[Mark Baxter] the Rock-N-Roll Singer's Survival Ma(BookZZ.org)

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THE

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WRITIEN ANO ILLUSTRATEO BY MARKBAXTBI

lT77 west fJJuemoood RoIIJ P.O. 8nr 13819 Milwúee. WI S32/J

ACKNOWLEDGEMENTS

The only thing that meant more to me than linishing this book was the

support I received lrom lriends and lamily when I needed it most. Vou are only as

goOO as the people around Vou and I've been lucky enough to be surrounded by the

best.

,'d like to acknowledge:

Katie Agresta, my lirst voice teacher, who took me under her wing and

illed the confidence that enables me to !ly on my own. Her lave 01 the voice is

pirational.

My mother, who acted as editor, lar being gentle with the red ink and big on

support and encouragement. My lather, who has always set an example lar me to

challenge the ·Iimits 01 my understanding. I lave Vou both.

laurence Sax, lar making the task 01 producing this book his own, and lar

acting as creative consultant and riding shot-gun on the quality kontrol. I can't imagine the book without his input. I'm going to miss the ali night computer

sessions ... well, not really.

My wile Stacie, lar making my dreams hers. Vour lave has always been my

strength .

. . . and to my son Travis, lar being the coolest kid in the world.

r

This book is dedicated to ali my students, past and present.

I value the trust you've placed in me.

Your dedication to better yourselves is what inspires me to teach .

ALL ABOUT THIS BOOK

Singing involves a variety oi elements combined together to create a single

action. Vou can't ignore a single aspect, and expect to have lull control, 50 every

angle is covered in this book. At lirst, the amount oi inlormation may seem

overwhelming, especially lor a Rock 'n' RolI book, but there is no need to read the

book Irem cover to cover in one sitting. Read the sections you need, as you need

them.

There are lour main sections regarding the health, maintenance, strength and

flexibility oi your voice. At the end oi each quarter is a tip sheet lor a "review-at-a

glance." If there is a specific question you need answered, lum to the back of the

book (Questions Anyone?, page 217). AI the end oi each answer, Ihere is a page

number where more delail can be found. Vou can approach Ihis book backwards,

forwards, or inside oul, any way is fine.

I'm sure the ratio between male and female singers is equal. To keep Ihings

sim pie though, I chose lo use "he" as my pronoun instead of "he/she". I could have

used "she" exclusively, bul "he" won lhe coin toss. I hope no one is oflended.

Above ali, you musl realize the power for change comes from within. Use

this book as a mirror. 11 you recognize a trouble spol, it's up to you lo address i1.

Rock-n-RolI singing is as demanding as any olher, bul the rock singer needs to

appreach his craft diflerently. No other singer will face such adverse conditions

while performing. So, arm yourself with the facts contained in these pages and get

out there and leI the wor1d hear the singer inside you.

g

TABLE OF CONTENTS PAGE

ALL ABOUT VOUR WORLD Vour Instrument is Vou r Body . ... . ........ ... .. . . . ... . • .. . .... 1 Environmental Factors Whieh Affect Vour Voiee .. . .. . ...• . .•..... . . . 5

Working 9 to 5 .... .. .... . .. .. ... . ..•.. . ... . . . ... 8 Smoking . . ... .. ..... . .. . ........ . •.. . . ..• ..•.. 10 Drugs in General .. .. ...•.. .. ....••.. • .. . . . • .. • . .. 14 Smoking Pot ......• . . • . . • . . •• .. . ..• . .•.. • ..•.. .. 15 Cocaine. Aleohol ... . • ..• . . •. . • •. .• . . •. . •. .• ..•... 16 Coffee . . .. . . ...... . . •. .. . . . •.. ... .. . . .... . .... Mental Altitude ... . ...•.. . .. .•. . • . .• . . •. .• . .. .... Stress ..... . ... . ... . . . .. .. . .... . . . .•.. ...•... .

Vou Sing Like Vou Eat . .... . .. . . . . .• . . . . .. •.. .. . ...•..•.. . . Sugar . . . .. . .... . .• . .•.... . ...... . •. . . .. . ... .. Dairy ... . .. .. . . ..• ..... . •... . . • ........ . . . . . .. Fluids . . ...... . ...... . . . • ..• .. .• . .•.....•. . •..

Physical Fitness ............ . . . ... . ... . ... . ....... . . . •.... Swimming, Rebounder . .... . .. .. ... . . ... . •. .•..•.. . Aerobics, Jumping Rope, Martial Arts. Jogging ......... .. . . Calisthenics .............. . ....... . ....... . ... . . Tennis, Basketball, Volleyball, Handball, Voga, Weight Training .. Stretch, Streteh, Streteh .. . ..... . .. . . . . . . ....... . .. .

Obey the Laws ( ... the laws of sound that is) ..... . ... . . .. ..... . ... . What is Sound? .......... . ... .. .. . . . . .. .. .. • .... Sound Has Waves . ........ ... .. . ... . .. . •. . .. . . . .. Separating Noise From Tones, Piteh, Intensity . . .... .. • .. . .. Duration, Timbre ........... . .. ... . .. .... . . ..•... . Resonance . . .... . .. .. ..... . ... .. .........• . . ... Absorption & Reflection, Sonanee ... . ... • .. •. .• . . •..... A Living Instrument . ..... . .. . .. ... ....... •. . • .. •..

Training Vour Voice .......... . ....... . . . . .• . . . .. . .. • ..• .. . . Do I Have to Practice? . . . ...... . .... .. . .... • ..• . .... .. . .. ...

How Long? . .... . ........• . .. .. •.. •. . • . . ..... . .. What Should I Vocalize? . .. . ..•.. . ...•..• . . •. .•. . ...

ALL ABOUT VOUR WORLD Tip Sheet .. . ... . . .. .... .. ..... .•. ...

ALL ABOUT VOU R BREATH

18 20 23 24 27 29 30 32 33 34 35 36 37 38 38 39 40 41 43 44 45 46 49 50 51 53

How Breathing Affects Vou r Voice .... . .. ..... ... .. .. . ......• .. . 57 Every Breath Vou Take ... .. ... . . ....... . ... . ........• . .•... 60

The Path of a Breath .. .•. .• . .•.. •. . . • .. •.. . .... . .. 60 8leathing Exercises . .. . . ...... . . . . . . . .• .. . . . .... .. •... . . . .. 65 Posture Affects Vour Voiee ... .. . ...... . • . . .. ....• .. .. . •. . .. .. 79

Posture Check . .. . . . . . . . . . . . . . . . . . . • . . • . . . . . . • .. 82 'Iha! Singer's Should Know About Colds ... . . •. . .. .•..• . .•.. . . . ... 84

Stress & Emotions . .. . . . . . . . . • . . • . . • . . • . . • . . • . . . .. 85 Change in Seasons. Dry Air ... • .....•. . • . . • . . • . . • . . .. 86 Change in Diet, Allergies .. .. .. •. .•..•.... . . .. ... •... 87

Sleep, Time to Clean House, What to do During a Cold .. . ... . 88 Sore Throats (To Sing or Not to Sing) ............................ 92 ALL ABOUT VOUR BREATH Tip Sheet .. ... ... .. ..... .. ..... .. .. 95

ALL ASOUT YOUR INSTRUMENT The Big Picture, What Happens When Vou Sing ............... . ..... 99 The Jobs of the Larynx ..................................... 1 05

How to Control Vour Voice ........ .. • . .• . . .. ........ 106 How a Sound is Created ......••..•.. , ..•...... . .... 108 Watch the Attack .............. . .. • ..•..•..•...... 109 Pitch Change ... .. .. .... .. ..... .... • ........•... 110 Where's the Volume Knob? .. . ..... ... ......... .• .... 112 Vocal Registers • Why So Many Voices? .... ... . .. . . ..... 113 Most Breaks Caused by Avoiding Next Register .. . . . . . . . . .. 115

The Jobs of the Vocal Tract ...... .... .. . .......... ... ... . .... 118 Vour Voice Has a Built in E.O. ....................... 119 Imitating Reduces Freedom .......................... 120 Resonance Projects Emotion, How to Encourage Resonance .... 122 Vowels . ..... ..... ... ... ... ......... ..... ..... 123 Consonants - Just a Bunch of Noise. "H" is a Workout ..... .. . 125

How Do Vou Lose Vour Voice? ................................ 126 Where Trouble Begins ............... . . . . . . . . . . . . .. 127 How To Avoid Trouble . ... •. . ... • .. • •.. •.. • . . • .. • .. 133

Diagnosing Damage ...............•............•..•..•.... 136 Chronic Hoarseness ....... . .. • . . .• . . •.......•.. • .. 137

Exercises For Strength and Flexibility ......... •..• ..•. . •. .• ..•... 140 Warming Up and Down ........ .. .......• .. • . . • . . .. . . . . .. ... 154 ALL ABOUT VOUR INSTRUMENT Tip Sheet .............. . . . . .. .. . 158

ALL ABOUT YOURSELF Who Are Vou? . ... ................. .. ...... .. .... • ..•.... 161

Emotional Singer, Technical Singer ... ..... ... .......... . 162 Who's on Top? ... ... .. .. ... ... ..... ... .....•. ... 163

Mind Games (Who Are Vou Talking to When Vou Talk to Vourself?) ...•... 165 Resisting Success, Build Vour Own Mountain .. .. ..............• . ... 168 Feelings .............. .... ....... . ..... . ......... . ..... 173 Rx for Stagefright ....................... . . .. . . . ..•.. . ..... 179 Perfect Pitch .................................•.. • ..•.... . 181 Make the Song Fit ....... ...... ................ ... ... . • ... . 188 Welcome to the Jungle (Survival TIps for the Real World) ... . .. . . .. . . ... 193 ALL ABOUT VOURSELF Tip Sheet .. ... ... .... ......... . .. .. . .. 205

Watch Vour Language ..... ...... . ... • . .. ..... • ........•.... 206 Glossary of Words and Phrases ...• . .•. . ... • •. ... ... • .......... 208 Ouestions Anyone? ...... ...... . ..... . .• .. .. ....•.. • ....... 217 Ali About Mark Baxter . .......... . ...•..•. . .. . . . .... ... . .. .. 231

ALL ABOUT

VOUR WORLD

Ali Aboul Your World

VOUR INSTRUMENT IS VOUR BODV

Sing. In arder to recognize any changes that will occur as a result of this

book, Vou need to sing a simple scale on "ah". Just relax and feel comfortable and

notice what happens with your body when vou sing. If Vou don't understand scales,

just sing anything that you'd like. I want vou to feel what's going on inside. Notice

what you're doing to sing. Let your body relax, unfold, just let the tensions go.

Notice what's going on as vou sing higher, if your body adjusts itself, make a mental

note of the feeling.

The main theme throughout this book will be THE SINGER IS THE

INSTRUMENT. Vou are the trumpet, the cello, the guitar, the keyboard. Your

body, your entire body becomes the instrument. Singers have a double

responsibility with their bodies as well as with their minds. Any instrumentalist has a

mental "prep" ar attitude which he brings to the instrument. His ability as a "player'

is the only variable facto r between him and his instrument. The instrument itself is

always ready. I know there are plenty of preparations that are needed before Vou

play any instrument, but my point is that once this maintenance is dane, it will be

consistent. If a musician doesn't like the sound of his piano ar guitar, he can pick

up another one. The more advanced a player becomes, the more demanding he is

about the quality of his instnument.

Vocalists are given an instrument at birth, like it ar not. No refund, no returno

If a singer is not happy with the way his voice sounds, he can't walk over to

another larynx. Vou have to work with what vou are given. Singers are both the

instrument and the player. Vou are always with your instrument every moment of

every day.

Imagine if vou were never allowed to be without your guitar (ar any

instrument Vou play). Picture yourself going to work with it, riding the bus with it,

Iying at the beach with it. Vou would always have half a thought on its safety. On

1 Your lnstrument is Your Body

r

TIu Rock In' Roll Singer )s SUrJlival Manual

a rainy day your firsl Ihoughl mighl be, "How will I gel lo work wilh my guilar?"

Vou know lhe effecls of moislure on wood, and you'd probably allernale your daily

rouline lo avoid gelting il wet. No malter how careful you mighl be, you could

imagine whal a wreck Ihal guilar would be after Iwo years? lhe inlonalion would

be oul, lhe neck would be warped and lhe slrings would be nusly. Il would nol

respond lo lhe same lechnique. No mauer how lalenled a musician you are, your

playing would suffer because your inslnumenl is a mess.

Ali lhe guilar players I know lake belter care of Iheir inslnumenls Ihan singers

care for Iheir bodies. Faced wilh a warped neck on your guilar, you'd gel il fi xed.

As a singer, if your neck is oul of alignmenl, you mighl choose lo ignore it. When

you Ihink aboul il, a half dozen visils lo a chiropraclor would cosI lhe same as lhe

repairs on your guilar. Singers have a habil of ignoring Iheir inslnumenl until Ihey

begin lo sing. lhey wonder why il doesn'l sound like il did yeslerday, or lasl year.

lhere is a 101 of exlra slress placed on lhe vocalisl because of Ihis unknown faclor.

Let's say you have a recording session booked in Iwo weeks. How are you going

lO feel? WiII you be lired? Will you be in good condition lo sing?

Whal if you have a cold? lhese Ihings will affect every musician in

lhe Sludio bul il won'l louch Iheir inslnument.

Every lime you open your moulh lo sing, lhe sum lolal of ali lhe

evenls of lhe pasl weeks will be known. Were you laughing or

crying or lalking or whispering? Were you in ali kinds of

lemperalures, from dry heal lo winler chills, or hOI muggy wealher

lO ice cold air-conditioned rooms? Were Ihere any bumps or

bnuises or broken bones? Did you eal a 101 of fruils and vegelables

or did you eal pizza? Did you drink waler and juice or did you

drink soda and beer? Ali Ihese Ihings, and many more, conlribule

lo lhe heallh and condilion of your inslrument.

2

Ali About Your World

Once you \ \ \\ ~ lake responsibilily \ \ \ \ \ \

lor lhe round lhe \ \

clock care 01 your

body, Ihere will be \\ \ a dramalic change

in your vaiee. Jusl \ \ \ Ihink 01 having \ \\ \ your vaiee be \ \ 100% every lime \ t \

\,-you opened your

moulh. Once you "How will I gel to work wilh my guitar?"

begin singing, it's

100 lale lo correcl any damage Ihat's been done. Vou crealed il, now you have lo

live wilh il lor a day or two. II you sing Iwo hours a day, lhe remaining Iwenly-Iwo

are jusl as crilical lo lhe qualily, conlrol and accuracy 01 your voice.

I know whal you're Ihinking righl aboul now. Vou have a lriend who has a

greal voice and doesn'l do a Ihing lo help it. As a matler 01 lact, he does lols lo

damage it. He smokes, drinks, never warms up; in short, he breaks more rules

Ihan anyone you know and slill sounds great. How come he doesn'l have lo be so

responsible and slill can sound good? I'm going lo answer Ihal wilh anolher

queslion. Which guy would you pick lo be on your baskelball leam, lhe five 1001

one or lhe seven looler? Wilhoul knowing eilher player's abilily, lhe seven 1001

player seems like a nalural. He mighl be uncoordinaled, bul il you wanl lo play

baskelball, il sure helps being seven leel lall. This does nol mean you should

lorgel aboul lhe sport il you're live leel lall; you'lI jusl have lo make up lor il in

olher ways.

There are certain physical elemenls Ihal conlribule lo lhe sound 01 your

3 Your lnstrument is Your Body

The Rock 'n' Roll Singer's Survival Manual

voiee. The size and Ihiekness 01 your vocal lolds, ccmbined wilh lhe size and

shape 01 your moulh, nasal and pharyngeal cavities (the pharynx is the tube-like

section 01 lhe throat just above your larynx, see: The Big Picture, page 99), ereate

the blueprint 01 your sound. When these lactors ccmplement eaeh other and the

person wants to sing, they are a "gifted" singer. Many people may have been bom

with great vocal instruments but will never know it beeause they have no desire to

sing. The rest 01 us have to take what we were given at birth , and build it into a

betler instrument. Ali you need is the desire.

Other Ihan structure, the sound is a1so shaped by the operation 01 the

instrument. Here's where the hard work pays off. The operation 01 the voiee is just

like any other instrument. A sound is produeed by a ccordinated eflort 01 museles

and cartilages and this is the one adjustable lactor. Vou ean ehange what mother

nature gave you by developing and strengthening the way the museles perlorm.

This is the only hope lor those 01 us who were not bom with the perlect voiee.

Training the vocal museles, whether you ligure it out yoursell or study with

,(

someone, is needed to enhanee the sound ereated by a larynx that

laeks the right proportions. Just because the gifted singer ean get

away with more, doesn't mean they wouldn't benefit Irom being

responsible about it. The ccmbination 01 being seven leet tall and

dedicated to the sport makes you a winner.

Later in this book I will explain how the larynx works. Some 01

you might want to read Ihat section lirst in order to appreeiate how

important the physieal lactors are. Vou only need a sim pie working

knowledge 01 the body to understand the relationship between good

health and your daily living habits. Remember you are the

instrument, so what's right lor your body is right lor your voiee.

4


ENVIRONMENTAL FACTORS WHICH AFFECT THE VOICE

WARNING - Belore you read Ihis section I musI warn you it's going lo gel

ugly. I will attack every vice you've ever had; nolhing is sacred. I'm armed with

lacts and I give ali lhe grim details. Reading this section is like pushing Ihrough the

crowd lo see an accidenl, only to gel sick aI lhe sight 01 il. The worst part is that

my molhe r already warned me about Ihese things, and I didn't believe her. I only

hope that this will be lhe lurning poinl lor you lo own your voice, or aI leasl see

where you give it away.

Somelime during Ihis chapter you're bound to say, "OK, so everything leal is

no good and ruins my voice. What can I eat?" Believe me I didn'l like linding oul

this stuft mysel'. I was investigaling Ihings Ihal harm lhe larynx, and by the time I

was hall way through I had already ruled oul my enlire diel. Ali my lavorite vices

were exposed as I discovered lifty percent 01 my vocal problems where relaled lo

my lilestyle.

As you read this inlormation, remember everyone's body metabolizes lood

dillerently. It is neariy impossible lo creale one diel Ihal will work perfectly lor

everyone. Diel and nulrition books se em to conlradict themselves as much as vocal

technique books. Whal you're left wilh after piles 01 research is lhe knowledge 01

choice. Educate yoursell on lhe worikings 01 lhe body so you can do what's righl

lor you.

The one lail-sale guide through ali 01 this is your intuition. In the mile a

minule worid we live in we've ali but shut oul every internai signal in lavor 01

outside stimuli. We are told whal lo eat, when and where. Taste becomes more

importanl than the energy we gel lrom our lood. Fashion lells us when we look

good or bad. And we're ali programmed about what is accepted as lunny, sad,

rude, polite and on and on. Fortunalely, musicians havealways been at the

lorelront 01 changing rules and lollowing their gul. The same gul instinct that helps

5 E"viroll11U!lItaI Factors

Ip

riu Rock 'n' Roll Singers Survival Manual

you create can also lead you to a healthier, more responsive voice.

There is nothing more accurate than the information that is constantly given

off inside you. There are plenty of examples around our daily lives of the way we

stifle our intuition. The dependency on outside stimulation keeps wearing away your

life energy. To develop your inner ear you need to tnust yourself. If you feel thirsty,

take a drink. When you are hungry, take a moment and ask yourself what you

need bafore you opan the refrigerator to see what's available. How about your

sleeping patterns? I know I've been fooled into feeling awake because my clock

was showing the wrong time. The funny thing is, I really was awake until I

discovered the actual time and immediately felt robbed of sleep.

listening to your body takes time to develop. It's important to learn about the

affects of the foOO you are eating so you can make goOO choices. As you begin to

live cleaner, you'lI feel more alive. Once you get an idea of what's available to you,

it will be easier to break down harmful habits. Vou'lI automatically be drawn

towards a better lifestyle.

Q

At first it's easy to confuse your intuition with your habits. A

good example of this is cigarette smoking. It feels as if your

intuition is screaming at you to have another cigarette. Addictions

like this, including chocolate, are emotionally and psychologically

rooted - not instinctive. What I'm talking about is a much deeper

sense of what is right. Part of the addictive personality is knowing

that it's bad for you, and doing it anyway. Rationalization becomes

a great blanket that we ali use to cover our instincts. Another

popular method is pretending not to know better just because we

have no idea how to stop.

Education is always the first step on the road to recovery. In

researching this book I found enormous amounts of information

regarding every aspect of our bodies and health. It's out there ; ali

6


you need is the desire to learn. I can't stress enough that the sound of your voice

mirrors the condition of your body. If you're serious about singing, you should be

serious about your health.

With ali this talk about clean living and inner awareness, I know it sounds like

I'm asking you to live like a monk on a hilltop. lhe old days of sex, drugs and rock

and roll are over. Why? It was too destructive. I'm sure there are still people who

live under that creed, but I doubt many of them are musicians (or at least

successful). Vou don't see too many of the old stereotype rock stars of the late

sixties anymore. Vou know, the guy who's comatose in the back of a limo only to

be poured onto the stage for ajam session in front of an audience on

hallucinogens. lhat went out with the A&R guy who scouts local clubs for talent!

lhe demand now on pertormers

is intense. More and more I see a

turn around of life style. lhe externai

image may be the same, but a trip

1, 'Xhe demand on perfonners now is intense... lt doesn't even allow for a cold.'

backstage these days will more than likely show a different story. Chiropractors or

a masseuse, humidifiers, nautilus equipment, gourmet meals with lots of vegetables

and fruit juices have replaced the drug dealer and the orgies. Why? Because

these artists are serious about their careers, and they treat themselves like athletes.

Look at the tour schedule of any successful act. Finances don't allow any time off.

Some tours leap Irog two stage sets 01 equipment in order to pertorm a show a

night. lhat doesn't allow much burnout time for the singer. It doesn't even allow

for a cald.

lhe relationship batween good health and being in good voice is why singers

are noted hypochondriacs, but l've never known a goOO musician that wasn't finicky

about the care 01 their instrument. I want you to realize the power we ali have

inside lor preventive maintenance. Ali it takes is a little knowledge about how the

body operates. Develop your instincts to recognize the warning signs.

7 Envirollllumtal FlJCtors

The Rock 4n' Roll Singer's Survival Manual

I have listed in the lollowing pages the elements that most often get in the

way 01 vocalizing. As you read through, keep asking yourself il this is true for you.

Everyone reacts differently, and this book is about your voice, and everyone elses.

Be honest with yourself about your involvement with each subject. Most of this

information you already know, but I wanted to provide the "why." Read it ali even

though ali 01 it may not pertain. Vou may be a great help to someone someday,

who is conlused about their health.

lhis section is first so we can clear the body and prepare it lor strength.

Without a healthy larynx, no amount of technique will provide the Ireedom your

looking for in singing. lhe instrument never destroys the singer, it's the singer who

destroys the voice.

WORKING 9 lO 5.

I'm not kiddingl Unless you're a rich and successful rock star, we ali have to

do something to pay the rent. Whatever you end up doing, whether it's a stock boy

in a grocery store or singing in the local club circuit, you must be

/ '\ If t \

aware of how this is allecting your voice. Remember the example

of always having a guitar with you?

lhe most effective advice is also the simplest. Vou need to shift

the underlying structure 01 your thinking. Vour mental attitude while

you work creates the overall physical wear and tear. lhink of

yourself as a singer who works in a grocery store instead of a

grocery clerk who sings at night. Simply be a singer. Vou've been

spending ali this time at work waiting till you can get out and sing.

Why wait? Even though you can't sing at work, always think of

yourself as a singer lirst. A singer will speak differently than a non

singer. A singer will lift things dillerently, sit, eat, walk or just about

anything you can think 01. lhe difference is a subtle one, it's a

8

All Aboul Your World

different frame of mind.

If you speak on the phone at work you should be aware of the adverse

eftects this causes your larynx. When you speak you're listening to your voice

through the tiny ear piece which has a small electronic sound. Subconsciously, you

adjust your voice to make

the sound more intense.

This situation over a period

of time will aggravate the

larynx, due to over

Always on the phone? Be sure to breathe deeply, and keep your; voiceanimated by changing the pitch frequently,

energizing the point where the two vocal folds meet. When you speak on the

phone, remember to keep your voice very melodic. As you change pitch the larynx

stretches and moves about. This is less strenuous than grinding out one monotone

pitch. It takes time to develop melody in your speech because it goes against the

automatic habit of speaking low. Males will find it takes a constant eftort to keep

the voice animated ... so lose that Sylvester Stallone act.

We ali have a habit of speaking in a pitch that's lower than it should be and

with very little air support from the lungs (see: Ali About Vour Breath, page 55).

Think about the amount of time you spend speaking versus the amount 01 time

vocalizing. Vou use the same instrument for both so it pays to speak in a way that

won't cause trouble when you start to sing.

Most 01 the complaints I hear about peoples' jobs are posture ar muscle

related. People who sit at a word processar ar at a desk beco me under-developed

aerobically, while physical laborers sulfer from over-worked muscles. Obviously,

both situations will inter/ere with your voice. Any activity can be thought 01 in one

of two ways: how a singer would do it, and how a non-singer would do it. Vou can

get the same job dane with less inter/erence to your singing il you simply live out 01

a singer's mind. It is important not to let the shoulders become stilf ar to let a

lower back ache continue. An awareness 01 the condition 01 your muscles will

9 Environmental Factors

The Rock ''I' Roll Singers Survival Manual

alerl vou before Ihings beco me bigger problems. Look ai lhe way Vou bend over.

Are Vou using your knees? Are Vou holding your brealh? Simple changes in lhe

way vou carry yourself will make a big difference in lhe way your job affects vou.

Don'l forgel, Ihis body you're working wilh is lhe same body Ihal needs lo deliver a

voice laler, it's your inslrumenl. This is lrue for ali your activilies, and is especially

importanl ai work , where Vou spend mosl of your lime.

No matter whal Vou do for a living, il doesn'l have lo compromise your abilily

lO sing. There's no reward in blaming your boss, your job, or lhe people Vou work

wilh for lhe sound of your voice. It's nol their voice. There's no need lo quil before

you're ready lo commil lo a life as a musician. Vou don'l have lo become a

professionai singer in order lo sing professionally. Se responsible aboul crealing a

work environmenl Ihal allows vou lo do your job and have a singing career.

Address yourself as a singer firsl.

SMOKING

1'11 bel Ihis one is no surprise, even if you're a smoker. Vou

don'l have lo be a genius lO see lhe harm Ihal drawing hol smoke

over delicale membranes causes, bul slill vou conlinue. Here are

lhe facts as Ihey relale lo singers.

The larynx is made of mucous membranes and needs conslant

prolection from drying oul. Cigarette smoke burns away lhe

prolective lubricalion Ihal coais lhe larynx. This also includes lhe

air in a smoke filled club. We've ali heard Ihal second hand smoke

is actually more harmful Ihan lhe smoke drawn Ihrough lhe fiIIer.

While singing in a club, you're inhaling Iwice as much smoke as lhe

olher non-smokers. Even Ihough lhe aerobic action of singing does

help lo cleanse lhe lungs, Vou should lake extra precaulions lo

insure Vou don'l suffer any repercussions. Any aerobic exercise lhe

la


next day will help expel what the singing missed. lots 01 water is needed to help

cleanse the chemicals that made their way into your blood stream. The body is an

incredible machine when it comes to getting rid 01 toxins.

Some people are more sensitive to smoke than others, but we ali are aware

when the smoke in the room gets to the point where your eyes burn. The inner

walls 01 the si nus cavities in most people are also allected. When the lining 01 the

sinus cavity is stimulated, it sets 011 a discharge 01 extra mucus so the smoke won't

dry out the membranes. This means your instrument will have an extra thick

blanket 01 mucus covering it, dampening its ability to vibrate. When you sing, you'lI

leel this as a lack 01 response or Ilexibility, causing you to push harder than you

should.

Attempting to sing with a coated larynx is like trying to play piano with mittens on.

Attempting to sing with a coated larynx is like trying to play piano with mittens

on. Vou'lI be able to create some sound but at a great disadvantage. It seems

crazy that such a sensitive instrument should lind the most available audience in the

worst possible conditions. The protective mucus is there lor a reason but that sure

doesn't help the singer. II you sing hard enough, you'll blow the mucus away

leaving the larynx vulnerable to the drying nature 01 smoke. Either way you lose.

Society seems to be getting more concerned with the quality 01 air that non

smokers have to breathe. However, beginning vocalists will be the last ones saved

by this public awareness. I can't imagine the day when the small little local bar

bans smoking.

II you are a smoker, the cilia that line the walls 01 the throat are burned

away. These little hairs are there to lift phlegm and mucus up and away Irem the

lungs. Without them the only method left is to cough. This is what is known as a

11 Environmental F acrors

p.

I!

The Rock In' Roll Singers Survival Manual

smoker's cough, and it's no oplion lor a singer.

Coughing is a violenl spasm which is Iriggered by an involunlary conlrol. The

Iwo lolds smash logelher, combining wilh a blasl 01 air l rom lhe lungs lo dislodge

anything Ihal could possibly block your Ilow 01 air. As you can imagine, Ihis does

nol exactly improve your vocal abililies. The body has an inleresling way 01 placing

mosl lile supporting actions on lhe involunlary nervous syslem. Your heart beal,

brealhing, lhe coordinaled action 01 swalloYling, coughing and sneezing, are ali

involunlary. Your lile support syslem doesn'l care aboul your voice. II you have

somelhing in your Ihroal, you'lI cough.

Now let's painl lhe whole picture, You're a smoker, and you have

successfully burned ali lhe cilia Irom lhe walls 01 your Ihroat. The smoke has

caused an exlra amounl 01 Ihick prolective mucus lo be secreled around lhe larynx.

Due lo lhe blow-drying effect singing has on Ihis covenng, your vocal lolds now sil

in a very vulnerable posilion. They are burned and brittle. Now you have lo cough .

The action 01 coughing closely resembles your hands being clapped logelher wilh

your arms slarting as lar apart as you can gel Ihem and moving in

as lasl as you cano Bang! And Ihat's jusl one cough. You'lI need

lols more lo gel ali lhe junk oul 01 your lungs. Bang, bang, bang.

The conslant explosion 01 lhe cough causes lhe Iwo vocal lolds lo

swell. The voice relies on lhe lolds' abilily lo make a nice clean

seal lo resisl air. The swollen membranes resemble balloons and

makes a very poor resislor. This sloppy seal leis air leak by and

Ihis creales a brealhy sound. When you Iry lo correct lhe sound,

you lorce lhe Iwo lolds logelher which causes damage tO Iheir

edges. The more you lorce Ihese membranes, lhe more heal is

generaled due lo lhe Inction 01 lhe vibraling muscles. Heal means

lhe lolds will swell more and you lind yoursell in a degeneraling

cycle - lhe harder you Iry, lhe more damage you cause.

12


lhe voice runs on wind power and smoking obviously impedes the lungs'

ability. It also leeches many vitamins out of your system to lower your overall

immunity against illness. Add this information to ali the claims from the American

Cancer Society and smoking for singers just doesn't seem like a good idea.

I! Vou want to quit, there are lots of ways. One of the best ones l've heard

is changing brands every time Vou buy a pack. lhus vou break th'e first habit;

being a brand smoker. Next is to have a cigarette any time vou desire but wait

exactly one minute. Waiting changes the action from impulse to choice. I! Vou

choose to smoke the cigarette after the minute, go ahead. After a week make that

a five minute required waiting period, and so on. lhe point is to break the

unconsciousness of the act.

Vou will feel lots of changes in your bcdy once Vou stop smoking heavily.

lhe body will take the opportunity to clean house. Every smoker I've seen quit

smoking has caught a cold. (see: What A Singer Should Know About Colds, page

84) Most companies cure their tobacco in a sugar solution. Sugar is more

addictive than the nicotine, that's why fast food chains put it in their meat and rolls.

Have Vou ever seen a smoker who is quitti ng binge on sweets? More than the oral

fi xation is the body's craving for another fix of sugar.

Fruits will help lower the sugar jones as well as replace the lost vitamins.

Lots of showers will help cleanse the pores when the body begins to expel the tars

and nicotine. After a shower, take orange peels and rub them on your skin while

it's still wet. lhe vitamin C will be absorbed through the skin. Drink plenty of water

to help the cleansing process along. Generally speaking, it takes two months to rid

yourself of the body pollution caused by smoking. Any permanent damage

sustained to the organs will depend on the extent of your habit.

13 E"virolllMlltal F actors


DRUGS IN GENERAL

Another obvious one, I know. Drugs are everywhere. I have to laugh when I

meet people who still think musicians are the only ones on drugs. Business men,

sports heros, I.V. stars, politicians, blue collar workers, moms and dads have ali

been exposed as druggies. Now this is not a book about morality; it's about the

voice. Vour body couldn't care less what is legal and what is iIIegal. A drug is a

drug. Ali the body reacts to is abuse.

I've known a few musicians who were badly addicted to one substance or

another. lwo of them have died and the rest are still wandering alcoholics. It's a

very disturbing sight to see someone being controlled by an addiction, whether it's

heroin or chocolate. lhe number one addictive substance in this country is nicotine,

number two is alcohol. What ever the product, an abuse r will systematically break

down his body by the overload. Ali internai awareness is lost and the actions seem

more robotic than humano

don't pretend to have the answer for addictive behavior. I think it's

important for everyone to realize, for the addictive personality,

virtually anything is a source lor dependency. It's not the substance

it's the personality, the lack of rationale to see the damage being

done. If you feel you are beyond your own control with any

substance, you should seek assistance. Vou are not alone. lhere

are groups of every kind for people who need help in breaking a

habit.

Aside from the heavy abusers, there are the rest of us moderate

users. Since I'm not drawing any line between legal or illegal, this

inciudes ali of us, except for that monk on the hill. Vou may not

consider yourself dependent on drugs; well then who made the

aspirin market a billion dollar business? How about cold remedies

ar even antacids?

t4


A singer should always weigh the consequences before consuming a dose of

Bufferin or Dristan. Please realize that a drug is not the only alternative. Your

body has alarm systems throughout that keep you in check. These products rarely

handle the source of the problem but more routinely relieve the symptoms. This is

yet another way we break down that intuitive ability to listen to our bodies. The

congested nose is not the cold; it's a reaction to one. Your pounding headache is

probably caused by muscles in the neck preventing blood to flow freely to the brain.

Aspirin thins the blood, enabling it to slip by the tight area and reach the brain, but

it also eats away at the stomach lining. Laying down in a warm bath would also be

just as effective with no cost to the stomach. Your instinct knows that's just what

you should do, but your mind says there isn't enough time. This is probably why

you have a headache in the first place.

Every time you ingest a drug there is a side effect. There are no exceptions.

Some are obvious but most lay low and build up un-noticed until they create a

problem of their own. The body has to deal with it sooner or later. When aspirin

thins your blood, it thins ali your blood. When you take a decongestant for your

nose, your foot gets an equal dose. Be responsible about your methods of relief,

and you'lI avoid future discomfort. I'm always more concerned about what caused

my iIIness than how to get rid of it. Whatever ails you , your body is trying to tell

you something and you should listen, the sooner the better.

SMOKING POT

I've placed this separate because it's actually worse. Ali the same things

apply to pot as with cigarettes, and more. Smoking one joint equals twenty

cigarettes. The smoke is heavy with resins and hotter because it's unfiltered. The

vocal folds are burned and dried quicker in addition to the effect of the THC on your

brain. Singing is a physical activity and requires lots of coordination. Usually

15 ElIrirorunenlQl F «/o ...

,

The Rock ',.' Roll Singer's Survival Manual

singers smoke a little pcl lo gel loose and uninhibiled. I Ihink Ihere is a much

better way lo deal wilh your nerves Ihan placing such a burden on lhe larynx, Ihis is

explained in lhe lasl section of Ihis book.

COCAINE

Cocaine is used by doctors lo numb an area Ihal is in pain. When you snort

lhe coke il gels absorbed by lhe Ih in lining of lhe nasal cavily and enlers lhe blood

slream. The body will reject Ihis by secreling mucus lo flush il away. The mucus

begins lo drip down your Ihroal and on lo your vocal folds, numbing everything in ils

palh . The walls of lhe Ihroal become aggravaled and swell. Vou are now lolally

oul of louch wilh your inslrument. The size and shape has changed because of lhe

inflammalion and il is complelely numb. Have you ever bitten your longue after lhe

denlisl has shol you full of novocaine? Since you can'l see lhe larynx as you sing,

you conlrol il by sound or feel. By using cocaine you sublract lhe feeling, which is

lhe more reliable conlrol.

,~ t

DD

Wilhoul sensalion, you're unaware of lhe damage you are causing.

Afler one or Iwo songs, lhe dripping slarts, and it's ali down hill

from Ihere. The only mornings I couldn'l even speak after singing,

were after lhe nighls I was hitting on someone's coke. I didn'l do il

often. I gol lhe message pretty fasl Ihal il wasn'l worth losing my

voice for one quick high.

ALCOHOL

Alcohol is a drying agenl, you can pul il on your skin lo absorb

excess oil. When you drink il, il dries lhe lining of lhe Ihroat. II

doesn'l matter whal kind of alcohol il is, lhe nalure of alcohol is lo

dry. The sensalion of drinking lells lhe brain Ihal your Ihirsl has

been quenched and lo shul off Ihal Ihirsly feeling. Mosl drinks

conlain waler bul it's nol enough lo flush lhe alcohol from your

16


body. Vou end up using more waler Ihan Vou received, so wilh each drink Vou

become more dehydraled. Ever nolice how often vou go lO lhe balhroom when

you've been putting 'em away? How aboul Ihal greal feeling lhe moming after, do

Vou feel like your syslem has waler lo spare?

Remember lhe larynx requires conslant lubricalion lo slay flexible. When Vou

become dehydraled, lhe Ihroal is one of lhe firsl areas lo sufler. The body, or

should I say your support syslem, doesn'l care Ihal you're a singer. Vou need lo

lake care of your bcdy firsl in order lo have heallhy vocal membranes.

There are Iwo reasons I can Ihink of for having a drink before Vou sing. The

firsl is you're Ihirsly. When Vou sing and lense lhe walls of lhe Ihroal lhe saliva

ducts are reslricted. Very soon you'lI feel Vou need lo lake a drink of somelhing

between every song, or somelimes during lhe song. It's lhe lension Ihal makes Vou

feel Ihirsly nol lhe lack of body fluids. When Vou drink waler, il lakes abcul fifteen

lo Iwenly minules for il lo Iravel Ihrough lhe syslem lo wel your Ihroal. 11 Ihere is

anything in lhe waler, like alcohol, il will require more digesling l ime. The drink vou

look while vou were singing won'l gel lo your larynx lill you're on your way home.

Learning lo relax lhe walls of lhe Ihroal will al low lhe fluids lo flow freely and keep

your larynx wel.

The second reason lo drink is lo relax. To gel rid of Ihose jitters, or lo gel lO

lhe frame of mind vou were in lasl nighl when everything wenl so good. A pre-gig

drink is widely accepled practice from rockers lo opera singers; jusl remember

anything in moderalion works bener wilh lhe body. Mosl doctors will agree, your

syslem can handle a little alcohol. The problem comes from lhe dumb logic, "11 I

Rememblrti~)J' ' .. Your bOdydoesn't use from abuse.

17

and just

E"vüonmental F actors

I


leel OK after one drink, 1'11 be amazing after sixl" Drinking for confidence actually

feeds insecurity. Like I said before, your body doesn't care what's legal or not, so

don't leel you're off the hook because ali you drink are beers. You'lI lind a more

permanent way to relieve your inhibitions in the last chapter.

Most 01 us use both these excuses. You're a IiUle uptight about performing

and have a drink 01 something. Vou relax and leel a liUle braver. This lalse sense

01 security is comlorting so you have another. Belore you begin to sing you may

notice your throat is a little dry; why not have another? Now you're on stage and

you've already had lour drinks or so. The alcohol lets you pass by your mental

blocks, but your throat is still dry. Let's have another. I've had my share of

performances where I can't tell you how they ended. Once you're in this routine, it's

hard to see your way oul. When I listen back to the recordings made on those

nights, it made even less sense to drink.

It's important to realize that logic plays no role in any kind 01 habit. Singers

are prime candidates lor lalling into addictive traps. They care so much about

geUing results that the short lix always seems inviting. l've seen

just abo':'t every dependency you can think 01 Irom coke, booze &

o pot, to decongestants without a cold, to the coffee ritual. Whatever

your pleasure, the habit makes a statement that says your ability

lies in the substance. With every gulp, sniff, pull and swallow you

give away your power. Listen to your instincts, they know better.

COFFEE

Just when you thought you were clean, right? I told you this

wouldn't be fun. Coffee, as well as being a drug, is an acid and

that's the biggest problem lor singers. Your blood is slightiy

alkaline, and your system will do whatever it takes to keep things

that way. When coffee or tea enters your body, water is needed in

18


order lO neulralize lhe acidily. Waler will be laken lrom lhe mucus membranes and

leave lhe larynx unlubricaled. Like I said belore, your body doesn'l care aboul your

voice, so Vou have lo.

One cup oI colfee lakes twenly-Iour hours lo pass Ihrough lhe kidneys and

will leech a greal deal oI waler in lhe processo Add on two, Ihree or more cups

and Vou simply don'l have enough hours in lhe day lo gel rid oI i\. Vou beco me

dehydraled due lo lhe conslant demand lor waler in lhe digeslive Iracl, leaving lhe

larynx lo lend lor ilsel!. Jusl like alcohol, it lools Vou into thinking you've quenched

your thirs\.

When lhe lolds are dry, Ihey create more lriclion when they mee\. lhe heat

generated Irom Ihis lriclion causes swelling. lry playing guilar wilh swollen lingers

and you'lI see the same resul\. Vour ability is compromised because the muscles

are a dilferent size.

In the Tip Sheet at lhe end oI this chapter, it simply says, "Always maintain a

high water levei in your body." NOlice this does not mean to drink somelhing while

you're singing, more like keep your body Irom dehydrating. Remember it lakes at

least twenty minutes lor water to circulate through your system lO get to the throat,

so plan ahead.

lhe other well known lacl aboul colfee and tea is the calfeine. I'm sure

you're aware oI its alfect on your energy, but I Ihink it's important to take a look at

what that costs your body. Calfeine disturbs lhe central nervous system, blood

sugar levei, digestion, and your blood pressure to name a lew. Whenever your

body is in a tailspin, vou will sulfer as a singer.

Non-ealfeinated teas are better Ihan decalfeinated colfee because they are

not acid lorming. So il Vou enjoy a hot drink try herbal teas or lemon juice in hot

water. When vou are drinking any hol liquid, be aware oI the laws oI nature. Heal

expands and cold conlracls. A hot drink will draw blood to the area and cause a

little swelling. This will thin out the membranes oI the larynx and leave them

19

r

II

.-


vulnerable. A cold drink will make the vocal lolds rigid and tight, requiring more

pressure to activate a vibration. The best drink lor singers is room temperature

water ... and make it good water.

To get that start up leeling lrom another source, you'lI have to detox yourself

Irom colfee lirst. Fruit in the morroing will give you a much better litt because it gets

absorbed very quickly and provides natural sugar without the crash atterwards. It

lakes time to leel the alfects 01 the lruit simply because your system has beco me

numb Irom a chemical dependency. Colfee takes a toll on your body and singers

can't allord to pay lhe price.

MENTAL ATTITUDE

THERE'S IS NOTHING MORE POWERFUL THAN YOUR OPINION OF

YOURSELF. In lhe end that slatement makes or breaks every singer. Keep in

mind when I say "make" a singer I don't necessarily mean a lamous singer; I mean

lhe ability lO sing what you leel. Although this may sound like a subject that

belongs under the psychological heading; it also belongs here.

There is a direct connection between lhe way we think and our

physical movements. The way we talk, walk, sit, our poslure, shape

and size 01 our bodies, and especially the way we sing, rellects the

wor1d inside our minds.

II you think 01 yoursell as a singer, you are one. II you think 01

yoursell as someone who sings, than that's who you are. I know

this sounds conlusing, but there is actually a big dilference in the

two types 01 singers I just mentioned. There is no such thing as a

bad singer, when the person is a singer. Vou may not like the

sound 01 the voice, or the style, or the music they sing, but that's

just your opinion 01 the singer. II lhe singer does not rely on your

approval to sing, there is no problem. The two 01 you will go your

20


separale ways and lorgel each olher. lhis is lhe altilude 01 a successlul singer.

Someone who sings will be affected by lhe opinions 01 olhers and Iry lo aller

Iheir voice in order lo please. lhis creales lhe endless game 01 Irying lo please

everyone and bealing yoursel! up in lhe processo Many lamous singers lall inlo Ihis

Irap, Ihinking Ihal Iheir popularily is due lo Iheir abilily lo sing. lhis could be lrue,

excepl when lhe singer buys inlo Ihis lhe reverse can be harmlul. When lhe public

opinion lurns away Irom Ihem, Iheir abilily lo sing suflers greatly. lhe diflerence is

inlernal versus externaI.

