VOCAL TTRAINING (SIFA NA MBINU ZA KUWA MWIMBAJI BORA)

SINGING COURSE

(Darasa la uimbaji)

WITH

Prince John Shabani

 

 

Table of contents

·         Introduction

·         Singing

·         Singer

·         Songwriter

·         Musician

-          Types of musicians

·         Melody

·         The Human voice

·         Voice  type

-          Female  voice

-          Male voice

-          Children’s voice

·         Vocal musical

-          Genres of vocal music

ü  Art, popular & traditional music

ü  Regional & national music

ü  Fusion music

·         Backing & Harmony

·         Vocal registration

·         Chest voice & Head Voice

·         Classifying singing voice

·         Choral music classification

·         Vocal pedagogy

·         Dangers of quick identification

·         Technique

-          Vocal techniques

-          Microphone technique

-          Performance techniques

·         Developing the singing voice

·         Extending vocal range

·         Posture

·         Breathing & Breathing support

·         Careers in singing

·         Vocal health

-          Medicine in the vocal Arts (How to save your voice)

·         10 Vocal commandments

·          The most common problems of singers

·         Medicine in the vocal Arts

·         Survival tips for choral singers

·         Things singers should avoid

·         Foods  & Drinks singers should avoid

·         Foods for singers

·         How to become good singer

-          Get the voice

-          Improve vocal technique

-          Appearance

-          Performance technique

-          Improve your stage presence

-          Get the confidence

-          Body language

-          Manage your voice

-          Manage your key

-          Pronunciation

-          Vocal range

-          Song feelings

-          Microphone technique

·         How to compose a song

·         Audition advice

·         Solo artists

·         Physical  exercises for singers

·         How to use microphones

 

Voice or Singing Training

                        John singing                               

Surely anyone can sing without vocal training? Many people are gifted with natural singing ability, but whether you want to become a professional entertainer, a casual performer, or sing for fun, it is important to learn how protect your best asset and to increase it's potential. Can YOU Sing? Before you pay for tuition, take time to do the following steps, you will need: A tape recorder and microphone, writing materials, something to sing with - Use one of your favorite singles/backing track/midi file. Record yourself singing along to a song. Listen back to your recording. Take notes on the following points: 1. Are you in Tune with the music? - Your notes should match the song. 2. Is your voice weak or strong? - Shouting is NOT Singing!! 3. Are you breathing correctly? - You should not be short of breath 4. Do you struggle to reach the notes - pick an easy song to start with! 5. Are you gasping for air between phrases - learn to breath in the "rests" between phrases 6. Record yourself again with another song 7. Listen to the difference in your practice recordings as you progress.

Singing    Singing is the act of producing musical sounds with the voice, which is often contrasted with regular speech. A person who sings is called a singer or vocalist. Singers perform music known as songs that can either be sung a cappella (without accompaniment) or accompanied by musicians and instruments ranging from a single instrumentalist (a duet with a piano) to a full  orchestra or big band. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. Nearly anyone who can speak can sing, since in many respects singing is a form of sustained speech.

Singing can be informal and done for pleasure; for example, singing in the shower or karaoke; or it can be very formal, as in the case of singing during a religious ritual such as a Mass or professional singing performances done on stage or in a recording studio. Singing at a high amateur or professional level usually requires innate talent, instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as Classical or rock, they typically take voice training provided by a voice teacher or vocal coach throughout their career.

Singer

A singer is a person who uses his or her voice to produce music. Often the singer is accompanied by musicians and instruments. While many people sing for pleasure, vocal skill is usually a combination of innate talent and professional training. People who fit the above requirements are referred to as vocalists.
A lead singer performs the primary vocals of a song, as opposed to a backing singer who sings backup vocals or harmonies. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Professional singers usually undergo voice training, provided by a voice teacher or coach. Singers are also classified by the style of music they sing, such as soul singers or carnatic vocalists.

Singer–songwriter

Singer–songwriter is a term that refers to musicians who write, compose and sing their own material including lyrics and melodies. They often provide the sole accompaniment to an entire composition or song, typically using a guitar or piano. A number of other well-known musicians may write some of their own songs, but are usually referred to as singers instead.

Musician

A musician is a person who plays or writes music. Musicians can be classified by their roles in creating or performing music:

• An instrumentalist plays a musical instrument.
• A singer (or vocalist) uses his or her voice as an instrument.
• Composers, songwriters and arrangers create musical compositions, songs and arrangements. These may be transcribed in music notation, performed or recorded.
• A conductor leads a musical ensemble. A conductor can simultaneously act as an instrumentalist in the ensemble.
• A recording artist creates recorded music, such as CDs and MP3 files.

Types of musicians

Leaders

     

Conductor · leader · Concertmaster

Composers: Composer · Songwriter · arranger · Orchestrator

Instrumentalists : Bassist or Double bassist · Bassoonist · Bandurist (Bandura player) · Bouzouki player · Cellist · Clarinetist · Drummer · Euphoniumist · Electronic musician · Flautist · Guitarist (Electric, Acoustic, Synth) · Harpist · Hornist (Horn player) · Keyboardist (Keyboard player) · Oboist · Organist · Pianist · Percussionist · Recorder player · Saxophonist · Sawist (musical saw player) · Sitarist · Trombonist · Trumpeter (also Trumpet player) · Tubist (Tuba player) · Turntablist (DJ) · Uillean piper · Violinist · Violist (Viola player)

Vocalists: Singer · Rapper · Screamer etc.

Melody

A melody (from Greek μελῳδία - melōidía, "singing, chanting"), also tune, voice, or line, is a linear succession of musical tones which is perceived as a single entity. In its most literal sense a melody is a sequence of pitches and durations, while more figuratively the term has occasionally been extended to include successions of other musical elements such as tone color.
Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a song or piece in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjuct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. "Many extant explanations [of melody] confine us to specific stylistic models, and they are too exclusive."

Elements

The melodies existent in most European music written before the 20th century, and popular music throughout the 20th century, featured "fixed and easily discernible frequency patterns", recurring "events, often periodic, at all structural levels" and "recurrence of durations and patterns of durations".
Melodies in the 20th century have "utilized a greater variety of pitch resources than has been the custom in any other historical period of Western music." While the diatonic scale is still used, the twelve-tone scale became "widely employed." Composers also allotted a structural role to "the qualitative dimensions" that previously had been "almost exclusively reserved for pitch and rhythm". De Lone states, "The essential elements of any melody are duration, pitch, and quality (timbre), texture, and loudness. Though the same melody may be recognizable when played with a wide variety of timbres and dynamics, the latter may still be an "element of linear ordering"

Examples

"Pop Goes the Weasel" melody

Different musical styles use melody in different ways. For example:

• Jazz musicians use the melody line, called the "lead" or "head", as a starting point for improvisation.
• Rock music, melodic music, and other forms of popular music and folk music tend to pick one or two melodies (verse and chorus) and stick with them; much variety may occur in the phrasing and lyrics.
• Indian classical music relies heavily on melody and rhythm, and not so much on harmony as the above forms.
• Balinese gamelan music often uses complicated variations and alterations of a single melody played simultaneously, called heterophony.
• In western classical music, composers often introduce an initial melody, or theme, and then create variations. Classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often melodies are constructed from motifs or short melodic fragments, such as the opening of Beethoven's Fifth Symphony. Richard Wagner popularized the concept of a leitmotif: a motif or melody associated with a certain idea, person or place.
• While in both most popular music and classical music of the common practice period pitch and duration are of primary importance in melodies, the contemporary music of the 20th and 21st centuries pitch and duration have lessened in importance and quality has gained importance, often primary.

The human voice

A labeled anatomical diagram of the vocal folds or cords. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalene and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.
Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.

Voice type

Female voices: Soprano, Mezzo-soprano & Contralto

Male voices: Countertenor, Tenor, Baritone & Bass 

                         

A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics. Voice classification is the process by which human voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.^[1] The science behind voice classification developed within European classical music and is not generally applicable to other forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use including: the German Fach system and the choral music system among many others. No system is universally applied or accepted. This article focuses on voice classification within classical music. For other contemporary styles of singing see: Voice classification in non-classical music.

Voice classification is a tool for singers, composers, venues, and listeners to categorize vocal properties, and to associate possible roles with potential voices. There have been times when voice classification systems have been used too rigidly, i.e. a house assigning a singer to a specific type, and only casting him or her in roles they consider belonging to this category.
A singer will ultimately choose a repertoire that suits their instrument. Some singers such as Rose muhando Tz, Rebbeca Malope S. Africa, Celine Dion USA, Upendo Kilahiro Tz,  have voices which allow them to sing roles from a wide variety of types; some singers change type, and even voice part over their careers; and some singers  have voices which lower with age, causing them to cycle through types over their careers. Some roles as well are hard to classify, having very unusual vocal requirements.
A note on vocal range vs. tessitura: Choral singers are classified into voice parts based on range; solo singers are classified into voice types based in part on tessitura – where the voice feels most comfortable for the majority of the time

 Number of voice types

There are a plethora of different voice types used by vocal pedagogists today in a variety of voice classification systems. Most of these types, however, are sub-types that fall under seven different major voice categories that are for the most part acknowledged across all of the major voice classification systems. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering the pre-pubescent male voice an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.

Female voices

The range specifications given below are based on the American scientific pitch notation.

Main article: Soprano

Soprano range: The soprano is the highest female voice. The typical soprano voice lies between middle C (C4) and "high C"(C6). The low extreme for sopranos is roughly B3 or A3 (just below middle C). Most soprano roles do not extend above "high C" although there are several standard soprano roles that call for D6 or D-flat6. At the highest extreme, some coloratura soprano roles may reach from F6 to A6 (the F to A above "high C").
Soprano tessitura: The tessitura of the soprano voice lies higher than all the other female voices. In particular, the coloratura soprano has the highest tessitura of all the soprano sub-types.
Soprano sub-types: As with all voice categories, sopranos are often divided into different sub-categories based on range, vocal color or timbre, the weight of voice, and dexterity of the voice. These sub-categories include: Coloratura soprano, Soubrette, Lyric soprano, Spinto, and Dramatic soprano.

Intermediate Voice Types

Two types of soprano especially dear to the French are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico. ^[8]

 Mezzo-soprano

The mezzo-soprano is the most common female voice. Mezzo-soprano range: The mezzo-soprano voice lies between the soprano voice and contralto voice, over-lapping both of them. The typical mezzo-soprano range is between A3 (the A below middle C) to A5 (the A two octaves above A3). In the lower and upper extremes, some mezzo-sopranos may extend down to the G below middle C (G3) and as high as "high C" (C6).
Mezzo-soprano tessitura: Although this voice overlaps both the contralto and soprano voices, the tessitura of the mezzo-soprano is lower than that of the soprano and higher than that of the contralto.
Mezzo-soprano sub-types: Mezzo-sopranos are often broken down into three categories: Lyric mezzo-soprano, Coloratura mezzo-soprano and Dramatic mezzo-soprano.

Contralto

Contralto range: The contralto voice is the lowest female voice. The typical contralto range lies between the F below middle C (F3) to the second F (F5) above middle C. In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to the second b-flat above (b-flat5), which is only one note short of the "Soprano C".
Contralto tessitura: The contralto voice has the lowest tessitura of the female voices. It should be noted that in current operatic practice, female singers with very low vocal tessitura’s are often included among mezzo-sopranos.
Contralto sub-types: Contraltos are often broken down into two categories: Lyric contralto and Dramatic contralto.

Alto

Contralto and alto are not the same term. Technically, "alto" is not a voice type but a designated vocal line in choral music based on vocal range. The range of the alto part in choral music is usually more similar to that of a mezzo-soprano than a contralto. However, in many compositions the alto line is split into two parts. The lower part, Alto 2, is usually more suitable to a contralto voice than a mezzo-soprano voice.^[3]

 Male voices

The range specifications given below are based on the American scientific pitch notation.

Countertenor

The term countertenor refers to the highest male voice. Many countertenor singers perform roles originally written for castrati in baroque operas. Except for a few very rare voices (such as the American male soprano Michael Maniaci, or singers with a syndrome such as Kallmann's) singers called countertenors generally sing in the falsetto register, sometimes using their modal register for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French haute-contre, and something similar to the "leggiero tenor" or tenor altino. It should be remembered that, until about 1830, all male voices used some falsetto-type voice production in their upper range.
Countertenor: from about G3 to E5 or F5
Sopranist: extend the upper range to usually only C6, but some as high as E6 or F6
Haute-contre: from about D3 or E3 to about D5

Countertenor sub-types: There are several sub-types of countertenors including Sopranist or male soprano, Haute-contre, and modern castrato.

Tenor

Tenor range: The tenor is the highest male voice within the modal register. The typical tenor voice lies between the C one octave below middle C (C3) to the C one octave above "Middle C" (C5). The low extreme for tenors is roughly B-flat2 (two b-flats below middle C). At the highest extreme, some tenors can sing up to two Fs above "Middle C" (F5). Tenor tessitura: The tessitura of the tenor voice lies above the baritone voice and below the countertenor voice. The Leggiero tenor has the highest tessitura of all the tenor sub-types.  Tenor sub-types: Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Leggier tenor, Lyric tenor, Spinto tenor, Dramatic tenor, and Heldentenor.

Baritone

The Baritone is the most common type of male voice. Baritone range: The vocal range of the baritone lies between the bass and tenor ranges, overlapping both of them. The typical baritone range is from the second F below middle C (F2) to the F above middle C (F4), which is exactly two octaves. In the lower and upper extremes, a baritone's range can be extended at either end.
Baritone tessitura: Although this voice overlaps both the tenor and bass voices, the tessitura of the baritone is lower than that of the tenor and higher than that of the bass. Baritone sub-types: Baritones are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Lyric baritone, Bel Canto (coloratura) baritone, kavalierbariton, Dramatic baritone, Verdi baritone, baryton-noble, and Bariton/Baryton-Martin.

Bass

Bass range: The bass is the lowest male voice. The typical bass range lies between the E two octaves below "middle C" (E2) to the E above middle C (E4). In the lower and upper extremes of the bass voice, some basses can sing from the C two octaves below middle C (C2) to the G above middle C (G4). Bass tessitura: The bass voice has the lowest tessitura of all the voices.
Bass sub-types: Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Basso Profondo, Basso Buffo / Bel Canto Bass, Basso Cantante, Dramatic Bass, and Bass-baritone.

Children's voices

The voice from childhood to adulthood

The human voice is in a constant state of change and development just as the whole body is in a state of constant change. A human voice will alter as a person gets older moving from immaturity to maturity to a peak period of prime singing and then ultimately into a declining period. The vocal range and timbre of children's voices does not have the variety that adults voices have. Both boys and girls prior to puberty have an equivalent vocal range and timbre. The reason for this is that both groups have a similar laryngeal size and height and a similar vocal cord structure. With the onset of puberty, both men and women's voices alter as the vocal ligaments become more defined and the laryngeal cartilages harden. The laryngeal structure of both voices change but more so in men. The height of the male larynx becomes much longer than in women. The size and development of adult lungs also changes what the voice is physically capable of doing. From the onset of puberty to approximately age 22, the human voice is in an in-between phase where it is not quite a child's voice nor an adult one yet. This is not to suggest that the voice stops changing at that age. Different singers will reach adult development earlier or later than others, and as stated above there are continual changes throughout adulthood as well.

Treble   Boy soprano

The term treble can refer to either a young female or young male singer with an unchanged voice in the soprano range. Initially, the term was associated with boy sopranos but as the inclusion of girls into children's choirs became acceptable in the twentieth century the term has expanded to refer to all pre-pubescent voices. The lumping of children's voices into one category is also practical as both boys and girls share a similar range and timbre. Treble range: Most trebles have an approximate range from the A below "middle C" (A3) to the F one and a half octaves above "middle C" (F5). Some trebles, however, can extend their voices higher in the modal register to "high C" (C6). This ability may be comparatively rare, but the Anglican church repertory, which many trained trebles sing, frequently demands G5 and even A5. ^[10] Many trebles are also able to reach higher notes by use of the whistle register but this practice is rarely called for in performance.

Vocal music

Vocal music is music performed by one or more singers, with or without non-vocal instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.
Music which employs singing but does not feature it prominently is generally considered as instrumental music. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music

 Music genre

A music genre is a categorical and typological construct that identifies musical sounds as belonging to a particular category and type of music that can be distinguished from other types of music.

Categorization

A list of genres of music (including sub genres) can be found at List of music genres. However, there are a number of criteria with which one may classify musical genres, including:

• The Art/Popular and Traditional music
• Regional and national distinctions
• Fusion origins

 Art music

Art music is the musical expression of high culture.
Art music primarily refers to classical music, including European classical music, or others listed at List of classical music styles (including non-European classical music), contemporary classical music (including Electronic art music, Experimental music and Minimalist music). Art music may also include certain forms of Jazz (even though jazz is primarily a form of popular music).

Popular and Traditional music

Popular music ("pop music") is the musical expression of popular culture ("pop culture"). The usual stereotype of "popular music" is music belonging to any of a number of musical styles that are accessible to the general public and are disseminated by one or more of the mass media.
Traditional music is the musical expression of Traditional culture,  is the modern name for what used to be called "Folk music", before the term "Folk music" was expanded to include a lot of non-traditional material.
In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both lead and backing vocals on audio recordings by overlapping recorded vocal tracks.
Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rythmic speech over a beat or without accompaniment, so this can not really be referred to as singing, as it is more a form of public speaking, such as the toasting from which rapping derives historically. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

              

The defining characteristics of traditional music are:

• Oral transmission: The music is passed down, or learned, through singing and listening and sometimes dancing
• Cultural basis: The music derives from and is part of the traditions of a particular region or culture.

Regional and national music

It is possible to categorize music geographically. For example, the term "Australian music" could include Australian rock music, Australian traditional music in the European style (e.g. Waltzing Matilda), Aboriginal Australian music, Australian classical music, and Australian Jazz.

