So You Want to Sing?!

SO#YOU#WANT#TO#SING?# 1 So You Want to Sing? A Must Have Manual for All New Singers CarinaTien

SoYouWanttoSing? A+ Must+Have +Manual+for+All+New+Singers++ By+Carina+Tien+ SO#YOU#WANT#TO#SING?# 2

SO#YOU#WANT#TO#SING?# 3 Content Page Preface 6 Part1: DiscoveringYourVocalPower Chapter1: Introduction 7 Chapter2: Howissoundproduced? 9 Chapter3: TheBreathingApparatus 11 Chapter4: ImportanceofControlledBreathing 12 Chapter5: ThePharynx 13 Chapter6: TheDiaphragm 14 Chapter7: PostureandVoiceProjection 16 Chapter8: VocalRange 19 Chapter9: TheResonance 21 Chapter10: VocalRegisters 23 Chapter11: AnchoringVocalTone 24 Chapter12: VocalPitchingandRhythmicSense 25 Chapter13: TheBasicVowelsandConsonants 26 Chapter14: WhatareArticulators? 27 Chapter15: AboutConsonants 28 Chapter16: VoicedandVoicelessConsonants 29 Chapter17: WhatisCreativeSinging? 30 Chapter18: Ornamentation 34 Chapter19: WhatisBelting? 35 Chapter20: ExpandingYourVocalRange 37

SO#YOU#WANT#TO#SING?# 4 Content Page Part2: VocalHealth Chapter21: NurturingaHealthyVoice 38 Chapter22: FactorsAffectingYourVocalInstrument 40 Chapter23: VocalAbuse 41 Chapter24: SelfVVocalCheck 42 Chapter25: SomeExamplesofVocalDisorders 44 Chapter26: OvercomingThroatMuscleTension 46 Part3: DevelopingYourStagePersona Chapter27: ValueofGesturesandBodyMovements 47 Chapter28: CreatingMoodandFeelingofyourAudience 48 Chapter29: StagePresentationandAuditionPreparation 49 Chapter30: GettingThroughtheFirst30Seconds 50 Part4: RecommendedVocalExercises Exercise1: LocatingtheLarynx(VoiceBox) 51 Exercise2: ImproveBreathingforSinging 52 Exercise3: TheDiaphragm 54 Exercise4: ForwardPlacement MaskResonance 57 Exercise5: Dynamics(SingingLoudandSoft) 59 Exercise6: InstructionsforVocalWarmups 60 Exercise7: VocalWarmUpsandExercises(RefertoAudioTracks) 61 Exercise8: TheVocalStressReleaseProgram 62 i.deepbreathing ii.necktensionrelease iii.neckmusclemassage iv.throatmusclemassage v.chinmassage vi.facialtensionmassage vii.jawtensionmassage

Content Page Part5: CommonVocalTerms 70 Part6: Bibliography 76 SO#YOU#WANT#TO#SING?# 5

Preface SO#YOU#WANT#TO#SING?# 6 Many of my students have requested me to write an evbook on Creative Singing. This vocal guidebook is written in a practical and easyvtovunderstand manner unlike the other vocal guidebooksavailableinthemarket. Duetothesimplicityofthisguidebook,whetheryouareavoicecoachoravocalist,orsomeone who wants to know more about the practicalities of creative singing, you will definitely enjoy thisbook.happylearning CarinaTien October2009 It's the singer not the song that makes the music move along. ~ Pete Townshend

SO#YOU#WANT#TO#SING?# 7 Part#1:Discovering#Your#Vocal#Power## Chapter1: Introduction Whatisthepurposeofvoice? Tocommunicateofcourse When you sing, you are communicating a message, in a melodious form. You need to be connectedtotheaudiences,enabletheaudiencestoknowwhatmessageareyoutryingtosend. The vocalist plays a role of a storyteller. You have to tell a story using your voice, especially usingyourvocalexpression. Can a person with beautiful voice be a fantastic vocalist? Well, not exactly. A person blessed withabeautifulvoiceisjustlikeagoodpieceofmaterial,readytobecraftedintoanexquisite musicalinstrument.however,withoutagoodmasterwhoisabletoshapeitout,nomatterhow goodthepieceofmaterialis,itismerelyapieceofgoodmaterial,nothingelse. Didyougetthemessage?Yes,youarerightApieceofgoodmaterialneedstobepolishedand refinedintoagoodinstrument.humanvoicetooavocalist,whohasabeautifulvoice,hastobe polished and trained by a good voice coach in order for her vocal instrument to reach its optimum. Manystudentshaveaskedmeifitisadvisableforvocaliststoimitatetheiridols styleofsinging. I would normally tell them that it is good to imitate, BUT only imitate or extract the good techniques.iftheidolshoutstoomuch,youshouldn tbeyellinglikehim.singingisnotyelling. Instead,singingisaveryrelaxingexercise.Itisabout yawning. Creativesingingmeansapplyingappropriatesingingtechniquestoasong.Avocalistisableto extract all the good techniques from other singers, and combine together to form their own style.this,youcall avocalist style. Therefore, it is beneficial for a vocalist to practice creative listening when they listen to any songs. Creative listening means they listen to the song with an objective. This objective is to extractandlearnthecreativesingingtechniquesfromvarioussingersandappliesittoyourvery ownsinging,tocreateyourstyle.

SO#YOU#WANT#TO#SING?# 8 However,creativityandselfVexpressionlackpropersingingtechniqueslimitavocalist sabilityto hithighnotes,singwithpower,andtheabilitytocontrolthevoiceallowingthemtoexpressany song in any style they choose. Unnecessary strain is put on the vocal cords, often causing damage,resultingtheminnotreachingtheirmaximumsingingpotential. Inordertomasterthetechniquesofsinging,youneedunderstandhowoursoundisproduced, therelationbetweenourvocalcordandlungsandhowourdiaphragmperformitsmagicaltouch togiveusthepowerfulvoicethatallvocalistshopetoachieve.

SO#YOU#WANT#TO#SING?# 9 Chapter2: Howissoundproduced? Whenyoumakeasound,youbeginitbybreathingorinhaling.Themusclesofthelarynx(voice box) bring the vocal cords (or vocal folds) together. They stay closed until enough pressure buildsupandaburstofairescapesthroughthecords.soundisactually produced by the pressurechangescreatedwhensmalljetsofairpassthroughmovingvocalcords. The quicker the cords open and close, the higher the resulting pitch will be also known as Oscillations.Vocalcordsoscillateabout100timespersecondduringnormalspeech. This sound, created at the level of the vocal cords, is then shaped by muscular changes in the pharynxandoralcavity(includingthelips,tongue,palate,andjaw)tocreatespeech. The faster the vocal cords vibrate, the higher the pitch, they're pulled longer, thinner, tightly stretched.vocalcordsvibratemoreslowlywhenthey'reshorter,thicker,andfloppier. Thelarynxorvoiceboxislocatedatthetopofthetrachea(windpipe)andismadeupofmuscles and tissues. It contains the vocal cords, which are made up of two cords of tissues that are connectedtothemuscleoneithersideofthecords.ifthecordsarenotbroughttogetherwitha balancedpressureofairandmuscle,thevoicewillsoundstrainedandtense. Thelarynxhasthreeimportantfunctions: Controloftheairflowduringbreathing; Protectionofairwaybelowit;and Productionofsoundforspeechorsing. Therefore,inordertoproduceastrongsound,vocalistneedstostrengthenthe musclesofthe larynxthroughvocalexercises. Theamountofairflowfromthelungsalsoimpactsthepitchandtone.Ifbreathingsystemlacks control,itwon tsendtherightamountofairtothevocalcordsaweaktonewillbeproducedand viceversa.

SO#YOU#WANT#TO#SING?# 10 StrongLarynx+GoodBreathControl+GoodDiaphragmMuscle=PowerfulVoice Belowisavideolinkofanexaminationperformedonapatienttoevaluatethevocalcordsusing stroboscope. http://www.wetube.com/watch?v=ajbcjiyhfky

SO#YOU#WANT#TO#SING?# 11 Chapter3: TheBreathingApparatus Youallknowthatthekeyfunctionofourlungsistobreathe.Nosoundwillbeproducedifthere isnobreathing.thisishowourlungswork: Whenyoubreathein,ourdiaphragm(alargedomeVshapedmusclebetweentheribcageandthe abdomen) contracts and flattens. Muscles attached to the ribs, called intercostal muscles, also contractandlifttheribcage.thelungsenlargetofillthechestcavityandairisdrawninthrough themouthandornose,throughthetrachea(windpipe)andintothelungs. Whenyoubreatheout,thediaphragmandintercostalmusclesrelax,theribcagecollapses,and the lungs are squeezed to expel the air they contain. This process is aided by the elastic propertiesofthelungs.beforethenextbreaththereisashortpause,andthenthecyclebegins again. Many times, when you sing, you realize that you are gasping for breath.you thought you are outofbreath.however,youwillbesurprisedthatourlungscanholdmorebreaththenyou thought.nexttime,whenyoufeelthatyouarerunningoutofbreath;tryreleasingtheairusing ssss asin snake.youwillrealizethatyoustillhaveairleftinyourlungs

SO#YOU#WANT#TO#SING?# 12 Chapter4: ImportanceofControlledBreathing Controlledbreathingenablesyoutoproduceapowerfulsound. Question:Shouldyoubreathethroughthemouthornosewhensinging? I do not recommend that vocalist breathe in through the open mouth and nose alone for the reasons: Youcannottakeasquickanddeepabreaththroughthenosealoneasyoucanthrough yourmouth. Anosebreathisusuallyfaciallyunattractive,noisyanddistractstheperformance.Itwill bemadeworstifthevocalisthasanoseblockage. You cannot breathe through your mouth throughout the performance, as it will dry up yourlipsandthroat. My advice is, breathe through the mouth and nose simultaneously. This allows the resonating passagestoopenup,preparingthemforthefreeoutflowofsound. Breathing through your nose is reasonable when there is adequate time to breathe, such as duringtheinstrumentalintroduction(intro)toasongorduringaninterlude(break). Time your breaths so that you don t hold your air before you sing. Holding the air tends to tightenthethroatmuscles.ifyoudogetintoasituationwhereyouhavetakenabreathtooearly, hold it with a relaxed, open throat by sustaining a comfortable expansion of the rib cage and lowerabdominal. Theabdominalmuscles,lowerribs(intercostalsmuscles),andlowerbackmusclesworkwiththe diaphragmtoprovidesupporttotheentirebreathingsystem.

