For all my solfege friends and students :)

Run-through or Practice?

We, music educators, so often bring up the concept of practicing. One of the reasons we remind our students of it so much is because we know it works - not only have we seen it work for our students, but it has worked for us personally. The interesting thing about being a music educator is that we have also had the experience of taking a very personal form of expression and invested in it to get the best outcome for ourselves. That devotion and investment is part of the reason we feel so inclined to inspire others to do the same. But we often forget to specify what we actually mean when we use the word "practice." So, in this post, I will try to break down the areas that define "practice."

All too often, I find that students assume they already understand HOW to practice, because they have "learned" a song or 2 (or 50) in the past. But let's first define a "run-through." Running through a song is just singing it from start to finish with no real focal points, questionable areas or attempt at change. If you find yourself singing over and over again with no idea what else to do, you are probably just doing a "run-through." I don't want to negate the value of a run-through. Sometimes, it is helpful to run through a song in order to refresh one's memory. But a run-through should not be classified as practice. True practicing involves sight reading, dissection, intentional warm-ups, attacking focal points, adding or modifying dynamics, flow, and sometimes, effects as well as performance technique.

SIGHT READING
Sight reading is when the singer takes a new or relative new piece and reads through the key signature, melodic/pitch movement, rhythm and tempo and lyrical phrasing. Sight reading is critical if you are attempting to practice a song you have never, or just recently heard or sung. Having written music (on staff) is extremely helpful, but even if you don't have that, at least try to write out the lyrics and leave spaces between lines for chords, notes (solfege, numbers or letter names) and personal reminders.

DISSECTION
Dissection is a term I use to refer to the process of breaking the piece down into smaller sections, giving the singer the opportunity to see and appreciate details where issues may lie. Songs can be dissected into verses, choruses and bridges, but they may also be dissected even further into phrases. I find phrases to be more effective when searching out the specific problem areas.

INTENTIONAL WARM-UPS
Of course, every singer should warm up their vocal chords before singing, but intentional warm-ups are those that include exercises which specifically focus on problem areas recognized in dissection. For example, if the singer has a specific issue with a vowel sound, then they should incorporate that specific vowel in their warm-up. They could sing that vowel all the way through their range or specifically on and around the pitch where that vowel is found in the piece.

FOCAL POINTS
Once a piece has been dissected and the singer has warmed up, it is probably helpful to run through the piece at least once to find where and how the problem areas are involved in the piece. Once they are pinpointed, the singer should separate those sections out and practice the actual problem or problem area. Some examples of attacking the focal points are pitch and/or rhythm correction, manipulating the shaping and placement of vowels, enunciation of consonants, and areas of inhalation or contraction while singing. If you are in lessons, your teacher has, no doubt, suggested various focal points. If something has been suggested, don't shrug it off. If it was obvious enough to be heard or seen, it's important enough to be practiced.

DYNAMICS, FLOW, EFFECTS
After the singer has pinpointed specific dissected areas, the song needs to come back together as a solid and moving piece. Some ways to affect the entirety of the musical piece are to add or manipulate the dynamics (volume + intensity). The flow of music is how the separate parts of the song link themselves together to create fluid understanding and musicality. There are many types of effects that can be utilized in singing to draw attention or give specific meaning to certain phrases, lyrics, melodic or harmonic movement, and so on.

PERFORMANCE
Unfortunately, many times audiences judge the singer before they've even heard a note sung. First impressions are important, but so are the impressions and perspectives as the piece moves along. Performance is a generic term I apply to anything having to do with the communication of a piece of music to the audience. Facial and corporal expression, use of stage and props, and emotional reality and commitment are all aspects of performance. Practicing in front of a full-length mirror is a fantastically effective way of perfecting performance techniques.

As you can see, true practice takes time, repetition, dedication and consistency. I usually recommend singers to practice at least 3 times as long as their weekly lesson. If you are not currently in lesson, shoot for 2-3 hours a week. After that is consistent, add 5-10 minutes to each practice and continue to add to them every time you feel confident in the consistency. Dedicated, professional singers practice upwards of 6-8 hrs a day! I hope this has all helped to focus your practice times more and give you some encouragement to continue and have faith in these exercises that have proven to be effective,

BACK TO SCHOOL!!!

