Archive for the ‘Voice Fatigue and Strain’ Category
|WHAT IF YOU WERE ALWAYS BEING RECORDED?
Tuesday, November 16th, 2010
24/7 RECORDING?
What if every word you spoke and sang at home, in the car, in rehearsal and in performance was recorded? Then, at the end of the day you would be given an evaluation of how you did in areas with your tone quality, appropriate volume, clarity of your words, use of breath and more. Would that change the way you use your voice?
For some, the very possibility of being recorded and evaluated would lead to paranoia, not to mention less speaking and singing. For most, however, it should give birth to a fun, challenging and very fulfilling game called, “I will prepare mentally and physically before I open my mouth.”
THINK ABOUT IT
Every time you make an audible sound you are reinforcing your physical process be it right or wrong. If you’re like most people you speak without ever thinking about the actual sound. Hopefully, that’s because you are focusing on the message.
The fact is, we have the mental capacity to think about content and voice at the same time, and that should be our goal. Even as we begin the process we can quadruple the power of our communications by matching content with appropriate tone, volume, diction and inflections. Any time we don’t have all these elements working in harmony we risk a partial disconnect between what we think we are saying and what actually gets heard.
MAKE A LIST
It begins with you actively listening to and defining your own voice. What does it sound like? Is it rough, smooth, pitched high or low or in between? Is it soothing or alarming, unnecessarily loud or too soft to be heard? Are the words clear and easy for others to understand, or are they mumbled, requiring repeats of what you’ve said? Write down these observations. If you have the courage, ask several others to give their feedback on the above list of possibilities. Keep this list handy as you begin the Exercise In Voice Awareness.
FOR SPEAKING
- Using your new list begin to make the changes you are capable of.
- If you are straining your throat while trying to speak at too low a pitch (you can put a hand there and feel it) stop it. Allow your speaking voice to be slightly higher.
- If you are always hyper and loud when you speak, relax. Get softer. It will be easier on the listener and your voice. It will also give you room to build and grow your sound when that is appropriate.
- If you mumble your words, slow down and use the lips, tongue and teeth. With a little listening and effort you can be clear.
- Adjust other obvious areas, then begin “hearing” your tone and voice quality before it comes out, then speak.
FOR SINGING
- Before you make a sung sound think about it. What should it feel like (posture, breathing, tone resonance, diction)? Then, consider what it should sound like. Mentally anticipate and “hear” the sound before it comes out. This is a skill that you can develop.
- Whenever possible, record yourself speaking or singing, and be objective as you listen back. Ask yourself what areas met your goals and what didn’t? What can you do about it? Even many smart phones can record with surprisingly accurate quality.
REMEMBER THE GOAL
As you mentally record and evaluate your voice, you will grow in your vocal awareness. Your goal is to be “hearing” your voice even before the sound is produced. This will help the different parts of the vocal process (posture, breathing, tone, diction, and volume) deliver exactly what you want rather than whatever default sound happens to come out.
WHEN WILL YOU SEE THE FRUIT?
You can start benefiting almost immediately but it will take a little time before it happens automatically. In my own experience I began just thinking about and enjoying the sound and physical sensations of the voice. Before long it was always in the back of my mind. Now, it just happens and things adjust in milliseconds before sound comes out. Because it is on autopilot, I can put all my thought into content and delivering the message whether speaking or singing.
DO YOU HAVE QUESTIONS?
Let me know your thoughts and questions at chris@vocalcoach.com and be sure to visit our FaceBook page by clicking the icon in the upper, left-hand corner of this page. While on the FB page click the “Like” button at the top of the page.
Tags: chris and carole beatty, chris beatty, speaking voice, vocal coach, vocalcoach.com
Posted in Breathing, Choir Directors, Diction, Posture, Singing Subjects, Soloist, Speaking Tips, Tone, Uncategorized, Vocal Health, Voice Fatigue and Strain, Worship Team | No Comments »
COLD WEATHER TIPS FOR SINGERS
Tuesday, November 9th, 2010
As the temperature plunges, singers and speakers need to take extra care. Here are some tips that will keep your voice healthy. The bottom line is this: With a little thought and preparation the cold weather doesn’t need to be a problem.