SO#YOU#WANT#TO#SING?# 13 Chapter5: ThePharynx Thepharynxisthepartoftheneckandthroatsituatedimmediatelybehindthemouthandnasal cavity. This+Palate+must+be+ raised+during+singing+ and+speaking+ Larynx+is+also+known+as+ voice+box+ The Pharynx plays an important role in the production of vowels and consonants. The mouth andnoseworkcloselywiththepharynxtoformaresonator. Anasalsoundoccurswhenthepalateblocksthevibrationsofthevoicefromgoingintotheback of your throat. Instead, the vibrations become aimed into the front of the nasal cavity and produceanasalsound.toavoidthis,openyourmouth,bringdownyourjaws,raiseyourpalate, sothatthepalatedoesnotblockthevibrations. There are many other resonators within the Vocal Mask that will affect the sound that is produced.youwilldiscussthisfurtherinchapter9.

SO#YOU#WANT#TO#SING?# 14 Chapter6: TheDiaphragm InourearlierChapter,Imentionedaboutthediaphragm.Whatistheroleofthediaphragmand howdoesthediaphragmimpactontheproductionofsound? Thediaphragmisalargemuscle,whichdividestheabdomenintotwoparts,upperandlower.At rest, it forms an arch, which is rather high in the abdominal cavity. A split second before you takeabreath,itdescendsandflattensout. Atraineddiaphragmbecomescoordinatedwiththesupportmusclestoallowforfaster,deeper and more controlled inhalation. This helps to eliminate gulping and panic breaths, which are commonamonginexperiencedspeakers. Diaphragmdeflates duringexhalation causingthelower abdominalto Diaphragminflates duringinhalation causingthelower abdominaltobloat

SO#YOU#WANT#TO#SING?# 15 Donotethatshouldersshouldremaininthesameposition.Itshouldnotriseduringinhalation. Ifyounoticeyourshouldersriseduringinhalation,youarenotengagingthediaphragm. Try it yourself Place your hands around your waist with thumbs in back, fingers barely touching.breathedeeply.yourribcageandbackshouldersshouldexpandduringinhalation. Youwillfeelthisincreaseinsizeasyourfingersgetfurtherandfurtherapart.

SO#YOU#WANT#TO#SING?# 16 Chapter7: PostureandVoiceProjection Goodpostureisimportantinsinging.Whensinging,youcan tbreatheproperlyunlessyouhavea goodposture.gettingintohabitofagoodposturewillbenefityouinlookinggoodonstage.we willcovermoreonthisinourlaterchapteron StagePersona. Some people get into good posture very naturally but many us are not able to do that due to habitualreasons.hence,itisimportantforyoutostartprojectingagoodposturenow,tobuild upthehabit. Havinggoodposturedoesnotmeanthatyoustandupstraight,tummyin,chestout.Youwillnot beabletoproduceagoodsoundifyourbodyistoorigidandstiff. RELAX isthekeyword.yes, keepyourbodyrelaxbutnotslouch. Relaxationinsingingisdefinedas: Freedomforaction; Astateofbalance; Readinesstoperform

SO#YOU#WANT#TO#SING?# 17 Itisalsoimportantthatwhenyousing,yourfeetformthebaseonwhichyourwholebody instrumentstandsbalanced.toestablishacorrectbase: StandwithfeedshoulderVwidthapart,onefootalittleaheadoftheother. Puttheweightofyourbodysomewhatforwardontheballsofyourfeet(notbackonthe heels). Makesuretheweightisevenlydistributed. Correct Incorrect Incorrect

SO#YOU#WANT#TO#SING?# 18 Youneedtoconditionyourbodytosupportyourbodyinstrument: YourHead&Neck Needtobealignedandshouldnotbetense YourBodyMuscle Mustberelaxed YourShoulders NeedtobeUP,thenBACK,thenDOWN,neverforced YourChest YourArms YourLegsandKnees YourFeet Mustremainhighandliftedandwithyourshoulders inthecorrectplacement,givingyourdiaphragmthe maximumroomtobreathe. ShouldbehangingdowntoyoursidesinaNATURAL way,theyshouldbeabletomovefreely.nothing shouldberigid. Needtobesoft,meaningthatyoucaneasilymove fromonefoottotheothertoshiftyourweight. NEVERlockyourkneesasthiscouldrestrictyour bloodflowandleadtofainting Shouldbenowiderthanshoulderwidthapart,with onefootslightlyinfrontoftheother.thisgivesyour bodyroomtomoveandsupporttheentirebodyin thebreathingprocess.

SO#YOU#WANT#TO#SING?# 19 Chapter8: VocalRange Theapplicationofthetermvocalrangeiswithinthecontextofsingingwhereitisusedasoneof themajordefiningcharacteristicsforclassifyingsingingvoicesintogroupsknownasvoicetypes. VocalType1: Soprano A Soprano is a singing voice normally for female but may also include boy sopranos. It is traditionallyclassifiedasdramatic(richandpowerful),lightandbright.sopranovoiceisusually usedinoperaticandclassicalsinging.ithasavocalrangefrommiddlectoahigha. Sopranovoicerepresentedonamusicalkeyboard: VocalType2: Contralto AContraltoisasingingvoiceisalsoforfemalebutisslightlylowerthanaSoprano.Thetypical contraltorangeliesbetweenthefbelowmiddlectotwofsabovemiddlec. Contraltovoicerepresentedonamusicalkeyboard: VocalType3: Tenor TheTenorisatypeofmalesingingvoiceandisthehighestmalevoicewithinthevocalregister*. ThetypicaltenorvoiceliesbetweentheConeoctavebelowmiddleC,totheAabovemiddleC. Tenorvoicerepresentedonamusicalkeyboard:

SO#YOU#WANT#TO#SING?# 20 VocalType4: Bass TheBassisatypeofmalesingingvoiceandpossessesthelowestvocalrangeofallvoicetypes. ThetypicalBassvoiceliesfromaroundthesecondFbelowmiddleCtotheEabovemiddleC. Bassvoicerepresentedonamusicalkeyboard: *VocalRegisterinsingingreferstothe change or break invocalqualitythatoccurswhenthe vocal cords revadjust themselves for pitches of faster or slower frequencies (higher or lower pitches).

SO#YOU#WANT#TO#SING?# 21 Chapter9: TheResonance Resonance is defined as the vibratory activity of the voice that encompasses movements of muscles, jawbones as well as mouth cavities, all at once. Any of these missing will change the qualityofthevoice. Doyourememberthelasttimeyouhadflu?Didyourvoicesoundedclearorblur? Theresonationsystemiswhatmakesyourvoiceunique. The vocal cords themselves produce only a buzzing sound; the resonators are necessary to createspeech Resonatorsand the mouth cavities mould the sound to form words and amplify the sound. Resonators act as an inner amplifier that will enhance the high qualities of the tone when you singorspeak. Whatformtheresonators? Resonatorsareformedbythelarynx(voicebox),thepharynx(throat)andmouth.

SO#YOU#WANT#TO#SING?# 22 Thesizesandshapeofthebonescavitiesoftheskullknownasthe vocalmask,isdifferentin everyone.thisiswhatmakesaperson svoiceunique. Whatisavocalmask? VocalMask=Nasalresonators(locateddirectlyabove,behindandbesidethenose)+ Resonatorslocatedinthecheekbones,frontalresonators(thatareburiedintheforehead justbeneathandabovetheeyebrows).

SO#YOU#WANT#TO#SING?# 23 Chapter10: VocalRegisters Ourvoicegoesthroughanumberofchangesintoneandqualityasyoumovefromlowpitchesto highernotes,youcalledthisvocalregisters. Youusedifferentvocalregistersasyoumakethetransitionthroughvariouspitcheswhenyou sing. Therearethreebasicregistersinsinging: ChestResonance(orchestvoice)Vdeep,warm,rich,thicksounds VocalResonance(ormiddlevoice)Vmiddlepitchranges,andwarm,richtones Head Resonance (or Head voice or falsatto) V are associated with light, bright singing tonesthatarehigherinpitchandresonatewithintheuppersinuscavities. Vocalists must be able to place their vocal tone in the correct position in order to produce appropriatevocalregistereliminatingthevocalbreak. If you couldimagine your body as an elevator. Your head resonance is your penthouse, your vocalresonanceandyourmiddlefloorandyourchestresonanceisyourbasement.willyoube abletotakethevocalelevatorupwardsanddownwardssmoothly?

SO#YOU#WANT#TO#SING?# 24 Chapter11: AnchoringVocalTone Someofyoumightalreadyknowthatourvoicetravelsinaformofsoundwavetoouraudiences ears. Hence, you have to ensure that our voice is anchored or grounded to provide the sound wavewithasolidfoundationtotravel,orelse,thesoundwilldisperseandbecomenoise. HaveyoueverwonderwhyyouhearnoisesatKTVs?Thisisbecause;mostofthesingersarenot anchoringtheirvoice.theyarebasicallymakingnoise(suchasshoutingwhentheysing).their voiceisnotanchoredthusbecomesnoise. In order to anchoryour voice, you need to ensure that the throat neck and shoulder form a relaxed pathway for vibration. Without a clear path through these areas, brilliant and depth can tmergeinthemouthandthevoicebecomesdisconnectedanddifficulttohandle. Youhavetoensurethatthesoundisbeingexecutedfromtheirdiaphragmwiththecombination oftheirmajorresonance thehead,mouthandthechest.