Fusion origins

A fusion genre is a music genre that combines two or more genres. For example, rock and roll originally developed as a fusion of blues, gospel and country music. The main characteristics of fusion genres are variations in tempo, rhythm and sometimes the use of long musical "journeys" that can be divided into smaller parts, each with their own dynamics, style and tempo.
Artists who work in fusion genres are often difficult to categorize within non-fusion styles. Most styles of fusion music are influenced by various musical genres. While there are many reasons for this, the main reason is that most genres evolved out of other genres. When the new genre finally identifies itself as separate, there is often a large gray area in which musicians are left. These artists generally consider themselves part of both genres. A musician who plays music that is dominantly blues, influenced by rock, is often labeled a blues-rock musician. The first genre is the one from which the new one evolved. The second genre is the newer and less-dominant genre in the artist's playing.

Lead and backing vocalists

In many modern musical groups, there is one singer that is singing the main parts (the lead vocalist) and one or more to perform backing vocals. Backing vocalists sing some, but usually not all, parts of the song. They often provide a harmony to the lead, or just sing along in the refrain or hum in the background.

Backing & Harmony Singers           

Backing Singers provide harmonies and vocals that complement the melody line performed by a Lead Singer. Used in many forms of music including Rock, Pop, MOR, Soul, the backing singer has played an integral role in song production. There are many types of backline vocalists ranging from the band member who sings a bit to dedicated Session Singers who are employed by major touring artists and recording studios.  A good backing singer should be experienced in harmonizing and keeping in time with both the lead vocalist and fellow backing vocalists, sight reading is preferable but not essential whilst the ability to 'hear' yourself, identify and sing the correct notes plus learn songs quickly is! The term 'Backing' denotes that the singer remains in the background, both in live performance and when mixing a recording. The backing vocals on a song can consist of anything from repeating a word, passage or chorus of the song to providing a continuing harmony in time with the lead vocalist. What’s the difference between a Backing Vocalist and a Harmony Singer Both provide backing for a lead singer, or vocals for effect on instrumentals. However, a harmony singer is naturally adept at 'hearing' harmony lines over and around the music. They can vocally reproduce what they hear to create a harmony vocal line without requiring written sheet music, or direction from the songwriter or producer. There are people who are unable to 'hear' the harmony and find it difficult to pitch their notes when another vocalist is accompanying, this is a problem that can be solved by most through ear training and pitching exercises. In many cases a backing singer is supplied with sheet music which they 'sight read' and sing the notes as directed. Both types of singer are commonly referred to as 'Backing Singers' or 'Backing Vocalists'. A singer who is versatile and vocally competent at both 'singing by ear' and 'sight reading' can be employed for many projects including music beds, advertising jingles, backing major artists etc., - studio time costs money and an artist who can go in and do the job quickly is prized! What is a 'Harmony' The dictionary describes harmony as 'Notes of music combined together in a pleasant sounding way' but that doesn't tell you what a singer should be doing to produce this! For instance - if the chord played is a C and the lead singer is singing the root note 'C' the harmonies could be based around the 3rd note 'E' and 5th note 'G' of the chord at any point on the scale. This means the backing singer could be vocalizing in a higher or lower octave than the lead vocalist depending on their voice type. Grab a couple of friends and try it yourself. Each person singing one of the notes listed above - Ta Daaa - your singing in harmony! Yes of course, there is more to it than that..... it's advisable to learn music theory to understand the relationship between notes, chords, octaves and harmonics but basically if the notes you are singing around the melody line sound good, fit the style of music and complement the lead vocals then you’re ok! So what qualities does a backing singer need? The ability to sing by 'ear' or read sheet music are both desirable qualities in any singer but especially for those who wish to pursue a career backing other vocalists and working as a session singer. Good vocal control is essential, a backing singer must not try to 'out sing' the lead vocalist unless they have been directed to do so for a particular passage or effect!! Whilst most sound engineers and producers will adjust vocal volumes in the mix, it is important for singers who have strong voices to remember to back off the microphone a bit when providing backing for lead vocalists whose voices may not be as powerful. Enter Talent Competitions and offer your singing services for Charity Shows to gain experience, gain exposure and meet other musicians and artists. Opportunities are only limited to the competence and determination of the singer who can find work with bands or artists in pubs, clubs, cabaret, nightclubs, radio, television or by deputizing for other singers and as a session singer.

 Vocal registration

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term register can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:

• A particular part of the vocal range such as the upper, middle, or lower registers.
• A resonance area such as chest voice or head voice.
• A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
• A certain vocal timbre or vocal "color"
• A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.

                                                                    Vocal resonation

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation; although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.

Chest voice and head voice

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.

Classifying singing voices

Main articles: Voice type and Voice classification in non-classical music

Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.

Voice classification is important for vocal pedagogists and singers as a guiding tool for the development of the voice. Misclassification can damage the vocal cords, shorten a singing career and lead to the loss of both vocal beauty and free vocal production. Some of these dangers are not immediate ones; the human voice is quite resilient, especially in early adulthood, and the damage may not make its appearance for months or even years. Unfortunately, this lack of apparent immediate harm can cause singers to develop bad habits that will over time cause irreparable damage to the voice. Singing outside the natural vocal range imposes a serious strain upon the voice. Clinical evidence indicates that singing at a pitch level that is either too high or too low creates vocal pathology. Noted vocal pedagogist Margaret Greene says,
"The need for choosing the correct natural range of the voice is of great importance in singing since the outer ends of the singing range need very careful production and should not be overworked, even in trained voices."

Singing at either extreme of the range may be damaging, but the possibility of damage seems to be much more prevalent in too high a classification. A number of medical authorities have indicated that singing at too high a pitch level may contribute to certain vocal disorders. Medical evidence indicates that singing at too high of a pitch level may lead to the development of vocal nodules. Increasing tension on the vocal cords is one of the means of raising pitch. Singing above an individual's best tessitura keeps the vocal cords under a great deal of unnecessary tension for long periods of time, and the possibility of vocal abuse is greatly increased. Singing at too low a pitch level is not as likely to be damaging unless a singer tries to force the voice down

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. The science behind voice classification developed within European classical music and has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.
However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.
It should be noted that within choral music, singers voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.
Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.

Choral music classification

Unlike other classification systems, choral music divides voices solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high

Vocal pedagogy

Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing. Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:

• Human anatomy and physiology as it relates to the physical process of singing
• Vocal health and voice disorders related to singing
• Breathing and air support for singing
• Phonation
• Vocal resonation or Voice projection
• Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
• Voice classification

• Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.
• Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Dangers of quick identification

Many vocal pedagogists warn of the dangers of quick identification. Premature concern with classification can result in misclassification, with all its attendant dangers. William Vennard says:

"I never feel any urgency about classifying a beginning student. So many premature diagnoses have been proved wrong, and it can be harmful to the student and embarrassing to the teacher to keep striving for an ill-chosen goal. It is best to begin in the middle part of the voice and work upward and downward until the voice classifies itself." Most vocal pedagogists believe that it is essential to establish good vocal habits within a limited and comfortable range before attempting to classify the voice. When techniques of posture, breathing, phonation, resonation, and articulation have become established in this comfortable area, the true quality of the voice will emerge and the upper and lower limits of the range can be explored safely. Only then can a tentative classification be arrived at, and it may be adjusted as the voice continues to develop. Many vocal pedagogists suggest that teachers begin by assuming that a voice is of a medium classification until it proves otherwise. The reason for this is that the majority of individuals possess medium voices and therefore this approach is less likely to misclassify or damage the voice.

Techniques Tips & advice for singers

Technique is the term used to describe the application of methods and skills to produce an end result, in this case it is for the purposes of learning how to sing or improve vocal ability. The teaching of technique takes on many forms, often depending on the ethos and beliefs of the teacher, which is why there is so much controversy and discussion on the subject. Our philosophy is to encourage the student to explore as many techniques as possible to discover methods that best suit the individuals personality and voice. The purpose of learning techniques is to provide insights on methods that people have found to be helpful in improving or enhancing their natural talents. The singer should aim to recognize both unhealthy and healthy methods of singing and incorporate healthy techniques into their practice sessions until they become second nature rather than attempt to focus purely on technique during performance. This section provides articles and links to external articles containing ideas and techniques used to explore the talents and capabilities of the performer. You may not always agree with some of the principles, ideas or theories expressed, however we provide them in an effort to encourage further research, exploration of your own natural abilities and discussion with your tutor. Also browse the Exercises and Singers Articles sections.                     Vocal Technique                Microphone  Technique                                              Performance Techniques

MICROPHONE TECHNIQUE Few singers practice their microphone technique enough, which results in some fantastic voices being overlooked due to poor sound quality or bad technique when performing live. How do you prevent this without the aid of a sound engineer or years of experience? Simple! - Practice makes perfect and if you have the facilities to set up a P.A. and tape recorder at home or use a rehearsal studio you have a distinct advantage!! Even if you don't have this equipment, you can still experiment with amplified sound by using your home stereo or karaoke machine and a microphone. The quality may be extremely poor and muffled (depending on how good the system), but you should still be able to get a basic idea of mic positioning and distance with a little practice. Obvious points to remember when using amplification of any kind: Pointing the microphone towards a speaker when you are too close causes a high pitched noise called FEEDBACK. Having the volume too high will cause FEEDBACK and DISTORTION. Incorrect wiring & connections can cause electric shocks, equipment breakdowns, horrible humming or even pick up the radio! The most common mistake is holding the microphone too close or too far from your mouth. This results in your singing sounding muffled and distorted, too distant or no vocal sound at all. With a little practice this is easy to rectify and should become a part of your rehearsal routine. Set your volume controls so that the backing track is lower than your singing. To avoid distortion, ensure the mic is held no closer than 2 to 3 inches from your mouth during normal singing.  You will have to experiment a little as the distance is dependant on the individuals natural power and ability to project. Gradually move the microphone away as you continue to sing and listen to the effect - at what point does the vocal sound start to fade? - That is your furthest point to remember. The optimum distance for clarity is between the shortest and furthest points. There are times when you will be using more volume, hitting higher or lower notes or almost whispering. Practice using different distances and positions to see how using the mic creates different effects. Avoid moving the microphone closer to your mouth when aiming for high or more powerful notes and practise using the microphone to enhance or lessen certain effects until it becomes second nature. Hiding Faults Microphones can be used effectively to hide as well as enhance a singers faults. One of the most common techniques used to hide a lack of sustained breath control is to hold the microphone away from you when starting a sustained note and bringing it closer to the mouth as the note diminishes. To the audience the note appears to maintain it's volume, although it is important to keep on pitch and not attempt to hold the note for longer than is comfortable! The distance and placement of the microphone also affects the sound and tone of the voice as heard by the listener. Some microphones are designed to pick up sound from any direction, (known as omni-directional) others are designed to pick up sound from a limited area. There are several different microphone types, referred to as dynamic, cardoid, supercardoid, condenser.... Vocal Effects Using a microphone allows the singer to employ various vocal effects to enhance a recording or performance including: Adjusting airflow through the nose, opening the throat to provide more resonance, glottal attack, soft-palate edge (with vibration of the uvula), good enunciation and diaphragmatic pulsation (like a pant). Avoiding Pop's & Hisses Certain consonants create sounds that when electrically amplified become abrasive or detract from the intended effect. B's & P's can sound over-exaggerated causing a 'pop', whilst the natural sibilance of C, S & Z can produce a hissing sound. These are problems that can be avoided by using a combination of correct diction and mic technique. When using a microphone for the first time, the natural instinct is to place it in right in front of your mouth, but with todays technology, most microphones are extremely sensitive and capable of picking up sound from any direction, moving the microphone further from your mouth, angling it to one side or lowering the mic and angling it more towards the ceiling will lessen the sensitivity by just enough to prevent the pops and hisses, the adjustment can be quite fine depending on the EQ & gain settings plus equipment type and quality. Common Problems with Microphones Despite improvements in technology, Radio microphones can be the cause of many a singers nightmares with mini cab or police transmissions blasting out over the speakers, cut outs and dodgy batteries causing distortion. Small microphones attached to clothing can easily work loose causing loss of sound and even hand held radio mic's left on while backstage can pick up discussions or noises that you would rather remain private! Even the humble lead mic if left on in a stand will pick up footsteps or other loudvibrations from the stage and floor. If using a radio mic, always use check the batteries before use, keep a couple of spare batteries handy, make sure arials or leads are not twisted or bunched up and have a lead mic available in your kit bag for emergencies. Switch off all microphones during breaks or when not in use. Vocal technique Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence: 1. Breath is taken 2. Sound is initiated in the larynx 3. The vocal resonators receive the sound and influence it 4. The articulators shape the sound into recognizable units Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process. Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration. Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are. 1. Extending the vocal range to its maximum potential 2. Developing consistent vocal production with a consistent tone quality 3. Developing flexibility and agility 4. Achieving a balanced vibrato

Developing the singing voice

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulator movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.

There are three factors that significantly affect the ability to sing higher or lower:

1. The energy factor — "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
2. The space factor — "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn".
3. The depth factor — "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."

 Posture

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.
There are eight components of the ideal singing posture:

Feet slightly apart, Knees bent, Hips rotated forward, Spine aligned, Abdomen flat, Chest comfortably raised, Shoulders down and back, Head straight ahead

Breathing and breath support

Natural breathing has three stages: breathing in period, breathing out period, and a resting or recovery period; these stages are not usually consciously controlled.

Within singing there are four stages of breathing:

1.      a breathing-in period (inhalation) 2. a setting up controls period (suspension)                                        

3. a controlled exhalation period (phonation)  4. a recovery period

When breathing, breathe in from the diaphragm lock the breath in place and control it as you sing. These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.
 Vibrato
Vibrato is used by singers (and many instrumentalists; for instance, string instruments that are played with a bow can produce vibrato tones) in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus. Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Careers in singing

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing.
Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.
Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve, because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German or other languages is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.
College or university degrees are "not always required but the equivalent training is usually necessary". Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.
Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally-taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

VOCAL HEALTH

 (Advice For Care Of The Voice)

 Medicine In The Vocal Arts

Medicine in the Vocal Arts is an emerging field devoted to the diagnosis, treatment, and prevention of voice disorders in professional voice users. Today, the multispecialty voice center has become an important clinical resource, and most patients with voice disorders can be treated.

INTRODUCTION

The voice is not an organ, but rather, the external phonatory output of the vocal tract. While this may seem obvious, it has important implications for all voice clinicians (laryngologist, speech language pathologist, voice teacher, voice coach, and voice scientist).

The vocal tract consists of four component systems:

1.        The "Generator", which is the breath support provided by the lungs. A regulated breath stream is the principal force that drives the vibration of the vocal folds. Without air flowing through the larynx, the vocal folds can make no sound. Thus, the condition of the lungs and how efficiently the breath stream is utilized have a great influence on vocal function.

2.        The "Vibrator", which is the larynx; specifically, the vocal folds themselves. The folds are actually little more than a vibrator. The richness of sound and the subtleties of articulation are the result of the "resonator" and the "articulator" above the larynx. Problems of the vibrator include all problems of the larynx and its supporting structures.

3.        The "Resonator", which consists of the space above the larynx, and includes most of the pharynx. This resonating cavity gives the voice its harmonic overtones, its richness. (The trained opera singer is able to manipulate the resonator to produce resonance at 2,500 Hz, which allows the singer's voice to be heard above an entire orchestra.) Problems with the resonator are uncommon, although, for example, tonsillectomy in a singer may temporarily adversely alter the resonator.

4.        The "Articulator", which is made up of the tongue, lips, cheeks, teeth, and palate. These structures shape the sound from below into words and other vocal gestures. Medical problems involving the articulator are uncommon; for the singer, most problems of the articulator are corrected by the voice coach or teacher.

The term voice disorder implies that the problem is laryngeal (within the vibrator); however, it is important to remember that the four component systems of the vocal tract interact in complex ways. For example, poor breath support often gives rise to muscle tension dysphonia (abnormal muscle tension in the larynx that alters the voice). It is also important to remember that the neural regulation of these systems is complex and involves many sensory, motor, and integrating pathways within the brain. In actuality, the vocal tract is the entire person, since any abnormality of the psyche or soma can give rise to an abnormality of the voice. The voice is therefore a measure of a person's overall sense of well-being.

The following are some helpful hints for the care of the voice:

I. Hydration

The vocal folds need to be lubricated with a thin layer of mucus in order to vibrate efficiently. The best lubrication can be achieved by drinking plenty of water. A good rule of thumb (if you have normal kidneys and heart function) is to drink at least two quarts of water daily. Dr. Van Lawrence, world renowned Laryngologist, often said, “Drink until you pee pale.”

Caffeine and alcohol pull water out of your system and deplete the vocal folds of needed lubrication. Caffeinated drinks include coffee, tea, and soft drinks. Small amounts of these beverages are acceptable but must be counterbalanced by drinking more water.

Another factor that can affect lubrication is a dry air environment. The cause can be from gas furnaces, air conditioners, and climates with a low amount of moisture in the air. Using a humidifier at night can compensate for the dryness.

The air in airplanes is extremely dry. It is recommended that you avoid alcoholic, caffeinated beverages and drink at least 8 ounces of water per hour while flying.

Dr. Lawrence often recommended a favorite gargle recipe: 1/2 tsp. of salt, 1/2 tsp. of baking soda, 1/2 tsp. of clear corn syrup, and 6 oz. of warmed, distilled water. Gargle quietly and gently for two long, boring minutes. Do not rinse and use as often as necessary to help your dry, irritate throat.

II. Throat Clearing & Harsh Coughing

Throat clearing and harsh coughing are traumatic to the vocal cords and should be reduced as much as possible. One of the most frequent causes for throat clearing and coughing is thick mucus (due to dry vocal folds) or too much mucus (as with a cold) on or below the vocal folds. The safest and most efficient way to clear mucus is by using a gentle, breathy productive cough where there is high airflow with little sound. This can be achieved by using the following strategy: take in as deep a breath as possible, momentarily hold your breath, and produce a sharp, silent “H” sound while you expel the air.

