AN ALTERNATIVE, SCIENCE-BASED THEORY OF REGISTER PHENOMENA

READ This PAPER ... It's Very Usefull for Singers ....

"This paper analyzes and evaluates several explicit and implicit assumptions that are embedded in the concepts, terminologies, and practices related to vocal registers. A reconciliation of the varied and conflicting register concepts, terminologies, and practices is proposed, including:

1. a brief historical context of vocal registers,

2. a documented science-based theory that accounts for vocal register phenomena from perceptual, physiological, and acoustical perspectives,

3. criteria for selection of science-based categorical word labels for register phenomena and suggested colloquial English terms that meet the criteria,

4. how the theory can be beneficially applied to the learning of efficient, skilled singing and speaking when guided by music educators, choral conductors, singing teachers, speech teachers, theatre directors, and when applied to therapeutic clinical settings."

Read MOre .....

How To Save Your Voice

How To Save Your Voice

By Craig Tompkins

1. Avoid abusing your voice.

* You should do nothing to your voice that results in hoarseness and/or throat pain.

* Avoid yelling or screaming to the point of causing hoarseness.

* Avoid singing so loudly that you develop hoarseness, and avoid singing in situations that are so noisy that you cannot hear yourself singing.

* When you have a cold or laryngitis, do not try to talk or sing "over" the problem, since this can lead to vocal‑fold damage. See your doctor.

2. Avoid misusing your voice.

* Be careful when using "character voices" not to strain, and use especially good breath support.

* Do not attempt to alter your "normal" speaking voice to create an effect; particularly avoid pitching your voice too low. (If you are using the lowest note of your pitch range for everyday conversation, this is too low).

* Avoid taking on roles that you cannot do, that is, don't attempt roles that are out of your range.

* Avoid using long run‑on sentences and a rapid speaking rate that stresses the vocal apparatus; good breath support for conversational speech is every bit as important as good breath support for singing. (If you don't know what this means, you should consider taking voice lessons, and/or seeing a voice therapist).

3. Avoid overusing your voice.

* In very noisy environments such as airplanes, keep conversation to a minimum.

* Examine your "vocal schedule" carefully. Remember that all your vocal demands are not of equal importance. Avoid making a schedule that leaves no room for rest and recovery.

* Use amplification when available and appropriate, especially for rehearsals.

* Use "marking" techniques when appropriate, especially for rehearsals.

4. Monitor your work and home environments for possible problems.

* Avoid, if possible, performing in smoky, dusty, and noisy environments.

* Use humidification in your bedroom, especially during the winter.

5. Monitor your diet and life style.

* Eat regularly, and eat a healthy diet.

* Avoid fried and other fatty foods.

* Avoid dehydration, since this adversely affects the vocal folds; drink plenty of water.

* Avoid eating or drinking, particularly alcoholic beverages, within three hours of bedtime.

* Minimize consumption of caffeine‑containing foods and beverages.

* Strictly avoid smoking or other tobacco consumption; if you already smoke, quit.

* Exercise regularly; mild aerobic exercise is best.

6. Avoid unnecessary medications.

* Don't treat yourself.

* Avoid drying medications such as antihistamines.

* Avoid anesthetic throat sprays.

* Know the possible effects your medications may have on your voice. Visit http://www.ncvs.org/ncvs/info/lifelong/rx2.html for a list of over 200 commonly prescribed medications.

7. Consider taking voice lessons, even if you have never had a voice problem; voice lessons have been shown to increase vocal efficiency, and decrease the likelihood of developing voice problems.

8. If you need a physician, consult with other singers to find an otolaryngologist who has experience in treating vocalists.

How to Practise

HOW TO PRACTISE

By Craig Tompkins

Practising singing is different from practising an instrument. When we practise the violin, piano or trumpet, we leave the instrument when we are finished and don’t return to it until the next session. With the voice, our body is our instrument and it is always with us. Every time we speak, swallow, cough, sneeze, whisper, yell, sigh, hold our breath or clear our throat, we are using parts of our body that are also used for singing. An important way we differ from other musicians is that singers sing words and notes, and those words are often in other languages. To be good singers requires that we understand exactly what we’re singing about. This may mean sitting down with a dictionary and doing a word by word translation of the song text then speaking it until it becomes comfortable before we even learn a single note of music!

As a singer, it’s better to have several shorter practise sessions throughout the day instead of one marathon session as some instrumentalists do. The first practise session of the day is the most important, and is best done as early as possible (ideally before noon, but definitely after breakfast). This warm-up session should include a brief physical warm-up, humming, onset, agility, legato and vowel balancing exercises in the middle and lower range of the voice. Wait until later in the day to sing songs. The length of this session depends on the singer. Sometimes you can get your voice warmed up in just five or ten minutes; other times it still isn’t feeling right after half an hour. If you aren’t singing well after twenty or twenty-five minutes, it’s best to stop and come back to it later. There are many reasons why things may not be working: dehydration, stress, lack of sleep, allergies, food sensitivities, bad moods (your’s or someone else’s!), hormones, medications, a cold, other distractions, etc. etc. Also, as your sensitivity to the way your voice works and your skills increase, you will discover which are the most effective exercises and warm-up routines.

The next session can begin with a very short warm-up and proceed to exercises for range extension, vowel balancing and agility in the upper part of your voice. This session is also a good time to work on songs. Other practise sessions can include using special exercises for problem areas, reviewing previously learned songs, reinforcing new habits and reading music. It’s best to limit each practise session to a maximum of forty-five minutes of actual singing even at an advanced level. Because your voice is produced by two little flaps of skin in your voice box that rub together many, many times per second (over 260 times for middle C), we don’t want to overuse these delicate tissues!

If you are singing in a choir, try to do your personal warm-up before rehearsal starts so that you are ready to sing in a safe and healthy manner. On the days that you have choir practise, feel free to replace one or two of your later practise sessions with a silent session where you learn words, listen to recordings, study the music or do some other non-vocal activity that’s related to the songs you’re singing. As singers we are lucky because we can accomplish a lot with silent practise. When you are singing, make every note count!