It's incredible how many singers I lalk lo have a hard l ime lelling me whal

Ihey like aboul Iheir voice. lhey're only ready wilh lhe lisl 01 Ihings Ihal need lo be

lixed. Everyone's lisl is diflerenl, bul il ali comes Irom lhe same need lo make

singing somelhing Ihat's dilficull or dislan!. I always gel a disappoinled look when I

tell people lhe ability lo sing has always been in them, but il was 100 simple lo see.

I! you have a beliel Ihat something should be a certain way, it will be. Are

you goOO wilh geomelry? I! you're not, Ihen you've gOl a beliel Ihal says geomelry

is hard, and so il will always be lor you unlil you break down the beliel. More

important, whal are your beliels aboul singing? Answer Ihese questions wilh the

first Ihoughl Ihal comes lo mind. "I Ihink a good singer should .. ," "lhe most

important Ihing aboul singing is .. ," I doubt Ihat you are lhe singer you described in

your beliels and Ihat's why you're reading Ihis book. Vou leel Ihere's somelhing oul

there you're missing and once you get it, then you toa can be a great singer. Well

my Iriend, you're hall righ!. lhere maybe something missing bul it's not "out Ihere";

it's inside.

Your beliel can, and will, stop you cold Irom improving your voice. Every

tension in your body slems Irom a beliel Ihal lhe tension is necessary. lhis subject

is discussed in delail in lhe lasl chapler so il you're not buying this, it might be a

good idea lo read Ihat chapler now. My painl is simple, the mind leeds lhe

tensions which reslrict lhe voice. II you Ihink singing is hard, it will be. II you Ihink

21 Ellriroramenlal Factors

The Rock In' RoU Singers Survival Manual

you have a pileh problem, Ihen you do.

There is Iremendous power available lo you if your belief syslem agrees wilh

whal you are doing. The body beeomes f1exible and slrong, and you brealhe mueh

differently when your feelings a1low. Don'l forgel Ihal lhe reverse of any equalion is

Irue. If fear ar doubl equal lension ar reslriction, Ihen a relaxed body ean ereale

eonfidenee.

I Ihink of myself as an average guy full of paranoia and anxiely. And

whenever I feel uplighl I noliee my body is sliff, almosl as if I'm braeing for

somelhing lo happen. I don'l Ihink lhe mind is very good ai separaling real from

imaginary, so lhe reason for Ihis lo happen doesn'l have lo be a real one. I also

noliee Ihal my body ean lell lhe mind whal lo Ihink. If I beeome sliff for some

physieai reason, my Ihinking ean beco me inseeure. II doesn'l malter whieh end

slarted lhe eyele, beeause lhe lruth is whal I'm going Ihrough has nolhing lo do wilh

realily. Nolhing's wrong, bul Iry lelling Ihal lO my mind ar my body.

Exereising is a greal way lo bring you down lo earth. II elears your Ihinking

~-----~ by breaking lhe eonneelion belween lhe body and mind. Whenever

I have problems, I slart lo exereise before I have lime lo be langled

up in Ihoughls. Also, whenever I feel run down ar weak, I Iry lo

exereise before I slart Ihinking Ihal way.

Remember il's greal lo wanl a belter voiee, bul don'l wail until

you have il lO sing. The sooner you aeknowledge yourself as a

singer, lhe easier il is lo grow. There's nolhing more powerful Ihan

Iislening lo a singer Ihal is ai ease wilh his voiee, ar for Ihal malte r

an actor who is ai ease wilh his body. Some of lhe mosl popular

singers don'l have very good voiees leehnieally; as long as Ihey

aeeepl Ihal, il will be fine for lhe resl of us.

22


STRESS

last but not least. The daily pressures in our lives have a way of driving into

ali the bad habits discussed in this section. Stress isn't the problem, it's how we

react to it. Vour body's reaction to pressure, can undermine every positive thing

you've done to belter yourself.

It's important to remember stress is an internai pressure, not externaI. It only

occurs when you care. No one can pressure you about something that doesn't

interest you. 50, a good first step towards managing stress would be

acknowledging the fact that you care about whatever has got you crazy.

Regardless of what causes the stress, the results in the body are fatigue, loss

of vitamins, upset digestion, restless sleep, and weakened muscular strength. As a

singer, you can't afford to give any of these away. Here are three sim pie reminders

for lowering the levei of stress in your life:

1. Learn to ~ay "No". Over-committing yourself only compromlses your talents.

2. Look for opportunities to double your time. Bring things 10. work on (Iearnirg Iyrics or writing a bio) when ndlng a bus or traln.

3. Write down a schedule, and live by it. Make sure to include time for exercise, rest, and sleep.

23 EnvironmenltJl Factors


VOU SING LlKE VOU EAT

DIET IN GENERAL

I learned lhe inlormalion in Ihis section Irom lhe book, "Fil For Ule," writlen

by Harvey and Marilyn Diamond. 1I you knew how Ihin Iam, you'd laugh ai lhe

Ihoughl 01 me reading adiei book. The lhe me 01 Ihis book however, is lo combine

lhe lood groups in a meal so Ihey complemenl each olher in your slomach, ralher

than in your moulh. tt explains how the typical square meal that we always thought

was healthy, robs us 01 energy. The diel described in Ihis book is an excellent

routine lor singers; it's worth reading.

In order lo survive lhe body musl be replenished with a conslant source 01

energy Irom lhe lood we eal. Digeslion is a high priorily and lhe body will spend

any amount 01 energy needed lo absorb what is consumed. Somelimes Ihere is

more energy spenl Ihan gained in the process and lhe body is ai a loss.

There are Ihree cycles to the digestive process which need lo complete

themselves in order lor the body lo run elliciently. The lirst is

consumption , or eating. Next would be absorption, which is the

decomposilion 01 lood inlo usable malerials lor lhe cells. The final

cycle is elimination 01 the waste. Since Ihere is a priorily lor

digeslion in order to survive, this eliminalion 01 wasle often gels cut

of! belore complelion 01 ils cycle.

Ealing brings lhe process back lo lhe beginning no matler whal

your body was doing. Ali lhe energy in lhe body will be used lor

digesting and absorbing; this is why you leel lired or cold after a

large meal. The blood has been redirected away Irom the skin

surface and brain lo the digeslive organs. Cutling of! lhe

elimination cycle meal after meal, day after day, creates an overload

01 loxic malerial in your cells.

24


Some 01 lhe signs Ihal your body is overloaded wilh wasle are lhe inability to

lose weighl, a lired leeling when vou wake or a lack 01 energy in general,

congesled sinuses, poor skin, dehydralion or calching colds often. lhese conditions

directly allect your ability lo sing and wili counleract ali lhe good Ihings you've done

lor yoursell. We need lo approach ealing Irom lhe body's view ralher Ihan our

desires. lhis means ealing and aliowing each phase 01 digestion lo complele ilsell

daily.

While Vou sleep, lhe body does a greal deal 01 cleansing. It's lhe longest

period 01 lime spenl wilhoul ealing and Ihere's very lillle energy used elsewhere.

Breaklasl does nol have lo inlerrupl Ihis cycle il Vou plan your meals properly.

Fruils are a pre-digesled lood thal provides an excelienl source 01 energy.

Pre-digesled means il can go righl Ihrough lhe slomach inlo lhe smali inteslines

where ali lhe nulrienls are absorbed. lhe body can continue cleaning oul when Vou

eal lruil because il does nol require energy lo break il down la somelhing simpler.

Eal as much as vou like, bul as soon as Vou combine il wilh something else Vou

will dislurb lhe eliminalion processo

'You'll get more out of a hamburger without lhe bun, and more from the bun without the burger!

lhe resl 01 your meals wili serve Vou beller il Vou remember one sim pie rule,

the digeslive syslem can only handle one concenlraled lood aI a time. A

concenlrated lood is anything Ihal is nol a lruil ar vegelable. lhere is a lack 01

waler in every concentraled lood which makes il more dillicull lo diges!. Fruils and

vegelables conlain a large amounl 01 waler in Iheir composilion; Ihis is one 01 lhe

many benelils they provide. A palalo is a vegelable, and il becomes concenlraled

when cooked because lhe waler escapes. Dillerenl lood groups require dillerent

25 You Sing Like You EaJ


acids and enzymes lor digestion and that includes different proteins, tOO. It just

doesn't work to combine them ali in one meal.

Meat is digested by acids in the stomach, a starch (potatoes included)

requires an alkaline to be broken aown. When the two loods meet in your stomach,

they neutralize each other. lhe body senses this and adds more digestive juices,

and one continues to negate the other. lo put it simply, you'lI get more out 01 a

hamburger without the bun and more Irom the bun without the burger.

Proteins are separated and broken down one at a time, and while this is

going on everything else has to wait. Some meats can take eight hours belore

they're ready to move into the small intestines, so the other loods sit rotting in the

98 degree acid 01 the stomach losing vilamins by the minute. By the time they're

allowed to pass through the intestines to be absorbed, there's is very little nutritional

value to be had.

Ali this improper combining places a stress on your digestive system. In

order to speed up the process, mucus is created and used as a vehicle lor

,---------, undigested pieces 01 lood to be rejected. lhis excess waste ends

")

( , ~

t

:00

up blockin'g arteries, pores and mucus membranes causing a

backup. lhe constant drip 01 mucus around the larynx irritates and

swells the lining 01 the throat and vocal lolds, making singing

dilficult. No vocal exercise can lix this problem because it's not a

vocal problem, it is a diet issue. I hope now it's easier to see how

everything is related.

It's your responsibility to lind a diet that works lor you. II you

can't afford to have a nutritional analysis done then begin by

subtracting different loods Irom your diet and look lor a reaction. II

you notice less mucus, you've hit upon something lor which you

lack tolerance. Your instrument will respond much better il it's not

burdened with inefficiency.

26

SUGAR

lhis one is my lavorile addiction. I don'l know 100

many people who aren'l hooked on sugar, whelher Ihey know

il or nol. I'm lalking abouI while processed sugar, corn syrup

or dextrose, so slar! reading lhe ingredienls 01 lhe lood you're

ealing. Jusl like cigarettes, lhe addiction can be broken down

by wailing one minute belore you have Ihal piece 01 candy.

lhis makes lhe action a choice ralher Ihan an unconscious

habil.

Singers are alhleles.

Sugar leeches vilamins Irom your syslem.

lhe Iwo previous slalemenls illuslrale lhe problem wilh

relying on sugar lor energy. Your momma was righl, you

need your vilamins! Vocalizing demands lols 01 slamina and

sugar does nol supply lhe lasling energy needed. II you recall

lrom lhe inlro, I slaled we eal Irom lhe desires 01 lasle ralher

Ihan lhe requiremenls 01 lhe body. Sugar becomes lhe

biggesl culpril 01 ali in upsetting lhe balance.

Sugar requires Iremendous amounls 01 energy lo digesl.

lha!'s lhe reason lor lhe lull in your energy aboul an hour

after you've ealen. Your body jusl gol ripped 011. lhe inilial

charge comes Irom a quick release 01 insulin in your

bloodslream. Since il look more energy lO digesl Ihan il

provided, you're left leeling low. 11 you remedy Ihis leeling

wilh anolher blasl 01 sugar, you'lI jusl repeal lhe cycle. A

rouline like Ihis breaks down lhe body's abilily lo release

glucose (lhe Iype sugar you need) in an even manner.

lhe pallern begins innocently enough. Mosl 01 us are


Females:

Your vocal folds swell along with the rest of your body during menstruation. To avoül a loss of range and control, use lhe Exercises for Flexibility and Range section, found later in this book.

27 You Sing Like You Eat

The Rock 'n' RoU Singers SUflIival Manual

fond of the taste 01 sugar. Alter a large meal your digestive system is working

furiously. lhe blood flow to the stomach, and related organs, is increased, causing

a drop in circulation around the brain. Vou still have things to do, so to avoid the

drowsy leeling vou eat something sweet. Now you've complicated matters in the

stomach, and the efficiency 01 the digestive system is lost.

Later that day you're feeling weak and hungry because the meal Vou ate

didn't provide a lasting source of energy. It's not time to eat again even though

your instincts tell Vou that vou should. lhe brain feeds on the body's natural sugar,

glucose. When it's starving, your emotions can run wild. Wide mood swings,

depression, anxiety and headaches are common signals 01 a hungry brain. lhe

longe r vou wait the worse Vou leel. Now it's a Milky Way bar to the rescue! Of

course now Vou can see a pattem developing, and realize the sugar lrom the candy

bar will only give short term reliel.

11 Vou ride this rollercoaster long enough, there is a chance vou may develop

hyper/hypoglycemia, which is a misunderstood condition due to a breakdown in the

body's ability to release blood sugar evenly. People who suffer

lrom this require a strict diet of complex carbohydrates (nuts, pasta

etc.) to restare order to the metabolism. It's the same effect as any

chemical addiction; the body simply loses its ability to operate

without a lix.

Since sugar is a necessary part 01 your diet, Vou need a good

source, and lruit is the best. lhe acid in Iruit changes to alkaline

upcn entering the stomach and contains vitamins and liber which

processed sugar does not. lhe biggest problem with white sugar is

the stripping processo It is void 01 any nutritional value, has no liber

and does not provide bulk. lhis means no matter how much vou

eat, you're not satisfied. Sugar ruins the digestive process of other

loods.

28


Again, don'l make any changes in your diel because I said so. Learn lo

lislen lo your body inslead 01 your mind. II will lake time to clean up the way you

eat, and permanent changes come Irom a shift in your awareness, not just Irom

knowledge. A reduction 01 anything is a step in the right direction. Vou get to leel

a little better and that will inspire you to reduce more. It's heroic to think you're

going to quit smoking, drinking and sugar tomorrow, but small steps are just as

good, and more apt to lasl.

DAIRY

This is another subject that broke my heart to lind out aboul. Dairy products

produce huge amounts 01 mucus in the body. But wait, it gets worse. There is a

very good section in "Fit For Ule" about dairy products and it makes this poinl.

Mothers' milk is pertect lood lor inlants. After the baby is weaned lrom mother's

milk, it is no longer the pertect lood. No other animal on the planet continues to

drink milk after inlancy; no other animal consumes another species' milk.

Cows milk contains enzymes and nutrients that are well balanced lor calves.

The digestive system 01 a cow is much diflerent Irom ours (three stomachs lor

starters), and the additional elements in milk disturb our digestion. Anything that

labors or slows the digestive process will create mucus.

There are plenty 01 sources 01 calcium around uso Dark green leafy

vegetables, kelp, raw nuts, concentrated lruits, and the best source on earth is raw

sesame seeds. Keep this in mind .. . il milk is such a good source 01 calcium, why

don't cows drink it?

Another problem with milk is Ihat it is acidic. Because the body needs to

maintain a slightly aikaline pH, a diet that is heavy with dairy products will tilt the

scales to the acid side. The funny thing is the body will use calcium, among other

things, to neutralize acidity, 50 the calcium in milk is absorbed to balance lhe acid in

milk. Looks like it's time to lind another way.

29 You Sing l.iIu You Eat

.~---------------------------

The Rock 4n' Roll Singer's SUrl'ival Manual

A signal for dairy overload would show up as a layer of mucus Ihal has lo be

coughed up or grunled oul in lhe morning. If Vou find yourself clearing your Ihroal

a 101 or are constanlly congesled, chances are very high Ihal vou can'l deal with lhe

amounl of dairy you're consuming. Ali Ihal blockage in lhe resonaling chambers of

your inslrument will absorb sound and make vou work hard aI mainlaining pilch.

FLUIDS

Water is a necessity of life. lhe flexibility and vibrancy of your inslrumenl

depend upon lhe water levei in your syslem. Fruits have lhe highesl conlent of

waler of any food. Your bOOy absorbs and uses lhe water in fruils just as fasl as

when Vou drink il, bul remember fruits have lo be ealen on an empty stomach in

order to enjoy Iheir benefils. It's nol a goOO idea lO drink anything while eating

because lhe digeslive juices become diluled and digeslion slows down. II lakes

Iwenty minutes for clear water to be absorbed in your syslem, so it's besl lo wail

Ihat amount of lime before vou eal. If Vou feel a strong desire lo drink with your

n o

meal, Vou are probably combining 100 many concentrated foods.

Of course, everything Vou drink conlains water, bul lhe olher

conlenls of lhe drink will decide if waler is gained or losl in lhe

digesling processo Remember lhe problems with coffee and

alcohol? More waler is used lo break Ihese Iiquids down Ihan lhe

drink provided, and soda creales lhe same siluation. Fruils, natural

fruil juice, and spring waler provide the besl source of water.

Cells f1ush some of Iheir waste away via the water in your

syslem. lhe more waler in your body, the more opportunily Ihere

is to clean oul. Sweat and urine are lhe Iwo best garbage dumps

Vou have and they both require water. When Vou are dehydraled,

lhe body loses ils c1eansing ability, and lhe loxicily levei in your

cells will rise. lhe body will channel the water in your system lo

30


where it is needed mos!. This is why your throat and lips become so dry when you

have a cold.

Be carelul 01 non-vocal activities that drain your body's water reserves. A

day at the beach, an active physical workout or just perspiring on a hot day will

dehydrate you quickly. There's no need to avoid these activities il you take the

necessary precautions. Bring plenty 01 water to the beach, remember soda does

not replenish your body's fluids, and take plenty 01 breaks when exercising to allow

your body to stabilize.

I drink lots 01 water and I notice the advantage this gives my larynx by

keeping it lubricated. Smokey clubs and loud hard singing will dry the vocal tract

and leave it vulnerable to damage. The mucous membranes (Iarynx, nose and

Ihroat) are lhe lirsl areas to be short changed when lhe body needs waler

elsewhere to flush out an impurily. I1 never hurts lo overcompensale the protection

waler provides, and it's such a simple Ihing lo do.

Keep Your L,aaru: Wet: Remember to bring plelllJ of waU T, if JOu 80 to the beach. Onu ddydraled, from too much sun or eurcising. your vocal folds wjfl be (mel and unusponsive.

31 You Sing Uh You Ea/

The Rock 'n' Roll Singer's Survival Manu.aJ

PHYSICAL FlTNESS

NON-VOCAL WORKOUTS FOR SINGERS

A singer is an alhlele in every way. Vou need slamina, brealh capacily,

muscle slrenglh, flexibilily, dexterily and a sharp menlal focus. If vou don'l possess

ali of Ihese abililies, join lhe club, I don'l know anyone who has il alI. lhe fact

remains Ihal your body needs lo be in lhe besl possible condilion.

A workout rouline for singers should address ali lhe aspects of singing. lhal

means aerobic, anaerobic, slrelching and flexing. Building yourself in jusl one of

Ihese areas will be betler Ihan nane, bul your abilily in one may expose

weaknesses in lhe olhers. Below are some ideas if you're nol already in some kind

of exercise rouline. As wilh ali exercise advice, use your judgemenl as lo whelher

an exercise is appropriale for vou. Don'l aggravale old injuries ar already weakened

areas wilh a sudden load of exercise. li you're nol sure, gel a physical firsl.

lhe area lo largel is upper body slrenglh: lhe pectoral muscles are

r-----------, particularly important for slabilily of lhe larynx. lhe lower abdominal

and back muscles support lhe pelvis and are needed for brealh

compression. Anaerobic exercises (weighls, naulilus) lesl lhe

slrenglh of muscles and use oxygen slored in lhe muscle lissue.

lhe overall body loning is helpful in correcting poslure and

releasing lension. Aerobic exercises are good for increasing your

lung capacily and circulalion.

Don'l forgel lhe warm up. Shocking your body inlo an activily

can cause injuries. Slart slowly if you're nol already working oul.

No one said Vou have lo be Hercules lo be a singer. Vou can gel

discouraged if vou jump in and expect Iremendous resulls 100 soon;

lols of people gel fruslraled early and quil. Remember as a singer

you're more concerned wilh how Vou feel Ihan how Vou look.

32


SWIMMING

lhis gels my vole as lhe besl exercise lor singers. II combines every

desirable benefit (aerobic, anaerobic, slrelch and Ilex) wilhoul any jolting, bumping

or shocks. lhe waler provides a greal neulral environmenl lor Iree-Iorm movement.

It's as il you can dely gravily and floal, dive, and lurn any way you want. lhe

buoyancy is good Iherapy lor lighl muscies and will build strenglh ai a slow, even

pace.

I know 10lS 01 vocal leachers disregard lhe benelils because 01 lhe drying

elfects 01 chlorine and lhe possibilily 01 ear inlections. I say, wear Ihose nose and

ear plugs, and as a singer it's your duly lo be drinking plenly 01 waler anyway. lhe

only Ihing I leel Ihal can inlerfere wilh singing is drowning, and il you Ihink Ihat's a

possibilily, maybe you should slay oul 01 lhe waler.

lhe breasl slroke and Auslralian crawl would be besl lor slarters; you can do

Ihem poo~y and slill gain some benefit. lhe upper body (pectoral muscles) gel a

good work out doing lhe breasl slroke as well as lhe back and legs Irom kicking.

l he Auslralian Crawl combines slrelch wilh flex as you allernale your arms. It's

stimulating lor lhe brain when you coordinale lhe separale arm movemenls with

your legs.

Swimming under waler lor an extended l ime is greal lor building endurance in

your lungs. Even Ihough you release a small amounl 01 air when you sing, lhe

body is lorced to use lhe reserve oxygen in lhe body l issue. lhe same

ci rcumslance happens when you hold your brealh and are physically active.

REBOUNDER

lhose little Ihree 1001 Irampolines give you a good workout. lhe aerobic

benelils become obvious after a short while. As you're jumping, Iwisl and lurn your

body and swing your arms around lo incorporale as many muscles as you cano

lhe leel gel a good massage while you jump and Ihal slimulales lhe glands

throughoul your body.

33 Physiall Filuss

The Rock 'n' Roll Singers Survi."aJ Manual

AEROBICS

VOU know the exercises. As a matter 01 lact, you probably have a video 01

them hiding under your veR. The combination 01 movement and brealhing is a

greal vocal builder. To gain lhe benelils lrom aerobic exercises Ihey have lo be

done long enough lo challenge your lungs. Any heallh club or cable show can

steer you in lhe righl direction, and believe il or nOl, lhe designer lighls aren'l

actually required equipment.

JUMPING ROPE

This is an excellenl upper body and brealh builder; just walch Ihal you don'l

shock your knees (always wear sneakers). I like Ihis exercise because you can do

il anywhere. II you don'l Ihink you have lime to worl<oul, carry a jump rope and

give il live lo ten minules. II you're oul 01 shape, you won'l lasl len minutes, so

Ihal can beco me your goal. 11 you gel caughl wilhoul a rope, it's no problem, lhe

same molion withoul one worl<s line (I guess I jusl blew Ihal excusel).

/

~ t

MARTIAL ARTS

Kung Fu, Karale, and Judo are excellenl body builders. Aside

Irom slrenglh, Ihey develop balance, Ilexibility and rellexes. The

lower cenler 01 gravily 01 lhe stances are good singing postures as

well. Learning lo lense certain muscles while relaxing olhers are

similar disciplines between martial arts and singing.

JOGGING

Are you surprised Ihis wasn'l number one? It's nol because hall

lhe people I see out Ihere running aren'l doing il correctly, which is

important lor any exercise. Poslure, lorm, proper pacing, and

releasing unrelaled muscles are very importanl so Ihal you don'l

creale more problems Ihan you solve. The all-around filness

running providas is well known. II you like lO jog, lake lhe lime lo

research a little aboul lhe sport.

34


Vou do nol improve your singing by forcing a brealhing pallern on your lungs.

When Vou jog, your body seIs lhe pace for brealhing, for inslance, inhaling every

Ihree sleps Ihen exhaling for Ihree. This causes vou lo hold your rib cage slill and

conlrol whal should be an involunlary action. When vou sing, vou want your ribs lo

be uncommitted and flexible for any change in air pressure needed. Also, lhe high

type of chesl brealhing works fine for alhleles bul dele aIs lhe conlrol 01 a singers'

exhaJe.

The besl Iype 01 running lar singers is Ihrough an obslacle course. Anything

Ôlal lorces Vou lo move, lurn, duck and remain flexible. 11 Vou do run a slraighl

course, keep your arms loose and moving separalely from lhe legs. This prevenls

e upper body Irom locking up and gels vou oul 01 a rouline 01 holding your brealh.

CALISTHENICS

The problem here, again, is Ihal mosl 01 us don'l lake lhe lime lo learn lo do

- exercise right. Pumping oul Ihose wobbly push-ups, jerky pull-ups, and sil-ups

~ look like a wriggling worm doesn'l give Vou much more Ihan lension.

Chin-ups slrenglhen and slrelch lhe upper body aI lhe same lime. They are

ia besl lar increasing lhe power 01 your voice directly. The lrue lolds (lhe ones

rou sing wilh) conlract when Vou flex your biceps; it's like Ihey're wired logelher.

lhe lriceps make lhe false lolds conlract, so slick wilh your hands lacing Vou on lhe

oar. Slraighl leg sil-ups harm lhe lower back. 11 vou wanl a l ighl slomach, hang

::em a bar and raise your feel lo your head len limes Ihen bend your knees lar len

ceps. Follow Ihal wilh bent-leg sil-ups bul only curl your head 011 lhe floor

aunches), don'l leI your back jerk up. Look oul lar neck lension when doing push-

. Adjusl lhe dislance belween your hands so Vou leel lhe chesl muscles doing

e work.

35 Physical Fitn ...


TENNIS, BASKETBALL, VOLLEVBALL, HANDBALL, ETC.

Any sport Vou can think of that combines quick blasts of energy with

slrelching, jumping, bending and balance becomes a good cross trainer for singers.

They build your endurance and lung capacity and sharpen your reflexes which are

ali pluses. Every sport has its share of injuries and though Vou can't always see

them coming, remember your body is your inslrument (it's just a game).

VOGA

From beginner to advanced, ali the stretches and brealhing exercises of voga

work perfectly for singers. It's great when combined with other exercises because

of the flexibility il encourages. If you've never tried voga, a beginner book will give

vou plenty to work with and get your body limber in the processo

WEIGHT TRAINING

Strenuous workouts with free weights ar nautilus (powerlitting, bodybuilding)

don'l benefit lhe voice. Heavy litting places a great stress against the vocal folds.

One of the main reasons vou have a larynx is to create pressure in your upper

body lar litting, pushing and climbing. As vou tense your

abdominais to litt, the false folds close tight and compress the air

( l~

t

inside lhe lungs to make your body rigid. Holding your breath

againsl an abdominal pus h is a similar sensation to singing, but not

the same action. It's easy lo confuse the feelings and hold your

breath when singing, which creates lots of problems.

The best approach to weight litting for singers is toning ar circuit

training. Smaller weights and multiple repelitions will keep lhe body

flexible, increase aerobic capacity, and reduce lhe pressure against

the larynx. Make sure your routine is balanced between ali musd e

groups and is followed by a coai down.

36


STRETCH,STRETCH,STRETCH Nothing is mora important to your body than stratching out balore and aftar

exercising. Gat a book on stratching, a yoga book would ba line, and maka tha

exibility 01 your body as important as i15 strangth. Stratching allows tha musclas

ee movemant which is important lor singars. Tha rasult is incraasad circulation

and improved postura.

• - r-

i 5~ I I I

,..., n

_ ....J

• I I I I I

Vocal Chjn.u~: lhe vocaljorflu in r~sponse to lhe bictps cOlltracnng. Uft YOUTUl[ by doi"g a half chinup and singing aI lhe some "mI!. Did ,ou IlOtiu all1 addilional vocal power? 1I 10u Iift yourself completely, however, ]OU' IJ ovuload lhe lo/ds and choú of! yOW' voiee. This some lhroat reslrictiOIl OCCUTS when you grip Iht miCTOpMfII! 100 tightly.

37 PhysiaJl FiIM ..

=


OBEY THE LAWS ( ... the laws of sound that is)

Sound jusl is whal il is. It's as predictable as gravily. No malter how you

Ihink of il, you have lO comply wilh its laws lo use it. II doesn'l malter how many

lechniques and slyles of singing there are, everyone ends up doing lhe exact same

Ihing lo produce a pitch. This seclion will Iranslale lhe laws of sound and explain

how Ihey relale lo singing. Understanding lhe nature of sound answers lols of

questions aboul your voice.

WHAT IS SOUND?

Sound is the resull when molecules are dislurbed. Air, water, everything

around you is made of molecules. Molecules nalurally remain a certain dislance

apart from each olher. When somelhing compresses Ihem closer, Ihey fly apart.

As Ihey fly, Ihey crash into olher molecules and those molecules crash inlo others,

and so on. They move in ali directions from lhe dislurbance like ripples in water.

IF DOMINOS COULD STAND THEMSELVES UP AGAIN

When a molecule hils its neighbor, it's drawn back lo lhe original

position by a created vacuum. The process can be Ihoughl of like

a row of dominos falling into one anolher and Ihen slanding up

again, wailing for another pus h (see diagram #1).

Diagram 1

38


SOUND HAS WAVES

This motion through the air is called a sound wave, and we refer to one wave

as a cycle. The wave's shape is created by two opposing forces, the crashing

(compression) and the vacuum pulling the molecule back (rarefaction). No malter

what created the sound, it travels like this through the air at a speed of 1100 feet

per second.

Compruswn ~

Diagram 2 .. Sound Wave

DOES A FOREST HAVE SOUNDS IF YOU'RE NOT THERE?

As far as we're concerned, no. An important aspect of sound to a singer is

how it's perceived by the listener. The ear compleles the journey of the sound

wave. When the sound wave reaches Vou, the ear drum is moved back and forth

at the same rhythm. The brain separates the dilferent characteristics of sound into

lhe categories listed next in this section.

(

-'---t-----+---l----+---t--t---+'i:-~\ ~ iagTam 3 .. The tar completes lhe journey Df lhe sound WQve

39 Obey lhe Laws


SEPARATING NOISE FROM TONES

This doesn'l mean what's good from whal's bad. If lhe sound wave has a

regular paliem, il's calied a lone; if lhe paliem is irregular, il's noise. Music always

conlains a mixture of noises and lones. Drums, cymbals, dislortion, and raspy

vocais ali conlain noise along wilh Iheir lones.

PITCH

The amounl of waves per second is lhe frequency. If Ihere are 440 waves

per second, your ear drum is moved lhe same 440 limes and lhe brain calis il a

pilch ("A"). The slowesl frequeney we can hear as a pilch is 15 cyeles per second,

and lhe faslesl is 20,000. If several differenl Ihings were vibraling ai lhe same

speed Ihey'd ali creale lhe same pilch, bul lhe brain can slili hear Ihem separalely

beeause of

lhe remaining

calegories.

( D' .~

t

Iviagram 4 - The number of waves per second equaIs lhe pilch

INTENSITY

How many cyeies per second equals lhe pileh; lhe size of lhe

eyele delermines lhe inlensily, ar lhe volume of lhe sound.

loudness is Iricky lo explain because lhe ear adjusls ilself so Ihal

doubling lhe inlensily doesn'l mean lhe sound will be Iwice as loud.

AIso, if a high and low pilch are lhe same volume, lhe high one

will sound louder. This is why lhe lislener has lo be considered

when you lalk aboul sound. The word intensity is also used lo

describe energy. A singer can sing a pitch at a low volume wilh a

101 of passion and we'li say it's very "inlense."

40


..--. í~\ í" , T"-

Mighl ( \ 01 ,,,-

"--wa .. equals

~ ,,,-

!oiagram 5 - Volume "---./ vollUJU.

DURATION

This category means just what it sounds like, the length of time the sound

lasts. Duration is important to musicians because it makes rhythm possible.

TIMBRE

This is more commonly known as the quality of sound. When something

vibrates and produces a tone, it usually has sub-vibrations which occur at the same

time. The additional vibrations are divisions of the original tone (see diagram #6),

and are called overtones. Together, the original tone and its overtones form a more

complex sound wave. The timbre describes the number and intensity of overtones

in the sound. As you turn up the volume of the overtones in your voice, it becomes

richer and has more projection power. This is important to remember when you're

trying to be heard over a bando

Figure A. Figure B Figure C .. ---- -------. ----- ...---------, - .-----. ~ ~----- -~ ,.----- .. -. - -- ...... ---------------_... --------- ----.--- ----- ------ - -- ---F/.UIdamental F;rSl OIlUtQM SecOM Overlone

p iogram 6 .. Overfonel

SIMPLE MATH

In diagram #6, we can see how overtones are calculated. Let's say the line

is a guitar string, and it's vibrating at 220 times a second (figure A). That would

create an "A" note, and that original pitch is called the fundamental.

41 Obey lhe Laws

The Rock 'n' RoU Singer's Survival ManlUll

,...--,) Q

Fundamental (original pitch) (220 cycles per SeCOnd)---i=~

First overtone

Second overtone

lhird overtone

Fourth overtone

Fifth overtone

Silcth overtone

7 - Overtones Series

(220 X 2 = 440 CpSl) ____ ~

(220 X 3 = 660 c~::~=_----t~~~Alid (220 X 4 = 880 CicPsr ___ .I (220 X 5 = 1100 cp,;)-____ -=~~

(220 X 6 - 1320 c~:::===t~ (220 X 7 - 1540 c

Simultaneously, the string will vibrate in halves to produce the first

overtone (figure B). lhe pitch of the overtone is selected by

multiplying the fundamental times two (220 X 2 = 440). lhat

means our first overtone is an "A", one octave above the original

pitch (fundamental).

lhe third vibration divides the string in thirds. By multiplying 220

X 3, we get 660, otherwise known as an "E". lhe same equation

is used to figure ali the overtones. lhe voice is capable of

producing six overtones. In diagram #7, I've iIIustrated where the

pitch equivalents of these frequencies would be on a piano.

Other names for overtones are harmonics and upper parti ais,

and the quality of your sound is determined by their volume. Lets

say you have six instruments playing the same pitch at the same

42


volume, and each instrument produced eight harmonics. We can tell the sounds

apart because the volumes 01 their harmonics would be diflerent, so ali six tones

would have diflerent qualities. Diagram #8, shows three diflerent sources creating

the same pitch. lhe length 01 the line abcve each overtone indicates its volume,

and this is why the instruments sound diflerent.

When you produce a harmonic in your voice that's not an exact multi pie 01

the lundamental, it's called inharmonic and makes your voice harsh. II you listen

d osely to singers that have raspy voices, you'lI hear a second, out 01 tune pitch

vibrating simultaneously with the originai. lhe two sounds compete with each other

and your ear hears it as distorted.

Each harmonic, or overtone, is an

important ingredient in the overall sound.

When we talk about quality, we're talking about

the combination 01 ali the tones together. lhis

is important to remember when your working

on harmonies. Just because someone can hit

the pitch in tune, doesn't mean his quality will

create a tight blend.

RESONANCE

Voice I I • • F 1 2 3

Violin I I I • F 1 2 3

Hom I I I • F 1 2 3

iagram 8 - Timbre

• • • 4 5 6

I • • 4 5 6

• • • 4 5 6

Resonance occurs when a vibrator (vocal lolds) stimulates a second vibrator

(air space inside you) to produce the same pitch. lhe air inside your chest, throat,

and head acts as a vibrator the same way a bottle does when you blow across the

topo lhe bottle can be tuned to diflerent pitches by adding water, which changes its

size. Vour throat and mouth are very Ilexible with their shap'e and size but the

windpipe is more limited.

II a vibrator stimulates another source to vibrate, the pitch gains volume.

Remember the vocal lolds are not producing just one pitch, and ali the overtones

can start their own pitches ringing simultaneously.

43 Ohey lhe LaW$

The Rock In' RoU Singers Survival ManUlll

ALLOW IT TO HAPPEN

The good news is Ihal vocal resonance is sympalhelic, nol lorced. The bad

news is Ihal rock and roll is a lorced ar pushed attilude. The mosl you can do is

"allow" lhe resonance lo ring in your voice.

The size and shape 01 lhe air cavilies inside you are decided ai birth, no Iwo

are lhe same. They'lI nalurally enhance some overtones more Ihan olhers

(resonale) because Ihey're luned lhe same (remember delinilion 01 resonance), and

Ihis creales your vocal idenlily.

ABSORPTION & REFLECTION

Everyone has experienced lhe ellects 01 absorbed ar rellected sound. Think

01 lhe sound 01 your voice echoing around a gym ar indoor pool compared lO lalking

in a carpel slore. Also you can hear Ihal higher Irequencies are absorbed easier

when you walk lowards a concert and only hear lhe rumbling bass, These same

principies occur inside your Ihroat.

The muscles which line lhe walls 01 lhe Ihroal change in lexture as Ihey

lense and relax. A slill muscle is coarse and absorbs, while a

relaxed muscle has a smoolh surface and rellects sound, This has

lo be remembered when you're pushing hard lo sing louder ar

higher, The more you lense lhe more sound is absorbed. A big

part 01 a singer's projecting power is lhe amounl 01 harmonics

included and how much Ihey resonale. A relaxed Ihroal allows

more 01 Ihal lo happen, so il makes lhe voice louder (see: The

Jobs 01 lhe Larynx, page 105 and, The Jobs 01 lhe Vocal Tract,

page 118).

SONANCE

Think 01 Ihis calegory as how you play lhe inslrument. The

"touch" 01 lhe player brings a personalily oul 01 an inanimale object,

Pilch, inlensity and limbre can lIuctuate in minule degrees as you

44


sing. When these changes occur the same way each time, they become another

ingredient in your vocal identity.

Vibrato is a good example of sonance (For a physical explanation of what

appens when you sing, see: lhe Big Picture, page 99). lhe speed, and intensity

of a vibrator can vary between singers. Some vibratos change the pitch slightly

while others pulse with changes of intensity (volume). Either way, the variations

also produce slight changes in quality, bringing out certain harmonics with each

pulse.

A LIVING INSlRUMENl

lhe sound of any instrument, including you, has every characteristic of sound

mentioned in this section. Instruments have their qualities built in, except for the

style of the player. A singer is born with a certain sound, but because his

instrument is also a living, thinking thing, there are lots of variables that can alter

the way he sounds.

lhe area around your larynx is very susceptible to emotions. lhe muscles

respond difterently to depression, fear or happiness. Combine that with ali the

reactions of trying to sing and you can see how tangled your muscles can become.

When the muscles change, so does the sound. Most of the things that

interfere with your voice are caused by other aspects of singing. For instance, the

tension used for high notes prevents the vocal folds from stretching and you miss

the note. 11 you push air for more volume, the throat reacts by tensing and absorbs

sound. lhere are plenty of examples of singers getting in their own way. When

you feel you're beating against a wall, you need to play detective with your muscles.

Remember the laws of sound aren't bendable, so when something doesn't sound

right, vou need to adjust in order for the forces of nature to follow their course.

45 Obey lhe Laws

Tire Rock 'n' Roll Singers Survival ManUlll

TRAINING VOUR VOICE

Everyone benelils Irom Iraining no malter whal Iheir levei 01 abilily. Ironieally,

lhe prolessional is always looking lor ways lo improve; it's lhe beginner who knows

il alI. In order lo grow lo your lull polenlial, an oulside pair 01 eyes and ears

provide direction and lhe slimulus lo keep going.

The biggesl eoneern wilh roek singers is Ihal Ihey'lI lose Iheir "altilude" and

sound 100 polished. The idenlily 01 lhe singer is lhe elemenl Ihal lhe lislener

rei ales lo mosl, and whal builds a career. No leaeher or lrainer can give vou an

altilude, or lor Ihal malte r, lake one away. The idenlily 01 your voiee comes Irom

wilhin, as an extension 01 your personalily, whieh has been shaped sinee birth and

ehanges as Vou grow and malure.

I Ihink everyone who reads Ihis will agree lhe singer's personalily is

importan!. The queslion I ask is, "Do vou leel a laek 01 vocal abilily holding baek

your personalily?" II you're busy Irying lo gel your voiee jusl lo behave, you're nol

lelting lhe lisleners know who vou are. 11 Vou only have a small

amounl 01 physical slrenglh in lhe museles needed lor singing, it's

going lo lake ali your coneenlralion jusl lo hil lhe pilehes. How

many limes have Vou had an idea, bul allered il beeause vou were

alraid 01 serewing up? Training your voiee will lake eare 01 lhe nuls

and bolls 01 singing and Iree your mind lor more importanl Ihings.

There is no way lo lake slrenglh, and aI lhe momenl 01 lrulh

your museles will eilher support, or embarrass Vou. The activily in

singing is ali reflex; il ali depends il you've done your homework. Il

always helps lo Ihink 01 yoursell as an alhlele and lollow a similar

rouline. Firsl lhe Irainer provides a program Ihal will build slrenglh.

Then lhe lundamenlals are drilled over and over unlil Ihey beeome

an aulomalie response. Finally, lhe Irainer observes when lhe

46


athlete is compeling, to find where he loses formo lhis support helps the athlete to

ocus on the game, not himself.

For me, training my voice brought me out of my shell. I was never able to

give one hundred percent because I didn't trust my ability. As I trained, I bacame

ccnfident about my voice. lhere is less and less frustration about singing and lots

ore satisfaction. You'lI be able to sing whatever Vou imagine, but it will take a

great deal of time and work. Your voice should respond to your ideas, not create

• em. lhat is how vou get more "altitude".

lhe only question aboul training should be if you've found someone vou can

lrust. Do they understand the kind of music vou sing? Are vou gaining an

nderstanding abaut your voice? I've always felt that my job as a trainer is to be

an invisible support, to oller enccuragement when it's needed, and lo develop the

singer's voice without judging the musico One of the reasons I wrote this book to

provide vou with enough information so vou can be more selective in finding a

eacher.

lhe litles "teacher," "trainer" and "vocal therapisl" are interchangeable.

Usually "teacher" scares people 011 because it reminds them of school. I think I

stayed with "vocal therapisl" for myself because people will always ask what that

eans, giving me a chance to balter explain whal I do. No malter what Vou call it,

e focus should be on Vou as an instrument and your capability for growth. A

ocal coach, however, is dillerent. He works on your performance, the way vou

present yourself. Here the focus is on your style, so vou should inquire about the

ccach since this is such a subjective issue. Classical singers rely on coaches to

elp interpret their piece. Vou don't find toa many rock singers looking for Ihis since

• ey wrote the songs ar aI leasl understand very deeply what they mean.

lhe nex! thing on your mind when Vou decide lo train is how long it will take.

For classical singing the rule of thumb is seven years lo build the instrument and

Ihen anolher seven lo learn how to play it. lo a rock singer, fourteen years is a

47 Should I Train?

The Rock 'n' Roll Singers Survival Manual

a careerl Personally, I don't think it has to take that long. Rock and roll never

requires technical perfection, so the singer can feel qualified whenever he thinks

he's ready. Training the small muscles involved in singing requires repetition to

make it stick, so I always tell my students to expect development in six month

stages. Depending on your goal, Vou can stop at any time. For me, Vou can never

be too good, so I will continue to explore my limits for the rest of my life.

'lronically, the professional is always looking for ways to improve; it's the beginner who knows it ali.'

") Q

(

48


DO I HAVE TO PRACllCE?

Yes. Deep down inside everyone knows Ihal il Ihey practice, Ihey'll improve.

Singing is a workoul 01 small and large muscles and requires a greal deal 01 co

ordinalion. Allhough you use your voice conslanlly, il's nol challenged lo grow and

evelop during normal speech. Actually, lhe way you lalk is where you gel mosl of

ur bad vocal habils. Small muscle activily is much harder lo develop Ihan larger

uscles. lhe difficullly is in isolaling lhe small Irom lhe larger, more dominanl

les.

lhe mosl important Ihing lo remember when you practice is Ihal you're nol

• -nging," you're vocalizing. I use Iwo separale lerms because you need lo be clear

aboul which one you're doing. When you vocalize your only concem is lhe way lhe

i:Strumenl (your body) is working, nol how you sound. When you're singing, your

;:)QUghls should be locused on emolion and performance.

Don'l wasle your lime Irying lo sound good when you're vocalizing. It's like

lI<lnryi ng aboul how you look when you're jogging or working ou\. lhis is lhe lime

exploring and laking chances. n's a good idea lo find a

- - ale place where no one can hear you, so you feel free lo

~ yourself go. lhal is lhe faslesl way for your voice lo

-:mw.

Muscles have memory. lhey can be laughl whal lo

and will slore lhe memory as a chemical change in lhe

Muscles don'l have brains, so Ihey never decide

-.l!elher an action is good or bad. Repelilion reinforces lhe

-:uscles' memory. Even if you Ihink you never practice,

_ ery lime you lalk you send a message lo lhe same

'"1ISCles you use lo sing. Vou can eilher make Ihis work for,

- againsl you.

49

'The most important thing to remember when you practice is that you're not singing, you're vocalizing. '

Do I Have lo Practice?

