The Rock-N-Roll Singer's Survival Manual (Book)

-

THE

•

,

WRITIEN ANO ILLUSTRATEO BY MARKBAXTBI

lT77 west fJJuemoood RoIIJ P.O. 8nr 13819 Milwúee. WI S32/J

ACKNOWLEDGEMENTS The only thing that meant more to me than linishing this book was the support I received lrom lriends and lamily when I needed it most. Vou are only as goOO as the people around Vou and I've been lucky enough to be surrounded by the best. ,'d like to acknowledge: Katie Agresta, my lirst voice teacher, who took me under her wing and illed the confidence that enables me to !ly on my own. Her lave 01 the voice is pirational. My mother, who acted as editor, lar being gentle with the red ink and big on support and encouragement.

My lather, who has always set an example lar me to

challenge the ·Iimits 01 my understanding. I lave Vou both. laurence Sax, lar making the task 01 producing this book his own, and lar acting as creative consultant and riding shot-gun on the quality kontrol. I can't imagine the book without his input. I'm going to miss the ali night computer sessions ... well, not really. My wile Stacie, lar making my dreams hers. Vour lave has always been my strength . . . . and to my son Travis, lar being the coolest kid in the world.

r

This book is dedicated to ali my students, past and present. I value the trust you 've placed in me . Your dedication to better yourselves is what inspires me to teach .

ALL ABOUT THIS BOOK

Singing involves a variety oi elements combined together to create a single action. Vou can't ignore a single aspect, and expect to have lull control, 50 every angle is covered in this book.

At lirst, the amount oi inlormation may seem

overwhelming, especially lor a Rock 'n' RolI book, but there is no need to read the book Irem cover to cover in one sitting. Read the sections you need, as you need them. There are lour main sections regarding the health, maintenance, strength and flexibility oi your voice. At the end oi each quarter is a tip sheet lor a "review-at-aglance."

If there is a specific question you need answered, lum to the back of the

book (Questions Anyone?, page 217). AI the end oi each answer, Ihere is a page number where more delail can be found. Vou can approach Ihis book backwards, forwards, or inside oul, any way is fine. I'm sure the ratio between male and female singers is equal. To keep Ihings sim pie th ough, I chose lo use "he" as my pronoun instead of "he/she". I could have used "she" exclusively, bul "he" won lhe coin toss. I hope no one is oflended. Above ali, you musl realize the power for change comes from within.

Use

this book as a mirror. 11 you recognize a trouble spol, it's up to you lo address i1. Rock-n-RolI singing is as demanding as any olher, bul the rock singer needs to appreach his craft diflerently.

No other singer will face such adverse conditions

while performing. So, arm yourself with the facts contained in these pages and get out there and leI the wor1d hear the singer inside you.

g

TABLE OF CONTENTS PAGE ALL ABOUT VOUR WORLD Vour Instrument is Vou r Body . ... . ........ ... .. . . . ... . • .. . .... Environmental Factors Whieh Affect Vour Voiee .. . .. . ...• . .•..... . . . Working 9 to 5 .... .. .... . .. .. ... . ..•.. . ... . . . ... Smoking . . ... .. ..... . .. . ........ . •.. . . ..• ..•.. Drugs in General .. .. ...•.. .. ....••.. • .. . . . • .. • . .. Smoking Pot ......• . . • . . • . . •• .. . ..• . .•.. • ..•.. .. Cocaine. Aleohol ... . • ..• . . •. . • •. .• . . •. . •. .• ..•... Coffee . . .. . . ...... . . •. .. . . . •.. ... .. . . .... . .... Mental Altitude ... . ...•.. . .. .•. . • . .• . . •. .• . .. .... Stress ..... . ... . ... . . . .. .. . .... . . . .•.. ...•... . Vou Sing Like Vou Eat . .... . .. . . . . .• . . . . .. •.. .. . ...•..•.. . . Sugar . . . .. . .... . .• . .•.... . ...... . •. . . .. . ... .. Dairy ... . .. .. . . ..• ..... . •... . . • ........ . . . . . .. Fluids . . ...... . ...... . . . • ..• .. .• . .•.....•. . •.. Physical Fitness . . . . . . . . . . . . . . . ... . ... . ... . ....... . . . •.... Swimming, Rebounder . .... . .. .. ... . . ... . •. .•..•.. . Aerobics, Jumping Rope, Martial Arts. Jogging . . . . . . . . . .. . . Calisthenics . . . . . . . . . . . . . . . ....... . ....... . ... . . Tennis, Basketball, Volleyball, Handball, Voga, Weight Training .. Stretch, Streteh, Streteh .. . ..... . .. . . . . . . ....... . .. . Obey the Laws ( ... the laws of sound that is) ..... . ... . . .. ..... . ... . What is Sound? .......... . ... .. .. . . . . .. .. .. • .... Sound Has Waves . ........ ... .. . ... . .. . •. . .. . . . .. Separating Noise From Tones, Piteh, Intensity . . .... .. • .. . .. Duration, Timbre . . . . . . . . . . . . .. ... . .. .... . . ..•... . Resonance . . .... . .. .. ..... . ... .. .........• . . ... Absorption & Reflection, Sonanee ... . ... • .. •. .• . . •..... A Living Instrument . ..... . .. . .. ... ....... •. . • .. •.. Training Vour Voice . . . . . . . . . . . ....... . . . . .• . . . .. . .. • ..• .. . . Do I Have to Practice? . . . ...... . .... .. . .... • ..• . .... .. . .. ... How Long? . .... . ........• . .. .. •.. •. . • . . ..... . .. What Should I Vocalize? . .. . ..•.. . ...•..• . . •. .•. . ... ALL ABOUT VOUR WORLD Tip Sheet .. . ... . . .. .... .. ..... .•. ... ALL ABOUT VOU R BREATH How Breathing Affects Vou r Voice .... . .. ..... ... .. .. . ......• .. . Every Breath Vou Take ... .. ... . . ....... . ... . ........• . .•... The Path of a Breath .. .•. .• . .•.. •. . . • .. •.. . .... . .. 8leathing Exercises . .. . . ...... . . . . . . . .• .. . . . .... .. •... . . . .. Posture Affects Vour Voiee ... .. . ...... . • . . .. ....• .. .. . •. . .. .. Posture Check . .. . . . . . . . . . . . . . . . . . . • . . • . . . . . . • .. 'Iha! Singer's Should Know About Colds ... . . •. . .. .•..• . .•.. . . . ... Stress & Emotions . .. . . . . . . . . • . . • . . • . . • . . • . . • . . . .. Change in Seasons. Dry Air ... • .....•. . • . . • . . • . . • . . .. Change in Diet, Allergies .. .. .. •. .•..•.... . . .. ... •...

1 5 8

10 14 15 16

18

20 23 24 27

29 30 32 33 34 35 36 37 38 38 39 40 41

43 44

45 46 49 50 51 53 57 60 60 65 79 82 84 85 86 87

Sleep, Time to Clean House, What to do During a Cold .. . ... . Sore Throats (To Sing or Not to Sing) . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL ABOUT VOUR BREATH Tip Sheet .. ... ... .. ..... .. ..... .. ..

88 92 95

ALL ASOUT YOUR INSTRUMENT The Big Picture, What Happens When Vou Sing . . . . . . . . . . . . . . . . ..... The Jobs of the Larynx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How to Control Vour Voice ........ .. • . .• . . .. ........ How a Sound is Created ......••..•.. , ..•...... . .... Watch the Attack . . . . . . . . . . . . . . . .. • ..•..•..•...... Pitch Change ... .. .. .... .. ..... .... • ........•... Where's the Volume Knob? .. . ..... ... . . . . . . . . . .• .... Vocal Registers • Why So Many Voices? .... ... . .. . . ..... Most Breaks Caused by Avoiding Next Register .. . . . . . . . . .. The Jobs of the Vocal Tract ...... .... .. . .......... ... ... . .... Vour Voice Has a Built in E.O. . . . . . . . . . . . . . . . . . . . . . . . Imitating Reduces Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . Resonance Projects Emotion, How to Encourage Resonance .... Vowels . ..... ..... ... ... ... ......... ..... ..... Consonants - Just a Bunch of Noise. "H" is a Workout ..... .. . How Do Vou Lose Vour Voice? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where Trouble Begins . . . . . . . . . . . . . . . . . . . . . . . . . . . .. How To Avoid Trouble . ... •. . ... • .. • •.. •.. • . . • .. • .. Diagnosing Damage . . . . . . . . . . . . . . . • . . . . . . . . . . . . • . . • . . • . . . . Chronic Hoarseness ....... . .. • . . .• . . •.......•.. • .. Exercises For Strength and Flexibility ......... •..• ..•. . •. .• ..•... Warming Up and Down ........ .. .......• .. • . . • . . .. . . . . .. ... ALL ABOUT VOUR INSTRUMENT Tip Sheet . . . . . . . . . . . . . . . . . . .. .. .

99 105 106 108 109 110 112 113 115 118 119 120 122 123 125 126 127 133 136 137 140 154 158

ALL ABOUT YOURSELF Who Are Vou? . ... . . . . . . . . . . . . . . . . . .. ...... .. .... • ..•.... 161 Emotional Singer, Technical Singer ... ..... ... .......... . 162 Who's on Top? ... ... .. .. ... ... ..... ... .....•. ... 163 Mind Games (Who Are Vou Talking to When Vou Talk to Vourself?) ...•... 165 Resisting Success, Build Vour Own Mountain .. .. . . . . . . . . . . . . . . • . ... 168 Feelings . . . . . . . . . . . . . . .... ....... . ..... . ......... . ..... 173 Rx for Stagefright . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . ..•.. . ..... 179 Perfect Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . • ..•.... . 181 Make the Song Fit ....... ...... . . . . . . . . . . . . . . . . ... ... . • ... . 188 Welcome to the Jungle (Survival TIps for the Real World) ... . .. . . .. . . ... 193 ALL ABOUT VOURSELF Tip Sheet .. ... ... .... ......... . .. .. . .. 205 Watch Vour Language ..... ...... . ... • . .. ..... • . . . . . . . . • . . . . 206 Glossary of Words and Phrases ...• . .•. . ... • •. ... ... • . . . . . . . . . . 208 Ouestions Anyone? ...... ...... . ..... . .• .. .. ....•.. • ....... 217 Ali About Mark Baxter . .......... . ...•..•. . .. . . . .... ... . .. .. 231

ALL ABOUT VOUR WORLD

Ali Aboul Your World

VOUR INSTRUMENT IS VOUR BODV Sing.

In arder to recognize any changes that will occur as a result of this

book, Vou need to sing a simple scale on "ah". Just relax and feel comfortable and notice what happens with your body when vou sing. If Vou don't understand scales, just sing anything that you'd like. I want vou to feel what's going on inside. Notice what you're doing to sing.

Let your body relax, unfold, just let the tensions go.

Notice what's going on as vou sing higher, if your body adjusts itself, make a mental note of the feeling. The main theme throughout this book will be THE SINGER IS THE INSTRUMENT. body,

Vou are the trumpet, the cello, the guitar, the keyboard.

your entire body becomes the

instrument.

Singers

have

Your

a double

responsibility with their bodies as well as with their minds. Any instrumentalist has a mental "prep" ar attitude which he brings to the instrument. His ability as a "player' is the only variable facto r between him and his instrument. always ready.

The instrument itself is

I know there are plenty of preparations that are needed before Vou

play any instrument, but my point is that once this maintenance is dane, it will be consistent.

If a musician doesn't like the sound of his piano ar guitar, he can pick

up another one. The more advanced a player becomes, the more demanding he is about the quality of his instnument. Vocalists are given an instrument at birth, like it ar not. No refund, no returno If a singer is not happy with the way his voice sounds, he can't walk over to another larynx.

Vou have to work with what vou are given.

instrument and the player.

Singers are both the

Vou are always with your instrument every moment of

every day. Imagine if vou were never allowed to be without your guitar (ar any instrument Vou play).

Picture yourself going to work with it, riding the bus with it,

Iying at the beach with it. Vou would always have half a thought on its safety. On

1

Your lnstrument is Your Body

r TIu Rock In' Roll Singer )s SUrJlival Manual

a rainy day your firsl Ihoughl mighl be, "How will I gel lo work wilh my guilar?" Vou know lhe effecls of moislure on wood, and you'd probably allernale your daily rouline lo avoid gelting il wet.

No malter how careful you mighl be, you could

imagine whal a wreck Ihal guilar would be after Iwo years?

lhe inlonalion would

be oul, lhe neck would be warped and lhe slrings would be nusly. respond lo lhe same lechnique.

Il would nol

No mauer how lalenled a musician you are, your

playing would suffer because your inslnumenl is a mess. Ali lhe guilar players I know lake belter care of Iheir inslnumenls Ihan singers care for Iheir bodies.

Faced wilh a warped neck on your guilar, you'd gel il fi xed.

As a singer, if your neck is oul of alignmenl, you mighl choose lo ignore it. When you Ihink aboul il, a half dozen visils lo a chiropraclor would cosI lhe same as lhe repairs on your guilar.

Singers have a habil of ignoring Iheir inslnumenl until Ihey

begin lo sing. lhey wonder why il doesn'l sound like il did yeslerday, or lasl year. lhere is a 101 of exlra slress placed on lhe vocalisl because of Ihis unknown faclor. Let's say you have a recording session booked in Iwo weeks.

How are you going

lO feel? WiII you be lired? Will you be in good condition lo sing? Whal if you have a cold? lhese Ihings will affect every musician in lhe Sludio bul il won'l louch Iheir inslnument. Every lime you open your moulh lo sing, lhe sum lolal of ali lhe evenls of lhe pasl weeks will be known. crying or lalking or whispering?

Were you laughing or

Were you in ali kinds of

lemperalures, from dry heal lo winler chills, or hOI muggy wealher lO ice cold air-conditioned rooms?

Were Ihere any bumps or

bnuises or broken bones? Did you eal a 101 of fruils and vegelables or did you eal pizza?

Did you drink waler and juice or did you

drink soda and beer? Ali Ihese Ihings, and many more, conlribule lo lhe heallh and condilion of your inslrument.

2

Ali About Your World

Once

you

responsibilily

lake

\

lor lhe round lhe clock care 01 your

\

\

\

\ \

\

\

\

\

\\ ~ \\

body, Ihere will be a dramalic change in your vaiee.

Jusl

01

your

vaiee

be

100%

every

lime

opened

your

moulh.

\

Once you

begin singing,

\

\ \

having

Ihink

you

\ \

t

"How will I gel to work wilh my guitar?"

\

\\ \ \ \

\,-

it's

100 lale lo correcl any damage Ihat's been done. Vou crealed il, now you have lo live wilh il lor a day or two.

II you sing Iwo hours a day, lhe remaining Iwenly-Iwo

are jusl as crilical lo lhe qualily, conlrol and accuracy 01 your voice. I know whal you're Ihinking righl aboul now. greal voice and doesn'l do a Ihing lo help it. damage it.

Vou have a lriend who has a

As a matler 01 lact, he does lols lo

He smokes, drinks, never warms up; in short, he breaks more rules

Ihan anyone you know and slill sounds great. How come he doesn'l have lo be so responsible and slill can sound good? queslion.

I'm going lo answer Ihal wilh anolher

Which guy would you pick lo be on your baskelball leam, lhe five 1001

one or lhe seven looler? player seems like a nalural.

Wilhoul knowing eilher player's abilily, lhe seven 1001 He mighl be uncoordinaled, bul il you wanl lo play

baskelball, il sure helps being seven leel lall.

This does nol mean you should

lorgel aboul lhe sport il you're live leel lall; you'lI jusl have lo make up lor il in olher ways. There are certain physical elemenls Ihal conlribule lo lhe sound 01 your

3

Your lnstrument is Your Body

The Rock 'n' Roll Singer's Survival Manual

voiee.

The size and Ihiekness 01 your vocal lolds, ccmbined wilh lhe size and

shape 01 your moulh, nasal and pharyngeal cavities (the pharynx is the tube-like section 01 lhe throat just above your larynx, see : The Big Picture, page 99), ereate the blueprint 01 your sound.

When these lactors ccmplement eaeh other and the

person wants to sing, they are a "gifted" singer. Many people may have been bom with great vocal instruments but will never know it beeause they have no desire to sing.

The rest 01 us have to take what we were given at birth , and build it into a

betler instrument. Ali you need is the desire. Other Ihan structure, the sound is a1so shaped by the operation 01 the instrument. Here's where the hard work pays off. The operation 01 the voiee is just like any other instrument.

A sound is produeed by a ccordinated eflort 01 museles

and cartilages and this is the one adjustable lactor.

Vou ean ehange what mother

nature gave you by developing and strengthening the way the museles perlorm. This is the only hope lor those 01 us who were not bom with the perlect voiee. Training the vocal museles, whether you ligure it out yoursell or study with someone, is needed to enhanee the sound ereated by a larynx that laeks the right proportions. Just because the gifted singer ean get away with more, doesn't mean they wouldn't benefit Irom being responsible about it.

The ccmbination 01 being seven leet tall and

dedicated to the sport makes you a winner.

,(

Later in this book I will explain how the larynx works. Some 01 you might want to read Ihat section lirst in order to appreeiate how important the physieal lactors are. Vou only need a sim pie working knowledge 01 the body to understand the relationship between good health and your daily living habits.

Remember you are the

instrument, so what's right lor your body is right lor your voiee.

4

Ali Aboul Your World

ENVIRONMENTAL FACTORS WHICH AFFECT THE VOICE WARNING - Belore you read Ihis section I musI warn you it's going lo gel

ugly.

I will attack every vice you've ever had; nolhing is sacred.

I'm armed with

lacts and I give ali lhe grim details. Reading this section is like pushing Ihrough the crowd lo see an accidenl, only to gel sick aI lhe sight 01 il. The worst part is that my molhe r already warned me about Ihese things, and I didn't believe her.

I only

hope that this will be lhe lurning poinl lor you lo own your voice, or aI leasl see where you give it away. Somelime during Ihis chapter you're bound to say, "OK, so everything leal is no good and ruins my voice. What can I eat?" Believe me I didn'l like linding oul this stuft mysel'.

I was investigaling Ihings Ihal harm lhe larynx, and by the time I

was hall way through I had already ruled oul my enlire diel.

Ali my lavorite vices

were exposed as I discovered lifty percent 01 my vocal problems where relaled lo my lilestyle. As you read this inlormation, remember everyone's body metabolizes lood dillerently.

It is neariy impossible lo creale one diel Ihal will work perfectly lor

everyone. Diel and nulrition books se em to conlradict themselves as much as vocal technique books. Whal you're left wilh after piles 01 research is lhe knowledge 01 choice.

Educate yoursell on lhe worikings 01 lhe body so you can do what's righl

lor you. The one lail-sale guide through ali 01 this is your intuition.

In the mile a

minule worid we live in we've ali but shut oul every internai signal in lavor 01 outside stimuli.

We are told whal lo eat, when and where.

importanl than the energy we gel lrom our lood. good or bad.

Taste becomes more

Fashion lells us when we look

And we're ali programmed about what is accepted as lunny, sad,

rude, polite and on and on.

Fortunalely, musicians havealways been at the

lorelront 01 changing rules and lollowing their gul. The same gul instinct that helps

5

E"viroll11U!lItaI Factors

Ip

riu Rock 'n' Roll Singers Survival Manual

you create can also lead you to a healthier, more responsive voice. There is nothing more accurate than the information that is constantly given off inside you.

There are plenty of examples around our daily lives of the way we

stifle our intuition. The dependency on outside stimulation keeps wearing away your life energy. To develop your inner ear you need to tnust yourself. If you feel thirsty, take a drink.

When you are hungry, take a moment and ask yourself what you

need bafore you opan the refrigerator to see what's available. sleeping patterns?

How about your

I know I've been fooled into feeling awake because my clock

was showing the wrong time.

The funny thing is, I really was awake until I

discovered the actual time and immediately felt robbed of sleep. listening to your body takes time to develop. It's important to learn about the affects of the foOO you are eating so you can make goOO choices. As you begin to live cleaner, you'lI feel more alive. Once you get an idea of what's available to you, it will be easier to break down harmful habits.

Vou'lI automatically be drawn

towards a better lifestyle. At first it's easy to confuse your intuition with your habits. good example of this is cigarette smoking. Q

A

It feels as if your

intuition is screaming at you to have another cigarette.

Addictions

like this, including chocolate, are emotionally and psychologically rooted - not instinctive.

What I'm talking about is a much deeper

sense of what is right.

Part of the addictive personality is knowing

that it's bad for you, and doing it anyway.

Rationalization becomes

a great blanket that we ali use to cover our instincts.

Another

popular method is pretending not to know better just because we have no idea how to stop. Education is always the first step on the road to recovery.

In

researching this book I found enormous amounts of information regarding every aspect of our bodies and health. It's out there ; ali

6

Ali About Your World

you need is the desire to learn.

I can't stress enough that the sound of your voice

mirrors the condition of your body.

If you're serious about singing, you should be

serious about your health. With ali this talk about clean living and inner awareness, I know it sounds like I'm asking you to live like a monk on a hilltop. lhe old days of sex, drugs and rock and roll are over. Why? It was too destructive. I'm sure there are still people who live under that creed, but I doubt many of them are musicians (or at least successful).

Vou don't see too many of the old stereotype rock stars of the late

sixties anymore.

Vou know, the guy who's comatose in the back of a limo only to

be poured onto the stage for ajam session in front of an audience on hallucinogens. lhat went out with the A&R guy who scouts local clubs for talent! lhe demand now on pertormers is intense.

More and more I see a

turn around of life style.

lhe externai

image may be the same, but a trip

1, 'Xhe demand on perfonners now is intense... lt doesn't even allow for a cold.'

backstage these days will more than likely show a different story. Chiropractors or a masseuse, humidifiers, nautilus equipment, gourmet meals with lots of vegetables and fruit juices have replaced the drug dealer and the orgies.

Why?

Because

these artists are serious about their careers, and they treat themselves like athletes. Look at the tour schedule of any successful act.

Finances don't allow any time off.

Some tours leap Irog two stage sets 01 equipment in order to pertorm a show a night.

lhat doesn't allow much burnout time for the singer.

It doesn't even allow

for a cald. lhe relationship batween good health and being in good voice is why singers are noted hypochondriacs, but l've never known a goOO musician that wasn't finicky about the care 01 their instrument. inside lor preventive maintenance.

I want you to realize the power we ali have Ali it takes is a little knowledge about how the

body operates. Develop your instincts to recognize the warning signs.

7

Envirollllumtal FlJCtors

The Rock 4n' Roll Singer's Survival Manual

I have listed in the lollowing pages the elements that most often get in the way 01 vocalizing. As you read through, keep asking yourself il this is true for you. Everyone reacts differently, and this book is about your voice, and everyone elses. Be honest with yourself about your involvement with each subject. information you already know, but I wanted to provide the "why." though ali 01 it may not pertain.

Most of this

Read it ali even

Vou may be a great help to someone someday,

who is conlused about their health. lhis section is first so we can clear the body and prepare it lor strength. Without a healthy larynx, no amount of technique will provide the Ireedom your looking for in singing. lhe instrument never destroys the singer, it's the singer who destroys the voice. WORKING 9 lO 5.

I'm not kiddingl Unless you're a rich and successful rock star, we ali have to do something to pay the rent. Whatever you end up doing, whether it's a stock boy in a grocery store or singing in the local club circuit, you must be aware of how this is allecting your voice.

Remember the example

of always having a guitar with you?

/

'\

If t \

lhe most effective advice is also the simplest. Vou need to shift the underlying structure 01 your thinking. Vour mental attitude while you work creates the overall physical wear and tear.

lhink of

yourself as a singer who works in a grocery store instead of a grocery clerk who sings at night. Simply be a singer. Vou've been spending ali this time at work waiting till you can get out and sing. Why wait?

Even though you can't sing at work, always think of

yourself as a singer lirst. A singer will speak differently than a nonsinger. A singer will lift things dillerently, sit, eat, walk or just about anything you can think 01.

8

lhe difference is a subtle one, it's a

All Aboul Your World

different frame of mind. If you speak on the phone at work you should be aware of the adverse

eftects this causes your larynx.

When you speak you're listening to your voice

through the tiny ear piece which has a small electronic sound. Subconsciously, you adjust your voice to make the

sound

more

intense.

This situation over a period of time will aggravate the larynx,

due

to

over

Always on the phone? Be sure to breathe deeply, and keep your; voiceanimated by changing the pitch frequently,

energizing the point where the two vocal folds meet.

When you speak on the

phone, remember to keep your voice very melodic. As you change pitch the larynx stretches and moves about. This is less strenuous than grinding out one monotone pitch.

It takes time to develop melody in your speech because it goes against the

automatic habit of speaking low.

Males will find it takes a constant eftort to keep

the voice animated ... so lose that Sylvester Stallone act. We ali have a habit of speaking in a pitch that's lower than it should be and with very little air support from the lungs (see: Ali About Vour Breath, page 55). Think about the amount of time you spend speaking versus the amount 01 time vocalizing. Vou use the same instrument for both so it pays to speak in a way that won't cause trouble when you start to sing. Most 01 the complaints I hear about peoples' jobs are posture ar muscle related. People who sit at a word processar ar at a desk beco me under-developed aerobically, while physical laborers sulfer from over-worked muscles. both situations will inter/ere with your voice.

Obviously,

Any activity can be thought 01 in one

of two ways : how a singer would do it, and how a non-singer would do it. Vou can get the same job dane with less inter/erence to your singing il you simply live out 01 a singer's mind.

It is important not to let the shoulders become stilf ar to let a

lower back ache continue. An awareness 01 the condition 01 your muscles will 9

Environmental Factors

The Rock ''I' Roll Singers Survival Manual

alerl vou before Ihings beco me bigger problems. Are Vou using your knees?

Look ai lhe way Vou bend over.

Are Vou holding your brealh?

Simple changes in lhe

way vou carry yourself will make a big difference in lhe way your job affects vou. Don'l forgel, Ihis body you're working wilh is lhe same body Ihal needs lo deliver a voice laler, it's your inslrumenl. This is lrue for ali your activilies, and is especially importanl ai work , where Vou spend mosl of your lime. No matter whal Vou do for a living, il doesn'l have lo compromise your abilily lO sing. There's no reward in blaming your boss, your job, or lhe people Vou work wilh for lhe sound of your voice. It's nol their voice. There's no need lo quil before you're ready lo commil lo a life as a musician. professionai singer in order lo sing professionally.

Vou don'l have lo become a Se responsible aboul crealing a

work environmenl Ihal allows vou lo do your job and have a singing career. Address yourself as a singer firsl. SMOKING

1'11 bel Ihis one is no surprise, even if you're a smoker.

Vou

don'l have lo be a genius lO see lhe harm Ihal drawing hol smoke over delicale membranes causes, bul slill vou conlinue.

Here are

lhe facts as Ihey relale lo singers. The larynx is made of mucous membranes and needs conslant prolection from drying oul.