III. Drugs

Antihistamines: Antihistamines are sometimes prescribed to treat allergies and are present in some over-the-counter cold medications. Antihistamines should rarely be used because they tend to cause dryness. Prescription nasal steroid sprays such as Nasacort^® (Phone-Poulenc Rorer), Nasonex^® (Schering), Flonase^® (Allen & Hansburys), etc. will often relieve the symptoms of nasal allergy without the drying side effects of antihistamines.

Analgesics: Aspirin products and non-steroidal anti-inflammatory drugs (ibuprofen) should be used with caution as they cause platelet dysfunction and this may predispose to bleeding. Tylenol^® (McNeil Consumer Products) is the best substitute for pain relief.

Mucolytic Agents: The most common expectorant is a preparation of long-acting guaifenesin to help liquefy viscous mucus and increase the output of thin respiratory tract secretions. Drugs, such as Mucinex^®, may be helpful for singers who complain of thick secretions, frequent throat clearing, or postnasal drip. Awareness of postnasal drip is often caused by secretions that are too thick rather than too plentiful. Mucolytic agents need to be used with a lot of water through the day, to be effective.

Local Anesthetics: Avoid the use of over-the-counter local anesthetic preparations for the throat. Singing under their influence is like trying to play the piano with gloves on.

Progesterone: Question the use of progesterone-dominant birth control pills. They may cause virilization of the female larynx and a loss in the upper vocal range. There may be no other alternative for your individual situation, however, so consult your gynecologist.

IV. Laryngopharyngeal Reflux Disease and Recommendations to Prevent Acid Reflux

What is Reflux?

When we eat something, the food reaches the stomach by traveling down a muscular tube called the esophagus. Once food reaches the stomach, the stomach adds acid and pepsin (a digestive enzyme) so that the food can be digested. The esophagus has two sphincters (bands of muscle fibers that close off the tube) to help keep the contents of the stomach where they belong. One sphincter is at the top of the esophagus (at the junction with the upper throat) and one is at the bottom of the esophagus (at the junction with the stomach). The term REFLUX means “a backward or return flow,” and refers to the backward flow of stomach contents up through the sphincters and into the esophagus or throat.

What are GERD and LPRD?

Some people have an abnormal amount of reflux of stomach acid that goes up through the lower sphincter and into the esophagus. This is referred to as GERD or Gastro esophageal Reflux Disease. If the reflux makes it all the way up through the upper sphincter and into the back of the throat, it is called LPRD or Laryngopharyngeal Reflux Disease. The structures in the throat (pharynx, larynx, vocal folds and the lungs) are extremely sensitive to stomach acid, so smaller amounts of reflux into these areas can result in much more damage.

Why Don’t I have Heartburn or Stomach Problems?

This is a question that is often asked by patients with LPRD. The fact is that very few patients with LPRD experience significant heartburn. Heartburn occurs when the tissue in the esophagus become irritated. Most of the reflux events that can damage the throat happen without the patient ever knowing that they are occurring.

Common Symptoms of LPRD:
Hoarseness, chronic (ongoing) cough, frequent throat clearing, pain or sensation in throat, feeling of lump in throat, problems while swallowing, bad/bitter taste in mouth (especially in the morning), asthma-like symptoms, referred ear pain, post-nasal drip, singing difficulties (especially with high notes).

Medications for LPRD:
The most effective treatment for LPRD may be drugs in the class known as proton pump inhibitors. Included in this group are Prilosec^®, Prevacid^®, Protonix^®, Aciphex^®, or the new medication known as Nexium^®. Ask your physician which may be appropriate for you.

V. Self-Destructive Behaviors

Avoid smoking cigarettes. They are bad for the heart, lungs, and vocal tract. Also, avoid other irritant inhalant substances and mind-altering drugs. Tobacco and marijuana are irritants to the vocal tract. When you sing you must be in control of all body systems: physical, spiritual, and mental. Smoking is disastrous for the speaking and singing voice.

VI. Requirements For A Healthy Voice (How to save your voice)

• Try your best to maintain good general health. Get adequate rest to minimize fatigue. If you do become ill, avoid "talking over your laryngitis" - see your physician and rest your voice.

• Exercise regularly.

• Maintain body hydration; drink two quarts of water daily.

• Avoid dry, artificial interior climates and breathing smoggy, polluted air.

• Limit the use of your voice in high-ceilinged restaurants, noisy parties, cars and planes.

• Avoid throat clearing and voiced coughing.

• Stop yelling – avoid calling from room to room.

• Avoid hard vocal attacks on initial vowel words.

• Use the pitch level in the same range where you say, "Umm-hmm?"

• Speak in phrases rather than in paragraphs, and breath slightly before each phrase.

• Reduce demands on your voice – don’t do all the talking!

• Learn to breathe silently to activate your breath support muscles and reduce neck tension.

• Take full advantage of the two free elements of vocal fold healing: water and air.

• Vocal athletes must treat their musculoskeletal system as do other types of athletes; therefore, vocal warm-ups should always be used prior to singing. Vocal cool-downs are also essential to keep the singing voice healthy.

Other Suggestions for The Professional Vocalist:

"How To Save Your Voice"

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; aerobic exercise is best.
6. Avoid unnecessary medications.
• Don't treat yourself.
• Avoid drying medications such as antihistamines.
• Avoid anesthetic throat sprays.
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.

Some additional suggestions for good vocal care are:

• If you need to get someone’s attention, use non-vocal sounds such as clapping, bells or whistling.

• Move closer to those with whom you are speaking.

• Face the person(s) with whom you are speaking.

• Use amplification, as needed, if possible.

• Reduce your speaking time in noisy environments, such as in automobiles and airplanes.

Optimal Speaking Techniques:

• Use good abdominal/diaphragmatic breathing and support.

• Learn to use your voice with as little unnecessary effort and tension as possible.

• Take frequent breaths when speaking long sentences.

• Maintain a smooth legato speech pattern with clear articulation.

• Allow the neck, jaw, and face to be relaxed.

• “Place” or “Focus” the voice appropriately.

• Speak at a normal rate of speed.

• Use good vocal inflection.

Water

Lack of water is the #1 cause of daytime fatigue.

Preliminary research indicates that 8 to 10 glasses of water daily significantly eases back and joint pain for 80% of sufferers.

A mere 2% drop in body fluids can trigger fuzzy short-term memory, trouble with basic math, and difficulty focusing on a computer screen or printed page.

Drinking at least 5 glasses of water daily decreases the risks of colon cancer by 45%, breast cancer by 79%, and bladder cancer by 50%.

10 Vocal Commandments
...That Every Singer Should Keep

I. THOU SHALT keep the vocal cords hydrated at all times:
a. Consume at least 8 glasses of water a day.

b. Stay away from excessive amounts of diuretics (substances that dehydrate your body and your vocal cords). Two of the number one culprits are Alcohol and Caffeine. So…think twice before you have that second cup.

c. The real serious singer will sleep with a humidifier to make sure the vocal cords remain hydrated during sleep.

II. THOU SHALT gets at least 8 hours of sleep a night.
A singer's body is his/her instrument. Mistreat your instrument and it will show. Make sure to give your body and voice the proper rest it deserves.

III. THOU SHALT not smoke.
Among other incredible health concerns, smoking dries out the mucous membrane lining of the nose & throat which adversely affects the voice.

IV. THOU SHALT not overuse or mistreat the voice.
This would include talking over loud noises such as groups of people and loud machinery. Just like other muscles and membranes, your vocal membranes and muscles can suffer from fatigue. In other words, don't talk too much! It is also stressful to the voice to talk too quickly, so slow it down! Those people that have no choice but to tax their voices on a daily basis -- singers, professional speakers, teachers, cheerleaders, auctioneers, etc. --- need to take extra precautions to protect the voice.

V. THOU SHALT protect yourself from stress and nerve attacks prior to performances.
We suggest the following to fight the gig day jitters:

a. Develop a checklist for gig preparation. It might include dry cleaning, reviewing lyrics, or getting your hair cut! (Follow these guidelines and you should be calm, cool, collected and able to give your best performance!

b. Leave a few minutes early for the gig or rehearsal so you can focus prior to the performance. (If this is a new location, be sure you have the proper directions and contact phone number ready ahead of time.)

c. Develop a habit of warming-up with an organized vocal exercise program on the way to the gig to properly prepare your voice.

d. Prepare materials to help you during an "off night" or for special circumstances - lyric books, practice CDs and Tapes.

e. Have promotional material such as business cards and flyers organized so that you can access them easily at the appropriate time. Marketing yourself as a singer is as much a part of the battle as singing and performing well in the music industry.

Remember, properly preparing yourself allows you to focus all your energy on your performance.

VI. THOU SHALT NOT eat or drink dairy or milk products before performing.
Sorry, that means no chocolate or ice cream, among some other great tasting foods. These products cause the mucous membrane lining of the throat to create a great deal of mucous. In case you can't guess or don't already know, that makes it very hard to sing well.

VII. THOU SHALT keep thyself healthy and virus free.
We suggest eating right, exercising regularly (don't forget that cardiovascular work to improve your breathing!), and taking a quality vitamin supplement each and every day! Remember, a singer's body is his/her instrument! A finely tuned and maintained instrument will perform at a much higher level than an instrument that has been neglected.

VIII. THOU SHALT never sing without properly warming up.
If you were running in a marathon, would you begin without stretching your legs? Of course not. Doing this would risk reduced performance and possible cramping that would take you completely out of the race. The muscles and membranes associated with the voice would appreciate the same courtesy. Just like those hamstrings, your voice will reward you for taking the time to properly warm up before strenuous use.

IX. THOU SHALT SMILE.
Smiling not only helps with tone placement of the singing voice, it also improves your attitude! Try it! It really works. It's infectious too!

X. THOU SHALT enjoy life and celebrate every accomplishment no matter how small they may seem. Sing for fun, sing because you love it, sing because you can. Share your voice with the world and enjoy your journey as you learn not just to sing, but to sing with impact!

THE MOST COMMON PROBLEMS                                                  OF SINGERS or professional vocalists

In dealing with the physical production of the singing voice, one encounters many problems, all of which are interrelated, and often addressed simultaneously. The ten problems listed below are prevalent in different types of singers, regardless of training and experience.

1. POOR POSTURE: The efficient alignment of the body is of primary importance to voice production. Problems in posture range from "collapse" of the chest and rib cage, with corresponding downward "fall" of the head and neck, to the hyper-extended, "stiff" posture of some singers, that results in tension throughout the entire body. Effective posture evolves from the kinesthetic awareness, that may be developed through the study of a physical discipline such as Hatha yoga or Alexander Technique.

2. POOR BREATHING AND INAPPROPRIATE BREATH SUPPORT: Some beginning voice students seem to "gasp" for air, and exhibit clavicular or shallow breathing patterns. Trained singers, on the other hand, use primarily diaphragmatic breath support. The muscles of the lower back and abdomen are consciously engaged, in conjunction with lowering of the diaphragm. As the breath stream is utilized for phonation, there should be little tension in the larynx itself. Sometimes, in an attempt to increase loudness (projection), a well-trained singer may over- support or "push" the airstream. This extra effort may affect vocal quality by producing undesirable harmonics.

3. HARD GLOTTAL OR "ASPIRATE" ATTACK: "Attack" or "onset" (a preferable term for singers) occurs with the initiation of phonation. Some singers (possibly related to poor speech habits) use a glottal attack, which is too hard (produced by to much tension in closure, hyper adduction. Vocal cord nodules may develop with habitual use of a hard glottal attack. The opposite problem is the "aspirate" attack, in which excessive air is released prior to phonation. While this type of attack rarely damages the vocal cords, it causes a breathy tone quality. (This technique may, however, be utilized to help correct a hard glottal attack).

4. POOR TONE QUALITY: Many terms are commonly used to describe a singer's tone, and among those familiar to singers are: clear, rich, resonant, bright, . . . dark, rough, thin, breathy, and nasal. Although, "good tone" is highly subjective, according to the type of singing and personal preference of the listener, in general, a tone that is "clear" (without extra "noise") and "resonant" (abundant in harmonic partials) is acknowledged as "healthy" and naturally will have sufficient intensity for projection without electric amplification. Opera singers strive to develop a "ring" (acoustic resonance at 2,500-3,000 Hz), that enables the voice to project over a full orchestra, even in a large hall. However, for other styles of singing, the use of amplification may allow a singer the choice of employing a less acoustically efficient vocal tone for reasons of artistic expression. A breathy tone, for example, may be perceived by the listener as "intimate" or "sexy", and even a "rough" sound, such as was used by Louis Armstrong (false vocal cord voice), may represent a the unique persona of a performer.

5. LIMITED PITCH RANGE, DIFFICULTY IN REGISTER TRANSITION: All singing voices exhibit an optimal pitch range. Typically, untrained voices have narrower pitch range than trained singers, due to lack of "register" development. The term "register" is used to describe a series of tones that are produced by similar mechanical gestures of vocal fold vibration, glottal and pharyngeal shape, and related air pressure. Some common designations of registers are the "head" register, "chest" register, "falsetto", etc.

Singing requires transitions from one register to another; each of these transitions is called a "passaggio" ("passageway"). Lack of coordination of the laryngeal musculature with the breath support may result in a "register break", or obvious shift from one tone quality to another. Untrained male voices and female "belters" tend to "break" into falsetto/head voice in the upper range. Regardless of the style of singing, a "blend", or smooth transition between the registers is desirable.

6. LACK OF FLEXIBILITY, AGILITY, EASE OF PRODUCTION, ENDURANCE: Traditional voice training in the 18th-19th century "bel canto" ("beautiful singing") method places emphasis on vocal flexibility or agility -- for example, the singer's ability to execute rapid scales and arpeggios. Virtuosic technique demands excellent aural conceptual ability, coordination of an abundant airstream with energetic diaphragmatic support (sometimes perceived as "pulsations of the epigastrium"), and clear, resonant tone quality. The use of rapid melodic passages in vocal training helps to develop a relaxed, yet vital voice production, that contributes to the development of increased vocal endurance.

7. POOR ARTICULATION: Pronunciation with excessive tension in the jaw, lips, palate, etc., adversely affects the tonal production of the voice. Problems of articulation also occur when singers carry certain speech habits into singing.

The longer duration of vowel sounds in singing necessitates modification of pronunciation; the increased "opening" of certain vowels in the high soprano voice, or elongation of the first vowel in a diphthong, are examples. Retroflex and velar consonants (such as the American "r" and "l") need careful modification to allow sufficient pharyngeal opening for best resonance, and the over anticipation of nasal consonants ("m", "n", "ng") may result in a "stiff" soft palate and unpleasant tone.

8. LACK OF DISCIPLINE, COMMITMENT, COMPLIANCE: As any athlete knows, regular practice is essential for optimal development and performance. Unfortunately, the need for disciplined training is not always apparent to singers. Furthermore, "artistic temperament" may contribute to a lack of compliance with the advice of teachers on issues of vocal technical development. When a teachers advice is contrary to a singer's own established ideas and work habits, the singer may tend to overwork, overperform, or simply "try too hard" in practice. The singer's practice and performance regimen must be sensible, productive, and acceptable to both teacher and student alike.

9. POOR HEALTH, HYGIENE, VOCAL ABUSE: Many students ignore common sense and good vocal hygiene. The physical demands of singing necessitate optimal health, beginning with adequate est, aerobic exercise, a moderate diet (and alcohol consumption), and absolute avoidance of smoking. College voice students often test the limits of their vocal health by overindulgence in "partying", alcohol or drugs, and by screaming at sports events. Many singers are careful with their voices but abuse their voice by employing poor speaking technique (see, for example, Bogart-Bacall Syndrome in this issue).

Professional singers who travel are frequently confronted with changes in their sleep and eating patterns. (Specifically, singers should avoid talking excessively on airplanes that are both noisy and dry). Performing in dry, dusty concert halls, or singing over the din in smoke-filled clubs increases the risk of vocal fatigue and infection. A minor cold or allergy can be devastating to a professional singer, who is obliged to perform with swollen (edematous) vocal cords. Good vocal hygiene, good travel habits, and vigilant protection of ones instrument (good judgment) is an important responsibility of every singer.

10. POOR SELF-IMAGE, LACK OF CONFIDENCE:

Although many singers appear to have "healthy egos" and may display the aggressive behavior that is known as "prima donna" temperament, such behavior is a cover-up for anxiety and/or insecurity. Since the slightest aberration - phlegm, for example - can result in momentary loss of voice (even in the greatest of performers!), singers often feel that they are always in a state of vulnerability. Despite unpredictability in vocal performance, the singer does gain confidence through repeated performance and increased self awareness.

11. Upper Respiratory Tract Infection (Viral Laryngitis)

Upper respiratory tract infection (URI) may be bacterial or viral; however, viral URIs are the most common, and they may or may not directly involve the larynx in degrees that vary with the virulence of the invading organism and its site of predilection. In other words, some viruses cause primary laryngeal inflammation that is associated with the development of marked laryngeal edema and hoarseness, while others may cause only minor, secondary inflammation due to drainage of the byproducts of the inflammatory process higher up. A "cold" is an example of the latter.

Treatment consists of modified voice rest (no nonessential talking), hydration, and use of a vaporizer (and steamy showers). Antibiotics, decongestants (usually not combinations containing antihistamines), and expectorants should be prescribed, and, on occasion, a single large intramuscular dose of corticosteroids, e.g., betamethasone 20 mg, may be given to counter the effects of the acute laryngeal swelling. Betamethasone has a half-life of 36 hours, so that a single dose may exert its effects for days and requires no "tapering". As an alternative, an oral dosing regimen of betamethasone or prednisone may be used.