The Rock In' Roll Singers Sunival Manual

HOW LONG?

The queslion I am asked mosl is how much Vou should practice. I have

seen lhe besl resulls wilh people who vocalized lor an hour a day. The biggesl

obslacle when Vou slart lo practice is delraining habils Ihal are already Ihere.

Compared lo ali lhe years you've been compiling lhe problems, an hour a day lo

correct Ihem doesn'l seem 100 unreasonable.

The lirsl slep is lo slart. Five minules is nol as good as an hour, but it's

better Ihan nolhing. Mosl 01 us don'l leel we have lime lo sei aside lor practice,

and ai frrsl Ihis is lrue. Don'l lell yoursell it's nol worth getting slarted because

you've only gol lifteen minules lo spare. It's useless lo sil around leeling guilly

aboul nol being dedicaled. Chances are il vou slart experimenling wilh some

exercise, belare Vou realize ila hall an hour has gone by.

More important Ihan lhe lenglh 01 a practice session is your attenlion lo il.

Qualily lime makes lhe biggesl changes. Anyone who exercises has lell lhe

dillerence belween a lew sil-ups done righl and a dozen when you're chealing. The

")

I f\

amo uni 01 lime vou can remain locused on whal you're doing is ali

lhe lime vou need.

I Ihink I must be lhe king 01 procraslinalion. I say Ihis because

I'm so crafty ai hiding lhe lact I'm slalling. OIher Ihings become so

importanl lhe minule I Ihink 01 vocalizing. I make mysell so busy

Ihal I can'l possibly practice, and il anyone saw my schedule Ihey

would agree. To Ihis day I slill have Ihal same little voice in lhe

back 01 my mind, bul now il doesn'l 1001 me. The rule lor me now

is anything I Ihink 01 after I've begun practicing couldn'l be Ihal

importanl olherwise I would have already Ihoughl 01 il. I know Ihis

sounds simple, bul your mind can play some convincing games wilh

vou. Incidently, I've lound Ihis rule works wilh anything you've been

pUtling ofl.

50


II might be a good idea lo read lhe lasl chapler in Ihis book il you're having

a hard lime believing Ihal your busy schedule is jusI a scam. Why is il a1ways so

diflicull lo do somelhing Ihal deep down you know will do you some good? On lhe

olher hand, it's no Irouble aI ali lo gel involved wilh somelhing you know you'lI

reg reI laler.

Besides practicing, you can accomplish a 101 by jusI slaying aware 01 Ihings.

Vou can make ali lhe non-singing use 01 your voice work lor you il you're conslanlly

moniloring what's going on inside. Whelher your in an inlerview belore a show or

ai your 9 lO 5 job, you can make lhe silualion work lo your advanlage. For

example, il you nolice your larynx is riding up 100 high, concenlrale on keeping il

relaxed when you vocalize - no matter whal il sounds like. Vou can conlinue Ihis

ali day when you're lalking. The combinalion 01 a little concenlraled work and 10lS

01 conslanl awareness will resull in lhe quickest lum around lime.

WHAT SHOULD I VOCALlZE?

It's nol whal you vocalize, it's how. In lhe Exercises lor Slrenglh and Repair

section, Ihere are plenly 01 ideas lo help you gain conlrol. Wilhoul knowing you, il'S

. possible lo prescribe lhe besl rouline (see: Should I Train?, page 46). No Iwo

singers are alike, Iherelore your needs are individual. Remember lhe exercises

aren'l magic, Ihey provide an opportunily lor a muscle lo change or grow. Vour

nderslanding 01 whal's going on mechanically while you're doing an exercise is

ery important. The combinalion pro moles lhe mOSI change.

Pick a single issue and locus on it. Don'l Iry lo lix everything aI once, it's

re productive lo move one slep aI a lime. Reading aboul how your voice works

'11 help you decide whal lo work on lirst. Vou should choose an exercise based

n whal il does and where you need lhe growth.

I always Ihink lhe besl place lo slart is wilh your brealhing. Spend some

- e wilh lhe exercises lrom lhe section aboul brealhing. While wOrking, pay close

irtIenlion lo how your body is reacting, Ihen nolice il il has done anything lor your

51 Do I Have to Practice?

The Rock In' Roll Singers Sunillal Manual

voiee. Wherever you leel a resislanee lo an exereise is where you need lo work.

For example, il you're Irying lo gel lhe diaphragm lo be more aclive and you noliee

your slomaeh is lighl, you should work on slrelehing Ihose museles belore moving

lo anything else.

Onee you've gained some abilily wilh your brealhing, swileh lo lhe larynx.

During lhe lirsl vocal exereises your attenlion should slill be on brealhing. How did

your body reacl lo making sound? lhe answer lells you whal you should work on

nexl. Let's say lhe minule you vocalized a scale your jaw or slomaeh lensed.

Even il you gol Ihese museles lo relax in your brealhing exercises Ihey may have lo

be laughl lo slay released ali over again.

Your practiee rouline should progress in sleps like building blocks. Slart wilh

lhe mosl basie exereise. lhere are no Irophies given oul lor jumping ahead and

Irying somelhing above your abilily. Always begin ai a comlortable pileh and

volume. Remember nol lo judge yoursell by how you sound. Vou can monilor your

progress by lhe amounl 01 elfort il requires lo do somelhing. When an exereise

gels easier il means you've developed, and it's lime lo move on lo

somelhing more ehallenging.

Vou can inerease lhe dilfieully 01 a workoul a eouple 01 ways.

As an exereise becomes easier, lum up lhe volume. See how loud

you can vocalize and slill remain released. Any lension you add

deleals lhe exereise, so lake yoursell lo lhe poinl where you

slruggle, and slay Ihere unlil you leel ai ease. Vou should also

explore lhe boundaries 01 your range, making sure nol lo inerease

lension. Or you can slay wilhin a eomlortable pileh and volume

and move on lO olher exereises, ehecking lo see whieh ones cause

problems. Whiehever way you ehoose lo bUild, you know you're

doing lhe righl exereise il it's dilfieull. Whal poinl is Ihere spending

lime on Ihings you do well? Do Ihal when you sing.

52


ALL ABOUT YOUR WORLD TIP SHEET

1. YOUR BODY IS YOUR INSTRUMENT. GIVE IT THE CARE IT REQUIRES,

AND IT WILL RESPOND BETIER.

2. EAT TO LlVE, INSTEAD OF LlVING TO EAT.

3. DON'T SMOKE.

4. DRUGS, CAN VOU SING WITHOUT THEM?

5. ALWAYS MAINTAIN A HIGH LEVEL OF WATER IN YOUR BODY.

6. FORGIVE YOURSELF FOR YOUR INABILlTlES, THEN COMMIT TO

IMPROVE THEM.

7. SWIMMING IS THE BEST OVERALL EXERCISE.

8. A FLEXIBLE BODY MEANS A FLEXIBLE VOICE.

9. ALLOWING RESONANCE PROVIDES POWER WITHOUT THE PUSH.

10. VOCALlZE WHEN VOU PRACTICE, SING WHEN VOU PERFORM.

53 Tip Sheet

Rock 'n' Roll S;nger's Sun;val Manual

íl\

54

ALL ABOUT

VOUR BREATH

Rock 'n' Roll Singer's Survival Manual

') o

r<..

Small Intestws

l:d:::

Lung

\ StonulCh \.

Large IntesRn.es

,

Ali Abou/ Your Brea/h

HOW BREATHING AFFECTS YOUR VOICE

lhere is nolhing Ihal affects a performance ar rellects lhe mental stale of a

_r more than breathing. lhis subject is also the mosl misunderstood among

orx:;;lists. lhe peculiar thing is, if you're alive, vou must be doing something right.

may be cliche, buI, nalure really does know best.

lhis is lhe lopic where lhe biggesl lines are drawn between classical and

ar musico Bolh Iypes of singing require tremendous amounls of slrength and

h capacity, bul reck is sung in a conversational way. lhe singer breathes as if

• .as speech wilh a natural exchange of air. In contrast lo classical singing, Ihere

S 00 need lo disguise where breaths are taken.

lhe idenlity of lhe vocalisl is lhe attraction. Rock fans look for lhe

::a-sonalily in lhe singer. lhe way vou brealhe sends messages abouI your

=e.-sonality. Do Vou speak with little ar no air in your lungs? Do vou hold your

=alh while Vou lalk, ar especially when Vou listen? lhese Irails are amplified

en Vou sing. lhe passion and drive in our music comes frem the singer pushing

- ugh, Irying lo overcome Ihese barriers.

Problems occur when brealhing habils inlerfere wilh your abilily lo sing. lhis

:s lhe conlradiction in training a rock singer. Whal do vou have to sacrifice in

altitude in arder to sing correctly? lhe answer is always your choice, bul Vou owe

to yourself lo explore whelher lhe way Vou brealhe is from a passion ar jusl plain

confusion.

Usually, bad brealhing habils are based on fear: of sounding bad, missing a

note, cracking, ar nol having enough brealh lo finish lhe line. Vou can measure a

singer's confidence by the degree of relaxalion in Iheir brealh. Does your voice

sound thin ar prelenlious? 11 50, Vou are holding back somewhere, and it's showing

p in your voice via a brealh reslriction. On lhe olher hand, nolice Ihal someone

who sounds very genuine, ar connected, is released and free wilh Iheir brealh.

57 How Brea/hing Affec/s Your Voice


"Power" and "Ireedom" have the same meaning when relerring to the voice.

Releasing the hold that I placed on my breathing was the key to obtaining a

real controlaI my voice. Deep inside me, I was reluctant to give up my old concept

01 contrai lar a new one. I couldn't imagine a Iree body providing the power I was

looking lar. Ironically, it became obvious that I needed to give up control first, and

learn to trust a deeper sense 01 ability.

Breathing is an involuntary lunction 01 the body which means it's much better

left alone. Vou don't have to think about it. The best example 01 an eftortless

breathing pattern is watching someone who is sleeping. Notice how the body

doesn't waste a bit 01 energy. Only the necessary muscles are working, that's quite

a difterent story Irom when we awake, and it's worse when we start to sing.

There is no list 01 things TO DO; it's more about what NOT TO DO. Ali

involuntary muscles operate on auto pilot until the brain signals a need lar a

change. This means you created the problem, il you have one. Emotions contrai

your breathing. Vou may think you're not doing a thing wrong, but your muscles

could be reacting to deeply hidden messages 01 contraI. The good

news is, il you've gotten yoursell twisted up, you have the ability to

untwist yoursell. The bad news is it takes persistence to

breakdown old habits, but in the long run it's worth it.

Examples 01 the link between emotions and breath can be lound

everywhere. When someone is upset, scared, nervous ar

lrightened, whether it's real ar imagined, he will pant. Short and

shallow gulps 01 air are exchanged at a rapid rate and sometimes it

leels like you still can't get enough air. This type 01 chest breathing

is part 01 the body's delense mechanism and is controlled

subconsciously. Survival is the mind's top priority, so whenever it

leels threatened, it will take precautions.

Most people do get upset, scared, nervous and Irightened when

58


hey sing, especially the lirst time in public. The problem occurs when the body

reacts to the lear while you're singing. This conflict makes vocalizing very diflicult

and can cause panic. Can Vou remember the lirst time Vou sang lar an audience?

II Vou have yet to sing in public, close your eyes and imagine yourself belore Vou

90 on stage. Vou'lI begin to leel your breath shorten just thinking about it.

Holding your breath is another example 01 the way emotions contrai uso This

. a very common condition which can be caused by simply not knowing what you're

about to say. The nex! time vou lind yoursell lumbling lar words ("1. .. well, um ... I

ilst... 1.. .. thought"), notice that Vou are holding your breath. This can also happen

when Vou are leeling hurt ar guilty and want to withdraw.

Don't lorget, it doesn't matter il the lears are real ar imaginary, the mind is

ery bad at realizing the diflerence. We can see it in others, but we've ali had our

'lt doesn't maJter if lhe fears are real or imaginary, lhe mind is very bad ai realizing lhe difference.'

times oi imaginary lears. Once the

mind signals a reason lar panic, the

body reinlorces the thought, lorming a

cycle that's diflicult to interrupt.

Regardless 01 the source, we always

ve the opportunity to reduce the threat by returning the breathing back to normal.

I ave lound it much easier to deal with things physically.

The nex! time vou are upset, notice there's something you're not doing ...

SREATHING. Instead 01 locusing on the problem, locus on your body. Following

:-te inlormation on the nex! lew pages will get Vou breathing naturally again. This

help clear the mind and usually the solution to your problem will seem simple.

·s has saved me countless times when I am stuck in the weeds 01 anxiety.

Keep in mind as vou read through this section, these exercises are to return

)<lUr breathing back to normal. Vou can't improve on mother nature. Most 01 us

e learned to Iive well below our true potential, so attaining 100% leels like a

endous goal.

59 How Brea/hing Affee/s Your Voiee


EVERV BREATH VOU TAKE

THE PATH OF A BREATH

Belore you lix somelhing, il helps lo know how il works. In Ihis section I

have simplilied lhe process 01 brealhing as much as possible. Ali 01 lhe importanl

lunclions are described. 11 you leel you wanl lo develop a deeper underslanding,

read a delailed analomy book. You'lI lind plenly 01 inlormalion ai lhe library on lhe

subject, and it's besl lo slick wilh lhe medicai Iype books lor lhe lacts.

As you read Ihis descriplion, lollow along wilh lhe diagrams in order lo see

lhe appearance and posilion 01 each muscle. To help you visualize lhe simple

movemenls 01 nalural brealhing, l've included lhe cartoon on lhe lower left hand

comer 01 lhe book. The directions opposile page one (see: Animaled Brealher), will

explain how lo make Ihis character come alive.

o

ONE

It's only lair lo begin wilh lhe fungs. I'm assuming everyone has

an idea 01 whal Ihey look like and where Ihey're localed. The

inleresling Ihing lo remember is Ihal lhe lung is nol physically able

lo bring air inlo ilsell. In olhe r words, lhe lung does nol move your

ribs and shoulders upward when you brealh in. It's more like a

gianl sponge reacting lo lhe condilions around it. Your diaphragm

and olher surrounding muscles do lhe work when you brealhe.

The diaphragm is a dome shaped muscle Ihal divides your body

in hall jusl below your lungs. Basically, when relaxed, il lollows lhe

up-side-down "U" crealed by lhe rib cage. NOlice il is nol lhe group

01 muscles in lhe lronl 01 your slomach. An impulse Irom lhe brain

lravels via lhe aulonomic nervous syslem lelling lhe diaphragm

when lo conlract. Every involunlary lunction (Ior example, your

60

All About Your Breath

heartbeal, brealhing, coughing, ele.) operales olf of impulses frem Ihis separale seI

of nerves .

. gram 9 • The Diaphragm

lhe job of lhe diaphragm is lo drop down and make roam for lhe lungs lo fill

with ai r. When il conlracts, it flattens oU! and pushes lhe organs of lhe digestive

system oul of lhe way. lhe bulge you see in your belly is displaced organs. As

-e lungs descend Iheir size increases, making it possible for Ih em lO fill with air.

Poslure becomes important aI Ihis poin!. 11 you incorrectly use lhe abdominal

les lo hold lhe body uprighl (see: Poslure Alfects Your Voice, page 79), Ihere

nol be enough flexibility for lhe diaphragm lO move. When lhe diaphragm is

s:opped short of ilS downward movemenl, lhe brealh will be shallow.

61 Every Brealh You Take

The Rock In' RolI Singers Suni.,al ManUQI

TWO Once lhe diaphragm has flatlened oul as much

as possible, lhe rib cage expands. lhere are two

sections lo lhe ribs, lhe lower half is connected by

cartilage, lhe upper half by solid bone.

lhe intercostal musc/es conlrol lhe movemenl of lhe

ribs. lhese are small muscles Ihal run between lhe

ribs and Ihere are Iwo Iypes. One does lhe lifting for

inhaling and lhe olher will pull down lo force air oul of

lhe lung.

lhe botlom half of lhe rib cage is easier lo

expand and will spread oul lo lhe sides of your body.

lhe lop half is more rigid and moves in an upward

swing wilh

breaslplale.

lhe stemum bane, also known as lhe

Picture lhe lop of lhe slernum as lhe

atlached part of a hinge as lhe botlom

swings free.

lHREE lhe very lasl resort for lhe body is

lo lift lhe shoulders. lhe bones in Ihis

area require muscles for movemenl

Ihal inlerfere wilh lhe freedom of lhe

larynx. lhe conslanl conlracting of

Ihese muscles builds lension in lhe

lnll!rcOSlaJ

Musclt!s

iagram 10 -nlercoslal Muscles

neck which can cause problems. Also, Ihere are nerve endings

localed in lhe shoulders Ihal signal lhe brain lo slop inhaling (lhe

OD brain conlrols everything). II regards lhe shoulders lifting as lhe

maximum capacily of lhe lungs and begins lhe exhalalion processo

62


The diaphragm also responds lo Ihese nerve endings and once lhe shoulders are

raised, lhe diaphragm is nol able lo drop down.

The diaphragm's movemenls creale aboul 60% of lhe lung's capacily. The

expansion of lhe ribs conlribules 30% and aboul 10% is gained by raising lhe

shoulders. 50 you can see if you rely on your upper body alone, you're chealing

yourself oul of available airpower.

The mosl eftective way lo brealhe is by releasing lhe muscles around your

abdomen and allowing lhe diaphragm lo descendo This, in lurn, will spread the

bonom section of lhe rib cage followed by the upward swing of the slernum, lifting

e rib cage wilh it. The lungs move down, out and then only if necessary, up.

·sted here as one, two, Ihree)

A LITTLE PHY51C5 LE550N

While ali these muscles expand lhe size of the lungs, whal makes lhe air go

rede? This $64,000 question was answered in lhe science classes you cul

enever you could. Air pressure will always equalize itself; that's one of the laws

nalure. As lhe area of Ih. Ihoracic cavily expands (s •• diagram #1 I), the lungs

I fill oul the new space created. This is similar to the way a sponge would

=xpand in your hand as you slowly release it from a squeeze. As the lungs

rge, the air pressure inside constantly adjusIs ilself to be equal with the air

ilside. 5ince a bigger space will requir. more air, outside air is drawn in like a

lêiClJum.

I know it feels as if you have to physically draw air inlo your lungs and in a

-.ay you do. It's importanl to understand lhe difterence between pulling air in or

. 9 muscles to inhale. Th. later will allow nature to do some of the work for you,

<5Uhing in less stress and more air inhaled.

Breathing should be a natural act, but the reality of the malter is Ihat eur

êalhing paltern becomes entangled with our emetions. It's going lo take a

:nscious, disciplined eftort to de-tangle the connections and breathe naturally. Now

63 Every Breath You Take

The Rock fn' Roll Singers SUf11ival ManUfll

it's lime lo lake a look aI lhe brealhing exercises on lhe following pages, lo help

expand your lung capacily and develop a coordinaled exhale. The muscles involved

wilh mainlaining an even airflow while singing are discussed in lhe exercises as

well.

Lorynx Downward tnOvemetll of IM diaphragm causes lhe fungs 10 enforge. anil creales a W1CiUUn which draws iII air.

I- D' M , ........ ' / 1 - Ulp agnt '":::-- , _,

" ; COlllraclillg ...... , -~

Refeased Muscfe

iagram 11 - Air Fills lhe Vacuum

64

Ali Aboul Your Brealh

BREATHING EXERCISES

Nole: When beginning Ihese exercises, il is likely you will become dizzy. lake

your lime and approach Ihem slowly.

ONE:

A greal way lo gel in louch wilh your brealhing is lo lay down on your back,

use a mal, bed or anything Ihal will support you evenly. Place your hands over

your belly button and begin lO brealhe. Focus your attenlion on lhe molion of your

stomach. lhere should be a smoolh mOlion so your hand rides up and down.

Observe a baby sleeping and nOlice Ihal his slomach moves Ihis genlle way. lhis

a reaction lo lhe diaphragm and il lells you lhe brealhing is unobslructed. Letting

<;0 of lhe abdominal muscles allows you lO brealhe as freely as a baby.

lhe lrick here is nOI lO pus h

r slomach up and down, jusI leI il

cappen nalurally. We're looking for a

ease of Ihese muscles, nOI

somelhing lO do wilh Ihem. II always

ped me lO imagine lhe lungs were

my abdomen, righl behind lhe belly

~on . lhal way, when I inhaled, I'd

lhe slomach area expand and feel

I was making somelhing happen.

-.as neve r any good aI relaxing and

Figure A.

e:::::J-=-~ Figure B

exercise helped me. iagram 12 - Exercis. One

Once you lruSI lhe release of lhe lower muscles, nOlice if you slop lhe

::x:xess aI any poin\. lhere should be only IWO movemenls, up and down. Vou

EnI lo avoid Ihal splil second hold jusI before you exhale ; il'S going lO give you

r:c!ll,e laler.

65 Breathing Exercises

The Rock 'n' RoU Singer's Survival Manual

TWO:

To get an idea 01 the amount 01 expansion

your abdominal section is capable 01, sit in a

chair and lean lorward 50 your elbows rest on

your knees (see diagram #13). Notice that the

stomach and back are Iree to move as much as

they like. II exhausted, you would automatically

sit in this position until you caught your breath,

the way athletes sit on the side lines. When you

are standing, these muscles are needed to iagram 13 . Exercise Two

balance the spine and keep you uplight. The worse your posture is the more the

muscles have to work. When you sit leaning lorward, the elbows and your rear

lorm the support. The abdominal muscles become Iree. This position will show you

what's available in terms 01 your maximum lung capacity. Sit in this position and

just observe what your body does. Notice your shoulders don't even want to move.

However, this position is not great lor singing because the upper

body is weakened and the neck is tense.

THREE:

Sit uplight in your chair with

your spine against the back.

Place your hands 50 they cover

your stomach (see diagram #14)

and breathe, looking lor that

same motion you lelt when you

were Iying down. This;s a good

exercise il you sit ali day duling

work. As you're breathing,

66

S< q ~

Jd 0.

Diagram 14 - Exercise Three


imagine drawing lhe air in Ihrough lhe bottom 01 lhe ehair. This will help lo give

vou a lower eenler 01 brealh. A good guide lo remember aboul inhaling is DOWN

AND OUT. Again, noliee whal's diflerenl wilh your body and gel yoursell lamiliar

wilh lhe leeling.

FOUR:

After Vou have lamiliarized yoursell wilh lhe leeling in lhe lirsl Ihree

exereises, sland and eonlinue brealhing wilh your hand on your slomaeh. Try lO

recreale lhe same expansion vou lell while Iying ar sitting. Any reslriction in Ihis

area eould be a poslure relaled lension (see: Poslure Aflects Your Voiee, page 79).

8egin lo release your joinls, unloek your knees and leI your pelvis leel like it's

lIoaling. Experimenl wilh Ihis unlil Vou lind a posilion Ihal allows Vou lo brealhe

eely.

II always helped me lo keep moving aI first. Gentle molions 01 lhe 18gS and

will keep Ihings Irom loeking up (see: Poslure Cheek, page 82). Keep a hand

oIaeed on lhe slomaeh so Vou can monilor lhe museles. ij's also important lo do

. in Ironl 01 a mirrar unlil vou gel used lo lhe leeling.

AVE:

While sitting in lhe posilion deseribed in exereise Iwo, eounl in a slighl

ahisper lo lhe highesl number possible on one brealh. Lel's say Vou reaeh lhe

ber 50. Now lake anolher brealh and Iry lo counl lo 55, and so on. There is

rule aboul whal Ihis number should be, sinee everyone will eounl diflerently and

two lungs are lhe same size. Once vou reach lhe highesl number vou can, use

number as a relerence 01 your maximum lung eapacily.

This will become useful when you're nervous. Counling lo lhe highesl

ber will slrelch and release your muscles. This is a good leehnique for ealming

r nerves and relieving anxiely.

50::

Sil uprighl wilh your spine againsl lhe back of lhe chair and repeal lhe


TM Rock 'n' RoU Singer's Survival ManU41

exercise, attempting to reach the same number. Notice the muscles in the lower

back are not able to release and expand as much as belore. lhe stomach has the

same freedom, but without the extra room created by the lower back, your breath

supply is reduced. Because of this, Vou may find it diflicult to count to your highest

number.

SEVEN:

Stand and repeat the same exercise. Vou may notice even more restriction

around your stomach as the front and rear muscles are needed to balance the

spine. lhis usually causes the lifting of the shoulders in order to get a larger

breath. Notice how hard it is to control the air of the whisper when Vou start with

your shoulders high. lhis same awkwardness happens when vou sing. lhe goal

here is to create the same flexibility in your body whether you're standing, sitting or

laying down. A hint would be to adjust your posture to allow the muscles of the

abdomen to release (exercise three) and remember to breathe down and ou!.

EIGHl:

Lay face down with one hand under your stomach and one

above your head. Repeat the same counting exercise. As Vou

inhale, the stomach must lift the weight oi the body, creating a

great strength builder for these muscles. Vour goal is to reach the

highest number on one breath. Vou can also lie on your back and

place a phone book on your stomach for resistance.

NINE:

While sitting upright in a chair, allow yourself to inhale as much

as possible. Now release while making a sustained "sssssssssss"

sound. See how long Vou can make this sound las!. lhe

consonant "S" is called a lricitive (as in lriction) and is a coordinated

eltort between the tongue and the diaphragm. lhe release of the

diaphragm causes air to leave the lungs and travei up through the

68


wi nd pipe. The longue presses againsl lhe rool 01 lhe mouth and resisls lhe air.

Keeping lhe same sound wilh your "sssssssssss" requires a balance belween lhe

two muscles. This is lhe same balance Ihat's needed in singing. Il's easier lo work

with lhe longue because 01 ils slrenglh and conlrol. The pressure Ihis exercise

creales in your upper body is lhe same Iype 01 compression needed lor singing.

NOlice Ihere is nol a Iremendous amounl 01 push needed by lhe slomach, which

would ruin lhe balance.

TEN:

To gel lhe vocal bands involved in Ihese brealhing exercises, lollow the

inslructions lor number nine and replace lhe "S" wilh a "l". This is called a voiced

lricilive because il combines lhe actions 01 "S" wilh a pitch or lone Irem lhe larynx.

Choose a very comlortable pilch lor "Z" and swilch back and forth aI random

between lhe "S" and lhe "Z". Vour body should Ireal bolh sounds lhe same. This

. a greal way lo breakdown lhe habil 01 driving your vocal bands 100 hard for every

ole Vou sing

ELEVEN:

If your body feels lighl and is nol expanding enough for vou lo brealhe, Iry

exhaling complelely firs!. Think of how il feels when vou swim a very long dislance

nder waler. By lhe lime vou surface your body is gasping for air. The brealh vou

rake aI Ihal moment is very deep and will nol have anything lo do wilh your

shoulders. The survival insl inct over-rides ali lhe lension. Vou will lake in as much

'r as possible. This action gives us clues aboul how lhe body works bes!.

Eilher sitting or slanding, blow out ali lhe air in your lungs and Ihen some.

ep exhaling liII your body begins lo collapse. When Vou reach a poinl where Vou

pst don'l have any more lo give, release. NOlice when vou leI go Ihal Ihere is a

-ush of air into lhe lungs (refer back lo lhe physics lesson). AI lhe same momenl

/OU release, lake a brealh as well. This will add some momenlum lo your inhale

::Jd allow some slrelch for lense muscles.


The Rock 'n' RoU Singers Survival Manual

lhe more vou repeat this exercise the more freedom you'lI create in your rib

cage and abdomen. As you're breathing out, sing on any one note and notice the

added power this provides. When vou squeeze the muscles to exhale, there is a

release of neck muscles that surround the larynx. lhe breath in does not disturb

the release because it is naturally diaphragmatic. Nothing beats the situation of

freed vocal folds fed by a large reservoir of air.

TWELVE:

After vou become familiar with the amount of air available, we can begin to

utilize its power. Below is a chart which will help gauge the airflow as you're

singing. lhe +50 on the right side represents the absolute limit of air Vou can

inhale. lhe opposite side symbolizes your lungs completely depleted. From one

end to the other of the scale will illustrates 100% of the lungs' capacity. lhis

provides us with a visual representation (a gauge) which will make it easier to

discover where the problems are.

1-5~ ' .. 1111111 ~T I +5~ I IvÚJgram 15 • BreDlh GDuge

Follow the steps of exercise nine and during the "sss" sound run

your finger along the scale from right to left or +50 to -50. Time

the movement of vou finger to reach -50 at the same moment Vou

run out of air. lhis may take a few tries before vou get

synchronized. Il's worth the practice just for the control vou gain by

trying.

70

Ali Aboul Your Bre.lh

Notiee the ehange that occurs in your bocy when you pass zero. Mid-way

. rough your exhale the muse/es begin to e/ose in on the /ungs. At the beginning of

e "sss" there was p/enty of air pressure due to the over expansion of the /ungs.

As alr escapes and inside pressure begins to equa/ outside pressure, the small

use/es of the abdomen contract to disp/aee the remaining air. These muse/es are

oar! of a network whieh contributes to exhaling.

Repeat this exereise until eaeh exha/e begins with a re/ease, instead of a

oush. There is abso/ute/y no reason to push, when the air wants to escape anyway.

may take time to trust that a re/ease is ali that's needed, after years of pushing

f?Very note you sang. Remember eaeh time you start at the beginning of the sea/e,

you only need to let go for air to be expelled. Onee you pass zero, museles will

contract and continue the exhale.

THIRTEEN:

Notiee that there are two segments to the exhale; the first half is released (Iet

o) and the seeond is displaeed. This time, vocalize an "ah" on a piteh near your

speaking voiee and keep traek of your breath supply by running your finger along

escale. Ws like a gas gauge, your finger indicates how mueh air you have left.

In this exereise, we'lI foeus on the inhale. Sinee the museles make a ehange

when you sing past zero, the reverse must occur on the retum trip. When you

reaeh the end of your breath while singing, notiee the museles of the abdomen are

contracted. The eloser you get to -50 the harder they work. A release of these

museles is ali that's needed to begin the breath. The nature of air pressure works

in your favor here and draws in ai r; there's no need to pull it in at this point. Why

work when you don't have to?

When you work to pull in air, you tense museles and therefore restrict the

amount of flexibility available in the abdominal cavity. Don't forget the amount of air

you can inhale depends on the room made for the lungs to deseend. Letting go is

hard to do and this will take some practiee before it beeomes automatie. We're so


TIu! Rock 'n' RoU Singer's Sunival Manual

used lo pushing and pulling lhe air in and oul 01 our lungs Ihal il seems impossible

lor Ihings lo be so easy. It's ali part 01 lhe process 01 relurning your syslems back

lo a nalural slale where Ihey can work much better.

FOURTEEN:

This lime we'lI work wilh less air. Mosl singing phrases don'l use 100% 01

your lungs capacily, more like 50%. It's very importanl lo remain cenlered even on

Ihese smaller phrases. The air Vou lake in should be preportionale lo lhe lenglh 01

lhe line lo be sung. This sounds like common sense, bul easily lorgotten in lhe

panic 01 singing. Too many singers will lill Iheir lungs complelely every chance Ihey

gel wilh no regard lor need. Holding back ali Ihis extra air slresses lhe body and

eals away aI your Ilexibilily. The same Ihing holds lrue lor singers who under

brealhe each line. This lorces lhe body lo collapse and places 100 much physical

eflort on brealhing. No matter which Iype 01 brealher vou are, lhe same exercise

will help.

Use Ihis brealh gauge, bul Ihis lime sing a small scale or line Irem a song

Ihal doesn'l require a 101 01 air. NOlice il Vou are pushing oul air aI

lhe beginning or have 100 much left over when you're done. Even

Ihough you're using hall lhe lungs' capacily, Vou slill need lo keep il

in lhe middle 01 lhe brealh gauge. Keep adjusling lhe amounl 01

air vou inhale, lo make sure Vou end a little on lhe conlracted side.

Allow yoursell jusl lo release lhe air aI lhe beginning 01 your

phrase. The next brealh should also begin wilh a release 01 lhe

muscle used lo conlract lhe lungs.

There is a momenlum available when vou brealhe Ihis way

because Vou connect wilh lhe lull use 01 lhe bocy. I admil it's a

little weird aI lirsl, especially il you're used lo holding and conlrolling

yoursell in a rigid way. Think 01 someone swinging a baseball bal

or lennis racquet. A pro knows lo release lhe body and brealhe

72

Ali About Your Breath

, '. .. .. - .. Displaud Ajr Rekased Air

: I: I : li ~: ,: :1 +50 I -50 produclive

sing /JJt'jOnd this poim.

Reua.wJ lnhale lnflDled lnhale

.. .. .. Diagram 16 ' The Four Phases of Breathing


The Rock 'n' Roll Singers Surviyal ManUllI

with the swing, ineluding the follow-through_ Vou'lI find 50 many parallels between

singing and the world of sports because peak performance from your body requires

the ability to release and breathe.

Play around with different length phrases in the same manner. Whatever the

length, if vou move your finger along the gauge while singing, your finger should

pass zero when your half way through the line. learning to relax your breathing

this way keeps your body ready to respond to impulses mueh like it does in

eonversation. When you're talking to someone, Vou don't figure how mueh breath

you'lI need to say the next line, Vou just say it. Have vou ever thought," I'm mad

and I'm going to yell 50 I'd batter fill my lungs up to support this." Not if vou were

really mad vou didn'tI Ali vou did was shout, no preparation needed.

Repetition will turn this type of breathing into something that is trusted and

natural. After ali, Vou had to work pretty hard at ereating ali those bad habits. Why

not spend the time on something that works for the instrument. The good news is

your body will respond quieker to leaming these new habits bacause they provide

an easa af matian.

FIFTEEN:

Another breathing issue that interferes with your singing is

holding your breath just before vou sing. It doesn't matter if it's for

a split second ar for the whole solo; it causes problems. The

museles Vou use to hold in air are also needed for singing.

Beginning a vocal line from a held breath slams the vocal fo lds

together and is called a glottal shock. Beginning this way time after

time, swells the vocal folds, and is a big reason why your voiee

deteriorates after a few hours of singing.

The way to breakdown this habit is by beginning to sing at the

absolute moment vou finish inhaling. It takes practiee getting the

timing coordinated with a song. The amount of freedom it will

74

/ /

/

/ /

/

o

Don', HemaJe

iagram 17 - Don't lnterrupt lhe Flow

+50

Ali Aboul Your Brea/h

release will amaze Vou.

Repeal several scales in

succession as in exercise

lourteen. Each time Vou

linish singing, begin to inhale

immediately. Make sure

there is no middle "hold"

step, just sing and brealhe.

The same routine applies aI

lhe end 01 lhe inhale. No

holding, jusl brealhe and

sing.

There is a swinging

molion crealed by Ihis

conslanl movemenl 01

muscles. Picture a pendulum swinging back and lorth, requiring very little eflort lo

maintain because every movement causes a counler reaction. Inhaling expands lhe

body and singing releases it. The body slowly contracts while singing until a brealh

releases il again to repeal lhe cycle. This process is dislurbad, when lhe Ilow is

stopped aI either end.

Practice this constantly. Vou'lI be surprised how often vou can calch yourself

holding your brealh lor no reason. Remind yoursell lo leI il go. When in

conversation, remember lO breathe jusl belore you're ready lO speak. Conlinue

breathing while listening to the conversation and wailing lo reply. Most bad habits

in singing are carried over Irom speaking habits; don't lorget, you're using lhe same

inslrument. Don'l wait liII you're working on singing; Vou can practice anytime.

75 Brealhing Exercises

The Rock fn' Roll Singer's Survival ManUlll

SIXTEEN:

Certain body movemenls incorporaled wilh your inhale, will allow lhe

diaphragm lo descend lower and increase lhe capacily of your lungs. Stand

comfortably, raising bolh arms slowly as you inhale (Diagram #18). Vou musl

breathe in simultaneously wilh the movemenl of your arms. Keep your arms raised,

and release the air wilh a "ssssss," or any vocal exercise you'd like.

Moving your arms Ihis way allows your diaphragm to flatten and the lower

ribs lo expand sideways. Nolice the increase in your inhale. Can you re-create Ihis

improvemenl without lifting your arms? Yes, while repealing this exercise, stay

focused on where the body expands, and then inhale wilhout moving your arms and

look for that same expansion.

I I

\ \

/

"- "-.

iagram 18 - Exercis~ Sixteen

76

"" \ \

} /

/ ./

SEVENTEEN:

Under lhe same premice as Exercise #16, sland and

inhaJe while lifling your leg lo a 90 degree angle (Diagram

#19). Make sure you're inhaling with lhe movemenl, nol

belore ar afler. Continue lo stand on one leg, and vocalize

as you release your breath. Was there a diflerence in the

amount 01 aJr laken in between Exercise #16 and #1?? Did

the air leel like il wenl to a diflerent place? UsuaJly, you'lI

leel a lower expansion with Ihis exercise than wilh raising

your arms. The pelvis lills as you lifl your leg, therelore lhe

abdominal muscles yield more lo lhe descending diaphragm.

Afler you gel comlortable with both Exercise #16 and

#17, now combine their movemenls, inhaling while lifling a

leg and raising both arms. You'lI leel a big increase in your

inhale. Notice how il leels to sing with this much air power

compressed inside you. This is lhe beginning 01 developing

volume withoul pushing.

EIGHTEEN:


/ /'

I

For maximum power, do a deep knee bend and inhale as you go down.

While in lhe low position, notice how much air you've laken in. As you vocalize,

remember the leelings thal coincide with such massive amounts 01 air inside your

lungs. An increase in lhe volume 01 your voice is automatic and completely natural

as a resull 01 increased brealh compression, so don'l hold it back. Experimenl with

diflerent posilions ar movemenls Ihal allow Ihis kind 01 increase in your breath

capacity. The more you're able lo inhale, without lifling the shoulders, the easier il

wi ll be to project your voice wilhout pushing.


The Rock 'n' Roll Singers Survival Manual

Now you're ready lo move on lo exercises which slrenglhen and coordinale

lhe vocal cords. Ramember, anytime you feal confused or frustraled with your

voice, suspect the breathing firs!. Chances are you are holding your brealh or over

compensating for lhe amount of air prassure needed to sing. Any athlele knows

that freedom in lhe breath is a requirement for maximum outpu!.

Don'l feel you'va regressed because you need to review breathing Exercise

One. It's healthier to think of these exercises as mainlenance, just like brushing

your teeth. lhe over-all benefits of Ihase exercisas are lifelong and will improve the

vitality of anyone. leaching has always helped me undarsland things in a concrele

way. I recommend showing these exercises lo everyone you know.

78

Be sure to reltase thut four laytrs

abdominal muscJes ~:::~~~:~~you inhale.

Their ten.sion wi/l reduce your lungs' capacity.


POSTURE AFFECTS VOUR VOICE

II mighl look silly lO include a section on poslure in a rock 'n' roll book, bul il

you're having Irouble, Vou should look inlo Ihis lopic. Breaks, cracking, limiled

range, and pilch problems can ali be lraced lo poor poslure. By making simple

adjuslmenls, Vou can unleash hidden power. The slance oI a rock singer on slage

is lar lrom slraighl and proper. The good news is Ihal poslure doesn'l have lo be

slill lo be correct.

There are Iwo major ways in which poslure inlerferes wilh singing. The lirsl

problem occurs when lhe larynx cioses 011 lhe flow oI air in reaction lo a slressed

body, and lhe second is by reslricting lhe amounl oI lhe inhale. Even il vou only

use Ihis inlormalion while Iraining your voice, you'lI advance larther Ihan by

disregarding il complelely.

Poslure is lhe posilion your body assumes to balance ilself against gravity.

Your skelelon is designed to do this almost by itself. Muscles hold lhe bones in

place and provide lhe leverage lor movemen\. Together Ihey play against each

olher to allow vou lo move, stand, or si\. When slanding, your bones should

support your body by balancing on lop oI each olher, requiring little help. Poor

poslure can require muscle lension which reduces your slrenglh, brealh capacily

and flexibilily.

Vou can see how Ihis allects singing when Vou undersland how lhe skelelal

and muscular syslems work. Take a look ai Diagram #20 on page 81 , and nolice

lhe line drawn down lhe cenler. This line represenls the lorce oI gravily. Vou can

move your body inlo many dillerent posilions, but Ihal gravily line neve r changes.

Nolice the bones are not ali directly under each olhe r, inslead Ihey are equally

ollse\. There are live key spots (Iabeled in Diagram #20) Ihat the gravity line

should pass Ihrough in order lo distribule your weighl evenly. Wilhoul Ihis balance

muscles become lense.

79 Posture Affects Your Voice

The Rock In' Roll Singer's Survival Manual

Some muscles are designed for support, and olhers are used for movement.

Vou can lell when you're using lhe righl seI of muscles when Ihey do a job easily.

Tension means lhe muscles are eilher 100 weak or nol in a good posilion for the

work they're doing.

For inslance, ali day long your abdominal muscles are working to balance

your spine. They loosen when you bend forward and contract when you bend

backward (If you'lI try this, you'lI see whal I mean). Vou don'l nolice them because

they're the righl muscle for lhe job. On the other hand, If you bend over while

keeping your legs slraighl,in order to lift somelhing, lhe lower back lakes lhe load.

This is not a good posilion for lifting. 8ack muscles are nol meanl lo do Ihis. Vou

will either hurt yourself or nol be able to lift as much as if you benl your legs, which

is a better position for lifting.

When your skeleton is oul of balance, muscles Ihal are designaled for

movement have lo be used for correcting poslure. 11 a muscle has a hard time

doing its job, others will join in to help. Sensing the need for extra slrenglh, lhe

larynx begins lo hold back air from the lungs and Ihis is where

Irouble slarts.

POOR POSTURE INTERFERES WITH THE LARYNX

The larynx serves as apressure valve so you can lift and push

heavy Ihings and also as a protective door to prevent anything from

going inlo lhe lungs. Lasl on its list of responsibilities is singing.

The way you adjusl lhe pressure in your body is by holding back

air, which makes lhe upper body rigid. When you flex a muscle,

lhe folds in lhe larynx close and creale pressure for slabilily.

The more force you exert, lhe more slabilily you need. When

your upper body becomes rigid, il gains leverage lo lift or push

heavy objects. In Ihis way, your larynx monilors every muscle

action (sitting, slanding, reaching and walking) and delermines

80


whelher extra support (holding lhe brealh) is needed. Il doesn'l care whelher you're

singing ar nOl, lhe first priorily of lhe larynx is lO be apressure valve.

Can Vou see how Ihis can gel in your way? Throughout Ihis book I lalk

aboul lhe need for brealh lo flow when singing. Vou need ali your resources lo

mainlain lhe correct air pressure for the folds lo vibrate. Poor poslure, one wilh a

101 of lension, makes lhe larynx pay attenlion lo ils environmenl inslead of lhe pilch.

Correct lhe poslure and the larynx is free lo respond vocally.

POOR POSTURE RESTRICTS VOUR LUNG CAPACITY

In lhe section aboul brealhing (see: Every

Brealh Vou Take, page 60), Vou leamed lhe

lungs are nol able lo move on Iheir own, bul

react lo lhe cavily surrounding Ihem. The more

lhe muscles around the ribs and abdomen can

move, lhe more vou will be able lo inhale. Vou

now undersland Ihal more air is better for

singing.

It's simple, if you're using 100 many

muscles lo support your poslure, lhe relaxalion

in arder for lhe body lo expand is nol possible.

Use lhe POSTURE CHECK la balance yourself

so you'lI need less muscle support and you'lI

expand for more air. I know this may look easy

on paper, when in reality our poslure has been

out for so long Ihat il feels complelely nalural to

be lense. Remember, il look years of hard

work lo gel your body so mixed up, so give il

some lime lo find ils way back.

8\

Knee

Middle of Foot

ÚJgram 20 • Gravity Une

Posture Affects Your Voice

The Rock 'n' RoU Singer's Sunival Manual

POSTURE CHECK:

The besl way lo adjusl your poslure is wilh your eyes closed. This will make

vou more aware 01 lhe leeling rather than the look. tt's also a good idea to start

Irom lhe leel up. Follow lhe steps below and leam how to Iree yoursell Irom the

disadvanlages 01 overworked muscles.

1. Stand comlortably and close your eyes.

2. Adjust your leet until they leel as il Ihey're lacing lorward and parallel.

3. Visualize your shin bones balancing on top 01 your ankles.

4. Picture your kneecaps as ball bearings and balance your Ihigh bones on lop.

5. Imagine your pelvis creating a bridge across the legs.

6. Lei the spine rise up Irom the pelvis by placing 26 individual blocks on top 01

each olher. Between each block (vertebrae), place a sponge (disk) lo act as a

shock absorber.

7. Vour clavicle (shoulders) create a T crossing lhe upper 3/4 01 lhe spine. Balance

it by visualizing the arms being equal counterweights, hanging Ireely.

[:lO

8. Now place your head on top 01 ali Ihese delicalely balanced

banes.