SO#YOU#WANT#TO#SING?# 25 Chapter12: VocalPitchingandRhythmicSense Asungvocalpitchisthefrequencythatthevocalfoldvibratestheairpassingthroughit. Singingonapitchrequiresbothconstantlisteningandgoodmusclecontrolofthevocalfoldsin thelarynx. Singingwelltogetherrequiresbothconstantlisteningtobothyourvoiceandthevoicesofthe otherpeopleifyouaresingingwithagroup. Thevocalrangeisflexibleandcanbeimprovethroughroutinevocalpractices,butthereisstilla limitbasedonphysiologyororganstructurethatcannotbeavoided. Try beginning with a hiss, like a sustained sssss. Set your stopwatch and begin to hiss at a steady controlled rate. There will come a point when your stomach muscles begin to burn. It willfeeluncomfortableandalittlelightvheaded,likeyouaren tincontrolofyourstomach.try tohangon.it sgoingtobeverytemptingtogiveupandbreath,butdon tdoit.justthink:the longeryouholdon,thecloseryouarecomingtosustainnotesforlongperiodsoftime.youare developingstomachmusclecontrol. Correctivepitchingcanbetrainedusingakeyboardorbyalternatingthekaraokekeycontrol machine during singing. The jumping notes will enhance your sensitivity in hearing and executingthepitchchange.byrecordingitdown,youareabletoverifywhichpartofthepitch thatgoeswrong.somepeoplearenotabletohearthe offvpitch oftheirown,hencerecording ownvoiceisthebestmethodto listentoyourownvoice.continuouslyrecording(usingthe recorderthatcomeswithyourcomputer/laptop)andplaybackwillhelptoidentifythe missed pitchesandimproveonit. Tips: Ifyouwanttoworkonacertainrepertoireorsongpiece,printoutthelyricsandindicatethe important areas that you find it hard or you want to improve on. Mark these areas on your song sheet as you listen through the whole the song. You will be amazed how much you will discoverandlearnbygoingthroughthissimpleprocedure.

SO#YOU#WANT#TO#SING?# 26 Chapter13: TheBasicVowelsandConsonants Vowels are the sustained, freevflowing vocal sounds. Shaping the mouth space, using the articulators (also see Chapter 14), forms them. Articulators are tongue,lips,jaw,teeth,hard palateandsoftpalate.thehardpalateistheroofofthemouth.thesoftpalateisthesoftarea behindthehardpalateatthebackoftheroofofthemouth. Vowelsounds,movingonlytoarticulateconsonantsandquicklyreturningtoitsrestingplace.If thetonguepullsback,itblocksthethroatpassage,interferingwithresonanceandpossiblywith focusaswell. Inthefollowingprogression,thetonguelowersfromitshighestpositionfor"ee"(asinsee)toits lowestpositionfor"uh"(asinup).for"aw"(asindawn)"uu"(asinbook)and"oo"(asinsoon), thelipsformthevowelsforeachsoundandaremostroundedfor"oo".

SO#YOU#WANT#TO#SING?# 27 Chapter14: WhatareArticulators? Voicearticulationisseenasthechangesintheresonancesofthevocaltract,andtheagentsof suchchangescanbecalledarticulators. Movement of the tongue, pharynx, palate, jaw, or lips can change the basic factors which determinethefrequencyofcavityresonance(volumeofcavity,areaofopening,andportlength). Voicearticulationproducessoundscanbeconsideredtobemodificationsofthebasicvocaltract resonance,akindoffilteringoftheacousticspectrumofthevoicemechanism.

SO#YOU#WANT#TO#SING?# 28 Chapter15: AboutConsonants Aconsonantisaspeechsoundthatisarticulatedwithcompleteorpartialclosureoftheupper vocal tract (part of the vocal tract that lies above the larynx). Below is how consonants are produced: Consonant Articulators HowConsonantisProduced T,D,Z Tongueandupper gums,behindtwotop Thetipofthetonguecontactsthefrontofthe hardpalate. frontteeth S,L,TH Tongueandteeth Thetipofthetongueliftsnearorcontactsthe bottomedgeofthefronttopteeth. R,Y,CH,SH,J Tongueandpalate Thetopand/orsidesofthetongueliftupto touchthepalate. K,Q,HardC(asin Cat),HardG(asin Great),NG,X N Tongueandupper gums Tongueandsoftpalate Thebackofthetonguemovesuptomeetthe softplate Tipoftonguepressesagainstthefrontofthe hardpalate,astoneisdirectedovertheroofof themouthintotheheadresonators. P,W,B Lips Thelipsparticipateinthearticulationprocess intwoways: *Pressuponeachother(withw,thelips barelytouchandroundtogether,compressing theair)or *ForPandB,thelipsclosetemporary obstructioninthepathway. V,F Upperlipandteeth Topteethgentlypressdownonortowards bottomlip. M Lips Lippresstogetherastoneisdirectedoverthe roofofthemouthintotheheadresonators Consonantscontrastwithvowels.Avowelisasoundinspokenlanguagesuchas:a,e,i,o,u.

SO#YOU#WANT#TO#SING?# 29 Chapter16: VoicedandVoicelessConsonants The voiced consonants are those in which the vocal cords vibrate, creating vocal sound. Place yourfingertipsatthefrontofyourthroatandsay"ssss"(asinsay),withagood,stronghissing sound. Notice there is no vibration against your fingertips. Voiceless consonants are those in whichthevocalcordsareopenanddonotvibrate. Say "zzzz" (as in zoo), with a strong buzzing sound. That vibration you feel against your fingertipsisfromyourvibratingvocalcords.thevoicedconsonantrequiresthevocalcordsto focusandvibrate. Voiceless consonants create a gap in the stream of vocal tone by requiring the vocal cords to part. With your fingertips at your throat, say "the zoo" and then say "with Sue". Notice the interruption of vibration during the "ssss" in "Sue". The vocal cords do not focus on voiceless consonants. Because the vocal cords are open for the voiceless consonants, they have a tendency to stay partiallyopenduringthevowelthatfollows.thiscreatesanundesirablebreathinessandlossof projectionorcausesthevoiceto"crack".agoodwaytotrainistocountervactthistendencyisto thinkthevoicedconsonantcounterpartandtoimmediatelyfocusthevocalcordsforthevowel. Thinkthefocusedvowelevenbeforeyoupronouncetheconsonant. Whenmovingfromavoweltoaconsonant,donotanticipatetheconsonantbyshorteningthe vowelanddon'talterthevowelasyouapproachtheconsonant.movingthearticulatorstooearly toward the consonant position interferes with focus and prematurely closes the resonating space.

SO#YOU#WANT#TO#SING?# 30 Chapter17: WhatisCreativeSinging? Ever wonder why some people are able to touch audiences heart with their song and some cannot?asonghastobepresentedinamannerthat,theaudiencesfeelthemessageorstory andemotions.ifavocalistisabletomakeanaudiencecryafterdeliveringhersong,sheisa goodvocalist.iwouldliketocallthis CreativeSinging. Increativesinging,you need to know how a typical song is being composed. What are verses andchorus?howtheversesleadtothechorusandhowthechorusleadtotheclimaxandthen to the end. How do they impact one another and how do they link the whole story? Like all movies,thereareclimax,sodoesasong.howdoyoubringouttheclimaxandhowdoyouend thestory? ThereisasongthatIwouldrecommendvocalisttolisten.Thetitleofthesongis WhyDreamof Love by Kit Chan, a female vocalist from Singapore. She had applied Creative Singing throughout the song. Other recommended songs that vocalists should listen and study are: LookingThroughYourEyes byleannerimes, BecauseILoveYou bycelinedionand Love bygrace bylarafabian.

SO#YOU#WANT#TO#SING?# 31 So,howdoyoupractice CreativeSinging?Firstofall,youneedtounderstandhowasongis beingconstructed.letmeusecelinedion s MyHeartWillGoOn asanexample. StartVerseone VerseTwo ChorusOne VerseThree VerseFour ChorusTwo ChorusThree (Climax) EndofSong MusicIntro Everynightinmydreams Iseeyou,Ifeelyou ThatishowIknowyougoon Faracrossthedistance Andspacesbetweenus Youhavecometoshowyougoon Near,far,whereveryouare Ibelievethattheheartdoesgoon Oncemoreyouopenthedoor Andyou'rehereinmyheart Andmyheartwillgoonandon Lovecantouchusonetime Andlastforalifetime Andneverletgotillyou'regone LovewaswhenIlovedyou OnetruetimeIholdto Inmylifeyou'llalwaysgoon Near,far,whereveryouare Ibelievethattheheartdoesgoon Oncemoreyouopenthedoor Andyou'rehereinmyheart Andmyheartwillgoonandon Interlude(MusicBreak) You'rehere,there'snothingIfear AndIknowthatmyheartwillgoon You'llstayforeverthisway Youaresafeinmyheart Andmyheartwillgoonandon

SO#YOU#WANT#TO#SING?# 32 Let sdissectandanalyzethesong. MusicIntro Asongalwaysbeginswithamusicintro.Thisistoallowthevocalisttoconditionhermindand emotionintothesong,aswellastogetreadythepitchofthefirstnote.youhavetomentally pitchinthetuneinyourmindbeforeexecutingittoensurecorrectpitch. Verseone Justliketellingastory,youalwaysstarttellingitinasoftmanner.SingVerseOneinagentleand softmanner. VerseTwo InVerseTwo,youhavetoincreaseyourprojectionslightlytostrikeavariationbetweenVerse OneandVerseTwo. ChorusOne In Chorus One, you will use the vocal power similar to Verse Two. This is to leave space for furthervariationsinchorustwoandchorusthree. VerseThree Ifyounotice,inVerseThree,themusicstartstogetlouder.Thismeansyouhavetoraiseyour vocalprojectiontosinglouderthanverseoneandversetwo. VerseFour InVerseFour,thevocalprojectionanddynamic(loudnessandsoftness)willremainsimilarasin VerseThree ChorusTwo Now,youhavecometoChorusTwo,whereyouhavetoslightlybringuptheclimax.ChorusTwo has to be sung louder than Verse Four. However, you have to keep in mind to reserve the remainderstrengthforthefinalchorus ChorusThree Interlude(MusicBreak) Interludeisagoodopportunityforyoutotakeabreather,torecuperatestrengthforthefinal chorus.