When prescribing corticosteroids, it is important to inquire if the patient has received such treatment previously, since these drugs may have adverse side effects. In addition, some patients may be drug dependent and may be seeing several physicians in several states to get corticosteroids.

The patient who repeatedly uses steroids in order to perform may develop Cushing's syndrome. Finally, the use of inhaled steroids and/or anesthetic sprays is contraindicated because they seldom help, and they may harm the patient.

URIs are self-limiting, and symptoms usually resolve within several days. During the acute phase of infection, it is important for the patient to avoid voice strain or overuse because this may result in prolonged difficulties. The severity of laryngeal inflammation, the degree of vocal impairment, and the short-term "performance" schedule of the vocalist are all important factors in the decision-making process and the approach to treatment. If, for example, a performer has severe laryngitis and a heavy performance schedule, then the upcoming "program" should be drastically modified or the performances canceled. On the other hand, if a performer has mild to moderate inflammation and only a few imminent, but important, performances, medical treatment and voice therapy, in addition to some modification of the performance program, may be a satisfactory solution.

12. Vocal Misuse, And Overuse Syndromes: The Muscle Tension Dysphonias

This group of disorders is very common in professional vocalists, and may be lumped together under the heading of muscle tension dysphonias (MTDs). The MTDs may occur in isolation, after a URI, or, as mentioned above, in association with reflux. It is important for the voice clinician to evaluate each patient for each of these possible causative factors, since every underlying cause must be identified and corrected if treatment is to be effective.

Vocal misuse is somewhat different from abuse, in that misuse tends to be less acute, more habitual, and more insidious in its effects. Speaking or singing out of range and the use of certain character voices are the most common forms of misuse.

In many singers who seek medical attention for a voice problem, it is actually the speaking voice that is at the root of the problem. In both men and women, the habitual use of a very-low- pitched speaking voice may be the cause. To produce a low-pitched voice requires considerable muscular tension. This type of muscle tension dysphonia is termed Bogart-Bacall syndrome. (This syndrome is named after these two great actors, not because they had anything wrong with their voices, but because the term suggests that people with the voice disorder often have voices that are similar in pitch to Bogart's or Bacall's).

Patients with this condition almost always speak using the lowest note of the pitch range, and also usually demonstrate poor breath support. Why this condition occurs is conjectural; however, in contemporary society, a low-pitched speaking voice is considered desirable. In men, a low-pitched voice confers authority and masculinity; in woman, it confers sophistication, worldliness, and confidence. Diagnosis of the Bogart-Bacall syndrome requires a high index of suspicion, and correction of the syndrome depends upon the cooperative efforts of the patient, the laryngologist, and the speech pathologist. Singing out of range is also a common problem. Most vocalists know their own tesitura, that is, their "best range", but occasionally, a vocalist will take on a role that is inappropriate, and when this happens, vocal difficulties may result.

Similarly, actors may take on roles that require use of a "character voice" that pushes beyond the limits of "safe vocal physiology." Laryngeal muscle tension increases dramatically when a vocalist is speaking or singing out of range, and thus the likelihood of laryngeal trauma increases. When singers and actors sound as if they are straining, they are straining. Occasionally, the voice clinician must point out the obvious when vocal misuse of this type occurs.

13. Vocal Overuse

Vocal overuse can happen to anyone; however, in many cases it can be avoided. It is particularly prone to occur following an URI. While there is no surefire way to estimate the vocal capacity of a performer, the demands of touring, especially, may sometimes lead to chronic fatigue and a voice disorder. When this occurs, it is the physician's role to facilitate a reexamination of the performer's schedule and circumstances. In addition, the physician should look for previously unidentified cofactors that may contribute to the process of vocal decompensation.

14. Short-Term and Long-Term Issues

When the physician is called upon to see a vocalist, it is important to recognize that the problem may be acute, chronic, or both (leading to sudden "vocal decompensation"). Indeed, many vocalists with "poor technique" who are young and strong seem to survive vocally until an additional acute factor, such as an URI, occurs. The vocalist may then come to the physician complaining only of the acute problem, whereas, more often than not, the cause of such a voice disorder is multifactorial. Consequently, the premorbid characteristics of the patient's schedule, lifestyle, vocal hygiene, and previously unreported symptoms also should be elicited, examined, and possibly modified.

Communication with other members of the voice team, including the vocalist's manager, coach, teacher, or other physician(s), not only is appropriate, but also is necessary to sort out the short-term from the long-term problems, and to address their optimal solutions. For example, after a URI-related vocal decompensation (cough, granuloma formation, etc.), a vocalist might also need treatment for reflux, voice therapy directed at improving the efficiency of the speaking voice, and singing lessons.

CONCLUSIONS

I know of no other area in medicine that could more appropriately be called "holistic." Voice clinicians can now begin to make suggestions that may heighten the awareness of vocalists to potential problems and therefore help prevent voice disorders.

Survival Tips For Choral Singers

Aside from singing in the shower, choral groups offer abundant performance opportunities for the amateur vocalist. Whether one participates in a church choir, more competitive community chorus, or in the company of a local musical theater production, the following guidelines should help to get the most out of the experience.

WARM UP, ENERGIZE! Most choral singers arrive at evening rehearsals exhausted after a long day's work, so it's important to begin with an overall physical warm up. Stretching, "loosening" exercises and calisthenics "wake up" the body, while "yawning" and relaxed humming gradually get the voice going before more extensive vocalizing. Warming up should begin in the car, en route to the rehearsal.

THINK POSTURE! A "collapsed" posture limits breathing capacity and puts stress on laryngeal muscles. Most choral singers rehearse sitting down, with music in hand -- a position that often becomes inefficient, through "slumping" back in the chair, crossing the legs, etc. "Sitting up" may seem to require effort, but in fact, an erect, well-balanced sitting posture is less tiring in the long run. A good concept is to imagine the head "floating" directly above the pelvis, and the rib cage expanded. The music should be raised to eye level, however the shoulders must remain relaxed. Both feet should be "flat on the floor". When standing during a performance, be careful not to "lock" the legs. Always wear comfortable shoes -- no high heels! A rigid stance, combined with nervous tension and inadequate ventilation can cause choir members to feel faint, and occasionally lose consciousness!

BREATHE! This may seem obvious, but many choral singers simply do not allow themselves an adequate breath, and instead, "gasp" for air in order to stay with the conductor's beat. Admittedly, breath management can be challenging in group singing. Good choral directors are aware of this, and endeavor to indicate breathing with their conduction gestures. Ultimately, however, it is the singer's own responsibility to maintain efficient breath support.

SING THE RIGHT PART! Singers may be incorrectly classified in order to accommodate the needs of the choral group. Tenors are often scarce, so baritones may be induced to sing the tenor part, which can strain the voice. It is possible to use certain vocal techniques, such as singing falsetto in the upper register, to render the voice more versatile. If you are uncomfortable singing in the required range, and suspect that you are "mis-placed", request a change of part or help with vocal technique. It is hoped that choral conductors will guide singers in the best possible use of their voice.

DON'T OVER-SING! Singing loudly in order to hear oneself over other singers usually stresses the voice. "Showing off" one's voice is inappropriate in group singing -- it doesn't contribute well to a choral "blend," and it is usually resented by fellow singers! If you need to check the accuracy of your pitch, simply put a finger in one ear. Even when fortissimo singing is required, it is wise not to push the voice -- always sing on the "interest," not the "principal"!

ARTICULATE WISELY! Discomfort in singing is often caused by tension in the articulation of consonants and vowels. Choral singers are generally encouraged to enunciate clearly, but care should be taken that the jaw, tongue, and lips remain as relaxed as possible. Furthermore, it is necessary to modify pronunciation for efficiency and ease of vocal production; for example, sopranos need to "open" vowels on high notes.

PREPARE YOUR MUSIC! Whenever possible, try to learn your part before coming to the rehearsal. If you are insecure about pitch, it is unlikely that you will sing well. Hesitation impedes good vocal technique!

AVOID TALKING! Not only is chatting disruptive to others (especially the conductor!), but it tires the voice.

TAKE CARE OF YOURSELF! Being a choir member is the same as being a member of an athletic team, and you have a responsibility to safeguard your health. Avoid smoke and alcohol -- partying should be postponed until after the final performance! Get plenty of sleep and aerobic exercise. "Hydrate" -- drink plenty of fluids in order to reduce irritating phlegm. Use common sense when you're sick -- if possible, miss a rehearsal rather then sing over a cold or flu, and avoid exposing other choir members to your germs!

TAKE VOICE LESSONS! If you really want to maximize your enjoyment of choral singing, a few voice lessons can provide valuable insight. Ideally, your teacher should understand and appreciate both choral and solo singing techniques.

Things Singers Should Avoid

Having problems at Gigs? Do you find that some days your voice seems dry?  I'm not going to go into the normal nag about smoking although you should try to avoid anything that is likely to dry out your voice before a performance, so here are a few tips on what to avoid before & during your show:- 1. Orange or Citrus Juice and caffeinated drinks - can affect your throats lubrication. 2. Milk & other dairy products - furs up the throat, avoid drinking Milk, Cream, Tea and Coffee prior to singing. 3. Dry Ice Machines - The chemicals used dry up the throat.  If the effect is an essential part of the show use a Fog Machine with cooler (water & glycerine based) or Haze Machine (chemical based but non-toxic).  Both can still affect the voice if inhaled; make sure you have plenty of water to lubricate the throat. 4. Eating heavy meals prior to a gig - the food doesn't have time to digest and sits heavily in your stomach.  This makes it harder to control breathing, vocal reach and projection. 5. Smoke filled environments - pretty impossible to do if your playing pubs n clubs but do what you can by taking a wander outside for fresh air during the breaks. 6. Aspirin - can contribute to tinnitus and vocal chord hemorrhage 7. Excessive loud talking and yelling - can lead to vocal strain 8. Coughing and clearing your throat - swallow or sip water instead. 9. Alcohol - although a small drink may help to relax you, alcohol may numb the chords and too much will cause lack of control (vocally & otherwise!!) 10. Sing out of your range - save the top notes for when you can sing them correctly and don't over-reach or you could end up damaging your voice! Pace yourself at a gig - move vocally demanding songs to the middle or end of each set to allow your voice to warm up beforehand (a vocal warm up before the gig is also advisable) and then rest your voice during the breaks. Treat allergies and infections promptly and rest your voice when ill. Drink plenty of water during the day to keep your body hydrated and voice lubricated, 8 - 9 pints is recommended. (Beer doesn't count!). Keep a bottle of water at the side of the stage! Foods and Drinks singers should avoid  Certain foods and drinks are bad for the vocals... This is some examples of foods and drinks singers should not consume Anything like soda.. It will make you burp. Salt, makes your stomach bloat so it’s harder to sing. Orange or Citrus Juice and caffeinated drinks - can affect your throats lubrication. Milk & other dairy products - furs up the throat, avoid drinking Milk, Cream, Tea and Coffee prior to singing. Eating heavy meals prior to a gig - the food doesn't have time to digest and sits heavily in your stomach. This makes it harder to control breathing, vocal reach and projection. I can give you tips for right before you perform… FOODS FOR SINGERS Q: “What are the best foods and beverages to drink before a performance or recording session?” A: When it comes to nutrition, it can get pretty complex, so my message to singers is: Keep it simple. Food Your body needs energy so that it can perform for you. Help it to digest and metabolize well by keeping your food intake simple. I personally find juicy fruit and raw salads with a little light dressing to be easily digested by most people. Add to that a small serving of pasta with tomato or garlic sauce (no cheese or cream sauces). If your body's blood type does better with protein, then substitute chicken, fish or tofu for the pasta. I strongly advise against going hungry the day of a recording or performance. Hunger will stress-out your body which needs nutritional energy and hydration to deliver good vocal performance. Your body needs energy so that it can perform for you. Help it to digest and metabolize well by keeping your food intake simple. Water The sound of your voice is created by small internal muscle movements. Muscles need the energy furnished by well metabolized food in order to function well. They also need to be hydrated to achieve peak energy, flexibility and elasticity. Drinking room temperature water as your principal beverage is best for hydration. Room temperature is better than iced because when you swallow, the water flows down the esophagus behind but adjacent to your larynx (voice box). If the temperature of what you’ve swallowed is either cold or hot, it will affect the muscles of your larynx and vocal folds. This would be like putting a hot or cold compress on your leg muscles right before running a race. So drink your hot or cold drinks after the rehearsal, show or recording session. Before or during performing, just drink room temperature water. Caffeine What about caffeine? Caffeine is a diuretic which induces urination and tends to dehydrate the body. Coffee which contains caffeine, acid and oils, can irritate the vocal folds, stimulating mucous production and stiffness. You may experience a slight burning or irritation of your vocal folds or need to clear your throat after drinking coffee. For some, the adverse effects disappear after a while. If you decide to continue as a coffee drinker, be sure to drink plenty of water throughout the day ( as much as 8-8 oz. glasses daily). This will help to flush out your system and restore the bodily fluids that have been lost due to the diuretic effect of caffeine. Cola and many other carbonated drinks contain added caffeine and will have a similar effect. As well, the carbonation may cause burping at inopportune times while singing. Black teas contain less caffeine than coffee and may work as a substitute beverage as would herbal teas. Rules to follow: Do not drink coffee or caffeinated beverages within two to three hours prior to singing. Do drink lots of room temperature water. Do not drink iced beverages within two to three hours prior to singing. Do not drink hot beverages prior to or during singing. Do eat high water content fruit for hydration and energy. Do eat high water content vegetables for hydration and minerals. Do stay fed, but don’t overeat or stuff yourself Don’t drink milk or anything thick because it will clog up your throat and you won’t perform at your best 2. Avoid drinking a lot of carbonated drinks because you wouldn't want to let out a big burp while singing something lovely. (so you should drink tea or water before a performance to really insure that you will have a good performance) 3. As for food like don’t eat chocolate or a lot of candy before a performance especially chocolate because that can act the same way that milk does and avoid sour candy as well 4. Soda  make your voice scratchy 5. Avoid dairy products they day before an audition bc it build up phlegm in your throat. (Milk, cheese, etc.) 6. Oily food just bad Hearing sensitivity

How sensitive is your hearing?  Believe it or not many singers find that certain sounds/noises are extremely irritating and sometimes painful to listen to.  Personally I find anyone singing off key makes me feel physically sick, some singers find certain frequencies and decibels irritating like high pitched laughter, screams and loud noises, some to such an extent that the ears experience  a 'ringing' sound, ear popping or stuffiness for some time afterwards or more severely cause bleeding of the ears.

If you have auditory problems or sensitive hearing you can take a few precautions to avoid irritation:

• Wherever possible - avoid the noise that irritates!
• Use Earplugs to lessen the sound
• When rehearsing use a large room with an open window to allow the sound to dissapate
• If you have to use a small room try and deaden the walls so that the sound does not 'bounce' (egg boxes, carpet tiles or foam are suitable).
• Avoid aspirin--it causes tinnitus.
• Avoid practicing your singing after Swimming and make sure you dry your ears thoroughly
• Don't sing with a viral infection unless absolutely necessary
• Avoid drinking Alcohol

If this is an ongoing problem and you are encountering regular occurrences of tinnitus, stuffiness, ear popping, intense pressure, or bleeding from the ears make an appointment to see your Ear Nose & Throat Doctor as soon as possible.  