9. Do vou leel Iree and flexible? Let go 01 any joints where vou

leel tension ar holding. II Vou leel your body weighl supported

by any muscles, adjusl slightly until it disappears. Good posture

should leel like nothing.

10. Sing something while in this posilion. Did it ruin the balance?

Did muscles start to lense? Play with the posture until vou

vocaJize withoul disturbing the "1Ioaling" leeling vou sei up.

NOlice what changes are needed in your approach to singing.

Poslure and singing are related, nol attached. There should be

a leeling 01 Ireedom ar independence between Ih em lar lhe besl

conlrol.

82

After stacking your banes. imagine they are suspended from your head instead of supporred c=::::::;;::=;t from the ~ ground.

iagram 21


Figure A Figure B

iagram 22

Try Ihis experimenl lo undersland lhe rale lhe larynx plays in holding brealh for

poslure. Sland ai a rigid mililary slance, like Figure A in Diagram #22. Suck in

Ihal gul and slick your chesl oul and hold il lighlly for a minule. Does your

brealhing feel free and nalural in Ihis posilion? Now release yourself inlo a loose

slouched posilion, so you look like Figure B. Did you lei oul air like a balloon

deflaling? How does your brealhing feel in Ihis posilion? Does your body have lo

work hard lo inhale deeply?

The poinl here is Ihal neilher one of Ihese figures is in good poslure. Figure A

may be your image of whal poslure should look like, bul when you assume lhe

posilion you can feel how reslriclive il is. On lhe olher hand, Figure B may feel

comfortable bul does nol allow lhe lungs lO expand fully. If you Ihink Figure B is a

little exaggeraled, jusl imagine a guilar slung down low in franl of him and you'lI

recognize lhe slance.

83 Posture Affects Your Voice

The Rock 'n' RoU Singers SUrl'ival Manual

WHAT SINGER'S SHOULD KNOW ABOUT COLDS

A cold is an inconvenience to everyone, but to a singer it's the kiss of death.

With ali the modern miracles of science the little 01' cold continues to keep 'em

baffled. Ali these years and still no cure; maybe we should look at it from a

different angle.

The germs related to colds are always around uso At times the concentration

is greater, but basically, you can catch a cold at anytime. Yet, we are not sick ali

the time because we have an immune system. When your body is healthy, it has

the ability to fight off a variety of iIInesses, including colds.

Of ali the different viruses which create colds only one common denominator

connects them; you have to let them in. When your immune system becomes

weak, you let down your guard to infections. Kids and the elderly become sick

frequently because their ability to fight off intruding germs is either not developed, or

has been weakened by age.

(l, ((, '" ,l) ( 1'\

For a singer, there is no cure for a cold that will not also disturb

your voice. Some are better than others, but they ali leave you

feeling less than 100%. The only solution is the obvious one; don't

catch a cold. That responsibility alone is enough to make you sickl

No wonder singers are notorious for being crazy.

Prevention does not have to mean living in a sterile environment.

Understanding what weakens your body can help you modify your

lifestyle. A key weapon will be your awareness of internai signals.

Once you let out that first sneeze it's too late; the infection has

already made a home for the last two or three days. To beat the

next one you'lI have to prepare ahead.

CLOSE THE OOORS THAT LET THE COLO IN:

Here is a list of common circumstances which breakdown your

84


immune system. We ali react diflerenlly under lhe same condilions. However,

Ihese silualions have been known lo act as lriggers, selling up lhe environmenl for

illness. Avoid lhe seI up and Vou don'l allow lhe breakdown. Il will lake lime lo

expose lhe Iroublemaker in Vou life. Often Vou don'l feel sick while lhe beginning of

lhe paliem is in mOlion, bul wherever possible, lake sleps lo clean up your act.

STRESS & EMOTIONS: I don'l know if Ihis is aI lhe lop of everyone's lisl,

bul l've seen lhe scenario a Ihousand limes in singers. The week bafore lhe big

show case, audilion, ar recording Vou begin lo feel lhe signs. A lillle lickle in lhe

Ihroal ar a drip fram lhe nose lells Vou lhe one Ihing Vou feared mosl has come

Irue; you've caughl a cold. Immedialely lhe panic seIs in and now Ihere's no saving

Vou. I was relieved when I slarted leaching lo find Ihal so many singers wenl

Ihrough lhe same Ihing I did. Every lime I lislened lo a lape lhe singer would lell

me aboul lhe cold he had on lhe day il was recorded. The slories were 100 similar

lo be coincidence. Thal very similarily changed my Ihinking aboul colds.

Slress drains your energy. Vou r mind can gel so preoccupied wilh an issue

thal il will run lhe body inlo lhe ground. Il depleles vilamins and dislurbs lhe

digeslion which leaves vou exposed lo whalever is oul Ihere. Nobody likes slress,

bul mosl of us feel Ihere's no choice aboul il, which only creales more pressure. If

vou feel you're conslanlly under lhe gun, it's worth invesligaling inlo some of lhe

books available on relieving menlal pressure. Slress is a personal issue, and il'S

importanl lo realize Ihal vou bring il upon yourself (see: Slress, page 23) .

Emolions also play a greal role in your heallh. The medicai world is finally

entertaining lhe value of posilive Ihinking, imaging, and even humor for recovering

palienls. This makes sense when Vou Ihink of lhe lailspin depression places on

your syslem. Singers lend lo be highly sensilive lo Iheir emolions and use Ihem in

wriling and performing. There is a message senl Ihroughoul lhe body in reaction lo

an emolion whelher it's real ar imaginary. Somelimes lhe smallesl Ihings can

remind lhe body aboul a pasl silualion and il will begin lo pratect ilself. Be

85 Colds


suspieious 01 ,eeurring dips in Vou, sell-esteem and the cold that laithlully lollows ..

Fo, example, a eertain holiday makes vou dep,essed lo, some buried 'eason and

eaeh yea, Vou become siek during the same time. lhe emotion triggers the eold 50

il Vou want to avoid the cold, Vou have to do some soul sea,ehing.

CHANGE IN SEASONS: II vou live in an a'ea that has a wide ehange 01

seasons, vou, body has to go th,ough a tough adjustment period. F,om 100

deg,ees in the summe' to below ze,o in the winte" vou, body has to ,eo'ganize

itsell. We',e wa'm blooded whieh means ou, tempe,atu,e needs to stay constant.

It would be easie" il the elimate ,emained the same.

lhe p,oblem is complicated by heating and ai,-conditioning. Every change in

tempe,atu,e causes Vou, body to ,eact, and that ,equi,es ene'gy. Running in and

out 01 cold buildings in the hot summe', and heated spaces in the winte" doesn't

allow enough time lo, vou, body to change. Vou, immune system b,eaks down in

the confusion and Vou become vulne,able.

lo make things easie, during the change in seasons, ,egulate Vou,

DO

surroundings as mode,ately as possible. lhis situation is likely to

be a preblem when touring o, t,aveling. Avoid abrupt changes in

tempe,atu,e. Make su'e everyone areund Vou unde,stands how

important this is lo, vou. It is bette, to be a little hotte, in the

summe' and a little coole, in the winte, 50 vou, body can catch up.

Vou need to stay active during winte, months, but Vou should

not exe,cise outdoors. Even though Vou, body's hot, the I,eezing

ai, shocks the brenchial sacs in the lungs and Vou become a prime

candidate lo, a ,espi,atory inlection. When vou sweat vou, body is

wide open and loose 50 be awa'e when Vou leave a gym o, show

and walk out into the cold.

DRV AIR: Cold ai, is very dry, and 50 is the ai, Irem most

heating systems. Vou, th,oat is lined with a mucus memb,ana that

86


requires constant lubrication. When dry air reaches your throat, it evaporates this

lubrication quickly. VOU body fights the dryness by stepping up the production of a

thicker protective mucus. This begins to block your sinuses and cause an irritating

drip on to the folds, which swell in reaction. Vour body becomes dehydrated and

further complicates things. What started as a reaction to dry air, could easy end in

a full cold in a short time.

A humidifier is a necessary tool for a singer. Vou should have one ready

everywhere you spend time. If you're away from home and start feeling dry, get

creative. Tum on a hot shower or boil water to make some steam. Putting

containers of water around can also help moisturize the air. Anyway, you need to

take action; it makes a difference.

CHANGE IN DIET: Along with the change in weather there's also a change

in life style. We become less active

and eat a little heavier in the winter.

This burdens the digestive system,

'A humidifier is a necessary tool for a singer.'

which can't keep up with the load. Fat and mucus are the result of the rich diet

and a lack of activity.

Vou should make a conscious effort to maintain activity and eat lighter during

the colder months. As the winter progresses, your system becomes burdened and

isn't able to fight the infections which are always available. Since your body will

focus energy on digestion before anything else, you have to set a pace that allows

enough time for eliminating waste.

ALLERGIES: If you suffer from allergies, you already know the problems.

Be aware of the drying caused by anti-histamines. Weigh out the cost to your voice

before you take relief. For those who have never had allergies, you should know

that you can develop them for no apparent reason . If there is persistent congestion,

watery and itchy eyes or any changes in your skin, you should be tested for

allergies.

87 Colds


An allergy can easily develop into a cold to complicate things lurlher. Vou r

delenses are down when the anti-bodies are busy lighting mOld, mildew and ali the

rest. I'm sorry to say there are no easy answers. The remedies interfere with

singing 50 a preventive altitude is the only solution. There's some evidence relating

allergies with diet, emotions and, obviously, environment. My advice to allergy

sulferers is to continue searching until Vou lind the underlying triggers. Oon't just sit

back and accept them.

SLEEP: Vour voice is one 01 the first things to sulfer Irom a lack 01 sleep.

This shut-down time is vital lor the body. A drug-induced sleep is not as benelicial

because it also slows the body's ability to repair itsell. The amount needed will vary

between people, but no one can go too long without it; your delenses depend on it.

TIME TO CLEAN HOUSE: Maybe the reason no one has cured the

common cold is because it's not an illne55. When the toxic levei in your body

reaches an overload levei, because 01 a lousy diet and no exercise, a switch is

thrown to clean house. In this respect catching a cold is a healthy signo Vour body

n (f, Q~)

'\

~ ~

has got a built in delense mechanism. Vour system is much

cleaner when the cold is over. 11 Vou were not able to flush out in

this way, the toxicity would harm organs and promote disease.

WHAT TO DO OURING A COLO:

Vou did everything right and Vou still caught the cold. Oon't

worry, it takes time to leel the benefits, once you've made changes

in your lilestyle. In the same way, it takes years belore your body

lets Vou know that you've been abusive.

Once a cold has developed it must be allowed to run its course.

Ali the so-called remedies are just lor temporary reliel and prolong

the processo Vour body needs the symptoms, the lever, the

congestion and the diarrhea, as pari 01 a cleaning system. The

only thing left to do is work with the body and speed up the light.

88

Ali Arout Your Breath

The exits lor the body are the bladder, the colon, the pores and the mucous

membranes. Ali 01 these need to be activated, or opened, to release the garbage.

The quicker you cleanse yoursell, the sooner you'lI be over that cold. Follow the

steps below to increase the Ilow.

FLUIDS "Drink plenty 01

Iluids." Everyone has heard this

belore and I lor one aiways thought it

'Use your voice as a gauge; if it feels dry, step up the fluids.'

was a quick brush off. There must be something more we could do. Actually

drinking water and juice is the best lavor you could do for your body, whether you're

sick or not. It provides a vehicle lor f1ush ing out toxins in your blood, via the urine.

Vour body will use up its reserve 01 water quickly when f1ushing out, causing the

dryness in your throat. Use your voice as a gauge; il it leels dry, step up the Iluids.

Juices provide an excellent source 01 water and vitamins. Some nutritionists

believe the body absorbs water easier Irom juice because it's combined with other

elements that the cells need. The juice should be Ireshly squeezed in order to get

the most benefit. The best types during a cold are:

Orange - contains vitamin C

Celery - contains sOdium, helps retain Iluids

Cucumber & Cranberry - cleans out acid deposits in urinary track

Carrot - contains vitamin A

BREATHE STEAM - One 01 the lirst places robbed 01 Iluids when the body is

in trouble, is the throat. Combined with the thick mucus which drips down Irom the

nose, your voice gets hit lrom ali angles. When the steam passes the vocal lolds,

they are soothed and lubricated. Breathing the moist air also softens the mucus

stuck deep in the lungs, reducing the dry coughing and hacking.

L1GHT EXERCISE - Exercise opens the pores and the sweat carries toxins

out 01 the body. This, along with the increase in circulation, is what makes it so

valuable when you're healthy, and even more so when you're ill. Remember the

89 Colds


body is low on energy, lighting an inlection, so keep the routine very light and

always replace those Iluids. Ali you need is to break into a sweat; you'lI notice that

won't take much.

SHOWER - Speaking 01 the pores, when you have a lever the pores open

and the same release occurs as in exercising. Vou can help this process along by

dry brushing your skin with a natural bristle brush or natural sponge and then

showering. The brushing exposes the skin and opens clogged pores. Cigarette

smokers should do this often.

MASSAGE - Increased circulation is key to cleansing the body. A massage

releases trapped blood vessels and dislodges toxins Irom the muscle libers. A

percussive massage is also helplul to breakup hard congestion in the lungs. Vou

don't have to spend a lortuna at aspa, anyone can gentiy work the muscles. Vou

can't deny the leeling. Remember to always lollow a massage by drinking plenty 01

water.

SLEEP - Last, but delinitely not least. Unlortunately, this is your strongest

ally in lighting illness and often gets short changed. When you

sleep, ali other lunctions are slowed down, so the body can locus

on lighting the inlections. Vou r mother was right. Ask someone to

run your errands, cancel some appointments, take your phone 011

the hook and get some restl

~ NATURAL OPTIONS - tt seems everyone has a lavorite

concoction lor a cold. They ali can help provided they are non

narcotic and not made with alcohol. Any drug will hamper the

body's delenses while only giving temporary reliel, so it deleats the

purpose. Alcohol swells the lining 01 the throat and leaves it even

dryer once it evaporates.

GARGLE - A solution 01 warm salty water will sooth your throat

and draw phlegm away Irom your vocal lolds. 11 the salt is

90


collecting at the battom of the glass, you've put in too much. This is a good routine

to get into daily, to clean and increase the circulation of the mouth and throat. A

favorite gargle of my voice teacher was mixing Myrrh gum, Golden Seal root and

licorice root, fifteen drops each in warm water.

HERBS ANO TEAS - Any good health food store will be able to supply you

with a variety 01 heribs and teas which will sooth sore throats and open up a stuffy

nose. Look for Golden Seal, Ginseng Gotu KOla, Breathe EZ™ (for your lungs),

Spirolina, Slippery Elm, Throat Coat'" tea, Fennel tea. Kyolic Ga~ic capsules help

filter and cleanse the blood. Lotus root tea is good lor strengthening the lungs and

fresh ginger when added to tea or used in a throat compress increases circulation.

Also, licorice sticks provide natural relief for sore throats.

BEE PROPOLlS - This is a natural way to boost your immune system. It

comes in drops or capsules. The drops taste like death, but they work laster.

Bees manulacture this substance to sterilize the bee hive. It works with your anti

bodies without a chemical side effect. I've seen the drops work wonders on sore

throats within hours.

VITAMINS - Vour body relies on the support of vitamins from your diet. If the

diet is not a healthy one, a supplement of vitamins will help. Water-based vitamins

like C and B complex, are the first to be depleted when you're fighting a cold.

How you light the cold you have now sets the stage for the next one. Vou

should allow the cold to cleanse as much as possible. After the infection is gone

you will have a good starting point for change. Oon't start smoking if you have

stopped, keep the diet sugar-free, and continue the healthy practices that you

established to nurse yourself back to health.

91 Co/tIs

TIu Rock 'n' Roll Singer's Su",illal ManUDl

SORE THROATS (lO SING OR NOI lO SING)

lhal is lhe queslion. After looking ai some 01 lhe lriggers which can sei a

cold in moiion, you can see it's likely you'lI develop a cold ai lhe leasl opportune

lime. lhen you're laced wilh lhe lerrible decision 01 singing or cancelling. I can'l

make lhe decision lor you, bul lei me arm you wilh more inlormalion.

Firsl, idenlify lhe cause 01 lhe irrilalion. Soreness is always a symplom, so

reliel should address lhe source 01 lhe problem. lhe only silualion where singing is

harmlul is laryngilis. II will lake a doctor lo diagnose Ihis because lhe symploms

are close lo olher Iypes 01 inlections. lhe diHerence is lhe localion 01 lhe inlection.

Wilh laryngilis, lhe vocal lolds and lissues 01 lhe larynx become inlected and

swollen, unable lo produce lhe movemenls necessary lor speech.

Doctors aren'l sure whal causes laryngilis, excepl lo say it's crealed by lhe

same germs Ihal cause colds. Also, as wilh colds, Ihere are no cures, jusl

:OD

lemporary reliel. A chemical called epinephrine will reduce lhe

swelling, and sleroids have also been used lor lhe same reason;

bolh have Iheir side ellects and should only be used in emergency.

My advice is nol lo speak or sing unlil lhe inlection leaves. lhe

lolds are exlremely dry and can be damaged permanenlly in a short

l ime. It's nol worth lhe risk; cancel lhe show.

A more common Iype 01 sore Ihroal Ihal accompanies a cold is

pharyngilis. lhis means lhe inlection has made a home in lhe

Ihroal jusl above lhe larynx (see Diagram #23). Vour Ihroal will be

irrilaled and dry jusl behind lhe longue. lhe muscles Ihal make up

lhe walls 01 lhe Ihroal are so sensilive, an inlected area lhe size 01

a pinhead will leel more like a goll ball.

Vou are able lo sing in Ihis condilion, bul you should be carelul

92

Ali Abaul Your Brealh

nol lo dislurb lhe irrilaled area. Mosl singers use lhe museles of lhe Ihroal 100

mueh, and pharyngilis will make you very aware of it. If you're smart you'lI use Ihis

opportunily lo develop your abilily lo sing wilhout that addilional support. The

bottom line is this Iype of sare Ihroal doesn'l have to dampen your slyle, To learn

more aboul singing wilhout the museles of the pharynx see How Do Vou lose Vou r

Voiee, page 126,

Il's nol a good idea lo use the type of sprays Ihal numb lhe throat ar drink

syrup-Iype liquors. Vou need lo remain sensilive to lhe irrilalion lo know if you're

eausing damage. Use lhe gargle ideas in lhe section on eolds and use a sugar-free

lozenge lo give some relief,

Thi.s aFta doesn', ~llefil IM projecled soUlld of ]QJU voice. So. a head cold won', intufere with your singing.

iagram 23

o Nasal Cavity

.. -Do not sing I~~.,: wMn lhe \: vocal/olds are infected.

93

."..--"'1:- Pharyngitis

Laryngitis

Sore Throats

The Rock 'n' Roll Singer's Sunival ManlUll

lhese two Iypes 01 sore Ihreals are reactions lo iIIness, so reducing lhe

inlection will bring reliel. Singers can also sufler lhe same symploms 01 an iIIness

Irem vocal abuse. When you're pushing your voice, your Ihreal becomes dry and

irrilaled and lhe lolds enlarge and lense. lhe source 01 lhe problem is lhe way Vou

sing and, logically enough, lhe solulion is lo sing a diflerenl way.

lhe swelling and irrilalion crealed by lension should ba released by a slow

and delicale warmup rouline. Vou can vocalize yoursell back lo reliel much quicker

Ihan lhe muscles will release Ihemselves during resl. A gargle 01 warm sally waler

combined wilh a massage and heal applied lo lhe area will help lhe processo

Vou should allow enough lime lO bring lhe swelling down complelely belore

Vou sing again. Conlinued slress and lorce placed on lhe lolds will cause

permanenl damage (see: Diagnosing Damage, page 136). 11 vou sing every nighl,

Ihis means you'll spend lhe batler pari 01 lhe day bringing your voice lo heallh.

When vou gel a break in your schedule, it's a good idea lo look inlo some Iraining

lO slop lhe slresslul habils (see: Exercises lor Slrenglh and Flexibilily, page 140).

2:JD

94


ALL ABOUT YOUR BREA TH T1P SHEET

1. THE QUALITY OF THE INHALE DICTATES THE QUALlTY OF YOUR

VOICE.

2. NEVER LlFT YOUR SHOULDERS TO INHALE.

3. THE DIAPHRAGM IS THE ONLY MUSCLE USED SOLELY FOR INHALlNG.

4. THE CONTROLLED RELEASE OF THE DIAPHRAGM STEADIES YOUR

VOICE.

5. CORRECT POSTURE MEANS FLEXIBILlTY, NOT STANDING STRAIGHT.

6. DON'T ALTER YOUR POSTURE WHILE PLAYING ANOTHER

INSTRUMENT, BRING IT TO VOU.

7. VOU DON'T CATCH A COLD, VOU LET IT IN.

8. VOCALlZE LlGHTLY AND FORCE FLUIDS TO KEEP YOUR VOICE

FLEXIBLE DURING A COLD.

9. A HEAD COLD DOESN'T IMPAIR ANY AREAS NEEDED FOR SINGING, A

CHEST COLD DOES.

10. SING CAREFULLY WITH PHARYNGITIS, DON'T SING WITH LARYNGITIS.

95 Tip Shee/


96

ALL ABOUT

VOUR INSTRUMENT


Nasal Cavity

Hard Palau

50ft Paiau

Uvula

lJ Tongue

FaIu Fold

Trut Fold

Windpipe

Ali About Your Instrument

THE BIG PICTURE

WHAT HAPPENS WHEN VOU SING?

There are two major jobs involved in becoming a singer. The lirst is to build

your instrument and the second is to leam how to play it. Unlortunately, we always

skip over the lirst job and sulfer with the limitations later. Though we're not ali

gifted with naturally beautilul voiees, the museles whieh are responsible lar your

voiee can be developed to produee the same sound.

The best guitarist in the wo~d would leel compromised playing a eheap guitar

with rusty strings. A high quality instrument, instead oI resisting your ideas, will

actually inspire you to play better. The instrument itsell eontributes a great deal to

the talent oI a musieian. It's no eoineidenee that great guitarists have great guitars.

For a singer, having a better voiee is not as simple as going to the musie

store and leaving a deposit lor that larynx in the window. It takes time lor your

vocal museles to develop. Just as you can't expect an instant ehange in your body

Irom working out onee at a litness eenter, your voiee will slowly improve as you

practiee. However, you'lI speed the proeess along il you also understand the

lunctions oI the internai parts you're building. Vou should know the parts oI your

voiee the way a guitarist knows the purpose oI eaeh part on the guitar.

In the lirst hall oI this ehapter, I've outlined what happens inside when you

sing. Every related part is deseribed by name and lunction. Don't be intimidated by

the names. I've ineluded them lor accuraey. Vou can either leam them by name or

simply understand their lunction. The second hall oI this ehapter eontains exereises

to promote strength and Ilexibility. When you vocalize these exereises, you build a

better instrument, rather than leam how to sing. When your vocal museles beeome

stronger and more rellexive, controlling your voiee will be easy.

99 Th. Big Pielur.

The Rock In' Roll Singers Sunival ManUlll

1. THE BUCK STARTS HERE:

Singing begins in lhe brain. Im pulses, in lhe lorm 01 electricily, Iravel Irom

differenl poinls in lhe brain lo corresponding muscles. Upon receiving a command,

the muscles either contract or relax. Every action, your heartbeat, breathing,

blinking, sneezing, as automatic as they seem, are controlled by the brain.

The brain is divided Into sections and each one has a specific lunction. The

righl side is responsible lor our crealive abilities and lhe left lor logic and reasoning.

The act 01 singing begins as an inspired thought (righl brain) then as a motor

lunction (Ieft brain) combined with the constant monitoring 01 reflex activity. Singing

is lhe only alhletic event that combines ali three phases 01 the brain.

The lines 01 communication between the right and left sides 01 lhe brain are

delicate. Emotion can compromise your physical ability by sending conlradicting

signals to the same muscle. A tremble in your voice means one side 01 the brain is

saying, "Go ahead and sing," and the other is saying, "Maybe Vou betler not." The

muscles can't make a decision aboul which is correct, so Ihey react lo both signals.

A clear mental image will pave the way to a precise vocal reaction

(see: Ali About Yoursell, page 159).

2. CREATING THE AtRFLOW:

After your initial idea to speak or sing leaves the brain, the body

begins to lill with air. The diaphragm gels the lirst impulse and il

its movements are reslricted, other muscles will go to work in order

to lill lhe lungs with air (see: Ali About Your Breath, page 55). The

problem with Ihese olher muscles is that they are awkward to

conlrol and often overload lhe larynx with air pressure.

The larynx is a wind inslrumenl, and lhe quality 01 your inhale

creales lhe quality 01 your voice. When the muscles 01 inhalation

(diaphragm) remain active when Vou sing, instead 01 lhe muscle 01

exhalation, your voice becomes more powerful.

100

3. RESISTING THE AIR CREATES

VIBRATlONS:

Once your inha/e is complele, lhe

diaphragm Slarts lO release back lo ilS

Ali Aboul Your Ins/rumenl

original dome shape. This exerts a Larynx

force againsl lhe lungs, and causes

lhe air inside lO become pressurized

and escape up lhe windpipe. AI lhe

lop of lhe windpipe, righl in lhe middle

of your Ihroal, sits your larynx. The

ouler wa/Is of lhe larynx are made up

of Iwo cartilages, lhe bottom one

(crico·cartilage) sits directly on lop of

lhe windpipe and lhe upper cartilage

(Ihyroid cartilage), is commonly known

as lhe Adam's Apple. Females have

lhe same parts, bul lhe upper cartilage

is smaller and less obvious (see

diagram #24).

Airflow

iagram 14

Air ~ets resistance '\ ,~ creates a vibraJion.

Diaphragm

There are IWO curtain-like membranes which extend from lhe inside walls of lhe

larynx called lhe vocal folds. Along lhe OUler edge of each fold is a Ihin slrip of

cartilage called lhe vocal cords (see

Diagram #25). When lhe Iwo vocal

folds close againsl lhe escaping air,

Ihey begin lo vibrale and creale a

sound (see: The Jobs of lhe Larynx,

page 105, and Obey lhe Laws, page

38).

101

Vocal Foj~ ---IJ'-L,

iagram 2S ~ Lorynx, Top View

The Big Pielure

The Rock 'n' RoU Singer's Survival Manum

4. CHANGING THE PITCH, VOLUME & REGISTERS:

The top cartilage 01 the larynx can slide and tilt Irom its base. By doing this,

the vocal lolds are either pulled tightly or slaeked as they vibrate. TIghtening the

lolds makes the piteh rise and loosening will make the piteh lower (see: What

Makes Piteh Change? page 110). Inside the vocal lolds are museles whieh control

their thiekness (vocalis musele) and elosure (Iateralis museles). When the lolds

become thieker, they can handle more air pressure and your voiee gets louder.

Thinning the lolds and redueing the air pressure tums the volume down (see:

Where's the Volume Knob? page 111).

Adjusting the piteh, mass and elosure muscles, allows Vou to ereate the same

note in diflerent registers. There are live registers: vocal Iry, ehest voiee, head

voiee, lalsetto, and whistle tones. Eaeh one has a diflerent way 01 ereating a

vibration, and they give Vou the ability to ehange the piteh, volume, and quality 01 a

note independently (see: Vocal Registers . Why So Many Voiees? page 113).

5. AOO TO THE VIBRATlON:

Above the larynx is an open area 01 the throat called the

pharynx. It's divided into three sections by name (see diagram

#26), and it eonnects the nose and mouth with the windpipe and

esophagus. This is a eommon area lor both lood and ai r, and it's

also where the sound gains resonanee. The diameter 01 the

pharynx can be redueed or enlarged, and the walls can ehange

Irom smooth to coarse. These ehanges alter the sound by either

rellecting or absorbing the Irequeneies in your voiee. The lower the

larynx is in your throat, the more room you'lI have lor resonanee in

your pharynx (see: The Jobs 01 the Vocal Tract, page 118).

6. SHAPE INTO A LANGUAGE:

Vowels are ereated by the walls 01 your pharynx, tongue, and a

leal-like muscle above the larynx called the epiglottis. These

102

Ali About Your Instrumenl

muscles posilion Ihemselves lo aller

lhe Irequency paltern 01 lhe basic

sound crealed by lhe larynx (see:

Vowels, page 123).

A consonant is virtually a noise Ihal

inlerrupls a vowel sound. These

noises are crealed by lhe longue and

lips. The only exceplion is an "H",

which is lormed by opening lhe vocal

lolds and allowing air lo pass Ihrough

(see: Consonanls, page 125).

7. LET THE SOUND OUT:

Sound radiales oul Irom ils source in iagram 26 - TM SeeM,.. Df Ih. PharyIU circles, like ripples in lhe waler. Your

voice radiales lhe same way, projecting lrom ali sides 01 your body. As lhe sound

reaches lhe back 01 your mouth, Ihere is a lorl< in lhe road. The rool 01 your moulh

is divided into two sections: lhe hard palale is in lhe Ironl and has abone cenler,

and lhe soft palale is lhe rear hall which is ali muscle. The soft palale can move lo

deflect lhe sound eilher directly out 01 lhe mouth or up inlo lhe nasal cavilies.

There is a mucous lining Ihrough oul lhe nasal area which warms and cleans

lhe air you inhale. This covering acts like a blankel, absorbing sound Ihal enlers

lhe cavily. Your inner ear is nearby and will regisler lhe vibralions, bul lhe sound

isn'l projected outward lo lhe lisleners. In olher words, nasal resonance doesn'l

enhance lhe sound which your lisleners hear.

These seven sleps are simplilied lor lhe sake 01 clarily. However, lhe more you

simplify lhe actions 01 lhe vocal muscles, lhe easier il is lo gain conlrol and

efficiency in your voice. The independence 01 Ihese muscles as Ihey do Iheir

specilic jobs is importanl lo mainlain. When a muscle Iries lo do Iwo Ihings ai lhe

103 The Big Picture

The Rock fn' Roll Singers SUrYil'al Manual

same lime, lension will resul!. lhe slressed muscle will nol respond accuralely, and

you'lI become hampered by compromises.

Over-compensaling deslroys your inluijion. A panic caused by a bad nole will

slart a chain reaction 01 evenls. 1I Vou miss a high nole in a song, vou lend lo

drive every olher nole harder Ihan necessary. 1I Ihis is lhe case, il won'l be long

belore vou will have no voice ai alI. Imagine Ihal Vou are swimming and suddenly

realize Ihal vou are 100 lar oUl. Someone who doesn'l know how lo swim will ave r

react and be in lrouble. A conlidenl swimmer will slart floaling unlil he has regained

his composure. No malter how important il is Ihal Vou sing well, you'lI gel more oul

of lhe simplesl movemenls.

For a more in-deplh look ai lhe functions of lhe larynx and Ihroal, read : lhe

Jobs of lhe Larynx (page 105), and lhe Jobs of lhe Vocal lract (page 118).

Sound movillg in this direction is mosdy absorbed by mwc/es.

, \

~~( \ \ \

::f§~ ' I , I

, , I , , , " ' 1----\,

\

Sound projected from tht meU/h is loud because its palh is unobstructed.

Sound RadiDús in Cire/ .. from ris Soure.

104

Ali Aboul Your Instrumenl

THE JOBS OF THE LARYNX

Aside from ali lhe differenl Ihings vou feel when Vou sing, lhe larynx is

always the source of lhe sound. Here is lhe poinl where air is resisled, and

vibralions begin. Once crealed, a sound can cause ali kinds of secondary vibralions

(called resonance) which can fool vou inlo Ihinking you're crealing il somewhere

else. Things gel more confusing because a property sung pilch has no sensalion aI

lhe larynx. When lhe air pressure is resisled evenly by lhe vocal folds, lhe resull is

a balance Ihal'S a similar sensalion lo riding a bicycle.

Vou can conlrol your larynx two ways, consciously using your body lo creale

a reaction from lhe fOlds, or letting lhe larynx act unconsciously, leaving lhe body

free lo react. The difference is between action and reaction . For lhe mosl conlrol

and lhe leasl damage, Vou should allow lhe larynx lo act on unconscious reflexes.

The small muscles inside your larynx will control lhe pilch, volume, regisler, and

qualily of lhe sound, if Vou leI Ihem.

Vou have a larynx for Ihree reasons, and speech is lhe Ihird. Firsl, il acts as

apressure valve, slabilizing your body when Vou climb, lift, or pus h heavy objects.

When vou exer! force, your vocal folds close off lhe windpipe, and lhe pressurized

air in your lungs maikes your body rigid for leverage. The second job is lo prolect

lhe lungs from anything entering besides air. The larynx has involunlary inslincts

which allow il lo do bolh jobs wilhoul Ihought.

Producing sound is a differenl slory. Here lhe muscles inside lhe larynx can

be volunlary, or involunlary. As lhe olher Iwo main functions are involuntary, il

makes sense Ihal singing should nol require any greal change. The nerve endings

Ihal line lhe edge of lhe vocal folds are more sensilive Ihan lhe nerves of lhe eye.

They allow for splil second changes in Ihickness and lension in order lo mainlain a

conslant air pressure in lhe lungs.

The larynx, diaphragm, abdominal and rib muscles ali respond lo each olher

105 The Jobs of lhe Larynx

The Rock In' Roll Singers SurvivaJ Manual

reflexively. Any one of them can cause a reaction in the other. They are wired

together. If you sing by consciously controlling your body, you force the larynx to

stay in reaction. It's no longer free to make the tiny adjustments necessary to keep

a pitch in tune, without your constant attention to pitch. If you occupy your mind

with listening, your singing will be sterile. What about emotion?

Everyone knows you can only concentrate on one thing at a time. Wouldn't

you rather have things like pitch and volume put on auto-pilot, and leave your mind

free to play? The good news is you can, and your voice will be better olt for it.

HOW TO CONTROL VOUR VOICE

The best way to control your voice is to provide an environment around the

larynx that doesn't interfere with spontaneous movement. The more you let go of

the restricting muscles that surround the larynx, the better your control. Vou get the

most out of a reflex action by letting it be 100% reflexive. The physical si de of

singing is ali refi ex action.

The problem stems from our definition of control. We ali think control means,

"To make something happen the way you intended." The trouble

with this is that the word "make" leads you to believe singing is a

conscious act. Do you think you're controlling your voice when you

speak? The fact is you are. I'm sure now that I mention it you will

agree, but in the middle of an argument, making your voice sound a

certain way is the last thing on your mind. Without any conscious

thought, you are always coordinating your larynx, diaphragm,

tongue, and lips. A great example of how well you control things

unconsciously is to get absolutely drunk, then start talking.

Singing uses the exact same muscles as speaking, only the air

flow is dilterent. It's tempting to get involved with the muscles in

order to feel more in control. It takes courage to leave things alone

and trust the larynx to respond correctly. There is an exposing

106

Ali Aboul Your lnslrument

Diagram 27 These nine piclures represem one cycfe of a lone. To sing an "A" pilCh, your folds open and d ose lhis way 440 times per second.

107 The Jobs Df lhe Laryn;r;

TM Rock 'n' Roll S;nger's Su",;yal Manual

feeling about doing so little. When you sing this way there's no faking it.

Even if the larynx doesn't respond well and you find you are constantly off

pitch and weak, it's the reflexes which need to be developed, not your control.

Sometimes it helps to know what's going on inside so you can trust the process

more. lhe following pages describe what happens inside the larynx when you sing.

lhe more you understand, the easier it will be to give up control and start sounding

like a singer in control.

HOW A SOUND IS CREAIED

A vibration occurs when the vocal folds interrupt the air flow from the lungs

into tiny puffs of air. lo the naked eye it appears as if the folds stay closed. With

the developments of high speed photography, we now see the folds open and close

for each puff of air. lhe number of puffs per second determines the pitch. Singing

concert "A" means 440 puffs per second (sec Diagram #27) .

Since no one can think to make a muscle move that fast, how does this

happen? lhe way you close your folds to start singing, is called the "attack." It

simply means the beginning, but it's often mistaken to mean push.

lhe correct way to attack the note is to bring the folds together at a

precise distance. Often called "approximating the folds," it means

the folds are brought close together, but not allowed to touch.

lhere is a mucous membrane that covers the folds; it's the

same lining that covers the mouth and throat. lhis membrane

extends down into the larynx and becomes highly specialized when

you sing. Once the folds come together, the membranes do the

work of channeling puffs of air through the seal. lhis process looks

like a rippling wave motion, and is called the "rim function." When

a puff passes through, there is a suction which pulls the

membranes together again and creates another wave. (see

Diagram #28) Allowing the membranes to ripple, adds richness to

108

Ali About Your lnstrument

\ . )

Compressiolt

iagram 28 - Rim Function

your voice because lhe waves are slighlly irregular and creale differenl harmonics.

WAlCH lHE ATTACK

Aside from how lhe folds approximale Ihemselves, lhe liming is vilal. lhe

besl silualion is for lhe flowing air and lhe closing folds to meet simultaneously. If

lhe folds close too soon, they block the air for a split second and then bursl open.

This is a glottal shock. If the air flows first, everything you sing will begin with an

"H" or an aspirate.

When you shock lhe folOO, they close too tightly preventing lhe rim function

and your voice becomes stiff and colo~ess. lhe force at the edge of the folds

causes friction which builds heat and swells the membranes. Now your vocal folds

look like two balloons and leak air like an old tire. Vour voice becomes brealhy and

raspy because Ihere's no resistance lo air.

lhe more you force lhe folds logelher the worse lhe friction gets. The only

relief is to re-establish lhe liming of your attack. Getting the folds to close

simultaneously with the air is a large pari of whal training your voice is ali about.

The action needs to be reinforced through practice to the point where it becomes a

reflex (see: Brealhing Exercise #15, page 74). Once this is set up, you'lI nolice

greater volume, range, and flexibility.

109 Th. loh$ 01 Ih. Larynx

The Rock 'n' RoU Singer's Sunival Manual

WHAT MAKES THE PITCH

CHANGE?

There are two

aspects to singing pitches.

One is mental and the other Vocal Fold

SitU View

AryttflOid Cartilagt

mechanical. The mental Twt muscltS COnlract Twe cartil4ges mng

side is explained in the

section Perfect Pitch, page

t 81. The mechanical side

is simple.

10 tigluen vocal folds. back 10 stCIVe vocal folds.

~--5'~

Everything that

'. Turn lhis lO dgltun SlTing.

Bridge stcuru sIrlng.

makes a sound is bound by

the same laws of nature

(see: Obey The Laws, page

38), and I ohen compare iagram 29 - Pitch Comrol

the folds to guitar stnngs. When

tension on the stnng is increased.

which means a higher pitch.

Vou turn the tuning peg, the

A tighter string vibrates faster

The folds are stretched across the larynx, attached in front to

the thyroid cartilage and in back to the arytenoid cartilages (see

Diagram #29). As both cartilages puli away from each other, the

tension of the folds increases, and the pitch nses. The reverse

happens for the pitch to descendo The front cartilage tilts forward

and down, while the arytenoids swing back, making tiny adjustments

to keep things constant.

DON'T MOVE THE LARYNX

Ali the necessary movements for changing pitch are inside the

larynx. THERE IS NO REASON TO LlFT THE LARYNX FOR A

110


HIGH NOTE. Making the larynx ride up and down your throat like a pitch elevator

makes about as much sense as lifting a guitar over your head to play the high

strings. It's an added motion.

Not only is the movement unnecessary, a manipulated larynx becomes

restricted. As the larynx rises, the walls 01 the throat automatically reduce the

diameter 01 the pharynx to close 011 the opening 01 the larynx. Look in the mirror

and watch what happens when you swallow. The larynx jumps high up under your

tongue and the constrictor muscles reduce the diameter 01 the pharynx to guide the

lood down the right tube. Muscles don't have brains, 50 they don't know il your

singing. These muscles assume you're swallowing and move that way instinctively.

Singing with a closed throat chokes 011 your range. The muscles and

cartilages within the larynx need room to move, especially on the high notes. Vou r

range should not be determined by how high you can Iift your larynx, but by the

elasticity 01 the lolds. Vou gain range the minute you make the switch because you

can stretch larther than you can Iift.

There is also the issue 01 quality. Vour pharynx acts as an equalizer, adding

harmonics which give the voice richness (see: Vour Voice Has a Built in E.Q., page

119). Lifting the larynx limits the amount 01 space lor resonance, which makes the

high notes sound thin and tight compared to your low notes. Also, the restriction

causes you to lorce too much air pressure and the lolds become swollen.

I know reading this alone isn't enough to shut 011 the habit 01 Iifting the larynx

lor pitch. Vou need to re-train your muscles' behavior. Read, Where Trouble

Begins (page 127) to better understand the locations and jobs 01 the throat muscles.

Then use the Exercises lor Strength and Rexibility to provide a positive

reinlorcement lor correct muscle behavior. Finally, learn about the physiological

lactors that control these same muscles in Penect Pitch (page 181). The time you

spend understanding and reinlorcing correct behavior will be paid back with more

range and accuracy. It's worth it.

111 The Jobs 01 lhe Larynx

The Rock 111 ' RoU Sillger's Survillal MallUiJI

WHERE'S lHE VOLUME KNOB?

Another lunction 01 the larynx which is usually overcompensated is volume.

Inside the larynx are muscles that control the thickness 01 the vocal lolds (vocalist

muscle). When they contract, the mass (thickness) 01 the lolds increases and can

handle more air pressure. lhis means the sound gets louder.

However, it's incorrect to push more air lrom your abdominal muscles to

make your voice louder. Although it's true that you can thicken the lolds by tensing

the abdominal muscles, you want the larynx to make the lirst move. lhe difference

is between action and reaction.

II you make your voice louder by tensing your abdomen you become

vulnerable to uncontrollable reactions in your throat. lhe abdominal muscles are

wired directly to the larynx. lhey work together, holding back breath when you lift

something heavy. lry to do a sit up and not close off your throat. Vou can't.

Which means, il you tense your abdominal muscles, you restrict your voice.

Vou should make your voice louder by thinking volume instead 01 push. Your

larynx has the reflexes to respond to the thought. Instead 01 the

abdomen lorcing the larynx to react, you'lI lind the same amount 01

volume by reversing the signals. Sensing their mass, the lolds can

tell the diaphragm what the optimum air pressure is lor the pitch.

lhe diaphragm then opposes the contractions 01 the abdominal

walls and steadies the air pressure to create a balanced

environment lor the larynx. lhis is the meaning 01 vocal control,

having your larynx tell ail the other muscles what to do.

As with ali habits, bad vocal habits start in the mind but soon

become ingrained in the muscles' memory. Knowledge is power to

change. Vou can re-train any habit il you set up the pro per

response and then reinlorce it. lhe new, correct habit, will become

just as natural as the bad one may leel now.

112


VOCAL REGISTERS • WHY 50 MANY VOICES?

This lopic has had leachers and singers scralching Iheir heads lor cenluries.

Now modem lechnology has linally provided answers lo lhe myslery 01 regislers. I

don'l Ihink it's necessary lor singers lo be scienlisls, bul underslanding Ihis

inlormalion will show you where you've been giving conlrol away.

A regisler is a specilic posilion 01 lhe vocal lolds or manner 01 vibraling. The

l ive regislers 01 lhe voice are vocal Iry, chesl voice, head voice, lalsello, and

whislle. Every wind inslrumenl has lo change regislers. They are poinls in lhe

range when lhe sound waves in lhe resonalor (hom), begin lO inlerfere wilh lhe

vibralor (moulh piece). To compensale, lhe player will change his lip lension and

air pressure lo make lhe moulh piece vibrale dillerently. The same Ihing occurs in

singers. The resonalor is lhe Ihroal and moulh cavilies and lhe vibralor is lhe

larynx. As you rise in pilch, lhe sound waves rellecting 011 lhe walls 01 your Ihroal

begin lo compele wilh lhe vibralions 01 lhe lolds. In order lo ease lhe compelilion,

lhe lolds will change Iheir posilion lo creale a new vibraling paliem.

WHAT CAUSES EACH REGISTER?

A vocal fry is a crude sound caused by under-energized lolds rubbing

logelher. Pilch is conlrolled by changes in air flow and Ihroal muscles. The sound

is so irregular it's nol considered singing.

Chest volce is lhe big sound in a singers range Ihat's also called lhe real

voice. The vocal lolds are Ihick and can handle pressure easily. The mucous

membrane rolls along lhe surlace, crealing a complex sound wave wilh extra

harmonics. It's called chesl voice because lhe air in lhe windpipe is exciled and

resonales, making lhe enlire chesl vibrale. When you sing correctly lhe chesl

vibralions will dominale and creale lhe illusion lhe sound is originaling Ihere.