Well, tomorrow is the first day of school for many of you. I know I have a lot of high schoolers going back tomorrow and some college students back tomorrow or next week. What are the feelings you have associated with starting "back" to something? I know many students who take lessons and then need to take a break for one reason or another. The "coming back" seems to be a nervous experience for most.

A few helpful hints when going to (or BACK to) lessons:
*Remember, your voice is with you all the time. And even if you haven't been singing, it is still there to be used and it is unique. No one on earth has, has had, or ever will have a voice like yours.

*Remember, nerves only create tension and tension closes down your ability to sing freely and with flexibility. Before walking into your lesson, take a few deep breaths and remind yourself to relax. You can also do some light stretching, neck and shoulder rolls as well as "shaking off" any tension or nerves.

*Remember how much you LOVE to sing. Remind yourself how it makes you feel to express yourself through music. Think of all the times you were able to release your emotions through a great song. If you need to, before walking into your lesson, sing through a little of your favorite song.

*Remember that this investment will be beneficial to you for the rest of your life. Maybe you will find a lifelong profession in music such as becoming a recording artist or teacher. You may find a paying or non-paying hobby like community theaters or church presentations. Maybe you will sing your children or grandchildren to sleep. You might even find the love of your life through a special song! As long as your voice stays healthy, you can sing at any age, in any circumstance - even if you find yourself in a hospital bed one day, singing can bring relaxation and release. The time and financial investment might weigh on you a little now, but will more than pay for itself when you are able to use music to its fullest potential!

Keep on singing!!!

Vowels, Breathing and Pronunciation - Have Patience! :)

I'm Still Singing!

Well, hello there!

Yes, I am still here, still singing and still teaching. I have been quite busy this past year, so though I am sorry I was not able to update this, I am glad to blame it on being busy with great students!

So, what's on my mind? Nothing technical. I'm actually thinking about all of you. If you watched any of the show "Why Not? With Shania Twain," you probably noticed that what happens with you personally can truly affect you musically.

I'll leave you with a simple word. Think about yourself. Think about your life. Is there anything tragic now or from the past that haunts you and keeps you from becoming what you are meant to be? What is it? What emotions does it bring up? What physical reactions does it bring up when you sing? Write down your thoughts. Make an action plan. Get some input, maybe some counsel or coaching, and get some support. No man is an island - we all need people to help us be better people. Be free to move. Staying where you are will keep you from becoming. Then.....sing. Sing, sing, sing! The more you use your body, mind and spirit in cooperation, the more you will become the most authentic and purposeful version of you!

Do you have questions - abstract or concrete - about singing or music? Feel free to comment here. I WILL be checking in.

believing in you - your coach,

rachel

EMOTIONS

The latest poll proved what one might suspect - your favorite aspect of singing is the emotion! Ahhh, me too! It's an odd thing though, most of us enjoy the emotional expression, but when it comes down to it, we tend to hold back. And any audience can pick up on a performance that is lacking in emotion or even one that is overly dramatic. So, how do you maintain control of all the technique and still emote effectively?

I don't have a simple checklist for this one. This is a very personal aspect of singing. But there are a few things you want to keep in mind:

- the audience wants to feel something

- the audience will NOT receive if you have nothing to give

- constantly closing your eyes is a way to close yourself off from your audience and have a personal experience without allowing them to participate

- the audience will feel offended if there is too much drama and not enough technique to accompany it

A concept I tend to use is the internalization/externalization method of expression. This means that first, you must know what your lyrics mean and what emotions you personally can attach to those words. Try to find a way to personally connect with the music for your own emotions. When you truly connect with your own feelings attached to the song and "LIVE" that moment, your body will automatically respond to your inner emotions and outwardly express what you inwardly feel. In addition, remember to use your eyes as tools of expression and find faces to look into in an attempt to externalize or "give off" the same emotion to your audience.

Take note, if you are not accustomed to outwardly showing your feelings or "opening up," performance might be one of your most difficult tasks. Don't be afraid to cry, or laugh, to get angry or excited as you practice, but practice lots so that those emotions don't override your technical ability. Technique and performance are best as balanced equals.