How to become good singer (SIFA/MBINU ZA KUWA MWIMBAJI BORA) (Kuna aina kuu 2 za ala kwa msanii: Sauti na mwili) Ø  Get the voice! Most singers start from an early age, if you want to do this and haven't go the voice then maybe get singing lessons and practice everyday, to help you it might be a good idea to get a karaoke machine or if you have a playstation you can get singstar which records your voice. Once you are positive you can sing well, perform in front of some trustworthy friends or if your really brave maybe try at a talent show if you're still in school, and if you're a Christian, perform at a small church and work your way up. Singing at a pub isn't gonna happen if you're under 21. Ø  Improve your stage presence                              Improving Your Stage Presence Many musicians spend years without giving their stage presence a single thought. After all, it's all about the music, right? Yes, but... The way the band looks on stage plays a huge part in capturing the attention of the audience. The visual image you project matters. The eyes, as well as the ears, need to be satisfied if an audience member is to become a fan. You can see this at work with every successful musical act. The way the group looks and acts on stage affects the way you experience the music. The greatest artists capture your attention through their sheer power as performers. Think Tina Turner - her presence and image are hugely important in her popularity. One common misconception among musicians is that "stage presence" means dressing, moving, and acting in an unnatural way. This need not be so. In fact, the best "image" of all is one that is truly YOU, truly original. Don't feel that just because "all" guitarists jump around, you have to follow suit. Style comes from learning to express your true self in front of your audience, combined with the confidence of experience. CLOTHES: It's not necessary to dress in matching costumes (which does work for some

bands!), but be sure to project the band's "vibe" in the clothing your wear on stage (or in photos). It's great to be extravagant, which makes you memorable. But it's also OK to be subdued if that's your style. Just make sure you are comfortable in the clothes. ATTITUDE: The most important thing here is just to HAVE an attitude, some kind of attitude. Nothing is more boring when watching a band than to see musicians standing up there doing... nothing. To continue your image building, your attitude should match the style of your music. (Folk Singers are usually "polite", hard rockers "rowdy", goth bands "serious", etc., but like all rules, this one can be broken.) Do ANYTHING except stand there staring at the floor. Move around, dance, mosh, jump, whatever. WORKING THE AUDIENCE: Make sure you interact with your audience. Make friends with them. Look at them, talk to them between songs, tell jokes, give away drinks or CDs. Don't have those dreaded silent minutes when the audience is waiting while the bassist tunes. Say something witty instead. Be the life of the party. Also work the crowd between sets. LIGHTING & STAGING: Another visual addition to add interest to the show and draw in the listeners. You can use creative lighting effects, props, ramps, platforms, banners, etc. to make your show more appealing to the eye. IMPROVEMENT IDEAS Practice in a room with full length mirrors. See which movements look good, and which come across as awkward. Practice facing the mirror, as you would do in a live performance. Videotape your performances and practices. Play full sets, and later watch the tapes to analyze your stage presence. Mentally prepare for performances by getting into the right frame of mind. Breathe properly, and remember that this is about fun and expression. That's why they call it "playing". Work towards completely revealing yourself in your performance, never holding back. Suspend your fears of screwing up and let it all out. It sounds silly, but the best performers do just that. Once you have perfected your parts through rehearsals, forget all the technicalities and instead utilize inspiration on stage. Allow yourself to "play a role" while performing, if you like. Some people have a sort of "alter ego" on stage that is less inhibited than their normal personality. In the end, good stage presence is simple - don't be BORING. You're free to do whatever you like as long as it is visually interesting. All you have to do is spend a little time working on it, and you'll improve the quality of your live shows by leaps and bounds. Steps 1.     Love the songs you sing. It's common sense, but if you do not have your heart and soul 2.     In a song you will come off as fake and/or cheesy. Even if it's a cover, try to relate to the lyrics and the feeling as much as possible. 3.     Smile as much as you can. Even the most  acts need to look like they're having a good time, because moodiness does not come over well to the audience. Let them see you are having a great time, and the effect will rub off on them. This doesn't mean you can't change up the feel for different songs, it just means you shouldn't look serious the whole time you are performing. 4.     Move around! Come on, don't just stand there looking awkward! If you constantly move, even just a little bit, your motion will attract the audience's eyes. Good examples of singers who moved around a lot include Luck Dube, Michael Jackson, Gerard Way etc. Look up some of your favorite artists on Youtube web to see what they do on stage, and go onto the next step. 5.     Steal moves from the big guys. Go ahead, no one is going to fault you if you take some pointers from well-known singers, for his stage presence, by fans and critics alike. Don't copy one person, and don't copy their whole routine. Take the bits that you enjoy the most and make them your own. Eventually, after seeing how comfortable they are doing "crazy" stuff on stage, you'll feel more comfortable in your body doing your own stage moves. 6.     Learn to use facial expressions and poses to go with the emotions. Be careful not to tighten your throat or do other actions that would inhibit good vocal technique! Watch Geoff Tate for someone who correctly vocalizes while dramatically expressing emotions. 7.     Learn when NOT to grab attention. Sometimes you have to let other band members steal some spotlight. Otherwise you'll become an egomaniac in others' eyes! Think of David Lee Roth! Although it's great to be a bit showy now and then, vocalists need to back off a bit. 8.     Talk to your audience. If you involve the audience, they will be forced to pay attention. Freddie Mercury used to sing a line, then make the audience sing it back. Get the audience in on the songs. Ask them non-cliche questions, (Not, "How're we doing tonight?!), make them shout out, tell them you want to see a mosh pit and things like that, depending on your style of music. TIPS ·         Dance! Better yet, create your OWN dance moves. When Michael Jackson first did the moonwalk the audience gasped and it became one of the greatest live performances ever. ·         Take some acting classes if you feel you have trouble with your expressions or emoting. ·         When you jam, practice as if you're in front of an audience. This will prepare you mentally for acting and moving in front of them. ·         Be sure to thank your audience! They gave you time to perform for them! ·         Avoid becoming a "rock and roll cliche" which includes asking the crowd "How's everybody doing tonight," or "Come on everybody, make some noise." ·         Make a personal connection with the audience through storytelling or providing background about your songs, your band or yourself. ·         Do not overdo it. Experience will help develop your style. Let it be unique and not a parody. ·         Let go. Once you have practiced and strained to get things smooth, the only way they will start to work perfectly is when you do not bother thinking about them and are just running on autopilot. Warnings ·         Do not overdo the moving around, remember you are a singer foremost, hitting the right notes and staying in key is more important. ·         Do not forget to warm up your vocals before hitting that stage! ·         Keep water on the stage to prevent you from dehydrating and passing out on stage! ·         Try not to be too messed up on substances or you will just run into trouble! ·         Do not complain! Unless it is something major, let it go. Do not ever talk bad about your band members, the songs, or the venue. You will run into trouble and you'll look petty.  Ø  Get the confidence!  (being sure that you can do something) If your not very confident of singing in front of loads of people try a drama club or try this trick imagine your audience in their underwear but don't let this interrupt your singing.                   How to sing with confidence Singing is really a confidence game. The more comfortable you are with the way you sing- the more confident you will feel about showing what you've got. What is confidence? How do we get it? Can it be taught? To properly understand the role of confidence in singing and why it is important we must look at what is happening between you and an audience when you are performing. Singing is not merely the reproduction of musical phrases in the correct order. It is one of the most primal yet sophisticated means of communication on earth. How many times have you heard a song and been moved by it? Most of us have had the experience many times where we have simply adored the way a particular singer sings something. It is often hard to put into words when it happens. Somehow it just does something for you. This is mostly because that performer is taking a chance. Performance is all about risk for both the performer and his or her audience. You as the performer must be prepared to wear your heart on your sleeve. You must allow the audience a glimpse of who you are, what you feel. This is sometimes difficult to do especially if you are anxious about singing a particular phrase properly or hitting the high notes cleanly. Your audience is looking for only one thing. They will forgive almost anything if they think you are giving it your best. They WANT you to take the chance. Think of performance as a kind of contract between you and your audience. You promise to deliver the goods - and they promise to pay you for it! How you deliver those goods is entirely up to you but you must be prepared to take the chance. This is the most essential element in all music. A performer must be willing to commit to the best performance possible always. No playing it safe, no shyness - just sincerity. That's often all it really takes for an audience to be happy. Here are some great ways to build your vocal confidence Choose your songs carefully. Don’t pick a song just because you think it's cool or you like the original singer. It is critical that the song you choose to sing actually suits your voice and vocal style. Many beginners fail to consider this simple fact. Very few singers can sing literally anything. Consider this a plus. What you need to discover is your own unique sound. Finding the right material is half the battle. If you have a smooth voice, try to find songs that allow you to make the best of that characteristic. If you have an edgy tone to your voice, listen to other great singers who have that sort of voice and learn from their song choices. Find the right key. I can’t stress this enough. Don’t sing so high that you feel like you are straining. This is both damaging to your voice and pointless as a performance. It's painful to listen to a singer who has stupidly decided to sing a song in a key that is way too high for them. Sing regularly. This means that you should take every opportunity that presents itself to have a sing. Don’t however sing so much that you feel tired or your voice will start to suffer. Singing regularly will build your vocal conditioning and give you familiarity with a wide variety of material. It's that variety of your song choices that will allow you to develop a more distinctive style all of your own. So, don’t just sing the songs that you currently like. Try lots of different material. If you like hard rock - try singing some country music. If you like singing jazz - have a go at some reggae. These things will help you to expand your musical horizons and take you from mere imitation to being a unique singer.

Sing with Confidence Every Singer has their own unique style, sound and tone which is worth studying. Watching and listening to the way a professional singer performs provides an insight into the techniques used, but you could spend years trying to emulate the top vocalists or favorite artist. If you intend to be a "tribute" act or have a natural similarity to an existing artist, studying them will be an essential part of your rehearsal program, but to really benefit from your voice, you should concentrate on developing your own natural vocal abilities and style. So how do you achieve the same effect in your vocal performance? The answer is to learn about how sounds and shapes are created then integrate this with natural feeling and emotion. Part of a singing teachers job is to provide the student with exercises and techniques plus identify tensions to aid the singer in exploring their own potential and singing in a healthy manner. There are times when singers try too hard to do it right instead of expressing the song. Singing without considering technique or style during a practice session can release tension, resulting in the subconscious use of correct technique, thereby producing a beautiful tone or emotive quality. Technique is just a means to an end that is forever open, it grows, changes and develops as the singer gains experience and confidence in their own ability.

Feel too nervous to get up and have a go? - You are not alone - many professional singers suffer with nerves before they sing live!!! Want to sing with confidence? Try the following tips: 1. The most difficult part is getting up to sing in front of an audience for the first time - once you have achieved this it will become easier each time you perform!! 2. Karaoke and jam nights are great for gaining confidence! No-one cares if you forget the words or mess up the songs so you can relax, have fun and get used to singing in front of an audience. 3. Ask a friend or group of friends to get up and sing with you - pick a song that you can have a laugh with! 4. Don't worry about making a fool of yourself or how you sound - just have a go! 5. Choose a song you know really well - avoid tunes that are difficult to sing until you are more confident about your voice and performing in front of an audience. 6. Take a deep breath, exhale, look ahead and smile as you take the stage - even if you feel terrified this will help you look confident. 7. As soon as you get on stage relax your shoulders and clear your mind of everything except the song you are going to sing. 8. If you are really nervous, concentrate on at a point just above the audiences head or if singing karaoke concentrate on the television screen and your singing rather than looking at the audience! 9. If you know the song really well but are still nervous of performing in front of a crowd, then focus on an object slightly above the audience instead of their faces. 10. Find yourself shaking when you are singing? Then move around a bit - swing your hips and bop around - it'll help you to forget your nerves and make you look confident. 11. Got a really awful voice & know it - but still want to have a go? Pick a song that everyone can join in with, a track that is funny or make up funny words, pull faces or use props - you'll sound great & the audience will laugh with you - not at you!! Ø  Performance Techniques Sooner or later most singers want to come out of the lessons and practice sessions to try out their talents in front of an audience. The first performance may only be to family and friends, at a party, karaoke night or other low key event but for those who seek a professional or working career as a vocalist, the ability to capture and hold an audience should be part of the ever ongoing training process. Many of the aspects of performance a singer requires are included in private lessons, workshops and classes provided by singing teachers, voice coaches, performance coaches and choreographers, some of which can be learnt by observing professional singers. How to pace a set, how to showcase all members of the group, how to develop a personal artistic identity, how to command attention and stand out from the crowd are just a few of the many performance techniques that a singer requires if they wish to make an impact. Although these skills are difficult, if not impossible to cover here, there are some pointers that we can provide to help you to explore and improve your performance technique. Set aside time for practice sessions that concentrate on integrating voice and movement. Use a mirror to observe yourself when trying new movements or choreographing dance routines. If possible video record your sessions for later review to gain a better understanding of the audiences perception of your performance. Leave a tape recorder running during a vocal and movement rehearsal for later review. This aids the singer in identifying potential problems that can occur with vocal control when using movement. 'Movement' covers a wide range of possibilities not just a full blown dance routine! A good performer appears to 'fill the stage', that doesn't mean they have to use complicated dance routines or have a powerful voice, many singers captivate their audience by using movements and facial expressions that are natural extensions of their personality and voice, these draw the audience in to focus on the performer. Some singers have stage personalities that are 'larger than life', many pop acts use dance routines whilst rockers convey energy through body movement and the occasional bounce around the stage. Other performance techniques include the use of audience participation, which covers everything from working amongst the audience to encouraging the listener to sing along, dramatic acting, microphone techniques, building and arranging a set list of suitable material, improvisation and interpretation. It is important to gain experience at performing in front of a real audience, no matter how much you practice in your bedroom or in a rehearsal studio, it will never reflect the reality of being on stage. This can cause a variety of reactions in the newcomer ranging from mild performance anxiety, forgetting the melody or lyrics, singing out of tune or time to overpowering stage fright, depending on the character of the individual. Although an entertainer may practice many ways of presenting themselves in rehearsal, their true stage personality is rarely found until they relax and just do it live, which is where a friend with a camcorder is an asset! When reviewing a recording of a live performance the main aims are to analyze what works, (and what doesn't!) then work on adjusting and honing your performance during lessons and practice sessions. Everyone has different abilities and may find some things easier to learn than others, the key to presenting a good performance is practice, experience, perseverance and a willingness to learn ;-) Body language How to Act While Singing Yeah! You've gained a part in the musical! But how to sing while you act? No problem. Here's how: STEPS Show Ads 1.     Expression. Smile if the song is happy, pout a bit if the song is sad. I know this sounds childish, but the way you move your mouth helps. Keep your eyes wide and raise your eyebrows a bit. Show off your teeth and cheekbones! 2.     Practice positions that your voice sounds okay in. If you must lay on your side, practice at home singing in that position so you can find out the way your voice sounds in it. 3.     Turn a bit, sway. Movements like that look amazing. Consult the director. 4.     Talk to the director for tips about dancing, singing, etc. 5.     Use your entire body. Body language is a universal language so use it well. 6.     Try acting the song out as you would without any singing. Really get into the mindset and see how you would speak, stand, move, etc. Then sing it, attempting to do the same things. 7.     It look pretty boring to just stand there, so dance! Dance in comfortable movements so you can move and sing at the same time. 8.     Relax. TIPS Be yourself. 2. Look like are having fun. 3. Practice WARNINGS ·         Always listen to your director, coacher, teacher etc. If you don't agree or understand something he/she is telling you to do, make sure you talk to them about it. ·         When using a song for an audition, don't choreograph! If they want to see you dance, they'll give you a dance to perform. Stick to natural movements. Managing your voice (Kujua na kuitawala sauti yako) How to Find Your Own Singing Voice Tired of being laughed at because your singing voice sounds like a donkey's? Don't worry! With a few simple steps, you might find improvement. Everyone can sing, but some not as good as others. Keep trying, and you too will soon be able to sing like a bird.

