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Do
you have a question about singing?
Are you interested in learning
more about your voice?
Welcome
to Dreamquest's FREE online singing tips and FAQs with Melissiah,
international singing teacher, and founder of the
Absolute Singing Mastery
method of instruction and BodySense for Singers.
If you have any further questions about singing after reading
these pages feel free to send me an email. Please remember
that due to the extensive emails received monthly not all
questions may be answered.
THIS
MONTH'S QUESTION Sacrifice
worth the effort.
Q76.
I
am a 14 yr. old female. Singing has become my dream,
which is strange because I have never really sung
for anyone before. I want to learn to channel my emotions
through my voice to touch audiences. Celine Dion is
my favorite artist. In fact she's the only female
that I will regularly listen to. I believe that she
has the most incredible female voice ever. (not to
mention phenomenal stage presence) I have very little
vocal range. My volume is not good either. How can
I improve this? I can't take singing lessons because
I don't have the money. I'm ready to sacrifice time
and effort to make this dream of mine a reality.
J.D. Augusta, America
To
make your dream a reality you need to let go of limiting beliefs.
By this I refer to the word 'CAN'T' as in 'I cant take singing
lessons because I don't have the money'. My advice is to watch
the words that come out of your mouth. Words are like spells
that hold power over us. You say you are ready to sacrifice
time and effort to make your dream a reality - this is a good
start. How about saying "I CAN sacrifice time and effort
to get a job to pay for singing lessons."
The motto of Dreamquest is 'finis coronat opus' which translates
as 'the end crowns the work'. Here's a story to illustrate
the point. I've been a horse lover all my life and when I
was your age, I was determined to own a horse. (I realised
all the letters to Santa weren't going to work!) Firstly I
went around my neighbourhood to find a nice paddock where
I could keep a horse. I not only found a paddock, but the
owner's were prepared to give me free rent when I told them
I was still at school. Then I got my first job in a restaurant.
The pay was terrible but the day I handed my hard earned cash
over to buy my first pony was the greatest feeling in all
the world. Did I stop work then - not on your life! Horses
are expensive creatures and I also wanted to continue with
my riding education. My endeavours eventually earned me many
awards as both a rider and horse trainer. And to think it
all began with scrubbing plates at a restaurant.
But back to singing - Celine Dion made many sacrifices to
get where she is today. What are you prepared to sacrifice
to follow in her footsteps?
Wrong
wavelength creating blues for songwriter. Q75.
I am
trained classicaly in singing...(I have more of a
choir sounding voice)...My band wants me to sound
more agressive and use little or less vibrato, they
also want me to change and simplify my melodies...
This is a problem that I've had in the past, where
I feel like I'm working against the bands wishes because
of the classic sound of my voice. Basically, I feel
like I have to relearn how to sing, without vibrato
without that "classical" influence and sort of dumb
down my style.
Does anyone have any advice they could give me about
how I could change my style, melodies, or arrangement
enough to compromise with my band members, yet still
indulging in my interpretations of the songs??? This
has been very hard for me to deal with and its actually
what made me quit my last band. Do you guys have any
thoughts or suggestions? Thank
you,
B.A. Chicago, IL, USA
Let's
get something clear - the singer or frontman is the most important
member of any band. So by asking yourself the following questions
you may be able to solve your problems. Firstly did you audition
to join the band or did they audition to join you? Who has
written the songs, lyrics and melodies? What are your objectives
as as singer and musician, as opposed to the objectives of
the other band members?
A
frontman needs to be a leader, but not an egotist and definitely
not a dictator. Creating a successful band usually involves
some compromise whilst being open to new ideas. While your
band members may be offering you some useful advice or suggestions,
I get the feeling that you
are on the wrong wavelength with these people and would be
far happier working with people who share your progressive
tastes and ideas. The chances are that you probably have very
different tastes from your band members when it comes to music.
Finding a group of musicians that you click with musically
may
take some time, but ultimately should
be a rewarding experience. Just make sure your clear about
your musical directions and goals from the beginning and you'll
start attracting the right sort of folks.
Exercise
is simply not enough. Q74.
My
name is Blair Stubbs and I would like to find out
the right ways of exercising my vocal cords. I have
a very strong passion to become an Opera singer, I
know i have the ablility but it's better to get advice
from people that know it best, so that I will be able
to strengthen my vocal cords Better and Faster!!
B.S. Munchen, Germany
Hi
Blair, learning to sing involves the training of many muscles
in the body as well as the vocal 'cords' or vocal folds. As
our body is our singing instrument, realistically, learning
to sing involves coordination of some 400 muscles! By focusing
on your vocal folds, you are probably ignoring other essential
elements of singing such as airflow, resonance, diction and
dynamic control. In addition to this, opera singing also involves
a great deal of acting through interpretation of a character
or 'role'.