Cigarette smoke burns away lhe

prolective lubricalion Ihal coais lhe larynx.

This also includes lhe

air in a smoke filled club. We've ali heard Ihal second hand smoke is actually more harmful Ihan lhe smoke drawn Ihrough lhe fiIIer. While singing in a club, you're inhaling Iwice as much smoke as lhe olher non-smokers. Even Ihough lhe aerobic action of singing does help lo cleanse lhe lungs, Vou should lake extra precaulions lo insure Vou don'l suffer any repercussions. Any aero bic exercise lhe

la

Ali About Your World

next day will help expel what the singing missed.

lots 01 water is needed to help

cleanse the chemicals that made their way into your blood stream. The body is an incredible machine when it comes to getting rid 01 toxins. Some people are more sensitive to smoke than others, but we ali are aware when the smoke in the room gets to the point where your eyes burn.

The inner

walls 01 the si nus cavities in most people are also allected. When the lining 01 the sinus cavity is stimulated, it sets 011 a discharge 01 extra mucus so the smoke won't dry out the membranes.

This means your instrument will have an extra thick

blanket 01 mucus covering it, dampening its ability to vibrate. When you sing, you 'lI leel this as a lack 01 response or Ilexibility, causing you to push harder than you should.

Attempting to sing with a coated larynx is like trying to play piano with mittens on. Attempting to sing with a coated larynx is like trying to play piano with mittens on. Vou'lI be able to create some sound but at a great disadvantage.

It seems

crazy that such a sensitive instrument should lind the most available audience in the

worst possible conditions. The protective mucus is there lor a reason but that sure doesn't help the singer.

II you sing hard enough, you'll blow the mucus away

leaving the larynx vulnerable to the drying nature 01 smoke. Either way you lose. Society seems to be getting more concerned with the quality 01 air that nonsmokers have to breathe. However, beginning vocalists will be the last ones saved by this public awareness.

I can't imagine the day when the small little local bar

bans smoking. II you are a smoker, the cilia that line the walls 01 the throat are burned away.

These little hairs are there to lift phlegm and mucus up and away Irem the

lungs. Without them the only method left is to cough. This is what is known as a 11

Environmental Facrors

p.

The Rock In' Roll Singers Survival Manual

smoker's cough, and it's no oplion lor a singer. Coughing is a violenl spasm which is Iriggered by an involunlary conlrol. The Iwo lolds smash logelher, combining wilh a blasl 01 air lrom lhe lungs lo dislodge anything Ihal could possibly block your Ilow 01 air.

As you can imagine, Ihis does

nol exactly improve your vocal abililies. The body has an inleresling way 01 placing mosl lile supporting actions on lhe involunlary nervous syslem.

Your heart beal,

brealhing, lhe coordinaled action 01 swalloYling, coughing and sneezing, are ali involunlary.

Your lile support syslem doesn'l care aboul your voice.

II you have

somelhing in your Ihroal, you'lI cough. Now let's painl lhe whole picture,

I!

You're a smoker, and you have

successfully burned ali lhe cilia Irom lhe walls 01 your Ihroat.

The smoke has

caused an exlra amounl 01 Ihick prolective mucus lo be secreled around lhe larynx. Due lo lhe blow-drying effect singing has on Ihis covenng, your vocal lolds now sil in a very vulnerable posilion. They are burned and brittle. Now you have lo cough . The action 01 coughing closely resembles your hands being clapped logelher wilh your arms slarting as lar apart as you can gel Ihem and moving in as lasl as you cano Bang! And Ihat's jusl one cough. You 'lI need lols more lo gel ali lhe junk oul 01 your lungs. Bang, bang, bang. The conslant explosion 01 lhe cough causes lhe Iwo vocal lolds lo swell.

The voice relies on lhe lolds' abilily lo make a nice clean

seal lo resisl air. The swollen membranes resemble balloons and makes a very poor resislor. Ihis creales a brealhy sound.

This sloppy seal leis air leak by and When you Iry lo correct lhe sound,

you lorce lhe Iwo lolds logelher which causes damage tO Iheir edges.

The more you lorce Ihese membranes, lhe more heal is

generaled due lo lhe Inction 01 lhe vibraling muscles. Heal means lhe lolds will swell more and you lind yoursell in a degeneraling cycle - lhe harder you Iry, lhe more damage you cause.

12

All Aboul Your World

lhe voice runs on wind power and smoking obviously impedes the lungs' ability.

It also leeches many vitamins out of your system to lower your overall

immunity against illness. Add this information to ali the claims from the Am erican Cancer Society and smoking for singers just doesn't seem like a good idea. I! Vou want to quit, there are lots of ways. One of the best ones l've heard

is changing brands every time Vou buy a pack. being a brand smoker. exactly one minute.

lhus vou break th'e first habit;

Next is to have a cigarette any time vou desire but wait

Waiting changes the action from impulse to choice.

I! Vou

choose to smoke the cigarette after the minute, go ahead. After a week make that a five minute required waiting period, and so on.

lhe point is to break the

unconsciousness of the act. Vou will feel lots of changes in your bcdy once Vou stop smoking heavily. lhe body will take the opportunity to clean house.

Every smoker I've seen quit

smoking has caught a cold. (see: What A Singer Should Know About Colds, page 84)

Most companies cure their tobacco in a sugar solution.

Sugar is more

addictive than the nicotine, that's why fast food chains put it in their meat and rolls. Have Vou ever seen a smoker who is quitti ng binge on sweets? More than the oral fi xation is the body's craving for another fix of sugar. Fruits will help lower the sugar jones as well as replace the lost vitamins. Lots of showers will help cleanse the pores when the body begins to expel the tars and nicotine. After a shower, take orange peels and rub them on your skin while it's still wet. lhe vitamin C will be absorbed through the skin. Drink plenty of water to help the cleansing process along . Generally speaking, it takes two months to rid yourself of the body pollution caused by smoking .

Any permanent damage

sustained to the organs will depend on the extent of your habit.

13

E"virolllMlltal Factors

The Rock In' Roll Singers Survival Manual

DRUGS IN GENERAL

Another obvious one, I know. Drugs are everywhere. I have to laugh when I meet people who still think musicians are the only ones on drugs.

Business men,

sports heros, I.V. stars, politicians, blue collar workers, moms and dads have ali been exposed as druggies. voice.

Now this is not a book about morality; it's about the

Vour body couldn't care less what is legal and what is iIIegal. A drug is a

drug. Ali the body reacts to is abuse. I've known a few musicians who were badly addicted to one substance or another. lwo of them have died and the rest are still wandering alcoholics.

It's a

very disturbing sight to see someone being controlled by an addiction, whether it's heroin or chocolate. lhe number one addictive substance in this country is nicotine, number two is alcohol.

What ever the product, an abuse r will systematically break

down his body by the overload. Ali internai awareness is lost and the actions seem more robotic than humano don't pretend to have the answer for addictive behavior.

I think it's

important for everyone to realize, for the addictive personality, virtually anything is a source lor dependency. It's not the substance it's the personality, the lack of rationale to see the damage being done.

If you feel you are beyond your own control with any

substance, you should seek assistance. Vou are not alone. lhere are groups of every kind for people who need help in breaking a habit. Aside from the heavy abusers, there are the rest of us moderate users. Since I'm not drawing any line between legal or illegal, this inciudes ali of us, except for that monk on the hill.

Vou may not

consider yourself dependent on drugs; well then who made the aspirin market a billion dollar business? ar even antacids? t4

How about cold remedies

Ali Aboul Your World

A singer should always weigh the consequences before consuming a dose of Bufferin or Dristan.

Please realize that a drug is not the only alternative.

Your

body has alarm systems throughout that keep you in check. These products rarely handle the source of the problem but more routinely relieve the symptoms. This is yet another way we break down that intuitive ability to listen to our bodies.

The

congested nose is not the cold; it's a reaction to one. Your pounding headache is probably caused by muscles in the neck preventing blood to flow freely to the brain. Aspirin thins the blood, enabling it to slip by the tight area and reach the brain, but it also eats away at the stomach lining. Laying down in a warm bath would also be just as effective with no cost to the stomach. Your instinct knows that's just what you should do, but your mind says there isn't enough time. This is probably why you have a headache in the first place. Every time you ingest a drug there is a side effect. There are no exceptions. Some are obvious but most lay low and build up un-noticed until they create a problem of their own. The body has to deal with it sooner or later. When aspiri n thins your blood, it thins ali your blood. nose, your foot gets an equal dose. and you'lI avoid future discomfort. my iIIness than how to get rid of it.

When you take a decongestant for your

Be responsible about your methods of relief,

I'm always more concerned about what caused Whatever ails you , your body is trying to tell

you something and you should listen, the sooner the better.

SMOKING POT I've placed this separate because it's actually worse. apply to pot as with cigarettes, and more.

Ali the same things

Smoking one joint equals twenty

cigarettes. The smoke is heavy with resins and hotter because it's unfiltered. The vocal folds are burned and dried quicker in addition to the effect of the THC on your brain.

Singing is a physical activity and requires lots of coordination.

15

Usually

ElIrirorunenlQl F «/o...

The Rock ',.' Roll Singer's Survival Manual

singers smoke a little pcl lo gel loose and uninhibiled.

I Ihink Ihere is a much

better way lo deal wilh your nerves Ihan placing such a burden on lhe larynx, Ihis is explained in lhe lasl section of Ihis book. COCAINE

Cocaine is used by doctors lo numb an area Ihal is in pain. When you snort lhe coke il gels absorbed by lhe Ih in lining of lhe nasal cavily and enlers lhe blood slream. The body will reject Ihis by secreling mucus lo flush il away. The mucus begins lo drip down your Ihroal and on lo your vocal folds, numbing everything in ils palh . The walls of lhe Ihroal become aggravaled and swell.

Vou are now lolally

oul of louch wilh your inslrument. The size and shape has changed because of lhe inflammalion and il is complelely numb. Have you ever bitten your longue after lhe denlisl has shol you full of novocaine? Since you can'l see lhe larynx as you sing, you conlrol il by sound or feel. By using cocaine you sublract lhe feeling , which is lhe more reliable conlrol. Wilhoul sensalion, you're unaware of lhe damage you are causing. Afler one or Iwo songs, lhe dripping slarts, and it's ali down hill from Ihere.

,~t

The only mornings I couldn'l even speak after singing,

were after lhe nighls I was hitting on someone's coke. I didn'l do il often. I gol lhe message pretty fasl Ihal il wasn'l worth losing my voice for one quick high. ALCOHOL

Alcohol is a drying agenl, you can pul il on your skin lo absorb excess oil. ,

When you drink il, il dries lhe lining of lhe Ihroat.

II

doesn'l matter whal kind of alcohol il is, lhe nalure of alcohol is lo dry.

DD

The sensalion of drinking lells lhe brain Ihal your Ihirsl has

been quenched and lo shul off Ihal Ihirsly feeling.

Mosl drinks

conlain waler bul it's nol enough lo flush lhe alcohol from your

16

Ali Aboul Your World

body.

Vou end up using more waler Ihan Vou received, so wilh each drink Vou

become more dehydraled.

Ever nolice how often vou go lO lhe balhroom when

you've been putting 'em away? How aboul Ihal greal feeling lhe moming after, do Vou feel like your syslem has waler lo spare? Remember lhe larynx requires conslant lubricalion lo slay flexible. When Vou become dehydraled, lhe Ihroal is one of lhe firsl areas lo sufler.

The body, or

should I say your support syslem, doesn'l care Ihal you're a singer.

Vou need lo

lake care of your bcdy firsl in order lo have heallhy vocal membranes. There are Iwo reasons I can Ihink of for having a drink before Vou sing. The firsl is you're Ihirsly.

When Vou sing and lense lhe walls of lhe Ihroal lhe saliva

ducts are reslricted.

Very soon you 'lI feel Vou need lo lake a drink of somelhing

between every song, or somelimes during lhe song. It's lhe lension Ihal makes Vou feel Ihirsly nol lhe lack of body fluids. When Vou drink waler, il lakes abcul fifteen lo Iwenly minules for il lo Iravel Ihrough lhe syslem lo wel your Ihroal.

11 Ihere is

anything in lhe waler, like alcohol, il will require more digesling lime. The drink vou look while vou were singing won'l gel lo your larynx lill you're on your way home . Learning lo relax lhe walls of lhe Ihroal will allow lhe fluids lo flow freely and keep your larynx wel. The second reason lo drink is lo relax. To gel rid of Ihose jitters, or lo gel lO lhe frame of mind vou were in lasl nighl when everything wenl so good. A pre-gig drink is widely accepled practice from rockers lo opera singers; jusl remember anything in moderalion works bener wilh lhe body.

Mosl doctors will agree, your

syslem can handle a little alcohol. The problem comes from lhe dumb logic, "11 I

Rememblrti~)J'

'.

Your bOdydoesn't use from abuse.

and

17

just

E"vüonmental Factors

I

The Rock 'n' Roll Singer's Survival Manual

leel OK after one drink, 1'11 be amazing after sixl"

Drinking for confidence actually

feeds insecurity. Like I said before, your body doesn't care what's legal or not, so don't leel you're off the hook because ali you drink are beers.

You'lI lind a more

permanent way to relieve your inhibitions in the last chapter. Most 01 us use both these excuses.

You're a IiUle uptight about performing

and have a drink 01 something. Vou relax and leel a liUle braver. This lalse sense 01 security is comlorting so you have another.

Belore you begin to sing you may

notice your throat is a little dry; why not have another? you've already had lour drinks or so. blocks, but your throat is still dry.

Now you're on stage and

The alcohol lets you pass by your mental Let's have another.

I've had my share of

performances where I can't tell you how they ended. Once you're in this routine, it's hard to see your way oul.

When I listen back to the recordings made on those

nights, it made even less sense to drink. It's important to realize that logic plays no role in any kind 01 habit. are prime candidates lor lalling into addictive traps.

Singers

They care so much about

geUing results that the short lix always seems inviting.

l've seen

just abo':'t every dependency you can think 01 Irom coke, booze & o

pot, to decongestants without a cold, to the coffee ritual. Whatever your pleasure, the habit makes a statement that says your ability lies in the substance.

With every gulp, sniff, pull and swallow you

give away your power. Listen to your instincts, they know better. COFFEE

Just when you thought you were clean, right? wouldn't be fun.

I told you this

Coffee, as well as being a drug, is an acid and

that's the biggest problem lor singers.

Your blood is slightiy

alkaline, and your system will do whatever it takes to keep things that way. When coffee or tea enters your body, water is needed in

18

Ali Aboul Your World

order lO neulralize lhe acidily. Waler will be laken lrom lhe mucus membranes and leave lhe larynx unlubricaled. Like I said belore, your body doesn'l care aboul your voice, so Vou have lo. One cup oI colfee lakes twenly-Iour hours lo pass Ihrough lhe kidneys and will leech a greal deal oI waler in lhe processo Add on two, Ihree or more cups and Vou simply don'l have enough hours in lhe day lo gel rid oI i\.

Vou beco me

dehydraled due lo lhe conslant demand lor waler in lhe digeslive Iracl, leaving lhe larynx lo lend lor ilsel!. Jusl like alcohol, it lools Vou into thinking you've quenched your thirs\. When lhe lolds are dry, Ihey create more lriclion when they mee\. lhe heat generated Irom Ihis lriclion causes swelling. lry playing guilar wilh swollen lingers and you'lI see the same resul\.

Vour ability is compromised because the muscles

are a dilferent size. In the Tip Sheet at lhe end oI this chapter, it simply says, "Always maintain a high water levei in your body."

NOlice this does not mean to drink somelhing while

you're singing, more like keep your body Irom dehydrating.

Remember it lakes at

least twenty minutes lor water to circulate through your system lO get to the throat, so plan ahead. lhe other well known lacl aboul colfee and tea is the calfeine.

I'm sure

you're aware oI its alfect on your energy, but I Ihink it's important to take a look at what that costs your body.

Calfeine disturbs lhe central nervous system, blood

sugar levei, digestion, and your blood pressure to name a lew.

Whenever your

body is in a tailspin, vou will sulfer as a singer. Non-ealfeinated teas are better Ihan decalfeinated colfee because they are not acid lorming. So il Vou enjoy a hot drink try herbal teas or lemon juice in hot water. When vou are drinking any hol liquid, be aware oI the laws oI nature. Heal expands and cold conlracls. A hot drink will draw blood to the area and cause a little swelling.

This will thin out the membranes oI the larynx and leave them

19

r The Rock 'n' Roll Singer's Survival Manual

vulnerable.

A cold drink will make the vocal lolds rigid and tight, requiring more

pressure to activate a vibration.

The best drink lor singers is room temperature

water... and make it good water. To get that start up leeling lrom another source, you 'lI have to detox yourself Irom colfee lirst. Fruit in the morroing will give you a much better litt because it gets absorbed very quickly and provides natural sugar without the crash atterwards.

It

lakes time to leel the alfects 01 the lruit simply because your system has beco me numb Irom a chemical dependency. Colfee takes a toll on your body and singers can't allord to pay lhe price. MENTAL ATTITUDE

THERE'S IS NOTHING MORE POWERFUL THAN YOUR OPINION OF YOURSELF.

In lhe end that slatement makes or breaks every singer.

Keep in

mind when I say "make" a singer I don't necessarily mean a lamous singer; I mean lhe ability lO sing what you leel.

Although this may sound like a subject that

belongs under the psychological heading; it also belongs here. There is a direct connection between lhe way we think and our physical movements. The way we talk, walk, sit, our poslure, shape and size 01 our bodies, and especially the way we sing, rellects the

II

wor1d inside our minds. II you think 01 yoursell as a singer, you are one.

II you think 01

yoursell as someone who sings, than that's who you are.

I know

this sounds conlusing, but there is actually a big dilference in the two types 01 singers I just mentioned. There is no such thing as a bad singer, when the person is a singer.

Vou may not like the

sound 01 the voice, or the style, or the music they sing, but that's just your opinion 01 the singer.

II lhe singer does not rely on your

approval to sing, there is no problem. The two 01 you will go your

20

Ali About Your World

separale ways and lorgel each olher. lhis is lhe altilude 01 a successlul singer. Someone who sings will be affected by lhe opinions 01 olhers and Iry lo aller Iheir voice in order lo please.

lhis creales lhe endless game 01 Irying lo please

everyone and bealing yoursel! up in lhe processo Many lamous singers lall inlo Ihis Irap, Ihinking Ihal Iheir popularily is due lo Iheir abilily lo sing. lhis could be lrue, excepl when lhe singer buys inlo Ihis lhe reverse can be harmlul. When lhe public opinion lurns away Irom Ihem, Iheir abilily lo sing suflers greatly. lhe diflerence is inlernal versus externaI. It's incredible how many singers I lalk lo have a hard lime lelling me whal Ihey like aboul Iheir voice. lhey're only ready wilh lhe lisl 01 Ihings Ihal need lo be lixed.

Everyone's lisl is diflerenl, bul il ali comes Irom lhe same need lo make

singing somelhing Ihat's dilficull or dislan!.

I always gel a disappoinled look when I

tell people lhe ability lo sing has always been in them, but il was 100 simple lo see. I! you have a beliel Ihat something should be a certain way, it will be. Are you goOO wilh geomelry? I! you're not, Ihen you've gOl a beliel Ihal says geomelry is hard, and so il will always be lor you unlil you break down the beliel. important, whal are your beliels aboul singing? first Ihoughl Ihal comes lo mind.

More

Answer Ihese questions wilh the

"I Ihink a good singer should .. ,"

"lhe most

important Ihing aboul singing is .. ," I doubt Ihat you are lhe singer you described in your beliels and Ihat's why you're reading Ihis book. Vou leel Ihere's somelhing oul there you're missing and once you get it, then you toa can be a great singer. Well my Iriend, you're hall righ!. lhere maybe something missing bul it's not "out Ihere"; it's inside. Your beliel can, and will, stop you cold Irom improving your voice.

Every

tension in your body slems Irom a beliel Ihal lhe tension is necessary. lhis subject is discussed in delail in lhe lasl chapler so il you're not buying this, it might be a good idea lo read Ihat chapler now.

My painl is simple, the mind leeds lhe

tensions which reslrict lhe voice. II you Ihink singing is hard, it will be. II you Ihink 21

Ellriroramenlal Factors

The Rock In' RoU Singers Survival Manual

you have a pileh problem, Ihen you do. There is Iremendous power available lo you if your belief syslem agrees wilh whal you are doing. The body beeomes f1exible and slrong, and you brealhe mueh differently when your feelings a1low. Don'l forgel Ihal lhe reverse of any equalion is Irue.

If fear ar doubl equal lension ar reslriction, Ihen a relaxed body ean ereale

eonfidenee. I Ihink of myself as an average guy full of paranoia and anxiely.

And

whenever I feel uplighl I noliee my body is sliff, almosl as if I'm braeing for somelhing lo happen.

I don'l Ihink lhe mind is very good ai separaling real from

imaginary, so lhe reason for Ihis lo happen doesn'l have lo be a real one. noliee Ihal my body ean lell lhe mind whal lo Ihink. physieai reason, my Ihinking ean beco me inseeure.

I also

If I beeome sliff for some

II doesn'l malter whieh end

slarted lhe eyele, beeause lhe lruth is whal I'm going Ihrough has nolhing lo do wilh realily. Nolhing's wrong, bul Iry lelling Ihal lO my mind ar my body. Exereising is a greal way lo bring you down lo earth. ~-----~

II elears your Ihinking

by breaking lhe eonneelion belween lhe body and mind. Whenever I have problems, I slart lo exereise before I have lime lo be langled up in Ihoughls.

Also, whenever I feel run down ar weak, I Iry lo

exereise before I slart Ihinking Ihal way. Remember il's greal lo wanl a belter voiee, bul don'l wail until you have il lO sing.

The sooner you aeknowledge yourself as a

singer, lhe easier il is lo grow. There's nolhing more powerful Ihan Iislening lo a singer Ihal is ai ease wilh his voiee, ar for Ihal malte r an actor who is ai ease wilh his body.

Some of lhe mosl popular

singers don'l have very good voiees leehnieally; as long as Ihey aeeepl Ihal, il will be fine for lhe resl of us.

22

Ali Aboul Your World

STRESS

last but not least. The daily pressures in our lives have a way of driving into ali the bad habits discussed in this section. react to it.

Stress isn't the problem, it's how we

Vour body's reaction to pressure, can undermine every positive thing

you've done to belter yourself. It's important to remember stress is an internai pressure, not externaI. It only occurs when you care. interest you .

No one can pressure you about something that doesn't

50, a good first step towards

managing

stress would be

acknowledging the fact that you care about whatever has got you crazy. Regardless of what causes the stress, the results in the body are fatigue, loss of vitamins, upset digestion , restless sleep, and weakened muscular strength. As a singer, you can't afford to give any of these away. Here are three sim pie reminders fo r lowering the levei of stress in your life:

1. Learn to ~ay "No". Over-committing yourself only compromlses your talents.

2. Look for opportunities to double your time. Bring things 10. work on (Iearnirg Iyrics or writing a bio) when ndlng a bus or traln. 3. Write down a schedule, and live by it. Make sure to include time for exercise, rest, and sleep.

23

EnvironmenltJl Factors

The Rock 'n' Roll Singer's Survival Manual

VOU SING LlKE VOU EAT DIET IN GENERAL

I learned lhe inlormalion in Ihis section Irom lhe book, "Fil For Ule," writlen

by Harvey and Marilyn Diamond.

1I you knew how Ihin Iam, you'd laugh ai lhe

Ihoughl 01 me reading adiei book. The lhe me 01 Ihis book however, is lo combine lhe lood groups in a meal so Ihey complemenl each olher in your slomach, ralher than in your moulh. tt explains how the typical square meal that we always thought was healthy, robs us 01 energy.

The diel described in Ihis book is an excellent

routine lor singers; it's worth read ing. In order lo survive lhe body musl be replenished with a conslant source 01

energy Irom lhe lood we eal.

Digeslion is a high priorily and lhe body will spend

any amount 01 energy needed lo absorb what is consumed.

Somelimes Ihere is

more energy spenl Ihan gained in the process and lhe body is ai a loss. There are Ihree cycles to the digestive process which need lo complete themselves in order lor the body lo run elliciently. consumpti on , or eating.

The lirst is

Next would be absorption, which is the

decomposilion 01 lood inlo usable malerials lor lhe cells.

cycle is elimination 01 the waste.

The final

Since Ihere is a priorily lor

digeslion in order to survive, this eliminalion 01 wasle often gels cut of! belore complelion 01 ils cycle . Ealing brings lhe process back lo lhe beginning no matler whal

your body was doing. Ali lhe energy in lhe body will be used lor digesting and absorbing; this is why you leel lired or cold after a large meal.

The blood has been redirected away Irom the skin

surface and brain lo the digeslive organs.

Cutling of! lhe

elimination cycle meal after meal, day after day, creates an overload 01 loxic malerial in your cells.

24

Ali Aboul Your World

Some 01 lhe signs Ihal your body is overloaded wilh wasle are lhe inability to lose weighl, a lired leeling when vou wake or a lack 01 energy in general, congesled sinuses, poor skin, dehydralion or calching colds often. lhese conditions directly allect your ability lo sing and wili counleract ali lhe good Ihings you've done lor yoursell.

We need lo approach ealing Irom lhe body's view ralher Ihan our

desires. lhis means ealing and aliowing each phase 01 digestion lo complele ilsell daily. While Vou sleep, lhe body does a greal deal 01 cleansing.

It's lhe longest

period 01 lime spenl wilhoul ealing and Ihere's very lillle energy used elsewhere. Breaklasl does nol have lo inlerrupl Ihis cycle il Vou plan your meals properly. Fruils are a pre-digesled lood thal provides an excelienl source 01 energy. Pre-digesled means il can go righl Ihrough lhe slomach inlo lhe smali inteslines where ali lhe nulrienls are absorbed. lhe body can continue cleaning oul when Vou eal lruil because il does nol require energy lo break il down la somelhing simpler. Eal as much as vou like, bul as soon as Vou combine il wilh something else Vou will dislurb lhe eliminalion processo

'You'll get more out of a hamburger without lhe bun, and more from the bun without the burger! lhe resl 01 your meals wili serve Vou beller il Vou remember one sim pie rule, the digeslive syslem can only handle one concenlraled lood aI a time. concenlrated lood is anything Ihal is nol a lruil ar vegelable.

A

lhere is a lack 01

waler in every concentraled lood which makes il more dillicull lo diges!. Fruils and vegelables conlain a large amounl 01 waler in Iheir composilion; Ihis is one 01 lhe many benelils they provide. A palalo is a vegelable, and il becomes concenlraled when cooked because lhe waler escapes.

Dillerenl lood groups require dillerent

25

You Sing Like You EaJ

The Rock 'n' Roll Singer's Survival Manual

acids and enzymes lor digestion and that includes different proteins, tOO.