There is a poinl when lhe Ihick lolds can'l slrelch any more. In order lo sing

higher noles, lhe lolds need lo Ihin down so Ihey can be lensed lurther. This

creales a new regisler called head VOIC8. For lhe same reason, lhe slrings on a

"3 The Jobs 01 lhe Larynx

The Rock 'n' RoU Singers Survival Manual

guitar have to be differenl diameters. Vou can't wind the low E string up lO the

same piteh as the high E. Even il you could, it would be so sliff it wouldn't vibrate

mueh. To solve Ihis, ali the strings are lhe same lension, but different masses.

Vou end up having several ehoiees where you ean play the same piteh with different

slrings. Vou can also sing the same piteh in three differenl registers. The thinner

lolds 01 head voiee ean vibrate laster bul don't produee as many harmonics. Vou

get no ehesl resonanee because lhe sound waves aren't big enough to excite the

air in sueh a large spaee. Instead, the smaller eavities wilhin the head begin to

resonale and ereate lhe illusion that the piteh is originating lrom up above the

larynx.

Falsetto is a complete ehange in set up. The lolds stay open and lhe

vibralion is erealed by lhe membranes along the edges. This produees a very

Ilexible but thin sound. n doesn't stir up any resonance so it leels as il the notes

are passing right through you. Sinee the lolds are open, YOU'II leel lhe same low

pressure as in a eomlortable low piteh. This is why it's so easy to sing those last

II exibi e runs to yoursell in a light lalsetto, only to lose them when

you try to thieken lhe lolds lor volume.

The whlslle reglsler is a Ireak situation when you lense lhe

vocal lolds and push so mueh air past that Ihey whistle just as you

do wilh your lips. The piteh is eontrolled by air, and like the vocal

Iry, is only used as an aeeen!. When your voiee is blown, it will

eraek into whistle tones because the lolds are latigued and swollen.

THE REGISTERS ARE A FACT OF (IFE • BREAKS ARE NOT

The one differenee between your voiee and a wind instrument is

flexibility. Bolh the throat and larynx are multi-changeable, an

instrument is rigid. This means the register ehanges in a singer DO

NOT HAVE TO CAUSE A BREAK. There should be enough

flexibility between lhe larynx and the throat to allow constant re·

114


Silh V~w

CMst Voia H~ad Voia Faisetto

Trla Fo/ds

logram 30 - Rtgisters

posilioning lor bolh. When eilher is held lighl, Vou over exlend lhe range 01 a

regisler and by lhe lime you're lorced lo swilch, lhere's an awkward Ilip.

Have Vou nOliced every problem leads lO lhe same remedy? Accuracy wilh

pilch, volume, and smoolh regisler changes ali require lhe larynx lo lell everything

else whal lo do. When vou consciously conlrol lhe muscles 01 lhe lhroal and

abdomen vou over-ride lhe reflex abilily buill inlo lhe larynx. 11 knows when lo

swilch regislers, how lo gel louder and slay on pilch. Ali lha!'s required is Ireedom,

VOU DON'T NEED TO THINK FOR A REFLEX.

MOST BREAKS CAUSE O BY AVOIDING NEXT REGISTER

There are lhree elemenls which are compuled by lhe larynx belore

delermining whal regisler a sound will be. They are pilch, volume, and air

compression. A good example 01 lhe volume lactor is a singer who gels louder in

order lo avoid swilching lo anolher voice. As vou lum lhe volume up, Vou exlend

lhe range 01 any regisler. The problem is Ilexibilily, because along wilh lhe volume

increase comes more slress. Once you've exlended a regisler i!'s hard lo gel oul

gracelully, and Vou end up only aggravaling lhe break.

There is a malhemalical equalion lhal explains lhe relalionship belween lhe

115 The lobs of lhe Larynx

The Rock 'n' RoU Singtr's SurviyaJ Manual

three elements, but I thought it would be easier to illustrated it in a graph (see

diagram #31). The vertical line represents your range and the horizontal is volume.

The three main registers indicated are for my voiee ; yours would be similar, but not

exactly the same. Notiee how ali the registers can produee the same piteh by

simply adjusting the volume.

It's typieal to hear a singer get louder as he raises his piteh. This would

have him riding up the dark solid line (in Diagram #31) that divides ehest and head

voiee, instead of the dotted one that remains at the same volume. When you sing

that way, you combine volume and piteh muscles to do one job. ~ accentuates the

differenee between registers causing a break every time you switeh. These types of

singers usually develop problems singing full volume on their lower pitehes and soft

on the highest ones. The pitehes have a predetemnined volume setting (the dark

line), and dynamie eontrol is lost.

The dotted line represents your goal for a healthy voiee. After developing the

skill of traveling up in piteh without a volume ehange, you'lI be able to plaee that

dotted line at any volume setting. It's mueh easier to work with a

lower volume as it appears on the graph. At first, it's easier to

work down in piteh rather than up. There is a psyehological

advantage when you deseend whieh helps you release museles.

If you're a roek singer, you espeeially need to develop this

ability. I know you don't see a need to let your voiee slip into a

lighter head voiee. It doesn't give you the kind of power you need.

Letting your larynx have the freedom to select the best register for

itself builds an ineredibly strong instrument that is extremely

accurate in piteh. (Who wants to hear a powerful wrong note

anyway?) Not only will this eonnect your registers withuut a break,

but also allow dynamie freedom. THAT INCLUDES EVERV PITCH

AS LOUD AS VOU CAN.

116


It's much less taxing on the vocal folels if vou sing a note loud because vou

want it loud, instead of just trying to avoid your break. As the strength of the folds

develops you'lI be able to produce more volume. As the muscles that surround the

larynx stop trying to help, the freedom will unleash extra range vou never knew vou

had (see: Exercises For Strength and Power, page 141).

/7 /'/

Your voic~ should /'/ ~ flaib/~ ~nouglJ /' / tO sing tlvouglJ rtgilttr cltangts. /' / ------ - -/- --- VollUM

/' / CIstSI Votet /' Htad Voiet / Fals~u()

/' / /' f Soft~r

-Lower------- PitclJ ------Hjglstr~

Diagram 31

117 The Job. Df lhe Larynx

TIu Rock 'n' Roll Singers Su",ival Manual

THE JOBS OF THE VOCAL TRACT

lhe vocal Iract is lhe name for lhe opan areas above lhe larynx, meaning lhe

Ihroal, moulh and nose cavilies (see diagram #32). lhis is where lhe sound is

embellished wilh resonance and shaped inlo language. lhis area musI become

independenl frem lhe larynx in order lo gel lhe mosl oul of your voice.

II len people sang lhe same pilch, would you be able lO lell Ihem apart? I

Ihink so. lhe way your ear separales lhe diflerenl sounds is by Iheir limbre. lhis

is lhe musical lerm lor lonal qualily. Each sound has ils own resonance, crealed by

a variely 01 overtones and Iheir individual volumes. lhe combinalion 01 ali Ihese

elemenls happening aI lhe same lime makes up lhe spectrum 01 a sound.

Resonance is an ove~ooked opportunily lor volume. When mosl singers say

Ihey wanl more power Irom Iheir voice, Ihey're really lalking aboul resonance. lhe

more harmonics added lo your voice lhe bigger lhe sound becomes. Wilhoul any

addilional eflort, lhe sound seems louder and projects betler over lhe inslrumenls.

lo undersland how sound reacts Ihis way read Obey lhe Laws

(page 38). lhis section describes whal lhe singer does lO help or

hinder lhe amounl of resonance in his voice.

lhe vocal Iract plays lhe role of a speaker cabinel, and your

larynx is lhe spaaker. On ils own, a speaker sounds Ihin and

papery. Il never projects well regardless 01 how much power you

give it. Place il inside a wood cabinel and lhe combinalion comes

alive. lhe resonance 01 lhe cabinel enhances lhe sound 01 lhe

speaker and requires lar less power. lhe art 01 building a cabinel

is malching lhe proper proportions wilh lhe spaaker. When lhe

cabinel adds whal lhe speaker is missing, lhe Iwo ",,,rk as one.

lhis is called a "tuned cabine!" and you wanl Ihis same relalionship

belween your larynx and vocal Iract.

118

YOUR VOICE HAS A BUILT IN E.O.

Speaking 01 stereos, hopelully Vou

are lamiliar with an equalizer. It's the part

on most stereos that has a row 01 little

sliding controls that enhance the sound. 11

Vou don't have an equalizer, then I'm sure

you're lamiliar with the bass and treble

knobs. What these controls do is regulate

the volume 01 the overtones. By turning

up the treble, the volume 01 the higher

overtonas increases, and guass what

happens when vou turn up the bass?


Vocal Tract

iagram 31 - Vocal Tnu:/

The muscles 01 the vocal tract act the same way. They can absorb or rellect

certain overtones giving vou a selection 01 sounds. The best situation is Iree,

flexible muscles that are responsive to the whims 01 change. When the walls 01 the

throat tense, their texture is coarse. They absorb sound waves like the acousties in

a carpet store. Released muscles are smooth and rellect like the walls 01 a

gymnasium. Which do Vou think is better?

Try this example to illustrate the added power 01 overtones. Tum some

music on your stereo and put ali the tone controls on zero. As vou listen to the

sound, slowly turn the controls to ten. Did the stereo seem to get louder? Notice

vou never touched the volume knob. Now return the tone controls to zero and turn

the volume up to match the amount 01 sound Vou had previously. Even when they

match, the sound leaves much to be desired.

The volume knob represents your larynx, and the tone controls are your vocal

tract. Without the benefit 01 overtones, your larynx has to work very hard. This

means wear and tear. Incorporating the resonance allows your larynx to back ofl,

and the Ireedom allows lor more range and control.

"9 Th. Job. of IM Vocal Trad

The Rock 'n' RoU Singer's Su",illal Manual

11 is nol necessary lo manipulale lhe vocal Iract beyond ils nalural slale. As

always, less is bast. Unlortunalely, you develop big habils Irom combining many

little problems. Alter a while you end up wilh a Iraffic jam 01 lense muscles which

leel perfectly normal , but nol nalural. Avoiding regisler changes, crealing 100 much

air pressure and Irying lo conlrol pilch above lhe larynx, conlribute lo lhe inability 01

your Ihroal lo relax. lhese Ihree issues are explained elsewhere in Ihis book (see:

lhe Jobs 01 lhe Larynx, page 105), a lourth Iroublemaker is discussed nex!o

IMIIAIING REDUCES FREEDOM

We ali imilale olher voices when we speak. When you were jusl learning lo

lalk, lhe sounds 01 lhe voices around you were regislered along wilh lhe words.

Accenls are passed down Ihrough generalions Ihis way.

You're given a clean slale when you sing. lhe mind doesn'l lransler speech

patterns lo singing so you don'l hear sluttering or accenls when someone sings.

However, when you're young and slarting lo sing, you're impressionable lo olher

voices you admire. lhe imilalion process begins again, and Ihis is lhe painl where

your reslrictions bagin.

Since lhe limbre 01 a voice is delermined by lhe size and shape

01 lhe larynx and vocal lraet, Ihars why everybody is different. Add

in lhe mullilude 01 changes available wilh inlernal muscles and lhe

chances 01 Iwo voices being lhe same are nil. On lhe olher hand,

lhe voice has Ihal unique abilily lo imilale. Jusl by hearing

someone's voice we inslinclively know how lo manipulale our voices

lo sound lhe same. Jusl because you can, doesn'l mean irs right.

II you're a 100 pound woman lhe chances are pretty goOO you

will nol have lhe same vocal sound as a 200 pound woman, and

vice versa. lhe changes Ihal have lo occur inside your Ihroal lo

malch a sound, which is lar Irom your own, laligues lhe muscles

and shortens your vocal l ime. II you're only getting an hour's worth

120

Ali Aboul Your Inslrumenl

of control out of your voice, then vou fali into this category.

Becoming intemally sensitive to your instrument gives vou unlimited

possibilities. Vour imagination becomes the leader. Singing with another singer's

voice in mind forces vou to sing from the memory of a sound, so you're less aware

of how things feel. Such conscious control makes Vou want to listen to your voice

as vou sing and doesn't allow for natural responses of the vocal muscles.

What's wrong with your voice anyway? Don't forget: there are no permanent

vocal problems, only permanent beliefs (see: Ali About Vourself, page 159).

Imitating a sound makes vou subconsciously insecure about your natural abilities.

lhat doesn't exactly pro mote speedy growth. I guarantee, if Vou could listen into

the future and hear what you'd sound like with a little wOrk, you'd stop studying

other singers. lhe pull towards imitation is so strong, it will still show up even if

Vou deliberately avoid it, so stop changing voices and start building your own.

RESONANCE PLAYS A DIFFERENI ROLL IN ROCK

For centuries singers have developed the overtones in their voice in arder to

project over the orchestra. lhe vocalist would train to develop a harmonic "ring"

around 2,800 cycles per second (Hz). lhere is a decline in the overtones of the

orchestra in the same area, so the singer can be heard regardless of volume.

With rock 'n' roll or any amplified music, the acoustics of instruments and

voices are manufactured. A singer can whisper at 120 decibels (dbs). Ali the

sounds are routed through equalizers which manipulate the sound artificially. Now

the inability to hear the singer of a band may be more of the sound man's fault.

Although these days vou can get away with less, there are still big

advantages for the singer who has developed the overtones in his voice. lhe first

benefit is a reduced work load for the larynx. lhe more your vocal tract contributes

to the sound the less output is needed from the source. lhe second benefit is a

built-in barometer for tension. Vour resonance is proportionately reduced by the

amount of restnction in the muscles. Use the sound to guide vou back to freedom.

121 TIu Jobs ol/lu V_ Troct

The Rock In' RoU Singer's Survival Manual

RESONANCE PROJECTS EMOnON

Anolher major benefit 01 Ilexible harmonies is lhe emolional signal Ihey

Iransmil 10 lisleners. The same muscles Ihal conlrol your voice also respond lo

emolions. I'm lalking aboul lhe sublle lone 01 a voice ralher Ihan lhe obvious lear

jerking sounds 01 lhe larynx. It's lhe silualion when someone's voice gets on your

nerves, and vou don'l even know why. You're being aflected subconsciously by lhe

overtones.

As a lislener, we have emolional responses lo certain Irequencies. The

highesl overtones produce a shrill sound Ihal puts us on lhe delensive. JuSI under

shrill comes nasalily wilh lhe same psychological eflect. II makes vou wince.

When combined wilh loud volume, Ihey lrigger a prolective inslinct in us Ihal sleps

up adrenaline production and prepares us lor "fighl or f1ight." No matter whal lhe

Iyries say, lhe undertying signal says lear, anger, or lruslralion. That's why your

parenls can'l rei ale lo heavy melaI.

Sludies done on Ihis subject have shown lisleners respond best lo lhe same

Irequency Ihal projects besl over an orcheslra, 2800 Hz. This

overtone in your voice puls lhe lislener aI ease and drops Iheir

guard emolionally. As lisleners open up, your Iyries sink in deeper

and have a slronger eflect. Even Ihough ampliliers can make up

lor a lack 01 projection, nolhing can replace lhe power 01 emolion.

Rock singers need lo develop resonaling overtones jusl like ali

olher singers.

HOW TO ENCOURAGE RESONANCE

Singers don'l make resonance, Ihey allow it. The besl way lo

insure a resonanl sound is lo creale space in lhe vocal Iract. This

means leave lhe larynx low. Remember lhe speaker cabinel

analogy? Now, imagine two idenlical speakers, and place one in a

small cabinel and lhe olher in a large one. Which would sound

122


better? The large one. It olfers more area lor additional overtones to build the

sound. In the same way. when the larynx is low. the additional space in the throat

provides more opportunity lor resonance.

Maintaining a low larynx not only improves resonance. but also handles most

other vocal problems as well. This is based on the lact that most problems (too

much pressure. neck and tongue tension. and controlling pitch) cause the larynx to

rise like an elevator. Besides the timing 01 the attack. nothing is as important as

the position 01 the larynx.

VOWELS

The different Irequencies in your voice have a very important lunction besides

adding quality. They lorm the vowels. Subtle movements in the walls 01 the

pharynx and dilferent positions 01 the tongue alter the Irequencies that exit the

mouth. Certain areas 01 Irequency are either absorbed or reflected in the pharynx

and shaped into sounds we recognize as the dilferent vowels.

Vowels can be arranged in order 01 their Irequencies. to help visualize how

they're created. This is called the vowel spectrum (Diagram #33). The lirst vowel

listed (EE). has the highest Irequencies. down to the vowel produced by the lowest

(00). For a simple example 01 what goes on inside your throat. sustain an "EE"

sound and slowly place your hand over your mouth. When your mouth is covered

the "EE" will turn to "00" because the higher Irequencies have been absorbed by

your hand.

Some vowels are a combination 01 sounds. These are called diphthongs and

thripthongs and are created when the tongue and pharynx are in motion Irom one

shape to another. The vowel starts as one sound and ends as another.

Brillialll Sound N~UITal Sound Dark Sound

BE AY AR OH 00

iagram 33 - Vowel Spectrum

123 The loba 01 tire Vocal Tract

Tire Rock 'n' Roll Singers Survival Manual

VOWELS AS TOOLS

Vou can use the characteristics 01 different vowels to build a balanced voice.

When Vou sing an "00", your larynx descends and your throat opens to promote

the low Irequencies needed to make the vowel. This is a great depth builder. II

vou have a thin voice, exercises with "00" will add richness to your sound by

training the larynx to stay low (see: Exercises For Strength and Power, page 140).

"AH" is a relaxed vowel. The tongue and pharynx relax; that's why doctors

ask Vou to say it when they look down your throat. This is a great vowel to sing

scales on due to the Ireedom around the larynx. The sound 01 the "AH" should

remain consistent as vou run through a scale. II it's altered to "UH", especially at

the top 01 the scale, it means the throat and tongue are tensing in reaction to pitch.

Keeping the vowel pure trains the vocal tract to relrain Irom pitch control. Working

with "AH" builds a consistency throughout ali vowels.

The larynx makes a different closure lor "EE". The vocal lolds make a tighter

seal down their center. This makes it an excellent tool lor healing a blown voice.

After abusing your voice, the lolds become swollen and bow slightly

upward. This prevents them Irom meeting exactly in the center and

the result is a leaky seal, giving a breathy or hoarse sound. Light,

gentle scales descending on an "EE" vowel help to reduce swelling

and re-align the lolds so they meet in the center. Other than

healing, an "EE" pro motes the highest Irequencies to be amplilied.

This is what gives your voice its projecting or carrying power.

DON'T USE YOUR MOUTH

There is a tremendous amount 01 missed opportunity lor singers

who shape vowels with their mouths. The lips are the exit point lor

the sound, and as lar away Irom the source 01 the sound as Vou

can get. There will be huge differences between vowel sounds

causing unpredictable blares in your voice.

124


Vou should base a vowel as low in your throat as possible without forcing it.

lhis will allow a continuity between vowels as opposite as "EE" and "00". If a

vowel requires your lips it should be at a minimum. lhis will free the mouth for

consonants without interfering with vowel production.

CONSONANTS • JUSI A BUNCH OF NOISE

lhe final job of the vocal tract is to make noises while Vou sing, called

consonants. lhese noises, placed at the beginning, middle, and ends of vowels

shape the sound even further into speech. Consonants are formed by the lips and

tongue using the small stream of air that flows from the larynx.

Some ccnsonants, called voiced consonants, are accompanied by a pitch.

Others are called voiceless because the folds lay silent when they are produced. A

voiced ccnsonant should assume the pitch of the vowel it's attached to, instead of

sliding up to it.

lhe biggest troublemakers are the plosives like b, p, d, t, k, g, which bottle

up the air flow for a split seccnd. lhey are not the cause of trouble, they merely

expose it. When Vou pressurize your voice too much, air explodes out of the mouth

and hits the microphone with a pop. Although moving the mike might solve the

problem for the moment, the only solution is to reorganize your technique.

It is important to remember that the vowel and the consonant are

independent. 11 a pitch is high, it is easy to become tense around the mouth even

though the consonant itself has no pitch. Even when it's a voiced consonant, the

larynx is vibrating the pitch.

"H" IS A WORKOUI

lhe only ccnsonant formed by the larynx is "H". lhe folds separate and

allow some air to escape to create the sound. Making "H's" turns out to be a great

exercise for the muscles of the larynx. lhe folds develop strength by repetitive

"H's" as an isometric exercise wor1<s on other muscles.

125 The Jobs of lhe Voad Trru:/

The Roc/, In' Roll Singer's SU1l'ival Manual

HOW DO VOU LOSE VOUR VOICE?

The slepS oullined in lhe BIG PICTURE (page 99) are lhe simple

requiremenls for singing. Change or vary any of lhe evenls and you dislurb lhe

balance. You've probably heard Ihal law of physics Ihal slales, "For every action,

Ihere is an equal and opposile reaction." Singing is no exceplion. This means a

lension in lhe slomach muscles will cause a lension in lhe Ihroat.

You'lI nolice lhe word balance used often lo describe whal singing should feel

like. This is an accurale image, bul it's difficull lo know when you have il correctly.

How would you describe riding a bicycle lo someone who has never been on one?

One Ihing's for sure. Ali Ihal person would have lo do is fali down once, and Ihey

would begin lo undersland whal balance is about. Singing is nol as obvious; you

can be a little oul of balance and slill sound fine. The best rule lo remember is:

SINGERS LOSE THEIR VOICE WHEN THEY LOSE THEIR BALANCE.

There are many examples Ihroughout Ihis book of silualions Ihal cause

Irouble in your voice, bul lhe common denominalor between ali of

Ihem is Ihal Ihey dislurb lhe balance. Consequently, ali remedies

for your voice will have relurned lhe equilibrium one way or anolher.

The singer Ihal can become sensilive lo Ihis balance of powers will

have longevily and conlrol.

So whal exactly does il mean lo be in balance when you sing?

The definilion of balance is equalily between conlrasling or opposing

elemenls. There are two elements or forces needed lo sing, air

pressure, and resislance lo air pressure.

Rock-n-RolI singing is aulomalically oul of balance. In fact,

some singing is waaaaay oul of balance. Any kind of music Ihat's

emolionally charged will be vulnerable. An importanl consideralion

is lO ask; IS THIS HOW THE SINGER CHOOSES TO PLAY THEIR

126

Ali Aboul Your lnstrumenl

INSTRUMENT? Even il lhe answer is yes, Vou should remember Ihal vou are bolh

lhe player and lhe inslrumen\.

Usually, lhe inslrumenl has no say in lhe way it's being played. Take a

perfectly luned guilar and play il really hard, in a while il will sound lemble. Ask

someone wilh a beaulilul voice lO sing as loud and as hard as Ihey can and il won'l

lake long belore Ihey have no voice aI alI. Hall lhe battle is lo gel a goOO solid

inslrumenl; lhe olher is leaming how lo play i\.

This means Ihal Ihere are two seIs oi balances lo mainlain when vou sing.

The lirsl balance is physical, two opposing lorces wilhin your body producing lhe

desired sound. The secend is menlal, lhe balance between what Vou wanl lo hear

versus whal vou can do. Lel's lake a more delailed look aI lhe physical balance

lirsl, lhe menlal balance is explored in lhe lasl chapler.

WHERE TROUBLE BEGINS

In Diagram #34, f've added some oi lhe muscles oi lhe longue and Ihroa\.

There is a complex network Ihal cenlrols ali lhe movemenls oi lhe larynx, pharynx,

longue, esophagus, palale and so on. 11 conlrol oi your voice is losl by using 100

many muscles, does Ihal mean you'lI gain conlrol by using less? Ves, and Ihat's a

big part oi whal Iraining your voice is ali abou\. When vou reduce lhe amounl oi

muscles used in any activily, vou raise lhe efliciency oi Ihose slill in use. Vou gain

range, power, and accuracy. There's no wasled energy.

For me il was hard lo believe Ihal I ceuld gel more by doing less. When I

began lo undersland lhe diflerenl jobs oi muscles, il became obvious why my voice

was limiled. Example, play a simple slow drum roll wilh your hands on your leg.

Now speed up unlil it's as lasl as vou cano Did il slay even? Did vou sliflen up as

vou lried lo play harder? Did il gel louder? f'm sure aI some poinl your elbows

began lo lock up wilh your lorearrns and lhe whole Ihing became sloppy.

Drummers know how lo keep Ihese muscles released and Ihat's whal gives Ihem

control. Singers need a very similar abilily. These illuslralions are here lo acquainl

127 How Do You Lose Your Voice?

TIu Rock in' Roll Singers Survival Manual

ThiJ area doeSfI't beflefit the projected sound 0/ your voice.

Hard pa'a".~::~H

TOflglU

Diagram - 34

128

Ali About Your Insl1ument

you wilh muscles you've been using every day 01 your lile. Vou don'l need a

medicai degree lo be a singer, jusl a simple underslanding 01 your inslrument.

I've placed Ihese muscles inlo Ihree groups based on Iheir jobs. None 01 lhe

muscles shown in Diagram #34, are responsible lor producing lhe sound, Ihal

occurs inside lhe larynx. Yel, each one 01 Ihese muscles has lhe abilily lo alIe r or

shape lhe sound. Each muscle, when isolaled, has a simple lunction. However,

activaled simullaneously, Ihey begin lo work againsl each olher. Conlrol is losl lo a

battle 01 lensions once you can no longe r separale one muscle's job Irom anolher.

Every muscle has a particular movemenl memorized in ils cell lissue, and

singing is nol on lhe lop 01 lhe lisl lor any 01 Ihem. For inslance, nolice lhe

muscles iIIuslraled in

Diagram #34; Iheír

localions make pertect

sense lor Iheir primary

lunctions 01 longue and

jaw mobilily and

swallowing. Read lhe

lollowing descriplions

aboul Ihese muscles;

once you undersland

Iheir characterislics, il will

be easier lo conlrol Ihem.

THE TONGUE

The longue gels a

calegory ali ils own

because 01 ils size and

slrenglh. Diagram #35

shows lhe nelwork 01

o

iagram 35 - Tongue Muscles


lhe Rock ',,' RoU Singer's SunivaJ Manual

muscles which allow the tongue to move in various ways. Tension in these muscles

wreal<s havoc ali through your throat. Notice the size and location 01 the muscles.

What we can see 01 the tongue in our mouths only makes up a third 01 its size.

The libers 01 the tongue are the second strongest in your body, the first is

the heart. Beneath the surface these libers criss-cross to lorm a web, adding to its

strength and making it difficult to release tension. Any habit 01 the tongue is going

to be a tough one to break. It is used constantly, between swallowing and talking,

and it's very responsive to emotions.

When any muscle contracts, it pulls back into itsell, compressing in size.

When the tongue tenses, everything in the neighborhood is pulled in . This prevents

ali the other muscles lrom moving Ireely. 11 you imagine the tongue in Diagram #35

contracting, you can see how it would affect the rool 01 the mouth, the opening 01

the throat. and the position 01 the larynx.

For most 01 us, tension in the tongue is common. Alter years 01 clenching,

the stiffness leels so lamiliar that we say it's "naturally" that way. Separating a

learned habit Irom what is a natural state is important. II it ain't

broke, don't lix it.

The tongue disrupts things in a couple 01 ways. First, it can

restrict air Ilow through the throat by pushing down, lalling back, or

by becoming thicker. Alter looking at these diagrams, imagine the

rear 01 the tongue moving backward and blocking the area over the

epiglottis. This creates a Ialse sense 01 strength, giving you the

sensation that you should push more. Since the tongue doesn't

make any sound, there's nothing gained by the extra lorce. The

larynx is below and is lirst in line to take the brunt 01 this pressure.

Singers caught in the habit 01 using extra lorce lose their voices

quickly due to swollen vocal lolds.

Altering a newly created sound is the second way the tongue

130


interferes. A master 01 shapes, the tongue has the ability to thicken, thin, stretch, or

contract in diflerent areas, simultaneously. Because it is covered by a layer 01 soft

mucous membrane, the tongue can absorb sound like a blanket. Nasality,

breathiness, Ilat pitches, breaks, and many more problems are ali caused to some

degree by an over active tongue. Strength, size, and position make the tongue the

lirst suspect when things go wrong with your voice.

LIFTER MUSCLES

Notice the strap-like muscles highlighted in Diagram #36. Their lunction is to

lift the larynx when you swallow. Most inexperienced singers I've seen use these

muscles when singing higher pitches. lhe higher the larynx rises, the more the

walls 01 the throat

constrict around it.

Consequently, peoples

ranges are determined by

the height they can lift

their larynx, instead 01

the Ilexibility 01 their

vocal lolds. Associating

these muscles with pitch,

reduces your

signilicantly (see:

Pitch, page 181).

CONSlRIClOR

MUSCLES

range

Perfect

lhese muscles do

just what their name

suggests. lhere are

three constrictor muscles Ülgram 36 - Ufter Museles


The Rock 'n' RoU Singtrs Survival ManUlll

(see Diagram #37) which

reduce lhe diameler of

lhe pharynx when you

swallow. As lhe size of

lhe Ihroal is gets smaJler

so does lhe sound, unlil

il reaches a painl where

il is cu! off complelely.

Remember, lhe muscles

can'l lell lhe difference

belween singing or

swallowing, Ihey will

always close lhe Ihroal

when lhe larynx goes up.

Since Ihis becomes lhe

delermin

ing faetor

of your iagram 37 ~ Constrictor Muscles

range, il's up lo you lo develop lhe conlrol lo leI Ihem go (see: The

Jobs of lhe Vocal Traet, page 118).

If you look aI lhe longue, lifter, and conslrietor muscles as a

package, il may nol seem so overwhelming. They ali have lhe

abilily lo eilher pull up on lhe larynx ar close in around il; bolh spell

lrouble. These muscles are inslinetively lhe ones you conneet wilh

when you Ihink of singing. They are easier lo access Ihan lhe

much smaller muscles Ihal really need lo be engaged.

By squeezing your neck, and pushing more air lo hold onlo a

nole, you may aI firsl feel more in conlrol. II is lhe only way you

132


can imagine lo pul more drive inlo your voice. Letting go of your neck, jaw, and

shoulders may seem as if il would kill your power and conlroi. Ironically, letting go

is lhe only way lo go beyond whal you're doing now.

When lhe muscles labeled wilh arrows poinling up are relaxed (see Diagram

#38), lhe larynx slides down and lhe Ihroal opens. NOlice whal happens when Vou

yawn, lhe larynx goes way down and your Ihroal opens wide in order lO gel as

much air in as possible. Place your finger on your Adam's apple and swallow, you'lI

leel your larynx shool up under your chin. Now yawn and leel il descendo In a

relaxed Ihroal, lhe larynx will sil somewhere in lhe middle. 11 Vou can sing wilhoul

dislurtling Ihis middle posilion, Vou win.

H OW TO A V OI O O=======~--==-=~==-=jl

TROUBLE

Now Ihal vou have

an underslanding aboul

lhe dislurbance lhe

swallowing muscles

cause, you're left wilh a

perfectly nalural queslion.

11 using Ihese muscles is

so aulomalic, how am I

going lo slop Ihem Irom

getting involved? Well,

you've already slarted.

The mosl important slep

in retraining a muscle's

habil, is exposing it. The

second slep is reinlorcing

correct behavior.

• •

iagram 38 - Sinker Muscles

133 How Do You Lose Your Voiee?

TIu Roci 'n' RoU Singers Suni .. al ManUIÚ

Vour next queslion

mighl be, "How do

know if I'm doing il

righl?" The answer is

written on your face.

Muscles operale in

groups; when one

conlracts, il causes a

chain reaction of activily.

In Diagram #39, I've

illuslraled lhe ouler mosl

layer of muscles. They

conlrol lhe movemenls of

lhe scalp, lips, nose,

eyes, brows, elc. They

will aid

Vou by

illuslral-iagram 39 - Facial Muscles

ing whal is laking place below lhe surface. This means vou can

monilor lhe actions of Ihose invisible muscles in Diagram #34, by

walching your face, head, and neck. This extemal layer represenls

lhe lasl link, and any break in lhe chain will weaken ils action.

The faces Vou see some singers make Ihal vou Ihoughl were

emolion, are lhe result of activily inside. In order lo hold any

muscle slift, olhers musl be held for leverage. This explains ali lhe

slraining necks, squinling eyes, and lock jaws.

Walch yourself in lhe mirror as you're singing a song. Du Vou

lense your brow? Does your head come forward on lhe high

134

AU About Your lnstTument

notes? Is your mouth drawn tight? Is your scalp tight? Is your jaw locked into a

rigid position? Answering yes to any oi these questions indicates there is a tangled

mess oi tensions inside.

Now sing the same song and don't allow your lace or head to move. Try to

look like a ventriloquist. No matter how bad it sounds keep released, even though

there is a strong temptation to tense up lor support. In time you will regain control

without tension, but be patient. Don't worry, I'm not suggesting everyone should

sing with a deadpan lace. Just practice that way.

Soon you will become more sensitive to the smaller muscles working inside.

These are the ones to capitalize on. Options will begin to unlold that were never

available belore. Soon you'lI be able to slip in and out oi Ialsetto without a break,

changing the volume at wi ll. Ii you build this ability to sing without any extemal

involvement, you can make any lace you want later and it will not interfere. Vou r

lace is the most eflective communicator, so don't waste it on unnecessary vocal

control.

Where should control come lrom? Until now, everything has been locused on

what not to use. Obviously, something has to work in order lor sound to be

produced. The answer is inside the larynx, and like anything you want to

understand better, the lirst step is to take it apart (see: The Jobs oi the Larynx,

page 118). Remember, no matter how much you comprehend mentally, the linal

action always comes down to what the muscles are programmed to do. Reinlorcing

correct behavior is the only way to create a permanent change.


The Rock t,.' RoU Singer's Survival Manual

DIAGNOSING DAMAGE

Many 01 us have been lortunate enough to have ali 01 our body parts in good

working condition right Irom birth. We take lor granted what some people struggle

with ali their lives. Our most common problems are tension and inseeurities, whieh

in eomparison to a birth delect are relatively easy to eorrect.

Accidental injuries or operations can cause structural damage or leave behind

traumatized museles, that don't respond the way they should. Scar tissue is rigid

and inflexible compared to healthy muscle tissue. II Vou have a suspieion that your

problem is due to an accident or operation, it's best to see a doctor and get the

lacts.

Some doctors become impatient with singers when they can't deseribe their

problems accurately. A voealists' worries seem lussy eompared to people with more

threatening eonditions. Doctors are also lrustrated by the repetition of a eondition.

People tend to think doctors are responsible lor their health and rely too heavily on

short term solutions. ~'s your voiee, so learn about it. Ask

questions and make sure vou understand the answers. Onee Vou

get the information it's up to vou to see it through.

An Ear, Nose and Throat doctor, or someone who is more

specialized in voiee, as an otto-Iaryngologist, will be more

sympathetie to your needs. There are some possible eonditions

whieh will effect your ability to sing. This list is only an aid,

enabling Vou to be more specifie when eonsulting an experto

HAVING A PARTICULAR SVMPTOM DOES NOT NECESSARILV

MEAN VOU ARE SUFFERING FROM A DAMAGED CONDITION.

These symptoms are eommonly the result of over-use and latigue,

but it will never hurt to have a prolessional opinion. Onee you're

clear on the physieal issues that coneern your v0iee, Vou beeome

136

Ali Abou/ Your Im/rumen/

more conlident as a singer, just as a mechanic never worries about his car breaking

down.

II a symptom is present, and is not relieved after three days 01 rest, vou

should consult an expert, and ask about .. .

CHRONIC HOARSENESS

Being hoarse is common lor singers who use their voice constantly or who

sing particularly hard. ~'s usually a sign 01 exhaustion. However, there Is no sueh

thlng as a naturally raspy volee. Even il vou just open your mouth and that's

what comes auto that sound indicates stress. It's a similar situation to your skin.

Would Vou say pimples just come naturally? II you're constantly raspy, never

recover Irem performances, and have a limited range, Vou should be suspicious. 11

vou like the way that sounds that's OK, just be wamed that your vocal style leaves

Vou vulnerable to losing your voice unexpectedly. II air escapes belore the sound

or Vou begin every note with an explosive burst (glottal

shock), Vou should see a prolessional and ask about

the lollowing:

VOCAL NODULES (nodes) - A callus that lorms on

the edge 01 the vocal cords preventing them Irom

closing. (For location see: The Jobs 01 the Larynx,

page 105). Depending on how soon a node is

detected, vocal exercises can reverse the growth.

don't suggest trying to handle this on your own. An

experienced vocal therapist will be able to steer Vou

away Irom any more damage. Some doctors

recommend surgery to remove the nodule. There is

always a risk 01 scar tissue lorming on the thin

membranes: il surgery is suggested, get many

different opinions lirst.

137

iagram 40 - Nodules

Diagnosing Damflge

TM RDCk 'n' RoU Singer's SUTlIillal Manual

POl YPS - A groWlh on lhe edge 01 lhe vocal cord Ihal resembles a mushroom.

Like a node, il will inlerrupl lhe closure 01 lhe two vocal cords, seriously impairing

Iheir ability lo vibrale. Unlike a node a polyp has a neck or slem, like a mushroom,

which makes il diflicull lo wear away wilh vocai exercises.

GROWTHS, UlCERATIONS - Jusl as you gel a cold sore inside your moulh, a

groWlh can lorm on lhe vocal membranes, hampering its' ability lo vibrale. An

ulceralion is an open sore crealed oul 01 over-use wilh lhe same resulls as a

groWlh.

CHRONIC LARYNGITIS - This is a lamiliar lerm Ihal relers lo inflamed vocal lolds

usually accompanied by engorged blood vessels. II can be caused by an irrilaling

inlection, a virus, yelling, singing or speaking wilh excessive lorce. II's importanl lo

lind oul lhe cause; lhe inlection will leave in lime, but lhe physicai abuse needs

your attention.

BOWEO VOCAL FOlOS, ABNORMAl ClOSURE - When a greal lorce is applied

againsl lhe larynx, lhe vocai lolds lose Iheir ability lo close slraight. Picture a draw

bridge Ihal can'l close ali lhe way, and you can imagine how Ihis

condilion allows 100 much air lo escape Ihrough lhe crack in lhe

middle. Any varialion Irom lhe cords meeling in lhe cenler is

dysfunctional. Somelimes one vocal lold will nol operale, lorcing

lhe olher side lo overcompensale or cause a huge gap lor air lo

escape.

INFLAMMATION, MUSClE FATIGUE - One slep below lhe previous

two in seriousness, bul Ihese symploms indicale you're on your way

lo a more serious condilion. Your Ihroal will leel lighl and a little

sore. Through abuse lhe vocai cords become swollen, like any

over worked muscle, and require more lorce lo close. This creales

a damaging cycle 01 evenls and aggravales lhe problem. II may be

hard lo creale saliva and swallow due lo lhe reslriction 01 lhe saliva

138

Ali Aboul Your /nstrumenl

ducts. The doctor will usually say il looks red and irrilaled and suggest resl.

ALLERGIES, SWOLLEN GLANDS, TONSILLlTIS, STREP THROAT - The conslanl

drip Irom allergies causes lhe lissues 01 lhe larynx lo become irrilaled. The

dehydraling ellects 01 many anli-hislamines will leave lhe cords vulnerable lo

damage, so il lhe allergies don'l gel you lhe medication will. To lhe larynx, dry is

deadly. Glands and lonsils swell when Ihey absorb inlections oul 01 your system.

This crowds lhe area around lhe larynx. The walls 01 lhe Ihroal are sensilive and

become inllamed easily. Slreplococcus, lhe bacteria Ihal causes slrep Ihroal

spreads Ihrough lhe Ihroal and makes il difficull lo lunction. 1I looks like a while

coaling at lhe back 01 your moulh.

PSVCHOLOGICAL DISORDERS - Vou gol ali lhe symploms, bul lhe doctor says

Ihere's absolutely nolhing wrong wilh your larynx. Is il in your head? 1I probably is.

Does Ihal malte r lo your voice? Definilely nol. The clinicai lerminology is hyslerical

dysphonia and aphonia, bul it's more commonly known as slagelrighl. A very real

condilion, slagelrighl can be Irealed physically. 1I occurs when Ihere's a breakdown

in your conlidence or sell-worth (see: RX For Slagelrighl, page 179).

Gaps Jet air leal.

II~\\ 4/ - Bow_d Folth

139 DisJPlOsing Damage

TIu Rock In' RoU Singer's Survival ManlUll

EXERCISES FOR STRENGTH AND FLEXIBILlTY

ANY VOWEL, ON EVERY PllCH • Al ANY VOLUME

lhe words strength and Ilexibilitv are svnonvmous with power and range,

minus the expectations. lhere will alwavs be that note just over vour range and a

desire lor more power. Vou delav Vou r growth bV lorcing a result, instead oI

building an abilitv. A singer has to wor1< with what was given at birth, so don't

compare voursell with other singers. lhe goal is to reach 100% oI vour capabilitv,

or to be able to sing anv vowel on every pitch oI vour range, at anv volume leveI.

lhroughout this book vou'lI find that singing requires the coordination oI

muscles, ligaments, and cartilages. Like anv other muscle oI vou r bodV, the parts

oI the larynx can become stronger, weaker, tense, or flexible. lhe condition thev're

in is directlv responsible lor vour abil itv as a singer. As in anv complete exercise

program, there has to be a balance oI stretch and strengthen. For vour voice,

Ilexibi litv equals range and pitch coordination, and strength equals volume and

longevitv. logether, theV are the qualitV and control.

lhese exercises don't possess anv magic. lheV are designed to

set up a circumstance which encourages the muscles to develop. I

stronglv recommend training with a voice teacher to make sure

vou're developing in the right direction. When Vou do these on vour

own, vour altention should alwavs be on lorm, not sound.

Remember there is a diHerence between singing and vocalizing

(see: Do I Have to Practice?, page 49).

Although thev're divided into separate groups, a practice routine

should include a sampling Irom both sides. lhe descriptions

included with each exercise (Iabeled ·What's Going On?"), will help

Vou decide which are going to help vou the most. A good rule is to

practice the ones vou can't do, and warm up with the ones vou

140


cano To better understand the area the exercise is working on, reler back to the

illustrations 01 the throat and larynx.

EXERCISES FOR STRENGTH ANO POWER

1. VOWEL EXERCISE - FINDING CONSISTENCY

The vowels used in these exercises are listed in Diagram #42 with a

relerence lor pronunciation (in the brackets).

AH (as in I-A-ther)

A (as in A-id)

E (as in s-EE-m)

I (as in l-ce)

OH (as in sh-O-w)

00 (as in m-OO-n)

Diagram 42

1. Speak the vowels in the order listed above in a comlortable, natural voice.

2. Let your larynx select a pitch by allowing it to change until vou leel no eflort in

making the sound. Repeat the vowels on this single, continuous pitch .

3. Extend the length 01 each vowel until they run into each other like an ancient

chant. The exercise should be the length 01 an entire breath.

4. Look into a mirror and release ali lacial muscles to a motionless, deadpan stare.

5. Continue on the same pitch and let your jaw relax open. Whatever the opening

turns out to be is fine, as long as it's relaxed. Don't move the jaw line lor any

vowel, Including ·00· (you can move the lips). Look lor a way to create the

vowels using internai muscles rather than lacial.

6. Allow minimum movement, lind a single leeling that runs through each vowel.

141 Ezercúes for SlnlIgtIJ alUI FleJdbilitJ

TIu Rock In' RoU Singers Su",ival Manual

7. Ask yourself which muscles Vou can release lo allow lhe leeli ng lo be deeper.

8. Wilhoul dislurbing any 01 lhe previous sleps, raise lhe pilch 01 lhe exercise in

small sleps. Mainlain lhe volume Vou slarted wilh. Don'l lorce your larynx lo

slay in a regisler.

9. Conlinue unlil lhe leeling 01 lhe vowels remains lhe same no malter whal pilch

you're vocalizing. Use lhe original pilch as an example 01 how ali lhe

subsequenl pilches should leel in Ihis exercise. Walch oul lor any lacial or

head posilion changes becoming involved.

Whal's Golng On?

Vowels, pilch. and volume are conlrolled by diflerenl muscle

groups (see: Ali Aboul Vour Inslrumenl. page 97). Often we develop

habils Ihal combine Ihese groups logelher as one, causing Ihem lo

work againsl each olher. Some words beco me diflicult on high pilches

and certain olhers can be powe~ess il 100 low. The key lo conlinuily

is eslablishing a physical memory. or leeling based on lhe mosl

relaxed area (lhe lirsl pilch). It's Iypical lo leel Oul 01 conlrol

when vou lirsl release Ihese muscles. bul in lime you'lI lind

Ihal lhe old awkward melhod has Iranslormed inlo a more

responsive awareness. Remember. wilh singing less is more.

2. SCALES • LINING PITCHES UP ONE AFTER ANOTHER

1. Mainlain lhe released sel-up 01 lhe vowel exercise above.

2. Vocalize a live nole major scale on "AH". II Vou don'l know whal

Ihis scale is. ask someone lo show Vou. Slart lhe scale in a

comlortable speaking range Ihal doesn'l require any eflort like lhe

vowel exercise.

3. As Vou repeal lhe same scale. walch lor pilches Ihal require

extra eflort.