Having lived in temperatures ranging from 112°above to 55° below zero (Las Vegas, Northern MN, NYC, Chicago,) I can tell you that when it comes to singing, temperature does matter.
SOME OF US ARE JUST DESIGNED FOR COLD WEATHER
I did most of my early formal training and singing in Chicago, and that’s one cold city in the winter. Here is some wisdom I learned from those who lived there and those who toured around the world.
When You’re Outside in Freezing or Below Temperatures:
♪ Try to breathe in only through the nose and out through nose and mouth. This gives the air a chance to warm and moisturize before hitting your larynx and lungs.
♪ If you must talk outside, let your listener know you’ll be breathing in nasally which may slow your conversation down a bit.
♪ Scarf & hat. 70-80% of body heat-loss happens through neck and head. That’s why in New York City it’s easy to spot the singers. They’re the ones wearing scarfs and hats even in mildly cool weather. They consider themselves vocal athletes and know the importance of vocal health. It’s no different than other athletes wearing warming sleeves or heavy hoodies when they’re on the bench. It keeps them ready to do what they do. Isn’t that what you want?
♪ Cold air is usually very dry and requires us to hydrate more than normal. Remember the rule: Half your body weight in ounces of water daily. 150 lbs. = 75 ounces of water . . . at least.
♪ Humidifier and breathing steam. Because heated air from a furnace or even fire is drier air consider using a humidifier. Any time your home’s humidity is lower than 35% it’s too low for singers and very drying to the vocal tract. And, when your throat is dry consider a long, hot shower or using a Vick’s Personal Steam Inhaler. It’s a great way to counter drying and even mild swelling of the vocal folds due to too much singing or speaking.
♪ A topical moisturizer like Entertainer’s Secret Throat Spray can instantly moisturize the nasal passages, sinuses, upper throat and oral cavity. That’s a really good start to keeping moist. It doesn’t take the place of good hydrating, but it does its job well and it’s used by thousands of singers and speakers world-wide. Buy 6 and get the 7th free with this limited-time offer.
♪ A warm drink will help warm areas around the larynx, but remember: caffeine is a diuretic and can dry you out. Staying with decaffeinated drinks (still some caffeine there), or better yet no-caffeine drinks is better on singing days. Something like “Throat Coat” tea is filled with interesting flavors and very good for singers.
♪ Acclimate before singing. Arrive at where you’ll be singing 20-30 minutes early to allow your body, larynx and lungs to “get up to temp.” Guitar players and photographers allow their equipment to adjust to room temperature and humidity before beginning an event and your vocal instrument is even more fragile.
♪ Warm up smart. Smart singers begin every day with some humming and light vocal exercises so they are never too far from being ready to sing. When coming in out of the cold don’t just show up hoping to get your vocal mechanism in gear during the first few songs. Instead, as soon as your body begins to get comfortable begin lightly humming throughout your range. Then move into scales and lip-trills. (Hint: Putting some Vocal Coach warm-ups on your mp3 player or iPhone will always give you a predictable, familiar routine.)
♪ Eat smart. If you are outside a lot in cold weather you burn more calories just staying warm. On the other hand, if you are much less physically active in the winter months adjust your calorie intake accordingly. The way you eat and your overall health has a lot to do with your singing health. Try and plan ahead.
When You Have To Sing Outside
Doing any caroling this Christmas? There’s no need to sacrifice your voice as you enjoy this special time of the year, so remember:
♪ Warm up yourself and your voice before going outside.
♪ Your throat and head need to be covered.
♪ A cup or thermos of non-caffeinated tea or hot cider is a great idea.
♪ Take more frequent, smaller breaths through nose and mouth rather than normal. Big, gasping breaths through the mouth will tend to chill the larynx.
Let me know if this helps, and if you have any favorite cold weather tips. Just leave a comment or write me at chris@vocalcoah.com
Posted in Vocal Health, Voice Fatigue and Strain | 3 Comments »
EFFORTLESS SPEAKING TAKES SOME EFFORT
Tuesday, October 26th, 2010
The title of this article may seem a little contradictory, but it’s not. In order to sound comfortable, relaxed and effortless as you speak, you may need to do some work.