It just

doesn't work to combine them ali in one meal. Meat is digested by acids in the stomach, a starch (potatoes included) requires an alkaline to be broken aown. When the two loods meet in your stomach, they neutralize each other.

lhe body senses this and adds more digestive juices,

and one continues to negate the other. lo put it simply, you'lI get more out 01 a hamburger without the bun and more Irom the bun without the burger. Proteins are separated and broken down one at a time, and while this is going on everything else has to wait.

Some meats can take eight hours belore

they're ready to move into the small intestines, so the other loods sit rotting in the 98 degree acid 01 the stomach losing vilamins by the minute.

By the time they're

allowed to pass through the intestines to be absorbed, there's is very little nutritional value to be had. Ali this improper combining places a stress on your digestive system.

In

order to speed up the process, mucus is created and used as a vehicle lor ,---------,

undigested pieces 01 lood to be rejected. lhis excess waste ends

")

up blockin'g arteries, pores and mucus membranes causing a

(

,

~ t

backup. lhe constant drip 01 mucus around the larynx irritates and swells the lining 01 the throat and vocal lolds, making singing dilficult.

No vocal exercise can lix this problem because it's not a

vocal problem, it is a diet issue. I hope now it's easier to see how everything is related. It's your responsibility to lind a diet that works lor you.

II you

can't afford to have a nutritional analysis done then begin by subtracting different loods Irom your diet and look lor a reaction. II you notice less mucus, you've hit upon something lor which you

:00

lack tolerance. Your instrument will respond much better il it's not burdened with inefficiency.

26

Ali About Your World

SUGAR

lhis one is my lavorile addiction.

I don'l know 100

Females:

many people who aren'l hooked on sugar, whelher Ihey know il or nol.

I'm lalking abouI while processed sugar, corn syrup

Your vocal folds swell along with the rest of your body during menstru-

or dextrose, so slar! reading lhe ingredienls 01 lhe lood you're ealing. Jusl like cigarettes, lhe addiction can be broken down by wailing one minute belore you have Ihal piece 01 candy. lhis makes lhe action a choice ralher Ihan an unconscious habil. Singers are alhleles. Sugar leeches vilamins Irom your syslem. lhe Iwo previous slalemenls illuslrale lhe problem wilh relying on sugar lor energy. need your vilamins!

Your momma was righl, you

ation. To

Vocalizing demands lols 01 slamina and

sugar does nol supply lhe lasling energy needed. II you recall lrom lhe inlro, I slaled we eal Irom lhe desires 01 lasle ralher Ihan lhe requiremenls 01 lhe body.

Sugar becomes lhe

biggesl culpril 01 ali in upsetting lhe balance. Sugar requires Iremendous amounls 01 energy lo digesl. lha!'s lhe reason lor lhe lull in your energy aboul an hour after you've ealen.

Your body jusl gol ripped 011.

lhe inilial

charge comes Irom a quick release 01 insulin in your bloodslream.

Since il look more energy lO digesl Ihan il

provided, you're left leeling low.

11 you remedy Ihis leeling

wilh anolher blasl 01 sugar, you'lI jusl repeal lhe cycle.

A

rouline like Ihis breaks down lhe body's abilily lo release glucose (lhe Iype sugar you need) in an even manner. lhe pallern begins innocently enough.

27

avoül a loss of range and control, use lhe Exercises for Flexibility and Range section, found later in this book.

Mosl 01 us are You Sing Like You Eat

The Rock 'n' RoU Singers SUflIival Manual

fond of the taste 01 sugar.

Alter a large meal your digestive system is working

furiously. lhe blood flow to the stomach, and related organs, is increased, causing a drop in circulation around the brain.

Vou still have things to do, so to avoid the

drowsy leeling vou eat something sweet.

Now you've complicated matters in the

stomach, and the efficiency 01 the digestive system is lost. Later that day you're feeling weak and hungry because the meal Vou ate didn't provide a lasting source of energy.

It's not time to eat again even though

your instincts tell Vou that vou should. lhe brain feeds on the body's natural sugar, glucose.

When it's starving, your emotions can run wild.

Wide mood swings,

depression, anxiety and headaches are common signals 01 a hungry brain. longe r vou wait the worse Vou leel.

lhe

Now it's a Milky Way bar to the rescue! Of

course now Vou can see a pattem developing, and realize the sugar lrom the candy bar will only give short term reliel. 11 Vou ride this rollercoaster long enough, there is a chance vou may develop hyper/hypoglycemia, which is a misunderstood condition due to a breakdown in the body's ability to release blood sugar evenly.

People who suffer

lrom this require a strict diet of complex carbohydrates (nuts, pasta etc.) to restare order to the metabolism. It's the same effect as any chemical addiction; the body simply loses its ability to operate without a lix. Since sugar is a necessary part 01 your diet, Vou need a good source, and lruit is the best.

lhe acid in Iruit changes to alkaline

upcn entering the stomach and contains vitamins and liber which processed sugar does not. lhe biggest problem with white sugar is the stripping processo It is void 01 any nutritional value, has no liber and does not provide bulk.

lhis means no matter how much vou

eat, you're not satisfied. Sugar ruins the digestive process of other loods.

28

Ali Aboul Your World

Again, don'l make any changes in your diel because I said so. lislen lo your body inslead 01 your mind.

Learn lo

II will lake time to clean up the way you

eat, and permanent changes come Irom a shift in your awareness, not just Irom knowledge. A reduction 01 anything is a step in the right direction. Vou get to leel a little better and that will inspire you to reduce more.

It's heroic to think you're

goi ng to quit smoking, drinking and sugar tomorrow, but small steps are just as good, and more apt to lasl. DAIRY This is another subject that broke my heart to lind out aboul. Dairy products produce huge amounts 01 mucus in the body.

But wait, it gets worse.

There is a

very good section in "Fit For Ule" about dairy products and it makes this poinl. Mothers' milk is pertect lood lor inlants. milk, it is no longer the pertect lood.

After the baby is weaned lrom mother's

No other animal on the planet continues to

dri nk milk after inlancy; no other animal consumes another species' milk. Cows milk contains enzymes and nutrients that are well balanced lor calves. The digestive system 01 a cow is much diflerent Irom ours (three stomachs lor starters), and the additional elements in milk disturb our digestion.

Anything that

labors or slows the digestive process will create mucus. There are plenty 01 sources 01 calcium around uso

Dark green leafy

vegetables, kelp, raw nuts, concentrated lruits, and the best source on earth is raw sesame seeds. Keep this in mind .. . il milk is such a good source 01 calcium, why don't cows drink it? Another problem with milk is Ihat it is acidic.

Because the body needs to

maintain a slightly aikaline pH, a diet that is heavy with dairy products will tilt the scales to the acid side. The funny thing is the body will use calcium, among other things, to neutralize acidity, 50 the calcium in milk is absorbed to balance lhe acid in milk. Looks like it's time to lind another way.

29

You Sing l.iIu You Eat

.~--------------------------The Rock 4n' Roll Singer's SUrl'ival Manual

A signal for dairy overload would show up as a layer of mucus Ihal has lo be coughed up or grunled oul in lhe morning. If Vou find yourself clearing your Ihroal a 101 or are constanlly congesled, chances are very high Ihal vou can'l deal with lhe amounl of dairy you're consuming. Ali Ihal blockage in lhe resonaling chambers of your inslrument will absorb sound and make vou work hard aI mainlaining pilch. FLUIDS

Water is a necessity of life.

lhe flexibility and vibrancy of your inslrumenl

depend upon lhe water levei in your syslem. waler of any food.

Fruits have lhe highesl conlent of

Your bOOy absorbs and uses lhe water in fruils just as fasl as

when Vou drink il, bul remember fruits have lo be ealen on an empty stomach in order to enjoy Iheir benefils.

It's nol a goOO idea lO drink anything while eating

because lhe digeslive juices become diluled and digeslion slows down.

II lakes

Iwenty minutes for clear water to be absorbed in your syslem, so it's besl lo wail Ihat amount of lime before vou eal.

n o

If Vou feel a strong desire lo drink with your

meal, Vou are probably combining 100 many concentrated foods. Of course, everything Vou drink conlains water, bul lhe olher conlenls of lhe drink will decide if waler is gained or losl in lhe digesling processo

Remember lhe problems with coffee and

alcohol? More waler is used lo break Ihese Iiquids down Ihan lhe drink provided, and soda creales lhe same siluation. Fruils, natural fruil juice, and spring waler provide the besl source of water. Cells f1ush some of Iheir waste away via the water in your syslem.

lhe more waler in your body, the more opportunily Ihere

is to clean oul.

Sweat and urine are lhe Iwo best garbage dumps

Vou have and they both require water. When Vou are dehydraled, lhe body loses ils c1eansing ability, and lhe loxicily levei in your cells will rise.

lhe body will channel the water in your system lo

30

Ali Aboul Your World

where it is needed mos!. This is why your throat and lips become so dry when you have a cold. Be carelul 01 non-vocal activities that drain your body's water reserves.

A

day at the beach, an active physical workout or just perspiring on a hot day will dehydrate you quickly.

There's no need to avoid these activities il you take the

necessary precautions.

Bring plenty 01 water to the beach, remember soda does

not replenish your body's fluids, and take plenty 01 breaks when exercising to allow your body to stabilize. I drink lots 01 water and I notice the advantage this gives my larynx by keeping it lubricated.

Smokey clubs and loud hard singing will dry the vocal tract

and leave it vulnerable to damage.

The mucous membranes (Iarynx, nose and

Ihroat) are lhe lirsl areas to be short changed when lhe body needs waler elsewhere to flush out an impurily.

I1 never hurts lo overcompensale the protection

waler provides, and it's such a simple Ihing lo do.

Keep Your L,aaru: Wet:

Remember to bring plelllJ of waU T, if JOu 80 to the beach. Onu ddydraled, from too much sun or eurcising. your vocal folds wjfl be (mel and unusponsive.

31

You Sing Uh You Ea/

The Rock 'n' Roll Singer's Survival Manu.aJ

PHYSICAL FlTNESS NON-VOCAL WORKOUTS FOR SINGERS

A singer is an alhlele in every way.

Vou need slamina, brealh capacily,

muscle slrenglh, fle xibilily, dexterily and a sharp menlal focus.

If vou don'l possess

ali of Ihese abililies, join lhe club, I don'l know anyone who has il alI.

lhe fact

remains Ihal your body needs lo be in lhe besl possible condilion. A workout rouline for singers should address ali lhe aspects of singing. lhal means aerobic, anaerobic, slrelching and flexing.

Building yourself in jusl one of

Ihese areas will be betler Ihan nane, bul your abilily in one may expose weaknesses in lhe olhers. Below are some ideas if you're nol already in some kind of exercise rouline.

As wilh ali exercise advice, use your judgemenl as lo whelher

an exercise is appropriale for vou. Don'l aggravale old injuries ar already weakened areas wilh a sudden load of exercise. li you're nol sure, gel a physical firsl. lhe area lo largel is upper body slrenglh: lhe pectoral muscles are

r-----------,

particularly important for slabilily of lhe larynx. lhe lower abdominal and back muscles support lhe pelvis and are needed for brealh compression.

Anaerobic exercises (weighls, naulilus) lesl lhe

slrenglh of muscles and use oxygen slored in lhe muscle lissue. lhe overall body loning is helpful in correcting poslure and releasing lension.

Aerobic exercises are good for increasing your

lung capacily and circulalion. Don'l forgel lhe warm up. can cause injuries.

Shocking your body inlo an activily

Slart slowly if you're nol already working oul.

No one said Vou have lo be Hercules lo be a singer. Vou can gel discouraged if vou jump in and expect Iremendous resulls 100 soon; lols of people gel fruslraled early and quil. Remember as a singer you're more concerned wilh how Vou feel Ihan how Vou look.

32

Ali About Your World

SWIMMING lhis gels my vole as lhe besl exercise lor singers.

II combines every

desirable benefit (aerobic, anaerobic, slrelch and Ilex) wilhoul any jolting, bumping or shocks. lhe waler provides a greal neulral environmenl lor Iree-Iorm movement. It's as il you can dely gravily and floal, dive, and lurn any way you want.

lhe

buoyancy is good Iherapy lor lighl muscies and will build strenglh ai a slow, even pace. I know 10lS 01 vocal leachers disregard lhe benelils because 01 lhe drying elfects 01 chlorine and lhe possibilily 01 ear inlections.

I say, wear Ihose nose and

ear plugs, and as a singer it's your duly lo be drinking plenly 01 waler anyway. lhe only Ihing I leel Ihal can inlerfere wilh singing is drowning, and il you Ihink Ihat's a possibilily, maybe you should slay oul 01 lhe waler. lhe breasl slroke and Auslralian crawl would be besl lor slarters; you can do Ihem

poo~y

and slill gain some benefit. lhe upper body (pectoral muscles) gel a

good work out doing lhe breasl slroke as well as lhe back and legs Irom kicking. l he Auslralian Crawl combines slrelch wilh flex as you allernale your arms.

It's

stimulating lor lhe brain when you coordinale lhe separale arm movemenls with your legs. Swimming under waler lor an extended l ime is greal lor building endurance in your lungs.

Even Ihough you release a small amounl 01 air when you sing, lhe

body is lorced to use lhe reserve oxygen in lhe body l issue.

lhe same

ci rcumslance happens when you hold your brealh and are physically active. REBOUNDER lhose little Ihree 1001 Irampolines give you a good workout.

lhe aerobic

benelils become obvious after a short while. As you 're jumping , Iwisl and lurn your body and swing your arms around lo incorporale as many muscles as you can o lhe leel gel a good massage while you jump and Ihal slimulales lhe glands throughoul your body.

33

Physiall Filuss

The Rock 'n' Roll Singers Survi."aJ Manual

AEROBICS

VOU know the exercises.

As a matter 01 lact, you probably have a video 01

veR.

The combination 01 movement and brealhing is a

them hiding under your greal vocal builder.

To gain lhe benelils lrom aerobic exercises Ihey have lo be

done long enough lo challenge your lungs.

Any heallh club or cable show can

steer you in lhe righl direction, and believe il or nOl, lhe designer lighls aren'l actually required equipment. JUMPING ROPE

This is an excellenl upper body and brealh builder; just walch Ihal you don'l shock your knees (always wear sneakers). I like Ihis exercise because you can do il anywhere.

II you don'l Ihink you have lime to worl
give il live lo ten minules.

II you're oul 01 shape, you won 'l lasl len minutes, so

Ihal can beco me your goal.

11 you gel caughl wilhoul a rope, it's no problem, lhe

same molion withoul one worl<s line (I guess I jusl blew Ihal excusel). MARTIAL ARTS

Kung Fu, Karale, and Judo are excellenl body builders. Irom slrenglh, Ihey develop balance, Ilexibility and rellexes.

Aside The

lower cenler 01 gravily 01 lhe stances are good singing postures as

/

well.

~ t

similar disciplines between martial arts and singing.

Learning lo lense certain muscles while relaxing olhers are

JOGGING

Are you surprised Ihis wasn'l number one? It's nol because hall lhe people I see out Ihere running aren'l doing il correctly, which is important lor any exercise.

Poslure, lorm, proper pacing, and

releasing unrelaled muscles are very importanl so Ihal you don'l creale more problems Ihan you solve.

The all-around filness

running providas is well known. II you like lO jog, lake lhe lime lo research a little aboul lhe sport. 34

Ali About Your World

Vou do nol improve your singing by forcing a brealhing pallern on your lungs. Wh en Vou jog, your body seIs lhe pace for brealhing, for inslance, inhaling every Ihree sleps Ihen exhaling for Ihree. This causes vou lo hold your rib cage slill and conlrol whal should be an involunlary action. When vou sing, vou want your ribs lo

be uncommitted and flexible for any change in air pressure needed. Also, lhe high type of chesl brealhing works fine for alhleles bul dele aIs lhe conlrol 01 a singers' exhaJe. The besl Iype 01 runn ing lar singers is Ihrough an obslacle course. Anything Ôlal lorces Vou lo move, lurn, duck and remain flexible.

11 Vou do run a slraighl

course, keep your arms loose and moving separalely from lhe legs.

This prevenls

e upper body Irom locking up and gels vou oul 01 a rouline 01 holding your brealh. CALISTHENICS

The problem here, again, is Ihal mosl 01 us don'l lake lhe lime lo learn lo do -

exercise right.

~

Pumping oul Ihose wobbly push-ups, jerky pull-ups, and sil-ups

look like a wriggling worm doesn'l give Vou much more Ihan lension. Chin-ups slrenglhen and slrelch lhe upper body aI lhe same lime. They are

ia

besl lar increasing lhe power 01 your voice directly. The lrue lolds (lhe ones

rou

sing wilh) conlract when Vou flex your biceps; it's like Ihey're wired logelher.

lhe lriceps make lhe false lolds conlract, so slick wilh your hands lacing Vou on lhe

oar. Slraighl leg sil-ups harm lhe lower back.

11 vou wanl a lighl slomach, hang

::em a bar and raise your feel lo your head len limes Ihen bend your knees lar len

ceps.

Follow Ihal wilh bent-leg sil-ups bul only curl your head 011 lhe floor

aunches), don'l leI your back jerk up. Look oul lar neck lension when doing push. Adjusl lhe dislance belween your hands so Vou leel lhe chesl muscles doing e work.

35

Physical Fitn ...

The Rock 'n' Roll Singer's Survival Manual

TENNIS, BASKETBALL, VOLLEVBALL, HANDBALL, ETC.

Any sport Vou can think of that combines quick blasts of energy with slrelching, jumping, bending and balance becomes a good cross trainer for singers. They build your endurance and lung capacity and sharpen your reflexes which are ali pluses.

Every sport has its share of injuries and though Vou can't always see

them coming, remember your body is your inslrument (it's just a game). VOGA

From beginner to advanced, ali the stretches and brealhing exercises of voga work perfectly for singers.

It's great when combined with other exercises because

of the flexibility il encourages.

If you've never tried voga, a beginner book will give

vou plenty to work with and get your body limber in the processo WEIGHT TRAINING

Strenuous workouts with free weights ar nautilus (powerlitting, bodybuilding) don'l benefit lhe voice. Heavy litting places a great stress against the vocal folds. One of the main reasons vou have a larynx is to create pressure in your upper body lar litting, pushing and climbing.

As vou tense your

abdominais to litt, the false folds close tight and compress the air inside lhe lungs to make your body rigid.

(

Holding your breath

againsl an abdominal pus h is a similar sensation to singing, but not

l~

t

the same action.

It's easy lo confuse the feelings and hold your

breath when singing, which creates lots of problems. The best approach to weight litting for singers is toning ar circuit training. Smaller weights and multiple repelitions will keep lhe body flexible, increase aerobic capacity, and reduce lhe pressure against the larynx. Make sure your routine is balanced between ali musd e groups and is followed by a coai down.

36

Ali About Your World

STRETCH,STRETCH,STRETCH Nothing is mora important to your body than stratching out balore and aftar exercising.

Gat a book on stratching, a yoga book would ba line, and maka tha

exibility 01 your body as important as i15 strangth. ee movemant which is important lor singars.

Stratching allows tha musclas

Tha rasult is incraasad circulation

and improved postura.

• - r-

i

5~

I I

• I I I I

I

I

,...,

n

_

....J

Vocal Chjn.u~: lhe vocaljorflu in r~sponse to lhe bictps cOlltracnng. Uft YOUTUl[ by doi"g a half chinup and singing aI lhe some Did ,ou IlOtiu all1 addilional vocal power? 1I 10u Iift yourself completely, however, ]OU' IJ ovuload lhe lo/ds and choú of! yOW' voiee. This some lhroat reslrictiOIl OCCUTS when you grip Iht miCTOpMfII! 100 tightly.

"mI!.

37

PhysiaJl FiIM..

= The Rock 'n' Roll Singer's Survival Manual

OBEY THE LAWS (... the laws of sound that is) Sound jusl is whal il is.

It's as predictable as gravily.

Ihink of il, you have lO comply wilh its laws lo use it.

No malter how you

II doesn'l malter how many

lechniques and slyles of singing there are, everyone ends up doing lhe exact same Ihing lo produce a pitch.

This seclion will Iranslale lhe laws of sound and explain

how Ihey relale lo singing.

Understanding lhe nature of sound answers lols of

questions aboul your voice. WHAT IS SOUND?

Sound is the resull when molecules are dislurbed. around you is made of molecules. apart from each olher.

Air, water, everything

Molecules nalurally remain a certain dislance

When somelhing compresses Ihem closer, Ihey fly apart.

As Ihey fly, Ihey crash into olher molecules and those molecules crash inlo others, and so on. They move in ali directions from lhe dislurbance like ripples in water. IF DOMINOS COULD STAND THEMSELVES UP AGAIN

When a molecule hils its neighbor, it's drawn back lo lhe original position by a created vacuum. The process can be Ihoughl of like a row of dominos falling into one anolher and Ihen slanding up again, wailing for another pus h (see diagram #1).

Diagram 1

38

All Aboul Your World

SOUND HAS WAVES

This motion through the air is called a sound wave, and we refer to one wave as a cycle.

The wave's shape is created by two opposing forces, the crashing

(compression) and the vacuum pulling the molecule back (rarefaction).

No malter

wh at created the sound, it travels like this through the air at a speed of 1100 feet per second.

~

Compruswn

Diagram 2 .. Sound Wave

DOES A FOREST HAVE SOUNDS IF YOU'RE NOT THERE? As far as we're concerned, no.

how it's perceived by the listener.

An important aspect of sound to a singer is

The ear compleles the journey of the sound

wave. When the sound wave reaches Vou, the ear drum is moved back and forth at the same rhythm. The brain separates the dilferent characteristics of sound into lhe categories listed next in this section.

(

-'---t-----+---l----+---t--t---+'i:-~\ ~ iagTam 3 .. The tar completes lhe journey Df lhe sound WQve

39

Obey lhe Laws

The Rock 'n' Roll Singer's Survival Manual

SEPARATING NOISE FROM TONES

This doesn'l mean what's good from whal's bad.

If lhe sound wave has a

regular paliem, il's calied a lone; if lhe paliem is irregular, il's noise. Music always conlains a mixture of noises and lones.

Drums, cymbals, dislortion, and raspy

vocais ali conlain noise along wilh Iheir lones. PITCH

The amounl of waves per second is lhe frequency.

If Ihere are 440 waves

per second, your ear drum is moved lhe same 440 limes and lhe brain calis il a pilch ("A"). The slowesl frequeney we can hear as a pilch is 15 cyeles per second, and lhe faslesl is 20,000.

If several differenl Ihings were vibraling ai lhe same

speed Ihey'd ali creale lhe same pilch, bul lhe brain can slili hear Ihem separalely beeause

of

lhe remaining calegories.

Iviagram 4 - The number of waves per second equaIs lhe pilch

( D'

.~

t

INTENSITY

How many cyeies per second equals lhe pileh; lhe size of lhe eyele delermines lhe inlensily, ar lhe volume of lhe sound. loudness is Iricky lo explain because lhe ear adjusls ilself so Ihal doubling lhe inlensily doesn'l mean lhe sound will be Iwice as loud. AIso, if a high and low pilch will sound louder.

are lhe same volume, lhe high one

This is why lhe lislener has lo be considered

when you lalk aboul sound.

The word intensity is also used lo

describe energy. A singer can sing a pitch at a low volume wilh a

101 of passion and we'li say it's very "inlense."

40

Ali Aboul Your World

í"

í~ \

(

\

"--

!oiagram 5 - Volume

,

..--. T"Mighl

01 ,,,wa..

equals

,,,-

~

vollUJU.

"---./

DURATION

This category means just what it sounds like, the length of time the sound lasts. Duration is important to musicians because it makes rhythm possible. TIMBRE

This is more commonly known as the quality of sound.

When something

vibrates and produces a tone, it usually has sub-vibrations which occur at the same time.

The additional vibrations are divisions of the original tone (see diagram #6),

and are called overtones. Together, the original tone and its overtones form a more complex sound wave.

The timbre describes the number and intensity of overtones

in the sound. As you turn up the volume of the overtones in your voice, it becomes richer and has more projection power.

This is important to remember when you're

trying to be heard over a bando

..

Figure A.

Figure B

---- -------. ----- ...---------, ---------------_... --------F/.UIdamental

- .-----. ~ ----.---

F;rSl OIlUtQM

F igure C

-- ...... ----- ,.---------- .. -.- --- ---

~----- -~

SecOM Overlone

p iogram 6 .. Overfonel SIMPLE MATH

In diagram #6, we can see how overtones are calculated.

Let's say the line

is a guitar string, and it's vibrating at 220 times a second (figure A). That would create an "A" note, and that original pitch is called the fundamental. 41

Obey lhe Laws

The Rock 'n' RoU Singer's Survival ManlUll

Fundamental (original pitch) (220 cycles per SeCOnd)---i=~ First overtone Second overtone

(220 X 2 = 440 CpSl) _ _ _ _~

c~::~=_----t~~~Alid

.I

lhird overtone

(220 X 3 = 660 (220 X 4 = 880 CicPsr_ _ _

Fourth overtone

(220 X 5

Fifth overtone

(220 X 6 - 1320 c~:::===t~ (220 X 7 - 1540 c

Silcth overtone

=

1100 cp,;)-____-=~~

7 - Overtones Series

Simultaneously, the string will vibrate in halves to produce the first

,...--,) Q

overtone (figure B).

lhe pitch of the overtone is selected by

multiplying the fundamental times two (220 X 2 = 440).

lhat

means our first overtone is an "A", one octave above the original pitch (fundamental). lhe third vibration divides the string in thirds. By multiplying 220 X 3, we get 660, otherwise known as an "E". is used to figure ali the overtones.

lhe same equation

lhe voice is capable of

In diagram #7, I've iIIustrated where the

producing six overtones.

pitch equivalents of these frequencies would be on a piano. Other names for overtones are harmonics and upper parti ais, and the quality of your sound is determined by their volume.

Lets

say you have six instruments playing the same pitch at the same 42

Ali Aboul Your World

volume, and each instrument produced eight harmonics.

We can tell the sounds

apart because the volumes 01 their harmonics would be diflerent, so ali six tones would have diflerent qualities.

Diagram #8, shows three diflerent sources creating

the same pitch. lhe length 01 the line abcve each overtone indicates its volume, and this is why the instruments sound diflerent. When you produce a harmonic in your voice that's not an exact multi pie 01 the lundamental, it's called inharmonic and makes your voice harsh.

II you listen

d osely to singers that have raspy voices, you'lI hear a second, out 01 tune pitch vibrating simultaneously with the originai. lhe two sounds compete with each other and your ear hears it as distorted. Each important

harmonic,

ingredient

in

or

overtone,

the

overall

is

an

sound.

Voice

When we talk about quality, we're talking about the combination 01 ali the tones together. lhis

Violin

is important to remember when your working

on harmonies.