SO#YOU#WANT#TO#SING?# 33 ChorusThree(Climax) Inthissong,ChorusThreeistheClimaxofthesong.Andyouwillnoticethatthemusicofthe songbecomeloudest.now,youasavocalistmustbuiltthesonguptomaximizetheclimaxand projectthischorustheloudestandwithmaximumvocalstrength.youneedastrongdiaphragm todothis. EndofSong Aftertheclimax,youwillcometotheendofthesong.Similarlytostorytelling,youalwaysend thestorywithasoftapproach.hence,endthesongwithasoftapproachlikethewayyoustart thesong.thisistoinformtheaudiencethatthesonghasendedandyouarecomingoutofthe story,tothepresentmoment.

SO#YOU#WANT#TO#SING?# 34 Chapter18: Ornamentation Ornamentation is essential in Creative Singing. Ornamentation means decoration. Like ornamentingachristmastree,overvdecorationisstronglynotadvisable.insongornamentation, youneedtoselectandcombinetheessentialtechniquestodeliverthesongsuccessfully. StartofSong EndofSong Pause HeadResonance VocalResonance ChestResonance MixedResonance Legato Staccato Slur Crescendo DeVCrescendo Climax Vibrato Justliketellingastory,youalwaysstarttellingitinasoftmanner.Sing VerseOneinagentleandsoftmanner. Similarlytostorytelling,youalwaysendthestorywithasoftapproach. Hence,endthesongwithasoftapproachlikethewayyoustartthesong. This is to inform the audience that the song has ended and you are comingoutofthestory,tothepresentmoment. Recognizable break after a certain number of words is being sung. Usually occurs after every 4V5 words. Singingwithoutpausewillcause youraudiencestosleep OrHeadvoiceorfalsetto.Singwithlight,brighttonesthatarehigherin pitchandresonatewithintheuppersinuscavities. Ormiddlevoice.Singwithmiddlepitchranges,andwarm,richtones Orchestvoice.Singwithdeep,warm,rich,thicksounds A resonance that is invbetween vocal and head resonance. Sometimes, wecallthis whisperresonance Musical notesthat are sung smoothly and connected. Normally sung withsentimental/slowsongs Musical notes that are sung separated in a detached and distinctly separate manner or short and separated, with silence making up the latterpartofthetimeallocatedtoeachnote.normallysungwithfastor R&Bsongs Acombinationoftwoormorenotesofdifferentpitch,sungtoasingle syllableorplayedwithoutabreak Graduallyincreaseinforce,volume,orloudness Graduallydecreaseinforce,volume,orloudness The point of greatest intensity or force in an ascending series or progression Vibrato is a musical effect, produced in singing by a regular pulsating changeofpitch,andisusedtoaddexpressionandvocalvlikequalitiesto instrumentalmusic REMEMBER:Donotover9ornamentasong.Adishwillnottastegoodwithtoomuchingredients

SO#YOU#WANT#TO#SING?# 35 Chapter19: WhatisBelting? Belting(orvocalbelting)referstoaspecifictechniqueofsingingbywhichasingerusesahighV intensitysoundtoconveyheightenedemotionalstates. Belting is when a woman takes her chest voice up into her head voice. Belting does not mean pushingorforcingasound.beltingisnotquiet,butitshouldneverbeforced.beltingalsodoesn't meansingingloudintheheadvoice. Ifbeltingisnotdoneproperly,itcouldbeharmfultothevoice.Somevocalistscanbeltnaturally, suchascelinedion,larafabianetc.ifbeltingdoesn'tcomenaturally,youneedtolearntobelt gradually.thisyouhavetobuildupendurance;otherwise,youwilllikelytogetvocalstrain. Inbelting,correcttoneplacementisvital.Voicewilllikelycrackifitisnotplacedcorrectlyand yoursoftpalateisn'traised. Belting(aswithanyothersortofsinging)shouldneverhurtorcauseasorethroat.Ifitdoes, you're doing something wrong and should stop instantly. When you hear stories about belters developing nodes, it's important to remember that all kinds of singers can and do develop nodules.thenodulesdon'tcomefrombelting,butfrompoortechnique,andsingingrepeatedly withpoortechnique.sowhenithurts,stoprightaway. LikeImentionedearlier,notallsingersarenaturallyequippedtobeltwell.However,forthose who wish to give this style of singing a go, here are a few tips to get you going in the right direction: You must be able to practice in an environment where you're not afraid to be loud or make mistakes. If you're worried about being "too noisy" or making squawks,you'll usuallytenseupandthereforefail.youneedtofreeyourvoiceinordertobeltwell. Youmustfeelentirelyfreeoftensionintheface,neck,shoulders,etc. You must develop stamina. Like singing large opera roles, belting is an athletic experience. Youhavetodropyourjaw,restyourtongueandraiseyoursoftpalate.

SO#YOU#WANT#TO#SING?# 36 Likeasopranohittingherhighestnotes,thebelterhastotrustherhighchestnotestobe there.shecan't"push"thematall.imaginingthenotesflyingorfloatingoutofthetopof theheadmayhelp. Thevoicemustbeplacedforward,inthevocalmask. HereisacliponBelting: http://www.wetube.com/watch?v=9xxn437qkf4

SO#YOU#WANT#TO#SING?# 37 Chapter20: ExpandingYourVocalRange Whatarethefactorspreventingyoufromexpandingyourvocalrange? An increase of the vocal range can occur when you understand the factors that prevent them fromusingyourpotentialrange,andpreventthesefactorsfromoccurring. Themostcommonfactorthatpreventsexpandingofvocalrangeisthroatmuscletension.This canbecausedby: InadequatevocalwarmVupVMuchlikehowanathleteneedstowarmupbeforearace, our muscles also require a warmvup too. Warming up increase the blood flow to your vocalmuscles,makingthemmoreelasticandreducingtension. AiroverVblowVOverblowingofairoccurswhenoneoverestimatesthesizeofone'svocal instruments. When singing, you do not need to "force" the air out. If you use the vocal technique correctly, such as breath and diaphragm support, you should have sufficient vocalpowerformostphrases. Overemphasisonlipmovementswhensinging Thismaycauseexcessivemovementof thetongue,whichaffectsourvocalcords,whichtenseup.oneonlyhastofocusonthe vowelsonthewordswhensinging. Using force rather than resonance for volume V Forcing has similar effects to overv blowing.youhavetotrainupyourresonanceinordertodotheextremitiesofvolume. Your vocal cords need to be relaxed to allow air to pass over them easily. Once you loosen up your vocal cords, you can focus on getting your tone higher. For this, you have to "mix" your registers,inthiscase,yourchest,vocalandheadregisters.

Part#2:# Chapter21: NurturingaHealthyVoice WhenUsingYourVoice: Useyourbreathflowtosupportyourvoice Projectyourvoiceproperly SO#YOU#WANT#TO#SING?# 38 Decreaseoverallvolume;ifyou retalkingonevonvoneinasmallroom,talkquietly Noshouting/yelling;findanotherwaytoletpeopleknowthatit sdinnertimeorthatthey haveaphonecall Don ttalkinthepresenceofalotofbackgroundnoisetalktosomeoneonlywhenthey areanarm slengthaway. Don ttrytotalkorsingwhenyouhaveabadcoldorlaryngitis. Don tcontinueusingyourvoicewhenyoufeelstrain. CaringforYourVoice: AlwaysWarmupYourvocalinstrument Eliminate excessive throat clearing.chronic throat clearing can result in irritation and syoullingofthevocalcords. Keepyourvocaltractmoist Restwhenyouaretiredorill Don t ignore prolonged hoarseness or changes in yourvoice.consultadoctorifthe changepersistsformorethanafewdays Goodpostureallowsbetterairflowandreducestensionandstrain.Poorposturecanbe improved with an exercise program designed to strengthen and realign the body for optimalsupport. Drinkplentyofwatertokeepyourvocaltractmoist Watchwhatyoueat Don'tsmokeDon'tsmokeDon'tsmoke Limit alcohol intake.alcohol irritates laryngeal epithelium and mucosa, and has been linkedtolaryngealcancerrisk. Beawareofthemedicationsyoutakeandtheireffectsonyourbody Exerciseregularly #Vocal#Health## Getsufficientsleepdaily.Earlytobed,earlytorisemakesyourvoicehealthyandwise.

YourEnvironment: SO#YOU#WANT#TO#SING?# 39 To avoid dryness of the throat. Drying environments include: heating and airv conditioning. WhensleepinginaheatedoranairVconditionedroom,leaveabowlofwaternexttoyou ORawettowelnearyourbedside StayawayfromsmokeVfilledenvironments.