Breathing Warm-Ups

Breathing is probably one of the most important parts to singing, yet many times one of the most neglected. Here are some warm-ups you can do to increase lung capacity and strengthen muscles that support your breathing.

1. Stretches -

a. Clasp your hands with your fingers intertwined out in front of you. Turn your palms outwards. Stretch arms forward and take deep breaths. This should stretch out the intercostal muscles of your back and as you breathe you should feel your back "expand."

b. Clasp your hands with your fingers intertwined behind your back. Turn your palms to the floor. Stretch arms back and take deep breaths. This should stretch out the intercostal muscles of your chest and as you breathe you should feel your chest "expand."

2. Ab Toning -

a. Laying flat on the floor with your knees slightly bent and your hands cradling (NOT pulling) your head, crunch upwards. Ab crunches can truly strengthen and tone the muscles needed for support of your sound.

3. Breathing -

a. While sitting or standing in a tall position, take deep breaths in. The inhalation should make your lungs fill in the LONG, downward position which in turn will make the belly "pooch" outwards. (Note: Your shoulders should NOT move when inhaling.)

b. After taking a deep breath in, allow it out through a very small circular opening in your mouth while contracting your abs. (Hint: It feels like you're blowing up a balloon.)

c. After taking a deep breath in, "punch" it out through your mouth with a quick and strong contraction of your ab muscles. (Hint: It feels like someone punched you in the stomach.)

d. Count in your mind from 1 to 10 and back to 1. First count quickly and each time you start over count a bit more slowly. While ascending in the numbers (1-10), inhale. While descending in the numbers (10-1), exhale. Each time you arrive at 1, you should immediately start the next count. Beginning with quick numbers and slightly slowing down at each repetition means your lungs are being forced to fill with more air (in other words, it takes more time to inhale and exhale) which stretches your lungs and diaphragm.

e. After a few of these breathing exercises, feel free to repeated them while singing any given COMFORTABLE note. The note should be in your mid-range.

f. After becoming more comfortable with these exercises, try regular melodic warm-ups (such as going up and down, i.e. 123454321 or Do Re Mi Fa So Fa Mi Re Do) while singing the syllable "Ha" on each note. Make sure the "H" is a HARD "h" where you hear air escaping because of a quick contraction of the ab muscles. You can also substitute other vowel sounds, such as: "He, Hih, Hee, Hoh, Hoo."

VOWELS AND PLACEMENT

In my last post, I wrote about bright and dark placements. I want to expand on placement a bit to the concept of "vowel placement."

Vowels and combinations of vowels (diphthongs) are usually categorized in two basic categories:

vibration of sound created by placement of tongue - forward, central or back

position of jaw - closed, mid and open

(a third sub-category is also lip shaping)

Most vowels lend themselves to a certain placement, but the most common English vowels are:

A (as in day) = diphthong (moves positions from central mid to forward closed)

A ( as in bad) - forward open

Ah (as in father) - back open

E (as in see) - forward closed

Eh (as in fed) - forward mid

I (as in fight) =diphthong (moves positions from back open to back closed)

Ih (as in sit) - forward closed

O (as in fought) - back open

Oh (as in pole) - back mid

Ooo (as in too) - back closed

U (as in cute) - back closed

Uh (as in puddle) - central mid

Practicing placement can help to get a more specific idea of where sounds are being created in your mouth as well as which sounds are the best for your overall quality. It helps to look at the piece of music you are singing to pick up on which sounds will be "nice quality" sounds and which ones you might have to spend a little more time on.

Back open vowels give nice, round sounds. Closed sounds can be more directed, while closed forward sounds feel more pointed - like an arrow with a specific bull's eye. Central mid sounds tend to be the most difficult to hold on to and keep a good quality.

HELPFUL HINT: Make sure you SOUND OUT your vowel completely, because the written vowel might make you think it has one sound, but sung actually has another. Diphthongs are infamous for this - a combination of vowel sounds.

For example: the word "night" does not only have an "i." When singing this long note, you can take advantage o the "ah" and add the"ee" sound at the very end of the note. This will create a much nicer, more open, thick and powerful sound.

Forward/Bright vs. Back/Dark

REMEMBER: You can still vote in the poll on the right-hand side!