Just because someone can hit

the pitch in tune, doesn't mean his quality will

Hom

II ••• • • II I •I •• II I ••• •

F

1

2

3

4

5

6

F

1

2

3

4

5

6

F

1

2

3

4

5

6

create a tight blend. iagram 8 - Timbre

RESONANCE

Resonance occurs when a vibrator (vocal lolds) stimulates a second vibrator (air space inside you) to produce the same pitch. lhe air inside your chest, throat, and head acts as a vibrator the same way a bottle does when you blow across the topo lhe bottle can be tuned to diflerent pitches by adding water, which changes its si ze.

Vour throat and mouth are very Ilexible with their shap'e and size but the

windpipe is more limited. II a vibrator stimulates another source to vibrate, the pitch gains volume. Remember the vocal lolds are not producing just one pitch, and ali the overtones can start their own pitches ringing simultaneously.

43

Ohey lhe

LaW$

The Rock In' RoU Singers Survival ManUlll

ALLOW IT TO HAPPEN

The good news is Ihal vocal resonance is sympalhelic, nol lorced. The bad news is Ihal rock and roll is a lorced ar pushed attilude. The mosl you can do is "allow" lhe resonance lo ring in your voice. The size and shape 01 lhe air cavilies inside you are decided ai birth, no Iwo are lhe same.

They'lI nalurally enhance some overtones more Ihan olhers

(resonale) because Ihey're luned lhe same (remember delinilion 01 resonance), and Ihis creales your vocal idenlily. ABSORPTION & REFLECTION

Everyone has experienced lhe ellects 01 absorbed ar rellected sound.

Think

01 lhe sound 01 your voice echoing around a gym ar indoor pool compared lO lalking in a carpel slore. Also you can hear Ihal higher Irequencies are absorbed easier when you walk lowards a concert and only hear lhe rumbling bass, These same principies occur inside your Ihroat. The muscles which line lhe walls 01 lhe Ihroal change in lexture as Ihey lense and relax.

A slill muscle is coarse and absorbs, while a

relaxed muscle has a smoolh surface and rellects sound, This has lo be remembered when you're pushing hard lo sing louder ar higher, The more you lense lhe more sound is absorbed.

A big

part 01 a singer's projecting power is lhe amounl 01 harmonics included and how much Ihey resonale.

A relaxed Ihroal allows

more 01 Ihal lo happen, so il makes lhe voice louder (see: The Jobs 01 lhe Larynx, page 105 and, The Jobs 01 lhe Vocal Tract, page 118). SONANCE

Think 01 Ihis calegory as how you play lhe inslrument.

The

"touch" 01 lhe player brings a personalily oul 01 an inanimale object, Pilch, inlensity and limbre can lIuctuate in minule degrees as you

44

Ali Aboul Your World

sing.

When these changes occur the same way each time, they become another

ingredient in your vocal identity. Vibrato is a good example of sonance (For a physical explanation of what appens when you sing, see: lhe Big Picture, page 99). lhe speed, and intensity of a vibrator can vary between singers.

Some vibratos change the pitch slightly

while others pulse with changes of intensity (volume).

Either way, the variations

also produce slight changes in quality, bringing out certain harmonics with each pulse. A LIVING INSlRUMENl lhe sound of any instrument, including you, has every characteristic of sound mentioned in this section. style of the player.

Instruments have their qualities built in, except for the

A singer is born with a certain sound, but because his

instrument is also a living, thinking thing, there are lots of variables that can alter th e way he sounds. lhe area around your larynx is very susceptible to emotions. respond difterently to depression, fear or happiness.

lhe muscles

Combine that with ali the

reactions of trying to sing and you can see how tangled your muscles can become. When the muscles change, so does the sound.

Most of the things that

interfere with your voice are caused by other aspects of singing.

For instance, the

tension used for high notes prevents the vocal folds from stretching and you miss the note. 11 you push air for more volume, the throat reacts by tensing and absorbs sound.

lhere are plenty of examples of singers getting in their own way.

When

you feel you're beating against a wall, you need to play detective with your muscles. Remember the laws of sound aren't bendable, so when something doesn't sound right, vou need to adjust in order for the forces of nature to follow their course.

45

Obey lhe Laws

Tire Rock 'n' Roll Singers Survival ManUlll

TRAINING VOUR VOICE Everyone benelils Irom Iraining no malter whal Iheir levei 01 abilily. Ironieally, lhe prolessional is always looking lor ways lo improve; it's lhe beginner who knows il alI.

In order lo grow lo your lull polenlial, an oulside pair 01 eyes and ears

provide direction and lhe slimulus lo keep going. The biggesl eoneern wilh roek singers is Ihal Ihey'lI lose Iheir "altilude" and sound 100 polished.

The idenlily 01 lhe singer is lhe elemenl Ihal lhe lislener

rei ales lo mosl, and whal builds a career.

No leaeher or lrainer can give vou an

altilude, or lor Ihal malte r, lake one away. The idenlily 01 your voiee comes Irom wilhin, as an extension 01 your personalily, whieh has been shaped sinee birth and ehanges as Vou grow and malure. I Ihink everyone who reads Ihis will agree lhe singer's personalily is importan!.

The queslion I ask is, "Do vou leel a laek 01 vocal abilily holding baek

your personalily?" II you're busy Irying lo gel your voiee jusl lo behave, you're nol lelting lhe lisleners know who vou are.

11 Vou only have a small

amounl 01 physical slrenglh in lhe museles needed lor singing, it's going lo lake ali your coneenlralion jusl lo hil lhe pilehes.

How

many limes have Vou had an idea, bul allered il beeause vou were alraid 01 serewing up? Training your voiee will lake eare 01 lhe nuls and bolls 01 singing and Iree your mind lor more importanl Ihings. There is no way lo lake slrenglh, and aI lhe momenl 01 lrulh your museles will eilher support, or embarrass Vou.

The activily in

singing is ali reflex; il ali depends il you 've done your homework. Il always helps lo Ihink 01 yoursell as an alhlele and lollow a similar rouline. Firsl lhe Irainer provides a program Ihal will build slrenglh. Then lhe lundamenlals are drilled over and over unlil Ihey beeome an aulomalie response.

Finally, lhe Irainer observes when lhe

46

Ali About Your World

athlete is compeling, to find where he loses formo lhis support helps the athlete to ocus on the game, not himself. For me, training my voice brought me out of my shell.

I was never able to

give one hundred percent because I didn't trust my ability. As I trained, I bacame ccnfident about my voice. lhere is less and less frustration about singing and lots ore satisfaction.

You'lI be able to sing whatever Vou imagine, but it will take a

great deal of time and work.

Your voice should respond to your ideas, not create

• em. lhat is how vou get more "altitude". lhe only question aboul training should be if you've found someone vou can lrust.

Do they understand the kind of music vou sing?

nderstanding abaut your voice?

Are vou gaining an

I've always felt that my job as a trainer is to be

an invisible support, to oller enccuragement when it's needed, and lo develop the singer's voice without judging the musico One of the reasons I wrote this book to provide vou with enough information so vou can be more selective in finding a eacher. lhe litles "teacher," "trainer" and "vocal therapisl" are interchangeable. Usually "teacher" scares people 011 because it reminds them of school.

I think I

stayed with "vocal therapisl" for myself because people will always ask what that eans, giving me a chance to balter explain whal I do. No malter what Vou call it, e focus should be on Vou as an instrument and your capability for growth. ocal coach, however, is dillerent.

A

He works on your performance, the way vou

present yourself. Here the focus is on your style, so vou should inquire about the ccach since this is such a subjective issue.

Classical singers rely on coaches to

elp interpret their piece. Vou don't find toa many rock singers looking for Ihis since • ey wrote the songs ar aI leasl understand very deeply what they mean. lhe nex! thing on your mind when Vou decide lo train is how long it will take. For classical singing the rule of thumb is seven years lo build the instrument and Ihen anolher seven lo learn how to play it.

lo a rock singer, fourteen years is a

47

Should I Train?

The Rock 'n' Roll Singers Survival Manual

a careerl

Personally, I don't think it has to take that long.

Rock and roll never

requires technical perfection, so the singer can feel qualified whenever he thinks he's ready.

Training the small muscles involved in singing requires repetition to

make it stick, so I always tell my students to expect development in six month stages. Depending on your goal, Vou can stop at any time. For me, Vou can never be too good, so I will continue to explore my limits for the rest of my life.

'lronically, the professional is always looking for ways to improve; it's the beginner who knows it ali.'

") Q

(

48

Ali Aboul Your World

DO I HAVE TO PRACllCE? Yes.

Deep down inside everyone knows Ihal il Ihey practice, Ihey'll improve.

Singing is a workoul 01 small and large muscles and requires a greal deal 01 coordi nalion . Allhough you use your voice conslanlly, il's nol challenged lo grow and evelop during normal speech. Actually, lhe way you lalk is where you gel mosl of ur bad vocal habils. Small muscle activily is much harder lo develop Ihan larger uscles.

lhe difficullly is in isolaling lhe small Irom lhe larger, more dominanl

les. lhe mosl important Ihing lo remember when you practice is Ihal you're nol • -nging," you're vocalizing. I use Iwo separale lerms because you need lo be clear aboul which one you're doing. When you vocalize your only concem is lhe way lhe i:Stru menl (your body) is working, nol how you sound.

When you're singing, your

;:)QUghls should be locused on emolion and performance. Don'l wasle your lime Irying lo sound good when you're vocalizing. lI
lhal is lhe faslesl way for your voice lo

-:mw. Muscles have memory.

lhey can be laughl whal lo

and will slore lhe memory as a chemical change in lhe Muscles don'l have brains, so Ihey never decide -.l!elher an action is good or bad. -:uscles' memory.

lhis is lhe lime

n's a good idea lo find a

- - ale place where no one can hear you, so you feel free lo ~

It's like

Repelilion reinforces lhe

Even if you Ihink you never practice,

_ ery lime you lalk you send a message lo lhe same '"1ISCles you use lo sing. Vou can eilher make Ihis work for,

'The most important thing to remember when you practice is that you're not singing, you're vocalizing. '

- againsl you.

49

Do I Have lo Practice?

The Rock In' Roll Singers Sunival Manual

HOW LONG?

The queslion I am asked mosl is how much Vou should practice. seen lhe besl resulls wilh people who vocalized lor an hour a day.

I have

The biggesl

obslacle when Vou slart lo practice is delraining habils Ihal are already Ihere. Compared lo ali lhe years you 've been compiling lhe problems, an hour a day lo correct Ihem doesn'l seem 100 unreasonable. The lirsl slep is lo slart. better Ihan nolhing.

Five minules is nol as good as an hour, but it's

Mosl 01 us don'l leel we have lime lo sei aside lor practice,

and ai frrsl Ihis is lrue.

Don'l lell yoursell it's nol worth getting slarted because

you've only gol lifteen minules lo spare. aboul nol being dedicaled.

It's useless lo sil around leeling guilly

Chances are il vou slart experimenling wilh some

exercise, belare Vou realize ila hall an hour has gone by. More important Ihan lhe lenglh 01 a practice session is your attenlion lo il. Qualily lime makes lhe biggesl changes.

Anyone who exercises has lell lhe

dillerence belween a lew sil-ups done righl and a dozen when you're chealing. The amo uni 01 lime vou can remain locused on whal you're doing is ali

")

lhe lime vou need. I Ihink I must be lhe king 01 procraslinalion.

I f\

I say Ihis because

I'm so crafty ai hiding lhe lact I'm slalling. OIher Ihings become so importanl lhe minule I Ihink 01 vocalizing.

I make mysell so busy

Ihal I can'l possibly practice, and il anyone saw my schedule Ihey would agree.

To Ihis day I slill have Ihal same little voice in lhe

back 01 my mind, bul now il doesn'l 1001 me. The rule lor me now is anything I Ihink 01 after I've begun practicing couldn'l be Ihal importanl olherwise I would have already Ihoughl 01 il.

I know Ihis

sounds simple, bul your mind can play some convincing games wilh vou. Incidently, I've lound Ihis rule works wilh anything you've been pUtling ofl.

50

Ali Aboul Your World

II might be a good idea lo read lhe lasl chapler in Ihis book il you're having a hard lime believing Ihal your busy schedule is jusI a scam. Why is il a1ways so diflicull lo do somelhing Ihal deep down you know will do you some good? On lhe olher hand, it's no Irouble aI ali lo gel involved wilh somelhing you know you'lI reg reI laler. Besides practicing, you can accomplish a 101 by jusI slaying aware 01 Ihings. Vou can make ali lhe non-singing use 01 your voice work lor you il you're conslanlly moniloring what's going on inside. Whelher your in an inlerview belore a show or ai your 9 lO 5 job, you can make lhe silualion work lo your advanlage.

For

example, il you nolice your larynx is riding up 100 high, concenlrale on keeping il relaxed when you vocalize - no matter whal il sounds like.

Vou can conlinue Ihis

ali day when you're lalking. The combinalion 01 a little concenlraled work and 10lS 01 conslanl awareness will resull in lhe quickest lum around lime. WHAT SHOULD I VOCALlZE?

It's nol whal you vocalize, it's how. In lhe Exercises lor Slrenglh and Repair section, Ihere are plenly 01 ideas lo help you gain conlrol. Wilhoul knowing you, il'S . possible lo prescribe lhe besl rouline (see: Should I Train?, page 46). singers are alike, Iherelore your needs are individual.

No Iwo

Remember lhe exercises

aren'l magic, Ihey provide an opportunily lor a muscle lo change or grow.

Vour

nderslanding 01 whal's going on mechanically while you're doing an exercise is ery important. The combinalion pro moles lhe mOSI change. Pick a single issue and locus on it.

Don'l Iry lo lix everything aI once, it's

re productive lo move one slep aI a lime. Reading aboul how your voice works '11 help you decide whal lo work on lirst.

Vou should choose an exercise based

n whal il does and where you need lhe growth. I always Ihink lhe besl place lo slart is wilh your brealhing.

Spend some

- e wilh lhe exercises lrom lhe section aboul brealhing. While wOrking, pay close irtIenlion lo how your body is reacting, Ihen nolice il il has done anything lor your 51

Do I Have to Practice?

The Rock In' Roll Singers Sunillal Manual

voiee.

Wherever you leel a resislanee lo an exereise is where you need lo work.

For example, il you're Irying lo gel lhe diaphragm lo be more aclive and you noliee your slomaeh is lighl, you should work on slrelehing Ihose museles belore moving lo anything else. Onee you've gained some abilily wilh your brealhing, swileh lo lhe larynx. During lhe lirsl vocal exereises your attenlion should slill be on brealhing. How did your body reacl lo making sound? lhe answer lells you whal you should work on nexl.

Let's say lhe minule you vocalized a scale your jaw or slomaeh lensed.

Even il you gol Ihese museles lo relax in your brealhing exercises Ihey may have lo be laughl lo slay released ali over again. Your practiee rouline should progress in sleps like building blocks. Slart wilh lhe mosl basie exereise. lhere are no Irophies given oul lor jumping ahead and Irying somelhing above your abilily.

Always begin ai a comlortable pileh and

volume. Remember nol lo judge yoursell by how you sound. Vou can monilor your progress by lhe amounl 01 elfort il requires lo do somelhing.

When an exereise

gels easier il means you've developed, and it's lime lo move on lo somelhing more ehallenging. Vou can inerease lhe dilfieully 01 a workoul a eouple 01 ways.

As an exereise becomes easier, lum up lhe volume. See how loud you can vocalize and slill remain released.

Any lension you add

deleals lhe exereise, so lake yoursell lo lhe poinl where you slruggle, and slay Ihere unlil you leel ai ease.

Vou should also

explore lhe boundaries 01 your range, making sure nol lo inerease lension.

Or you can slay wilhin a eomlortable pileh and volume

and move on lO olher exereises, ehecking lo see whieh ones cause problems.

Whiehever way you ehoose lo bUild, you know you're

doing lhe righl exereise il it's dilfieull. Whal poinl is Ihere spending lime on Ihings you do well? Do Ihal when you sing.

52

Ali About Your World

ALL ABOUT YOUR WORLD TIP SHEET

1.

YOUR BODY IS YOUR INSTRUMENT. GIVE IT THE CARE IT REQUIRES, AND IT WILL RESPOND BETIER.

2.

EAT TO LlVE, INSTEAD OF LlVING TO EAT.

3.

DON'T SMOKE.

4.

DRUGS, CAN VOU SING WITHOUT THEM?

5.

ALWAYS MAINTAIN A HIGH LE VEL OF WATER IN YOUR BODY.

6.

FORGIVE YOURSELF FOR YOUR

INABILlTlES, THEN

COMMIT TO

IMPROVE THEM. 7.

SWIMMING IS THE BEST OVERALL EXERCISE.

8.

A FLEXIBLE BODY MEANS A FLEXIBLE VOICE.

9.

ALLOWING RESONANCE PROVIDES POWER WITHOUT THE PUSH .

10.

VOCALlZE WHEN VOU PRACTICE, SING WHEN VOU PERFORM.

53

Tip Sheet

Rock 'n' Roll S;nger's Sun;val Manual

íl\

54

ALL ABOUT VOUR BREATH

Rock 'n' Roll Singer's Survival Manual

Lung

\

StonulCh

') o

r<.. Large IntesRn.es

Small Intestws

l:d:::

\. ,

Ali Abou/ Your Brea/h

HOW BREATHING AFFECTS YOUR VOICE lhere is nolhing Ihal affects a performance ar rellects lhe mental stale of a _r more than breathing.

lhis subject is also the mosl misunderstood among

orx:;;lists. lhe peculiar thing is, if you're alive, vou must be doing something right. may be cliche, buI, nalure really does know best. lhis is lhe lopic where lhe biggesl lines are drawn between classical and ar musico

Bolh Iypes of singing require tremendous amounls of slrength and

h capacity, bul reck is sung in a conversational way. lhe singer breathes as if

• .as speech wilh a natural exchange of air. In contrast lo classical singing, Ihere S

00 need lo disguise where breaths are taken. lhe idenlity of lhe vocalisl is lhe attraction.

::a-sonalily in lhe singer. =e.-sonality.

Rock fans look for lhe

lhe way vou brealhe sends messages abouI your

Do Vou speak with little ar no air in your lungs?

=alh while Vou lalk, ar especially when Vou listen?

Do vou hold your

lhese Irails are amplified

en Vou sing. lhe passion and drive in our music comes frem the singer pushing -

ugh, Irying lo overcome Ihese barriers. Problems occur when brealhing habils inlerfere wilh your abilily lo sing. lhis

:s lhe conlradiction in training a rock singer.

Whal do vou have to sacrifice in

altitude in arder to sing correctly? lhe answer is always your choice, bul Vou owe to yourself lo explore whelher lhe way Vou brealhe is from a passion ar jusl plain confusion. Usually, bad brealhing habils are based on fear: of sounding bad, missing a note, cracking, ar nol having enough brealh lo finish lhe line.

Vou can measure a

singer's confidence by the degree of relaxalion in Iheir brealh.

Does your voice

sound thin ar prelenlious? 11 50, Vou are holding back somewhere, and it's showing p in your voice via a brealh reslriction.

On lhe olher hand, nolice Ihal someone

who sounds very genuine, ar connected, is released and free wilh Iheir brealh.

57

How Brea/hing Affec/s Your Voice

The Rock In' Roll Singers Survival Manual

"Power" and "Ireedom" have the same meaning when relerring to the voice. Releasing the hold that I placed on my breathing was the key to obtaining a real controlaI my voice. Deep inside me, I was reluctant to give up my old concept 01 contrai lar a new one. looking lar.

I couldn't imagine a Iree body providing the power I was

Ironically, it became obvious that I needed to give up control first, and

learn to trust a deeper sense 01 ability. Breathing is an involuntary lunction 01 the body which means it's much better left alone.

Vou don't have to think about it.

The best example 01 an eftortless

breathing pattern is watching someone who is sleeping.

Notice how the body

doesn't waste a bit 01 energy. Only the necessary muscles are working, that's quite a difterent story Irom when we awake, and it's worse when we start to sing. There is no list 01 things TO DO; it's more about what NOT TO DO.

Ali

involuntary muscles operate on auto pilot until the brain signals a need lar a change.

This means you created the problem, il you have one.

Emotions contrai

your breathing. Vou may think you're not doing a thing wrong, but your muscles could be reacting to deeply hidden messages 01 contraI. The good news is, il you've gotten yoursell twisted up, you have the ability to untwist yoursell.

The bad news is it takes persistence to

breakdown old habits, but in the long run it's worth it. Examples 01 the link between emotions and breath can be lound everywhere.

When

someone

is

upset,

scared,

lrightened, whether it's real ar imagined, he will pant.

nervous

ar

Short and

shallow gulps 01 air are exchanged at a rapid rate and sometimes it leels like you still can't get enough air. This type 01 chest breathing is part 01 the body's delense mechanism and is controlled subconsciously.

Survival is the mind's top priority, so whenever it

leels threatened, it will take precautions. Most people do get upset, scared, nervous and Irightened when

58

Ali Abou/ Your Brea/h

hey sing, especially the lirst time in public. reacts to the lear while you're singing.

The problem occurs when the body

This conflict makes vocalizing very diflicult

and can cause panic. Can Vou remember the lirst time Vou sang lar an audience? II Vou have yet to sing in public, close your eyes and imagine yourself belore Vou 90 on stage. Vou'lI begin to leel your breath shorten just thinking about it. Holding your breath is another example 01 the way emotions contrai uso This . a very common condition which can be caused by simply not knowing what you're about to say.

The nex! time vou lind yoursell lumbling lar words ("1. .. well, um ... I

ilst... 1.. .. thought"), notice that Vou are holding your breath. This can also happen when Vou are leeling hurt ar guilty and want to withdraw. Don't lorget, it doesn't matter il the lears are real ar imaginary, the mind is ery bad at realizing the diflerence. We can see it in others, but we've ali had our times oi imaginary lears.

'lt doesn't maJter if lhe fears are real or imaginary, lhe mind is very bad ai realizing lhe difference.'

Once the

mind signals a reason lar panic, the body reinlorces the thought, lorming a cycle

that's

diflicult

to

interrupt.

Regardless 01 the source, we always ve the opportunity to reduce the threat by returning the breathing back to normal. I ave lound it much easier to deal with things physically. The nex! time vou are upset, notice there's something you're not doing ... SREATHING.

Instead 01 locusing on the problem, locus on your body.

Following

:-te inlormation on the nex! lew pages will get Vou breathing naturally again. This help clear the mind and usually the solution to your problem will seem simple. ·s has saved me countless times when I am stuck in the weeds 01 anxiety. Keep in mind as vou read through this section, these exercises are to return )
breathing back to normal.

Vou can't improve on mother nature.

Most 01 us

e learned to Iive well below our true potential, so attaining 100% leels like a endous goal. 59

How Brea/hing Affee/s Your Voiee

The Rock In' Roll Singers Survival Manual

EVERV BREATH VOU TAKE THE PATH OF A BREATH Belore you lix somelhing, il helps lo know how il works. have simplilied lhe process 01 brealhing as much as possible. lunclions are described.

In Ihis section I

Ali 01 lhe importanl

11 you leel you wanl lo develop a deeper underslanding,

read a delailed analomy book. You'lI lind plenly 01 inlormalion ai lhe library on lhe subject, and it's besl lo slick wilh lhe medicai Iype books lor lhe lacts. As you read Ihis descriplion, lollow along wilh lhe diagrams in order lo see lhe appearance and posilion 01 each muscle.

To help you visualize lhe simple

movemenls 01 nalural brealhing, l've included lhe cartoon on lhe lower left hand comer 01 lhe book. The directions opposile page one (see: Animaled Brealher), will explain how lo make Ihis character come alive. ONE

It's only lair lo begin wilh lhe fungs. I'm assuming everyone has an idea 01 whal Ihey look like and where Ihey're localed. o

The

inleresling Ihing lo remember is Ihal lhe lung is nol physically able lo bring air inlo ilsell. In olhe r words, lhe lung does nol move your ribs and shoulders upward when you brealh in.

It's more like a

gianl sponge reacting lo lhe condilions around it.

Your diaphragm

and olher surrounding muscles do lhe work when you brealhe. The diaphragm is a dome shaped muscle Ihal divides your body in hall jusl below your lungs. Basically, when relaxed, il lollows lhe up-side-down "U" crealed by lhe rib cage. NOlice il is nol lhe group 01 muscles in lhe lronl 01 your slomach. An impulse Irom lhe brain lravels via lhe aulonomic nervous syslem lelling lhe diaphragm when lo conlract.

Every involunlary lunction (Ior example, your

60

All About Your Breath

heartbeal, brealhing, coughing, ele.) operales olf of impulses frem Ihis separale seI of nerves.

. gram 9 • The Diaphragm

lhe job of lhe diaphragm is lo drop down and make roam for lhe lungs lo fill with ai r. When il conlracts, it flattens oU! and pushes lhe organs of lhe digestive system oul of lhe way. lhe bulge you see in your belly is displaced organs. As -e lungs descend Iheir size increases, making it possible for Ih em lO fill with air. Poslure becomes important aI Ihis poin!. 11 you incorrectly use lhe abdominal les lo hold lhe body uprighl (see: Poslure Alfects Your Voice, page 79), Ihere nol be enough flexibility for lhe diaphragm lO move.

When lhe diaphragm is

s:opped short of ilS downward movemenl, lhe brealh will be shallow.

61

Every Brealh You Take

The Rock In' RolI Singers Suni.,al ManUQI

TWO Once lhe diaphragm has flatlened oul as much as possible, lhe rib cage expands.

lhere are two

sections lo lhe ribs, lhe lower half is connected by cartilage, lhe upper half by solid bone. lhe intercostal musc/es conlrol lhe movemenl of lhe ribs.

lhese are small muscles Ihal run between lhe

ribs and Ihere are Iwo Iypes.

One does lhe lifting for

inhaling and lhe olher will pull down lo force air oul of lhe lung. lhe botlom half of lhe rib cage is easier lo expand and will spread oul lo lhe sides of your body. lhe lop half is more rigid and moves in an upward swing wilh lhe stemum bane, also known as lhe breaslplale.

Picture lhe lop of lhe slernum as lhe atlached part of a hinge as lhe botlom swings free.

lHREE lhe very lasl resort for lhe body is lo lift lhe shoulders. lhe bones in Ihis

lnll!rcOSlaJ

Musclt!s

area require muscles for movemenl Ihal inlerfere wilh lhe freedom of lhe larynx.

lhe conslanl conlracting of

Ihese muscles builds lension in lhe neck which can cause problems.

iagram 10 nlercoslal Muscles

Also, Ihere are nerve endings

localed in lhe shoulders Ihal signal lhe brain lo slop inhaling (lhe

OD

brain conlrols everything).

II regards lhe shoulders lifting as lhe

maximum capacily of lhe lungs and begins lhe exhalalion processo

62

Ali Abou/ Your Brea/h

The diaphragm also responds lo Ihese nerve endings and once lhe shoulders are raised, lhe diaphragm is nol able lo drop down. The diaphragm's movemenls creale aboul 60% of lhe lung's capacily. The expansion of lhe ribs conlribules 30% and aboul 10% is gained by raising lhe shoulders.