Study the lives of famous opera singers. Most of them attribute
their success to unwavering personal dedication combined with
the expert training they received from a master vocal coach.
The
truth will set your free.
Q73.
I have been listening to a lot of arists who belt,
namely Amy Lee of Evanescence and Avril Lavigne. They
seem to be hitting very high notes in pure chest voice,
higher than even the second D above middle C.
Now, I have read and been told many times that it
is very bad to sing this high in pure chest, so I
am wondering if this is actually what they are doing.
I'd like very much to be able to sing as high as Amy
Lee, with the level of ease and vocal strength she
seems to have doing so, but I don't want to be distroying
my voice in the process!
So, my questions are: when Amy is belting (not using
an obvious head voice like she does in some songs)
those high notes, is she really using chest or is
it actually a mixed register? How can I get that strong
vocal sound without destroying my voice?
K.A. Edison, United States
Scientifically
speaking there is actually no such thing as ‘mixed voice’,
‘chest voice’ or ‘head voice’ registers,
although a great many singing teachers use these terms. The
apparent register shifts you are referring to are actually
caused by accessing different resonators in the body. The
‘belted’ sound you mention is produced by a higher
larynx position in the throat, greater chest resonance and
less pharyngeal resonance.
The
object of vocal training, amongst other things is to be able
to produce an even tone across all notes of your vocal range.
To obtain a strong tone throughout your range you need to;
1.
Adduct your vocal folds (to prevent a breathy sound)
2. Access pharyngeal resonance with regard to the higher
notes or the notes you currently refer to as ‘head
voice’.
3. Learn how to smooth the transitions between different
areas of vocal resonance.
Most
beginners display a much weaker and breathier sound as the
voice ascends. This is due to lack of strength in both the
larynx and the body. As we sing higher the vocal folds stretch
and thin due to the action of the cricothyroid muscles. Differences
in the air pressure also need to be addressed. The higher
the note, the higher the frequency of vocal fold vibration
which therefore requires a greater VOLUME and PRESSURE of
expelled air.
My
Absolute Singing Mastery
CD shows you how to achieve these 3 essential components
of a strong and even voice. As regards your concern about
destroying your voice, it’s important to understand
that voice disorders occur in singers regardless of how much
‘belting’ they do or don’t do.
Taming
butterflies doesn't involve killing. Q72.hi
im a great singer but i cant sing in front of people
i get butterflies and i want singing to become a career
for me so what do i do to kill the nerves?
Anonymous, Dunedin USA
Performance
anxiety, also known as stage fright can be caused by a variety
of things. The fact that it is usually absent from early childhood
- remember how easy 'show and tell' at prep school was - prompts
many questions regarding our upbringing.
There
is compelling evidence that links performance nerves to society's
obsession with competition. We only have to look at the school
system to see that constant emphasis on getting good grades
causes a great deal of frustration and anxiety for most children.
With traditional schooling we are generally not encouraged
to make a team effort, or do our personal best - rather we
must become suspicious, jealous and judgemental of others
if we are to concentrate on being 'top of the class', 'winning
the prize' or being the 'best in the world'. This pervasive
attitude has now infiltrated the arts - witness the many singing
competitions on TV. We might get one 'winner' from Australian
Idol but we will also get thousands of 'losers'.
Stage
fright can also originate from a person experiencing a traumatic
or violent experience in early life, which leads to chronic
low self esteem. These people can feel a great deal of insecurity
about themselves and their singing ability
and may view others
with suspicion.
(I notice that you did not include your name on your
email and you talk about 'killing' the nerves.)
Whatever
the reason for your stage fright, it can be successfully treated.
After many years of research Dreamquest has developed a product
proven to increase levels of confidence and relaxation - 'Absolute
Singing Confidence'. This CD comes with a no-risk 30 day money
back guarantee. Please visit this link to download sneak preview
MP3's, view product testimonials and order your CD online.
Absolute
Singing Confidence
Pain
signals warning for musical theatre star.
Q71. I have been singing for a couple of years now,
performing in musical theatre shows, as well as I
am the front vocalist in a band. My current voice
craft teacher teaches me techniques in how to control
my voice. Almost everytime I leave my 30 mins classes
with her my voice feels sore and tired. It feels like
I am pushed to use muscle power, rather than concentrate
on the closure of my larynx when i sing.