Steps 1.     Learn a song that you really like. Don't sing along to it while you're learning it, though, because you'll try to sound like the person singing the original. Sing the music scales with your voice. When you find the right key, you will know. It will sound beautiful to your ears and in your heart. 2.     Record yourself. It helps quite a bit. Listen to the recording like you're listening to the radio. Judge yourself like you're listening to someone else. Maybe you're straining too much, or that note you sang was flat. Fix it, and record. Repeat until you get it right (or you don't want to overuse your voice). 3.     Practice singing in front of a mirror. It'll help you enunciate the words better and people will understand what you're saying. 4.     Stand in front of your friends and sing! Once you are comfortable with what key best suits your voice, you'll do great! 5.     Stay away from songs that are too challenging for you. Maybe come back to it once you are more capable. 6.     Always sing from your stomach, not your throat. 7.     Talk to a vocal teacher, and register for some lessons. He or she will help you find the voice within you. They will train you until you have a very unique voice that people wanna hear! Warnings ·         Don't hurt your throat doing this. Nobody sings well at every single moment in time. Just sing as you have been, as singing can make people feel happy. ·         Screaming, talking loudly, and even whispering can strain your throat. Whispering strains your voice more than loud talking does! 1.     Get the songs! You can't be a good singer if you don't have good songs, try a mix of songs and see which goes best with your voice, if more than one of them goes with your voice in your career try a mix of those songs. Writing your songs are hard and won't be perfect on the first try, remember it must make sense and remember to always rhyme your first line to your third line. Songs maybe based on anything, if your stuck for ideas try your life. Ø  Managing your key   (Secrets of Singing on Pitch) Easy Steps to Cure Tone-Deafness  Some steps to help you sing accurately on pitch. If you’ve had tin ears or been called tone-deaf your whole life, this easy method is for you. Say goodbye to singing off key and singing flat. Our how-to system shows simple steps to awaken your hearing so that you can start singing on pitch as if you were born with this ability. Stop being embarrassed that you sing off key, sing out of tune or that you sing flat. You will be able to sing with the pitch control and intonation you desire. Learn how to cure tone deafness. You can be singing in pitch. These abilities are also known as singing on key or singing in key or how to sing in key or how to sing on key. Here’s What You Can Do RIGHT NOW To Get Better Pitch: 1) Play and LISTEN to Chromatic Scale. Just play each note on your keyboard up and down, very slowly, and listen. That’s all. Before you will be able to sing notes on pitch, you have to become familiar with how the notes sound in order. By listening, this is a crucial step. Do not sing the notes. Just listen. Play the notes along the “chromatic scale,” up and down, within your general singing range of the keyboard. The chromatic scale is every single note, black and white, as they occur in order on the keyboard, without leaving any notes out. The formal names for these notes are “half steps.” Begin playing half steps near the low part of your vocal range and then go towards the top part of your vocal range. Play each note at the rate of approximately two seconds per note. Just listen. People who have a pitch problem also tend to have a habit of not listening or not paying attention to others when they speak. This habitual block-out bleeds over to not hearing yourself singing the note in your mind before you actually sing it, because you are in a hurry. So in addition to doing this step, try to work on changing your habit of ignoring people when they are speaking to you. In other words, even though you may want to tune someone out, you are inadvertently “practicing” how to not listen if you continue doing this. Then, when you want to hear, such as in singing, you can’t! 2) Play and SING Chromatic Scale. Now you’re ready to reproduce what you’ve played on the keyboard, in your own singing voice. Continue to do the above step, but now sing each note after you have played it. There is a secret here that is very important: HEAR YOURSELF SINGING THE DESIRED NOTE IN YOUR MIND FIRST, BEFORE YOU ACTUALLY SING IT OUT LOUD!! This will give you the greatest success. Don’t rush. Take all the time you need. Again, DON’T RUSH! Why? because if you just blurt out the note too soon, without thinking about it, you will not improve at all. 1. PLAY the note 2. HEAR yourself singing it in your mind (Don’t rush -        wait until you really hear it!) 3. SING the note PLEASE NOTE: This is not a singing method. Do not purchase this eBook if you want general singing tips. This information will not teach you how to sing or how to improve your vocal quality, breath support or anything else a good teacher would teach. However, whether you’re a trained singer or an amateur, if you tend to SING FLAT, this information is exactly what you are looking for! This information provides solutions only for pitch problems. That is — how to sing the right notes. In fact, most teachers don’t actually know how to help their students with this particular problem. If you want to learn to sing accurately on pitch, then keep reading. It’s Never Too Late To Sing Perfectly On Pitch. If this ability was never acquired in a natural way, there are specific steps to developing one’s ear and improving pitch that can be artificially instilled. Our Secrets of Singing on Pitch eBook teaches you the exact steps to help you in your goal of singing on pitch. Everyone can learn to sing on pitch. Some people have a natural ability to do this and they cannot explain how it is done. Others go through their whole life avoiding situations where they might be heard singing, knowing how bad they sound. Well, if you are one of these people, this eBook is written for you! If you were one of the people who naturally sing on pitch there might have been many elements that helped to develop this skill: These might include any or all of the following: (1) your genetic makeup, (2) your exposure to music while you were growing up, (3) your early support system, (4) early encouragement to sing, (5) your mother sang to you while you were in the womb (and she sings on key!). If you missed out, for whatever reason, on the above list don’t despair! It is never too late to sing perfectly on pitch. If this ability was never acquired in a natural way, there are specific steps to developing one’s ear that can be artificially instilled. Our eBook will teach you the exact steps to take so you can reach your goal of singing on pitch! Ø  Pronunciation What is a good way to improve pronunciation while singing? I would suggest you go through some tongue twisters before you begin to sing, to loosen the muscles in your mouth. Some good tongue twisters are: 'Red Lorry, Yellow Lorry' 'Betty bought a bit of bitter butter' and the proverbial 'She sells sea shells by the sea shore'. If you practice these, then you will find that you focus more on correct pronunciation. Also, when you sing you should think about the sounds of the words and letters. It will help. Exaggerate your consonants. When you exaggerate your consonants, it makes you sound more 'British', and therefore you seem to be pronouncing words better, while still retaining your own unique accent and voice. My final piece of advice is not to be afraid of opening your mouth! You will be understood better if you open your mouth wider than normal to sing vowels. Opera singers do it all the time. If you feel stupid, don't worry. Often times you won't look silly at all; in fact, opening your mouth wide seems to make your singing appear more intense and passionate. During my time in a choir, the conductor was always insisting that we singers could fit at least four fingers between our teeth when we sung our vowels. It helps enormously. I hope this has been some help to you! Sing in a British accent. It sounds crazy but it raises your soft pallet, making your vowels "taller" and it softens the "r" which just sounds better. I know, it seems weird but it really worksand when you sing, you can't even hear the Brit accent. That, and work really hard on forming your vowels. If you speak the words in the song in the way you pronounce them when you sing, it should sound really weird. That usually means you're doing it right. Source(s): Keep practising by singing. I had the same problem but I have overcome my problem. Take a quick class, or buy some software, specifically for diction in foreign languages. You'll notice almost immediately that your English pronunciation gets dramatically better! I recommend German and Italian diction... they'll help the most. First in which language you want to sing and then you know that language as in writing and speaking then you can sing very well. my mom says to sing the song very slowly without the music pronouncing every word and hitting every note then try it with the music hope it helps Write down the proper pronunciation phonetically on your sheet music. Then, just practice - a LOT! Form your vowels. If you don’t know wut that r, u prolly shouldn't be singing or up to this stage yet. Pronunciation during concert singing isn't too important. Ø  Vocal range   (Uwezo wa sauti wa kupanda na kushuka) Vocal range is the measure of the breadth of pitches that a human voice can phonate. Although the study of vocal range has little practical application in terms of speech, it is a topic of study within linguistics, phonetics, and speech and language pathology; particularly in relation to the study of tonal languages and certain types of vocal disorders. However, the most common application of the term vocal range is within the context of singing where it is used as one of the major defining characteristics for classifying singing voices into groups known as voice types. Singing and the definition of vocal range While the broadest definition of vocal range is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the term vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performance for various reasons.[2] For example, within opera all singers must project over an orchestra without the aid of a microphone. An opera singer would therefore only be able to include the notes that they are able to adequately project over an orchestra within their vocal range. In contrast, a pop artist could include notes that could be heard with the aid of a microphone. Another factor to consider is the use of different forms of vocal production. The human voice is capable of producing sounds using different physiological processes within the larynx. These different forms of voice production are known as vocal registers. While the exact number and definition of vocal registers is a controversial topic within the field of singing, the sciences identify only four registers: the whistle register, the falsetto register, the modal register, and the vocal fry register. Typically, only the usable range of the modal register, the register used in normal speech and most singing, is used when determining vocal range. However, there are some instances where other vocal registers are included. For example, within opera, countertenors utilize falsetto often and coloratura sopranos utilize the whistle register frequently. These voice types would therefore include the notes from these other registers within their vocal range. Another example would be a male doo-wop singer who might quite regularly deploy his falsetto pitches in performance and thus include them in determining his range. However, in most cases only the usable pitches within the modal register are included when determining a singer's vocal range. l range and voice classification 2.     Get the moves! Match each line to a sequence of moves, you can get inspiration from other music videos. If you're not very good at dancing join a dance class with your style of dancing. Get the fame! This is the final step, find a recording company. You can find them on the internet, Get the look! All singers have a look, choose glamorous clothes with designer or so called 'designer' wear. Ø  Appearance (what somebody looks like) Ø  Song feelings (hisia katika wimbo) Ø  Microphone technique = How to use a mic, how to hold mic, mic distance etc. N.B    Never give up just because some one says you're not good. And remember this: You're never too old to have a dream! Warnings ·         Sometimes if you feel pain or strain stop singing until the pain or strain subsides. How to Compose a Song This will tell you how to compose a full song, with or without words, with or without accompaniment and sounding good in maximum 1 week. Steps 1.     Improvise on the instrument until you find a style you like. If you have a keyboard, hook it up to the computer and use the scoring program to record what you're playing (with Finale it's called Hyper Scribe, Garage Band is just record but make sure you have "MIDI Input" switched to your keyboard.) It should sound like an introduction. 2.     Make sure that your Introduction stage and write on your software or scoring paper. 3.     Use Seventh Diminished chord inversions to implicate chordal styles. 4.     If you want words, write a chorus and pick out the melody on your instrument. Then enter that into the scoring program. 5.     If this is a chorus/verse song, write verse 1. If not, create a theme. 6.     Now make a variation on the theme. If this is a song with lyrics, copy and paste the chorus and make verse 2. 7.     Repeat this for as long as you want. 8.     Now make an ending. The ending should be based on the theme.  Tips ·         Never give up or delete something, no matter how bad you think it is. Keep it in a separate area. ·         Make sure you always have your brain in thinking mode, but if you get writer's block, take a rest. ·         If you are using electronic items (such as computer or keyboard) make sure that everything is plugged in and running. ·         Tell yourself what you are really feeling and put it into a song! Try as hard as you dream. ·         Start small, but put together a repertoire to entertain family and friends; then they will boost you because they like your music. ·         Ask someone listen to your song. If they like it, stick with that style. However, it may be helpful to get more than one person's opinion. Warnings ·         Never give up! If you are an aspiring singer, let it out. ·         You must develop your talent, but nothing is more important than persistence. ·         It's frustrating to play a good, new riff or melody but not be set up to save it: be prepared.

Audition Advice

Auditions can be a daunting prospect, even for the seasoned professional singer. Choosing what to sing and wear are always somewhere on the singers 'worry list!' Regardless of wether the audition being applied for is for examination, competition or a part in a show, there are several things that the singer can do to ensure that their performance is as stress free as possible. Those of you who have never attended an audition before need to be aware that you can be waiting for several hours before it is your turn to perform. This in itself can be stressful so it is important to prepare yourself for a long day! Choosing Songs There is little point singing a new song or one that you are unsure of. Your performance will lack conviction and under stress you may forget the words! Any song used for audition purposes should be one that you have memorised and feel confident singing under any circumstances including unaccompanied. Choose material that is suitable for your voice and the type of audition you are attending. In some cases you will only get to sing part of a song so avoid tracks with long instrumental introductions, if possible get an arranger to help you organise the songs into a suitable format for audition performance. When auditioning for a theatrical show the musical director or producer may supply a list of appropriate songs, always choose song/s you know well that display your vocal range and versatility. If a list is not supplied and you are aiming for a particular part in the show, unless instructed otherwise, avoid singing songs from the show itself, instead choose material from shows of a similar style and caliber that reflect your capabilities. The song should not only suit your voice, but also the type of audition you are applying for. If you are going to audition for something like 'POPSTARS' then the vocalist is expected to sing a 'POP' song! The same applies for any audition - the song must suit the type of part, show or competition for which you are entering. Also be aware that many auditions now require the singer to perform unaccompanied. This means that there will be no music to aid you with the timing and pitching the song to the right key for your voice. Any mistakes the singer makes become glaringly obvious and in a large room the singer will need to be competent at projecting their voice so that they can be heard if no amplification is provided. What to Wear? There are no strict rules, but considering you may be waiting around for hours before you perform it is advisable to wear a comfy outfit and keep your audition costume clean and safe in a cover then change at the venue. Trainers are out unless you are auditioning for pop/dance/rap where they are considered acceptable footwear and high heels should be avoided unless you can walk and move gracefully in them. No matter how well constructed, the stage invariably has small cracks, (usually for a trap door) and fiddly little steps that are easy to trip over or get a heel stuck in. Avoid thin heels and watch where you are going - tripping up may make a memorable impression, but not the one you intended! Clumpy heels and platform shoes/boots have a tendancy to make the performer look awkward with the exception of 'glam rock' auditions they should be left at home! The clothes you wear should not interfere with your ability to sing. Constricting or tight outfits will prevent the singer from breathing and projecting effectively so a balance between looking good and being comfortable has to be found. When the audition requires dance skills as well as singing ability, it is wise to wear clothes that allow freedom of movement, lycra leotards or clothes allowing freedom of movement and dance shoes should be packed as you may be expected to do a seperate audition for the choreographer. Accompaniment Examine the requirements that have been provided by the company or director running the audition. Check the type of accompaniment provided, if any. Are you allowed to use backing tracks, if so what type of players are provided, i.e., cassette decks, cd or mini disk player? Will there be an accompanist provided, if so, how many and what type, e.g., pianist, guitarist, band, orchestra or can you use your own accompanist? Unless you are attending an audition that requires you to play a musical instrument, avoid accompanying yourself. Playing an instrument will NOT enhance your performance, it prevents the singer from concentrating on the voice and moving fluidly. Unless otherwise stated the auditioners want to know how well you SING not how well you PLAY! The exceptions to this are Band Auditions, Songwriting and Talent Competitions in which case proficiency in singing, songwriting and playing an instrument are assets that the performer will need to aquire. Cameras, Mic's & Other Equipment When auditioning for television or film the singer should be aware that there are certain things they are expected to know. A spot will be marked that provides the auditioners with the optimum camera views. The singer has to remain within the parameters that are provided. In most cases a stage hand will direct you to the spot, but if unsure ask! Hand held and trolly cameras will move around the singer during the performance, even closing in right next you. Be prepared for this and don't let it put you off! Work to the camera. The camera that is active will show a small light, look into the camera but don't try to follow the cameras ALL the time, concentrate on your performance and use the camera when it is suitable, i.e., if the camera to the left is filming, turn slightly and look into it during a pertinant passage in the song. Remember the auditioners want to view you from all angles, they need to see that you can use the camera effectively without overdoing it or allowing filming to affect your performance. Microphones can be placed on a stand, hand held, attached to your costume or provided as a head set. If using a microphone with a lead attachment ensure that your movements don't cause you to become entangled or trip. Practice using a lead mic at home! Costume attachments and headset microphones are very sensitive, don't try to belt out your song so that the mic picks you up - it is the sound engineers job to set the level to suit your voice so sing normally and let them worry about the volume. Monitors are usually placed at the front or side of the stage so that the performer can hear themselves. Sing a quick scale into the mic or speak a few words to make sure they are at the correct level, any adjustments will need to be made BEFORE you start your audition, most of the time the levels will have been set but if you are aware that your voice is exceptionally quiet or powerful, it's worth warning the engineer beforehand. Some systems do not re-produce effects like reverb through the monitor so your voice may sound dry to you but any effects added will be clearly heard by the audience. The singer may be placed behind a screen or in a seperate area from the accompanist. In this case a monitor is essential for the performer to hear the accompaniment. If you are unable to hear the music or your vocals - STOP and tell the stage crew immediately. Avoid pointing the microphone towards the monitors or speakers, this causes feedback which will interfere with your performance. Learn how to use a microphone effectively before attending an audition which requires it's use! Be Prepared Competition will be fierce and you should expect there to be an extremely high standard of performers. Even if this is not the case, you should be prepared to sing and perform to the very best of your ability. This includes knowing your songs, having sheet music/backing in the correct key for your voice and being capable at performing in front of strangers under unusual and stressful conditions. The day before your audition should be spent preparing everything you need for the day. Write a check list and pack all the items you intend to take with you, including a large bottle of water, light lunch, sheet music, backing tracks, costume, make up, spare cash and something to read while you wait. If possible take a tape recorder to record your audition for later review. ALWAYS check that you have everything you need before you leave the house. Some auditions and examinations allow the singer to use their own accompanist, if this is the case make sure that you have made arrangements with your accompanist well in advance, including rehearsing the songs you wish to perform on the day. Travelling together is advisable and prevents stress caused by delays in appearance from either party. When using audition tracks on cassette tape, line up the track so that it is ready to play before you leave. Ensure that the cassette is clearly marked with your name. If using sheet music mark it with your name and make sure there are enough copies for all the accompanists. In most cases the music for a pianist is adequate, but for band auditions full orchestrations may be required. If you have an opportunity to discuss your music with the accompanist before you are due to audition, take it! This saves time and prevents mistakes occuring at the audition. Read the audition requirements carefully and don't be afraid to call and check with the organiser if you have any queries. If you are travelling by public transport check bus and train times carefully. If travelling by car work out the route before the day and include a back up route in case of unforseen traffic or emergancies. Leave well in advance of the time you are expected to be at the venue. Getting there early will allow you to relax and prepare for your audition. At the Audition Once you have arrived at the venue check in with the organiser immediately. Find out who is auditioning ahead of you and approximately how long it will be before you are required to perform. If you are going to be waiting for a long while, don't spend the time singing!! Wait until an hour before you are due to audition, then change into your costume, touch up your make up/hair and do your vocal warm up exercises. 10  Top Tips for Looking Confident There are ways of appearing confident, even if you feel like a bag of nerves! 1. Do a few relaxation exercises before you are required on stage. Take a couple of deep breaths and exhale slowly when you are called to calm yourself before proceeding into the audition room. 2. Walk gracefully or stride across the room/stage with purpose, keep your head up and look where you are going. 3. Wear clothing that is comfortable and enhances your appearance. 4. If an accompanist is provided, take time to greet them before starting and thank them after your performance (even if they don't play the tune well!). 5. Face forwards and look at (or slightly above) the audience/judges/examiners who will indicate when they want you to start and stop you when they have heard enough. 6. When you are ready to start your audition, say hello to the auditioners and provide them with a brief introduction to the song you are about to perform. 7. Concentrate on the music and your performance. Do your best. 8. Don't fluster or stop if you make a mistake, continue as if nothing happened. 9. Be yourself 10. Smile! If the auditioners comment on your performance, don't answer back or be rude in return. By all means ask questions but remember, you may encounter these people again at another audition, alienating them will destroy any future possibilities of selection purely because of your attitude. At the end of the day you still may not get chosen for their project. Don't be disheartened by this. Review any recordings you made of your performance and work to improve any weaknesses. In all cases the musical director is looking for a certain 'sound' or 'look' which they feel they will know when they see or hear it. Just because you are not what they are seeking for this project, does not mean that you will not be chosen for a future project at another audition by the same company/director.