142


4. Release your Ihroal 50 ali live pilches leel like Ihey come Irom lhe same place,

no matter whal Ihey sound like.

5. Wilhoul disturbing the unilied leeling, change lhe starting note 01 lhe scale lo a

higher pilch.

6. Conlinue lo raise lhe scale unlil Vou have covered every nole in your range.

Allow lhe regislers lO swilch.

7. Mainlain lhe same volume Ihrough every nole 01 every scale. Your goal is lo

separale lhe conlrol 01 pilCh lram volume.

Whal's Golng On?

The muscles Ihal contrai volume are closely relaled lO lhe ones

Ihal conlrol pilch (see: The Jobs 01 lhe Larynx, page 105). It's nalural

lo gel louder as vou sing higher because you're activaling bolh seis 01

muscles. However, as vou increase volume, lhe lolds become Ihicker,

making Ihem unable lo strelch. A calch-22 occurs when lhe Ihickness

(volume) prevents lhe slrelch (pitch). AI Ihis painl lhe nole is eilher

choked of! ar cracks unconlrollably lo anolher regisler. Learning lo

isolale Ihese two muscle groups (ali noles vocal ized ai one volume) will

Iree your range and provide accurale pitch when vou sing loud.

3. CHANGING PITCH WITHOUT MOVING THE LARYNX

1. Look inlo a mirrar and locale your Adam's apple. Use your linger lo leel il il

Ihere's no mirrar. This is lhe housing 01 lhe larynx, lhe vocal lolds are directly

behind slrelching over lhe windpipe (see: The Big Picture, page 99).

2. Nolice where lhe larynx sils when your nol vocalizing. Where does il go when

Vou swallow? Whal happens when Vou yawn? Now walch whal happens when

vou vocalize.

3. Vocalize a scale ar simple melody using lhe previous selup. Walch ar leel your

larynx and menlally slop il lram moving wilh lhe melody. Don'l physically hold it.

143 Eurris .. for S/nJIgIh tuJd F/uibiJiJy

The Rode (,,' Roll Singers Survival Manual

What's Golng On1

The lifter muscles that are attached above (se e Diagram #38,

page 133) the larynx need to be disconnected Irom your control 01

pitch. The muscles that actually change pitch are inside the larynx, at

the Iront and rear (see: The Jobs 01 the Larynx, page 105), and

together they stretch the vocal lolds lor the pitch to rise. The elevator

activity is always an added movement, and reduces your Ireedom as

the muscles pull. Vour range can be restricted by how high you can

lift instead 01 how last the lolds can vibrate. II this is very difficult,

move to the PORTAMENTO EXERCISES.

4. PORTAMENTO EXERCISES

1. Duplicate the lace in the Diagram #43. The jaw is low and the lips are stretched

unilormly around to lorm a small, round opening.

2. With an "00" vowel, vocalize a continuous sound, starting in a middle range and

sliding down gradually to your lowest note. This will sound like an old siren

winding down or a bomb dropping

(see Diagram #44 lor visual aid).

3. The decent should be as slow and

consistent as possible.

4. Slip into an "AH" vowel at the very

bottom 01 each repetition. (see

Diagram #44)

5. Gradually raise the starting pitch iagram 43

step by step. Continue to let the "00" drop and merge i n t o

an "AH" while approaching your lowest note.

6. Continue raising the starting note until you begin in Ialsetto, and

the "00" glides through the break area. Don't make physical or

volume changes to avoid the change in registers.

144

7. Keep lhe enlire exercise as deep as possible by

keeping lhe jaw low and lhe lips puckered lorward.

Vou may leel lhe lips Iremble as a resull oi lhe

lension you are opposing (see explanation).

What's Golng On?

lhe dramalic lace is nol inlended

as a position lor singing lhe vowel bul

lor releasing lhe muscles Ihal lift and

conslrict lhe larynx. lhose muscles are

a part oi lhe swallowing chain and when

slrelched lhe larynx is given some

Ireedom (see: How Do Vou lose Vour

Voice?, page 126). lhe slide down in

pilch exercises and coordinales lhe pilch

muscles. It's usual lo have a sudden lall

011 belween noles ai lirst because lhe

larynx is nol accuslomed lo acting alone.

lhe goal is a very slow and smoolh

decenl passing Ihrough lhe break wilhoul

a crack or extra ellort. lhis promoles

deplh in your singing and conlrol oi pilch

wilhout externai muscles.

After you become comlortable wilh

lhe exercise above, add a relum

portamenlo up lo lhe slarting pilch and

"00" vowel (see diagram #45). lhis

becomes a good challenge lor your lung

capacily as well. Ii you're nunning oul oi


"00"

Sfow Descem

"AH"

ÜJgram 44

"AH"

rÜJgram 45

145 Ex.,.:is •• for Strmgth lUId FkxibilitJ

-

TIu Rock tn' RoU Singers Survillal Manual

brealh belore vou reach lhe end, Iry

inhaling using Brealhing Exercises #16,

#17, and #18 lound on page 76.

5. STACCATO "H's"

1. Place your hand on your abdomen jusl above your naval.

2. In a spoken voice, say ·Ha Ha Ha· Ihree limes lasl. (Hahaha Hahaha Hahaha)

3. Do nol a1low your abdominal muscles lo pulse ar lense lo creale lhe ·Ha's."

4. Make each ·Ha· as short in lenglh as a hand clap (slaccalo), wilh an acuai

amounl 01 space between Ihem.

5. Slay on lhe same spoken pilch unlil Vou are capable 01 making lhe ·H's· wilhoul

using your slomach. The only movemenl vou should leel is lhe gradual relum lo

a normal posilion as lhe air escapes.

6. II you're having Irouble disconnecting lhe abdominal muscles, keep your hand on

your slomach and jump slraighl up and down while vocalizing lhe ·Ha's· . Nolice

Ihal lhe muscles can'l pulse in lhe slomach and lhe ·Ha's· benefit Irom lhe

dislraction.

7. When vou leel vou have lhe slaccalo .H" wilhoul jumping,

vocalize lhe group 01 ·Ha's· on anolher pilch. The exercise

should always leel like you're speaking.

8. Does changing lhe pilch dislurb l he ·Ha's·? II vou lose lhe

abilily lo make a short, precise nole, go back lo your lirsl pilch.

and gel your beanngs. The lension 01 higher pilches will often

make lhe .H" difficull lo do. Therelore, lhe ·H· becomes a good

lesl lo see il Vou are using lension lo support a higher pilch.

9. 11 you're leeling advenlurous, subslilule lhe slaccalo ·Ha· inlo a

simple scale as in lhe second exercise. Each nole should gel ils

own short ·Ha· . Vou can Iry Ihis same approach wilh any song.

Inslead 01 lhe usual words, each syllable is replaced wilh a ·Ha·.

146


What's Golng On?

An "H" is a greal 1001 lor slrenglhening your voiee. When it's

slaccalo, bolh lhe opening and elosing muscles 01 lhe vocal lolds are

being exereised. lhe "H" sound prevenls lhe edges 01 lhe lolds Irom

louehing 50 Ihere is an isomelrie balance lo lhe wor1< oul. An example

01 Ihis would be elapping your hands and allemaling between letting

Ih em loueh, and bringing Ihem close wilhoul louehing. You'lI noliee

how many extra museles are used lo keep lhe hands lrom louehing;

Ihis is whal happens inside your larynx wilh Ihis exercise.

Slrenglhening Ihese muscles improves pileh, volume, and longevity.

Anolher benefit Irom lhe exereise is lhe conlrol 01 lhe

diaphragm. There is a delicale balance 01 air needed lO ereale lhe "H"

and nol over blow il. Vou mighl noliee, lhe higher lhe pileh lhe more

air leaks oul, or lhe "Ha's" lose lhe separalion belween Ihem. This

means you are over-compensaling lhe amounl 01 pressure needed lo

raise lhe pileh. This causes slress, and over a period 01 l ime will

reslrict your range and weaken your voiee. When vocalizing an "H"

leels like speeeh, no matter whal pileh, you know lhe pressure is

balaneed (see: Ali Aboul Your Brealh, page 55).

6. CRESCENDOS DECREASE VOLUME 1. After a warm up, suslain a single nole on "AH" aI a loud volume. Slart wilh lhe

pileh you lound lo be most comlortable in lhe lirsl vowel exercise.

2. Slay on lhe same pileh and deerease lhe volume gradually.

3. Raise lhe pileh in small sleps and conlinue by slarting aI a loud volume and

slowly deereasing 10 barely audible while slaying on lhe same pileh .

4. To build lhe control 01 lhe inlernal museles, do nol use any visible (externai)

muscles lo support a Irouble spol, no matter whal il sounds like. II il seems as il

147 Eurcise. for StnngtIJ lUId Fkxibili/J

The Rock 'n' RoU Singer's Survival ManUIII

the muscles have a mind 01 their own, vocalize laying on a Ilat surface to tum

them ofl.

5. The goal is a smooth decrease 01 volume without disturbing pitch or hearing a

break on every pitch.

INCREASE VOLUME

1. Reverse the above exercise by starting at your lowest volume and gradually

increasing to lull.

2. Il you reach a wall 01 resistance and can't get any louder without changing

everything, reduce the volume a little and look lor the muscle that needs to be

released. Remember you are not looking lor quality sound, just an ability to

change volume without including lots 01 extra muscles.

COMBINATION

• To build endurance and control 01 both your larynx and your breath capacity,

combine the decrease and increase in a single breath.

Whal's Golng On?

The vocalis muscle (see: The Jobs 01 the Larynx, page

105) controls the thickness 01 the vocal lolds. When the

lolds are thick and the air pressure is increased below, your

voice gets louder. The reverse is true lor a decrease. It's

vital that the larynx controls this process instead 01 the

abdominal muscles. There is a delicate balance 01 tensions

inside the larynx which can easily be overloaded. This

means you should not tense your stomach muscles to make

your voice get louder. When they tense, it's a reaclion, not a

cause (see: Where's the Volume Knob?, page 111). 11 you

leel stuck in a certain register, it's because you are trying to

control your voice via the abdominal muscles.

148

AlI About Your Instrument

EXERCISES FOR FLEXIBILITY ANO RANGE

1. BREA1HING WHEN VOU SING

1. Loosen your cheeks and lips and make a flapping sound like a horse or motor

boat (BRRRRRRRRRRRR). Sustain the sound for an entire breath.

2. Add a pitch to the flapping lips and sustain through the end of your breath.

3. Change pitch while continuing to "BRRRRR". lry scales, both up and down, and

random melodies. lhe goal is to maintain the air consistently through the lips

while changing pitch. Can you walk and chew gum?

4. Afier coordinating the air through the lips, change the sound to a continuous

"Z:Z:Z: (imitate a bee buzzing). Now the air flow has to be maintained between

the tongue and the roof of your mouth.

5. Change the pitch as you did above and maintain the same "ZZZZ' sound.

6. Shorten the "Z: so it becomes a prefix, and vocalize a scale as "Ze Ze Ze Ze Ze

Ze Ze Ze Ze."

What's Golng On1

A vital ingredient in the balance of singing is air flow. A tiny

stream of air needs to be released as a result of the vibrating folds.

Some singers hold their breath and place a heavy stress under the

larynx. lhe force it takes to do this compromises your flexibility

because the vocal folds react to the pressure by thickening. lhe

above exercise is a way of monitoring the air escaping. 11 you are

unable to sustain the "BRRRR" or "ZZzzzZ: sounds, it means you are

holding back too much air. When you finaliy make the sounds, you

have achieved a better balance within. lhis is a great warm up and

warm down routine because it reduces the load under the larynx and

aliows the folds to thin down, if they are blown out or swolien . lo

develop the air flow more, try the gargle exercise below.

149 E" .... :üe. for Stnrrgtlo a"" Flexibility

The Rock 'n' RoU Singers Sunillal Manual

2. GARGLE WITH SOUND

1. Vocalize lhe same scales f,om lhe second exe,cise above and ga'gle roam

lempe,alu,e wale, between each ,epelilion. Walch fo, lhe ,elaxing effect of

ga,gling in vou, voice.

2. During a ga'gle ca,efully vocalize on a single nole.

3. Once a single nole is successful vocalize a scale while ga,gling.

4. During a ga'gle, slart ai lhe lop of Vou, falsetto and slide down inlo vou, lowe,

,egisler5.

Whal's Golng On?

When vou ga'gle, Vou suspend wale, above Vou, larynx wilh a

sleady sl,eam of ai,. II has a massaging effect as vou ,elax lhe walls

of lhe Ih,oal lo lei lhe wale, descendo If lhe sl,eam of ai, is

inlerrupled fo, any ,eason, lhe wale, will d,op 100 low and you'lI choke,

so it's easy lo know if vou, doing il righl. When Vou sing Ihe,e needs

la be lhe same sleady sl,eam of ai,. NOlice whal happens lo vou,

ga,gle when Vou change pilch. Do vou feel olhe, muscles

getting involved and inle,rupling lhe flow? The consislency

of ai, needed lo mainlain a ga'gle is good I,aining fo,

singing.

3. GLISS FROM FALSETTO

1. On an "EE" vowel, slart on vou, highesl comfortable pilch ai a

low volume and slide down slowly unlil il changes lo a chesl

,egisle,.

2. Conlinue unlil Vou can feel vou, way Ih,ough lhe b,eak poinl.

Reduce lhe volume lo make lhe lransilion easie,. NOlice whal

vou ,elease lo smoolh ave, lhe b,eak.

3. Conlinue lhe same lighl voice ali lhe way lo vou, lowesl nole.

4. Afte, some success sliding down in pilch, slart low and slide up

150

Ali Aboul Your lns/rumenl

into your lalsetto with the same leeling you had descending.

What's Golng On1

lhe flexibility and range 01 your voice depends on the ability 01

the vocal lolds to thin and change the way they vibrate (see: The Jobs

01 the Larynx, page 105). A brea!< between registers tells you there's

too much air pressure. Bringing down the leeling 01 a light lalsetto into

your chest voice, can teach you what the correct pressure leels like,

and allow a continuous line Irom register to register.

4. CHANGING PllCHES

1. From a comlortable mid·note on the word "HE", vocalize up to

a major 2nd and return to your starting pitch in a quick uno

broken line. Repeat this interval about lour times until it leels

comlortable (see Diagram #46).

2. Vocalizing the interval in Diagram #46, move the starting pitch

up a step. Continue the series until you've covered your range.

riagrom 46

3. Change the interval to those listed in Diagram #47 and repeat step #2.

4. Vocalize ali 01 the intervals in Diagram #47 in a row Irem the same starting pitch.

lhen move the starting pitch up a step and repeat the series.

5. From a middle note on the word "HE", reverse the direction 01 the pitch change

and lollow steps #1 threugh #4 above using the intervals in Diagram #48.

6. Vocalize ali 01 the minor intervals in a row below the same starting pitch. lhis is

the reverse 01 step lour; when you complete a series, move the starting pitch up

a step.

151 Ererrues lor Stn"gt/l1UId FkribiJiJy

The Rock 'n' Roll Singers SurvivaJ Manual

7. Separate the notes in ali the exereises above by adding "H's" to eaeh individual

piteh (three staccato "HE's" per interval).

8. Substitute "G" and "M" instead of "H" and repeal lhe sleps above.

9. Subslitule an "AH" as your vowel and repeat above exereises.

What's Golng On7

Before you get too involved here, read Whal Makes the Pileh

Change?, page 110, to undersland the movements inside lhe larynx.

lhe stretehing, tilting, and swiveling Ihat oeeurs when you ehange piteh

is eoordinated by repetilion. lhese are lhe inlervals thal make up lhe

songs you sing. !t's more productive lo work on your piteh as a

separate issue. When eombined wilh the vowels, eonsonants, and

emotions of a song, it's hard to tell what's causing a problem.

Very often a piteh problem has liUle lo do with your ear, and

more likely, is a tension or stress. Spend some time on

these intervals, and you'lI notiee your piteh has beco me more

accurate withoul any additional Ihought. lhis exereise is also

an exeellent warmup and warm-down routine.

5. HUMMING AS A SElUP

,. On a single piteh, begin with a eonlinuous hum and open directly

into lhe vowels as shown. - "MMMMMMMMAH-A-E-I-OH-OO"

2. Change the piteh until you have eovered your range.

3. lhe goal is to feel a eontinuity, or unbroken line between lhe

hum and the vowels.

152

Ali About Your lnstroment

What's Golng On?

Tha hum provides an axampla 01 what breath comprassion leels

like. This is the term used to describa the balance in powers batween

the respiratory muscles and the larynx. Your lips act as a buffer when

they close to hum, creating a second valve to maintain an even air

Ilow. When Vou transler Irom the hum to the vowels, without a

noticeable change in leeling, vou have maintained breath compression.

This is a good exercise lor repairing a blown voice, or vocalizing

through a cold.

,-, I , I I t I \ I

Diagram 49 - Drunk Test

I , I

,--------~ - - ------

As 1014 vocaliu any of the eurcises in this section, release your body by crossing your legs while swaying Irom left to righJ. This interferes with your balance and prevents your body Irom locking up.

153 Erercises for Str.ngth and Fkribility

TIu! Rock 'n' RoU Singers Survi .. al Manual

WARMING UP ANO OOWN

Have you ever seen a guilar

player slart lo play wilhoul checking

lhe luning first. Even lhe besl guitarisl

would sound horrible, nol because of

'lIvery ~ 10U should worm up degree.'

sing to

10U some

his abilily, becausa lha inslrumanl wasn'l raady. Uka lha guilar, your body is

sansiliva lo ali lha changes in your anvironmanl and naads lo ba ra·adjustad and

lunad conslantly. A warmup is importanl lo prapara for lha coordinalion and

slranglh you'lI damand from lha body when you sing.

Evary lima you sing you should warm up lo soma dagraa. Kaap in mind

your larynx doasn'l cara if it's rahaarsal or a show; lha amounl of slrass is lha

sarna. A warm up simply maans making a Iransition from vocalizing lo singing, or

from focusing on form lo sound. Whan you Ihink aboul il, you automalically warm

up whan you slart singing. As lha muscles loosan up you faal mora in conlrol, bul

if you Iry lo push bafora you'ra ready avery action will be over

compensaled and you'lI losa louch.

My answar lo lhe quaslion, "How long should I warm up?", is

always, "Unlil you'ra ready." lhera can never be a sal rouline

because you naver know whal is going lo ba lroubting your voice.

lhe shortar lha parformance, lhe longer your warm up should ba,

and vise varsa. If you'ra going lo sing a Ihree song audilion, you

should spend anough lime so you'ra in paak form from lha slart. In

a Ihrea hour seI, you can conlinue lo fine lu na yourself on slaga.

lhe following sleps will give you guide tines lo follow. lhe

outtina will keep you from gelling ahead of yourself. If you Iry lo

sound good 100 quickJy, you'lI ove~ook Ihings Ihal will bolher you

laler. Always follow Ihese sleps in order.

154


STEP ONE

Always begin by releasing your breath. This can be done without singing by

stretching and doing some light aerobic exercises. Oon't lose your breath ; just get it

started. A great way to start is hanging Irom a chin-up bar. This stretches ali the

muscles down your side and allows the ribs to expando It also releases tension in

the abdomen so the diaphragm is Iree to move. Any 01 the breathing exercises in

this book will work well here, or substitute with anything you've lound improves your

breath capacity. Since this is the non-vocal portion 01 the warm up it can be done

anywhere and no one will know.

STEP TWO

Now it's time to see what shape your voice is in. Most times it's no surprise,

since vou know what you've been doing with it lately. Begin very easy and choose

something very simple to vocalize. A scale on the "AH" vowel in your middle range

or one 01 the lirst exercises in the Exercises lor Strength and Flexibility (page 140)

is ali vou need. Remember, do not be concerned with the sound at this point, just

how it leels. Ask yoursell questions about the reactions 01 the muscles. Does it

leel Iree or stift? Is your tongue tensing up? Is the larynx high in your throat? II

Vou are having trouble letting go, chances are your body is too stift and vou should

go back to Step One. As things begin to loosen up, increase the degree 01 difticulty

01 the exercise. Test the boundaries 01 your range and volume without pushing lor

i1. You're ready to move on when 1here is little eftort needed to vocalize through

your entire range. Oepending on your condition, this step can take Irom live

minutes to a couple 01 hours.

STEP THREE

Here's where Vou begin to sing. As Vou sing an exercise, ask questions

about the sound and your ability to control i1. Does it sound like vou? Is there an

extra eftort needed? How is your control 01 pitch? Any troubles with these topics

means you've rushed step two and it would be worth going back, even il your

155 Wanning Up mui Down

TIu Rocle f n' Roll Singers Survival Manual

pressed for time. If Vou feel goOO, switeh from exereises to songs. Does this

cause any new problems? If 50, explore what could be wrong by taking the song

apart. 15 it the range, the vowels, or the consonants? Expenment by substituting

different vowels and ehanging the melOOy. Vou can make a mini-exercise out of a

pieee of a song and foeus on your form again. If there are other singers in the

band, vou should work on the harmonies at this point. 1 a1ways think it's smart lo

end your warmup before a show by singing a song wilh lhe band members before

Vou go on stage.

Short euts in lhe order of these steps will delay lhe processo lf anything,

spend more lime with Steps One and lwo. Onee you're pertorming, the last thing

Vou want to do is worry about your breathing or formo Singing is more demanding

Ihan speeeh. So there are going to be some ehanges thal occur when going from

one to the other. Whelher Vou work them out as Vou sing or before, you're still

going Ihrough a warmup penod. So why not spare yourself the unwanted surprises

and handle things before they beco me your repulation?

END

WARMING-DOWN

Warming-down after singing is important for the long lerm heallh

of your voiee. Anyone can sing onee a month, lose Iheir voiee and

it will retum eventually. lhis is not the case if you're using your

voiee even a couple times a week, even if it's just rehearsals. lhe

stress built up from singing will linger for days and start to

eompound itself eaeh time Vou sing. lhe reality is that your range

will shnnk and your flexibility will be lost. Keep pushing lhe

situation, and permanent damage will occur (see: How Do Vou Lose

Vour Voiee? page 126).

lhe goal of a warm-down is to retum lhe voiee to normal. A

good gauge is your speeeh, whieh should be un-restncted and

156

clear. lhink oI a maralhon runner

walking after lhe race lo prevenI his

legs Irom cramping up. Like any olher

part oI your body, going Irom


'Warming-down after singing is importam lor lhe wng tenn health 01 your voice.'

maximum oulpul lo a dead SIOp shocks lhe vocal lolds.

After a show or rehearsal keep singing backslage and slowly reduce lhe

inlensity. This should only lasl a couple oI minules. Ask yoursell queslions aboul

lhe sound. Is il raspy or brealhy? Is lhe range reduced? Does il hurt lo sing? II

Ihis is your condilion, vou should vocalize aI lhe lowesl volume vou can produce.

Begin wilh smaJl scales on wilh an "EE" vowel slarting Irom your head vOice, and

work il down. Don'l lorce your voice lo clear up, lhe vocal lolds are usually swollen

and don'l need any extra pressure. lhe genlle massage oI some soft scales will

help lo align and reduce lhe size oI lhe lolds.

11 vou don'l deal wilh a blown oUl condilion il will nol go away ovemighl, bul

will probably gel worse. lhe swelling and lension has no encouragemenl lo release

when Vou lay sleeping. Vou need lo slrelch your body as in Slep One oI lhe

warmup belore vou go lo bed. A hol shower will aJso help. lhe poinl lo remember

is, whelher Vou handle il now or laler, Vou have lo warm-down lhe muscles belore

Vou can warm Ihem up again lo sing. lhe longer vou wail, lhe more slubbom lhe

lension becomes.

When Vou wake up after a nighl oI singing hard, vou may nolice a layer oI

mucus coaling your larynx. lhis is a prolective layer lhe body placed over lhe lolds

in reaction lo lhe shock oI singing. A gargle oI warm sally waler is lhe besl way lo

remove it. Like warming-up, Ihere is never a seI rouline lor warming-down. II your

speaJking voice is OK after singing, chances are Ihal no warm down is needed.

lhis is a good sign Ihal lhe kind oI singing you're doing isn'l 100 damaging.

Somelimes lhe condilion has nolhing lo do wilh lhe way vou sing, bUl wilh lhe party

afterwards.

157 Warming Up alld Down

Ali Aboul Your lnstrumenl

ALL ABOUT YOUR INSTRUMENT llP SHEET

1. TRUE VOCAL CONTROl IS THE ABILlTY TO SING ANY NOTE ON ANY

VOWEl. AT ANY VOLUME.

2. PITCH IS OETERMINEO BY THE TENSION OF THE VOCAL FOlOS.

3. OON'T LlFT THE LARYNX FOR HIGHER PITCHES.

4. VOLUME IS INCREASEO WHEN THE FOlOS THICKEN.

5. REGISTERS ARE A PHYSICAl FACT. BREAKS ARE NOT.

6. OON'T SHAPE VOWElS WITH YOUR FACIAL MUSClES.

7. RESONANCE IS ENHANCEO WHEN THE THROAT IS RELAXEO.

8. THERE IS NO SUCH THING AS A NATURAllY RASPY VOICE.

9. VOCAL EXERCISES BUllO A BETIER INSTRUMENT.

10. AlWAYS WARM UP BEFORE VOU SING. ANO WARM-OOWN AFTER.

158

ALL ABOUT

VOURSELF

AU Aboul Yourself

WHO ARE VOU? (Emotion verses Technique)

This section will explore the eflects that thoughts and emotions have on your

voice. As a singer, you adventure into the hearts 01 the listeners, giving lorm to

what they deeply leel but cannot expresso How can you prevent the intensity 01 the

leeling Irom interfering with the vocal instnument?

Belore the listener understands the Iyric, he reacts to the singe~s voice on a

subconscious leveI. Based on the sound alone, he instantly decides whether to shut

it out ar open up and let it in. The emotional content 01 the voice communicates

more than the Iyric. This is why we know when someone is depressed, excited,

angry, conlused, alraid ar in lave

without them saying so. These

sounds trigger sympathetic leelings in

us, to which we either block out ar

respondo

'Be/ore the listener understands the lyric, he reacts to the singer's voice on a subconscious levei.'

Il we sympathize with a singer, we drop our guard emotionally, and his words

reach deep inside. A voice that annoys is quickly lorgotten. Remember no voice

will please everyone. There's no way a singer can lorce his way into the hearts 01

his listeners, that's their private choice. The most you can do is be yoursell (see:

Mind Games, page 165).

I don't have a single lavorite singer. I leel any singer, ar person lar that

matter, who has lound himsell is great. lhe music business however, is based on

popularity. And the singer who wears the crown is the one who captures the hearts

01 the masses. As a singer gains popularity, a momentum 01 acceptance builds.

Familiarity causes listeners to lower their guardo

Over the years I've noticed there are two types 01 singers that draw the

largest number 01 listeners. Although they have opposite approaches to singing,

161 Who Are You?

TIu Roc/c. 'n' Roll Singer's Surviyal Manual

both types are equally talented and deserving 01 the lame. I oller the comparisons

here to acknowledge both as legitimate vocal styles. Neither is more dillicult than

the other, they just place a dillerent set 01 demands on the vocalist.

EMOnONAL SINGERS

Singers in this category are exactly what the term implies. They're the ones

who have very little technique, but make up lor it in the passion department. They

sing Irom the amotion and il that causes vocal problems, it only adds to their

believability. lhe listener overlooks the bad notes and choked sounds because he

empathizes with the singer.

Obviously, they need songs that warrant them spilling their guts out and

usually they write their own material. Regardless 01 the theme, the attraction

becomes the emotional struggle 01 the singer. It can be as exciting as an athlete

trying to surpass his own recordo

11 vou are not someone who can easily express emotion, don't lorce it.

There's no laking it. Your larynx has a sensitiva combination 01 conscious and un

conscious muscles that do not react well when thrown a curve. For a norrnally

introverted person, it is a shock to suddenly scream out your deepest leelings.

Howaver, il you're a bit 01 a loud mouth and like your opinions to be known, singing

this way leels like business as usual.

However, I know plenty 01 emotional singers who are quiet and reserved 011

stage. Pel~orrning becomes an alter ego lor them, a way to express something they

are not able to express in daily lile. Their ability to testify on stage is the result 01 a

driving internai desire which naeds to be released. 11 you're the quiet type but leel

the monster inside, be patient and give yoursell time to grow. Sing live as much as

possible, lor the opportunity to get in touch with yoursell while on stage. It takes

just as much time to develop an emotional style 01 singing as a technical one.

162

AU Aboul Yourself

TECHNICAL SINGERS

The litle oI Ihis calegory doesn'l mean slerile or lileless. These singers use

emolional sounds which lrigger leelings in lhe listener. They have lhe flexibilily and

physical conlrol lO produce whalever sound is needed wilhout actually experiencing

lhe emolion ilsell. These are lhe singers wilh lhe beautilul voices and greal ranges.

Technical singers attract listeners who appreciate control. This usually includes

mature listeners who no longer care to relate 10 the more spontaneous approach oI

an emotional singer. On the other hand, technical singers lurn ofl emolional lans

because they leel the singer is hiding behind a skill.

11 you have discipline and strength, wilh a mind Ihal selects the proper

physical responses rather Ihan letting emolions take over, Ihen you are a lechnical

singer. H lakes years lo develop lhe body to be a responsive inslrumenl, and then

years to leam how to play it.

BOTH SINGERS GIVE 100 %

Whichever style best lits your personality, both Iypes oI singers have the

same goal in mind, to be 100%. Neilher singer can do lhe job righl while

daydreaming about something else. Emolional singers must lind a way 10 expose

their leelings each time they sing and stay present wilh Ihem, maintaining the

inlensity. The lechnical singer locuses on the sensalion oI singing, constantly line

tuning lhe balance Ihal gives the most control.

WHO'S ON TOP?

50 + 50 = 100

11 you leel you straddle lhe line between the two types you are in the majority

oI singers. Many oI us express our emotions to a degree and then use technical

skills lo lill lhe remaining void. Singers combining styles have lhe same

responsibilily lo reach Ihal 100% locus. Your mind and body should be lully aware

and responsive. Whether you're technical or emolional, or a combination oI bOlh,

your response to lhe song must be total.

163 Who Are You?

The Roc1e 'n' RoU Singers Survival Manual

'Singers combining styles have the same responsibility to reach that 100% focus.'

However, I've noliced Ihal over lhe years, lhe singers who are dislinctly one

or lhe olher become lhe mosl acclaimed. lhe number of emolional versus lechnical

singers winning awards and selllng millions of albums is evenly divided each year.

lhe public seems lo favor lhe singer who makes a commilmenl lo one or lhe olher.

Success involves making choices.

I should reinforce a poinl here Ihal if popularily is your only goal, you'lI be in

for lhe lei down of a lifelime. Public opinion moves in unpredictable waves.

Famous people who lake credil for Iheir rise lO lhe 10p never seem lo assume

responsibility for lhe descen!. 11 you look ai singing as a personal challenge and

lake il lo your limil, you can'l lose. If you become popular in lhe process, Ihal's ali

lhe beller (see: Build Vour Own Mounlain, page 168).

164

All Aboul Yourself

MINO GAMES (Who are you talking to when you talk to yourself?)

Do you ever wonder about the little voiee in YOur head? What little voiee?

The one that's reading these words to you. Better yet, who is that voiee talking to?

The statements your little voiee makes and the way you respond to them determine

the direction of your life. While we can't shut off the ehatter, there's no rule that

says you have to obey it.

We ali operate on two mental leveis, eonseious and subconscious. The little

voiee in your head is your eonscious mind, speaking to your subconseious.

Managing the relationship batween these two mental states is the key to building

self-esteem whieh is the foundation of a good voiee.

THE BLlND PERSON INSIDE VOU

Your subconseious is like a blind person living inside you. He controls ali

your involuntary muscle reactions, sueh as your heartbeat, breathing and digestion.

However, his pereeption of the world is based entirely on the messages frem your

little voiee. If you let it, your little voiee (eonseious mind) will govern ali your

involuntary body functions.

If you think that you're in danger, whether it's true or not, your sub-conseious

will respond in defense. Your heart beats faster to spread adrenaline threugh your

body and as a result your breathing becomes rapid and shallow. Your digestive

system shuts down, whieh dries your mouth and throat instantly, and the blood is

ehanneled away from the skin surfaee making you look pale. This is called the fight

or flight mode and it can be triggered by something as threatening as a man

pointing a gun at you, or as imaginary as fearing your nex! performance (see: Rx

for Stagefright, page 179).

Sinee the subconseious is bl ind and relies on the conseious mind for

information, it does not have the abil ity to separate fact from fiction. It's up to your

165 Mind Carnes

The Rock 'n' RoU Singer'. Survival Manual

eonscious mind to tell ij straight. The cobweb of deceptions whieh influenee your

opinion 01 the wo~d is extremely complex. To gain some contrai, lat's keep things

simple and go baek to the point where the relationship between conscious and sub

conseious bagan.

When you were an inlant and unable to talk, you experieneed leelings but did

not rationalize anything. At this stage, everything was run by unconscious instincts.

11 you were hungry, you eried until led. Soon you developed the skill lar language,

and communication bagan, both with the intemal and externai wo~d.

Survival is our numbar one priority, and as an inlant your little voiee was busy

trying to ligure out how to lit in wilh this new wo~d. Quiekly you learned whieh

behavior brought attention and whieh would be lollowed by punishment. Vou

developed opinions about yoursell and bagan building a sell image, based on a very

limiled view 01 your wo~d.

The logie was simple; whatever ereated attenlion insured your survival. If

being bad caused those around you to take notiee, then your mind constantly looked

lar trouble. Remember, in the quest to find a way to fit in with those around you ,

praise isn't neeessarily what you're looking lar, only attention. Have you ever

notieed you're not the same person to everyone? Vou might feel like a great singer

around eertain people and be quiet around others. It's ali part of the mind's attempt

to make you fit in.

VOU ARE NOT VOUR VOICE

Vou're old enough now to blow the whistle on this kind of thinking. People

can ehange. Vou see people ali the time that haven't adjusted Iheir mind to the

present tense. For instance, plenty of people feel they could never sing.

Somewhere in their past they musl have been embarrassed ar told they had a

funny voiee. From that moment on, their mind refused to let their bc.Jy make an

honest attempt to sing again.

Vou see, the little voiee in your head is not always speaking in your bast

166

AU About Yourself

interesl. Most 01 the time that little voice is stuck in past experiences and learing

unreal con5equences. Uving out 01 a lear 01 the past is like driving a car with both

your hands on the rear view mirrar. It's not a great set-up lar lorward movemenl.

Now is the time to get your hands on the steering wheel and direct your lile in the

direction Vou want to be heading. 11 Vou always thought 01 yoursell as an average

singer, start becoming a great one.

Betraying your conscious voice will terrify vou sometimes. I remember a

while ago, when I auditioned to be a backup singer lar one 01 Billy Joel's tours.

Deep inside me I knew I was qualified, but that voice in my head was screaming at

me "don't go". Ali the way there it was questioning my ability and saying this kind

01 break never happens to me. Regardless 01 what it said, I was determined not to

let that voice nun my lile any longer.

When I got to the audition my body was already reacting to that little voice as

il I were preparing to lace a firing squad. There wasn't a drop 01 moisture in my

mouth and my body was stift as a board. Everything seemed like it was in slow

motion. Needless to say, I sang terribly. When I heard my voice ali I wanted to do

was leave. My mind had sabotaged my ability to sing . Ali the way home I lelt

numb and that voice kept saying, "I told Vou 50." For a while I continued to throw

mysell in situations that lorced me to grow, trying to short-circuit that old beliel that I

couldn't sing. I had worked a long time on my voice by then, but my mind relused

to accept the new me. In time, the physical reactions became small enough that I

could calm them with a vocal exercise.

These days I'm teaching singers in that "super star" category. My little voice

has linally acknowledged my physical abilities, and I will continue to place mysell in

situations that challenge my ability, regardless 01 my lears. These days I reluse to

allow my little voice to dictate my actions. I can't say that lile is always comlortable

now, but it sure is lively.

167 Mind Games


RESISTlNG SUCCESS

Queslion: Who's your biggesl compelilion?

Answer: Vou.

Ever wonder why you leel like you're never gaining any ground in your quesl

lor slardom? Maybe you've always held lhe wrong enemy in your scopes. Take a

slep back Irom lhe batlle field and look ai lhe silualion from a new angle.

I end up spending a 101 01 lesson lime lalking aboul careers. Success vs.

lailure is a universal source of fruslralion and will often undermine your abilily lo

sing. If lhe band is doing well lhe singer will feel powerful; lhe Irouble occurs when

lhe band or career is nol exactly headline news. Il can make you feel helpless if

you Iry lo play il by lhe rules, because Ihere are no rules. If you feel you're nol

getling lhe recognilion you deserve and wonder if you're jusl wasling lime, read Ihis

nexl section and Ihen lape il on your refngeralor door.

BUILD YOUR OWN MOUNTAIN

I often make lhe companson of shaping a career lo building a mounlain. 11

you are smart enough lo make lhe nghl moves, you'lI always slay on lop. Il slarts

as a small hill when you're a beginner and slill developing. When your lalenl

improves lhe hill grows, becoming a mounlain lifting you higher wilh conlidence. It"s

heallhy lo Ihink Ihis way because regardless of abilily, you're always on lop and

Ihere's no limil lo lhe heighl of your mounlain.

Vour only compelilion is wilhin yourself. Are you lhe besl you can be? Thal

queslion can be asked every lime you sing no matler how successful you beco me.

It"s important lo undersland and know Ihal Ihere is plenly of room ai lhe lop. The

botlom is where il is crowded wilh artisls who haven'l lound Ihemselves yet.

A common pilfall is Irying lo be king of someone else's mounlain. Il's

lempling because you can'l help bul Ihink you could do whal Ihey do, only betler.

As soon as a singer becomes a slar, everyone analyzes lhe qualilies Ihal made him

168

AU Aboul Yourself

popular. When you compare every suceess story, there's only one common

denominator that's worth remembering. Each person did things their own way, and

developed personal traits that later became trademarks. The only formula is to

invent your own.

When a star is hot, everything he says and does seems to intensify his fire.

The way he sings, moves, his songwriting style, aceent and beliefs ali become part

of the mountain he's sitting atop. These are things he has done ali his life,

therefore it comes naturally to him. The only time these traits became assets was

after popularity hit. The odds of manufacturing a personality and having it bring you

stardom are slight. Honesty has the most power.

If you imitate a popular star for the sake of making it big, you're missing two

important facts. The first is the physical difterence between singers. Vou were bom

with a certain size and shape to your 'When yOU. compare livery success story... each person did things their own way.'

larynx and throat. Vou may have to

work twice as hard to produce a sound

that comes naturally to someone else.

The other missed opportunity is failing to see the value in the things you have to

ofter. There is no telling what will excite the public. Vour identity is automatically

unique. Vou're one of a kind, don't discredit yourself so quickly.

Sometimes the best way to find out what you have to give is by

acknowledging what you don't have (see: Who Are Vou?, page 161). Just

remember as you make a list of things you haven't got that nobody has it alI. Vou

should be looking for strong points that you can enhance. Great singers only let

you see what they do well.

Another good idea is to start working out. As your physical ability grows,

you'lI feel more confident to free your inner self. With most singers this happens

automatically. Vou join a band to leam your craft. In the end you and the band

grow together, or you decide this is not the right situation for you. Six bands late r,

169 Resisdng Success

TIu Rock In' Roll Singers Survival Manual

by process 01 eliminalion, you eilher lind your dream band or die 01 lruslralion.

In order lo keep growing in lhe Mghl direction, you should sei up check poinls

along lhe way. Every six monlhs you should ask yoursell what's going on in your

lile. I know Ihis sounds lunny bul you'd be surpMsed how many people cannol

explain why Ihey're doing what Ihey're doing when Ihey're doing ill Goals, bolh long

and short lerm, are vilal. Vou can gel in a car and dMve as lasl as you wanl, bul il

doesn'l mean anything unlil you know where you're headed. Lols 01 musicians

appear lo be doing ali lhe righl Ihings, but somewhere along lhe line Ihey lorgol

why Ihey were doing it.

WHAT 15 A REAL GOAL?

When I ask a singer whal Iheir goals are I olten hear Iheir dreams. Don'l gel

me wrong; I've gol lo be one 01 lhe biggesl dreamers in lhe world. There's nolhing

wrong wilh dreaming; Ihat's where your goais come Irem. The difference is, goals

are lhe "how" and dreams are lhe "where".

Vou'lI leel more momenlum in your pursuil 01 a dream il you sei up a series

01 real goals. A real goal is jusI anolher name lor a short lerm goal. I like using

real because il makes me keep Ihese smaller sleps reachable. Having a record

deal is nol a real goal il you have never sung belore; il's a dream. However, alter

putting a band logelher, wMling maleMal and recording demos, having a record deal

is nol a dream. This is a real goal.

This book was a dream 01 mine lor about a year belore I did anything aboul

it. I would Ihink and Ialk aboul il, bul Ihal wasn'l enough alter a while. To gel

Ihings moving I had lo sei some goals. My dream was lo have a book, nol lo wMle

one. II never occurred lo me in Ihal I wasn'l a wMler: Ihal Ihoughl came lhe

momenl alter I sal down and slarted Iyping. I olten gol lruslraled and wanled lo

scrap lhe idea, so I sei my sighls on smaller goals, such as compleling a drawing

or wMling a small section, lo make me leel Ihal I was making progresso

170

AU Aboul Yourself

HOW'S YOUR VISION?

Can you close your eyes and see yoursell singing stronger six months Irom

now? Can you describa how it leels to sing so powerfully and how you built this

capacity? When you set up a string 01 real goals lor yoursell you establish a

direction, Often tuming a dream into a goal requires you to do things you've never

done balore. This is where your ability to visualize pays oft.

Even the most conservative people these days accept visualization as an

important part 01 accomplishing goals. It prepares you lor the moment things

actually happen. Athletes will visualize their performance belore a game, business

men do it belore negotiations and musicians will see themselves playing betler.

Vou probably do it ali the time without realizing it. Don't you ever close your eyes

and picture yoursell singing everything perfectly?

This is not empty lantasizing. When done constructively you can use your

imagination to see into the luture. It gives your muscles a chance to get a sneak

preview 01 what will ba expected 01 them. It also starts programming your sub

conscious to start thinking 01 yoursell as a betler singer, which is a very important

step.

It takes practice to visualize. A lot 01 people meditate when they do it but it's

not important what you call it. Vou need to develop your concentration, close your

eyes and locus on a specilic vocal issue. Picture yoursell singing a song that has

been giving you trouble lately. Allow the song to be trouble Iree in your mind and

watch yoursell singing it over and over. Later, when you actually sing the song,

your body and mind will leel as il they've done it balore and try to emulate what

you have visualized.

Remember to take things in small steps. Vou can dream about baing a

superstar but should visualize about tomorrow's recording session. Start with small,

reasonable visions so you can realize them quickly. Building the skill 01 visualization

will greatly accelerate the development in your voice.

t7t Resisting Success

TIu Rock 'n' Roll Singers Survival Manual

PREPARATION + OPPORTUNITY ~ SUCCESS

1 can'l remember how many limes I've read Ihis slalemenl before 1

underslood il complelely. When 1 was young 1 Ihoughl I was ready and soughl oul

every opportunily. The older 1 gol, lhe more I was dissalisfied wilh my abilily so I

was conslanlly working. Now I see lhe need for lhe two lO be in balance. Vou can

be lhe grealesl singer in lhe world but if you never leave your house, no one will

ever know. And, you can have every conlact available and slill gel nowhere

because you're nol ready.

Vou need lo feed bolh sides equally lo build success. Some people begin

Iheir careers by learning lo sing firsl , while olhers learned lo sing after lhe

oppcrtunily was apparent. Eilher way you'lI need lo leap frog between lhe Iwo in

order to advance. One Ihing's for sure, lhe only opportunilies Ihal will make a

difference are the ones you are prepared for.

My favorite slory on this subject is about a former studenl of mine. He was

a keyboard player in a small local band, stnuggling to gel club gigs. He began to

take vocal lessons lo betler himself. One month he began to upgrade his

equipmenl to concert quality. When 1 asked him why, he said he didn't know, but

he wanted to be ready for anything. One month later a huge national band held

auditions for a keyboard playerlsinger to lake on a world lour. He was the second

person they saw and they selected him on the spot. When he asked why he was

chosen, they said because both your voice and your equipment are ready lo go.

Within a span of two months 1 watched him rise from playing in gloomy clubs for 20

people to a 30,000 seat arena.

'One Ihing's for sure, 'Ihe only opportunities Ihol will moke o difference are lhe ones you are prepared for.'

172

AU Aboul Yourself

FEELlNGS

Feelings -- can't live with them, can't sing without them. This one element

can make you a dynamie singer or tie you into a bali 01 knots. Nothing eonnects

quieker with a listener than the emotion 01 a sound. They may not know how to

sing, but they sure can relate to a leeling. Just as a great guitar player wili draw

respect Irom other guitarists, we respect great singers because we ali have a voiee.