50 you can see if you rely on your upper body alone, you're chealing

yourself oul of available airpower. The mosl eftective way lo brealhe is by releasing lhe muscles around your abdomen and allowing lhe diaphragm lo descendo This, in lurn, will spread the bonom section of lhe rib cage followed by the upward swing of the slernum, lifting e rib cage wilh it.

The lungs move down, out and then only if necessary, up.

·sted here as one, two, Ihree) A LITTLE PHY51C5 LE550N While ali these muscles expand lhe size of the lungs, whal makes lhe air go rede?

This $64,000 question was answered in lhe science classes you cul

enever you could.

Air pressure will always equalize itself; that's one of the laws

nalure. As lhe area of Ih. Ihoracic cavily expands (s •• diagram #1 I), the lungs I fill oul the new space created.

This is similar to the way a sponge would

=xpand in your hand as you slowly release it from a squeeze.

As the lungs

rge, the air pressure inside constantly adjusIs ilself to be equal with the air ilside.

5ince a bigger space will requir. more air, outside air is drawn in like a

lêiClJum. I know it feels as if you have to physically draw air inlo your lungs and in a

-.ay you do.

It's importanl to understand lhe difterence between pulling air in or

. 9 muscles to inhale. Th. later will allow nature to do some of the work for you, <5Uhing in less stress and more air inhaled. Breathing should be a natural act, but the reality of the malter is Ihat eur êalhing paltern becomes entangled with our emetions.

It's going lo take a

:nscious, disciplined eftort to de-tangle the connections and breathe naturally. Now

63

Every Breath You Take

The Rock f n' Roll Singers SUf11ival ManUfll

it's lime lo lake a look aI lhe brealhing exercises on lhe following pages, lo help expand your lung capacily and develop a coordinaled exhale. The muscles involved wilh mainlaining an even airflow while singing are discussed in lhe exercises as well.

Downward tnOvemetll of IM diaphragm causes lhe fungs 10 enforge. anil creales a W1CiUUn which draws iII air.

Lorynx

' Magnt '":::-- , ,........_,' I - D Ulp

/ 1 -

;

COlllraclillg

Refeased Muscfe

iagram 11 - Air Fills lhe Vacuum

64

"......

,

-~

Ali Aboul Your Brealh

BREATHING EXERCISES Nole:

When beginning Ihese exercises, il is likely you will become dizzy.

lake

your lime and approach Ihem slowly. ONE: A greal way lo gel in louch wilh your brealhing is lo lay down on your back, use a mal, bed or anything Ihal will support you evenly.

Place your hands over

your belly button and begin lO brealhe. Focus your attenlion on lhe molion of your stomach.

lhere should be a smoolh mOlion so your hand rides up and down .

Observe a baby sleeping and nOlice Ihal his slomach moves Ihis genlle way. lhis a reaction lo lhe diaphragm and il lells you lhe brealhing is unobslructed. Letting <;0 of lhe abdominal muscles allows you lO brealhe as freely as a baby.

lhe lrick here is nOI lO pus h r slomach up and down, jusI leI il

Figure A.

cappen nalurally. We're looking for a ease

of

Ihese

muscles,

somelhi ng lO do wilh Ihem.

e:::::J-=-~

nOI

II always

ped me lO imagine lhe lungs were my abdomen, righl behind lhe belly ~ on .

Figure B

lhal way, when I inhaled, I'd

lhe slomach area expand and feel I was making somelhing happen.

-.as neve r any good aI relaxing and exercise helped me.

iagram 12 - Exercis. One

Once you lruSI lhe release of lhe lower muscles, nOlice if you slop lhe ::x:xess aI any poin\.

lhere should be only IWO movemenls, up and down. Vou

EnI lo avoid Ihal splil second hold jusI before you exhale ; il'S going lO give you

r:c!ll,e laler.

65

Breathing Exercises

The Rock 'n' RoU Singer's Survival Manual

TWO:

To get an idea 01 the amount 01 expansion your abdominal section is capable 01, sit in a

chair and lean lorward 50 your elbows rest on your knees (see diagram #13).

Notice that the

stomach and back are Iree to move as much as they like.

II exhausted, you would automatically

sit in this position until you caught your breath, the way athletes sit on the side lines. When you are standing, these

muscles are

needed to

balance the spine and keep you uplight. muscles have to work.

iagram 13 . Exercise Two

The worse your posture is the more the

When you sit leaning lorward, the elbows and your rear

lorm the support. The abdominal muscles become Iree. This position will show you what's available in terms 01 your maximum lung capacity.

Sit in this position and

just observe what your body does. Notice your shoulders don't even want to move. However, this position is not great lor singing because the upper body is weakened and the neck is tense. THREE:

Sit uplight in your chair with your

spine

against

the

back.

S< q

Place your hands 50 they cover

~

your stomach (see diagram #14) and

breathe,

looking

lor

that

same motion you lelt when you were Iying down. This;s a good exercise il you sit ali day duling work.

As

you're

breathing,

66

Jd

0.

Diagram 14 - Exercise Three

Ali Aboul Your Brealh

imagine drawing lhe air in Ihrough lhe bottom 01 lhe ehair. This will help lo give vou a lower eenler 01 brealh. A good guide lo remember aboul inhaling is DOWN AN D OUT.

Again, noliee whal's diflerenl wilh your body and gel yoursell lamiliar

wilh lhe leeling. FOUR: After Vou have lamiliarized yoursell wilh lhe leeling in lhe lirsl Ihree exereises, sland and eonlinue brealhing wilh your hand on your slomaeh. recreale lhe same expansion vou lell while Iying ar sitting.

Try lO

Any reslriction in Ihis

area eould be a poslure relaled lension (see : Poslure Aflects Your Voiee, page 79). 8egin lo release your joinls, unloek your knees and leI your pelvis leel like it's lIoaling.

Experimenl wilh Ihis unlil Vou lind a posilion Ihal allows Vou lo brealhe

eely. II always helped me lo keep moving aI first. Gentle molions 01 lhe 18gS and will keep Ihings Irom loeking up (see: Poslure Cheek, page 82). oIaeed on lhe slomaeh so Vou can monilor lhe museles.

Keep a hand

ij's also important lo do

. in Ironl 01 a mirrar unlil vou gel used lo lhe leeling. AV E: While sitting in lhe posilion deseribed in exereise Iwo, eounl in a slighl ahisper lo lhe highesl number possible on one brealh.

Lel's say Vou reaeh lhe

ber 50. Now lake anolher brealh and Iry lo counl lo 55, and so on. There is rule aboul whal Ihis number should be, sinee everyone will eounl diflerently and two lungs are lhe same size. Once vou reach lhe highesl number vou can, use number as a relerence 01 your maximum lung eapacily. This will become useful when you 're nervous.

Counling lo lhe highesl

ber will slrelch and release your muscles. This is a good leehnique for ealming r nerves and relieving anxiely.

50:: Sil uprighl wilh your spine againsl lhe back of lhe chair and repeal lhe

67

Breathing Exercises

TM Rock 'n' RoU Singer's Survival ManU41

exercise, attempting to reach the same number.

Notice the muscles in the lower

back are not able to release and expand as much as belore. lhe stomach has the same freedom, but without the extra room created by the lower back, your breath supply is reduced. Because of this, Vou may find it diflicult to count to your highest number. SEVEN:

Stand and repeat the same exercise. Vou may notice even more restriction around your stomach as the front and rear muscles are needed to balance the spine.

lhis usually causes the lifting of the shoulders in order to get a larger

breath. Notice how hard it is to control the air of the whisper when Vou start with your shoulders high.

lhis same awkwardness happens when vou sing.

lhe goal

here is to create the same flexibility in your body whether you 're standing, sitting or laying down.

A hint would be to adjust your posture to allow the muscles of the

abdomen to release (exercise three) and remember to breathe down and ou!. EIGHl:

Lay face down with one hand under your stomach and one above your head.

Repeat the same counting exercise.

As Vou

inhale, the stomach must lift the weight oi the body, creating a great strength builder for these muscles. Vour goal is to reach the highest number on one breath. Vou can also lie on your back and place a phone book on your stomach for resistance. NINE:

While sitting upright in a chair, allow yourself to inhale as much as possible. sound.

Now release while making a sustained "sssssssssss"

See how long Vou can make this sound las!.

lhe

consonant "S" is called a lricitive (as in lriction) and is a coordinated eltort between the tongue and the diaphragm. lhe release of the diaphragm causes air to leave the lungs and travei up through the

68

Ali Aboul Your Brealh

wi nd pipe. The longue presses againsl lhe rool 01 lhe mouth and resisls lhe air. Keeping lhe same sound wilh your "sssssssssss" requires a balance belween lhe two muscles. This is lhe same balance Ihat's needed in singing. Il's easier lo work with lhe longue because 01 ils slrenglh and conlrol.

The pressure Ihis exercise

creales in your upper body is lhe same Iype 01 compression needed lor singing. NOlice Ihere is nol a Iremendous amounl 01 push needed by lhe slomach, which would ruin lhe balance. TEN: To gel lhe vocal bands involved in Ihese brealhing exercises, lollow the inslructions lor number nine and replace lhe "S" wilh a "l". This is called a voiced lricilive because il combines lhe actions 01 "S" wilh a pitch or lone Irem lhe laryn x. Choose a very comlortable pilch lor "Z" and swilch back and forth aI random between lhe "S" and lhe "Z". Vour body should Ireal bolh sounds lhe same. This . a greal way lo breakdown lhe habil 01 driving your vocal bands 100 hard for every ole Vou sing ELEVEN: If your body feels lighl and is nol expanding enough for vou lo brealhe, Iry exhaling complelely firs!. Think of how il feels when vou swim a very long dislance nder waler. By lhe lime vou surface your body is gasping for air. The brealh vou rake aI Ihal moment is very deep and will nol have anything lo do wilh your shoulders. The survival inslinct over-rides ali lhe lension. Vou will lake in as much 'r as possible. This action gives us clues aboul how lhe body works bes!. Eilher sitting or slanding, blow out ali lhe air in your lungs and Ihen some. ep exhaling liII your body begins lo collapse. When Vou reach a poinl where Vou

pst don'l have any more lo give, release. NOlice when vou leI go Ihal Ihere is a -ush of air into lhe lungs (refer back lo lhe physics lesson). AI lhe same momenl

/OU release, lake a brealh as well.

This will add some momenlum lo your inhale

::Jd allow some slrelch for lense muscles.

69

Breathing Exercises

The Rock 'n' RoU Singers Survival Manual

lhe more vou repeat this exercise the more freedom you'lI create in your rib cage and abdomen. As you're breathing out, sing on any one note and notice the added power this provides.

When vou squeeze the muscles to exhale, there is a

release of neck muscles that surround the larynx. lhe breath in does not disturb th e release because it is naturally diaphragmatic.

Nothing beats the situation of

freed vocal folds fed by a large reservoir of air.

TWELVE: After vou become familiar with the amount of air available, we can begin to utilize its power. singing. inhale.

Below is a chart which will help gauge the airflow as you 're

lhe +50 on the right side represents the absolute limit of air Vou can lhe opposite side symbolizes your lungs completely depleted.

From one

end to the other of the scale will illustrates 100% of the lungs' capacity.

lhis

provides us with a visual representation (a gauge) which will make it easier to discover where the problems are.

1-5~

' .. 1111111 ~T I

+5~ I

IvÚJgram 15 • BreDlh GDuge

Follow the steps of exercise nine and during the "sss" sound run your finger along the scale from right to left or +50 to -50. Time the movement of vou finger to reach -50 at the same moment Vou run out of air.

lhis may take a few tries before vou get

synchronized. Il's worth the practice just for the control vou gain by trying.

70

Ali Aboul Your Bre.lh

Notiee the ehange that occurs in your bocy when you pass zero.

Mid-way

. rough your exhale the muse/es begin to e/ose in on the /ungs. At the beginning of e "sss" there was p/enty of air pressure due to the over expansion of the /ungs. As alr escapes and inside pressure begins to equa/ outside pressure, the small

use/es of the abdomen contract to disp/aee the remaining air. These muse/es are oar! of a network whieh contributes to exhaling. Repeat this exereise until eaeh exha/e begins with a re/ease, instead of a oush. There is abso/ute/y no reason to push, when the air wants to escape anyway. may take time to trust that a re/ease is ali that's needed, after years of pushing f?Very note you sang. Remember eaeh time you start at the beginning of the sea/e, you only need to let go for air to be expelled. Onee you pass zero, museles will contract and continue the exhale. THIRTEEN: Notiee that there are two segments to the exhale; the first half is released (Iet o) and the seeond is displaeed. This time, vocalize an "ah" on a piteh near your speaking voiee and keep traek of your breath supply by running your finger along escale. Ws like a gas gauge, your finger indicates how mueh air you have left. In this exereise, we'lI foeus on the inhale. Sinee the museles make a ehange when you sing past zero, the reverse must occur on the retum trip.

When you

reaeh the end of your breath while singing, notiee the museles of the abdomen are contracted.

The eloser you get to -50 the harder they work.

A release of these

museles is ali that's needed to begin the breath. The nature of air pressure works in your favor here and draws in ai r; there's no need to pull it in at this point. Why work when you don't have to? When you work to pull in air, you tense museles and therefore restrict the amount of flexibility available in the abdominal cavity. Don't forget the amount of air you can inhale depends on the room made for the lungs to deseend. Letting go is hard to do and this will take some practiee before it beeomes automatie. We're so 71

Breathing Exercises

TIu! Rock 'n' RoU Singer's Sunival Manual

used lo pushing and pulling lhe air in and oul 01 our lungs Ihal il seems impossible lor Ihings lo be so easy. It's ali part 01 lhe process 01 relurning your syslems back lo a nalural slale where Ihey can work much better. FOURTEEN:

This lime we'lI work wilh less air.

Mosl singing phrases don'l use 100% 01

your lungs capacily, more like 50%. It's very importanl lo remain cenlered even on Ihese smaller phrases. The air Vou lake in should be preportionale lo lhe lenglh 01 lhe line lo be sung.

This sounds like common sense, bul easily lorgotten in lhe

panic 01 singing. Too many singers will lill Iheir lungs complelely every chance Ihey gel wilh no regard lor need. Holding back ali Ihis extra air slresses lhe body and eals away aI your Ilexibilily.

The same Ihing holds lrue lor singers who under

brealhe each line. This lorces lhe body lo collapse and places 100 much physical eflort on brealhing. No matter which Iype 01 brealher vou are, lhe same exercise will help. Use Ihis brealh gauge, bul Ihis lime sing a small scale or line Irem a song Ihal doesn'l require a 101 01 air. NOlice il Vou are pushing oul air aI lhe beginning or have 100 much left over when you 're done. Even Ihough you're using hall lhe lungs' capacily, Vou slill need lo keep il in lhe middle 01 lhe brealh gauge.

Keep adjusling lhe amounl 01

air vou inhale, lo make sure Vou end a little on lhe conlracted side. Allow yoursell jusl lo release lhe air aI lhe beginning 01 your phrase.

The next brealh should also begin wilh a release 01 lhe

muscle used lo conlract lhe lungs. There is a momenlum available when vou brealhe Ihis way because Vou connect wilh lhe lull use 01 lhe bocy.

I admil it's a

little weird aI lirsl, especially il you're used lo holding and conlrolling yoursell in a rigid way. Think 01 someone swinging a baseball bal or lennis racquet. A pro knows lo release lhe body and brealhe 72

Ali About Your Breath

..

. -

..

,

'.

Displaud Ajr

-50

Rekased Air

produclive sing /JJt'jOnd this poim.

: I: I :

li ~: ,:

+50

:1

I

lnflDled lnhale

Reua.wJ lnhale

.

. .. Diagram 16 ' The Four Phases of Breathing

73

Breathing Exercises

The Rock 'n' Roll Singers Surviyal ManUllI

with the swing, ineluding the follow-through_

Vou'lI find 50 many parallels between

singing and the world of sports because peak performance from your body requires the ability to release and breathe. Play around with different length phrases in the same manner. Whatever the length, if vou move your finger along the gauge while singing, your finger should pass zero when your half way through the line.

learning to relax your breathing

this way keeps your body ready to respond to impulses mueh like it does in eonversation. When you're talking to someone, Vou don't figure how mueh breath you'lI need to say the next line, Vou just say it.

Have vou ever thought," I'm mad

and I'm going to yell 50 I'd batter fill my lungs up to support this." Not if vou were really mad vou didn'tI Ali vou did was shout, no preparation needed. Repetition will turn this type of breathing into something that is trusted and natural. After ali, Vou had to work pretty hard at ereating ali those bad habits. Why not spend the time on something that works for the instrument.

The good news is

your body will respond quieker to leaming these new habits bacause they provide an easa af matian.

FIFTEEN: Another breathing issue that interferes with your singing is holding your breath just before vou sing. It doesn't matter if it's for a split second ar for the whole solo; it causes problems.

The

museles Vou use to hold in air are also needed for singing. Beginning a vocal line from a held breath slams the vocal fo lds together and is called a glottal shock. Beginning this way time after time, swells the vocal folds, and is a big reason why your voiee deteriorates after a few hours of singing. The way to breakdown this habit is by beginning to sing at the absolute moment vou finish inhaling. timing coordinated with a song.

74

It takes practiee getting the

The amount of freedom it will

Ali Aboul Your Brea/h

/ /

/ /

release

will

Repeal

several

Vou.

amaze scales in

in

succession

as

exercise

lourteen.

Each time Vou

linish singing, begin to inhale

/

immediately.

/

there is Don', HemaJe

Make

no

sure

middle "hold"

step, just sing and brealhe. The same routine applies aI +50

lhe end 01 lhe inhale.

No

brealhe

and

holding,

o

jusl

sing. There molion

iagram 17 - Don't lnterrupt lhe Flow

muscles.

is

a

crealed

conslanl

swinging by

movemenl

Ihis 01

Picture a pendulum swinging back and lorth, requiring very little eflort lo

maintain because every movement causes a counler reaction. Inhaling expands lhe body and singing releases it. The body slowly contracts while singing until a brealh releases il again to repeal lhe cycle.

This process is dislurbad, when lhe Ilow is

stopped aI either end. Practice this constantly. Vou'lI be surprised how often vou can calch yourself holding your brealh lor no reason.

Remind yoursell lo leI il go.

conversation, remember lO breathe jusl belore you're ready lO speak. breathing while listening to the conversation and wailing lo reply.

When in Conlinue

Most bad habits

in singing are carried over Irom speaking habits; don't lorget, you're using lhe same inslrument. Don'l wait liII you're working on singing; Vou can practice anytime.

75

Brealhing Exercises

The Rock fn' Roll Singer's Survival ManUlll

SIXTEEN:

Certain body movemenls incorporaled wilh your inhale, will allow lhe diaphragm lo descend lower and increase lhe capacily of your lungs. comfortably, raising bolh arms slowly as you inhale (Diagram #18).

Stand

Vou musl

breathe in simultaneously wilh the movemenl of your arms. Keep your arms raised, and release the air wilh a "ssssss," or any vocal exercise you'd like. Moving your arms Ihis way allows your diaphragm to flatten and the lower ribs lo expand sideways. Nolice the increase in your inhale. Can you re-create Ihis improvemenl without lifting your arms?

Yes, while repealing this exercise, stay

focused on where the body expands, and then inhale wilhout moving your arms and look for that same expansion.

I

/

""

I

\ \ }

\ \

"- "-.

iagram 18 -

Exercis~

Sixteen

76

./

/

/

Ali About Your Breath

SEVENTEEN:

Under lhe same premice as Exercise #16, sland and inhaJe while lifling your leg lo a 90 degree angle (Diagram #19).

Make sure you're inhaling with lhe movemenl, nol

belore ar afler.

Continue lo stand on one leg, and vocalize

as you release your breath.

Was there a diflerence in the

amount 01 aJr laken in between Exercise #16 and #1?? Did the air leel like il wenl to a diflerent place?

UsuaJly, you'lI

I

leel a lower expansion with Ihis exercise than wilh raising your arms. The pelvis lills as you lifl your leg, therelore lhe abdominal muscles yield more lo lhe descending diaphragm.

/ /'

Afler you gel comlortable with both Exercise #16 and #17, now combine their movemenls, inhaling while lifling a leg and raising both arms. You'lI leel a big increase in your inhale.

Notice how il leels to sing with this much air power

compressed inside you. This is lhe beginning 01 developing volume withoul pushing . EIGHTEEN:

For maximum power, do a deep knee bend and inhale as you go down . While in lhe low position, notice how much air you've laken in.

As you vocalize,

remember the leelings thal coincide with such massive amounts 01 air inside your lu ngs. An increase in lhe volume 01 your voice is automatic and completely natural as a resull 01 increased brealh compression, so don'l hold it back. Experimenl with diflerent posilions ar movemenls Ihal allow Ihis kind 01 increase in your breath capacity. The more you're able lo inhale, without lifling the shoulders, the easier il will be to project your voice wilhout pushing.

77

Breathing Exercises

The Rock 'n' Roll Singers Survival Manual

Now you're ready lo move on lo exercises which slrenglhen and coordinale lhe vocal cords.

Ramember, anytime you feal confused or frustraled with your

voice, suspect the breathing firs!. Chances are you are holding your brealh or overcompensating for lhe amount of air prassure needed to sing.

Any athlele knows

that freedom in lhe breath is a requirement for maximum outpu!. Don'l feel you'va regressed because you need to review breathing Exercise One.

It's healthier to think of these exercises as mainlenance, just like brushing

your teeth. lhe over-all benefits of Ihase exercisas are lifelong and will improve the vitality of anyone. leaching has always helped me undarsland things in a concrele way. I recommend showing these exercises lo everyone you know.

Be sure to reltase

thut four laytrs abdominal muscJes

~:::~~~:~~you inhale.

Their ten.sion wi/l reduce your lungs'

capacity.

78

Ali Aboul Your Brealh

POSTURE AFFECTS VOUR VOICE II mighl look silly lO include a section on poslure in a rock 'n' roll book, bul il you're having Irouble, Vou should look inlo Ihis lopic.

Breaks, cracking, limiled

range, and pilch problems can ali be lraced lo poor poslure.

By making simple

adjuslmenls, Vou can unleash hidden power. The slance oI a rock singer on slage is lar lrom slraighl and proper. The good news is Ihal poslure doesn'l have lo be slill lo be correct. There are Iwo major ways in which poslure inlerferes wilh singing. The lirsl problem occurs when lhe larynx cioses 011 lhe flow oI air in reaction lo a slressed body, and lhe second is by reslricting lhe amounl oI lhe inhale. Even il vou only use Ihis inlormalion while Iraining your voice, you'lI advance larther Ihan by disregarding il complelely. Poslure is lhe posilion your body assumes to balance ilself against gravity. Your skelelon is designed to do this almost by itself. place and provide lhe leverage lor movemen\. olher to allow vou lo move, stand, or si\.

Muscles hold lhe bones in

Together Ihey play against each

When slanding, your bones should

support your body by balancing on lop oI each olher, requ iring little help.

Poor

poslure can require muscle lension which reduces your slrenglh, brealh capacily and flexibilily. Vou can see how Ihis allects singing when Vou undersland how lhe skelelal and muscular syslems work. Take a look ai Diagram #20 on page 81 , and nolice lhe line drawn down lhe cenler. This line represenls the lorce oI gravily. Vou can move your body inlo many dillerent posilions, but Ihal gravily line neve r changes. Nolice the bones are not ali directly under each olhe r, inslead Ihey are equally ollse\.

There are live key spots (Iabeled in Diagram #20) Ihat the gravity line

should pass Ihrough in order lo distribule your weighl evenly. Wilhoul Ihis balance muscles become lense. 79

Posture Affects Your Voice

The Rock In' Roll Singer's Survival Manual

Some muscles are designed for support, and olhers are used for movement. Vou can lell when you're using lhe righl seI of muscles when Ihey do a job easily. Tension means lhe muscles are eilher 100 weak or nol in a good posilion for the work they're doing. For inslance, ali day long your abdominal muscles are working to balance your spine.

They loosen when you bend forward and contract when you bend

backward (If you'lI try this, you'lI see whal I mean). Vou don'l nolice them because they're the righl muscle for lhe job.

On the other hand, If you bend over while

keeping your legs slraighl,in order to lift somelhing, lhe lower back lakes lhe load. This is not a good posilion for lifting. 8ack muscles are nol meanl lo do Ihis. Vou will either hurt yourself or nol be able to lift as much as if you benl your legs, which is a better position for lifting. When your skeleton is oul of balance, muscles Ihal are designaled for movement have lo be used for correcting poslure. doing its job, others will join in to help.

11 a muscle has a hard time

Sensing the need for extra slrenglh, lhe

larynx begins lo hold back air from the lungs and Ihis is where Irouble slarts. POOR POSTURE INTERFERES WITH THE LARYNX The larynx serves as apressure valve so you can lift and push heavy Ihings and also as a protective door to prevent anything from going inlo lhe lungs.

Lasl on its list of responsibilities is singing.

The way you adjusl lhe pressure in your body is by holding back air, which makes lhe upper body rigid.

When you flex a muscle,

lhe folds in lhe larynx close and creale pressure for slabilily. The more force you exert, lhe more slabilily you need.

When

your upper body becomes rigid, il gains leverage lo lift or push heavy objects.

In Ihis way, your larynx monilors every muscle

action (sitting, slanding, reach ing and walking) and delermines

80

Ali About Your Breath

whelher extra support (holding lhe brealh) is needed. Il doesn'l care whelher you're singing ar nOl, lhe first priorily of lhe larynx is lO be apressure valve. Can Vou see how Ihis can gel in your way? aboul lhe need for brealh lo flow when singing.

Throughout Ihis book I lalk

Vou need ali your resources lo

mainlain lhe correct air pressure for the folds lo vibrate.

Poor poslure, one wilh a

101 of lension, makes lhe larynx pay attenlion lo ils environmenl inslead of lhe pilch. Correct lhe poslure and the larynx is free lo respond vocally. POOR POSTURE RESTRICTS VOUR LUNG CAPACITY In lhe section aboul brealhing (see: Every Brealh Vou Take, page 60), Vou leamed lhe lungs are nol able lo move on Iheir own, bul react lo lhe cavily surrounding Ihem. The more lhe muscles around the ribs and abdomen can move, lhe more vou will be able lo inhale. Vou now undersland Ihal more air is better for singing. It's simple, if you're using 100 many muscles lo support your poslure, lhe relaxalion in arder for lhe body lo expand is nol possible. Use lhe POSTURE CHECK la balance yourself so you'lI need less muscle support and you'lI expand for more air. I know this may look easy

Knee

on paper, when in reality our poslure has been out for so long Ihat il feels complelely nalural to be lense.