I regularly loose my voice when i find myself in loud
surroundings like pubs, bars, clubs etc. I think i
tend to use my throat, and the sound of my voice is
sweet and light-lacks of depth. I feel this is reflected
in my singing as my teacher tells me i lack conviction
and energy in my voice when i sing. When i try my
best to take this into account in her lessons, I increase
the volume level and "push" my voice- and this is
when my voice gets tired. it gets a bit crackely when
i speak, as if i have a cough. But my teacher think
when i do this is sounds great. i dont seem to understand
her excersises- they tend to tire my throat as well...i've
tried explaining to her, but she hasent got so many
helpful answers. She herself is a natural singer,
as she has told me, and other students who are- so
I take it im not. What does that actually mean, does
sls say anything about the matter?
I
did train sls for a year prior to my voice craft lessons.
So therefore I am confused about the different ithos'
in the techniques. Do you think not all techniques
suits a voice, is it individual for one's voice which
works? I am just wondering if you have any opinions
on my subject? Any tips or advice will mean a lot
to me.
Miss
I.A Oslo Norway
You
ask some interesting questions. This singing advice page was
not set up with the intent to pass judgement on other teachers.
Some singing methods certainly produce much better coordinated
use of the body than others. However it's an unfortunate fact
that many emails I receive every month are from singers who
complain of sore throats during performance and unbelievably,
even during their singing lessons.
There can be no doubt that the singing instrument starts at
the soles of the feet
and ends at the
top of the head. Singing
therefore involves the WHOLE body and good healthy singing
involves precise and efficient coordination of the complete
neuro-muscular system.You mention concentrating on the closure
of the larynx during singing. Our vocal folds do need to 'close
together' to sing, but this is only one small part of the
big picture. For the vocal folds to vibrate to produce sound
it is crucial that the suspensory mechanism, balance and direction
of the BREATHING ORGAN is addressed. The vast majority of
people do not breath efficiently resulting in a negative influence
not only upon the voice but also upon the entire body and
mind.
It
is important to note that the muscles of the larynx are INDEPENDENT
of the respiratory muscles. This has very important ramifications
for singers. You may be using the muscles in your larynx properly,
but if your airflow is either insufficient or excessive a
sore throat may result. Thus a coordinated effort is required
between the larynx and the breath to achieve good, healthy
vocalization.
To
address your thoughts of different teaching techniques suiting
different voices, I believe that a thorough understanding
of the scientific concepts of voice production is essential
for the teacher. Good singing however is an art and what is
more useful for the student in many instances is the teacher's
use of imagery or metaphors to convey technique to the students.
Unbelievably, this practice continues to be criticized by
ignorant teachers. Metaphors permeate our lives
- they are found in dreams, fairy tales, parables from the
Bible, Shakespearean drama, pop songs and in everyday speech.
Metaphors are also an integral part of Tai Chi and
martial arts training. Mountains of research (beginning with
the great hypnotherapist Erickson) have demonstrated beyond
reasonable doubt, that the use of metaphors is a powerful
key to unlocking the potential of the unconscious mind thus
accelerating the learning process.
I
hope I've shed some light on your questions. I'd now like
you to ask yourself why you are paying someone to give you
a sore throat.
Speak
to the birds.
Q70.
I'm seventeen and i have been singing to Mariah Carey
for about four years now and i was wondering if you
could give me any advice or technique on how to get
her range and i dont mean range as in high and low
i mean the range that she is so famous for that seems
to blow people away. Thanks
D.H San
Antonio, America
The
very high range you are talking about is called the whistle
register. One of the first popular singers to employ the use
of whistle register was Yma Sumac. (If you really want to
be blown away have a listen to her 'Voice of the Xtabay'
CD.) An Aztec princess,Yma Sumac claimed the
birds of the Amazon rainforest taught her how to sing!
I've
found that the whistle register can be produced firstly by
imitating a cat or kitten's meow. However there are some considerations
to be taken if you wish to start using this register. The
first is that continued use of the whistle register can lead
to voice problems due to the extreme tensions it places on
the laryngeal muscles. Some singers who learn to access the
whistle register also find that it can abruptly appear in
the upper vocal range without warning.
Labels
create confusion.
Q69. My Voice Teacher is telling me I'm a Dramatic
Soprano because I'm loud, but my Choir Teacher is
saying I'm a cross between Lyric and Coloratura, what
am I at 14? And do Coloraturas naturally do the rapid
stuff or do they have to be taught?