SO#YOU#WANT#TO#SING?# 40 Chapter22: FactorsAffectingYourVocalInstrument Someimportantfactorsthataffectvoicequalityare: 1) Air Quality: The most common air quality problem is dust; Dust from chalk, carpet, household dust, outside dust, dust from construction projects etc. Dust is an irritant to yourairway,thewetormoistliningofournose,throat,andvocalcords.whenirritated, these air passages may become red and swollen, often causing a change in pitch and qualityofyourvoice. 2) Humidity:Too high or too low humidity can be enemy to your natural voice. An ideal humidityforvoiceisabout40v50%. 3) Noise: Noise is considered the biggest air pollutant of all. The extra effort required to speakinnoisyenvironmentsinvolvesusingmoreairforaloudervoice,ahigherpitchand greaterprecisioninenunciation.thiscanseverelytaxourvocalequipmentandprevent usfromusingournaturalvoice. 4) SpeakeraListener Distance:Ideally vocalist should use appropriate loudness level and notsingingtooloudlyorsoftly.theloudnessofourvoiceshouldcontinuallyadjusttothe changingnoiselevelaroundus,tothephysicaldistancebetweenouraudienceandus. 5) Hormonal changes: The dramatic voice changes in pubertyexperiencedbybothboys andgirlsareevidenceofimpactofsexhormoneonvocaltractandarenormal. 6) Fatigue/stress: Stress causes us to make unusual demand on our vocal folds. Such as, prolongsingingusinginappropriatevocaltechniques. 7) Aging:Asapersonage,thepitchwillbecomelowerasthevocalcordlooseitselasticity. 8) Allergies and infections: For people with severe airway allergies, the swollen and inflamedmembranesofthethroatandnosecanproducehoarsenessandevencomplete lossofvoice. 9) Fear:Fearcancausethevocalmusclestotenseupandthuseffectivethevocalquality. 10) Hydration: A dry larynx (vocal tract) doesn t function as well as moist one. Hence, vocalistsareadvisedtobringalongabottleofdrinkingwaterwhenevertheyneedtosing. Thiswaterservesasalubricanttokeepthethroatmoist. 11) Medication:Among over the counter drugs, the primary enemies of the vocal tract are aspirinandantihistamines.continuoususageofaspirincanresultinslighthemorrhaging ofsmallbloodvesselsonthevocalcords,whichwilllowerpitchandproducehoarseness. 12) Recreationaldrug:Smokingisaprimaryenemyofdevelopingabettervoice. 13) ConstantDrinkingofAlcohol:Toomuchalcoholcancausethethroattobecomedry. 14) Lifestyle:Alifestyleofapersoncanaffectitsvocalquality.Suchasapubsinger.Late nightsandtoomuchsmokeandalcoholcancauseharmtothevocalcords.suchasthroat cancer.

SO#YOU#WANT#TO#SING?# 41 Chapter23: VocalAbuse VocalAbuse Vocal abuse may consist of excessive or inappropriate voicing, such as speaking at the wrong pitch. Excessive voicing such as screaming, yelling, enlarges the vocal folds. This vocal folds enlargementchangesthesoundofthevoice. Somecommonwaysonecanmisusetheirvoice: Speakingwithahardglottalattack.Thiscancausehemorrhagetothevocalcords Yellingandscreaming Coughingandexcessivethroatclearing Singingexcessivelyatthelowerorupperendoftheirpitch Increasingthevocalloudnessbysqueezingoutthevoiceatthelevelofthevoicebox Cheerleading Speakingoveralongtimeataninappropriatepitchlevel Speakingorsingingforanexcessivelylongperiodoftime

SO#YOU#WANT#TO#SING?# 42 Chapter24: SelfVocalCheck Indicatetheextenttowhichthefollowingstatementsapplytoyou: Never EveryTime IUseMyVoice Myvoicetiresorfatigues 1 2 3 4 5 Myvoiceishoarse,croaky,huskyetc 1 2 3 4 5 Myvoicebreaksorcracks 1 2 3 4 5 Myvoicedisappearscompletely 1 2 3 4 5 Myvoiceislowerinpitchthanusual 1 2 3 4 5 Myvoiceishigherinpitchthanusual 1 2 3 4 5 Ihavedifficultymakingmyvoiceasloudasneeded 1 2 3 4 5 Ifeelthatusingmyvoiceisaneffort 1 2 3 4 5 Myvoicedoesnotprojectaswellasneeded 1 2 3 4 5 Ihavedifficultywithbreathcontrol 1 2 3 4 5 (e.g.,runningoutofbreath,gasping) Mythroatfeelsdry 1 2 3 4 5 Ifeelscratchinessorticklinginmythroat 1 2 3 4 5 IfeelasifIhavealumpinmythroat 1 2 3 4 5 Mythroatachesorfeelssore 1 2 3 4 5 Ifeelpaininmythroat 1 2 3 4 5 Ihaveaburningsensationinmythroat 1 2 3 4 5 Ineedtoclearmythroatorcough 1 2 3 4 5

SelfVocalCheck(con t) SO#YOU#WANT#TO#SING?# 43 Howoftendoyouuseyourvoiceinthefollowingwaysatwork? Never EveryTime IUseMyVoice Speakingloudly 1 2 3 4 5 Singingloudly 1 2 3 4 5 Speakinginanunnaturalpitch 1 2 3 4 5 (e.g.apitchwhichistoolowortoohigh) Speakingorsinginginastrainedorforcedway 1 2 3 4 5 Speakingorsingingoverloudnoise 1 2 3 4 5 Speakingoveralongdistancewithoutamplification 1 2 3 4 5 Whisperingorspeakinginaveryquiet,breathyvoice 1 2 3 4 5 Speakinginanunnaturalvoicequality 1 2 3 4 5 (e.g.,talkinginacharactervoice) Speakinginasmokyenvironment 1 2 3 4 5 Shouting,yelling,screaming 1 2 3 4 5 Doyoubelievethatyouhaveavoiceproblem? Yes No Source:StateofVictoria(DepartmentofEducation)(2002),VoiceCareforTeachersProgram,HelpingTeachersto MaintainVocalHealth.

Chapter25: SomeExamplesofVocalDisorders: VocalFoldNodules Vocalfoldnodulesarethemostcommonbenignvocalfoldlesions, andaresometimesreferredtoas"singersnodes. Nodulesmaybe acuteorchronic;chronic.vocalcharacteristicsincludehoarseness, breathiness,andloweredpitch. VocalFoldPolyps A vocal fold polyp is a fluidvfilled lesion. They may vary in size. They are most commonly thought to be caused by vocal abuse or trauma,cigarettesmoking,orvocalfoldhaemorrhage,buttheexact cause is unknown. Vocal characteristicsoften include hoarseness, breathinessandnoisybreathing. Haemorrhage A haemorrhage of the vocal fold occurs when a blood vessel rupturesandbleeds.ahaemorrhageisusuallytheresult of a single episode of traumatic voice use. Vocal characteristics includehoarseness,lossofpitchrange,andvocalfatigue. SO#YOU#WANT#TO#SING?# 44 PictureSource:TheMiltonJ.Dance,Jr.9Head&NeckRehabilitationCenteratGreaterBaltimoreMedicalCenter, Baltimore

SymptomsofVocalStress Somecommonsymptomsofvocalstressare: Vocalfatigue Unreliablevoice Delayedvoiceinitiation Low,gravellyvoice Lowpitch Voicebreaksinfirstpassagesofsentences Airyorbreathyvoice Inabilitytosinginhigh,softvoice "Hiss"sound Increasedefforttospeakorsing Hoarseandroughvoicequality Frequentthroatclearing Extraforceneededforloudvoice Voice"hardtofind" SO#YOU#WANT#TO#SING?# 45

SO#YOU#WANT#TO#SING?# 46 Chapter26: OvercomingThroatMuscleTension Thearebasicallyfiveprimarycausesofthroatmuscletensionare: 1) LackofadequatevocalwarmVup 2) AiroverVblow 3) Overarticulation(emphasizingmouth,lipmovementswhensingingortalking) 4) Usingforceratherthanresonanceforvolume 5) TryingtocompensateforunderVdevelopedvocalmuscles To understand why vocal warmvup is important, let's take a look at certain realities of muscles.themoreactiveyourmusclesare,themorebloodflowtheyneedtosupplyoxygen andnutrients.themuscletissuesalsoneedtohaveelasticity,whichis,inpart,furnishedby havingacertainfluidlevel.inotherwords,theyneedtobehydrated.ifyouwereanathlete ordancerandattemptedyourworkoutorperformancewithoutpreparingyourmuscles,you wouldoverexertyourbodyandsuffertheconsequences. Gentlestretchingofthemusclesincreasesthefluid,bloodandoxygenintothemuscles.Once stretched,themusclesareawakeandreadyto"deliverthegoods"withoutstressortension. JustasanathletewouldnotexpecttoperformwithoutawarmVup,neithershouldyou.Itisso much easier to sing after a correct warmvup. If you've never experienced this, you'll be surprised once you try it. Tonal qualities will also automatically get better, as does ease of range.why?thisisbecauseyourmusclesareawakeandisbetterabletodowhatthey're designedtodo,naturally. VocalStressRelease Throughouttheday,ourbodiesabsorbagreatamountofphysicalstress.Symptomsofstress includeachingfeet,stiffback,andheadaches.stressaffectsyourvoice,limitingyourabilityto singopenandfreely.toreachandmaximizeyourvoicepotential,youmustreleaseanystress that could inhibit the vocal process. The series of exercises on Page 62 helps vocalists to release muscle tension and prepare the voice for singing. Vocal stress release exercise was designed to minimize physical stress and create a positive physical state, to enhance vocal production.vocalstressreleaseexerciseshouldbeperformedbeforeanyvocalexercisesare conducted.inaddition,theymaybeperformedatanytimetorelievestress.

Chapter27: ValueofGesturesandBodyMovements WhatisVerbalandNonaVerbalCommunication? SO#YOU#WANT#TO#SING?# 47 VerbalCommunications is understood as an oral or spoken communication. Some of the key componentsofverbalcommunicationarewords,speaking,andlanguage. NonaVerbal Communication is usually understood as the process of communication through sendingandreceivingwordlessmessages.thesecouldbethroughgestureandtouch,bybody language or posture as well by facial expression and eye contact. Hence personal image and stageetiquette,suchasclothing,hairstylesandvisualpresentationplayanimportantrolehere. Another component in NonaVerbal Communication is speech, which includes voice quality, emotionandsingingstyle,rhythm,toneplacementandvoiceexpression. In the context of singing, nonvverbal communication is of higher importance than verbal communications. Manyvocalistsmakethemistakesofexpressingwrongbodygesturesandmovements.Suchas notsmilingattheaudience,singingwitheyesclosedandbodyposturetoorigid.othermistakes are singing out of vocal range, wrong tone placement and wrong vocal expressions and techniques. Part#3:# Developing#Your#Stage#Persona Alwaysremember,singingisallaboutcommunicationinamelodiousway.

