration to make up the deficit. Basically, if you have to have something to drink with a meal, the foods you are eating are too concentrated. A good routine would be to hydrate well before a meal so you won’t feel the need to dilute your digestive process. I know this goes against the ever-so-common practice of eating and drinking at the same time, but that tradition was not put in place so we would sing better.

Athletes hydrate well before a game so their muscles don’t cramp; singers should do the same. Maintaining a lubricated larynx means you’ll be able to swallow during a song without sucking on a water bottle. Remember, rehearsals are no easier on your instrument than gigs, so get into the habit of staying hydrated. If your budget is tight, there’s nothing wrong with tap water. It’s a good idea to filter it, though, to remove the chlorine. It’s best to drink water at room temperature to avoid tensing throat muscles. No matter what style music you sing, you will notice a significant improvement in your vocal longevity once you get yourself up to specs. A good measure of a proper water level is clear urine. Since there is no light on our bodies to warn us when we’re running low, let the following statement be your mantra, “Don’t wait — to hydrate”