The way you express yoursell in a song is what separates the teehnical Irom

emotional singers (see: Who Are Vou, page 161). No malter whieh category you lit

into, it's important that you understand emotions affect you physicaliy. What you

want the larynx to do vocaliy may be overrun by emotional signals, whieh makes the

larynx react in a non-vocal rellex.

A leeling is a trained response 01 the conseious mind. Inlants don't leel

guilty, can't understand eompassion, and their lear is only based on an immediate

threat. As you develop a sense 01 sell you also develop an emotional baremeter.

That's the reason why no two people react the same in identical situations. Vour

leelings are based on your pereeption 01 an event and ean run Irem the mild to the

absurdo This is ali up to you.

Vour subconseious believes everything the eonseious mind says (see: Mind

Games, page 165). 11 your mind thinks you should be sad, then the subconseious

obeys and alters your posture and restricts your breathing. 1I the mind is exeited,

your pulse raees and breathing is quiek and shaliow. Depending on the leelings

you're experiencing, this could interfere a great deal with your voiee.

The teehnical singer will avoid this trap by not actualiy experieneing the

leeling, but by ereating tones in his voiee that express the sound 01 the emotion.

The emotional singer finds more power in the struggle with the physieal reactions,

no malter what it does to his voiee.

173 Feelings

The Rock ',.' RoU Singer's SurviJlal Manual

SOME ACTORS EXPERIENCE THE EMOTION, SOME DON'T

II vou aren't the kind 01 person who can be open about your leelings, Vou

should train to become a technical singer. Once developed, your voice will be able

to express things in song Vou have never been able to say. It will be extremely

gratifying. A Iistener will be totally convinced that vou are leeling the emotions

you're projecting. This is what most actors train to do. This is not laking it; it's the

art 01 the craft.

For those 01 vou who would not leel satisfied unless the real vou was allowed

to surface, you'd better unzip the armor around Vou and get ready to expose your

emotions. When left unprotected, every little lacet 01 leeling will be translerred into

sound. The muscles in the larynx and vocal tract have the highest concentration 01

emotionally coded responses. This is the reason vou know someone's not telling

the truth, or is depressed, or is sincere about what they're saying. It's diflicult to

prevent what you're thinking Irom coming out in the sound 01 your voice. The

hardest job lor an emotional singer is to stay in the leeling. II Vou drift away Irom

your thought, Vou will no longe r convey the emotion.

These types 01 vocalist are more likely to damage their voices because the

emotion and singing vie lor control 01 the same muscles. II you're singing a high

note, technically the larynx should be Iree and deep in the throat, with the lolds

thinned down. However, the passion 01 your delivery will tense the throat and upper

body, making the larynx ride high and lorcing the lolds to thicken under too much

pressure.

The problem I see with most singers is that they're not expressing the leeling,

but the block. Can vou get angry, or do Vou get tight? Do vou tell people exactly

how vou leel about them, or do vou tell their lriends? Many 01 us have buried our

real leelings so lar under that ali that we're left with is the block. Trying to project a

block is Iike driving a car with the gas and the break pedais both jammed to the

floor. Vou work real hard and go absolutely nowhere.

174

AU About Yourself

GIVE IT A WHOLE LOTTA NOTHING

The mosl vou can possibly do lar lhe emolion in your voice is nOlhing aI alI.

The real Vou is in Ihere somewhere and anything Vou consciously do lo act oul a

leeling will nol be aulhenlic. No matter how unexciling your nalural response lo an

emolion mighl be, it's real, and Ihere's a 101 01 power in lha!.

It's lempling lo wanl lo be dramalic about everything vou sing. Vou know,

every pilch is as high as Vou can scream, lorehead and lisls clenched in

delerminalion and lhe chesl heaving high lo pus h lhe air as il it's your very lasl

brealh. When vou Ihink aboul il, lile has some 01 Ihose momenls and a "whole

lotta nolhing" in belween.

The besl emolional singers unleash Iheir passion only lo deliver lhe knock oul

punch. They bail vou wilh a calm in lhe verse Ihal allows Vou lo open up, and jusl

as il Ihey Ihoughl lhe neX! line Ihal very momenl, Ihey explode in lhe chonus and il

calches Vou 011 guardo It's more like lhe up and down flow 01 a real lile

conversalion. Il someone is shouling aI vou ali lhe lime, Vou never hear a word

Ihey say.

CONTROLLlNG YOUR FEELlNGS

The way we experience an emolion is a major part 01 our personalily. Way

back when Vou weré learning Ihal Vou should leel glad ar sad aboul somelhing, vou

also slarted lorming an opinion abaul how much Vou would react. Some people

jump up lar joy when lhe smallesl Ihing goes righl, when olhers simply raise an

eyebrow when Ihey learn Ihey've won a million dollars.

No one can make Vou leel anything; Ihal's your choice. It's very common lo

blame someone ar a silualion lar making vou leel lhe way Vou do, when in lact, il

was your choice lo react Ihal way. This realizalion is a powerlul 1001 lar living.

When Vou acknowledge Ihis lact, your actions will nol be guided by leelings any

longe r, ar avoiding leelings.

I don'l mean vou shouldn'l leel anything anymore, jusl don'l leI leelings

175 Feelings

The Rocle 'n' RoU Singers Survi .. al Manual

dictate your actions. They should not be a lactor in a decision, because leelings

are triggered by your perception, not by a reality.

Smells, sounds, dates on the calendar, certain words or the tone in a voice

are ali candidates lor stirring an emotion. lhe ,problem is, the leeling is based on

the past. Something happens to you, the sensations you experience at that moment

(smells, sounds, etc.) are also recorded in your memory along with the leeling.

From then on, anytime you come across a similar sensation you'lI re-experience the

leeling.

A common example is being yelled at. When you were two years old, you

probably did something bad and your parents yelled at you. lhey said you were

bad and should leel sorry lor what you did and kept on it until you cried. (parents

don't usually leel they've made their point until they see tears.) Now you're 21 and

maybe they can't make you cry anymore, but you can't deny leeling like a two year

old il one 01 them yells at you. lhat leeling is triggered by the sound 01 their voice.

lhe crime is when a leeling stops you Irom doing something that, in reality,

would cause no harm. lhe risk 01 leeling embarrassed, silly, lonely, alraid or

incompetent is no reason lor not doing something, especially singing (see: Rx For

Stagelright, page 179).

What you do and the leelings you have are separate experiences. lo

illustrate my paint, look at the wheels 01 chance in Diagram #50. Imagine they're a

game 01 chance on the board walk. Give each one a spin. Where the first pointer

stops is what you're doing. lhe spin 01 the second wheel will determine what you

will leel while doing it. Alter 20 years 01 experiences built up inside you (connecting

leelings with situations), I think it's sale to say your emotions are triggered by the

spin 01 a wheel.

176

AU Aboul Yourself

YOU ARE. Ar ... ANO FE.E.L ...

A Parry Ali Audilioll Sad

Drivillg a Cor Stogt Lo.dy

Band Re~arsa1 Home

TM Srudio Doring

r OiU' Surroundillgs Your Fedings

iagram 50 - Whal You F •• I Has Nolhing lo do wilh Wlure You Are.

As you can see, you can end up with some pretty lousy combinations by

spinning both wheels. You're in the studio and feel afraid, or you're in a grocery

store and feeling like you could sing ali night. The worst thing you can do to

yourself is make this random spin of feelings mean something. If you connect the

feeling to a place, the feeling remains. Remember, this is your choice.

Tell yourself lhe feeling doesn'l relate lo where you are, and you can move

on to the neX! emotion in no time. If you were recently embarrassed or humiliated

singing on stage or in lhe studio, you should return to lhe scene of lhe crime aI

once. If you spin the wheel agaln , chances are good somelhing different wi ll

happen and prove the old saying, "shit happens".

177 Feelings

TIu! Rock In' Roll Singer's Su",illal Manual

Prolessionals don'l have any lewer bad days Ihan Vou, only smaller reactions

lo Ihem, When vou slop Irying lo sing perfectly ali lhe lime, you'lI slop locusing on

your mislakes and be a beller singer lor it.

RIDE THE EMOTIONAL ROLLER COASTER

Once Vou release lhe connection 01 an emolion, Vou give yoursell permission

lo leel more and Ihis will aulomalically show up in your singing. Jusl be prepared

lor lhe law 01 every roller coasler ode; Ihal is, how high Vou go up is how lasl vou

come down.

Emolions will swing like a pendulum. II you're very happy one day, sooner or

laler you're bound lo leel sad. The amounl 01 happiness will delermine how much

sadness. As long as Vou realize no emolion is permanenl, vou are on your way lo

lhe nex! one in no lime. Trying lo hold on lo lhe good ones Ihough, will only lead

lo disappoinlment.

Fttl Good

FuI Bad

iagram 51 - RUle IM EmolioMl Rol/., Coasur.

178

AU Aboul Yourself

Rx FOR STAGEFRIGHT

II you've ever been overwhelmed about lhe Ihoughl 01 baring il ali in Ironl 01

an audience - lake heart, you're in good company. Whelher Ihey admil il or nol,

every pertormer has dea~ wilh slagelrighl aI one lime or anolher. However, lhe

important dilference belween lhe pros and everyone else is Ihal lhe lear did nol

slop Ihem lrom pertorming. lhe knowledge Ihal vou can do somelhing regardless

01 how Vou leel is your besl weapon againsl slagelrighl (see Feelings, page 173).

ATTACK lHE PHYSICAL SIOE FIRSl

lhe lear 01 pertorming may begin in your mind, bul lhe physical reactions are

whal cause lhe problems. Remember, vou can attack an anxiely eilher physically or

menlally; I leel il's easier lo work wilh your body, lhe physical.

When vou leel lhe firsl signs 01 panic, head immedialely lor your warmup

rouline, brealhing exercises or non-vocal work out. Gel your body busy belore il

has a chance lo react lo your Ihoughls. lrying lo Ihink Ihings oul will only allow

your body lo lense belore vou sing. It's counler-productive lO Iry lo slay calm, 50

use your nervous energy lo your advanlage.

Any exercise menlioned in Ihis book will do lhe job. Focus on your physical

lorm ralher Ihan lhe sound 01 your voice. lhe poinl is lo dislract your muscles Irom

lhe anxiely. II vou rush lhe workoul, Vou will place more emphasis on your lear,

and lhe purpose 01 exercising will be los\. Brealhing exercises will gel lo lhe heart

01 lhe malter lhe quickest. lhe firsl area alfected when panic slrikes is your brealh.

Oeliberalely reluming il lo a nalural slale will calm your mind.

FEAR OF THE UNKNOWN

On lhe menlal side, lhe anxiety buill over an upcoming pertormance is based

on a lear 01 lhe unknown. Let's say Vou have an audilion lomorrow and Vou start

lo wonder aboul lhe oulcome, or Vou wonder how lhe crowd will react aI your lirsl

gig wilh lhe new bando Since lhe oulcome 01 any future evenl is unknown, your

179 Rx for Slagefrighl

The Rocle 'n' RoU Singers SurviJlal Manual

imaginalion lakes over. This is when your personalily Iype lakes over.

II you're an oplimisl, you'lI imagine lhe audilion 01 lhe gig being Iremendously

successful. However, lhe pessimisl will predict anything Irom small problems lO

calaslrophies and Ihen slart lo sweal aboul Ihem. Prelending lo be an oplimisl

when you're nol is useless. Vou can'l 1001 yourself. The only weapon a pessimisl

has againsl his imaginalion is lhe lrulh, olherwise known as currenl realily.

II you lind yoursell in lhe grips 01 sell-doubl, slart making slalemenls abcul

Ihings you know lo be absolulely lrue. Keep Ihem simple aI lirsl, begin wilh your

name, age, dale and lime 01 day. II may sound silly, bul I've seen people unable lo

recall how old Ihey were or what day il was while in a panic over an up-coming

audilion. These basic lacts help lo ground your mind lo lhe presen!. Once you're

Ihrough lhe easy slufl, slart making slalements abcuI whal you know lo be lrue

aboul yoursell. No opinions allowed - jusl lacts aboul how long you've been

singing, why you slarted and why you enjoy i!. Don'l lorgel Ihal you slarted singing

for the lun 01 it, so try to keep it that way.

FOeUS ON A GOAL

Once you've brought yoursell back to the here-and-now, set your sights on a

goal which would make the event a win. Don't give away your power by letting

others decide your success. Vou can't make people like your voice, so wishing lor

applause puts your lale in lhe hands 01 the audience. A more constructive goal

would be lo sing your best and then take steps to insure your success. I guarantee

Ihat when you achieve Ihis goal, you'lI hear the applause 01 your dreams.

Rehearsing, working oul and vocalizing are ali active steps which provide you

with confidence and control. H's important to act on things you have the power to

change and disregard the res!. Focusing on things beyond your conlrol makes you

powerless. The levei 01 anxiety you experience belore a show is db:errnined by

your concern lor unknown circumstances. Confidence only arrives wilh preparation.

180

AU Abou/ Yourself

PERFECT PITCH

Here il is - lhe subject Ihal mos! singers will look for in Ihis book. Did you

lum righl lo Ihis section lo fix your pitch problems? 11 you did, you'lI gel some

surprises. Every subject in Ihis book plays a role in your ability lo sing in lune.

Whal Ihis section will do is show you how Ihey relale and coordinale with lhe mind

(Ihat's why it's in lhe psycho-section).

CAN VOU HEAR PITCH?

Do you have a goOO "ear" for pitch? 11 you don'l, Ihere's nolhing lo worry

aboul. Singing in lune has nolhing lo do with your ears, bul a benefit of improving

your sense of pitch is a beller ability lo lislen. Ironically, people who always lislen

for pitch when Ihey sing lend lO have lhe mosl problems with il. 11 Ihis is confusing,

lei me clarify some lerms.

Some people have a difliculty creating a menlal image of a pitch. These

people don'l have a pitch problem - Ihey simply have no musical knowledge. This

means Iheir brain doesn'l know whal lo lell lhe larynx lo sing. People like Ihis say

Ihey have a tin ear or can'l hold a lune when Ihat's jusl nol lhe case. Music is

easy lo leam. I suggesl you lake some beginner lessons on piano or guitar lo

undersland whal lhe structure of music is ali aboul. Once you undersland a lillle

aboul music, you'lI connect with your voice quickly. On lhe olher hand, Ihere are

plenly of greal singers who have no formal musical Iraining. They rely on a musical

sense or instinct, bul lhe result is lhe same as for someone who has sludied. The

brain has lo be able lo make a decision and select lhe pitch you wanl lo sing,

whelher you hit it or nol.

WHAT IS PERFECT PITCH?

Pitch is a ballpark lerm. Whal we're really lalking aOOul here is Inlon811on,

which is lhe ability within ali inslrumenls lo make minule adjuslmenls so everyone's

pitch malches perlectly. People who have perfecl pltch have a elear menlal image

181 Per/ec/ Pi/ch

The Rock In' RoU Singer's Sunil'al ManUIÚ

of lhe nola and, bul nol always, a coordinaled larynx Ihal responds precisely.

They're nol usually happy campers in Ihis wo~d of compromisa. It's nol a

requiremenl Ihal someona has perfect pilch lo always sing in luna. Those of us nol

bom wilh lha gift can davelop our Ihinking and physical skills lo a levei called

relalive or learned pllch, and Ihat's ali you'lI ever need.

VOU CAN ONLY HEAR SOMETHING AFTER IT HAPPENS

Now wa'ra ai lhe poinl whera a singer knows whal he wanlS lo sing but his

voice isn'l behaving. I say Ihis silualion has nOlhing lo do wilh your ears because

ali lhe Ihings Ihal creala a pilch happen before it's sung. If you lislen lo your voice

for inlonalion problems, you'lI ba making adjuslments lo somelhing Ihal already

occurred. I know I'm Ialking about a splil secand, bul lhe lislener hears you

adjusling ai lhe same time you'ra doing il. This is lhe diHerence between conlrol

and no conlrol.

ARE VOU A SLlDER OR A FADER?

Lols of singers davelop habils of sliding up lo pilch. Every line begins with a

swoop from your lowesl nole. This is a lazy way of singing because you simply gel

on lhe pilch elevalor and gel oH when you Ihink it's right. When I point Ihis oul,

sludenls ailher speed up lhe slide or claim thal's Iheir slyle. Anolher Iype of

chealing is fading inlo parts, or humming il to yourself bafore singing il aloud.

The problem wilh bolh of Ihese silualions is they causa you lo be tolally

dependenl on your haaring and keep you from oblaining real vocal conlrol. It's like

putting lhe cart before tha horse, start singing and Ihan Ihink aboul pilCh. Vou gel

losl in a cycJa of raacting lo somalhing you jusl heard, which means you're nol

focusing on whal you're doing, which inevilably leads you lo react again.

This doesn'l mean you can sing in luna if you're deat. Vou need lo hear lhe

musico Whal's nol necessary is lo lislen lo your voice and lhe less yo .. depend on

lislening lo yourself lha more accurala you'lI be. Any singer Ihal perforrns live wilh

a band knows you can't hear lha monilors anyway, so Ihis will be welcome news.

182

AU Aboul Yourself

There's a more accurate sense that should be used for pitch control, one that

unfortunately goes unused.

FEEL THE PITCH

There are certai" distinct physical feelings that coincide with singing.

Developing your awareness of them is the best way to monitor yourself because

these feelings can tell you what's abaut to happen instead of what you've already

done. If you don't think you've ever felt yourself singing, don't worry - this

awareness can be learned. If you're listening to yourself, then you cannot be aware

of the feeling because the mind can't pay attention to everything at once. Vou r job

now is to recognize the things you feel when you sing and associate them with the

sounds you want to create. From then on when it feels right, you'lI know it sounds

right.

The first step is to learn abaut the parts of the larynx which control pitch in

the "Ali About Vour Instrument" section. Knowledge of these mechanical parts alone

isn't going to save you when you're getting that look from your guitar player because

you're flat again but it helps to understand the connection between what you're

feeling and what is actually happening inside.

The second and third areas to review are the breathing and posture sections.

As you develop your skills within these areas, you'lI notice a recurring feeling when

everything is aligned correctly. It's that light, floating feeling of balance I've been

talking about throughout this book. When the force of the compressed breath is

equally resisted by the folds, and your posture allows a flexibility in the body, your

pitch will be dead accurate every time.

USE A TAPE RECORDER

If you're not supposed to listen, then how will you ever know if you were on

pitch or not? Record yourself. When you sing just concentrate on how it feels. As

you listen back, recall the feeling you had while singing when something sounds

good. Re-creating that feeling is the surest way to develop an accurate voice.

163 Per/ecI Pilch

The Rock In' RoU Singers Survival Manual

Remember, correct pilch is lhe resull 01 an inlemal

balance, and any altempls 10 lune up wilhoul addressing lhe

inlernal environmenl will be shallow and lemporary. A wrong

nole is a symplom, nol lhe source 01 your problems. Your

Irame 01 mind should always be on how il leels lo sing. This

will alert vou lo any polenlial problems belore Ihey occur.

ALLOW THE PITCH TO HAPPEN

Vou need lo change lhe altilude Ihal vou have lo "hil" a

nole. 11 Vou aJways relale lo singing as making pilches

happen, Vou are misleading yourself. Actually, lhe job 01 a

vocalisl is lo allow lhe noles lo happen. A large part 01 lhe

work singers do lo Irain Iheir voices is learning lo release

muscles so noles can vibrale Ireely. In olher words, gel oul 01

your own way!

This is lhe same mind seI alhleles use lo excel in Iheir

sport. They leI lhe ball go in lhe basket, or lhe bal hil lhe

ball, or lhe legs do lhe running. As long as you're singing

wilhin your range, which is delermined aI birth, any eflort spenl

on lorcing a pilch lo be in lune is a wasle 01 energy.

It's going lo lake lrusl and experience belore Vou leel

secure enough nol lo lislen lor pilch. This will happen

nalurally over lime. Anyone who has been singing lor years

has a conlidenl approach because Ihey know when il leels

right. And il il doesn'l, Ihey know how lo gel Ihere last, never

mind lhe sound. II vou wanl, vou can lake a short cul by

learning lhe leeling lirst.

ALLOWING THE PITCH WILL IMPROVE YOUR ABILlTY TO

HEAR ANO REACT

184

Remember:

Correct pitch is the result 01 an internai balance, and any attempts to tune up without addressing the internai environment, will be shallow and temporary. A wrong note is a symptom, not the source 01 your problems.

AU Aboul Yourself

Sounds like a headline lar one 01 those trash papers at the supermarketl Let

me explain a nice lil1le reward that comes Irom allowing a pitch to happen instead

01 lorcing it. When a task is new to the brain, like learning to sing, it uses ali its

resources in a haphazard way. It's elliciency is low because it over-reaets in

companson to what's needed. Vou end up paying so much al1ention to yoursell and

trying so hard that you're oblivious to what's going on around Vou.

By subtraeting some 01 the requirements 01 singing, like making pitches, Vou

can locus on the more important aspeet 01 maintaining a balanced leeling. The

more Vou return the rellex 01 singing back to the autonomic nervous system, which

is where it belongs, the more aware vou can be 01 the things around vou. Vour

brain is Iree to reaet, and think, and bel1er yet, play.

Studies dane by neuro-scientists show a direet relationship between the

brain's output and your skill at a given task. That means the more physical skill Vou

have, the less the brain has to work. This explains the dilference between

stumbling through a new song and the ease 01 an old lamiliar one (see: Make the

Song Fit, page 188).

START ON THE RIGHT TRACK

Ali this inlormation points to one thing: accurate pitches are the result 01 a

balanced internai environment. The more Vou locus on listening, the more Vou

subtraet Irom your intemal sensitivity. The singers with the least amount 01 years

invested in singing will have the easiest time adapting to this new idea. I know it's

hard to change old ways. 11 you're a beginner, choose the road 01 leeling instead 01

listening. It may be lrustrating at lirst, but you'lI reach the point where Vou want to

be much quicker. Here are some helplul hints which will provide immediate results

il vou find yoursell in a bind.

IF VOU'RE SINGING FLAT ...

Are vou tired? II you're exhausted, you'lI under-energize the muscles and

nothing will perform nght. Sleep is a major laetor in having a steady and reliable

185 Per/ecl Pitch

The Rocle 'n' Roll Singer's Survival Manual

voice ; make sure you gel enough.

Anolher possibilily could be Ihal your longue is lense. This causes ali lhe

connecting muscles of lhe moulh and Ihroat lo sliffen which will reslrict lhe area

around lhe larynx. Wilhoul freedom lo move, lhe vocal folds aren'l able lo respond

and slrelch complelely for lhe nole leaving you short of lhe marl<. If you push

harder lo fix Ihis, lhe muscles don'l know why Ihere's more pressure (Ihey don't

have brains) 50 Ihey lense up more.

Vou can help yourself by relaxing your jaw, neck and shoulders. Take a

break, if you can, and do some slrelching. The longue can be loosened by holding

il oul wilh a paper lowel or gauze pad and genlly shaking il back and forth. The

short lime il lakes lo reorganize yourself will be well worth it. II never pays lo keep

pushing.

If you notice you're fiai in lhe middle of a song and can'l slop, back off lhe

amounl of air pressure. Chances are you didn'l warm up enough and are using

force lo make up for lhe lack of flexibilily (see: Warming Up and Down, page 154).

Once you calm your brealh pressure Iry lo menlaJly release lhe longue, neck and

jaw. It's easy lo gel caughl pushing 100 hard when you're singing wilh a loud bando

Psychologically you feel lhe need 10 compete with lhe volume but only end up off

pilch. This is lhe mosl importanl lime lo forgel aJboul hearing yourself and zero in

on your internai sensalions.

IF VOU'RE SINGING SHARP . . .

Sharp pilches are usually due lo a tense lower body. When your abdominal

and back muscles lense Ihey lock lhe pelvis in place. This reslricts brealhing and

causes you lo over-compensale for lhe reduced air pressure. Though the vocal

folds may be in lhe righl posilion, lhe air flow is excessive and causes lhe folds lO

l ighlen more, making lhe pilch rise.

The remedy is lo release lhe pelvic region. Sil, pul you're fool up on a chair,

kneel, do somelhing thal divides your body in half. This will force lhe abdominal

186

AU Aboul Yourself

muscles to stretch and release. A goOO tnck is to swing your leg back and lorth.

lhis activity makes you take bigger breaths which allows you to relax more on the

exhale. Remember you're looking lor a natural release of air to start the pitch, not

lorced (see Ali About Vour Breath, page 55).

11 you're in the studio and start singing sharp, sit on a stool. When your back

gets tired it tightens and causes the abdominais to lock. I know sitting isn't the best

position to be in lor singing but what we're doing is trying to create an internai

environment that allows the pitches to happen. Whatever works is legal providing it

doesn't disturb some other aspect 01 your voice.

Here's a good idea il you have a song that has some difficult high notes.

Stand in Iront of a chair as you practice the song. When you get to a high note, sit

down at the exact moment the note happens. lhe action 01 giving way to the chair

prevents you Irom getting in the way 01 the pitch. Vou don't need your larynx to sit,

and you don't need your ass to sing.

187 Perfecl Pilch

The Rock 'n' RoU Singers Sunival Manual

MAKE THE SONG FIT

A song should fil lhe singer like an old pair 01 laded jeans. And like a pair 01

blue jeans, songs need lo be molded and lived wilh unlil Ihey're a cuslom fi\. Vou

can speed Ihis process up for new songs by lollowing lhe sleps oUllined here. The

goal is for lhe physical movemenls of lhe song lo become lolally unconscious.

Muscles have memory. They can'l Ihink for Ihemselves bul Ihey recall

programs of movemenls called neuron memory. When you speak you don'l Ihink of

how lo form lhe words, only whal you wanl lo say. After you learn lo spealk, lhe

actions become involunlary reactions of lhe larynx, longue and Iips. A good

example is lhe slruggle adulls have learning a new language. They may

undersland il menlally, bul lhe muscles are unfamiliar wilh lhe new words and

require conscious conlrol.

New songs lack lhe muscular memory Ihal lhe familiar ones have. Repelilion

will make any conscious muscle movemenl involunlary; Ihat's why lhe old songs

seem lO sing Ihemselves. Have you ever blanked oul on a line and ali il look was

remembering lhe lirsl word lo have lhe resl fali in? The memory of a song is

physical.

This book is focused on lhe involunlary nalure of lhe voice so you don'l have

lo Ihink, jusl sing. II lakes lime lo build an underslanding of how your voice wOrks,

and Ihen lo leave il alone, regardless of lhe circumslance. New malerial usually

conlains obslacles. No singer can sing everything well , so lhe more you sing lhe

more you develop an inslinct about your asseIs. Greal singers are maslers aI only

singing whal Ihey do bes\.

The besl way lo learn a song is

lO break il down lo its simplesl parts.

This procedure reinforces lhe

fundamenlals of singing and lhe

188

'The memory 01 a song is physical.'

AU Aboul Yourself

sooner you gel comlortable wilh Ihem, lhe belter. Once lhe basic mechanics 01 a

song are ingrained physically, you'lI be Iree lo play wilh i\. It's also a good idea lo

follow Ihese same sleps wilh old songs Ihal slill give you problems.

1. LEARN THAT POEM

No malter how Ialenled you are, your ability will be compromised unlil you

memorize lhe words. Reading keeps you in conscious conlrol 01 an action Ihal is

besl left involunlary. Learning lhe Iyrics enables you lo be sponlaneous wilh your

emotions.

Actors don'l slart lo develop Iheir character unlil Ihey pul down lhe scrip\.

There is much more lo acting Ihan reading lines. The same is lrue lor lhe Iyrics

and lhe only way lo gel deeper is lo gel beyond lhe reading slage. Can you

imagine a movie where ali lhe actors read Irom scripls? I see Ihis happen ali lhe

lime in lhe sludio and is a big reason lor lhe long hours spenl rehashing and

punching logelher vocal lakes. Conlinuily and emolion are los\.

The sooner you pul down lhe Iyric sheel, lhe sooner you'lI commil il lo

memory. Reading lhe paper only reinlorces your dependency on i\. Even if you

slumble badly, make an allempl wilhoul reading as soon as possible. To speed

your memory, I've lound wriling lhe Iyrics oUl in long hand several limes will help.

2. SPEAK THE L YRICS ALOUD

Once lhe words are memorized, recile Ihem as a poem. The movemenls 01

lhe longue and jaw are reinlorced wilhoul lhe added slress 01 singing. Here lhe

consonanls are nol compromised by lhe difficullies 01 high pilches. So lake

advanlage 01 lhe ease 01 speech and repeal lhe poem over and over. This is lhe

besl lime lo play wilh lhe emolional conlenl 01 lhe Iyrics.

In lhe beginning, over emphasize lhe words. Make exaggeraled faces wilh

each word. Gradually be less physical unlil you can recile wilhoul visibly moving a

muscle and slill remain clear. Imilale lhe way a venlriloquisl will exaggerale his

189 Make lhe Song FiI

Tire Rocle In' Roll Singer's Sunival Manual

words and Ihen keep his lace mOlionless when he speaks lor lhe puppel. Mixing

up lhe repelilion will Iree you lo be more impulsive when you're performing, inslead

01 locked inlo a rigid rouline.

3. RAP IT UP

Make a cassette Ihal conlains jusl lhe music lor lhe song. Now speak your

Iyrics in rhythm bul wilhoul melody, jusl like a rap song. The rhythm 01 lhe words

will use dillerenl musces Ihan lhe melody. Once lhe Iwo elemenls gel langled, it's

hard lo lind lhe source 01 lhe problem. Building slep by slep will expose any

dillicullies belore Ihey allect olher actions.

Rhythm, melody, and emolion ali vie lor your attention during a performance.

While singing lislen lor your pilch and nolice il you're in lime. Whenever lhe

attenlion shifts lo a physical subject, emolion is lemporarily pul on hold. The sound

01 a singer who is lislening lo himsell lacks deplh and conlidence, Iherelore it's hard

lo relax as a lislener. It's impossible lo concenlrale on several Ihings ai once, 50

somelhing is going lo suller. The good news is Ihal lhe physical side 01 pilch and

rhythm can be placed in an involunlary mode, sort 01 an aulo-pilol. Nol only will

Ihis benelit your vocal capabililies, il will also Iree your mind lor communicalion.

Can you imagine lhe sound 01 a singer wilh Iheir emolions on aulo pilol? I Ihink

we ali know a lew.

4. GET YOUR BODY IN IT

In addilion lo speaking lhe words in rhythm, c1ap along wilh each syllable as

you lap your 1001 in lime. II Ihis is dillicull, il means you need lo do il more. 11 you

are uncomlortable wilh lhe relalionship belween lhe lempo and lhe words, handle il

belore you inlroduce lhe melody. Clapping on each syllable delines where Ihey

belong in a clear, physical way. This is called syncopalion.

Don'l wave Ihis 011 as somelhing lor rhythmical singing only. Even in lhe

slowesl ballad, you should be clear where each syllable begins and ends. II lhe

groove is important lo you, Ihen lake Ihings one slep lurther and slamp oul lhe

190

AU Aboul Yourself

rhythm with your leet as well. Create a dance out 01 the song. Even il vou don't

move much on stage, leeling the rhythm in every muscle will make the song a part

01 vou.

5. ADD MELODY

Finally, time to sing. Sing along with the taped music, but use an "AH" vowel

instead 01 the Iyrics. This is the easiest way to discover any trouble spots in the

melody without conlusing them with Iyric troubles. Once a problem is discovered,

separate the seetion down to as lew notes as possible. Repeat the intervals as il it

were a vocal exercise and concentrate on your lorm. Once the separated intervals

are comlortable, place them back into the context 01 the melody. Repeat this

process for each problem spot until you've ironed out the entire song.

While you're working with a single vowel, Vou should begin to play with

emotions. The vowels contain ali the emotions of a song. Without a single word,

Vou can express ali your emotions. This becomes a good praetice routine for

developing your emotional muscle without using language to explain how vou feel.

As Vou run through the melody, play with different emotions where they will coincide

with the Iyrics.

6. PUT THE PIECES TOGETHER

Finally Vou get to sing the song. This is the last chance lor vou to clarify the

specific jobs of the muscles before emotion enters the pieture. Lie down on your

back and release your body. Focus your attention on your limbs, and let them

become heavy. Feel each joint loosen and let your neck become completely limber.

Play the music tape vou made and sing along, words included. Remain

focused on your body since sound is still not important. Don't allow any of the large

muscles of your neck, jaw, shoulders or stomach to engage. Keep the volume as

low as needed to maintain this release. If it is difficult to do this at any volume,

sing the melody an oetave lower. Once vou are able to sing it lower, switch to the

higher oetave and maintain the same physical feelings.

191 Mate lhe Song Fil

The Rock 'n' Roll Singers SUf1Iival Manual

Place a hand on your slomach lo monilor your brealhing. This is your lasl

chance lo work on lorm, so be particular. Once Ihis becomes comlortable, sland

and recreale lhe same released leelings. II anything is slill giving you Irouble,

relurn lo lhe slep Ihal isolales lhe problem. Ralher Ihan making adjuslmenls while

juggling olher issues, permanenl changes are made by isolaling and Ihen

reinlorcing.

Did you nolice emolion was nol a part 01 Ihis process? These sleps will

provide a muscle memory lor lhe physical requiremenls 01 a song. Now lhe

emolion is ali you need lo locus on while performing. Vou can'l concentrale on Iwo

Ihings aI lhe same lime, one aiways suffers.

I often reler lo lhe similarilies belween singing and riding a bicycie. The

muscle coordinalion and balance needed are similar. When you ride a bike, il is

very easy lor you lo carry on a conversalion provided everything is line wilh lhe

bike. The moment you lose your balance, you slop lalking and concenlrale on

regaining your balance. While lalking, you're aware Ihal you are balanced. Vou are

Iree lo locus your Ihoughls on anything else. Ride your bike Ihrough a crowded cily

slreel and you'lI lind your Ihoughts are very dislracted. Vou wanl singing lo leel as

comlortable and sale as riding a bike down an emply slree\. Once you leel secure

wilh lhe physical leelings 01 singing, it's much easier lo be emolional.

'You want singing to feel as comfortable and safe as riding a bike down an empty street, When the physical feeüng is trusted, it's much easier to be emotionaL'

192

WELCOME TO THE JUNGLE (Survival Tips lor lhe Real World)

AU Aboul Yourself

Vou've read ali lhe valuable inlonnalion in Ihis book. Now Vou can begin lo

apply it. In lhe real wOrld, clubs are smokey, dressing rooms are beer closels and

monilors are jusl lor looks. In lhe Sludio, lhe keys lor songs are always selected

lor guilars. Vou spend a day getting drum sounds and Ihis means playing beal lhe

clock wilh your vocais. On lop 01 ali Ihis, you're supposed lo have lhe voice 01 lhe

decade.

To bridge lhe gap between whal is correct and whal is real, I've provided

helplul hinls in Ihis section lo relieve common lruslralions. They're lisled in Ihree

groups: sludio, live, and rehearsal. Even il you're nol ready lo perlonn yel, Vou

should beco me lamiliar wilh Ihese ideas now and save yoursell Irom some

headaches in lhe lulure.

STUDIO 1. CREATE VOUR ENVIRONMENT

Vour absolule responsibilily is lo creale an environmenl in lhe sludio Ihal

allows Vou lo be lhe besl singer Vou can be. No one will know when lislening lO

your lape Ihal somelhing was bugging Vou. They'lI jusl Ihink Vou didn'l sing very

well. 11 somelhing bolhers vou, change it. 11 someone is inlimidaling, ask him lo

leave - even il he's lhe producer. I know 01 a lew singers who have lired Iheir

producers because 01 differences during lhe vocal lakes. Vou may leel like a big

baby doing Ihis, bul lhe sludio is no place lO worl< oul your phobias (see: Feelings,

page 173).

2. USE THE CORRECT MICROPHONE

11 Vou become lruslraled aboul lhe way your voice sounds on lape, il may be

lhe microphone. Jusl as drums need sensilive mike placemenl lo be recorded well ,

193 Welcome lo lhe lu.gle

The Rocle 'n' RoU Singers Sunival Manual

'The last thing you ought to be doing in the studio is learning your paris.'

your voice requires individual atlention

also. Since every voice varies in

harmonic qualities it is important to

lind the correct microphone. Take the

time to record examples 01 your voice using every mike available. Usten lor lhe

best quality wilhout adding anything to enhance lhe sound. You'lI a1ways be able lO

sweelen Ihings later in lhe mix, but nolhing can match lhe intensity 01 catching ali

lhe nuances 01 your voice the momenl Ihey come Irom your moulh.

3. DO YOUR HOMEWORK

The last thing vou ought to be doing in lhe studio is learning your parts.

Even though everyone does Ihis at one lime or another, vou can't possibly locus on

several things simultaneously. Singing in tune, remembering the Iyrics and

expressing lhe emolion are ali equal elements 01 your performance. The lirst two

should be programmed lor involuntary muscle responses (see: Making the Song Fil,

page 188), which will leave your mind Iree to locus on your leelings.

4. THE MIX CAN'T FIX PITCHES

OI ali the miraclas Ihat can occur Irom a good mix, corracting pitchas is nol

one 01 Ihem. No matlar how Vou try to hide tham, notas sung out 01 tune will haunt

Vou mora wilh each repeated play. The bast advica is to schedule at least a day to

listen to your besl vocal lakes balore commitling Ih em to a linal mixo Things that

sound corroct today have a habit 01 slipping out 01 tune ovemight. Make a rough

mix 'with yout voice mixed hol and listen to the tape at a low volume.

5. IF YOU'RE SINGING SHARP ...

II it becomes apparenl you're consistenlly sharp, change your poslura.

Excess air prassure caused by tense abdominal muscles will cause vou lO ovarblow

your notas. Sit, knaal, bend ovar, walk or swing your leg back and lorth like a

pendulum. These positions will tilt your pelvis and relaasa abdominal muscles. It's

nol nacassary lo think aboul bringing your voica down in pilch, Ihat will usually

194

cause Vou lo overcompensale (see:

Perfect Pilch, page 181).

6. IF VOU'RE SINGING FLAT . ..

When your voice is fiaI, il

usually indicales Ihal Ihere's longue

AU Aboul Yourself

'Whatever caused you to lose your voice, providing you're healthy, you can bring it back by changing your focus,'

and neck lension reslricting lhe larynx, caused by pushing 100 hard. Take a break

and do a warm-down routine. Focus on Ihinning down lhe vocal lolds and reducing

your air pressure (volume). Work Irom lhe highesl pilches down and keep yoursell

in a lighl vocal regisler. Doing Ihis will relum lhe lorces 01 singing back to a

balance and give vou a Iresh start (see: Perfect Pitch, page 181).

7. IF VOU'RE MISSING INTERVALS

When nothing is going your way, take a break. Ask yoursell il you're tired

and il vou should do the vocal's another time. No malter how important it is that

vou linish your tape it won't be presentable with a bad vocal take. Break down the

trouble spots into short melodies. At a keyboard, vocalize the melodies as il they

were exercises and pay close altention to lorm. Disconnect your body Irom your

voice by moving your limbs. Walking backwards while vocalizing is a great way to

creale a change in the way you're holding your posture.

8. IF VOU FREAK OUT

11 Vou leel your nerves gelting lhe best 01 vou speak up. Don'l be a hero.

Everyone understands whal it leels like and people will be surprisingly supportive .

you're honest. Belore things gel oul 01 hand, break up lhe mood. Sing a song that

is very lamiliar, something Vou always sing well , in order to re-connect Vou

your abilities. Ws worth lhe ten minutes it takes to record this on an emply t:aX"

will let Vou leel like a singer again.

9. IF VOU LOSE VOU R VOICE

Providing you're healthy, vou can bring your voice back by =""i;!1;

locus. While recording, your altention is naturally on the sounds ...... _ -::;o-.=-.

195

TM Rock 'n' RoU Singers Sunival Manual

how they're being made. Losing your voice means the balance of internai forces

was knocked so far off, that the muscles became fatigued and swollen. Take a

break, and after a half hour rest vocalize a warm-down routine. Stay in a light

register and work on smoothing the transition between registers. When vou can

sing from your highest note to your lowest without a break, you're ready to sing

again.

LlVE 1. CREATE THE ENVIRONMENT

Though vou can't change the size or location of a club, you'd be surprised

how a little respect goes a long way. If you're foolish enough to think the sole

purpose of a club is to help bands get started, you're going to run into trouble.

Working out a schedule for loading of equipment and sound check are much easier

if your attitude doesn't insult the club owner. Remember, he'd probably turn the

place into a car wash if it could make more money. Setting the right atmosphere

during the afternoon will insure a better gig that night. Find out what's expected of

your band and comply the best Vou cano If you're as good as vou think Vou are ,

vou won't be there for long.

2. FIND A PLACE TO WARMUP

A warm up is essential to the health and control of your voice. Where it's

done is not as important as making sure it does get done. A private space is the

best because it allows Vou to focus on form instead of sound. Sometimes vocal

exercises look and sound funny; it's hard to do it correctly when everyone is asking

why you're doing this or that. I've spent many nights warming up in my car before

a show to get away from the craziness in the dressing room. What I lost in posture

was made up in privacy.

3. IF VOU CAN'T HEAR THE MONITORS

Ali singers have become addicted to monitors for their ability to sing. In

196

AU Aboul Yourself

some ways, monilors dull your sensilivity tor responding lo lhe small inlernal signals

which guide Vou lo pilch, volume and qualily. Lislen lo The Bealles album, "Live aI

Hollywood Bowl," which was recorded betore vocal monilors were developed. They

couldn'l hear a Ihing ave r lhe din ot screaming tans, bul Iheir harmonias were slill

righl on large!. Each singer lrusled his inslincts.

Nine limes oul 01 len, lhe monilors will be greal aI sound check and horrible

during lhe show. Here's where Iraining your voice really pays off. Vou should

always be aware 01 lhe "Ieeling" 01 singing - ralher Ihan lhe sound. When lhe

monilors are good, Vou back off physically and creale a beller inlemal balance.

This is why your voice is beller in lhe sludio. It's important lo realize Vou have Ihal

same abilily lo back off and creale a balance 01 inlernal lorces even when vou can'l

hear; Vou jusl have lo resisl lhe lemplalion lo push.

Sound is always dependenl on many outside variables; lhe sensalion 01

'Don't compete with the band by shouting louder to hear yourself, you'll only lose your voice in the process.'

singing is no!. Having lrusl in lhe proper leeling when Vou sing will bail Vou oul

when it's lhe only Ihing available. Some singers place a linger in one ear lo amplify

lhe inlernal vibralions. Anolher rouline is lo calm yoursell quickly and locus your

allenlion on lhe smaller vibralions vou leel. Don'l compele wilh lhe band by

shouting louder lo hear yourseJl, you'lI only lose your voice in lhe processo Sing

wilhin a balanced leeling. Trusl lhe sound man lo make lhe adjuslmenls lar lhe

audience.

So enjoy lhe nighls when vou can hear yourselt, bul also nolice how your

body leels. You'lI need lo recreale Ihese sensalions during lhe limes Vou can'l

hear. Your voice does nol need lo be compromised because 01 your inabilily lo

hear. Don'l pul ali your years 01 hard wor1< in lhe lale 01 a small speaker cabine!.

197 Welcome lo lhe Jungle

The Rocle 'n' RoU Singers Survival Manual

4. IF VOU FREAK OUT

Anxiely belore a gig can be overwhelming. Even Ihough lear is ali in your

mind, lhe eltects are physical. Remember Ihis: lhe audience wants you lo win.

People don'l come lo see you lail; Ihey come lo see you be successlul. We often

imagine whal people are Ihinking, and usually we Ihink it's negalive. Those

Ihoughls are actually lhe way we Ihink aboul ourselves. Have you ever gane lo see

a band and Ihoughl, "I hope lhe singer blows lhe nex! nole"? OI course nol. II you

Ihoughl lhe singer was bad, you wouldn'l go lo see lhe bando The same Ihing

applies lo you on slage. Don'l slart imagining Ihal lhe audience is wailing lar your

smallesl mislake (see: Rx For Slagelrighl, page 179).

5. TALKING BETWEEN SETS IS HARDER THAN SINGING

When you're oul in lhe audience and lhe music is loud, you abuse your voice

by Irying lo shout a conversalion. Vour larynx has a harder lime wilh speech

because you grind oul lhe same pilch wilh no Ihoughl 01 vocal lorm. Remember

lha! you're speaking wilh lhe same inslrumenl you're going lo sing wilh in a short

while. To relieve some 01 lhe slress, add lols 01 melody lo your speech. LeI your

voice Iravel Irom high pilches lo low lo mainlain Ilexibilily aI lhe vocal lolds. Also,

be conscious 01 laking more Ihan enough air lar each senlence. The addilional air

pressure will act as a bulter by producing volume wilhoul lension.