Solo Artists

The solo singer or artist has a lot in common with the Lead Vocalist. Both are required to be proficient at keeping in time and tune with the music, whilst entertaining and communicating with an audience. A solo artist should be reliable and competent at performing with both live and recorded backing. Soloists are singers of any style who perform as individuals, this can mean anything from singing a 'solo part' in a choir to performing all the songs alone. (for those who have asked - Yes - acappella does count!) but for now we will stick to the solo artist who performs their own show. Solo artists can work with their own equipment (backing tracks, p.a., accompanying themselves using a musical instrument), pay 'session musicians' or an 'accompanist' to play the music or perform at venues who employ a 'house band' or 'session musicians'. The latter two options require a 'Pad' which is the name given to describe a folder containing the sheet music for each song that will be performed during the show (with a few extra's in case of encore's). The 'Pad' should also contain a set list with the songs key written next to the titles, listed in order of play for the singers and musicians reference. Top Tips when using sheet music All songs should be written in the correct key for your voice with an arrangement that suits your style of singing and clearly indicating the key, style and tempo required. Try and purchase sheet music that isn't too 'busy' and provides chord guides. This will ensure that you can recognise the song being played even when the musician is not a sight reader, as this allows them to follow the chords and supply their own 'fills'. Make two photocopies of the original sheet music (an Arranger often supplies a copy). The photocopies can then be carried to all the gigs (always keep one as a spare in case of loss or damage), whilst the originals remain safe and dry at home. The photocopies should not be 'taped' or 'stapled' together, as this make it difficult for the musicians to turn the page. Use a clear plastic pocket keep each part in order and prevent tearing or damage. The 'Pad' needs to contain parts for each musician expected to accompany the singer, i.e., drums, guitar, bass, keyboards or even full orchestration (sometimes referred to as a score) including strings, brass and backing vocals! Each piece of sheet music should be written in the correct key for the singers range, although most professional musicians are competant sight readers and can transpose the music as they play, it's unfair (and unprofessional) to make their job harder when obtaining the correct music for your performance is relatively simple! Competent sight reading singers who possess their own 'Pad' may be asked to deputise when musicians require a singer, or can be offered session work by producers for particular projects. Top Tips when using backing tracks Make a back up copy of all tracks purchased in case of damage or loss. When purchasing multiple tracks, supply the company with a 'track list' of the songs that you want in order of preference - saves searching the disc or cassette for the song! Most companies are happy to do this. If using a 'mini-disc' player, move the tracks into the order you wish to perform them then open the small tab at the base to prevent accidentally moving or recording over the songs. If you have already purchased songs which are contained on several cassettes/discs etc., copy them onto one disc. If you have the equipment you can do this yourself, if not ask the company you purchased the tracks from, as they may provide a 'copying' service at a fraction of the cost if you have already bought the songs from them. Write a track list of all the songs contained on each disc, cassette, cd or dat in the order of play. Include the artist name, key, song length and title and make a spare copy for emergencies (you'll thank me for this one later!!). Know your own equipment!! Even if you hire a sound engineer, roadie or operator you cannot always rely on them being available. You should be proficient at setting up and operating your p.a. system and player without any aid or be prepared to hire an experienced sound engineer who can do the job for you. The same applies if you use lighting equipment. Top Tips when playing an instrument Keep all your equipment in order and make sure you carry spares i.e., strings, plucks, fuses, leads, plugs, straps. Purchase a good 'boom stand' for your microphone or use a 'radio mic headset', venues don't always possess boom stands (or stands of any sort!) which makes it awkward to sing and play. The stand can be adjusted to any angle that you may require. Acoustic guitarists whose guitars do not have 'pick ups' should have two boom stands, one for the mic to sing in and one to pick up the guitar playing. Avoid using sheet music books at live gigs, they are bulky to carry around, tempting for thieves and you rarely perform all the songs in the book. Photocopy the songs to be performed and leave the book at home for safekeeping (and less to carry!) When using a music stand make sure that it is placed at a level that is easy for you to read and angled so that when the music is placed on the stand, doesn't restrict the audiences view of your performance. Arrive early to your gigs so that your instrument can acclimatise to the venues temperature. String players (guitars, violins, bass players etc.,) should allow the instrument to rest for at least half and hour before checking the tuning, then test it again 10 minutes before you start your performance. So what does it take to become a solo artist? Pretty much the same requirements as a lead vocalist, which include vocal and communication ability, personality and good presentation (image), however, a solo artist also requires more versitility and improvisational skills, a wider range of songs and good organizational qualities. Because the solo artist does not have band members which they can 'bounce off' during a show, they must have good stage presence and be comfortable working alone. Why? 1. When working in venues with different musicians you will discover some are more 'competent' than others. Prior rehearsal with the 'house band' is rare (and short). The artist needs to have enough songs to cover every eventuality, for instance, if the band are unfamiliar with certain tracks and are unable to sight read proficiently, you may have to substitute them with others that they are more confident of playing. 2. When using backing tracks, you will soon discover that most venues expect a wider repertoire of music. The singer needs to cater for this by ensuring they have enough songs in a variety of styles (within their preferred genre/s of music) for the whole evenings entertainment with a catalogue of 'spares' and a back up disk containing their set in case of loss or damage to the original. 3. Organizing your tracks, equipment, bookings and all other aspects of your career is the solo artists sole responsibility, even if a personal manager or management company is retained to help with various aspects of your career, they should not control your finances or make major decisions without consultation and approval from you. Learn to manage yourself and your time efficiently! Unlike the 'lead vocalist', the solo singer who performs with backing tracks is the sole focus of the audiences attention. This means that the performer must also be capable of 'filling the stage'. This doesn't mean the singer has to dash from one side to the other and can be accomplished by using their personality, vocal talent and movement or dance to entertain the audience. Solo artists who are seeking a recording career either as a singer/songwriter or by performing 'cover' songs need to research their market. Performers of this style may only be required to perform between one and three songs 'live' when they are starting out. Most of these performances will be at 'showcases' with other singers. Each venue approached will inform you of their particular requirements but the maximum performance time for a newcomer is usually 15 to 30 minutes which increases to 1- 1/2 hours when headlining at a major venue. Before approaching A & R and showcase organizers, gain some experience by singing at 'open mic nights' which will allow you to perfect your songs and live performances in front of an impartial audience.

Physical Exercises for Singers                              (John Shabani with a group of Singers doing some physical exercise)                                      We are often asked questions relating to fitness and although we are not fitness instructors or medically trained we have attempted to answer a few basic questions, provide pointers and tips on ways to increase stamina that should help improve singing or performing on stage Fitness Q & A  Q. Does height or weight matter? A. NO! Although it is better for your health and stamina to be at the right weight for your height and age, there are singers of all shapes and sizes. Lack of breath support and/or range can be caused by dramatic weight gain or weight loss but is usually regained with re-training & exercise. Q. How fit do I need to be to become a singer? A. Singers can use quite a lot of energy on stage depending on the type of show they are presenting. It is advisable to be reasonably fit. Take care of your health and do exercises in moderation. You don't need to be a fitness freak, but you do need to have enough stamina to last you through a whole performance. Anything that improves the body helps the voice. Q. How can I improve my stamina? A. Swimming is excellent for helping to improve stamina, fitness and breathing control. Like every type of physical exercise you can start slowly and increase the amount you do as your fitness improves. Q. So what exercises are good for singers and why? A. Any aerobic exercise including walking, jogging, cycling, swimming, tennis as these help to develop heart, lung strength and endurance. Co-ordination exercises like Yoga, Alexander Technique, Feldenkrais, Tai Chi etc., are good as they help to develop body awareness and aid in relaxation. Q. I enjoy weight training - is this good for singing? A. The main problem with muscle conditioning exercises (like sit ups, crunches) is the possibility of tension in the neck and shoulders. If you are aware of this problem and don't overdo the training, plus balance it out with a session of relaxation or co-ordination exercises then you should be fine. Q. I can't do aerobics - any suggestions? A. One of the exercise systems that helps to improve your flexibility and muscle tone without jumping around is Callanetics. It works on the principle of using very small movements concentrating on various muscles and areas of the body. Some of the exercises are based on stretching and relaxing. Similar techniques which have been suggested by associates are Pliates and the Alexander Technique. There are books and video's available in most major bookshops and libraries. These may not be suitable for some so check with your doctor. Q. What exercises should I avoid? Avoid any exercises that encourage or lead to shallow breathing, neck or shoulder tension. Give yourself at least a couple of hours between exercising and singing. Avoid strenuous exercise on the day of a performance unless you are fit and know what you are doing! Physical Exercises for Singers Our ten minute tone up aims to help you warm up and relax the body prior to singing practice. Please Note:- Check with your doctor prior to attempting any exercises. Stand with your arms by your side, breathe normally and keep the head and shoulders relaxed at all times. Drop your chin to your chest then slowly circle your head to the left, then up and back (only a little), to the right and then back down to the front. (a complete circle). Repeat this 5 times each clockwise and anti-clockwise. Raise your shoulders towards your head, slowly rotate them back, down and forward. Repeat this 5 times then reverse the direction. Shake your arms out when finished. Bend forward from the waist and let your arms drop towards the floor. Slowly unfold the body and raise your arms above your head, stretching your arms upward, then out to the side lowering them slowly back to their natural position. Repeat this 5 times. Keeping your head relaxed and facing forward, open your mouth and yawn - do this twice then inhale a deep breath to a count of 5 and exhale to a count of 15.

Movement & Miming

On my travels round various music, I was extremely dismayed to read a notice on a music message board (not ours) placed by a young singer advising a newcomer that miming is perfectly acceptable, as it was impossible to perform a dance routine and sing at the same time. GUESS WHAT..MIMING IS NOT ACCEPTABLE!! A professional singer/entertainer is one who can maintain a consistent vocal performance throughout the show INCLUDING dance routines. That does not mean that all performers are also dancers or required to bounce around the stage like lunatics, but those who do, should also be able to do it without 'miming'. The term 'Professional' in this case does not just apply to those who earn a living as a performer, but also to those who take pride in delivering a polished and interesting performance, regardless of age, style or experience. There are times when miming is acceptable for a singer. Usually when the artist is not performing in front of a live audience, e.g., for filming purposes i.e., your shooting a video and need to repeat the performance several times to get angles, scenes etc. Some television programs also prefer the artist to mime, Top of the Pops used to require this but the preference now is to record the artists live performance wherever possible. Backing vocalists, session singers and dancers who sing are a different matter entirely and may be required to mime when accompanying a solo artist. Notable producers who proclaim that some of their artists never sing 'live' should take less pride in this disgraceful admission and heed the current mood of the buying public, who are the real reason why the sales figures are falling! It is NOT acceptable for lead / solo singers to mime a live performance - people pay their hard earned money to hear and see their favored artist, not watch them miming to a recording! It is common knowledge in the industry that singers who mime are usually hiding a less than average voice which has been 'tweaked' during recording, lack the training and experience to carry the show, or are unable to reproduce the recorded performance in a live environment. For those who have talent and dedication, these are all achievable aspects of performance that only come with time, practice and hard work. Sadly this concept of miming as ‘acceptable’ has been encouraged by some members of the recording industry, who nowadays appear to prefer a quick fix rather than spending time and money on helping to develop their artists. Yes it is true that many signed acts often have their tracks recorded by experienced session musicians, which reduces recording time and studio costs - even The Beatles were shaky musicians when they started out, but their live shows were just that....Live.... bum notes n all!! Of course dance routines can be demanding and to pull them off successfully the singer has to have a great deal of vocal control, abdominal support and physical stamina. The ability to 'pace yourself' so that a complete show can be produced in a fashion that is energetic, yet allows the performer to be consistent is an art in itself, some have the knack, others continually strive to perfect it. Miming may be a necessary evil in certain cases, but no-one should expect to gain respect as a Vocalist or Performer if they are unable to produce the goods live. If that means the singer needs to adapt, cut out or work harder to improve a routine that is affecting their vocal performance, then so be it. With the exception of Classical music, most audiences don't expect perfection..... what they pay to see is the artists trying to the best of their ability to entertain them. The odd glitch can be forgiven, even endear the artist to the audience. Neither does this mean that amateurs or the vocally shaky should give up their dream and not attempt to perform live - singing is FUN and there are plenty of places where newcomers can hone their skills, like floor spots, talent shows, karaoke, jam nights, competitions and guest spots - all excellent ways of gaining experience, building a repertoire and learning the art of performing. Fortunately few self-respecting singers would stoop to fooling their fans in such a manner, miming is detrimental to the business, undermining the hard working and talented individuals who strive to improve and achieve excellence in their performance at every opportunity. It is this difference in thinking that helps to establish their standing within the music fraternity - 'Professional' is an attitude. After all - why should they mime....... when they can do it for real!

 

How to Use Microphones

This tutorial aims to provide you with the skills to choose the correct microphone and use it properly to obtain the best possible sound. It is suitable for people interested in any type of audio or video work. Before you begin you should have a basic understanding of the most common types of microphone and how they work. If you don't, read how microphones work first.

Introduction

The microphone  is a ubiquitous piece of equipment. Found in everything from telephones to computers to recording studios, microphones are part of our daily life.

Few people think about the microphone in their telephone when they use it. Some people think about the microphone on their video camera when they use it. All professionals pay careful attention to their microphones whenever they use them.

Don't make the mistake that many amateurs make and use whatever mic is at hand (e.g. using a vocal mic for a bass drum). Also, don't make the mistake of assuming that using a microphone is easy. Microphone technique is a learned skill - plugging it in and pointing it isn't always enough.

The microphone is perhaps the most critical part of the audio chain (assuming that all other components are at least acceptable quality). A good quality microphone will provide you with the basis for excellent audio, whereas a poor quality microphone will mean poor quality audio - no matter how good the rest of the system is.

When you’re using a Microphone ...

A microphone is a tool to amplify your voice, not a substitute for good vocal expression. It won't make a boring voice interesting—just louder. Learn the techniques of good microphone use.

When you use a microphone, you still have to use your full voice to engage your audience and establish your identity as a speaker.

Under the pressure of presenting before an audience, a speaker can lose natural vocal expression. Be aware of that risk and guard against it. As you rehearse, experiment with volume, pitch, and rhythm to achieve optimal expression and emphasis.

By varying your volume, pitch, and rhythm, you'll be able to convey meaning and emotion. Without variation, your voice will sound boring, monotonous, and robotic.

Even though you're using a microphone, your audience will still listen for the emotional and semantic cues contained in your voice, cues that a microphone doesn't supply. Use vocal diversity to make sure your audience understands and feels the tone of your message.

"Experiment with volume, pitch, and rhythm."

Do a sound check.
In some situations, a technician may set up the sound system and actively control the levels while you speak. In that case, rely on the technician to set the right levels for the size of the room and the audience. But make sure you get rehearsal time so you can participate in the sound testing.

In other situations, a technician may set up the system and leave the rest to you. In that case, do the sound check yourself. Don't be tempted to skip it. Even if you have experience using a microphone, every system or room presents potential issues for which you need to be prepared.

Find someone to act as your audience, moving around the room to evaluate sound volume and quality. Test for the levels that fill the room with sound. Then go slightly louder to compensate for the murmuring and rustling of an actual audience.

If you have no access to a technician and have to set up the system yourself, keep written instructions nearby. Follow them precisely. Take extra care with the sound check to make sure the system is operating properly.

Know how the microphone works.
Obvious as it may seem, know when a microphone is on or off. You certainly don't want to be caught broadcasting remarks that you meant as a private comment. Nor do you want to get off to a great start, only to find that the mike is off. So make a mental note of the off, on, standby, or mute modes. Before and after you speak, switch to the appropriate mode.

The lavaliere mike: placement is key.
The lavaliere mike is the type that clips to the speaker's clothing, so how you dress is a primary concern. Wear something with a lapel or tie so the mike can be easily clipped to it. A jacket or a blouse that opens in the front will also do, as long as you can fasten the lavaliere firmly.

A lavaliere mike can be wired or wireless. The wireless type makes an additional sartorial demand: its transmitter pack will be attached to clothing in the back of your body near your waist. So wear a belt or something with a pocket to keep the transmitter in place and neatly out of the way.

Most types of lavaliere mikes work best when placed eight to 10 inches below the chin-ideally, in the center. If you're using slides, fasten the mike slightly more towards the side where the slides are, since you'll be looking at the slides from time to time as you speak. If the mike is placed too high, it'll create hot and cold spots when you turn your head. (Imagine that the base of the letter "V" is coming up from microphone. You can move your head within that "V" and be heard.)

Make sure buttons, material, jewelry, and strands of hair are well out of the way. If they hit or rub against the mike when you move or shift your stance, each small rustle will be amplified and transmitted.

"If the mike is placed too high, it'll create hot and cold spots when you turn your head."

The lectern mike: position yourself properly.
If you're using a microphone that rests on a lectern or stand, be sure to place yourself at the proper distance. The capabilities of different equipment make different demands on the speaker, so find the position that will clearly capture and carry your voice. Speak over or across the microphone, not into it.

Make sure that the microphone (or anything else that may be on the lectern) does not block your face or interfere with your gestures and movement.

Stand with good posture.
To create sound, the vocal apparatus needs breath and space. Enable your voice by standing straight, aligning your head with your spine.

Warm up to avoid throaty tension. If you're hunched, bent, or tense, the sound waves you produce will bounce around your throat rather than flow out toward your audience.

Twisting or bending the neck puts your voice at a biomechanical disadvantage. By holding your head up and not looking down, you will assure that air flows out smoothly as you speak.

By standing upright, you will improve the sound of your voice and facilitate the most effective use of the microphone. From an upright stance, you won't be talking into the microphone, but across it. That's what you want to do.

Don't crowd the mike.
Most people get too close to the microphone. Crowding the microphone will distort your posture and your voice. Don't get so close to the mike that you could chomp a bite out of it. The microphone is designed to capture a voice that flows over or across it, not into it. If you get too close, the mike will amplify every breath, every snap of your jaw, every click and hiss of the words you pronounce.

Crowding the mike can also create annoying feedback, popping, and screeching from which most audiences will recoil. While your listeners may tolerate one or two such incidents, they will tune you out if the problem persists.

In communication, your goal is always to reach your audience. The vocal elements you build into your delivery have everything to do with achieving that goal. And keep in mind: The microphone is a tool. It won't turn a poor delivery into a good one.

Choosing the Right Microphone 

As we discussed in the previous tutorial, there are many different types of microphone in common use. The differences are usually described in two ways: The technology they use (e.g. dynamic, condenser, etc) and their directionality (e.g. omnidirectional, cardioids, etc). In addition, microphones have a number of other characteristics which need to be taken into account.

When choosing a microphone, the first thing you will need to know is what characteristics you need. After that, you can worry about things like size, brand, cost, etc.
Note: If you haven't done so already, you might like to do some groundwork and read how microphones work first.

Things to Consider

Work through each of these characteristics and determine your needs.

Directionality

Decide which type of directional pattern best fits your needs. Remember that it's usually better to use a less directional mic in a position close to the sound source, than to be further away using a hyper cardioids. For more information see microphone directional characteristics.

Frequency Response

Make sure the mic's frequency response is appropriate for the intended use. As a rule of thumb flat response patterns are best, but in many cases a tailored response will be even better. For more information see microphone frequency response.

Impedance

The rule of thumb is: Low impedance is better than high impedance. For more information see microphone impedance.

Handling Noise

Remember that the diaphragm works by converting vibrations from sound waves into an electrical signal. Unless the microphone has some sort of protection system, the diapragm can't tell the difference between a desirable sound wave vibration and any other sort of vibration (such as a person tapping the microphone casing). Any sort of vibration at all will become part of the generated audio signal.

If your mic is likely to be subjected to any sort of handling noise or vibration, you will need a mic which will help prevent this noise from being picked up. High quality hand-held mics usually attempt to isolate the diaphragm from vibrations using foam padding, suspension, or some other method. Low quality mics tend to transfer vibrations from the casing right into the diaphragm, resulting in a terrible noise.

Note that lavaliere mics don't usually have protection from handling noise, simply because they are too small to incorporate any padding. It is therefore important to make sure they won't be moved or bumped.