SO#YOU#WANT#TO#SING?# 48 Chapter28: CreatingMoodandFeelingofyourAudience Contrastyoursinging(singtheloudandsoftpartsinasong) Singwithconfidence Singthebestverseofthechorus Donotvarythekeywhensingingasong Alwayssmile,lookhappyandanswerquestionswithconfidenceandpersonality Tellthestorywithyoursong,throughvocaltechniques,bodylanguage,facialexpression andvocaldynamics Share the story with your audience, through vocal techniques, body language, facial expressionandvocaldynamics Remember:Youareanactorperformingthroughasong Getyourbreathundercontrol,donottenseup If you feel panicky, take deep long and low breath V this type of breathing will send messagetoyourbrainthateverythingisundercontrol

Chapter29: StagePresentationandAuditionPreparation GettingReadyfortheBIGShow Getthereearly Keepwarm DovocalwarmVups Presentyourselfwell dresssmartly PutonMakeVup especiallyforladies Donotoversellyourself Avoiddrinksthatwilldehydrateyourthroateg.Coffeeandliquor Avoidsmoking Sleepearlythenightbeforeaudition SO#YOU#WANT#TO#SING?# 49 Examinethestageorauditionvenueifyouhavechance planyourstagemovements Learntoloveyourvoice ifyoudon tlikeyourvoice,don texpecttheaudiencetolikeit

Chapter30: GettingThroughtheFirst30Seconds UsefulPointstoRemember: Understandingyourtarget Understandingyourrepertoire Understandthesongthoroughly Donotchooseasongthatistoohardforyou Avoidsongssungbyhighprofilesingers Avoidsongswithlyricsthattheaudiencesuspectsyoucannotidentifywith Avoid powersongs unlessyouaresureyoucandoit Chooseasongthatiseasytosingandableshowoffyourvocal Contrastyoursinging(singtheloudandsoftpartsinasong) Neversingasonginanunsuitablekey Donotimitate100%,addinyourownpersonality Singdifferentlyinrehearsalthaninaudition/performance SO#YOU#WANT#TO#SING?# 50

SO#YOU#WANT#TO#SING?# 51 Part#4:Recommended#Vocal#Exercises# Exercise1: LocatingtheLarynx(VoiceBox) TryputtingyourmiddleandpointerfingeronyourAdam sappleandsay Ah.Canyoufeelthe vibration?thatisyourvoicebox. Now, place your palm on your chest and say Ah. Do you feel your chest vibrating? This is knownas chestresonance.likewise,ifyouaresingingwithyour headresonance,thebackof your head is vibrating and sometimes, it might cause slight dizziness due to natural high. Natural high is a term used in singing, which means the feeling or reaction one has when a generousamountofoxygenisinhaledintothebody.

SO#YOU#WANT#TO#SING?# 52 Exercise2: ImproveBreathingforSinging #1 Usemirrorand/orvideocamerawithwhichtomonitorthemselves.Toliedownonthefloor.In thisposition,thenaturalbreathingmechanismofthebodyatrestcanbeobserved. #2 Tocheckyourbodyalignment,putyourbacktoawallandplaceyourfeetinaparallelposition onalevelfloor,about2inchesfromthewall.bendingthekneesabit,placeyourshoulderblades andbuttocksagainstthewall.inhalealowbreath.uponexhalation,keepingyourshouldersand buttocks against the wall, straighten the legs and lengthen the torso area. The neck and jaw shouldremaininalignmentwiththerestofthebody,notjuttingforwardorback.thisexercise aligns the shoulders, drawing them back and down, lifts the upper chest and brings the pelvis into position. Take some slow, gentle breaths. Your breathing should be easier, flowing smoothlyinandoutofthebody. #3 BalancePoints:Forthisexercise,standinfrontofafullVlengthmirror.Viewingthebodyfrom the side, study the alignment of your overall posture. Now we are going to examine balance points in the body. First, the feet: rock back and forth until you find just the right balance, leaning neither too far over the toes nor back on the heels. Using the mirror as your guide, experimentuntilyoufindtheright,comfortableplace. Next, find the balance point of the hips, moving them back and forth until you find a good midpoint upon which to build the spine. Now, align the shoulders above the hips in the same fashion. Lastly, check the position of the head, experimenting by moving it forward and back until you findthebalancedplacement.earsshouldbealignedwiththeshouldersandthechinshouldbe level,nottuckeddownorstretchedtoohigh.nowexaminethewholeeffect,takesomebreaths andtrytogetusedtothisnewwayofstanding.trytomaintainthepostureasyouwalkaround theroom.repeatdailyuntilyouareabletoincorporateitintoyoureverydaylife;youwillseem strongerandmoreconfident.

SO#YOU#WANT#TO#SING?# 53 #4 Placeyouropenhandsonyourhipsandslidethemupwardaboutthreeinchesuntilyourthumbs reach the lower ribs towards the back. Now, take a full breath through a comfortable open mouth,noseandthroat. Expandyourribsoutwardagainstyourthumbsandhands,pushingthemapart.Allowthelower stomachtoexpandatthesametime.feeltheexpansionoutwardanddownward.theshoulders donotrisebutremainrelaxedanddown.relaxyourneckandjaw.feelyourtongueforwardand relaxed,thetiprestingagainstthelowerteeth.feelaslightyawningsensationasyoufeeltheair flowinginthroughbothyourmouthandnosetocoolthebackofyourthroat. Inhalefor2countsandhissoutfor4countsV3timesinarow. IN,2VVOUT...2...3...4 (Inhale),VV(sssssssssss) IN,2VVOUT...2...3...4 (Inhale),VV(sssssssssss) IN,2VVOUT...2...3...4 (Inhale),VV(sssssssssss) Singingandswimmingaresimilarinthatthelongertheswimmerexhalesinthewater,themore air he or she must take in on the next breath. For effortless singing, always replenish the air between phrases with a full, deep breath. When time permits, let your breath out and breathe normally. After a full breathe, hiss out for 4 counts, using the tongue and teeth as resistance to the air. Replenishtheairin1count.Hissoutfor5counts.Takeafullbreathagainin1count.Hissoutfor 6counts.Replenishin1count...andsoon.Increasethedurationofthehisstoatleast10or15 countsormore.alwaysreplenishtheairin1count,seehowlongyoucansustainthehiss. Keep the air pressure steady throughout the hiss. Don't pause between taking in air and beginningthehiss.keepthebreathflowing.trylouderandsofterhissesbutkeepthepressure constantfrombeginningtoendofeachhiss.withthisexerciseyoucantrainyourselftobreathe quicklyanddeeply,extendthelengthofyoursongphrasesandimproveyourvocalcontrolinall areas.

SO#YOU#WANT#TO#SING?# 54 Exercise3: TheDiaphragm 1) The diaphragm is the large dome shaped muscle that is connected to the bottom of the lungs. 2) Thediaphragmitselfisnotabletoneitherlowernorriseandreliesonthelungstolowerit and the abdominal muscles to raise it. The process of strengthening the breath support system (abdomen) takes years and the tiny muscles of the voice box have to work even hardertobringthechordstogetherwiththeresistanceoftheairfromthediaphragmand thepushingfromtheabdomen. 3) Youmuststrengthenthemusclesofthevoicebox(orLarynx)andinitializethosemusclesin theactofsinginginorderforthebreathsupportsystemtoengageautomatically. Noteforstudents: " Donotallowthechesttocollapse,keepitcomfortable,buthigh. " Whendoneproperly,thesebreathingelementswilldotheirjobforyou. " Thekeyistosiptheair.Youwillbesurprisedhowfarasmallamountwilltakeyou.Just tryitandyou'llsee. " Largequantityofairinhale,agoodamountofairremainsinthelungsgoesunused. DiaphragmExercise: 1) Toexperienceanaturalbreathingstyle,lieflatonyourbackonthefloorandjustbreathe. The body really does know how to do this by itself. We can learn a lot by observing its technique.whenweareonourbackswenaturallybreathedeeplyandthediaphragmgetsa fullworkout.watchyourstomachgoupanddown,relaxandlistentoyourbody.thegreat thingisthatifanyoneasks,youcantellthemyouarepracticing.thisisserious,strenuous workdon'trush,giveitseveralminutes,andwhenyoufeelyouunderstandit,slowlystand upandseeifyoucanrecreatetheexperiencefromastandingposition. 2) Pantingisagoodwaytoexperiencetheactionofthediaphragmmuscles.Inhaleandexhale severallow,quickbreathsinrapidsuccession.theabdominalmuscleswillmoveinandout witheachbreath.dothisforshortstintsonly,oryouwillhyperventilate. 3) Exhaling little puffs of air through the nose will also engage the diaphragm. Do about 30 puffs, rest and then do 30 more, increasing the speed. Staying relaxed will enable you to drawinsmallamountsofairbetweenpuffs.