Even though your mouth might seem like a very small cavity to you, the effects of its positioning on your sound can create hundreds of differences. Depending on how open or closed, rounded or flat, the position of your tongue and all the myriads of slight variations on those can truly take you from one sound to another. I will touch on 2 extremes here.

Forward/Bright:

A forward or bright sound is one that resonates more around the lip area. An extreme version of it would be to imitate a young child. You can also practice it by pursing your lips and singing: "ooo" as in the word "you." You'll hear it very obviously and in higher pitches, it can be almost an "in your face" sound. The forward/bright sound happens most often when the mouth is more closed and can be hightened by the tongue raising in the back and lowering close to the teeth (touching the tip of the tongue to the roots of the bottom teeth). Some singers even push the bottom of the jaw bone a bit forward to get an even brighter sound.

Back/Dark:

A back or dark sound is one that is created more towards the back of your mouth close to the throat. An extreme version of it would be what I refer to as the "Kermit the Frog voice." This extreme sounds very "cartoonish." This voice resonates toward the back almost going "down" the throat. You can practice a more back/dark sound by opening wide and singing "ahhhh" as in the word "father." And, depending on the positioning of your tongue, you can make it a more "open dark" sound or a "closed dark" sound which is sometimes referred to as "velar" or "glottal."

(photo taken from: http://www.zompist.com/kitlong.html)

Of course, the positioning of the tongue, jaw and soft palate greatly affect the sound. And there is neither a good or bad in these 2 categories - the one most desirable highly depends on the type of voice the singer already has as well as the genre of music, vocal category, and performance style.

It's always good to have another GOOD "set of ears" listening to your sound and giving you feedback on what kind of sound you have and/or need (i.e. dark/back vs. light/forward). Since the singer hears their voice within the confines of their own skeletal structure, someone else hearing the "real" voice should be able to assist the singer in recognizing what is actually amplified on the outside. Vocal coaches should not only give advice, but be trained listeners to be able to instruct based on the reality of the sound.

Was this post helpful to you? Please comment below.

Baby Business

It's been a while since I updated this site, but I promise it was for a good reason - we have welcomed Leite baby #2 to our family, little Levi!  But I am back to work now and so proud of my students' recent achievements.  All of my students are definitely progressing - Caitlin M. won first place in a singing competition, Kristen Lynn's song "Run Away" was played on KISS FM 106.1 and Alex K. is in the process of co-writing his most recent song with me and will be recording his demo next month.

YAY!

100% of you answered correctly that the EYES/EYEBROWS are the body part most responsible for showing emotion during performance.  Although our tendency is to move our bodies and especially our hands and arms, the fact is that when an audience sees us, the very first thing they look at to try to connect with us are our eyes.

It is vitally important that an audience connect with the musician.  It doesn't matter what kind of incredible singer it is, if the person is "offensive" to the eye, most audiences will immediately disqualify that talent.  First impressions are lasting - even if it is during a 3 minute song. Here are some tips to help you maximize the impact of your eye contact while singing:

1.  Make sure you are "looking with intention."

Have specific places mapped out in your mind's eye, so that you natural eye will follow and seem to graze the audience smoothly and effortlessly.  Neither do you want your eyes to randomly dart from one unintentional place to another, nor do you want to stare down a person or 2 which might make them feel threatened or uncomfortable.

2.  Be "relevant" to your song.

Choose eye movements that have to do directly with your lyrics.  Obviously, if there is a reference to "heaven," you do not want to be looking at the ground.  Also remember that if there are repetitive lyrics, this DOES NOT mean you have to repeat your eye movements.  A bit a change can go a long way.  Having said that, overdoing it can cause a lot of discomfort - so keep a reign on those expressions as not to be over-expressive or "clown-like."

3.  Vary your eye movement.

It is important to be intentional and relevant, but also a bit spontaneous in your gaze.  Many a voice student has been taught to "look at a window" or "look over the crowd" in order to avoid being nervous by looking into the audience's eyes.  But your audience can tell if you look like a robot and are not connecting.  Make sure you vary from place to place.

4.  Be careful about closing your eyes.

There are some introspective songs which might call for a bit of eye closure as to emphasize important lyrics, but if the singer constantly has their eyes closed, the audience can feel excluded from the musical experience and again disqualify the talent.