What kind of effort leads to effortless sounding Speech? Learning to listen to, and observe yourself, in daily communications. Then, taking appropriate action. Let’s consider the following areas and see how aware, or unaware you are of your own communications:
1. Vocal Tone Quality. Are you consciously aware of the sound of your own voice? You need to be. You should regularly consider whether you are speaking at too high or too low a pitch or too loudly or softy for any given situation.
We will look at those one at a time, but first I need to define a term I will be using. Optimal speaking pitch is the pitch area at which your voice can easily produce speech. It is primarily determined by the size of your relaxed vocal folds. It is easily found by spontaneously saying, “Um Hm,” as you might in response to a simple question such as, “Are you having a good day?” Instead of saying, “Yes,” say the more informal, “Um Hm.” Do this several times and find the pitches where you say the, “Um Hm.” It will often be over a 4-note range. Once you know that general pitch area you will know where you should probably be doing most of your talking. This is a general rule, but when being very expressive you will expand that range higher. Having experimented with your optimal speaking pitch, consider the following:
- Is your voice pitched too high? Have you raised the pitch level of your voice due to excitement-induced adrenaline? Is that making you hard to understand? Take a deep breath and let the pitch come back down, closer to your optimal speaking pitch. This will still allow the excitement to come through without alarming the listener.
- Is your voice pitched too low? If you gravel around well below your optimal speaking pitch it will make you difficult to understand. It will also make your voice tire quickly, leading to a more gravelly, mumbled sound. If you hear this happening, stop. Check your posture, take a deep breath and allow the voice to be pitched at your optimal speaking pitch area.
- Are you speaking too loudly? Some people are just loud. It may be due to the natural acoustics of their voice, a lack of vocal self-awareness or even hearing loss. When caused my partial deafness (how loud are your headphones/ear buds?) they often turn up the volume because they can’t hear themselves easily and assume others can’t either.
- Are you speaking too softly? If people constantly ask you to repeat things you may be talking too softly and need to adjust your volume. Of course, it may also be due to under-pronouncing your words (mumbling), looking away from the listener or lack of vocal resonance. For the resonance issue I recommend the Complete Tone CD, but for many it may just be a matter of being aware and listening to their volume and clarity more carefully.
2. Posture. The way you carry your body has considerable influence on the message you are giving. If you look tired, bored or uninterested that is how you will be perceived whether you are, or not. In other words, posture colors and modifies what you are saying. Be posture-aware, and make sure your posture and message are in agreement.
3. Face. Just like posture, your facial expression needs to agree with your words. If you’re genuinely excited but have trouble showing it, practice being excited in the mirror. It may just be that your facial muscles don’t know what to do. On the other hand, if you tend to over-express yourself to the point of alarming the listener, don’t hesitate to practice being less physically expressive while still sharing your message.
The bottom line is this: If you will put a little effort into listening to and watching what you’re doing in your spoken communications, it can make a huge difference. Making just a few needed adjustments will make you a more successful communicator. If you’re really daring, set up a camera in the corner of a room where you’re talking to people and then study what you do in real life. If you’re fortunate enough to have a skilled public speaker in your arena of friends, ask them to honestly evaluate your “daily speech” performance. This assumes, of course, you are ready and willing to do something with the input.
Cathy staying hydrated.
Finally, remember that speaking, just like singing, takes moisture from your body. Therefore, the more you talk the more water you need to drink. A passionate singer can lose as much as a gallon of water in a two-hour concert. If you talk on the phone throughout the day, host frequent meetings, teach classes or heavily use your voice in any way you need to stay hydrated. The minimum you need is half your body weight in ounces of water a day (160 lbs=80 ounces of water.) If you’re in a noisy environment, or dried out from air conditioning or heat consider using the topical moisturizer Entertainer’s Secret. We have used and sold it for years and know it really works. It now comes with a new and more effective spray nozzle. Click here to check it out.
Comments or questions? Let me know at chris@vocalcoach.com. My goal is to provide answers to your questions.