Remember, il look years of hard

work lo gel your body so mixed up, so give il

Middle of Foot

some lime lo find ils way back. ÚJgram 20 • Gravity Une

8\

Posture Affects Your Voice

The Rock 'n' RoU Singer's Sunival Manual

POSTURE CHECK:

The besl way lo adjusl your poslure is wilh your eyes closed. This will make vou more aware 01 lhe leeling rather than the look. Irom lhe leel up.

tt's also a good idea to start

Follow lhe steps below and leam how to Iree yoursell Irom the

disadvanlages 01 overworked muscles. 1. Stand comlortably and close your eyes. 2. Adjust your leet until they leel as il Ihey're lacing lorward and parallel. 3. Visualize your shin bones balancing on top 01 your ankles. 4. Picture your kneecaps as ball bearings and balance your Ihigh bones on lop. 5. Imagine your pelvis creating a bridge across the legs. 6. Lei the spine rise up Irom the pelvis by placing 26 individual blocks on top 01 each olher. Between each block (vertebrae), place a sponge (disk) lo act as a shock absorber. 7. Vour clavicle (shoulders) create a T crossing lhe upper 3/4 01 lhe spine. Balance it by visualizing the arms being equal counterweights, hanging Ireely. 8. Now place your head on top 01 ali Ihese delicalely balanced banes. 9. Do vou leel Iree and flexible? leel tension ar holding.

Let go 01 any joints where vou

II Vou leel your body weighl supported

by any muscles, adjusl slightly until it disappears. Good posture should leel like nothing.

10. Sing something while in this posilion. Did muscles start to lense?

Did it ruin the balance?

Play with the posture until vou

vocaJize withoul disturbing the "1Ioaling" leeling vou sei up. NOlice what changes are needed in your approach to singing. Poslure and singing are related, nol attached. There should be

[:lO

a leeling 01 Ireedom ar independence between Ih em lar lhe besl conlrol.

82

Ali About Your Breath

After stacking your banes. imagine they are suspended from your head instead of supporred from the ~ ground.

c=::::::;;::=;t

Figure A

iagram 21

Figure B

iagram 22

Try Ihis experimenl lo undersland lhe rale lhe larynx plays in holding brealh for poslure.

Sland ai a rigid mililary slance, like Figure A in Diagram #22.

Ihal gul and slick your chesl oul and hold il lighlly for a minule.

Suck in

Does your

brealhing feel free and nalural in Ihis posilion?

Now release yourself inlo a loose

slouched posilion, so you look like Figure B.

Did you lei oul air like a balloon

deflaling? How does your brealhing feel in Ihis posilion? Does your body have lo work hard lo inhale deeply? The poinl here is Ihal neilher one of Ihese figures is in good poslure. Figure A may be your image of whal poslure should look like, bul when you assume lhe posilion you can feel how reslriclive il is.

On lhe olher hand, Figure B may feel

comfortable bul does nol allow lhe lungs lO expand fully.

If you Ihink Figure B is a

little exaggeraled, jusl imagine a guilar slung down low in franl of him and you'lI recognize lhe slance.

83

Posture Affects Your Voice

The Rock 'n' RoU Singers SUrl'ival Manual

WHAT SINGER'S SHOULD KNOW ABOUT COLDS A cold is an inconvenience to everyone, but to a singer it's the kiss of death. With ali the modern miracles of science the little 01' cold continues to keep 'em baffled.

Ali these years and still no cure; maybe we should look at it from a

different angle. The germs related to colds are always around uso At times the concentration is greater, but basically, you can catch a cold at anytime. Yet, we are not sick ali the time because we have an immune system. When your body is healthy, it has the ability to fight off a variety of iIInesses, including colds. Of ali the different viruses which create colds only one common denominator connects them; you have to let them in.

When your immune system becomes

weak, you let down your guard to infections.

Kids and the elderly become sick

frequently because their ability to fight off intruding germs is either not developed, or has been weakened by age. For a singer, there is no cure for a cold that will not also disturb

( l,

((, '" ,l) ( 1'\

your voice.

Some are better than others, but they ali leave you

feeling less than 100%. The only solution is the obvious one; don't catch a cold. That responsibility alone is enough to make you sickl No wonder singers are notorious for being crazy. Prevention does not have to mean living in a sterile environment. Understanding what weakens your body can help you modify your lifestyle. A key weapon will be your awareness of internai signals. Once you let out that first sneeze it's too late; the infection has already made a home for the last two or three days. To beat the next one you'lI have to prepare ahead. CLOSE THE OOORS THAT LET THE COLO IN:

Here is a list of common circumstances which breakdown your 84

Ali Aboul Your Brealh

immune system.

We ali react diflerenlly under lhe same condilions.

However,

Ihese silualions have been known lo act as lriggers, selling up lhe environmenl for Avoid lhe seI up and Vou don'l allow lhe breakdown.

illness.

Il will lake lime lo

expose lhe Iroublemaker in Vou life. Often Vou don'l feel sick while lhe beginning of lhe paliem is in mOlion, bul wherever possible, lake sleps lo clean up your act. STRESS & EMOTIONS: I don'l know if Ihis is aI lhe lop of everyone's lisl,

bul l've seen lhe scenario a Ihousand limes in singers.

The week bafore lhe big

show case, audilion, ar recording Vou begin lo feel lhe signs. A lillle lickle in lhe Ihroal ar a drip fram lhe nose lells Vou lhe one Ihing Vou feared mosl has come Irue; you've caughl a cold. Immedialely lhe panic seIs in and now Ihere's no saving Vou.

I was relieved when I slarted leaching lo find Ihal so many singers wenl

Ihrough lhe same Ihing I did.

Every lime I lislened lo a lape lhe singer would lell

me aboul lhe cold he had on lhe day il was recorded. The slories were 100 similar lo be coincidence. Thal very similarily changed my Ihinking aboul colds. Slress drains your energy. Vou r mind can gel so preoccupied wilh an issue thal il will run lhe body inlo lhe ground.

Il depleles vilamins and dislurbs lhe

digeslion which leaves vou exposed lo whalever is oul Ihere. Nobody likes slress, bul mosl of us feel Ihere's no choice aboul il, which only creales more pressure. If vou feel you're conslanlly under lhe gun, it's worth invesligaling inlo some of lhe books available on relieving menlal pressure.

Slress is a personal issue, and il'S

importanl lo realize Ihal vou bring il upon yourself (see: Slress, page 23) . Emolions also play a greal role in your heallh. The medicai world is finally entertaining lhe value of posilive Ihinking, imaging, and even humor for recovering palienls.

This makes sense when Vou Ihink of lhe lailspin depression places on

your syslem. Singers lend lo be highly sensilive lo Iheir emolions and use Ihem in wriling and performing. There is a message senl Ihroughoul lhe body in reaction lo an emolion whelher it's real ar imaginary.

Somelimes lhe smallesl Ihings can

remind lhe body aboul a pasl silualion and il will begin lo pratect ilself.

85

Be

Colds

The Rock In' Roll Singers Survival Manual

suspieious 01 ,eeurring dips in Vou, sell-esteem and the cold that laithlully lollows .. Fo, example, a eertain holiday makes vou dep,essed lo, some buried 'eason and eaeh yea, Vou become siek during the same time. lhe emotion triggers the eold 50 il Vou want to avoid the cold, Vou have to do some soul sea,ehing. CHANGE IN SEASONS:

II vou live in an a'ea that has a wide ehange 01

seasons, vou, body has to go th,ough a tough adjustment period.

F,om 100

deg,ees in the summe' to below ze,o in the winte" vou, body has to ,eo'ganize itsell. We',e wa'm blooded whieh means ou, tempe,atu,e needs to stay constant. It would be easie" il the elimate ,emained the same. lhe p,oblem is complicated by heating and ai,-conditioning. Every change in tempe,atu,e causes Vou, body to ,eact, and that ,equi,es ene'gy. Running in and out 01 cold buildings in the hot summe', and heated spaces in the winte" doesn't allow enough time lo, vou, body to change.

Vou, immune system b,eaks down in

the confusion and Vou become vulne,able. lo make things easie, during the change in seasons,

,egulate Vou,

surroundings as mode,ately as possible. lhis situation is likely to be a preblem when touring o, t,aveling. tempe,atu,e.

Avoid abrupt changes in

Make su'e everyone areund Vou unde,stands how

important this is lo, vou.

It is bette, to be a little hotte, in the

summe' and a little coole, in the winte, 50 vou, body can catch up. Vou need to stay active during winte, months, but Vou should not exe,cise outdoors.

Even though Vou, body's hot, the I,eezing

ai, shocks the brenchial sacs in the lungs and Vou become a prime candidate lo, a ,espi,atory inlection. When vou sweat vou, body is wide open and loose 50 be awa'e when Vou leave a gym o, show and walk out into the cold.

DO

DRV AIR:

Cold ai, is very dry, and 50 is the ai, Irem most

heating systems. Vou, th,oat is lined with a mucus memb,ana that

86

Ali About Your Breath

requires constant lubrication. When dry air reaches your throat, it evaporates this lubrication quickly. VOU body fights the dryness by stepping up the production of a thicker protective mucus. This begins to block your sinuses and cause an irritating drip on to the folds, which swell in reaction. Vour body becomes dehydrated and fu rther complicates things. What started as a reaction to dry air, could easy end in a full cold in a short time. A humidifier is a necessary tool for a singer. everywhere you spend time. creative.

Vou should have one ready

If you're away from home and start feeling dry, get

Tum on a hot shower or boil water to make some steam.

containers of water around can also help moisturize the air.

Putting

Anyway, you need to

take action; it makes a difference. CHANGE IN DIET: Along with the change in weather there's also a change in life style.

We become less active

'A humidifier is a necessary tool for a singer.'

and eat a little heavier in the winter. This burdens the digestive system, which can't keep up with the load.

Fat and mucus are the result of the rich diet

and a lack of activity. Vou should make a conscious effort to maintain activity and eat lighter during the colder months.

As the winter progresses, your system becomes burdened and

isn't able to fight the infections which are always available.

Since your body will

focus energy on digestion before anything else, you have to set a pace that allows enough time for eliminating waste. ALLERGIES:

If you suffer from allergies, you already know the problems.

Be aware of the drying caused by anti-histamines. Weigh out the cost to your voice before you take relief.

For those who have never had allergies, you should know

that you can develop them for no apparent reason . If there is persistent congestion, watery and itchy eyes or any changes in your skin, you should be tested fo r allergies.

87

Colds

The Rock 'n' Roll Singer's Survival Manual

An allergy can easily develop into a cold to complicate things lurlher. Vou r delenses are down when the anti-bodies are busy lighting mOld, mildew and ali the rest. I'm sorry to say there are no easy answers. singing

50

The remedies interfere with

a preventive altitude is the only solution. There's some evidence relating

allergies with diet, emotions and, obviously, environment.

My advice to allergy

sulferers is to continue searching until Vou lind the underlying triggers. Oon't just sit back and accept them. SLEEP: Vour voice is one 01 the first things to sulfer Irom a lack 01 sleep.

This shut-down time is vital lor the body. A drug-induced sleep is not as benelicial because it also slows the body's ability to repair itsell. The amount needed will vary between people, but no one can go too long without it; your delenses depend on it. TIME TO CLEAN HOUSE:

Maybe the reason no one has cured the

common cold is because it's not an illne55.

When the toxic levei in your body

reaches an overload levei, because 01 a lousy diet and no exercise, a switch is thrown to clean house. In this respect catching a cold is a healthy signo Vour body has got a built in delense mechanism.

n

(f,

Q~) '\

~ ~

cleaner when the cold is over.

Vour system is much

11 Vou were not able to flush out in

this way, the toxicity would harm organs and promote disease. WHAT TO DO OURING A COLO:

Vou did everything right and Vou still caught the cold.

Oon't

worry, it takes time to leel the benefits, once you've made changes in your lilestyle. In the same way, it takes years belore your body lets Vou know that you 've been abusive. Once a cold has developed it must be allowed to run its course. Ali the so-called remedies are just lor temporary reliel and prolong the processo

Vour body needs the symptoms, the lever, the

congestion and the diarrhea, as pari 01 a cleaning system.

The

only thing left to do is work with the body and speed up the light.

88

Ali Arout Your Breath

The exits lor the body are the bladder, the colon, the pores and the mucous membranes. Ali 01 these need to be activated, or opened, to release the garbage. The quicker you cleanse yoursell, the sooner you'lI be over that cold. steps below to increase the Ilow. FLUIDS Iluids."

"Drink

Everyone

has

plenty heard

'Use your voice as a gauge; if it feels dry, step up the fluids.'

01 this

belore and I lor one aiways thought it was a quick brush off.

Follow the

There must be something more we could do .

Actually

drinking water and juice is the best lavor you could do for your body, whether you're sick or not. It provides a vehicle lor f1ush ing out toxins in your blood, via the urine. Vour body will use up its reserve 01 water quickly when f1ushing out, causing the dryness in your throat. Use your voice as a gauge; il it leels dry, step up the Iluids. Juices provide an excellent source 01 water and vitamins.

Some nutritionists

believe the body absorbs water easier Irom juice because it's combined with other elements that the cells need. The juice should be Ireshly squeezed in order to get the most benefit. The best types during a cold are: Orange - contains vitamin C Celery - contains sOdium, helps retain Iluids Cucumber & Cranberry - cleans out acid deposits in urinary track Carrot - contains vitamin A BREATHE STEAM - One 01 the lirst places robbed 01 Iluids when the body is in trouble, is the throat. Combined with the thick mucus which drips down Irom the nose, your voice gets hit lrom ali angles. When the steam passes the vocal lolds, they are soothed and lubricated.

Breathing the moist air also softens the mucus

stuck deep in the lungs, reducing the dry coughing and hacking. L1GHT EXERCISE - Exercise opens the pores and the sweat carries toxins out 01 the body.

This, along with the increase in circulation, is what makes it so

valuable when you're healthy, and even more so when you're ill.

89

Remember the Colds

The Rock 'n' Roll Singer's Survival Manual

body is low on energy, lighting an inlection, so keep the routine very light and always replace those Iluids. Ali you need is to break into a sweat; you'lI notice that won't take much. SHOWER - Speaking 01 the pores, when you have a lever the pores open and the same release occurs as in exercising. Vou can help this process along by dry brushing your skin with a natural bristle brush or natural sponge and then showering.

The brushing exposes the skin and opens clogged pores.

Cigarette

smokers should do this often. MASSAGE - Increased circulation is key to cleansing the body.

A massage

releases trapped blood vessels and dislodges toxins Irom the muscle libers. percussive massage is also helplul to breakup hard congestion in the lungs.

A Vou

don't have to spend a lortuna at aspa, anyone can gentiy work the muscles. Vou can't deny the leeling. Remember to always lollow a massage by drinking plenty 01 water. SLEEP - Last, but delinitely not least.

Unlortunately, this is your strongest

ally in lighting illness and often gets short changed.

When you

sleep, ali other lunctions are slowed down, so the body can locus on lighting the inlections. Vou r mother was right. Ask someone to run your errands, cancel some appointments, take your phone 011 the hook and get some restl

~

NATURAL OPTIONS - tt seems everyone has a lavorite concoction lor a cold.

They ali can help provided they are non-

narcotic and not made with alcohol.

Any drug will hamper the

body's delenses while only giving temporary reliel, so it deleats the purpose.

Alcohol swells the lining 01 the throat and leaves it even

dryer once it evaporates. GARGLE - A solution 01 warm salty water will sooth your throat and draw phlegm away Irom your vocal lolds.

90

11 the salt is

Ali Abou/ Your Brea/h

collecting at the battom of the glass, you've put in too much. This is a good routine to get into daily, to clean and increase the circulation of the mouth and throat.

A

favorite gargle of my voice teacher was mixing Myrrh gum, Golden Seal root and licorice root, fifteen drops each in warm water. HERBS ANO TEAS - Any good health food store will be able to supply you with a variety 01 heribs and teas which will sooth sore throats and open up a stuffy nose.

Look for Golden Seal, Ginseng Gotu KOla, Breathe EZ™ (for your lungs),

Spirolina, Slippery Elm, Throat Coat'" tea, Fennel tea.

Kyolic Ga~ic capsules help

filter and cleanse the blood. Lotus root tea is good lor strengthening the lungs and fresh ginger when added to tea or used in a throat compress increases circulation. Also, licorice sticks provide natural relief for sore throats.

BEE PROPOLlS - This is a natural way to boost your immune system . comes in drops or capsules.

It

The drops taste like death, but they work laster.

Bees manulacture this substance to sterilize the bee hive. It works with your antibodies without a chemical side effect.

I've seen the drops work wonders on sore

throats within hours. VITAMINS - Vour body relies on the support of vitamins from your diet. If the diet is not a healthy one, a supplement of vitamins will help. Water-based vitamins like C and B complex, are the first to be depleted when you're fighting a cold. How you light the cold you have now sets the stage for the next one. Vou should allow the cold to cleanse as much as possible. you will have a good starting point for change.

After the infection is gone

Oon't start smoking if you have

stopped, keep the diet sugar-free, and continue the healthy practices that you established to nurse yourself back to health.

91

Co/tIs

TIu Rock 'n' Roll Singer's Su",illal ManUDl

SORE THROATS (lO SING OR NOI lO SING) lhal is lhe queslion.

After looking ai some 01 lhe lriggers which can sei a

cold in moiion, you can see it's likely you'lI develop a cold ai lhe leasl opportune lime. lhen you 're laced wilh lhe lerrible decision 01 singing or cancelling. I can'l make lhe decision lor you, bul lei me arm you wilh more inlormalion. Firsl, idenlify lhe cause 01 lhe irrilalion. Soreness is always a symplom, so reliel should address lhe source 01 lhe problem. lhe only silualion where singing is harmlul is laryngilis.

II will lake a doctor lo diagnose Ihis because lhe symploms

are close lo olher Iypes 01 inlections. lhe diHerence is lhe localion 01 lhe inlection. Wilh laryngilis, lhe vocal lolds and lissues 01 lhe larynx become inlected and swollen, unable lo produce lhe movemenls necessary lor speech. Doctors aren'l sure whal causes laryngilis, excepl lo say it's crealed by lhe same germs Ihal cause colds.

Also, as wilh colds, Ihere are no cures, jusl

lemporary reliel.

A chemical called epinephrine will reduce lhe

swelling, and sleroids have also been used lor lhe same reason; bolh have Iheir side ellects and should only be used in emergency. My advice is nol lo speak or sing unlil lhe inlection leaves.

lhe

lolds are exlremely dry and can be damaged permanenlly in a short lime. It's nol worth lhe risk; cancel lhe show. A more common Iype 01 sore Ihroal Ihal accompanies a cold is pharyngilis.

lhis means lhe inlection has made a home in lhe

Ihroal jusl above lhe larynx (see Diagram #23). Vour Ihroal will be irrilaled and dry jusl behind lhe longue. lhe muscles Ihal make up lhe walls 01 lhe Ihroal are so sensilive, an inlected area lhe size 01

:OD

a pinhead will leel more like a goll ball. Vou are able lo sing in Ihis condilion, bul you should be carelul

92

Ali Abaul Your Brealh

nol lo dislurb lhe irrilaled area.

Mosl singers use lhe museles of lhe Ihroal 100

mueh, and pharyngilis will make you very aware of it. If you're smart you'lI use Ihis opportunily lo develop your abilily lo sing wilhout that addilional support.

The

bottom line is this Iype of sare Ihroal doesn'l have to dampen your slyle, To learn more aboul singing wilhout the museles of the pharynx see How Do Vou lose Vou r Voiee, page 126, Il's nol a good idea lo use the type of sprays Ihal numb lhe throat ar drink syrup-Iype liquors.

Vou need lo remain sensilive to lhe irrilalion lo know if you're

eausing damage. Use lhe gargle ideas in lhe section on eolds and use a sugar-free lozenge lo give some relief,

Thi.s aFta doesn',

o

~llefil

IM projecled soUlld of ]QJU voice . So. a head cold won', intufere with your singing.

Nasal Cavity

."..--"'1:- Pharyngitis

..

-

Laryngitis

Do not sing I~~.,: wMn lhe

\:

vocal/olds are infected.

iagram 23

93

Sore Throats

The Rock 'n' Roll Singer's Sunival ManlUll

lhese two Iypes 01 sore Ihreals are reactions lo iIIness, so reducing lhe inlection will bring reliel. Irem vocal abuse.

Singers can also sufler lhe same symploms 01 an iIIness

When you're pushing your voice, your Ihreal becomes dry and

irrilaled and lhe lolds enlarge and lense. lhe source 01 lhe problem is lhe way Vou sing and, logically enough, lhe solulion is lo sing a diflerenl way. lhe swelling and irrilalion crealed by lension should ba released by a slow and delicale warmup rouline. Vou can vocalize yoursell back lo reliel much quicker Ihan lhe muscles will release Ihemselves during resl. A gargle 01 warm sally waler combined wilh a massage and heal applied lo lhe area will help lhe processo Vou should allow enough lime lO bring lhe swelling down complelely belore Vou sing again.

Conlinued slress and lorce placed on lhe lolds will cause

permanenl damage (see: Diagnosing Damage, page 136).

11 vou sing every nighl,

Ihis means you'll spend lhe batler pari 01 lhe day bringing your voice lo heallh. When vou gel a break in your schedule, it's a good idea lo look inlo some Iraining lO slop lhe slresslul habils (see: Exercises lor Slrenglh and Flexibilily, page 140).

2:JD 94

Ali Abou/ Your Brea/h

ALL ABOUT YOUR BREA TH T1P SHEET

1.

THE QUALITY OF THE INHALE DICTATES THE QUALlTY OF YOUR VOICE.

2.

NEVER LlFT YOUR SHOULDERS TO INHALE.

3.

THE DIAPHRAGM IS THE ONLY MUSCLE USED SOLELY FOR INHALlNG.

4.

THE CONTROLLED RELEASE OF THE DIAPHRAGM STEADIES YOUR VOICE.

5.

CORRECT POSTURE MEANS FLEXIBILlTY, NOT STANDING STRAIGHT.

6.

DON'T

ALTER

YOUR

POSTURE

WHILE

PLAYING

ANOTHER

INSTRUMENT, BRING IT TO VOU. 7.

VOU DON'T CATCH A COLD, VOU LET IT IN .

8.

VOCALlZE LlGHTLY AND

FORCE

FLUIDS TO

KEEP YOUR VOICE

FLEXIBLE DURING A COLD. 9.

A HEAD COLD DOESN'T IMPAIR ANY AREAS NEEDED FOR SINGING, A CHEST COLD DOES.

10.

SING CAREFULLY WITH PHARYNGITIS, DON'T SING WITH LARYNGITIS.

95

Tip Shee/

Rock 'n' Roll Singer's Survival Manual

96

ALL

ABOUT VOUR INSTRUMENT

Rock 'n' Roll Singer's Survival Manual

Nasal Cavity

Hard Palau 50ft Paiau Uvula

lJ Tongue

FaIu Fold

Trut Fold

Windpipe

Ali About Your Instrument

THE BIG PICTURE WHAT HAPPENS WHEN VOU SING?

There are two major jobs involved in becoming a singer. The lirst is to build your instrument and the second is to leam how to play it. Unlortunately, we always skip over the lirst job and sulfer with the limitations later.

Though we're not ali

gifted with naturally beautilul voiees, the museles whieh are responsible lar your voiee can be developed to produee the same sound. The best guitarist in the with rusty strings.

wo~d

would leel compromised playing a eheap guitar

A high quality instrument, instead oI resisting your ideas, will

actually inspire you to play better. The instrument itsell eontributes a great deal to the talent oI a musieian. It's no eoineidenee that great guitarists have great guitars. For a singer, having a better voiee is not as simple as going to the musie store and leaving a deposit lor that larynx in the window.

It takes time lor your

vocal museles to develop. Just as you can't expect an instant ehange in your body Irom working out onee at a litness eenter, your voiee will slowly improve as you practiee.

However, you'lI speed the proeess along il you also understand the

lunctions oI the internai parts you're building.

Vou should know the parts oI your

voiee the way a guitarist knows the purpose oI eaeh part on the guitar. In the lirst hall oI this ehapter, I've outlined what happens inside when you sing. Every related part is deseribed by name and lunction. Don't be intimidated by the names. I've ineluded them lor accuraey. Vou can either leam them by name or simply understand their lunction. The second hall oI this ehapter eontains exereises to promote strength and Ilexibility. When you vocalize these exereises, you build a better instrument, rather than leam how to sing. When your vocal museles beeome stronger and more rellexive, controlling your voiee will be easy.

99

Th. Big Pielur.

The Rock In' Roll Singers Sunival ManUlll

1. THE BUCK STARTS HERE: Singing begins in lhe brain.

Im pulses, in lhe lorm 01 electricily, Iravel Irom

differenl poinls in lhe brain lo corresponding muscles. Upon receiving a command, the muscles either contract or relax.

Every action, your heartbeat, breathing,

blinking, sneezing, as automatic as they seem, are controlled by the brain. The brain is divided Into sections and each one has a specific lunction. The righl side is responsible lor our crealive abilities and lhe left lor logic and reasoning. The act 01 singing begins as an inspired thought (righl brain) then as a motor lunction (Ieft brain) combined with the constant monitoring 01 reflex activity. Singing is lhe only alhletic event that combines ali three phases 01 the brain. The lines 01 communication between the right and left sides 01 lhe brain are delicate.

Emotion can compromise your physical ability by sending conlradicting

signals to the same muscle. A tremble in your voice means one side 01 the brain is saying, "Go ahead and sing," and the other is saying, "Maybe Vou betler not." The muscles can't make a decision aboul which is correct, so Ihey react lo both signals. A clear mental image will pave the way to a precise vocal reaction (see: Ali About Yoursell, page 159).

2. CREATING THE AtRFLOW: After your initial idea to speak or sing leaves the brain, the body begins to lill with air.

The diaphragm gels the lirst impulse and il

its movements are reslricted, other muscles will go to work in order to lill lhe lungs with air (see: Ali About Your Breath, page 55). The problem with Ihese olher muscles is that they are awkward to conlrol and often overload lhe larynx with air pressure. The larynx is a wind inslrumenl, and lhe quality 01 your inhale creales lhe quality 01 your voice.

When the muscles 01 inhalation

(diaphragm) remain active when Vou sing, instead 01 lhe muscle 01 exhalation, your voice becomes more powerful.

100

Ali Aboul Your Ins/rumenl

3. RESISTING THE AIR CREATES VIBRATlONS:

Once your inha/e is complele, lhe diaphragm Slarts lO release back lo ilS original dome shape.

This exerts a

Larynx

force againsl lhe lungs, and causes

Airflow

Air

lhe air inside lO become pressurized and escape up lhe windpipe.

~ets

resistance

'\ ,~ creates a vibraJion.

AI lhe

lop of lhe windpipe, righl in lhe middle of your Ihroal, sits your larynx.

The

ouler wa/Is of lhe larynx are made up of Iwo cartilages,

lhe

bottom one

Diaphragm

(crico·cartilage) sits directly on lop of lhe windpipe and lhe upper cartilage (Ihyroid cartilage), is commonly known as lhe Adam 's Apple.

Females have

lhe same parts, bul lhe upper cartilage is smaller

and

less

obvious

(see iagram 14

diagram #24).