5.  Practice.

The best thing to help yourself in facial expression is to practice in a mirror at home.  Practice at various times during each month to remind yourself of what you are capable of doing with your face - what looks appropriate, what does not, what is attention-catching or what is boring.  Work on specific songs - think through the lyrics and practice facial expressions that accompany them.  The more you practice using your facial muscles (especially around the eyebrows), the more you will be able to do.  You might even surprise yourself at how expressive you can be!

RESPONSE TO JAW POLL

In the latest poll, I asked what was the correct function of the jaw while singing:

-to stay out the way

-to close tightly and let the rest of the mouth do the moving

-to open as much as possible

The first and third answers got equal support.  The correct answer is to OPEN AS MUCH AS POSSIBLE.  Although it is many times paid no attention to, the jaw is actually considered one of our articulators (as are the teeth, lips and tongue).  The position of the jaw truly affects the amount of space there is for air flow as well as the placement of correct pitch and quality.

Check out the latest poll in the side column.  Comment here with any questions or comments!

DRINKS POLL RESPONSE

In the latest poll, I asked what drinks DO NOT negatively affect you singing.  You could choose more than one and each category equals 100%.  Here are your responses:

Water 90%

Milk 30%

Tea/Coffee 60%

Soft Drinks 60%

Juice 30%

WATER: To all you who vote for water, congratulations! Independent of it's temperature, water does NOT negatively affect a singing voice.  You do want to probably stay away from freezing cold water, especially after you've warmed up, since it will only cool down your chords, but it will still not harm you.

MILK: Because of it's thickness and high levels of calcium, milk can stick to and weigh down your vocal chords.  Although it is "good for you" and can give you a full feeling in your stomach, vocal chords and a throat full of milky paste can keep you from having elasticity in your voice and complete control of your chords.  So, milk is a no-no before singing.

TEA/COFFEE: Here's a tricky one.  Most tea and coffee are caffeinated which is definitely a negative factor on the throat and vocal chords.  Caffeine dries out anything that was previously lubricated, so downing a cup before singing is just asking for trouble.  HOWEVER, if you have DE-caffeinated coffee or tea, you should be ok.  Just watch out for sugars and milk.  Sugars can also dry you out and you already have your info on milk.  If you need to use something besides plain water to clean out your vocal system before singing, here are some hints:

a. DECAF peppermint tea - inhaling and drinking hot mint can quickly clear out congestion

b. Honey - adding honey to hot water or a mint DECAF tea can help to lubricate vocal chords and your throat on those days where you just feel a little dry and wheezy

c. Lemon - a natural acid, lemon in hot DECAF tea or water helps to cut away any "gunk" that might be sticking around after a cold

*You can use one or another, two or even all three in hot water to keep your chords nice and warm, clean, and lubricated.

SOFT DRINKS:  Soft drinks are usually loaded with sugar and caffeine - 2 DEFINITE no-nos for your chords and throat right before singing.  If you can find a soft drink with neither, we might be able to negotiate, in the mean time - ABSOLUTELY NOT!  :o)

JUICE: This is another tricky one.  Although juices are filled with "good for you" vitamins and sometimes some acidic fruits that can help to clear out the "gunk," generally they are not going to be a good substitute.  The high sugar counts can truly cut away at your lubricated vocal chords as well as set you up for failure mentally.  They can give you a high high followed immediately by a low low attention-wise which can hamper your success over a period of time.

Some smarty-pants students come up with this one:

"Ok, so if I drink milk and then follow it with a soft drink, I should be back to normal!" (or a similar theory thereof)

Don't kid yourself.  High sugar content and caffeine can do so much more harm than your realize.  So, I hope this clears up the doubts on drinks.  Your best bet is always our friendly H2O!  If you have any questions, feel free to comment here.  Also, check out the new poll on the right side.

Keep those chords warm, clean and smoothly lubricated!

Diaphragm Control - Yes or No?

In the latest poll, I asked if you think you should be able to control your diaphragm when you sing.  Astoundingly, 100% of you said "yes!"

Let's test it.  

If I say to you, raise your right hand - Can you do it?  I would hope so.