SO#YOU#WANT#TO#SING?# 55 4) Fromastandingposition,rememberthefeelingoftakinginabreathforasigh,andfeelasif the breath is descending to the lowest part of your abdomen. You have to let go of your stomachmuscles(there'snoroomforvanityhere)andletthemactontheirown.youmay feel as if your stomach expands out during the inhalation process. This is the diaphragm movingdownasyouinhale.itisnaturalandcorrect. 5) Upon exhalation, maintain an upright posture and slowly expel the air. You may feel the abdominalmusclesmovinginwardabit.thisisnotsomethingthatyoushouldhelpwith, thebodycantakecareofitjustfine.placeyourhandsonyourabdomenandmonitorthe movementofthemuscles.repeat10times.whenyouareabletoallowthebodytotake overandmovesmoothlyonitsown,andevensingingtoneispossible. 6) Drawinagently,lowandfullbreathtoacountofthree.Standabouttwofeetawayfroma wall,facingit.exhaletheairslowlyinacontrolledhiss.thethroatshouldberelaxed,acting onlyasapassagewayfortheair.trytomaintainanevenintensityinthehiss,andimagine thatthepowerofthequiet,steadyenergycontainedinthehisswillslowlypushbackthe wall.extendthehissaslongaspossible,andthenrepeat. 7) Breath control involves developing both agility and flexibility in the muscles used for the breathingprocess.theactionofthediaphragmandlungscanbefeltinone'sback,soplace yourhandsonyourbackatthewaistlevel.imaginethatyouareacylinderfillingupwith air. Breathe deeply and feel your back expand as you fill the area under your hands. Complete,fullbreathingshouldincludethisareaoftheback. 8) Placeyourfingertipsoryourthumbsfirmlyagainstthesoftareaatyoursides,belowyour lowestribsandaboveyourhipbone.now,coughgently2times.thatoutwardpulseyoufeel againstyourfinger 9) Feelitagain,usingaloudhiss(sss,sss).Now,on"F"asinfame(fff,fff).Makesureyoufeel the same gentle but firm outward pressure against your fingertips. Be sure to keep your lowerribsexpanded. 10) Now,feelyoursupportworkingbehindavocaltone.Use2stronghissesfollowedbyaneasy, "shoutvlike" sound. Breathe (breathe) after the 2 hisses, before "Hey":(breathe) sss, sss (breathe)hey 11) Thesupportyoufeelwiththehissesbeginswhenthehissbegins.Butforsinging,establish the support just prior to the sound and maintain it to the end of the vocal sound. Feel the same easy out and down, firm, steady support on the shoutvlikesound "Hey"asonthe hisses.

12) Now,repeatthreetimesthefollowing: (breathe)sss,sss(breathe)hey (breathe)sss,sss(breathe)hey (breathe)sss,sss(breathe)hey Repeatwithalongertoneattheendlikethis: (breathe)sss,sss(breathe)heeeeeeeeeeeeeeeeey (breathe)sss,sss(breathe)heeeeeeeeeeeeeeeeey (breathe)sss,sss(breathe)heeeeeeeeeeeeeeeeey 13) TryitinvariouspartsofyourvocalrangeVlow,middleandhigh. Repeatthisexercisewithothervowelsoundsafterthehisses: (breathe)sss,sss(breathe)eeeeeeee(asinhe) (breathe)sss,sss(breathe)aaaaaaaa(asinat) (breathe)sss,sss(breathe)oooooooo(asinyou) (breathe)sss,sss(breathe)aaaaaaah(asinhot) (breathe)sss,sss(breathe)uuuuuuuh(asinhum) (breathe)sss,sss(breathe)aaaaaaaw(asinawning) (breathe)sss,sss(breathe)etc... SO#YOU#WANT#TO#SING?# 56

SO#YOU#WANT#TO#SING?# 57 Exercise4: ForwardPlacement MaskResonance Forward placement, or mask resonance, is the sound and sensation of the focused tone resonatingagainstthebonysurfacesaroundthenose,includingthebridgeofthenoseandthe upperfrontteeth.itistheresultofthefocusedtoneresonatingthroughopenthroat,mouthand nasalpassages. Thefollowingexerciseswillhelpyoutogaincontroloverfocusingthevocalcordsanddevelop maskresonance. ResonanceExercise: 1) Open your mouth, take in a breath and let out a breathy sigh. This breathy sound is the result of allowing excessive air through the vocal cords, which aretooopen.thisisan unfocusedtone. Withyourmouthopen,asifreadytobiteanapple,inagentlebutfirmscoldingtone,say "aa...aa...aa..."("aa"asinat). Don't"cough"outthetone,makeaclearnonVbreathysound. Listen and feel the `buzzing'soundofthefocusedtone.feelyoursupportanduseyour fingertipstomakesureitstaysconstant. Oncemore,comparetheunfocusedtonewiththeclear,wellVfocusedtone: (sigh,breathy)aa...aa...aaa (clear,focused)aa...aa...aaa 2) Nowsustainthelast"aa",likethis: (focused)aa...aa...aaaaaaaaaaaa Maintainanenergeticandbuzzingsoundasyousustainthevowel. Breathinessisanappropriateartisticchoiceattimesbutshouldbeusedsparinglyandavoided completelyinthehighandloudrangesofthevoice.

SO#YOU#WANT#TO#SING?# 58 3) Nowfollowthe"aa"soundwiththe"ee"sound.Trytomatchthebuzzing,focusedsound thatyoufeelon"aa",likethis: aa...aa...eeeeeeeee(asinhe) 4) Let'scarrythefocusedtoneintosomeothervowels. Forexample: aa...aa...eh(asinhen) aa...aa...ah(asinfar) aa...aa...uh(asinunder) aa...aa...aw(asindawn) Besurethatthevowelthatfollowsthe"aa"voweldoesnotbecomeunfocusedorbreathy.

SO#YOU#WANT#TO#SING?# 59 Exercise5: Dynamics(SingingLoudandSoft) An exciting and versatile singer uses volume variation for emotional expression. In music, dynamicsreferstotheuseofvarietyinvolumelevel.youneedtobeabletosingfull,richtones, soft, intimate tones and all the possible variations in between. Balance is the key to vocal control.tosingwithgreatervolumeyouneedto: Increaseairpressure, Increasefocusingstrengthtobalanceagainsttheincreasedairpressure Increaseresonatingspace;ayawnVlikesensationwillhelp.Whentheairpressureistoo powerful,youlosethefinebalancenecessaryforgoodtoneproduction.becarefulnotto push too hard When the air pressure is perfectly balanced against the focusing vocal cordsinopenresonators,youexperienceabuzzingsoundorringinyourvoice. Forsingingsofterandmoreintimatetones, Uselessairpressure,but*DON'TRELAXSUPPORT* Uselessfocusingstrength,butdon'tletthetonegetbreathy Keepthethroat,mouthandnasalpassagesopen.Forthesoftesttones,onlythedelicate fringes of the vocal cords should vibrate. A yawnvlike sensation will help you relax the focusingstrength.becarefultomaintainfirm,steady,outanddownsupport. DynamicsExercises: 1) OnasirenVlikeslide,firstloud,thensoft Onthedownwardpartoftheslide,becarefulnottorelaxsupport.Useyourfingertipsto check. The jaw should gradually open slightly wider for the higher range and return to a slightlylessopenpositionforthelowerrange.maintainacontinuousfocusthroughoutthe slidewithoutbreathyinterruptionsofthetone. Don'tholdthecordssotightlythatyourthroatsqueezesandairhastobepushedthrough. Squeezingandpushingwillcauseyoutolosethebuzzandresonantringinyourtone.This kindofsingingalsoirritatesthevocalcordsandusuallycauseshoarseness. 2) Andnowinupperregister,firstloud,thensoft

SO#YOU#WANT#TO#SING?# 60 Exercise6: InstructionsforVocalWarmups "HahaMm" Keeping the same gentle, novpressure feeling used for the SpeechVChant, sing "HahVMn" sustaining it on the given pitch. Keep feeding the breath into the tone, maintaining a smooth exhalation.keeprisingchromaticallyupthescale. Ah,O Theverytinydistancebetweenthenotesinthisexercisehasamassagelikeeffectonthevocal chords,makingitanexcellentwaytostartthewarmvupprocess.whisperthevowels,bevery sensitiveandnotemakingitanexcellentwaytostartthewarmvupprocess.whisperthevowels, beverysensitiveandnotetheminutemovementsinsidethemouth.beginslowly,andthendo theexerciseseveraltimes,varyingthetempo.startwith"ah"thefirsttimeyousingtheexercise, then"o".finallycombinethe"ahvo" MmaHumming Humming is the best way to warm up the voice. Your vocal chords resemble the folds of the accordionandneedtwothingstoproduceagoodsound.theyneedtobewarmedupgentlyand theyneedtobewet.whenyouhum,youarerubbingthefoldstogether,muchlikeyourubyour handstogethertowarmthemonacoldday.alsowhenyouhum,yourbodyputsspitbackonto thevocalchords.soyouwarmthemupandyougetthemwet In this exercise, the lips are together, but the back molars should be slightly apart. Keep the spaceopeninthethroat.thetoneshouldbeplacedinthemouth,tryaimingthesoundatthe lips.becarefulnottoallowittobecometoonasal.keepitconsistent. Oo Whisperthevowelfirst,andthensingtheexercise.Trytomatchthevoweloneachnotetothe vowelprecedingit.

SO#YOU#WANT#TO#SING?# 61 Exercise7:(RefertoAudioTracks) Exercise7AaVocalWarmUp Track1: Slideyourvoicefromlow(chestresonance)tohigh(headresonance)firstusing Ah thenuse othervowels Eh asin(air)and Ee asin(see) Track2: Slideyourvoicefromhigh(headresonance)tolow(chestresonance)firstusing Ah thenuse othervowels Eh asin(air)and Ee asin(see) Track3: LipsDrill Track4: Vocalwarmupusing LaGa followby YaYa Exercise3BaVocalExercise Track5: TheFiveVNoteScale Use Ah thenuseothervowels Eh asin(air)and Ee asin(see) Track6: TriadMelodyVUse Ah thenuseothervowels Eh asin(air)and Ee asin(see) Track7: ArpeggioVUse Ah thenuseothervowels Eh asin(air)and Ee asin(see)

SO#YOU#WANT#TO#SING?# 62 Track8: Slowsustainedvowels SingusingAh+Ee+Eh+Oo+Oh Keepeachbreathlow,quietandsipVlike(nogulps);gentlysqueezeairuptothecordsbyusing thelowersupportmusclesandimagineyourtonessailingback,upandoverthepathway. Repeattheexerciseasmanytimesasyoulikeandpracticeuntilyoufeelthatyouhavegotthe hangofit lowinhalation(orbreathing),squeezingairupandfromthelowmusclesandaiming theairalongthepathway. Gettingthevoiceupontothepathwaycanbeajobinitself.Ourmoods,health,andrelativeuse or nonvuse of the voice determine how in place our vocal instrument feels. There are some simple ways to gain access to the elevation and movement the voice naturally has when the feelingofsingingisright. Remembertosingwithaslightsmile(notanexaggeratedsmile).Notonlydoesasmilelightup yourfaceandhelpanaudienceenjoyyourperformance,italsoaddsnaturallietothevoice. DropYourJaw If you sound nasal, it means that you have not opened your mouth and raise your soft palate enough.ifyouhavedroppedyourjawandopenedyourmouthenough,theairmovementwill passthroughyourmouthandnotyournasalpassagesresultinginnasalsound.