There are IWO curtain-like membranes which extend from lhe inside walls of lhe larynx called lhe vocal folds. Along lhe OUler edge of each fold is a Ihin slrip of cartilage called lhe vocal cords (see Diagram #25).

When lhe Iwo vocal Vocal Foj~ ---IJ'-L,

folds close againsl lhe escaping air, Ihey begin lo vibrale and creale a sound (see: The Jobs of lhe Larynx, page 105, and Obey lhe Laws, page

iagram 2S

38). 101

~

Lorynx, Top View

The Big Pielure

The Rock 'n' RoU Singer's Survival Manum

4. CHANGING THE PITCH, VOLUME & REGISTERS: The top cartilage 01 the larynx can slide and tilt Irom its base.

By doing this,

the vocal lolds are either pulled tightly or slaeked as they vibrate. TIghtening the lolds makes the piteh rise and loosening will make the piteh lower (see: What Makes Piteh Change? page 110). Inside the vocal lolds are museles whieh control their thiekness (vocalis musele) and elosure (Iateralis museles).

When the lolds

become thieker, they can handle more air pressure and your voiee gets louder. Thinning the lolds and redueing the air pressu re tums the volume down (see : Where's the Volume Knob? page 111). Adjusting the piteh, mass and elosure muscles, allows Vou to ereate the same note in diflerent registers.

There are live registers: vocal Iry, ehest voiee, head

voiee, lalsetto, and whistle tones.

Eaeh one has a diflerent way 01 ereating a

vibration, and they give Vou the ability to ehange the piteh, volume, and quality 01 a note independently (see : Vocal Registers . Why So Many Voiees? page 113).

5. AOO TO THE VIBRATlON: Above the larynx is an open area 01 the throat called the pharyn x.

It's divided into three sections by name (see diagram

#26), and it eonnects the nose and mouth with the windpipe and esophagus.

This is a eommon area lor both lood and ai r, and it's

also where the sound gains resonanee.

The diameter 01 the

pharynx can be redueed or enlarged, and the walls can ehange Irom smooth to coarse.

These ehanges alter the sound by either

rellecting or absorbing the Irequeneies in your voiee. The lower the larynx is in your throat, the more room you'lI have lor resonanee in your pharynx (see: The Jobs 01 the Vocal Tract, page 118).

6. SHAPE INTO A LANGUAGE: Vowels are ereated by the walls 01 your pharynx, tongue, and a leal-like muscle above the larynx called the epiglottis. 102

These

Ali About Your Instrumenl

muscles posilion Ihemselves lo aller lhe Irequency paltern 01 lhe basic sound crealed by lhe larynx (see: Vowels, page 123). A consonant is virtually a noise Ihal inlerrupls a vowel

sound.

These

noises are crealed by lhe longue and lips.

The only exceplion is an "H",

which is lormed by opening lhe vocal lolds and allowing air lo pass Ihrough (see: Consonanls, page 125). 7. LET THE SOUND OUT: Sound radiales oul Irom ils source in

iagram 26 - TM SeeM,.. Df Ih. PharyIU

circles, like ripples in lhe waler.

Your

voice radiales lhe same way, projecting lrom ali sides 01 your body. As lhe sound reaches lhe back 01 your mouth, Ihere is a lorl< in lhe road. The rool 01 your moulh is divided into two sections: lhe hard palale is in lhe Ironl and has abone cenler, and lhe soft palale is lhe rear hall which is ali muscle. The soft palale can move lo deflect lhe sound eilher directly out 01 lhe mouth or up inlo lhe nasal cavilies. There is a mucous lining Ihrough oul lhe nasal area which warms and cleans lhe air you inhale.

This covering acts like a blankel, absorbing sound Ihal enlers

lhe cavily. Your inner ear is nearby and will regisler lhe vibralions, bul lhe sound isn'l projected outward lo lhe lisleners.

In olher words, nasal resonance doesn'l

enhance lhe sound which your lisleners hear. These seven sleps are simplilied lor lhe sake 01 clarily. However, lhe more you simplify lhe actions 01 lhe vocal muscles, lhe easier il is lo gain conlrol and efficiency in your voice.

The independence 01 Ihese muscles as Ihey do Iheir

specilic jobs is importanl lo mainlain. When a muscle Iries lo do Iwo Ihings ai lhe 103

The Big Picture

The Rock f n' Roll Singers SUrYil'al Manual

same lime, lension will resul!. lhe slressed muscle will nol respond accuralely, and you'lI become hampered by compromises. Over-compensaling deslroys your inluijion. slart a chain reaction 01 evenls.

A panic caused by a bad nole will

1I Vou miss a high nole in a song, vou lend lo

drive every olher nole harder Ihan necessary. belore vou will have no voice ai alI.

1I Ihis is lhe case, il won'l be long

Imagine Ihal Vou are swimming and suddenly

realize Ihal vou are 100 lar oUl. Someone who doesn'l know how lo swim will ave rreact and be in lrouble. A conlidenl swimmer will slart floaling unlil he has regained his composure. No malter how important il is Ihal Vou sing well, you'lI gel more oul of lhe simplesl movemenls. For a more in-deplh look ai lhe functions of lhe larynx and Ihroal, read : lhe Jobs of lhe Larynx (page 105), and lhe Jobs of lhe Vocal lract (page 118).

, ~~( \

Sound movillg in this direction is mosdy absorbed by mwc/es.

\

\

\

\

: :f§~ , ' ,

,

,

,

,

Sound projected from tht meU/h is loud because its palh is unobstructed.

I I

I

" ' 1----\,

Sound RadiDús in Cire/.. from ris Soure.

104

Ali Aboul Your Instrumenl

THE JOBS OF THE LARYNX Aside from ali lhe differenl Ihings vou feel when Vou sing, lhe larynx is always the source of lhe sound.

Here is lhe poinl where air is resisled, and

vibralions begin. Once crealed, a sound can cause ali kinds of secondary vibralions (called resonance) which can fool vou inlo Ihinking you're crealing il somewhere else. Things gel more confusing because a property sung pilch has no sensalion aI lhe larynx. When lhe air pressure is resisled evenly by lhe vocal folds, lhe resull is a balance Ihal'S a similar sensalion lo riding a bicycle. Vou can conlrol your larynx two ways, consciously using your body lo creale a reaction from lhe fOlds, or letting lhe larynx act unconsciously, leaving lhe body free lo react.

The difference is between action and reaction . For lhe mosl conlrol

and lhe leasl damage, Vou should allow lhe larynx lo act on unconscious reflexes. The small muscles inside your larynx will control lhe pilch, volume, regisler, and qualily of lhe sound, if Vou leI Ihem. Vou have a larynx for Ihree reasons, and speech is lhe Ihird. Firsl, il acts as apressure valve, slabilizing your body when Vou climb, lift, or pus h heavy objects. When vou exer! force, your vocal folds close off lhe windpipe, and lhe pressurized air in your lungs maikes your body rigid for leverage. The second job is lo prolect lhe lungs from anything entering besides air. The larynx has involunlary inslincts which allow il lo do bolh jobs wilhoul Ihought. Producing sound is a differenl slory. be volunlary, or involunlary.

Here lhe muscles inside lhe larynx can

As lhe olher Iwo main functions are involuntary, il

makes sense Ihal singing should nol require any greal change. The nerve endings Ihal line lhe edge of lhe vocal folds are more sensilive Ihan lhe nerves of lhe eye. They allow for splil second changes in Ihickness and lension in order lo mainlain a conslant air pressure in lhe lungs. The larynx, diaphragm, abdominal and rib muscles ali respond lo each olher

105

The Jobs of lhe Larynx

The Rock In' Roll Singers SurvivaJ Manual

reflexively. together.

Any one of them can cause a reaction in the other.

They are wired

If you sing by consciously controlling your body, you force the larynx to

stay in reaction. It's no longer free to make the tiny adjustments necessary to keep a pitch in tune, without your constant attention to pitch.

If you occupy your mind

with listening, your singing will be sterile. What about emotion? Everyone knows you can only concentrate on one thing at a time. Wouldn't you rather have things like pitch and volume put on auto-pilot, and leave your mind free to play? The good news is you can, and your voice will be better olt for it. HOW TO CONTROL VOUR VOICE The best way to control your voice is to provide an environment around the larynx that doesn't interfere with spontaneous movement.

The more you let go of

the restricting muscles that surround the larynx, the better your control. Vou get the most out of a reflex action by letting it be 100% reflexive.

The physical si de of

singing is ali refi ex action. The problem stems from our definition of control. We ali think control means, "To make something happen the way you intended."

The trouble

with this is that the word "make" leads you to believe singing is a conscious act. Do you think you're controlling your voice when you speak? The fact is you are. I'm sure now that I mention it you will agree, but in the middle of an argument, making your voice sound a certain way is the last thing on your mind.

Without any conscious

thought, you are always coordinating your larynx, diaphragm, tongue, and lips. A great example of how well you control things unconsciously is to get absolutely drunk, then start talking. Singing uses the exact same muscles as speaking, only the air flow is dilterent.

It's tempting to get involved with the muscles in

order to feel more in control. It takes courage to leave things alone and trust the larynx to respond correctly. There is an exposing 106

Ali Aboul Your lnslrument

Diagram 27 These nine piclures represem one cycfe of a lone. To sing an "A" pilCh, your f olds open and d ose lhis way 440 times per second.

107

The Jobs Df lhe Laryn;r;

TM Rock 'n' Roll S;nger's Su",;yal Manual

feeling about doing so little. When you sing this way there's no faking it. Even if the larynx doesn't respond well and you find you are constantly off pitch and weak, it's the reflexes which need to be developed, not your control. Sometimes it helps to know what's going on inside so you can trust the process more. lhe following pages describe what happens inside the larynx when you sing . lhe more you understand, the easier it will be to give up control and start sounding like a singer in control. HOW A SOUND IS CREAIED

A vibration occurs when the vocal folds interrupt the air flow from the lungs into tiny puffs of air. lo the naked eye it appears as if the folds stay closed. With the developments of high speed photography, we now see the folds open and close for each puff of air. lhe number of puffs per second determines the pitch. Singing concert "A" means 440 puffs per second (sec Diagram #27) . Since no one can think to make a muscle move that fast, how does this happen?

lhe way you close your folds to start singing, is called the "attack."

It

simply means the beginning, but it's often mistaken to mean push. lhe correct way to attack the note is to bring the folds together at a precise distance.

Often called "approximating the folds," it means

the folds are brought close together, but not allowed to touch. lhere is a mucous membrane that covers the folds; it's the same lining that covers the mouth and throat.

lhis membrane

extends down into the larynx and becomes highly specialized when you sing.

Once the folds come together, the membranes do the

work of channeling puffs of air through the seal. lhis process looks like a rippling wave motion, and is called the "rim function." When a puff passes through, there

is a suction

which

pulls the

membranes together again and creates another wave. Diagram #28)

(see

Allowing the membranes to ripple, adds richness to

108

Ali About Your lnstrument

\

.

)

Compressiolt

iagram 28 - Rim Function

your voice because lhe waves are slighlly irregular and creale differenl harmonics. WAlCH lHE ATTACK

Aside from how lhe folds approximale Ihemselves, lhe liming is vilal.

lhe

besl silualion is for lhe flowing air and lhe closing folds to meet simultaneously. If lhe folds close too soon, they block the air for a split second and then bursl open . This is a glottal shock. If the air flows first, everything you sing will begin with an "H" or an aspirate. When you shock lhe folOO, they close too tightly preventing lhe rim function and your voice becomes stiff and

colo~ess.

lhe force at the edge of the folds

causes friction which builds heat and swells the membranes.

Now your vocal folds

look like two balloons and leak air like an old tire. Vour voice becomes brealhy and raspy because Ihere's no resistance lo air. lhe more you force lhe folds logelher the worse lhe friction gets. relief is to re-establish lhe liming of your attack.

The only

Getting the folds to close

simultaneously with the air is a large pari of whal training your voice is ali about. The action needs to be reinforced through practice to the point where it becomes a reflex (see: Brealhing Exercise #15, page 74). Once this is set up, you 'lI nolice greater volume, range, and flexibility.

109

Th. loh$ 01 Ih. Larynx

The Rock 'n' RoU Singer's Sunival Manual

WHAT MAKES THE PITCH

SitU View

CHANGE? There

are

AryttflOid Cartilagt

two

aspects to singing pitches. One is mental and the other mechanical. side

is

The

mental

explained

in the

Vocal Fold

Twt muscltS COnlract 10 tigluen vocal folds.

~--5'~

section Perfect Pitch, page t 81.

Twe cartil4ges mng back 10 stCIVe vocal folds.

The mechanical side

is simple. Everything

that

makes a sound is bound by the same laws of nature

Bridge stcuru

'.

sIrlng.

Turn lhis lO dgltun SlTing.

(see: Obey The Laws, page 38), and I ohen compare

iagram 29 - Pitch Comrol

the folds to guitar stnngs.

When Vou turn the tuning peg, the

tension on the stnng is increased.

A tighter string vibrates faster

which means a higher pitch. The folds are stretched across the larynx, attached in front to the thyroid cartilage and in back to the arytenoid cartilages (see Diagram #29).

As both cartilages puli away from each other, the

tension of the folds increases, and the pitch nses. The reverse happens for the pitch to descendo The front cartilage tilts forward and down, while the arytenoids swing back, making tiny adjustments to keep things constant. DON'T MOVE THE LARYNX Ali the necessary movements for changing pitch are inside the larynx.

THERE IS NO REASON TO LlFT THE LARYNX FOR A 110

Ali About Your Instrument

HIGH NOTE. Making the larynx ride up and down your throat like a pitch elevator makes about as much sense as lifting a guitar over your head to play the high strings. It's an added motion. Not only is the movement unnecessary, a manipulated larynx becomes restricted.

As the larynx rises, the walls 01 the throat automatically reduce the

diameter 01 the pharynx to close 011 the opening 01 the larynx. Look in the mirror and watch what happens when you swallow. The larynx jumps high up under your tongue and the constrictor muscles reduce the diameter 01 the pharynx to guide the lood down the right tube.

Muscles don't have brains, 50 they don't know il your

singing. These muscles assume you're swallowing and move that way instinctively. Singing with a closed throat chokes 011 your range.

The muscles and

cartilages within the larynx need room to move, especially on the high notes. Vou r range should not be determined by how high you can Iift your larynx, but by the elasticity 01 the lolds. Vou gain range the minute you make the switch because you can stretch larther than you can Iift. There is also the issue 01 quality. Vour pharynx acts as an equalizer, adding harmonics which give the voice richness (see : Vour Voice Has a Built in E.Q., page 119). Lifting the larynx limits the amount 01 space lor resonance, which makes the high notes sound thin and tight compared to your low notes.

Also, the restriction

causes you to lorce too much air pressure and the lolds become swollen. I know reading this alone isn't enough to shut 011 the habit 01 Iifting the larynx lor pitch.

Vou need to re-train your muscles' behavior.

Read, Where Trouble

Begins (page 127) to better understand the locations and jobs 01 the throat muscles. Then use the Exercises lor Strength and Rexibility to provide a positive reinlorcement lor correct muscle behavior.

Finally, learn about the physiological

lactors that control these same muscles in Penect Pitch (page 181). The time you spend understanding and reinlorcing correct behavior will be paid back with more range and accuracy. It's worth it. 111

The J obs 01 lhe Larynx

The Rock

111 '

RoU Sillger's Survillal MallUiJI

WHERE'S lHE VOLUME KNOB?

Another lunction 01 the larynx which is usually overcompensated is volume. Inside the larynx are muscles that control the thickness 01 the vocal lolds (vocalist muscle).

When they contract, the mass (thickness) 01 the lolds increases and can

handle more air pressure. lhis means the sound gets louder. However, it's incorrect to push more air lrom your abdominal muscles to make your voice louder. Although it's true that you can thicken the lolds by tensing the abdominal muscles, you want the larynx to make the lirst move. lhe difference is between action and reaction. II you make your voice louder by tensing your abdomen you become vulnerable to uncontrollable reactions in your throat. wired directly to the larynx. something heavy.

lhe abdominal muscles are

lhey work together, holding back breath when you lift

lry to do a sit up and not close off your throat.

Vou can't.

Which means, il you tense your abdominal muscles, you restrict your voice. Vou should make your voice louder by thinking volume instead 01 push. Your larynx has the reflexes to respond to the thought.

Instead 01 the

abdomen lorcing the larynx to react, you'lI lind the same amount 01 volume by reversing the signals. Sensing their mass, the lolds can tell the diaphragm what the optimum air pressure is lor the pitch. lhe diaphragm then opposes the contractions 01 the abdominal walls

and steadies the

environment lor the larynx.

air pressure to

create

a

balanced

lhis is the meaning 01 vocal control,

having your larynx tell ail the other muscles what to do.

As with ali habits, bad vocal habits start in the mind but soon become ingrained in the muscles' memory. Knowledge is power to change.

Vou can re-train any habit il you set up the pro per

response and then reinlorce it. lhe new, correct habit, will become just as natural as the bad one may leel now. 112

Ali About Your Instrument

VOCAL REGISTERS • WHY 50 MANY VOICES? This lopic has had leachers and singers scralching Iheir heads lor cenluries. Now modem lechnology has linally provided answers lo lhe myslery 01 regislers. I don'l Ihink it's necessary lor singers lo be scienlisls, bul underslanding Ihis inlormalion will show you where you've been giving conlrol away. A regisler is a specilic posilion 01 lhe vocal lolds or manner 01 vibraling. The live regislers 01 lhe voice are vocal Iry, chesl voice, head voice, lalsello, and whislle.

Every wind inslrumenl has lo change regislers.

They are poinls in lhe

range when lhe sound waves in lhe resonalor (hom), begin lO inlerfere wilh lhe vibralor (moulh piece). To compensale, lhe player will change his lip lension and air pressure lo make lhe moulh piece vibrale dillerently. The same Ihing occurs in singers. larynx.

The resonalor is lhe Ihroal and moulh cavilies and lhe vibralor is lhe As you rise in pilch, lhe sound waves rellecting 011 lhe walls 01 your Ihroal

begin lo compele wilh lhe vibralions 01 lhe lolds. In order lo ease lhe compelilion , lhe lolds will change Iheir posilion lo creale a new vibraling paliem. WHAT CAUSES EACH REGISTER? A vocal fry is a crude sound caused by under-energized lolds rubbing logelher. Pilch is conlrolled by changes in air flow and Ihroal muscles. The sound is so irregular it's nol considered singing. Chest volce is lhe big sound in a singers range Ihat's also called lhe real voice.

The vocal lolds are Ihick and can handle pressure easily.

The mucous

membrane rolls along lhe surlace, crealing a complex sound wave wilh extra harmonics.

It's called chesl voice because lhe air in lhe windpipe is exciled and

resonales, making lhe enlire chesl vibrale.

When you sing correctly lhe chesl

vibralions will dominale and creale lhe illusion lhe sound is originaling Ihere. There is a poinl when lhe Ihick lolds can'l slrelch any more. In order lo sing higher noles, lhe lolds need lo Ihin down so Ihey can be lensed lurther.

This

creales a new regisler called head VOIC8. For lhe same reason, lhe slrings on a

"3

The Jobs 01 lhe Larynx

The Rock 'n' RoU Singers Survival Manual

guitar have to be differenl diameters. same piteh as the high E. mueh.

Vou can't wind the low E string up lO the

Even il you could, it would be so sliff it wouldn't vibrate

To solve Ihis, ali the strings are lhe same lension, but different masses.

Vou end up having several ehoiees where you ean play the same piteh with different slrings. Vou can also sing the same piteh in three differenl registers.

The thinner

lolds 01 head voiee ean vibrate laster bul don't produee as many harmonics.

Vou

get no ehesl resonanee because lhe sound waves aren't big enough to excite the air in sueh a large spaee.

Instead, the smaller eavities wilhin the head begin to

resonale and ereate lhe illusion that the piteh is originating lrom up above the larynx. Falsetto is a complete ehange in set up.

The lolds stay open and lhe

vibralion is erealed by lhe membranes along the edges. Ilexible but thin sound.

n doesn't stir up

are passing right through you.

This produees a very

any resonance so it leels as il the notes

Sinee the lolds are open, YOU'II leel lhe same low

pressure as in a eomlortable low piteh. This is why it's so easy to sing those last II exibi e runs to yoursell in a light lalsetto, only to lose them when you try to thieken lhe lolds lor volume. The whlslle reglsler is a Ireak situation when you lense lhe vocal lolds and push so mueh air past that Ihey whistle just as you do wilh your lips. The piteh is eontrolled by air, and like the vocal Iry, is only used as an aeeen!.

When your voiee is blown, it will

eraek into whistle tones because the lolds are latigued and swollen. THE REGISTERS ARE A FACT OF (IFE • BREAKS ARE NOT The one differenee between your voiee and a wind instrument is flexibility.

Bolh the throat and larynx are multi-changeable, an

instrument is rigid. This means the register ehanges in a singer DO NOT HAVE TO CAUSE A BREAK.

There should be enough

flexibility between lhe larynx and the throat to allow constant re· 114

Ali About Your lnstrument

Silh

CMst Voia

H~ad

V~w

Voia

Faisetto

Trla Fo/ds

logram 30 - Rtgisters

posilioning lor bolh.

When eilher is held lighl, Vou over exlend lhe range 01 a

regisler and by lhe lime you're lorced lo swilch, lhere's an awkward Ilip. Have Vou nOliced every problem leads lO lhe same remedy?

Accuracy wilh

pilch, volume, and smoolh regisler changes ali require lhe larynx lo lell everything else whal lo do.

When vou consciously conlrol lhe muscles 01 lhe lhroal and

abdomen vou over-ride lhe reflex abilily buill inlo lhe larynx.

11 knows when lo

swilch regislers, how lo gel louder and slay on pilch. Ali lha!'s required is Ireedom, VOU DON'T NEED TO THINK FOR A REFLEX. MOST BREAKS CAUSE O BY AVOIDING NEXT REGISTER

There are lhree elemenls which are compuled by lhe larynx belore delermining whal regisler a sound will be. compression.

They are pilch, volume, and air

A good example 01 lhe volume lactor is a singer who gels louder in

order lo avoid swilching lo anolher voice.

As vou lum lhe volume up, Vou exlend

lhe range 01 any regisler. The problem is Ilexibilily, because along wilh lhe volume increase comes more slress. Once you've exlended a regisler i!'s hard lo gel oul gracelully, and Vou end up only aggravaling lhe break. There is a malhemalical equalion lhal explains lhe relalionship belween lhe 115

The lobs of lhe Larynx

The Rock 'n' RoU Singtr's SurviyaJ Manual

three elements, but I thought it would be easier to illustrated it in a graph (see diagram #31). The vertical line represents your range and the horizontal is volume. The three main registers indicated are for my voiee ; yours would be similar, but not exactly the same.

Notiee how ali the registers can produee the same piteh by

simply adjusting the volume. It's typieal to hear a singer get louder as he raises his piteh.

This would

have him riding up the dark solid line (in Diagram #31) that divides ehest and head voiee, instead of the dotted one that remains at the same volume. When you sing that way, you combine volume and piteh muscles to do one job.

~

accentuates the

differenee between registers causing a break every time you switeh. These types of singers usually develop problems singing full volume on their lower pitehes and soft on the highest ones.

The pitehes have a predetemnined volume setting (the dark

line), and dynamie eontrol is lost. The dotted line represents your goal for a healthy voiee. After developing the skill of traveling up in piteh without a volume ehange, you'lI be able to plaee that dotted line at any volume setting. It's mueh easier to work with a lower volume as it appears on the graph . work down in piteh rather than up.

At first, it's easier to

There is a psyehological

advantage when you deseend whieh helps you release museles. If you 're a roek singer, you espeeially need to develop this ability.

I know you don't see a need to let your voiee slip into a

lighter head voiee.

It doesn't give you the kind of power you need.

Letting your larynx have the freedom to select the best register for itself builds an ineredibly strong instrument that is extremely accurate in piteh.

(Who wants to hear a powerful wrong note

anyway?) Not only will this eonnect your registers withuut a break, but also allow dynamie freedom. THAT INCLUDES EVERV PITCH AS LOUD AS VOU CAN . 116

Ali About Your Instrument

It's much less taxing on the vocal folels if vou sing a note loud because vou want it loud, instead of just trying to avoid your break. As the strength of the folds develops you'lI be able to produce more volume. As the muscles that surround the larynx stop trying to help, the freedom will unleash extra range vou never knew vou had (see: Exercises For Strength and Power, page 141).

/7 /'/

/'/

Your voic~ should ~ flaib/~ ~nouglJ

/'

tO sing tlvouglJ rtgilttr cltangts.

/' / ------ -//' / CIstSI Votet Htad Voiet / /' /' / /' f - L o w e r - - - - - - - PitclJ

/

---

VollUM

Fals~u()

Soft~r

------Hjglstr~

Diagram 31

117

The Job. Df lhe Larynx

TIu Rock 'n' Roll Singers Su",ival Manual

THE JOBS OF THE VOCAL TRACT lhe vocal Iract is lhe name for lhe opan areas above lhe larynx, meaning lhe Ihroal, moulh and nose cavilies (see diagram #32).

lhis is where lhe sound is

embellished wilh resonance and shaped inlo language.

lhis area musI become

independenl frem lhe larynx in order lo gel lhe mosl oul of your voice. II len people sang lhe same pilch, would you be able lO lell Ihem apart?

I

Ihink so. lhe way your ear separales lhe diflerenl sounds is by Iheir limbre. lhis is lhe musical lerm lor lonal qualily. Each sound has ils own resonance, crealed by a variely 01 overtones and Iheir individual volumes.

lhe combinalion 01 ali Ihese

elemenls happening aI lhe same lime makes up lhe spectrum 01 a sound. Resonance is an

ove~ooked

opportunily lor volume. When mosl singers say

Ihey wanl more power Irom Iheir voice, Ihey're really lalking aboul resonance. lhe more harmonics added lo your voice lhe bigger lhe sound becomes. Wilhoul any addilional eflort, lhe sound seems louder and projects betler over lhe inslrumenls. lo undersland how sound reacts Ihis way read Obey lhe Laws (page 38). lhis section describes whal lhe singer does lO help or hinder lhe amounl of resonance in his voice. lhe vocal Iract plays lhe role of a speaker cabinel, and your larynx is lhe spaaker.

On ils own, a speaker sounds Ihin and

papery.

Il never projects well regardless 01 how much power you

give it.

Place il inside a wood cabinel and lhe combinalion comes

alive.

lhe resonance 01 lhe cabinel enhances lhe sound 01 lhe

speaker and requires lar less power. lhe art 01 building a cabinel is malching lhe proper proportions wilh lhe spaaker.