If I say to you, jump up and down - Can you do it?  I sure hope so.

If I say to you, move your diaphragm - Can you do it?  (Silence abounds!)

Having direct control over your diaphragm is really not up to you.  It's like asking you to jiggle your intestines.  It can probably be done, but only indirectly, by doing something else that affects it.

So, no, you cannot directly control your diaphragm.  This is a LARGELY misunderstood concept.  And it is understandable, since many vocal coaches will teach their students to "use their diaphragm."  Yes, your diaphragm is important in good singing.  But you can only affect it by other things you do - hence, indirectly.

By taking large breaths in (inhaling), you expand your lungs in a downward motion (like filling two balloons).  When those lungs fill with air, they push down on your diaphragm, which, being the flexible membrane that it is, curves from it's upward position to more of a sagging position.  When this happens, it forces your viscera (stomach, intestines, etc.) down and out.  This creates the "belly pooch."  When your belly "pooches" out, you then can directly control your air by contracting your abdominal muscles and slowly force the air back out of your lungs.  As the air moves out, floating over and setting in motion your vocal chords, the diaphragm slowly returns to it's original position, thus allowing the viscera to return to it's prior state.

Unfortunately, you CANNOT directly control your diaphragm.  But with lots of practice, you can indirectly control it, by controlling your inhaling, exhaling and contracting your abs.

Check the right column for the next poll!!!

The Eyes Are The Windows To The Soul

One of the most critical experiences for audiences is that they feel connected to what is being presented.  That means, for those of us who perform, that our job is to allow the audience that experience.  We have the huge weight on our shoulders to bring them in to our own experience with the music.

Regardless of how well you sing, if the audience doesn't feel that you are involving them in your experience, they might just dismiss your talent.  However, there is one thing that most certainly locks in your audience to your performance...the expression in your eyes!

Eyes really can reveal so much about how and what we feel.  It is essential that your eyes (and eyebrows) emote according to the lyrics.  And even though you might feel like a fool, the fact is you are probably NOT "over"emoting.

If you feel you have a hard time involving your audience into your emotional, musical experience, you can better your eye expression:

Make a list of differing emotions.  In front of a mirror, practice showing these various feelings or emotions by expressing them only with your eyes.  (For example: Open your eyes wide.  Squint them pensively.  Close them tightly.  Look to the sides.  Think thoughts that will spur you to emote different feelings with your eyes.)  Practice being as dramatical as possible in front of the mirror.  When you are in front of a crowd, you will probably hold back a bit anyway.

Remember, your eyes can either block your audience out or lure them in to an emotional experience they long to experience with your beautiful voice!

5-Step Checklist (per your request)

Well, if you've been wondering where I wandered off to - I was on the Amazon!  We did some music word there and it was a long, exhausting, but WONDERFUL trip!

In the last poll, I asked which 5-step checklist you might like to have and the winner was:

How to better your breathing technique.  So, here we go:

1. Make sure that you do deep breathing exercises before you start your vocal warm-up

2. Although many professionals may advise you to breathe through your nose when singing, as long as you are well-hydrated, taking deep breaths through your mouth as you sing can be very beneficial to sing longer and stronger

3. When inhaling, your breaths should fill your lungs - as a "byproduct," you should see your stomach expand during your inhalations - use rests and commas as your cues to when you can inhale (do NOT inhale in the middle of words or in melodic runs)

4. When exhaling, especially on high or long notes, your abdomen muscles should slowly contract forcing your stomach to return to its relaxed position - make sure to use the strength in your abs to push your air all the way through long notes and melodic runs.

5. Listen carefully to your singing voice for "wasted" air, airy sounds, obvious breaths, hoarse or cracking notes and piercing notes.  TOO MUCH AIR ("wasted'): If you can hear air in your sound, and especially if you can feel it (put your palm about 4-6 inches in front of your mouth), you are not controlling your airflow with your abs and therefore, are probably exhausting yourself with excessive breathing.  TOO LITTLE AIR: If you have trouble finishing phrases, long notes or melodic runs, you are either not inhaling enough, or you are allowing the air to leave almost completely at the beginning of your phrase.  If you often hear hoarse, cracking or piercing notes, and especially if you feel pain after singing, you are probably not inhaling and maintaining with your abs correctly.

