The Voice behind the Music

Posts tagged “singing

Vowels “The Long Tube of Sound”

Words are made up of a series of sounds rather than a solid square block of sound. When singing there is all sorts of room to play with the word; movable vowels and consonants. One word (or group of sounds) moves to the next group of sounds continuously.

The longer more expressive sounds are generally vowels. I like to think of the vowels as my “long tube of sound “ which I then shape with my tongue and lips slightly to make the consonant sounds.

To practice, start your first word of a line with its vowel-sound even if the word actually starts with a consonant. This will help you to start with an open throat. Begin by thinking of and shaping your throat with the vowel sound you are about to sing while breathing in. Then sing the first vowel sound, and without stopping that sound, shape the first consonant of the word.
Your sound should be continuous from sound shape to sound shape. The only time the sound will stop is when you take a breath.

aaa-th-aaa “the” aaathaaariiiiveeeerriiisswiiiide (the river is wide)

You can practice whole melodies on one vowel sound to help smooth out all kinds of difficulties. Slide from note to note to help maintain composure and relaxation between pitches.
Next you can practice the song using only the vowel sounds of each word (leaving out the consonants altogether). This takes a bit more work mostly because it is hard to think that way. You can write out the vowel sounds and then sing them (considerably easier). Sing continuously moving from one vowel to the next, only stopping to take breaths.

Try to remember it what this feels like. Change nothing, do nothing.

Add back in the consonants trying to maintain “your tube of sound”. Try not to pinch off “the tube” when you shape the consonants. Merely move your tongue or lips slightly (as little as possible) around the tube. There is no need for facial exaggeration when making consonants.
Check yourself out in the mirror to monitor. Happy tubing!

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take a still pill (Vocal Concepts, change your thoughts, change your voice)

KEEP STILL WHILE YOU SING. This was probably one of the hardest things for me when I first started singing. I was full of energy and twitching everywhere. My voice teacher used to beg me to stop moving! It took me a long time to rein it in and calm my body down. I used to BELIEVE  “I have so much to express, I feel so much, I can’t possibly hold still.”

Try putting your expressive energy into your VOICE instead of your facial expressions or other body movements. FEEL what you are singing about instead of acting like you feel it with you face. If you feel it, the voice will express it for you. You don’t have to DO anything.

When you watch the great singers of the world you will notice that their faces are very still. STILLNESS does not mean frozen or held. Their jaw is relaxed, their brow is soft, their lips hardly move (especially the upper lip), their throat muscles and veins are not popping out. They are in a state of utter presence and relaxed stillness.

A tense body will hinder your progress in generating volume and tone. (more on that in blogs to come in)

When a performer is tense or uncomfortable, then I (the listener), am also tense and uncomfortable.

Because sound is a vibration it actually enters the body of the listener. The audience feels what you feel because the sound you generate (from a tense or relaxed body) resonates inside of their body in the same way as it resonates in yours. It is the instant unconscious recognition of the human language.

HOW TO PRACTICE: this is good for singers, speakers and anyone who talks!

Stand in front of a mirror and try to keep still. A soft face and a quiet neck.

IMAGINE your face is bigger than it is, very big like a beach ball, and soft, lips numb like you were given a shot of Novocain. Take the time to really imagine it until you FEEL it.

Let your cheeks fatten, allow the space between your ears to widen sideways.

Let your tongue fall to the floor of your mouth.

Make a sound.

Keep your attention on your BROW. Don’t let your eyebrows move up and down when you change pitch.

Check out your NECK, can you see muscles sticking out or moving up and down? If so try to stop moving them (this can take a while). Trust me, they don’t have to move and are hindering your progress.

THIS IS REALLY HARD FOR SOME PEOPLE BECAUSE FORMER BEHAVIOR IS A LIFE LONG HABIT…. BUT….  IT IS WORTH THE EFFORT !!!!!

KEEP AT IT until you can maintain stillness while singing.


Remembering Frank Baker by Edward Herbst

Aloha,I just found this incredible story on-line after having a great talk with another fellow student of Frank Baker’s, James McCarthy (performer, writer, teacher) who I met shortly after moving to Hawaii. I studied voice with Frank in the 80’s and have not forgotten the many things I learned from him. I think about him everyday! James and I were trading stories over dinner and the similarity’s to the below story are goose pimple material. Frank taught thousands of students. It amazes me that there aren’t more stories out there on Frank and his courageous voice teaching methods. I am hoping more will show up and we can gather together to keep Franks beautiful, generous, impatient spirit circulating in the world. Mahalo, Louise

Remembering Frank Baker (1908-2000) Edward Herbst
In the Fall before Frank passed away, we visited him in North Bennington. Beth Skinner had baked Frank a fresh blueberry tort, which he always loved, and we sat down at the kitchen table with him, as his daughter Betsy moved about, preparing tea. After their cat jumped on the table, and the little mess was cleared up, Beth and I began to talk. Frank’s ability to speak was noticeably diminished since his last (ninety first) birthday in 1999, and one had to focus one’s attention very intently—even more than usual—to catch his words. So I was filling up a few minutes of time, trying to provide him with pleasant “conversation,” talking about my research in Indonesia earlier that year. After a short while, I saw a certain impatience in Frank’s eyes that I’d come to recognize behind the beatific smile. He gently waved his hand in the air—kind of like smoke circling round as it rises—a signal for us to listen to him. And then he intoned, “Tell me what you learned from me.” I laughed embarrassedly, and asked him how many days he had to listen to my answer. He repeated the request. Then we spent over an hour intently discussing the voice, the process of learning and of singing, with Frank desperately trying to express himself, and indeed managing to engage on a striking level. He was completely alert, eyes gleaming, taking in all we had to say (with hearing aid mostly reliable), and offering questions and answers with the greatest of difficulty. But what an exhilarating experience! The few phrases Frank managed to blurt out were so incisive and heartfelt. With great passion he would try to comment on something one of us said— attempting to get the words out, only having to wave his hand in the air in a gesture of giving up, with a smile of regret on his face. And still, his presence and engagement—being totally in the moment—were overwhelming, just as with his performances many decades before. One subject we talked about was the effect his stroke had on his teaching. He confirmed once again that he still thought of it as a great blessing. (more…)