B.T Dorset USA
Just
because you are loud doesn't necessarily mean you are a dramatic
soprano. There are also loud lyric sopranos. The dramatic
soprano voice is rare and is characterised by a 'metallic'
or more strident tone. Usually there is more vibrato than
with the lyric or spinto voices. Dramatic
voices generally develop later in life - it is exceptionally
rare to find a teenager with a dramatic voice. If you are
a coloratura, your voice will generally be a lot lighter in
tone. You will probably find that your voice is fairly flexible,
but you will have to work at the 'rapid stuff' if you wish
to master the coloratura repertoire. The dramatic coloratura
voice (eg
Joan Sutherland)
combines both qualities of strident tone with flexibility.
Remember that your voice is still very much in the developmental
stage due to your age. Also there are voices that are difficult
to categorize - Maria Callas could alter her sound at will
and could sing pretty much everything!
Shoud
singing be this painful?
Q68. Hello. I came across your email address on the
internet. I am a 24 year old male. I sing in a band
and have recently been getting headaches from singing.
This has been happening the past few months but never
happened before. why might this be happening? is this
common? they tend to last for about 10 to 15 minutes
once i stop singing.
Mr
J.M.
Milwaukee, United States
Headaches
from singing can sometimes result from a slight raise in blood
pressure. More specifically however, headaches usually result
from excessive tension in the muscles of the back of the neck.
The head/neck relationship is critical to singing as it is
to many other activities. It's an unfortunate fact that posture
training - as taught by the vast majority of teachers - is
based on ignorance and actually causes greater tension in
our singing instrument.
Many people believe they have perfect posture or muscle coordination,
but sensory appreciation - the sixth sense or proprioception
- is usually underdeveloped due to preoccupation with the
five external senses. Our BodySense
for Singers CD shows you how to develop essential proprioception
skills for optimizing your singing instrument.
Worries
about tonsil removal.
Q67.
hi i was wondering if i could still sing as well as
other people even if i had my tonsils taken out. in
other words if i had my tonsils taken out, would that
affect my singing ability so that i wouldnt be able
to sing high anymore or anything like that? thanks.
Mr.
H.T. Bergenfield,
USA
The
Palatine tonsils at the back of the throat are located a fair
distance from the larynx or voicebox. In my experience I've
never found tonsil removal to affect singing ability in either
myself or my students.
Theoretically, removing the tonsils actually makes more space
in the back of the throat which could result in more resonance
of the singing voice. I don't know of any studies that have
compared the singing voice before and after tonsillectomy.
However I do recall reading a news article where Josh Groban
reported he sung better after tonsil removal.
If you are at all worried about your voice in any way please
seek advice from an ear, nose and throat (ENT) doctor.
When
success breeds jealousy.
Q66.
I am a 16 year old female and have been singing my
entire life. I have sang in bands, and at restaurants
and hotels, and many black tie functions. However,
over the last three years I was terribly bullied at
school for my singing, and I grew very depressed.
I was referred to a psychiatrist and given medication,
and in the end I had to move schools to stop the panic
attacks.
My
new school is very musical, and I have begun singing
lessons, although I am learning to sing classical
- which I find quite hard. The thing that I'm worried
about is that I have not sang for a while and so am
out of practise. Singing is my whole life and I dream
of being successful. I also got a 50% scholarship
at my new school through my singing to stay for sixth
form, so they obviously think I'm good.
However, I have no confidence anymore and suffer from
stage fright. I feel that I've lost my voice forever.
It feels quite tight and dry, and constantly needs
clearing. I'm terribly worried that inavertably the
bullies have destroyed any chance of achieveing my
dream of becoming a singer. I understand that you're
very busy, but please take the time to reply to this
email - I would be forever greatful.
T.R.
Liphook, England
It's an unfortunate fact of life that bullies exist everywhere,
not just at school. There are corporate bullies who attempt
to destroy smaller competitors, bullies in the workplace, and
even bullies in the music industry. Bullies usually suffer from
feelings of inadequacy, insecurity and greed which lead them
to take out their frustrations on more talented individuals.
Many schoolyard bullies progress to become big game hunters,
criminals and general no-hopers.
The best advice I can give comes from Anthony Robbins - "STEP
UP!"
Bullies pretend that they're big and scary but in most cases
they're as insignificant as the dirt beneath your shoes. There's
no way bullies can destroy your life unless you want to be the
victim.
As for your confidence, I suggest taking a course of lessons
in the Alexander technique, and perhaps even some lessons in
a martial art such as Wing Chun Kung Fu. I realise you're on
a music scholarship, but you're also very young. Teenage
years are for having fun, developing social skills and expanding
your friendship with supportive individuals. You don't need
to dream of becoming a singer as you already are a singer and
you already are successful!
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