Never Underestimate the Power of Your Abs

Any singer who has sung for a substantial amount of time will tell you that "support" is vital to continuous singing. Many people will specifically say "breath support." And although it is important to be able to take full, deep breaths - no true breath support can happen without the power of the abdomen muscles.

The abdominal muscles directly affect how long we can hold a note or how powerful the breath support is behind any particular note. The concept of singing with your "diaphragm" is highly misunderstood. We have no control over our diaphragm except for how it is impacted by our breathing and abdominal movement. (To prove this point - try to move your diaphragm now. Don't know what to do? Exactly! We can't consciously control the diaphragm.) The abs, then, play a highly important role in supporting our breath and voice. After you have inhaled, by contracting your abs continuously while singing, you should notice a stronger and longer sound. Also, by using the abs correctly, many singers find that they no longer have "pain" in their throats. (Pain in the throat while singing often comes from trying to strengthen sound with the throat muscles instead of using the abs.) You can become a bit fatigued by using your abs consistently, but it should be completely painless. And just as with any other muscle, the more you use it, the stronger and easier it is to use.

Some of you may think that you are not in "good shape" enough to use your abs. This is a common misconception. In fact, your ab muscles lie beneath our "belly fat." And regardless of your overall health, you can tone and strengthen your ab muscles. There is no need to do full sit-ups when referring to muscle tone for singing. Simple crunches every day can help you strengthen those muscles. Just think of all those operatic performers who are highly overweight, but have amazingly strong and controlled voices. They have strong and toned abdominal muscles under that exterior!

Another helpful practice can be done anywhere and anytime - I refer to it simply as the "Breathing Technique" exercise.
1. Breathe in deeply.
2. Contract and hold your ab muscles.
3. Blow out the air with a quick "punch" (as if someone is punching your contracted abs which forces you to exhale quickly.)

This is very similar to the technique professional singers use to sustain notes (high or low) and to add power to any note (loud or soft).

So, are you a little on the chubby side? Do you have a weak sound? Does your throat hurt after singing? No worries...you can sing just as powerfully by strengthening and utilizing those hidden, but powerful abs!

Must Sees, Performance Pics and Polls

I have added a couple of new features on this site - they are in the left column.

"performance pics" is a video of a performance I personally enjoyed.

"must sees" are any tibidts of new information I have come across and found musically inspiring in some way.

Also, don't forget to vote in the monthly polls. Feel free to leave any comments on any of the new additions.

RESPONSE TO FEBRUARY POLL

In response to last month's poll, I decided to jot down a few helpful hints for the most voted answer to the question. **Remember to check the left hand column for updated polls, vote and check back for my comments.

Feb. '08 Question: What would you most like to change in your voice?

Most Submitted Answer: To have a better sound (quality)

1. Remember that your voice is exactly that: YOURS. You should never want to have someone else's voice, because there is definitely something special about your own. Try to stay away from imitating other voices and find the unique quality in your own.

2. Trust your instincts. If you think you sound better in a certain range or style, try to go with it. If what you are singing, or the way you are singing is just not working for you (even if you personally enjoy that method style), try something that feels more comfortable. We all usually have a better quality when we sing comfortably.

3. Don't shut up! Many of the most beautiful sounds are created by an open mouth (oral cavity). Don't ever be afraid to open your mouth more, drop your jaw, raise your soft palate and pronounce your words. Open as much as possible without pain or manipulation of the understading of your lyrics.

4. Practice Breathing. Many quality problems come about from poor breathing or breath control. If you are really struggling with making it through phrases or long notes, most likely your quality is not at its peak either. When in doubt, try out a few different vocal coaches - ask specifically for help with breathing technique, and go with the one that seems to help you the most.

Posture 101

"Head and Shoulders, Knees and Toes, Knees and Toes..."

OK, so I have been spending too much time with toddlers, but this is an excellent way to remember to check yourself on posture. Here is the checklist that goes with the Posture 101 video (on the side):

- Head
- Neck
- Shoulders
- Torso (arms and hands)
- Hips
- Knees
- Feet

The main idea is to keep in mind a straight core. This will directly affect your breathing and ability to perform vocally and physically.