Purchasing a Microphone

If you can afford it, it makes sense to buy a range of microphones and use the most appropriate one for each job. If your budget is more limited, think about all the different things you need to use the mic for and try to find something which will do a reasonable job of as many of them as possible.

·         For vocalists a simple cardioids dynamic mic (such as the Sure SM58) is a good starting point.

·         For video makers, a useful option is a condenser mic with selectable directionality, so you can change between cardioids and hyper cardioids. If you can afford three mics, consider a hand-held dynamic, a shotgun condenser, and a lapel mic.

Comparisons

In the end, sound is quite subjective. You really want a mic which will provide the sound you like. A good idea is to set up a controlled test. Record the same sounds using different mics, keeping all other factors constant.

Make sure you are comparing apples with apples; for example, don't compare a hand-held cardioid and a shotgun in the same position. If you do want to compare these mics, make sure each is placed in its optimum position.

How Do Microphones Work?

The Basics

Microphones are a type of transducer - a device which converts energy from one form to another. Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal).

Different types of microphone have different ways of converting energy but they all share one thing in common: The diaphragm. This is a thin piece of material (such as paper, plastic or aluminium) which vibrates when it is struck by sound waves. In a typical hand-held mic like the one below, the diaphragm is located in the head of the microphone.

Location of Microphone Diaphragm 

When the diaphragm vibrates, it causes other components in the microphone to vibrate. These vibrations are converted into an electrical current which becomes the audio signal.

Note: At the other end of the audio chain, the loudspeaker is also a transducer - it converts the electrical energy back into acoustical energy.

Types of Microphone  

There are a number of different types of microphone in common use. The differences can be divided into two areas:

(1) The type of conversion technology they use     

This refers to the technical method the mic uses to convert sound into electricity. The most common technologies are dynamic, condenser, ribbon and crystal. Each has advantages and disadvantages, and each is generally more suited to certain types of application. The following pages will provide details.

(2) The type of application they are designed for

Some mics are designed for general use and can be used effectively in many different situations. Others are very specialised and are only really useful for their intended purpose. Characteristics to look for include directional properties, frequency response and impedance (more on these later).

Mic Level & Line Level

The electrical current generated by a microphone is very small. Referred to as mic level, this signal is typically measured in millivolts. Before it can be used for anything serious the signal needs to be amplified, usually to line level (typically 0.5 -2V). Being a stronger and more robust signal, line level is the standard signal strength used by audio processing equipment and common domestic equipment such as CD players, tape machines, VCRs, etc.

This amplification is achieved in one or more of the following ways:

·         Some microphones have tiny built-in amplifiers which boost the signal to a high mic level or line level.

·         The mic can be fed through a small boosting amplifier, often called a line amp.

·         Sound mixers have small amplifiers in each channel. Attenuators can accommodate mics of varying levels and adjust them all to an even line level.

·         The audio signal is fed to a power amplifier - a specialized amp which boosts the signal enough to be fed to loudspeakers.

Dynamic Microphones

Dynamic microphones are versatile and ideal for general-purpose use. They use a simple design with few moving parts. They are relatively sturdy and resilient to rough handling. They are also better suited to handling high volume levels, such as from certain musical instruments or amplifiers. They have no internal amplifier and do not require batteries or external power.

How Dynamic Microphones Work

As you may recall from your school science, when a magnet is moved near a coil of wire an electrical current is generated in the wire. Using this electromagnet principle, the dynamic microphone uses a wire coil and magnet to create the audio signal.

The diaphragm is attached to the coil. When the diaphragm vibrates in response to incoming sound waves, the coil moves backwards and forwards past the magnet. This creates a current in the coil which is channeled from the microphone along wires. A common configuration is shown below.

Earlier we mentioned that loudspeakers perform the opposite function of microphones by converting electrical energy into sound waves. This is demonstrated perfectly in the dynamic microphone which is basically a loudspeaker in reverse. When you see a cross-section of a speaker you'll see the similarity with the diagram above. If fact, some intercom systems use the speaker as a microphone. You can also demonstrate this effect by plugging a microphone into the headphone output of your stereo, although we don't recommend it!

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Technical Notes:

Dynamics do not usually have the same flat frequency response as condensers. Instead they tend to have tailored frequency responses for particular applications.

Neodymium magnets are more powerful than conventional magnets, meaning that neodymium microphones can be made smaller, with more linear frequency response and higher output level.

Condenser Microphones

Condenser means capacitor, an electronic component which stores energy in the form of an electrostatic field. The term condenser is actually obsolete but has stuck as the name for this type of microphone, which uses a capacitor to convert acoustical energy into electrical energy.

Condenser microphones require power from a battery or external source. The resulting audio signal is stronger signal than that from a dynamic. Condensers also tend to be more sensitive and responsive than dynamics, making them well-suited to capturing subtle nuances in a sound. They are not ideal for high-volume work, as their sensitivity makes them prone to distort.

How Condenser Microphones Work

A capacitor has two plates with a voltage between them. In the condenser mic, one of these plates is made of very light material and acts as the diaphragm. The diaphragm vibrates when struck by sound waves, changing the distance between the two plates and therefore changing the capacitance. Specifically, when the plates are closer together, capacitance increases and a charge current occurs. When the plates are further apart, capacitance decreases and a discharge current occurs.

A voltage is required across the capacitor for this to work. This voltage is supplied either by a battery in the mic or by external phantom power.

Cross-Section of a Typical Condenser Microphone

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The Electrets Condenser Microphone

The electret condenser mic uses a special type of capacitor which has a permanent voltage built in during manufacture. This is somewhat like a permanent magnet, in that it doesn't require any external power for operation. However good electret condenders mics usually include a pre-amplifier which does still require power.

Other than this difference, you can think of an electret condenser microphone as being the same as a normal condenser.

Technical Notes:

·         Condenser microphones have a flatter frequency response than dynamics.

·         A condenser mic works in much the same way as an electrostatic tweeter (although obviously in reverse).

 

How to Position a Microphone

Distance

The golden rule of microphone placement is getting the distance right. In general, place the microphone as close as practical to the sound source without getting so close that you introduce unwanted effects (see below).

The aim is to achieve a good balance between the subject sound and the ambient noise. In most cases you want the subject sound to be the clear focus, filled out with a moderate or low level of ambient noise. The desired balance will vary depending on the situation and the required effect. For example, interviews usually work best with very low ambient noise. However if you want to point out to your audience that the surroundings are very noisy you could hold the mic slightly further away from the subject.

It is possible to get too close. Some examples:

·         If a vocal mic is to close to the speaker's mouth, the audio may be unnaturally bassy (boomy, excessive low frequencies). You are also likely to experience popping and other unpleasant noises.

·         A microphone too close to a very loud sound source is likely to cause distortion.

·         Placing a mic too close to moving parts or other obstacles may be dangerous. For example, be careful when micing drums that the drummer isn't going to hit the mic.

Phase Problems

When using more than one microphone you need to be wary of phasing, or cancellation. Due to the way sound waves interfere with each other, problems can occur when the same sound source is picked up from different mics placed at slightly different distances. A common example is an interview situation in which two people each have a hand-held mic - when one person talks they are picked up by both mics and the resulting interference creates a phasing effect.

Think Laterally

You don't always have to conform to standard ways of doing things. As long as you're not placing a microphone in danger there's no reason not to use them in unusual positions. For example, lavaliere mics can be very versatile due to their small size - they can be placed in positions which would be unrealistic for larger mics.

Examples

Guitar amps are miced very closely. This helps keep the sound isolated from the rest of the stage noise. Theoretically the amp will not create any level burst strong enough to distort the microphone.

Snare drum mics need to be close to the skin without getting in the way of the drummer or risking damage.

Microphone Stands, Mounts & Clamps

An important consideration is the way the microphone is held or mounted. A poorly mounted mic can lead to all sorts of problems, whereas a well-mounted mic can lift the audio quality significantly. Things to consider when mounting a mic include:

·         The mic obviously needs to be correctly positioned, facing the required direction. You should be able to reposition the mic if necessary.

·         The mic must be safe, i.e. Won't fall over, get knocked, get wet, etc.

·         The mic must be shielded from unwanted noise such as handling noise, vibrations, wind, etc.

·         Cables must be secure and safe. In particular, make sure no one can trip over them.

Boom Stand

Tabletop Stand

There are many ways to mount microphones. Let's look at the most common methods...

Microphone Stands

The most obvious mount is the microphone stand. There are three main variations: The straight vertical stand, the boom stand and the small table-top stand.

Boom stands are very useful and versatile. If you are considering buying a general-purpose stand, a boom stand is the logical choice.

Some things to watch out for when setting up a microphone stand:

·         Always position the boom to extend directly above one of the stand legs. This prevents the stand from tipping over.

·         Don't wrap the lead a hundred times around the stand. This serves no purpose except make your life difficult and possibly increase twisting pressure on the lead. One turn around the vertical part of the stand and another turn around the boom is all you need.

·         Never stand on the legs. You will wreck them.

·         Never over-tighten clamps. Do them up until until they are firm - no more. Don't try to adjust clamps while they are tightened - undo them first.  

Clamps

Instead of using a dedicated mic stand, you can use a specialised clamp to piggyback on another stand (or any other object).

Advantages:

·         Less floor space is used; more mics can be squeezed into the same area.

·         Less equipment to carry (clamps are smaller and lighter than stands).

·         Can sometimes be useful reaching difficult positions.

Disadvantages:

·         Can sometimes be tricky to set up and more difficult to get exactly the right positioning. Also more difficult to move or adjust once set up.

·         More likelihood of unwanted vibration noise creeping into the mix.

Clamps are often used in musical situations where there are many stands and many microphones. The classic example is the drum kit which is surrounded by cymbal stands - clamps are well suited to this application.

Directional Properties

Every microphone has a property known as directionality. This describes the microphone's sensitivity to sound from various directions. Some microphones pick up sound equally from all directions, others pick up sound only from one direction or a particular combination of directions. The types of directionality are divided into three main categories:

1.     Omni directional
Picks up sound evenly from all directions (omni means "all" or "every").

2.     Unidirectional
Picks up sound predominantly from one direction. This includes cardioid and hypercardioid microphones (see below).

3.     Bidirectional
picks up sound from two opposite directions.

To help understand a directional property of a particular microphone, user manuals and promotional material often include a graphical representation of the microphone's directionality. This graph is called a polar pattern. Some typical examples are shown below.

Variable Directionality

Some microphones allow you to vary the directional characteristics by selecting omni, cardioid or shotgun patterns.

This feature is sometimes found on video camera microphones, with the idea that you can adjust the directionality to suit the angle of zoom, e.g. have a shotgun mic for long zooms. Some models can even automatically follow the lens zoom angle so the directionality changes from cardioid to shotgun as you zoom in.

Although this seems like a good idea (and can sometimes be handy), variable zoom microphones don't perform particularly well and they often make a noise while zooming. Using different mics will usually produce better results.

Microphone Impedance

When dealing with microphones, one consideration which is often misunderstood or overlooked is the microphone's impedance rating. Perhaps this is because impedance isn't a "critical" factor; that is, microphones will still continue to operate whether or not the best impedance rating is used. However, in order to ensure the best quality and most reliable audio, attention should be paid to getting this factor right.

If you want the short answer, here it is: Low impedance is better than high impedance.

If you're interested in understanding more, read on....

What is Microphone Impedance?

All microphones have a specification referring to their impedance. This spec may be written on the mic itself (perhaps alongside the directional pattern), or you may need to consult the manual or manufacturer's website.

You will often find that mics with a hard-wired cable and 1/4" jack are high impedance, and mics with separate balanced audio cable and XLR connector are low impedance.

There are three general classifications for microphone impedance. Different manufacturers use slightly different guidelines but the classifications are roughly:

Matching Impedance with Other Equipment

Microphones aren't the only things with impedance. Other equipment, such as the input of a sound mixer, also has an ohms rating. Again, you may need to consult the appropriate manual or website to find these values. Be aware that what one system calls "low impedance" may not be the same as your low impedance microphone - you really need to see the ohms value to know exactly what you're dealing with.

A low impedance microphone should generally be connected to an input with the same or higher impedance. If a microphone is connected to an input with lower impedance, there will be a loss of signal strength.

In some cases you can use a line matching transformer, which will convert a signal to a different impedance for matching to other components.

Microphone Frequency Response

Frequency response refers to the way a microphone responds to different frequencies. It is a characteristic of all microphones that some frequencies are exaggerated and others are attenuated (reduced). For example, a frequency response which favours high frequencies means that the resulting audio output will sound more trebly than the original sound.

Frequency Response Charts

A microphone's frequency response pattern is shown using a chart like the one below and referred to as a frequency response curve. The x axis shows frequency in Hertz, the y axis shows response in decibels. A higher value means that frequency will be exaggerated, a lower value means the frequency is attenuated. In this example, frequencies around 5 - kHz are boosted while frequencies above 10kHz and below 100Hz are attenuated. This is a typical response curve for a vocal microphone.

Condenser vs Dynamic

Condenser microphones generally have flatter frequency responses than dynamic. All other things being equal, this would usually mean that a condenser is more desirable if accurate sound is a prime consideration.

Boom Microphone

The boom microphone is very popular in film and television production. A directional mic is mounted on a boom arm and positioned just out of camera frame, as shown on the right. The cable is wrapped once or twice around the boom arm.

Booms have the advantage of freeing up subjects from having to worry about microphones. They can move freely without disturbing the sound, and concerns about microphone technique are eliminated.

You can make a simple boom from just about anything which is the right shape. A microphone stand with its legs removed is a good option, or even a broomstick or fishing pole.

A good boom will have some sort of isolating mechanism for the microphone to prevent vibrations being transferred to the mic. This may involve elastic suspensions, foam padding, etc.

The distance between the microphone and subject must be carefully controlled. The mic must be as close as possible without any chance of getting in frame (you might want to allow a safety margin in case the framing changes unexpectedly). It must also maintain a reasonably consistent distance to avoid fluctuating audio levels.

Make sure the boom doesn't cast a show on the scene.

In the example on the right, the sound operator is also acting as a guide for the camera operator as they walk backwards, keeping a constant distance from the walking subjects.

Hand-held Microphones

Vocalists tend to eat their mics. Whilst this works well for singers who know what they are doing, it is not appropriate for speaking and general mic work

The term "hand-mic" generally means any microphone held in the hand and used to pick up human speech. Hand-mics are used in a huge variety of settings, from musical performances to television interviews. When you say "microphone", most people picture a hand-mic. Everyone knows what they are and what they do, and everyone thinks they know how to use them. Sadly, this is not the case.

Although there is a knack to using the hand-mic properly, it's really not difficult to learn. Perhaps that's why it's so frustrating to see people get it wrong - because it's so easy to get it right.

Listed below are some general rules of microphone technique. We've used the example of a television presenter conducting an interview, but these rules can be applied to most situations.

·         Be aware of what type of mic you're using. In particular, you should know about it's directional characteristics.

·         Make sure you do a sound check yourself, well before the interview. Position yourself and the microphone, and speak exactly as you intent to during the interview.

·         If the mic has an on/off switch, keep an eye on it. If the mic is battery-powered, make sure you turn it off when you've finished.

·         Hold the microphone firmly. Remember that the mic will pick up any handling noise so be careful not to move your hand around on the mic casing, or bump the mic into anything.

·         If you're exposed to the wind, try and give the mic some shelter.

·         Hold the mic at a constant distance and angle from your mouth (or your subject's mouth). Around 15-20cm from the mouth should be fine.
Any more than this, and not only will the voice become weak, but other noises will become more prominent.
Any closer than this, and you'll get various unpleasant sound effects (such as "popping").
(Note that musicians have a special set of rules for mic distance. Most vocalists hold their mics fairly close to their mouths.)

·         Always direct the mic towards the person who's talking. You can also use mic-pointing to direct your subjects. When you point it at yourself, you're talking. When you point it at the subject, you're saying "Now it's your turn to talk". If you have more than one subject, you can use the mic to point toward the person you want to speak.

·         Never give the mic away during an interview. It's not uncommon for a subject to want to hold the mic, but don't let them. It creates all sort of problems and it's just not worth it.

If you want to see some good examples of microphone technique, watch television talk-show hosts moving around their audiences. These people know how to use their microphones - not just as technical instruments, but as a means of maintaining control.

Looking After Your Microphones

Obey the normal common-sense rules of electronic equipment care, e.g. avoid very high temperatures, dust, dampness, high humidity, physical shocks, etc.

Many performers think it's cool to swing the mic by its lead and generally throw it around the place. Unless you own the mic and you can afford to replace it regularly, don't do this.

Ø  Don't blow into the mic. The diaphragm is designed to respond to sound waves, not wind.

Ø  Don't tap the head of the microphone. This can damage the mic and/or speakers.

Ø  If applicable, turn mics off when not in use. Remove and replace batteries regularly. The action of removing and inserting batteries can help keep the contacts clean.

Ø  Don't subject microphones to volume levels greater than their design capabilities.

Ø  Always be careful with phantom power. Although it will not generally harm your microphone, it's prudent to play it safe.

Ø  Keep all leads safely secured. If someone trips over a lead there may be all sorts of problems from damaged mics to lawsuits.

Ø  If the performance of a mic deteriorates over time, it may be possible to have the diaphragm cleaned. You will need to talk to the supplier or manufacturer for details.

I hope you've enjoy this singing teachings program. My prayer and request is that you should take this very seriously and apply it; I’m sure you are going somewhere and become difference than others.

For more comments, advice, contributions for supporting this vision etc, don’t hesitate to contact us:

JOHN S. SHABANI

(Singing Teacher & Founder)

TOUCHING VOICE PROGRAM

P.O. Box 15155, Dar es salaam Tanzania

Email: touchingvoice@yahoo.com

Web: www.johnshabani.blogspot.com