Tags: chris beatty, chris beatty vocalcoach.com, expression, improve speaking voice, speaking voice, vocal health, vocal training
Posted in Speaking Tips, Vocal Health, Voice Fatigue and Strain | No Comments »
HOW TO REGAIN LOW NOTES AFTER SINGING HIGH ONES
Tuesday, July 13th, 2010
Question from a Blog Reader: Both my daughter and I have a problem: After we sing for a time in our highest range (we’re both sopranos), we can no longer reach our lower notes. Is there something we’re doing wrong? Thanks.
Vocal Coach Answer: This is a very, very common problem and I’ve got some solutions I think you’ll like.
Common Scenario: You “kind of” warm up . . . though not all the time . . . and even then often while doing other things. As you begin a rehearsal, or performance your voice gets stronger. Because most songs don’t start on their highest notes, everything continues to feel good . . . for a while. Then it’s time to move into some higher notes for a while AND THEN SUDDENLY sing some lower notes. The same notes that were strong and easy when you started. How hard could that be?
Plenty hard if you don’t regularly exercise through your full range, from top to bottom. And the more casual you are about maintaining your voice the more likely you will encounter this situation. Does the above scenario describe your experience? If so, a great solution can be easily explained.
Solution:
First Some Background
Understand that there are 19 muscles busily adjusting so that just the right length and thickness of the vocal folds (vocal cords) are able to vibrate. As the sub-glottal breath comes up from the lungs, the vibrating leading edges of the folds produce a specific pitch, or frequency. Faster vibrations result in a higher pitch; slower vibrations, a lower pitch. The many adjustments that make this all happen can be quite effortless and automatic if, and only if you have trained and prepared your voice. It’s all about muscle memory and what your voice has memorized, be it good, or bad.
Here’s Your Course of Action
- Review your own concept and process of warming up your voice. If you’ve been too casual about it you can change that.
- Determine to never do much singing without first warming up. Even if you’re singing in the shower or the car, a few minutes of humming and lip-trills can go a long way. Often, the biggest offenders are trained singers who manage to “get away with” no warm-ups. But, it will catch up, and there is danger of slowly wearing away your vocal health without even knowing it . . . until it’s too late. An obvious parallel is the trained athlete. The good ones always, warm and stretch the muscles to minimize the risk of injury and maximize the performance potential. It’s no different for singers. Either you are treating your voice well, or you’re not. The proof is in how well, and how consistently your voice performs.
- Schedule times to warm-up and workout your voice. Be creative, but find a time and place that allows you to focus and analyze the feedback you’re getting from your voice. Just singing doesn’t make you a better singer.
- Plan your warm-ups. In addition to the many helpful tips on this site and at vocalcoach.com try this pattern: Start in a comfortable “speaking” range, humming five-tone scales on a light Hooo. Start going up by half or whole steps. Then, come back down to where you started. Next, go lower, then back to the starting range, back up, down to the starting area, down lower, etc. The goal is to always exercise both extremes of your range every time you warm up. Just preparing the higher range can leave you vulnerable when those lower notes are needed, and it’s unhealthy for the vocal mechanism. Another athletic parallel: Good physical trainers always have you work both the biceps and triceps, not just one or the other. They also have you strengthen the abdominal and back muscles. It’s the only way to have a structurally sound and functional body.
- Respect your voice and it will always be there.
- Never sing harder or higher than your voice is ready for.
- Use technology. Carry warm-up CD’s in your car or on your phone or iPod.
- Anticipate the particular challenges of the songs you’ll be singing and prepare for those challenges. That means not only systematic warm-ups, but also getting enough rest, eating well and getting some exercise. Remember: You are a vocal athlete.
You now have one more reason to care for your voice. As you do, you and your listeners will hear the results and you will be a happy singer.
Let me know your thoughts or questions in the “comments” section below.
Chris Beatty
Tags: chris beatty, singing lessons, singing low notes, vocal coach, vocal lessons, vocal training, vocal warmups, vocalcoach.com, worship leader
Posted in From the Coach, Performance, Singing Exercises, Singing Subjects, Soloist, Vocal Range, Voice Fatigue and Strain, Warm-Ups, Worship Team | 3 Comments »
HOW DO I FIX MY UNSTABLE VOICE?