When lhe

cabinel adds whal lhe speaker is missing, lhe Iwo ",,,rk as one. lhis is called a "tuned cabine!" and you wanl Ihis same relalionship belween your larynx and vocal Iract. 118

Ali About Your Instrument

YOUR VOICE HAS A BUILT IN E.O. Speaking 01 stereos, hopelully Vou are lamiliar with an equalizer. It's the part on most stereos that has a row 01 little sliding controls that enhance the sound. 11 Vou don't have an equalizer, then I'm sure Vocal Tract

you're lamiliar with the bass and treble knobs. What these controls do is regulate the volume 01 the overtones.

By turning

up the treble, the volume 01 the higher overtonas

increases,

and

guass

what iagram 31 - Vocal Tnu:/

happens when vou turn up the bass?

The muscles 01 the vocal tract act the same way. They can absorb or rellect certain overtones giving vou a selection 01 sounds.

The best situation is Iree,

flexible muscles that are responsive to the whims 01 change. When the walls 01 the throat tense, their texture is coarse. They absorb sound waves like the acousties in a carpet store.

Released muscles are smooth and rellect like the walls 01 a

gymnasium. Which do Vou think is better? Try this example to illustrate the added power 01 overtones.

Tum some

music on your stereo and put ali the tone controls on zero. As vou listen to the sound, slowly turn the controls to ten.

Did the stereo seem to get louder? Notice

vou never touched the volume knob. Now return the tone controls to zero and turn the volume up to match the amount 01 sound Vou had previously. Even when they match, the sound leaves much to be desired. The volume knob represents your larynx, and the tone controls are your vocal tract.

Without the benefit 01 overtones, your larynx has to work very hard.

means wear and tear.

This

Incorporating the resonance allows your larynx to back ofl,

and the Ireedom allows lor more range and control.

"9

Th. Job. of IM Vocal Trad

The Rock 'n' RoU Singer's Su",illal Manual

11 is nol necessary lo manipulale lhe vocal Iract beyond ils nalural slale. As always, less is bast. little problems.

Unlortunalely, you develop big habils Irom combining many

Alter a while you end up wilh a Iraffic jam 01 lense muscles which

leel perfectly normal , but nol nalural. Avoiding regisler changes, crealing 100 much air pressure and Irying lo conlrol pilch above lhe larynx, conlribute lo lhe inability 01 your Ihroal lo relax. lhese Ihree issues are explained elsewhere in Ihis book (see: lhe Jobs 01 lhe Larynx, page 105), a lourth Iroublemaker is discussed nex!o IMIIAIING REDUCES FREEDOM We ali imilale olher voices when we speak. When you were jusl learning lo lalk, lhe sounds 01 lhe voices around you were regislered along wilh lhe words. Accenls are passed down Ihrough generalions Ihis way. You're given a clean slale when you sing. lhe mind doesn'l lransler speech patterns lo singing so you don'l hear sluttering or accenls when someone sings. However, when you're young and slarting lo sing, you're impressionable lo olher voices you admire. lhe imilalion process begins again, and Ihis is lhe painl where your reslrictions bagin. Since lhe limbre 01 a voice is delermined by lhe size and shape 01 lhe larynx and vocal lraet, Ihars why everybody is different. Add in lhe mullilude 01 changes available wilh inlernal muscles and lhe chances 01 Iwo voices being lhe same are nil. On lhe olher hand, lhe voice has Ihal unique abilily lo imilale.

Jusl by hearing

someone's voice we inslinclively know how lo manipulale our voices lo sound lhe same. Jusl because you can, doesn'l mean irs right. II you're a 100 pound woman lhe chances are pretty goOO you will nol have lhe same vocal sound as a 200 pound woman , and vice versa.

lhe changes Ihal have lo occur inside your Ihroal lo

malch a sound, which is lar Irom your own, laligues lhe muscles and shortens your vocal lime. II you're only getting an hour's worth 120

Ali Aboul Your Inslrumenl

of control out of your voice, then vou fali into this category. Becoming possibilities.

intemally

sensitive

to

your instrument

Vour imagination becomes the leader.

gives

vou

unlimited

Singing with another singer's

voice in mind forces vou to sing from the memory of a sound, so you're less aware of how things feel.

Such conscious control makes Vou want to listen to your voice

as vou sing and doesn't allow for natural responses of the vocal muscles. What's wrong with your voice anyway? Don't forget: there are no permanent vocal problems, only permanent beliefs (see: Ali About Vourself, page 159). Imitating a sound makes vou subconsciously insecure about your natural abilities. lhat doesn't exactly pro mote speedy growth.

I guarantee, if Vou could listen into

the future and hear what you'd sound like with a little wOrk, you'd stop studying other singers. lhe pull towards imitation is so strong, it will still show up even if Vou deliberately avoid it, so stop changing voices and start building your own. RESONANCE PLAYS A DIFFERENI ROLL IN ROCK For centuries singers have developed the overtones in their voice in arder to project over the orchestra.

lhe vocalist would train to develop a harmonic "ring"

around 2,800 cycles per second (Hz).

lhere is a decline in the overtones of the

orchestra in the same area, so the singer can be heard regardless of volume. With rock 'n' roll or any amplified music, the acoustics of instruments and voices are manufactured.

A singer can whisper at 120 decibels (dbs).

Ali the

sounds are routed through equalizers which manipulate the sound artificially.

Now

the inability to hear the singer of a band may be more of the sound man's fault. Although these days vou can get away with less, there are still big advantages for the singer who has developed the overtones in his voice. lhe first benefit is a reduced work load for the larynx. lhe more your vocal tract contributes to the sound the less output is needed from the source. lhe second benefit is a built-in barometer for tension.

Vour resonance is proportionately reduced by the

amount of restnction in the muscles. Use the sound to guide vou back to freedom. 121

TIu Jobs ol/lu V_ Troct

The Rock In' RoU Singer's Survival Manual

RESONANCE PROJECTS EMOnON

Anolher major benefit 01 Ilexible harmonies is lhe emolional signal Ihey Iransmil 10 lisleners. emolions.

The same muscles Ihal conlrol your voice also respond lo

I'm lalking aboul lhe sublle lone 01 a voice ralher Ihan lhe obvious lear-

jerking sounds 01 lhe larynx. It's lhe silualion when someone's voice gets on your nerves, and vou don'l even know why. You're being aflected subconsciously by lhe overtones. As a lislener, we have emolional responses lo certain Irequencies.

The

highesl overtones produce a shrill sound Ihal puts us on lhe delensive. JuSI under shrill comes nasalily wilh lhe same psychological eflect.

II makes vou wince.

When combined wilh loud volume, Ihey lrigger a prolective inslinct in us Ihal sleps up adrenaline production and prepares us lor "fighl or f1ight."

No matter whal lhe

Iyries say, lhe undertying signal says lear, anger, or lruslralion.

That's why your

parenls can'l rei ale lo heavy melaI. Sludies done on Ihis subject have shown lisleners respond best lo lhe same Irequency Ihal projects besl over an orcheslra, 2800 Hz.

This

overtone in your voice puls lhe lislener aI ease and drops Iheir guard emolionally. As lisleners open up, your Iyries sink in deeper and have a slronger eflect.

Even Ihough ampliliers can make up

lor a lack 01 projection, nolhing can replace lhe power 01 emolion. Rock singers need lo develop resonaling overtones jusl like ali olher singers. HOW TO ENCOURAGE RESONANCE

Singers don'l make resonance, Ihey allow it.

The besl way lo

insure a resonanl sound is lo creale space in lhe vocal Iract. This means leave lhe larynx low.

Remember lhe speaker cabinel

analogy? Now, imagine two idenlical speakers, and place one in a small cabinel and lhe olher in a large one.

122

Which would sound

Ali About Your Instrument

better?

The large one.

It olfers more area lor additional overtones to build the

sound.

In the same way. when the larynx is low. the additional space in the throat

provides more opportunity lor resonance. Maintaining a low larynx not only improves resonance. but also handles most other vocal problems as well.

This is based on the lact that most problems (too

much pressure. neck and tongue tension. and controlling pitch) cause the larynx to rise like an elevator.

Besides the timing 01 the attack. nothing is as important as

the position 01 the larynx. VOWELS

The different Irequencies in your voice have a very important lunction besides adding quality.

They lorm the vowels.

Subtle movements in the walls 01 the

pharynx and dilferent positions 01 the tongue alter the Irequencies that exit the mouth.

Certain areas 01 Irequency are either absorbed or reflected in the pharyn x

and shaped into sounds we recognize as the dilferent vowels. Vowels can be arranged in order 01 their Irequencies. to help visualize how they're created.

This is called the vowel spectrum (Diagram #33). The lirst vowel

listed (EE). has the highest Irequencies. down to the vowel produced by the lowest (00).

For a simple example 01 what goes on inside your throat. sustain an "EE"

sound and slowly place your hand over your mouth. When your mouth is covered the "EE" will turn to "00" because the higher Irequencies have been absorbed by your hand. Some vowels are a combination 01 sounds. These are called diphthongs and thripthongs and are created when the tongue and pharynx are in motion Irom one shape to another. The vowel starts as one sound and ends as another. Dark Sound

N~UITal

Brillialll Sound

BE

AY

Sound AR

OH

00

iagram 33 - Vowel Spectrum

123

The loba 01 tire Vocal Tract

Tire Rock 'n' Roll Singers Survival Manual

VOWELS AS TOOLS

Vou can use the characteristics 01 different vowels to build a balanced voice. When Vou sing an "00", your larynx descends and your throat opens to promote the low Irequencies needed to make the vowel.

This is a great depth builder.

II

vou have a thin voice, exercises with "00" will add richness to your sound by training the larynx to stay low (see: Exercises For Strength and Power, page 140). "AH" is a relaxed vowel.

The tongue and pharynx relax; that's why doctors

ask Vou to say it when they look down your throat. scales on due to the Ireedom around the larynx. remain consistent as vou run through a scale.

This is a great vowel to sing The sound 01 the "AH" should

II it's altered to "UH", especially at

the top 01 the scale, it means the throat and tongue are tensing in reaction to pitch. Keeping the vowel pure trains the vocal tract to relrain Irom pitch control. Working with "AH" builds a consistency throughout ali vowels. The larynx makes a different closure lor "EE". The vocal lolds make a tighter seal down their center. This makes it an excellent tool lor healing a blown voice. After abusing your voice, the lolds become swollen and bow slightly upward. This prevents them Irom meeting exactly in the center and the result is a leaky seal, giving a breathy or hoarse sound.

Light,

gentle scales descending on an "EE" vowel help to reduce swelling and re-align the lolds so they meet in the center.

Other than

healing, an "EE" pro motes the highest Irequencies to be amplilied. This is what gives your voice its projecting or carrying power. DON'T USE YOUR MOUTH

There is a tremendous amount 01 missed opportunity lor singers who shape vowels with their mouths. The lips are the exit point lor the sound, and as lar away Irom the source 01 the sound as Vou can get.

There will be huge differences between vowel sounds

causing unpredictable blares in your voice. 124

Ali About Your Instrument

Vou should base a vowel as low in your throat as possible without forcing it. lhis will allow a continuity between vowels as opposite as "EE" and "00". vowel requires your lips it should be at a minimum.

If a

lhis will free the mouth for

consonants without interfering with vowel production. CONSONANTS • JUSI A BUNCH OF NOISE lhe final job of the vocal tract is to make noises while Vou sing, called consonants.

lhese noises, placed at the beginning, middle, and ends of vowels

shape the sound even further into speech. Consonants are formed by the lips and tongue using the small stream of air that flows from the larynx. Some ccnsonants, called voiced consonants, are accompanied by a pitch. Others are called voiceless because the folds lay silent when they are produced. A voiced ccnsonant should assume the pitch of the vowel it's attached to, instead of sliding up to it. lhe biggest troublemakers are the plosives like b, p, d, t, k, g, which bottle up the air flow for a split seccnd. lhey are not the cause of trouble, they merely expose it. When Vou pressurize your voice too much, air explodes out of the mouth and hits the microphone with a pop. problem for the moment, It is important to independent.

Although moving the mike might solve the

the only solution is to reorganize your technique. remember that the vowel and the consonant are

11 a pitch is high, it is easy to become tense around the mouth even

though the consonant itself has no pitch.

Even when it's a voiced consonant, the

larynx is vibrating the pitch. "H" IS A WORKOUI lhe only ccnsonant formed by the larynx is "H".

lhe folds separate and

allow some air to escape to create the sound. Making "H's" turns out to be a great exercise for the muscles of the larynx.

lhe folds develop strength by repetitive

"H's" as an isometric exercise wor1<s on other muscles.

125

The Jobs of lhe Voad Trru:/

The Roc/, In' Roll Singer's SU1l'ival Manual

HOW DO VOU LOSE VOUR VOICE? The slepS oullined in lhe requiremenls for singing. balance.

BIG

PICTURE

(page 99) are lhe simple

Change or vary any of lhe evenls and you dislurb lhe

You've probably heard Ihal law of physics Ihal slales, "For every action,

Ihere is an equal and opposile reaction."

Singing is no exceplion.

This means a

lension in lhe slomach muscles will cause a lension in lhe Ihroat. You'lI nolice lhe word balance used often lo describe whal singing should feel like. This is an accurale image, bul it's difficull lo know when you have il correctly. How would you describe riding a bicycle lo someone who has never been on one? One Ihing's for sure. Ali Ihal person would have lo do is fali down once, and Ihey would begin lo undersland whal balance is about.

Singing is nol as obvious; you

can be a little oul of balance and slill sound fine.

The best rule lo remember is:

SINGERS LOSE THEIR VOICE WHEN THEY LOSE THEIR BALANCE. There are many examples Ihroughout Ihis book of silualions Ihal cause Irouble in your voice, bul lhe common denominalor between ali of Ihem is Ihal Ihey dislurb lhe balance.

Consequently, ali remedies

for your voice will have relurned lhe equilibrium one way or anolher. The singer Ihal can become sensilive lo Ihis balance of powers will have longevily and conlrol. So whal exactly does il mean lo be in balance when you sing? The definilion of balance is equalily between conlrasling or opposing elemenls.

There are two elements or forces needed lo sing, air

pressure, and resislance lo air pressure. Rock-n-RolI singing is aulomalically oul of balance.

In fact,

some singing is waaaaay oul of balance. Any kind of music Ihat's emolionally charged will be vulnerable.

An importanl consideralion

is lO ask; IS THIS HOW THE SINGER CHOOSES TO PLAY THEIR

126

Ali Aboul Your lnstrumenl

INSTRUMENT? Even il lhe answer is yes, Vou should remember Ihal vou are bolh lhe player and lhe inslrumen\. Usually, lhe inslrumenl has no say in lhe way it's being played.

Take a

perfectly luned guilar and play il really hard, in a while il will sound lemble.

Ask

someone wilh a beaulilul voice lO sing as loud and as hard as Ihey can and il won'l lake long belore Ihey have no voice aI alI.

Hall lhe battle is lo gel a goOO solid

inslrumenl; lhe olher is leaming how lo play i\. This means Ihal Ihere are two seIs oi balances lo mainlain when vou sing. The lirsl balance is physical, two opposing lorces wilhin your body producing lhe desired sound. The secend is menlal, lhe balance between what Vou wanl lo hear versus whal vou can do.

Lel's lake a more delailed look aI lhe physical balance

lirsl, lhe menlal balance is explored in lhe lasl chapler. WHERE TROUBLE BEGINS In Diagram #34, f've added some oi lhe muscles oi lhe longue and Ihroa\. There is a complex network Ihal cenlrols ali lhe movemenls oi lhe larynx, pharyn x, longue, esophagus, palale and so on.

11 conlrol oi your voice is losl by using 100

many muscles, does Ihal mean you'lI gain conlrol by using less? Ves, and Ihat's a big part oi whal Iraining your voice is ali abou\.

When vou reduce lhe amounl oi

muscles used in any activily, vou raise lhe efliciency oi Ihose slill in use. Vou gain range, power, and accuracy. There's no wasled energy. For me il was hard lo believe Ihal I ceuld gel more by doing less.

When I

began lo undersland lhe diflerenl jobs oi muscles, il became obvious why my voice was limiled.

Example, play a simple slow drum roll wilh your hands on your leg.

Now speed up unlil it's as lasl as vou can o Did il slay even? Did vou sliflen up as vou lried lo play harder?

Did il gel louder?

f'm sure aI some poinl your elbows

began lo lock up wilh your lorearrns and lhe whole Ihing became sloppy. Drummers know how lo keep Ihese muscles released and Ihat's whal gives Ihem control. Singers need a very similar abilily. These illuslralions are here lo acquainl 127

How Do You Lose Your Voice?

TIu Rock in' Roll Singers Survival Manual

ThiJ area doeSfI't beflefit the projected sound 0/ your voice.

Hard

pa'a".~::~H

TOflglU

Diagram - 34

128

Ali About Your Insl1ument

you wilh muscles you've been using every day 01 your lile.

Vou don'l need a

medicai degree lo be a singer, jusl a simple underslanding 01 your inslrument. I've placed Ihese muscles inlo Ihree groups based on Iheir jobs. None 01 lhe muscles shown in Diagram #34, are responsible lor producing lhe sound, Ihal occurs inside lhe larynx. Yel, each one 01 Ihese muscles has lhe abilily lo alIe r or shape lhe sound.

Each muscle, when isolaled, has a simple lunction.

However,

activaled simullaneously, Ihey begin lo work againsl each olher. Conlrol is losl lo a battle 01 lensions once you can no longe r separale one muscle's job Irom anolher. Every muscle has a particular movemenl memorized in ils cell lissue, and singing is nol on lhe lop 01 lhe lisl lor any 01 Ihem.

For inslance, nolice lhe

muscles

o

iIIuslraled

Diagram localions

#34;

in Iheír

make

pertect

sense lor Iheir primary lunctions 01 longue and jaw

mobilily

swallowing.

and

Read lhe

lollowing

descriplions

aboul

Ihese

once

you

muscles; undersland

Iheir characterislics, il will be easier lo conlrol Ihem. THE TONGUE

The longue gels a calegory

ali

ils

own

because 01 ils size and slrenglh. shows

Diagram #35 lhe

nelwork

01

iagram 35 - Tongue Muscles

129

How Do You Lose Your Voice?

lhe Rock ',,' RoU Singer's SunivaJ Manual

muscles which allow the tongue to move in various ways. Tension in these muscles wreal<s havoc ali through your throat.

Notice the size and location 01 the muscles.

What we can see 01 the tongue in our mouths only makes up a third 01 its size. The libers 01 the tongue are the second strongest in your body, the first is the heart. Beneath the surface these libers criss-cross to lorm a web, adding to its strength and making it difficult to release tension. to be a tough one to break.

Any habit 01 the tongue is going

It is used constantly, between swallowing and talking,

and it's very responsive to emotions. When any muscle contracts, it pulls back into itsell, compressing in size. When the tongue tenses, everything in the neighborhood is pulled in . This prevents ali the other muscles lrom moving Ireely. 11 you imagine the tongue in Diagram #35 contracting, you can see how it would affect the rool 01 the mouth, the opening 01 the throat. and the position 01 the larynx. For most 01 us, tension in the tongue is common.

Alter years 01 clenching,

the stiffness leels so lamiliar that we say it's "naturally" that way.

Separating a

learned habit Irom what is a natural state is important.

II it ain't

broke, don't lix it. The tongue disrupts things in a couple 01 ways.

First, it can

restrict air Ilow through the throat by pushing down, lalling back, or by becoming thicker. Alter looking at these diagrams, imagine the rear 01 the tongue moving backward and blocking the area over the epiglottis.

This creates a Ialse sense 01 strength, giving you the

sensation that you should push more.

Since the tongue doesn't

make any sound, there's nothing gained by the extra lorce.

The

larynx is below and is lirst in line to take the brunt 01 this pressure. Singers caught in the habit 01 using extra lorce lose their voices quickly due to swollen vocal lolds. Altering a newly created sound is the second way the tongue

130

Ali Aboul Your Instrumenl

interferes. A master 01 shapes, the tongue has the ability to thicken, thin, stretch, or contract in diflerent areas, simultaneously.

Because it is covered by a layer 01 soft

mucous membrane, the tongue can absorb sound like a blanket.

Nasality,

breathiness, Ilat pitches, breaks, and many more problems are ali caused to some degree by an over active tongue. Strength, size, and position make the tongue the lirst suspect when things go wrong with your voice. LIFTER MUSCLES

Notice the strap-like muscles highlighted in Diagram #36. Their lunction is to lift the larynx when you swallow.

Most inexperienced singers I've seen use these

muscles when singing higher pitches. walls

01

the

constrict

lhe higher the larynx rises, the more the

throat

around

Consequently,

it.

peoples

ranges are determined by the height they can lift instead 01

their larynx, the

Ilexibility

vocal lolds.

01

their

Associating

these muscles with pitch, reduces

your

range

signilicantly (see: Perfect Pitch, page 181). CONSlRIClOR MUSCLES

lhese muscles do just

what

suggests.

their lhere

name are

three constrictor muscles

Ülgram 36 - Ufter Museles

131

How Do You Lose Your Voice?

The Rock 'n' RoU Singtrs Survival ManUlll

(see Diagram #37) which reduce lhe diameler of lhe pharynx when you swallow.

As lhe size of

lhe Ihroal is gets smaJler so does lhe sound, unlil il reaches a painl where il is cu! off complelely. Remember, lhe muscles can'l lell lhe difference belween swallowing,

singing Ihey

or will

always close lhe Ihroal when lhe larynx goes up. Since Ihis becomes lhe delermining faetor of

your

iagram 37

~

Constrictor Muscles

range, il's up lo you lo develop lhe conlrol lo leI Ihem go (see: The Jobs of lhe Vocal Traet, page 118). If you look aI lhe longue, lifter, and conslrietor muscles as a package, il may nol seem so overwhelming.

They ali have lhe

abilily lo eilher pull up on lhe larynx ar close in around il; bolh spell lrouble. These muscles are inslinetively lhe ones you conneet wilh when you Ihink of singing.

They are easier lo access Ihan lhe

much smaller muscles Ihal really need lo be engaged. By squeezing your neck, and pushing more air lo hold onlo a nole, you may aI firsl feel more in conlrol. 132

II is lhe only way you

Ali About Your lnstrument

can imagine lo pul more drive inlo your voice.

Letting go of your neck, jaw, and

shoulders may seem as if il would kill your power and conlroi.

Ironically, letting go

is lhe only way lo go beyond whal you're doing now. When lhe muscles labeled wilh arrows poinling up are relaxed (see Diagram #38), lhe larynx slides down and lhe Ihroal opens. NOlice whal happens when Vou yawn, lhe larynx goes way down and your Ihroal opens wide in order lO gel as much air in as possible. Place your finger on your Adam's apple and swallow, you 'lI leel your larynx shool up under your chin.

Now yawn and leel il descendo In a

relaxed Ihroal, lhe larynx will sil somewhere in lhe middle. 11 Vou can sing wilhoul dislurtling Ihis middle posilion, Vou win. H OW

TO

A V OI O

O=======~--==-=~==-=jl

TROUBLE

Now Ihal vou have an underslanding aboul lhe

dislurbance

swallowing

lhe

muscles

cause, you're left wilh a perfectly nalural queslion. 11 using Ihese muscles is so aulomalic, how am I

• •

going lo slop Ihem Irom getting involved? you've

already

Well, slarted.

The mosl important slep in retraining a muscle's habil, is exposing it. The second slep is reinlorcing correct behavior.

iagram 38 - Sinker Muscles

133

How Do You Lose Your Voiee?

TIu Roci 'n' RoU Singers Suni..al ManUIÚ

Vour next queslion mighl

be,

know

if

I'm

do

doing

il

The answer is

righl?" written

"How

on

your

face.

Muscles

operale

groups;

when

conlracts,

il

in one

causes

a

chain reaction of activily. In

Diagram

#39,

I've

illuslraled lhe ouler mosl layer of muscles.

They

conlrol lhe movemenls of lhe

scalp,

lips,

nose,

eyes, brows, elc.

They

will

aid

Vou

by

illuslral-

iagram 39 - Facial Muscles

ing whal is laking place below lhe surface. This means vou can monilor lhe actions of Ihose invisible muscles in Diagram #34, by walching your face, head, and neck. This extemal layer represenls lhe lasl link, and any break in lhe chain will weaken ils action. The faces Vou see some singers make Ihal vou Ihoughl were emolion, are lhe result of activily inside.

In order lo hold any

muscle slift, olhers musl be held for leverage. This explains ali lhe slraining necks, squinling eyes, and lock jaws. Walch yourself in lhe mirror as you're singing a song. lense your brow?

Du Vou

Does your head come forward on lhe high 134

AU About Your lnstTument

notes? Is your mouth drawn tight?

Is your scalp tight?

Is your jaw locked into a

rigid position? Answering yes to any oi these questions indicates there is a tangled mess oi tensions inside. Now sing the same song and don't allow your lace or head to move. Try to look like a ventriloquist.

No matter how bad it sounds keep released, even though

there is a strong temptation to tense up lor support. without tension, but be patient.

In time you will regain control

Don't worry, I'm not suggesting everyone should

sing with a deadpan lace. Just practice that way. Soon you will become more sensitive to the smaller muscles working inside. These are the ones to capitalize on. Options will begin to unlold that were never available belore. Soon you'lI be able to slip in and out oi Ialsetto without a break, changing the volume at will.

Ii you build this ability to sing without any extemal

involvement, you can make any lace you want later and it will not interfere. Vou r lace is the most eflective communicator, so don't waste it on unnecessary vocal control. Where should control come lrom? Until now, everything has been locused on what not to use. produced.

Obviously, something has to work in order lor sound to be

The answer is inside the larynx, and like anything you want to

understand better, the lirst step is to take it apart (see : The Jobs oi the Larynx, page 118).

Remember, no matter how much you comprehend mentally, the linal

action always comes down to what the muscles are programmed to do. Reinlorcing correct behavior is the only way to create a permanent change.

135

How Do You Lose Your Voice?

The Rock t,.' RoU Singer's Survival Manual

DIAGNOSING DAMAGE Many 01 us have been lortunate enough to have ali 01 our body parts in good working condition right Irom birth. We take lor granted what some people struggle with ali their lives. Our most common problems are tension and inseeurities, whieh in eomparison to a birth delect are relatively easy to eorrect. Accidental injuries or operations can cause structural damage or leave behind traumatized museles, that don't respond the way they should.

Scar tissue is rigid

and inflexible compared to healthy muscle tissue. II Vou have a suspieion that your problem is due to an accident or operation, it's best to see a doctor and get the lacts. Some doctors become impatient with singers when they can't deseribe their problems accurately. A voealists' worries seem lussy eompared to people with more threatening eonditions. Doctors are also lrustrated by the repetition of a eondition. People tend to think doctors are responsible lor their health and rely too heavily on short term solutions.

~'s

your voiee, so learn about it.

Ask

questions and make sure vou understand the answers. Onee Vou get the information it's up to vou to see it through. An Ear, Nose and Throat doctor, or someone who is more specialized

in

voiee,

as

sympathetie to your needs.

an

otto-Iaryngologist,

will

be

more

There are some possible eonditions

whieh will effect your