SO#YOU#WANT#TO#SING?# 63 # Exercise8: TheVocalStressReleaseProgram DeepBreathing This exercise helps to calm the mind and body. Deep breathing will focus your center of concentration,apracticethatisinvaluableforsinging.deepbreathingstretchesandrelaxesthe chestcavity,backmuscles,anddiaphragm,allofwhichareusedforvocalcontrol. 1) Inhalethroughyournoseforeightcounts,fillingthelungsfromthebottomup. # First,yourwaistshouldexpandallthewayaroundyourbody. # Next,yoursides,backmusclesandlowerribswillexpand. # Last,yourupperchestshouldexpand. # Thiscompletesonefullinhale. 2) Holdyourbreathtoacountoffour. # When you hold your breath, try not to strain. Sometimes you might catch yourself holdingyourbreathverytightly,forexample,whenyougrunt,orwhenlockingyour breathtopickupsomethingveryheavy. # Whenholdingyourbreath,pretendasifyouarestillinhaling.Thiswillkeepyoufrom lockingyourstomach. 3) Next,exhalethroughyourmouthtoacountofsixteen. # Empty your lungs as much as possible, ridding the lungs of any stale air. When exhaling,hisstheairout.thiswilltightenthestomachandbackcausingthemuscles toache.don'tworry,thisisnotaddingstress,butstrengtheningthemusclesusedfor breathcontrol. # Try not to let your stomach fall in. Keep it expanded. This will help to further strengthenyourdiaphragm. Do not skip this exercise. Deep breathing relaxes the body and serves as the basis for breath support,whichisimportantforsinginglongphrases.repeattheentirebreathingprocessfiveto tentimes.

SO#YOU#WANT#TO#SING?# 64 NeckTensionRelease Thisexercisestretchesouttheneckmusclesandreleasestension. SidetoSide: # Takeyourlefthandandplaceitontherightsideofyourhead,withyourfingerspointed downtowardsyourshoulders. # Gently pull the right side of your head towards your left shoulder.youshouldfeelapullintherightsideofyourneck. Do notpullbeyondthepointofpainyouonlywanttofeelthe stretchinyourneck.holdtoacountoften. # As you count, continue pulling your neck towards your shoulder with your hand. This will stretch out the neck muscles, making them more limber. # Repeat this process using your right hand to pull the left side of your head. After a few weeks,youcanincreasethecounttotwentyormore,foradeeperstretch. BackandForth: # Allowyourheadtofallbackwardsuntilyouarelookingupattheceiling. # Putyourhandsunderneathyourchinandgentlypushyourheadbackwardtostretchout theareaofthelarynx. # Holdtoacountoften. # Next,dropyourheadforwardtowardtheground. # Takebothofyourhandsandplacethemonthebackofyour head andpullyourheaddown,bringingyourchintoyourchest. # Usebothofyourhandstopullyourheaddeeperintoyour chest until you can feel the muscles in the back of your neck stretching.asisaidbefore,donotforcebeyondthepointofpain. # Holdtoacountoften,maintainingconstantpressurefrom yourhandstoenhancethestretch.afteraperiodoftimeyoucan increaseyourholdcount.

SO#YOU#WANT#TO#SING?# 65 NeckRolls: # Startwithyourheadhangingforward. # Rollyourheadtotheright.Yourshoulderswillwanttomoveasyouroll.Ifyounoticethis happening,concentrateonkeepingthemstillandstraight.allowingyourshoulderstoroll withyourheadwillnotpermityournecktofullyrelaxandreleasetension. # Whenperformingthisexercise,allowyourheadtohangasfarforwardtowardsthefloor as possible, as if gravity was pulling your head to the floor regardless of head position (forwards,backwardsortothesides). # Continuetorollyourheadslowlyaroundyourrightside,thentotheback. # Whenyoureachthispoint,yourheadshouldbeallthewayback.Youshouldbeableto seetheceiling. # Continuerollingyourheadtoyourleftside,andfinallybacktothefront. # Repeattheprocesstentimestotheright,thententimestotheleft.Bythetimetheneck exercisesaredone,yourneckshouldfeelprettylooseandrelaxed. NeckMuscleMassage: Massagingtheneckrelievestensionintheneckandthroatarea. # Start by massaging the back of your neck. Use both hands to squeeze and release the muscles,looseninganyknotsorkinks. # Thentakeyourthumbsandworkthemintoyourneckmusclesina circularmotionuntilyouhavedonethisovertheentirebackofyour neck. # Workyourthumbsuptowheretheneckmeetstheskull,thendown untilyourneckmeetsthebackofyourshoulders. # Afterthebackoftheneckiscomplete,continueontothesides of the neck. Use the same massage process for the sides, as you did forthebackoftheneck.usethelefthandfortheleftside,andusethe righthandfortherightside. # Afteryoufeelthatyouhavethoroughlymassagedthesides,takeallofyourfingersand, startingatthebottomofthesidesofyourneck,slowlyrubupwardsuntilyoureachthe protrudingpartoftheskull,rightbehindyourears,onthesidesofyourhead.

SO#YOU#WANT#TO#SING?# 66 ThroatMuscleMassage: # Thefrontoftheneckrequiresadifferentmassageprocess. # Startatthecollarboneandworkthefingersofbothhandsdownintotheindenturesofthe collarbone. # Start on the outer sides and work towards the middle. Work yourfingersinaslowcircularmotionbeingcarefulnottocause anydiscomfort. # Whenbothsidesarecomplete,placethemiddleandindexfinger of your hands into the indenture in the center of your collarbone and massageinacircularmotion.massagethefront ofyourthroatasyoudidthesidesoftheneck. # Afterthefrontoftheneckiscompletely massaged, move on to the muscles under the chin. ChinMassage: Themusclesunderthechinplayanimportantroleinsinging,helpingtomaintainalowlarynx positionandanopenvocalpath.thisareacanholdalotoftension.use bothhandsforthismassagetechnique. # Placeyourfingersupunderyourchin. # Massagethechinmusclesbyworkingyourfingersinacircular motion,startingunderneathyourjawbones. # Massagetheentireareaofthemuscleworkingyourfingerstowards yourchin. # Next, squeeze and release the muscles under the chin to loosen any knottedmuscles.

SO#YOU#WANT#TO#SING?# 67 FacialTensionMassage JawTensionMassage: Ifyouclinchorgrindyourteeth,youwillcarrytensioninyourjaws,makingitdifficulttosing openlyandenunciatewordsclearly. # Startbypressingthefingersofeachhandintotheindentureinfrontofyourears. # Now yawn. Did you feel the indenture getting deeper in front of your ears? This is the temporalmandibularjoint(jointofthejaw) # Massagetheentirearea,downtowhere the jaw line meets the neck,anduptothetemples. # After you have massaged the temporal mandibular joint, press your fingers into the indenture and pull your jawbone towardsthefrontofyourface,stretchingoutthejawbone.as always,donotpullpastthepointofpain.dothistwovfivetimes. CrazyFace: Thisexerciserelievestensionheldinthefacialmuscles. # Startbyyawning. # Asyouyawn,stretchbothyourmouthandeyesaswideopenasyoucan,thenstickout yourtongueasfaraspossible. # Asyoustretchyourtongue,itmightfeelalittlesore.Thetongue hasatendencytoknotuptowardsthebackofthethroat.stress is stored in your muscles, which produce knots and muscle spasms.thetongueisoneofthestrongestmusclesinyourbody anditcanholdalotoftension. # Holdthisfacialpositiontoacountoften.Iknowthislooksreallyfunny,butitisthebest way to release facial tension. Now that you have stretched your face, let's revisit the tongue.

SO#YOU#WANT#TO#SING?# 68 TongueStretch: AsIsaid,thetonguecanholdalotoftension,causingthebackofthe tonguetoriseandknotup.atensetonguewillconstrictthevocalpath, makingtheopeninginthebackofthethroatsmaller. A smaller vocal path results in a smaller, pinched sound. You need a waytohelpstretchoutthetongueandloosentheknots.thebestwaytodothisistodryoff your tongue with a towelorhandkerchief,thenuseyourhandtopullyourtongueoutof yourmouth.ifyourhandslips,thenyoucanalsouseadrytoweltoholdontoyourtongue whileyoupull.pulldownandoutforagoodstretch.asyoupull,concentrateonrelaxing yourtongue,tostretchthetonguefurther.dothisexercisethreetofivetimes,oruntilyou havereleasedanysorenessinyourtongue. DiaphragmRelease: Due to poor posture, your diaphragm will slide up underneath the ribcage. This exercise relievestensioninyourdiaphragmbyreturningthediaphragmtoitsproperposition.the properpositionisrightbelowtheribcage.take your hands and massage your stomach downward,startingatthemiddleoftheribcage.youwantadownwardpullingsensation towards the stomach. Work from the middle of the rib cage down to the bottom of your ribs.