Wednesday, June 30th, 2010
Question from Blog reader:
Chris, I am having a voice problem and need your input. I’ve been using your training CD’s for a few years now and they have helped me a lot. But, here’s my problem: When I first start a song I feel short of breath. My voice feels unstable. After a few words it gets better, but I still have a problem with my voice breaking or quivering. It’s not solid, or stable. Is this a throat problem, breathing or ??? Your comments would be greatly appreciated.
Vocal Coach Answer:
When a voice is unstable, wavering, tentative or breaks and quivers there are several possible causes. Here are some likely ones and some solutions
1. Anxiety. When you are mentally or emotionally unsure about what is going to come out when you open your mouth it can interfere with breathing, posture, diction, tone, expression . . . everything. The solution will be found in being more mechanically solid than you are anxious. In other words, having such secure technique in the posture, breathing, tone and diction that nothing can interfere. Solid muscle memory, of right techniques will be your friend every time.
2. Posture. If your posture is bent or broken it will interfere with breathing, tone and self-confidence and how the listener perceives your confidence. By lifting your arms straight up over your head you will discover your balanced posture. As you slowly bring your arms back down be sure to maintain the upright alignment. The shoulders should be completely relaxed, not pulled up or back. The feeling is one of being “athletically alert,” with a comfortably upright chest. Feel like you have a long back of neck and a shorter front of the neck. The head is back, over the shoulders, with the eyes looking straight ahead. Don’t let the chin lift for high notes or fall for low notes. Keep the head position neutral. Once you can sing your songs comfortably in this position you can look anywhere you want. Just don’t move the head to help you hit a note; it won’t.
3. Breathing. Securing good breath management will help you sing through the nervous times. The muscles will just continue to get you the right amount of breath. Not too much; not too little. Good breathing starts with good posture. A good first exercise is to get on your back, on the floor and feel what parts of the body are naturally engaged when you breathe in, and out. Then start sipping the breath in through an imaginary straw, and out on a SSSSSSS sound. After you have memorized where the breathing is naturally felt, stand, check your posture and repeat the exercise with a still chest and ribs.
4. Tone. Getting your posture and breathing more secure opens the possibility for your best vocal sound, or tone quality. The physical sensations of good tone are a relaxed throat, and lots of buzzing resonance (harmonics and overtones) vibrating through the face, mouth, sinuses and nasal passages. These are all sensations that you can physically feel, memorize and reproduce. A gentle hum will begin the sensation. Adding a chewing motion to the humming will keep the face and jaw more relaxed. And, don’t be afraid of all the vibrating you feel in the face. That’s a good sign, and means you are allowing the voice to work and not forcing it. These are aspects of your vocal sound you can “feel,” and that means you can reproduce them using muscle memory.
5. Diction. Another important area is diction, pronunciation or enunciation. It just means that the listener gets the message, not just the music. The other bonus of clear diction is this: As your own ears hear clear words coming out they tell the brain to tell the larynx to just relax and keep giving the pitch. If, on the other hand, your ears hear mumbled words they often tell the brain, and the brain (for some unknown reason) gets the larynx involved. That just leads to useless tension in the throat since the larynx can’t help diction. So, when in doubt, over-pronounce a bit so that even the least attentive listener hears your message.
So, there you have it. A systematic approach, to freeing up an unstable voice by paying attention to your POSTURE, BREATHING, TONE and DICTION. Needless to say, there’s a lot more to be said on all these topics. If you want to go deeper, with principles and exercises just go to the main site at vocalcoach.com and look for the Vocal Coach Singer package, or individual subjects by title.
If you have thoughts or comments leave them in the space below. Thanks.
Tags: breathing technique for singers, chris beatty, chris beatty vocalcoach.com, larynx, performance training, Singer, singing lessons, vocalcoach.com, voice lessons, voice training
Posted in Ask the Coach, Breathing, Choir Directors, Diction, Duets to Groups, From the Coach, Performance, Posture, Singing Subjects, Tone, Voice Fatigue and Strain, Worship Team | 2 Comments »
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