6. RECORD OFTEN

Il's hard lar singers because Ihey rely on olher people as partners in Iheir

sound. The only way lo know Ihal lhe mix is correct lar lhe audience is lo record

using live microphones inslead 01 laking lhe signal olt lhe board. Recording is also

a greal Iraining 1001. I've always mainlained your attenlion should be on

performance when you're live, nol on perfection. Vou can achieve a perfect

performance by lislening la tapes 01 shows and working on any issue_ you nolice

are recurring. Practicing and smoolhing oul problem situalions aI home will make

lhe muscles respond correctly during lhe nex! gig wilhoul robbing you 01 your show.

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AU Aboul Yourself

7. IF YOU'RE SINGING SHARP

11 you nolice a lendency lar being sharp, be on lhe look oul lar lower body

lension. Locking lhe legs and pelvis in a rigid slance will cause you lo over blow

lhe pilches. II Ihere is a wedge-Iype monilor in Ironl 01 you, pul a 1001 up on il.

This will help divide your muscles and allow you lo release your poslure. Vou can

also bend your knees slighlly for lhe same ef!OO. Imagine your legs are heavy and

place your body's weighl back on your heels. Also be on lhe look oul lar lhe

shoulders li1ling on lhe inhale (see, Pertect Pilch, page 181).

8. IF YOU'RE SINGING FLAT

If lhe pilches are fiai, suspect longue and neck lension. In lhe sludio

silualion, it's usually caused by abdominal lension. When you drive your slomach

muscles in arder lo creale volume, lhe neck and longue react by closing of! lhe

area around lhe larynx. This reslricts lhe movemenls of lhe muscles inside lhe

larynx which are responsible lar pilch, making Ihem miss Iheir marl<. Any lime you

feel a Ihickness in your Ihroal while you're singing, regardless of whelher you can

hear ar nOI, lhe chances are good you'lI be fiai and you should back of! on lhe

slomach lension. Place your hand over your navel and don'l allow any harsh

conlractions during lhe beginning 01 phrases. When you gel lhe chance, lake a

break and loosen your longue by singing scales wilh lhe vowel "EE" and place a

"G" ai lhe beginning of each nole. Your lolds will probably be Ihick, a flexibilily

exercise will give some relief (see: Exercises For Flexibilily and Range, page 148).

9. IF YOU'RE LOSING YOUR VOICE

Remember l he only way a singer can lose his voice? If yours is going by lhe

middle of a sei you should reacquainl yourself wilh lhe facts. When you dislurb lhe

balance belween air pressure and ils resislance, you are leading your voice lo a

blow oul. Excess pressure from pushing 100 hard forces lhe folds lo heal up and

swell. Reducing your volume will give you a chance lo regain your formo The

Irouble is, you usually push 100 hard because you can'l hear yourself and singing

199 Welcome lo IIu! Jungle


softer is lhe lasl Ihing you wanl lo do. Nevertheless, remember you have lhe mosl

sensilive inslrumenl on slage and you have lo use it wilhin ils capabililies.

When you feel yourself loosing ground, run through an internai check lis!.

Are you brealhing diaphragmalically? Is your poslure free of lension? Do you have

a headache from pushing 100 hard? The answers lO Ihese queslions will prescribe

lhe action you should follow. Inslead of fixing lhe sound of your voice, relum your

brealhing lo a nalural slale, lei go of locked joinls and muscles and creale a

balanced feeling of brealh compression inside you. These physical aspects have lo

be in place in order for your voice lo operale correctly; once Ihey're relurned lo

form, you'lI able lo sing again.

During a break drink plenly of plain, room lemperalure waler and speak as

little as possible. Divide your break in half, keeping quiel during lhe firsl portion and

vocalizing a warm-down rouline during lhe second. While your resling your voice,

gently sl relch your body. Work oul ali lhe sliffness and pay close attenlion lo your

brealhing. Any of lhe flexibilily exercises in lhe "Exercises For Slrenglh and

Flexibilily" section will work fine as a warm-down rouline. Also, blowing up a

balloon helps lo rejuvenale lired muscles wilhin lhe Ihroal on a short lerm basis ;

keep some handy in your clolhes bago

10. MICROPHONE TECHNIQUE

This is not aboul lhe Iypical lechnique seen when singers pull away lhe

microphone as Ihey bell a high nole. Increasing lhe volume lO support a high nole

is a reslrictive style and incorporaling a mike placemenl wilh il only encourages you

lo conlinue.

'Most rock singers have never sung without a microphone; it's become a permanent pari 01 their body.'

200

Most rock singers have never sung

wilhoul a microphone ; it's become a

permanenl part of Iheir body.

Problems occur when you Ireal lhe

mike as if il were a largel for sound.

There's no need lo lorce your voice

onlo lhe mike, and doing so only

blows lhe inlernal balance 01 singing

away. Inslead, Ihink 01 lhe sound

AU Aboul Yourself

'If you're a rock singer, you're going to scream. It's a part of the music.'

leaving your body in every direction, which is actually whal happens. Lei lhe mike

do lhe work lor you. It's helplul lo imagine a separale microphone directly behind

you and work on projecting sound lo il as well. This will give you a belter sense 01

conlrol and slop you lrom pushing 100 much air pasl lhe larynx. The air pressure

involved wilh singing is necessary below lhe larynx, bul becomes a problem il it's

allowed lo rush inlo lhe Ihroal and oUl lhe moulh. Ali your popping "P's" and olher

assor!ed explosions will be reduced once lhe pressure is conlained where needed.

Anolher common silualion wilh microphones is lhe "slrangle" hold. Singers

exer! amazing amounls 01 lorce, squeezing lhe mike or lhe sland. While Ihis may

look passionale, il also closes your Ihroal and reslricts lhe larynx. Vour biceps and

lriceps are wired, via lhe nervous syslem, directly lo lhe ' lrue and lalse lolds,

respectively. The lolds respond lo lhe conlraction 01 Ihese muscles by conlracting

Ihemselves, olten reslricting lhe vibralions. The irony is Ihal mosl singers grip lhe

mike in an ellor! lo gain vocal slrenglh.

II you release your dealh grip on lhe microphone, you'll relocus Ihal energy

where il will do lhe mosl good. 11 you always hold your mike in lhe same hand, Iry

swilching and nolice how dillerenl singing leels. Remember, lhe slrenglh needed

lor singing is inlernal.

11. SCREAMING

II you're a rock singer, you're going 10 scream. It's a par! 01 lhe musico

Though Ihere's no correct way lo scream, you can save yoursell a greal deai 01

wear and lear. I olten compare screaming lo laking a lall in a conlact spor!. II

your body is slrong, heallhy and Ilexible, Ihere will be much less chance lor

damage. II you brace yoursell by lensing, lhe shock will be absorbed inslead 01

201 We/come lo IIu! Jung/e

The Rock In' Roll Singers Survival ManUDl

rellected. There's nothing healthy about playing lootball, so lootball players have to

be very strong and agile to handle the abuse 01 their sport. In the same way, roek

singers can't ignore the physical demands 01 their musie, so they won't sustain

permanent damage.

When you seream, release your body, especially your neek. The larynx is

most Ilexible when left low in the throat. Remember that the position 01 the larynx

has nothing to do with the piteh. It's lar belter to tense the tongue and walls 01 the

throat to ereate a distorted sound, then to hold the larynx high and stift while lorcing

air through. Tensing the throat with a low larynx is like playing guitar through an

eftects box, the signal is altered after the souree. Over-Ioading the vocal lolds lor a

raspy sound limits your voiee.

Most 01 the damage lrom sereaming is caused by your own resistanee. II

there's the slightest hesitaney about what you're doing, your museles beeome stift

and require more loree than needed. Seeond guessing yoursell this way is as

productive as racing a car with one loot on the brake in case you have to stop. In

other words, il you don't have it in you, don't lake it. Not only does it cause more

damage, but no one in the audienee is buying it anyway.

12. WARM-DOWN

Vou must warm-down your voiee after every show, regardless 01 how you

leel. The swelling and stiftness that occurs Irom singing may take hours belore lelt.

It's mueh easier to work with the museles in your throat when they're hot and

flexible. These museles don't release themselves by just relaxing; you have to put

them where they belong.

When you sleep after singing hard the mucous membranes whieh line the

larynx produee a thiek, protective coating 01 mueus. In the morning, your lolds will

be thiek and stift, making your voiee extremely low and raspy. Clearing this by

grunting will only aggravate the swelling.

Even il you don't want a elean and healthy voiee, it's vital that the larynx be

202

AU Aboul Yourself

in good condition during vour non-vocal hours. The longest concerts last four hours,

whieh leaves Vou with twentv hours to bring vour vocal folds back to health. Use

the Flexibility Exercises in this book and gentlv encourage the muscles to thin down.

A full bodV streteh will often speed up the recovery.

REHEARSAL 1. CREATE THE ENVIRONMENT

I must sound like a broken reeord, but onee Vou assume the responsibilitv of

ring leader, it's vou r job to organize rehearsals. There's nothing wrong with

jamming, but at some point the songs have to be molded and focused. Since it's

important to ereate the band around vou r voiee, it malkes sense for Vou to talke the

initiative to organize. There's no bigger crime than a group of musicians ali dressed

up with nothing to plav.

2. WARMUP

Vou should warm up vour voice for rehearsal the same waV Vou prepare for

a show. It's dark inside vour throat and vour larynx doesn't know where Vou are.

There is no differenee between singing for one person or 50,000. Vour folds have to

take on the same work load. Prepare them propertv and theV'1I respond easilv and

last longer. Rehearsals are often harder on vour voiee because vou're singing

longe r and repeating the same parts again and again. Vou can warmup in vour car

on the waV if Vou don't the have time. The important thing is to get in the habit.

'You should warm your voice up for rehearsal lhe same way you prepare for a show. II's dark inside your throat and your larynx doesn't know where you are.'

203 Welcome to lhe Jung/e

The Rock In' RolI Singers Sunival Manual

3. DESIGNATE TIME TO WORK ON FORM

Set aside time to work on your lorm when you're rehearsing with the bando

Just as a guitar player will need to repeat a difficult section a lew times, you need

to experiment with various approaches to your vocal parts. To expect the singer to

automatically sing new songs perfectly the lirst time is unreasonable. Rehearsal

should be a time lor exploring and stretching, which means sacrificing a little

accuracy. So make the band aware 01 what you're doing and challenge your ability;

This promotes growth.

4. HAVE VOCAL REHEARSALS

Harmonies are olten the last thing added to a song and are usually under

estimated. The band's blend 01 voices requires a delicate balance. Just because

someone can hit the pitch doesn't mean they are the right singer. Take time and

have each member switch vocal parts until the blend works. II you do this

separately Irom the music rehearsal things will be a little easier. Ali you need is an

acoustic guitar or piano; you can incorporate the music later.

5. WARM-DOWN

Just as the larynx requires a warm up lor rehearsal, a warm down is also

necessary. Especially il you plan on rehearsing several nights in a row. Vou don't

want last night's blow-out to restrict what you're singing tonight. A complete warm

down alter every rehearsal will give you a Iresh start the next night. Do it when the

rest 01 the band is packing up, or in the car on the way home, as long as it's done

belore you go to sleep.

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AU Aboul Yourself

ALL ABOUT YOURSELF TIP SHEET

1. BOTH EMOTIONAL ANO TECHNICAL SINGERS NEEO TO GIVE 100%.

2. VOU CAN'T SHUT OFF THE LlTTLE VOICE IN YOUR HEAO, BUT VOU

OON'T HAVE TO OBEY.

3. BUILO YOUR OWN MOUNTAIN FOR SUCCESS.

4. GOALS ARE THE "HOW" ANO OREAMS ARE THE "WHERE".

5. PREPARATION PLUS OPPORTUNITY EaUALS SUCCESS.

6. OON'T CONNECT YOUR FEELlNGS WITH YOUR WHEREABOUTS.

7. ATTACK STAGEFRIGHT PHYSICALLY.

8. WHEN VOU ALLOW A PITCH TO BE IN TUNE, VOU IMPROVE YOUR

ABILlTY TO HEAR ANO REACT.

9. THE MEMORY OF SINGING A SONG IS MUSCULAR.

10. THE AUOIENCE WANTS VOU TO WIN.

205 Tip Sheel

AU Aboul Yourself

WATCH YOUR LANGUAGE

The way Vou lalk aboul your voice, can reveal lhe problem is attilude. The

words vou choosa lo dascriba a problam lall lha slory. "I'm always Ilal." "I can'l

sing Ihrough my braak." "I hava lroubla singing harmonias." Thesa stalamants may

ba lrua, bul Ihay're nol permananl condilions. To lix a vocal problem is aasy;

allamaling Ihinking pattarns is it's anolhar Ihing. No vocal issua is complalely

solved unlil lha mind says so.

The way lha littla voica in your haad lalks is callad nauro-linguislics. Tha

musclas lilarally respond lo Ihasa words, so Vou hava lo ba very carelul whal vou

say. Hall 01 lha problam is solvad when vou laarn lo lell il lika il is. Tha words

"always", "can'!" and "Iroubla" solidify lha silualions, making changa slow in coming.

Howavar, adjusling lhe languaga Vou usa lo describa a problam lo be claar and

lactual will opan lha palh lor a quicker changa 01 habits.

WHATS 50 VERSUS 50 WHAT

It's raally aasy lo hit a snag whara your mind just won't lal tha voice

advance. Tha firsl Ihing lo remembar is no vocal habil or issue is parmananl.

Thera's no pcint in getting upset or depressed about something Vou can change.

The lirst step is to identify the problem. Ali this does is leI Vou know whara Vou are

on the map, that's the way il is or, "what's so". Singing Ilat or sharp, having no

power, a limited ranga or a Ihin tona aren'l Ihings to ba proud 01, but Ihay aran't

reasons to quit aither. Immediately alter labeling a prciblem (what's sol, vou can

make lhe thraat saem smaller by saying "so whal". This doesn'l mean Vou don't

care, simply thal Vou know il'S a temporary situation. Now Vou can gel lo work.

"I don't like my voica" or "I can't sing" ara not vocal problems, thay're mental.

They also can ba tamporary. Range is determined at birth. Whathar you'ra a bass,

tenor, alIo or soprano is ganatic, bul lew people ever rise lo Iheir lull potential

becausa Ihasa labals restrict tham. 1I you're a baritone that is "what's so," now say

206

AU AbouJ Yourself

atO, and experiment with the boundaries 01 your range. As long as you're

e to intemal stress signals, there is nothing to lose and lots 01 range to gain.

Nhen you identify a vocal problem you must extract any words that are

ive. Singing is art, and art is a matter 01 personal taste. Words like good,

~Iy, weird, bogus, and cool are a matter 01 opinion and can't be acted on .

ms like nasal, breathy, Ilat, sharp and raspy are speeilie and suggest areas

ed attention.

The glossary below provides delinitions lor words commonly used in relerenee

voiee. There are musical terms, deseriptive words, parts 01 the anatomy and

ations lor notonous phrases (in quotation mariks) whieh olten mislead singers.

oursell with the eorrect terms and meanings so you can describe your

In accurately to doctors, teaehers, and produeers. Good communieation

lor laster and surer progresso

Language is nothing more than a buneh 01 sounds with a commonly agreed

lleaning. Slang takes words and gives them alternative meanings whieh are

Inderstood by a smaU group 01 people. Sometimes the slang beeomes

:ed by the masses and sometimes it lades away, so I have kept these

ons on the conservative side. (example: Not too long ago "bad" meant

hing you didn't like.) Singers olten use eustom-made words to deseribe the

The ones whose meanings aren't always elear are ineluded and set in

ion mariks. Most 01 the elearly descriptive ones I've omitted because their

ions are obvious. And il ali else lails, remember: il you still can't lind the right

do what the Italians do ... use your hands.

207 Walch Your Language

The Rock _li' Roll Singer's Sunival Manual

GLOSSARY OF WORDS ANO PHRASES

ABDOMEN: The section 01 your body below your ribs including your hips. ("tummy") " ABDOMINAL BREATHING": Brealhing so Ihal lhe abdominal muscles relax on lhe inhale and conlract ai lhe end 01 lhe exhale. Vour shoulders should nol rise. (see: Ali Aboul Vour Brealh, page 55) ACOUSTlCS: The science 01 sound. Also used lO describe lhe sound 01 a room. (The acouslics were lerrible.) "ADAMS APPLE": The lump in a males' Ihroat. The Ihyroid cartilage (Ironl 01 larynx) prolrudes on a male more Ihan a lemale. ADENOIDS: A group 01 Iymph lissue ai lhe back 01 lhe Ihroal Ihal can swell and cause irrilalion and obslruct brealhing. "ALIVE": A descriplion lor a voice Ihal has a 101 01 high lones or upperpartials. Can also mean sponlaneous or lasl vibralo. ALTO: A lemale Ihal sounds besl singing lower pilches. AMPLITUDE: The heighl 01 a sound wave, which delermines lhe volume. APHONY: When your larynx can'l make a sound. ARPEGGIO: The noles sung one after anolher Ihal oulline a chord. ARYTENOID CARTlLAGE: There are Iwo, one ai lhe mar 01 each vocal lold. They swing and pivol adjusling lhe lension (pilch conlrol). ASPIRATE: To lei air escape Ihrough lhe lolds belore Ihey close lo make a sound. (an "H" sound) ATTACK: The inilialion 01 a pilch. The beginning 01 a nole. (Somelimes is mislakenly used lo mean lorce lhe

208

nole. The "attack" 01 lhe pilch simply means lhe beginning.) AUTONOMIC NERVOUS SYSTEM: A part 01 your nervous syslem Ihal conlrols lhe involunlary movemenls 01 lhe heart, brealhing, swealing, elc. These nerves are also in lhe larynx. (see INVOLUNTARY) "BACK BREATHING": A suggeslive lerm lo creale more Ireedom in lower back muscles by lhe iIIusion Ihal you inhale wilh your back. BARITONE: A male Ihal sounds besl singing in a mid range. BASS: Lowesl male voice. BAS5-BARITONE: Male singer who sounds besl in a mid lo low range. BEAT: One unil 01 lime, lo measure lempo. (Iempo ~ (X)Beals per minule) "BELLY BREATHING": Letting your belly expand when you inhale. (see: ANIMATED BREATHER, lower left hand comer) "BEL TlNG": Forcing your voice lo extend lhe chesl regisler higher Ihan il should be by singing loud. (You are vulnerable lo vocal damage by doing Ihis.) "BREAK": When your voice jumps Irom one regisler lo anolher awkwardly. BREATH COMPRESSION: Keeping lhe air inside your lungs pressurized by lhe diaphragm and abdominal muscles opposing each olher. This is one 01 lhe mosl important aspects lor conlrolling your voice. (see: Ali Aboul Your Brealh, page 55) "BRIDGE": Connecting two regislers smoolhly, no break. BRIDGE OF A SONG: A new musical

idea, separate lrom the verse and ehorus. BROCA'S AREA: The section 01 the brain that controls ali the lunctions 01 singing CARTILAGE: Elastie tissue (gristle), that resembles soft or flexible bone.(tip 01 your nose) CHEST BREATHING: Ufting your shoulders to inhale. (Very ineflieient lor singing) CHEST VOICE: The name 01 the lowest register 01 your voiee. Also called "real" voiee. Your vocal lolds are the thiekest 01 the other registers and able to produee the most overtones. (see: Vocal Registers - Why So Many Voiees? page 113) CILIA: Uttle hair that lines your windpipe to cateh partieles belore they get to your lungs. Cilia also helps bring up phlegm Irom the lungs. Smoking bums these hairs away and leaves the walls 01 the windpipe smooth, loreing you to cough to elear the lungs. CLAVICULAR BREATHING: Another term lor ehest breathing. "COLOR": Deseribing the quality 01 the voiee. The volume 01 the overtones. (see TIMBRE) COLORATURA-SOPRANO: Highest lemale voiee. COMPRESSION: Pressure caused by two opposing lorees. CONNECTlVE TlSSUE: Stretehable tissue that acts as glue, holding organs and lilling in spaees inside the body. CONSCIOUS CONTROL: Any movement your body makes that you have to think about fi rst. After repetition, most conseious control can be released to the uneonseious or a neuron memory. (example: Singing an unlamiliar song requires conseious

209

AU Aboul Yourself

control while an old song practieally sings itself.) "CONSISTENCY": Ali vowels and pitehes having the same timbre or quality when you sing. CONSONANTS: Noises that shape vowels into language. (see: Consonants - Just a Buneh 01 Noise, page 125) CONSTRICTOR MUSCLES: Swallowing museles that line the walls 01 the throat and wrap around the larynx. They close in succession when you swallow and work the lood down the esophagus. Vou don't want to activate them when you sing because they severely reduee the diameter 01 the throat and restrict the larynx. CONTRALTO: Lowest lemale voiee. "CRACK": When your voiee jumps unexpectedly Irom one register to another. Usually caused by lorcing too mueh air pressure against stifl vocal lolds. CRESCENDO: Inerease the volume. CRICOID CARTlLAGE: Bottom pieee or loundation 01 the larynx. The erieoid cartilage sits directly on top the windpipe and acts as an anehor lor the baek hall 01 the vocal lolds. (see: The Big Picture, page 99) CYCLE: One complete vibration. A piteh is determined by how many eyeles per second occur. (Coneert A is 440 eyeles per seeond) (see: Obey the Laws, page 38) DAMPEN: Reduee the vibration. Museles around the larynx ean dampen or restrict your voiee "DEAD": Deseribes a voiee that laeks overtones. 11 your voiee has been deseribed this way, read this book Irom eover to cover. DECIBEL: Measurement 01 volume. The lowest sound audible is O

Walch Y our Language

The Rock 'n' Roll Singers Sunival Mamuzl

decibels. The loudest heavy metal band in the wor1d plays at 120 to 130 decibels. (db) DECRESCENDO: Decrease the volume. DIAPHRAGM: Dome shape muscle that divides the abdomen from the thoracic cavity. The diaphragm pushes down and flaltens out when you inhale. It is the only muscle strictly for inhalation. (see: Ali About Your Breath, page 55) "DIAPHRAGMATIC BREATHING": Type of breathing that emphasizes the motion of the diaphragm. (Very good for singers) DIPHONIA: Singing two notes at the same time. (One with the true folds and one with the false folds) DIPHTHONG: Continuing sound that contains two vowel sounds. (the sound of "I") DISSONANT: When two pitches are not harmonically related, they cause an abrasive sound together. DISPLACEMENT: To make a substance move. (Air is displaced from your lungs when you exhale.) DURATION: The length. DYNAMICS: The difference in volume. ELASTIC: Ability to stretch. EMBELLISH: To dress up a melody with extra notes. EPIGLOTTIS: A tongue-Iike muscle just above the larynx that closes over to form a lid when you swallow. Also is a factor in shaping vowels. (see: The Big Picture, page 99) ESOPHAGUS: The tube that leads the food to your stomach. EUSTACHIAN TUBE: Two tubes that connect the inner ear with your throat. They act as apressure stabilizer and are susceptible to infections. FALSE FOLDS: A pair of thick folds above the true folds (the singing

210

ones). They are designed for pressure not vibrating, so they should remain open when you sing. If they close during singing they require lots of air force and cause the true folds below to become damaged. (see: The Big Picture, page 99) FALSETTO: A vocal register that is created when the vocal folds thin and produce a simple vibrating paltem. Because the folds are thin, you can sing high pitches easily and usually have a lot of flexibility. (see: Vocal Registers - Why So Many Voices? page 113 FLAT: Under the pitch . Sometimes caused by tongue tension. (see: Perfect Pitch, page 181) "FLAT': Sometimes used to describe a voice that lacks upper partials and vibrato. "FLUTTER": When your voice vibrates inconsistently. FOCUS: Absolute concentration. FORCED RESONANCE: When you force a vibration onto another vibrator that is not tu ned the same or would not resonate at that pitch naturally. (see: Obey the Laws, page 38, and, Your Voice Has a Built in E.Q., page 119) FREQUENCY: The number of times something occurs. With pitch this means vibrations or cycles, the frequency of middle A is 440 cycles per second. FRICATlVE: Any consonant that causes friction between air and the lips, tongue and teeth. (example: V, F, S, Z) FUNDAMENTAL: Any pitch you intend to sing is called the fundamental. GLISSANDO: Sliding smoothly up or down between two pitches. GLOTTAL SHOCK: Beginning a pitch with a bursl because lhe lolds are

holding back breath for a splil second before they vibrate. GLOTTlS: The space between the vocal folds. GRACE NOTE: An omamenlal note, sung quickly and attached lo lhe body of a melody to dress it up. "GUTTURAL SOUND": Name given lhe sound of your vocal folds grinding oul a pilch. (Throaty) HARD PALATE: Front half of lhe roof of your mouth. Called hard because it's made of bone covered wilh muscle. "HALF-VOICE": Ught singing that allows the vocal folds to be thin and allow excess air to escape. This voice is flexible because the folds don't have to contract to resisl air pressure. HARMONIC: An additional tone(s) that vibrales along with a fundamental. Also called an upper-partial and an over-tone. HARMONIC SERIES: The name given lo the order of overtones that vibrate along with a fundamental pilch. (see: Obey The Laws, page 38) HARMONIC SPECTRUM: The name for a graph showing the volumes of ali the overtones in any sound. HARMONY: Two or more notes sung togelher that have a tonal relationship. "HARSH": Describes the sound when vou restrict the walls of your throat and push air against the vocal folds. "HEAD TONE": Name for a pilch that gives the illusion of originating from inside your head. The actual source of any note is the larynx, lhe sensation in the head is a pocket of resonance. Vou lose efficiency by trying lo conlrol any pilCh where vou feel its resonance instead of at the source. HEAD VOICE: The vocal register between chest voice and falsetto. The folds are aI a middle thickness and

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AU About Yourself

because the sound is not as complex as chest voice, the smaller cavities in your skull are resonating inslead of the windpipe. HYOID BONE: Small oU· shaped bone at the base of your tongue. The larynx is suspended from muscles that hang down from this bone. "HOOK": Part of a song Ihat is lhe most memorable, usually repeated. INHARMONIC: Any pitch that doesn't figure in with the others' key center. "INTENSE": Singing extremely focused on the larynx. INTENSITY: A concentraled quality in your voice that comes from more closure of the vocal folds. INTERVAL: The distance between two pilches. INTONA nONo Tiny adjustments in pitch so ali instruments and voice blend perfectly. INTONING: Vocalizing any pitch while inhaling instead of exhaling. INVOLUNTARY: An action thal does not require conscious thought. (blinking, breathing, etc.) LARYNGITIS: When your vocal folds are infected, swollen, and unable to make a sound. Vou should not speak or sing if Vou have laryngilis. However, it's often mistaken for pharyngitis, which Vou can sing with, if you're careful. LARYNGO-PHARYNX: Lowesl section of your throat that is still common between food and air. Extends from the back of the tongue 10 the larynx. (see : Diagram #26, page 103) LARYNGOSCOPE: Tool used be a Ihroat doctor to watch your larynx in operalion. 11 has a fiber optic lighl so it can also be connected to a video camera. LARYNX: Vour voice-box. 11 sits on lop of the windpipe and on a male the

Watch Your Languag.

riu Rock 'n' RoU Singer's Survival Manual

lronl makes lhe "Adams' Apple." There are two membranes inside, called lhe vocal lolds which close and vibrale when air passes by. OI lhe Ihree main lunctions oI lhe larynx, singing is lhe las!. The lirsl is lo be a pressure valve lor lhe body and second is to protect the lungs. LEGATO: Musical term lor connecling notes wilhout an intemuption. LIFTER MUSCLES: A set oI muscles connected lO the larynx Ihal pull up when you swallow. LIGAMENT: Fibers that hold bones togelher. (see: The Jobs oI lhe Larynx, page 105) LlP CONSONANTS: Any consonant lonned by the lips. (also called labial) MANDIBLE: Vour bollom jaw. MEDIAL COMPRESSION: The amount oI lorce exerled to close the two vocal lolds is called mediai compression. This is a big lactor in the efficiency oI your VOiC9. MELODY: One oI lhe three aspects oI music, in addition to rhythm and dynamics. MEMBRANE: A Ihin sheet oI tissue. MIDDLE C: The "C" in the middle oI the piano or one ledger below treble staff. "MOUTHING THE VOWELS": Describes a singer Ihat uses lhe mouth and lacial muscles to shape vowel sounds. Inlemal muscles in lhe throal do a much beller job. MUCUS: Semi-liquid Ihat coaIs and protects internai membranes. MUCOUS MEMBRANE: Name lor thin sheets oI lissue thal are exposed to outside air. They secrete mucus lO prevenI Iriction and inlection. (Inside your nose, under your longue, vocal lolds)

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MUSCLE: A group oI lissues that contract to create movemen!. NASAL CAVITY: A large group oI openings inside your skull which channel air across mucous membranes in order lo wann and clean them (see: The Big Picture, page 99) NASAL VOWEL: A vowel Ihat causes lhe rool oI your moulh lo drop and channel sound up into your nasal cavities. Sound is absorbed by lhe blanket-like soft tissue inside lhe nose. NASO-PHARYNX: Upper mosl section oI your throat which connects the nasal cavity to your mouth. (see: Diagram #26, page 103) "NODE": Nick-name lor a nodule. Also a poinl oI rest in a vibrating slnucture. (The hannonics oI a guitar are played by touching the slring at the nodes.) NODULE: A callous Ihat lorms due to lriction on the edge oI a vocal lold and interferes with closure. It's a sign oI a stresslul lechnique oI singing and changes should be made Irom lhe ground up. Surgery alone doesn't solve the problem. (see: Diagnosing Damage, page 136) NOISE: No one can use this to describe your music any longer! The simple scientilic delinition oI noise is any sound with an irregular sound wave pallern. Noises are always a pari oI musico (Ali consonants, cymbals, picking, striking, blowing) (see: Obey The Laws, page 38) NOTE: One single pitch. Sometimes people call a pitch a tone. NEURON-MEMORY: A chemical memory in lhe cell lissue oI a muscle thal recalls a molion aft~r it's been reinlorced by repetitions. (example: Once you learn to play an instnument the lingers seem to move on Iheir own. Ali oI the good and bad habits

in your singing are ingrained Ihis way.) OCTAVE: An inlerval in whieh lhe second pileh is exactly double lhe lirs!. ORO-PHARYNX: The section 01 your Ihroal whieh is visible by opening your moulh. (see: Diagram #26, page (03) OSCILLATE: "To vibrale" OTOLARYNGALIGIST: Doctor Ihal speeializes in lhe larynx. (More knowledgeable aboul lhe larynx Ihan an Ear, Nose & Throal doctor) "OVERBLOW': When you apply more air pressure againsl lhe vocal lolds Ihan Ihey can handle. OVER-TONE: see HARMONIC PALATE: The rool 01 your mouth. PARTlAL: Relers lo one 01 many lones Ihal vibrale wilh a lundamenlal. (see HARMONIC) PENDULUM: A swing is a pendulum. A sound wave or vibralion has lhe same eharacterislics as Ihal 01 a pendulum. (see: Obey The Laws, page 38) PHASE: A sound is in phase wilh anolher when bolh Iheir waves swing lhe opposile way aI lhe same pain!. Sounds Ihal are oul 01 phase compele wilh eaeh olher in your ear. PITCH: A sound Ihal can be labeled by letter or Irequeney. PHARYNX: The partion 01 your Ihroal Ihal extends Irom lhe nasal cavily lo lhe larynx. II is eommon passage lor lood and air, and is divided inlo Ihree sections. (NASO-PHARYNX, OROPHARYNX, LARYNGO-PHARYNX) (see: The Big Picture, page 99) PHONATE: Making a sound wilh your larynx. PHONETlC ALPHABET: An inlemalional group 01 symbols Ihal represenl lhe sounds 01 speeeh. Applies lo ali languages. PHRASING: Dividing lhe melody inlo individual lines lor breath and rhythm.

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"PLACEMENr': A common misnomer Ihal you have lo leel diflerenl pilehes in separale areas in your body. Actual!y, diflerenl pilehes will resonale diflerenl size cavilies, bul il isn't neeessary to pro mote this by manipulating museles. POLYP: A growth (Iike a pimple) Ihat lorms on a vocal 101d, or any mueous membrane. Does not indicale vocal abuse, but often causes interferenee with singing. (see: Diagnosing Damage, page 136) PORTOMENTO: Musical term lor sliding lrom one piteh to another (see: GLISSANDO). "PROJECT THE SOU NO": Meant lO describe the caring quality 01 a voiee. Often mistaken to mean pus h more air, whieh always leads lO less projection. The more upper-partials in your vOiee, the more the sound wil! project. (see: Obey The Laws, page 38) PURE TONE: A sound with no overtones. "QUALlTY": Deseribes the diflerent aspects 01 a sound (see TIMBRE) QUIVER: An involuntary shake in your voiee. RAREFACTION: The bottom swing 01 a sound wave, eaused by the vaeuum ereated when a molecule leaves it's plaee. (see: Obey The Laws, page 38) RANGE: The amount 01 pitehes your voiee can vibrate. The range is determined at birth due lo the size and shape 01 your vocal lolds. Realizing your lul! range potential requires extreme eflieieney. REFLEXIVE: When an action is unconscious. REFRAIN: The ehorus 01 a song. REGISTER: A relationship struek between the vibrator and the resonalor 01 any wind instrument (your voiee)

Watch Your Language

The Rock 'n' Roll Singer's Sunival Manual

Ihat allows a pilCh lo vibrale. There are live regislers in lhe voice Ihal allow lhe vocal lolds lo vibrale wilhoul being dislurbed by lhe pharynx. The voice, however, is lhe only wind inslrumenl Ihal is Ilexible enough lo sing Ihrough lhe regislers wilhoul a noliceable change 01 mechanism (break).(see: Vocal Regislers - Why So Many Voices? page 113) RESONANCE: When one vibralor (vocal 10Ids), exciles anolher vibralor (pharynx), lo vibrale in lune wilh it. This doubles lhe amounl 01 sound regislered ai lhe ear. There are Iwo Iypes 01 resonance, SYMPATHETIC and FORCED. Singing involves lhe lirst. "RESONANT': Describes a voice Ihal has greal resonance. RESONATOR: The part 01 an inslrumenl Ihal conlribules addilional vibralions or resonance. II can'l creale sound, only enhance it. The horn section 01 a saxophone is lhe resonalor; lhe mouthpiece is lhe vibralor. The larynx is lhe vibralor 01 lhe voice; lhe pharynx, windpipe, moulh and nasal cavilies are ali resonalors. REST: A musical lerm lor a specilic lenglh 01 silence. RET ARO: Musical lerm lor slowing lhe lempo, usually ai end 01 song. SCALE: A row 01 pilches rising in order. The mosl common is a dialonic scale or major scale. SHARP: The pilch you're singing is above whal il should be. Usually caused by pelvic lension or 100 much air pressure. (see: Perfect Pilch, page 181 ) SINE WAVE: Simplesl s.ound wave, no over-Iones. "SING FROM THE OIAPHRAGM": A misleading phrase designed lo gel Vou

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lo be more conscious abaul conlrolling lhe air pressure wilh your diaphragm. Allhough it's importanl lo conlrol air compression, lhe phrase usually leads singers lo push wilh Iheir abdominal muscles. "SING ON THE INHALE": If Vou lorce 100 much air againsl lhe vocal lolds you'lI run inlo problems. Imagining Ihal lhe air is coming in as Vou sing inslead 01 leaving will reduce lhe lemplalion lo push. SLUR: Sliding inlo a pilch. SOFT·PALATE: Rear section 01 lhe rool 01 your moulh. Made up 01 muscle, il acts as a swilch Irack channeling air eilher lo lhe moulh or nose. (see: The Big Picture, page 99) SOPRANO: Female singer Ihal is mosl comlortable singing in higher ranges. SPECTRUM ANAL VZER: Inslrumenl lor measuring lhe diHerenl over-Iones in a sound. SPHINCTER MUSCLE: Muscles Ihal lorm a ring around a lube and conlract lo close il oH. Sphincter muscles in lhe Ihroal are called CONSTRICTOR MUSCLES. STACCATO:A musical lerm Ihal means lo shorten lhe lenglh 01 a nole by hall ils original lenglh. STAGEFRIGHT : Fear 01 a performance. (see Rx For Slagelrighl, page 179) STERNUM BONE: Also called lhe breasl bane. Bone in lhe middle 01 your chesl Ihal connects lhe upper ribs. "STRAIGHT': Describes a voice wilhout vibralo. SUB-SONIC: Pilches Ihal 3re 100 low lor our ears lo hear. "SUPPORT WITH THE OIAPHRAGM": Phrase Ihal explains lhe role 01 lhe diaphragm in conlrolling

air pressure. The word support does nol mean push. I Ihink it's more helplul lo say "sleady wilh lhe diaphragm," since il actually opposes abdominal muscles ralher Ihan push againsl lhe lungs. (see: Ali Aboul Vour Brealh, page 55) SVMPATHETlC RESONANCE: Resonance Ihat's crealed belween Iwo vibralors because Ihey are luned aI lhe same pilch. This is lhe Iype 01 resonance in your voice. Vour Ihroal should remain Iree so il is able lo vibrale along wilh your vocal lolds. TEMPO: The speed 01 lhe musico TENDON: Fibers Ihal connecl muscles lo bones. TENOR: Highesl male voice. TESSITURA:The range 01 a song judged between lhe highesl and lowesl pilch lo sing. The key lor a song should be delenmined by your abilily lo sing lhe highesl or lowesl nole. (see: Make The Song Fil, page 188) THORAX: The section 01 your body Ihal houses lhe lungs and heart. THYROID CARTILAGE: Fronl shield lor lhe larynx. II is lhe largesl cartilage in lhe larynx and prolrudes lurther oul in a male lO lorm lhe "Adams' Apple". (see: The Big Picture, page 99) TIMBRE: The qualily 01 a sound, delermined by lhe effects 01 overtones. Many inslrumenls can play lhe same pilch, bul your ear will separale Ihem because Iheir limbre is different. (see: Obey The Laws, page 38) TONSILS: Two bags 01 Iymphoid lissue Ihal sil jusI below lhe rool 01 your longue. 11 Ihey beco me inlected Ihey swell and cause problems wilh speech because 01 Iheir localion. TONE: Proper name lor a single musical sound. Often we call Ihings pilches, when pilch is jusl one aspect

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AU About Yourself

01 a lone. Tone is often mis-used lo mean lhe qualily 01 a sound, which is lhe TIMBRE. TONIC: The firsl pilch 01 a scale, or lhe lirsl chord in a key signalure. Also label as a I chord TRACHEA: Vour windpipe. II connects lhe lungs lo lhe Ihroat. TREBLE: General lerm lor lhe upper-partials 01 a sound. The lone conlrol on a slereo is a volume conlrol lor Ihese upper-partials. Raising lhe volume 01 Ihem gives lhe sound clarily and projection. TREMBLE: Unconlrollable muscle reaction. TREMO LO: A slow vibralo Ihal wavers between two neighboring pilches. TRILL: EX1remely lasl vibralo Ihal changes between two delermined pilches. TRUE FOLDS: The bottom seI 01 lolds in your larynx. The ones you sing wilh. TUNE: Adjusling lhe pilch correctly. "Singing in lune." UL TRASONIC: Sounds Ihal are 100 high pilched lor our ears lo hear. UNCONSCIOUS: Any action Ihal doesn'l require conscious Ihought. (see Ali Aboul Voursell, page 159) "VIBRANr': Descriplion 01 a voice Ihal has goOO vibralo. VIBRATE: To shake back and lorth. (see: Obey The Laws, page 38) VIBRATO: A relalionship (fluctualion) between lhe air Ilow and lhe muscles which conlrol lhe vocal lolds. VIBRATOR: Anything Ihal dislurbs lhe air enough lo creale waves. It's usually in relalionship lO olher parts 01 an inslrument. Vour larynx is lhe vibralor 01 lhe voice, lhe Ihroal is lhe resonalor. The moulhpiece is lhe vibralor on a wind inslrumenl, and lhe

Watch Your Language

Tire Rock 'n' RoU S;ngers Surv;val ManUIII

body is lhe resonalor. (see: Obey The Laws, page 38) VITAL LUNG CAPACITY: The lolal amounl 01 air vou can exhale. Some air remains in lhe lungs after Vou lully exhale, only lhe amounl Ihal leaves pertains lo singing. (see: Ali Aboul Vour Brealh, page 55) VOCAL COROS: A slrip 01 cartilage along lhe edge 01 lhe vocal lolds, where lhe Iwo make eonlact. (see: The Jobs 01 lhe Larynx, page 105) VOCAL UGAMENT: Another name lor the vocal eord, because lhe eord is actually a ligament. VOCAL FOLOS: Two eurtain-like mucous membranes Ihal extend oul over lhe opening in lhe larynx. The edges have slrips 01 ligament and when they meet Ihey internupt the flow 01 air inlo little puffs or vibrations. (see: The Big Picture, page 99) VOCAL FRY: Lowest vocal register ereated by the two lolds seraping together. (see: Vocal Registers - Why So Many Voiees? page 113) VOCAL UNE: Musical term Ihat deseribes when the vocal phrases flow eonsistently. VOCAL TRACT: Name lor the area the sound travels Ihrough belore it leaves your mouth. (Throal & mouth) VOCALIZING: Exereising your voiee. When vou vocalize, the attention should be on lorm. When Vou sing, go lor a sound. (see: 00 I Have to Practiee? page 49) "VOICE BOX": Another name lor your larynx. VOICEO CONSONANT: A eonsonanl tha! has a piteh ineluded wilh lhe sound. VOICELESS CONSONANT: A consonanl Ihat does not have a piteh. VOCALIS MUSCLE: Muscles inside your larynx Ihal conlrol lhe Ihiekness

216

01 the vocal lolds. Among other things, plays a major role in registers and volume. (see: Where's The Volume Knob? page 111) VOLUNTARY MUSCLE: Any musele that Vou are able to activate eonseiously. Vour bieeps are voluntary; your heart is involuntary. VOWELS: Vowels are Irequeney ehanges that shape your voiee into lhe identiliable sounds 01 language. They are the loundation 01 singing. WA VE LENGTH: Sound has waves, and one wave resembles lhe letter OS" laying sideways. To see how piteh and volume are determined. (see: Obey The Laws, page 38) "WEAK": A voiee is weak when the larynx is under developed or lhe lungs are not able lo compress air. "WHINING": Vour voiee becomes whining when lhe walls 01 your throat lense and send lhe sound into lhe nasal cavity. WHISPER: A whisper is ereated by opening the lolds partially and holding them tense. Air nushing pasl is resisled, but the lolds aren'l allowed to vibrate. The words are shaped by the museles 01 the vocal tract. It aggravates the vocal lolds lo whisper so il is not a good voiee lo use when you're blown out or suffering Irom a eold. WHISTLE REGISTER: The highest vocal register. Created by the lolds stretehed extremely tight, the air nushes past, titerally whistting like vou do' with your tips. This register is not very controllable and usually pops out when a voiee is damaged. "WINO PIPE": Vour traehea, whieh eonnects lhe lungs lO your throat. WOBBLE: Extremely slow vibrato.

AU Aboul YDurself

QUESTIONS ANVONE?

In Ihis section are answers lo lhe queslions I am asked mosl Irequenlly. Vou

can use il as a relerence or as an indexo These answers are developed further

Ihreughoul lhe book and a page number will direct vou lo lhe right section.

Because everything is cross-relaled belween physical, menlal, conscious and

unconscious, singers beco me lruslraled wilh lhe complexily oi answers lo a simple

queslion. I cul lhe answers lo lhe bone by eliminaling delails in order lo make lhe

subject less inlimidaling; however, Vou can lind more delails elsewhere in lhe book.

DIET

Are mllk and olher da/ry producls bad for my vo/ce? Yes, Ihey coai lhe Ihroal and produce excess mucus in your syslem (page 29).

Do lhe Ih/ngs / eal malter 10 my vo/ce? Yes, vou are lhe inslrumenl (page 1).

/s Ihere a spec/al d/el for s/ngers? When vou eal lor your heallh, il helps your voice (page 24).

Are co"" and lea good lo drlnk bafore s/ng/ng? No, heal expands and swells lhe Ihroal (page 18).

/s Ice waler or co/d soda good lo dr/nk whlle s/ng/ng? No, cold conlracts lhe muscles which reslricts Ilexibilily (page 30).

Whal /s good 10 drlnk? Room lemperalure waler (page 30).

/s honey soolh/ng lo your Ihroat? 1i coais lhe Ihroal bul never louches lhe vocal lolds, where lhe slress is localed (page 88).

/s 11 good 10 coaI lhe Ihroal when 11 feals sore? Firsl decide il lhe soreness is an inlection or lense muscles. Coaling lhe Ihroal oflers no help lor lension because lhe soreness comes Irem lhe muscle (page 92).

Shou/d I lake v/IBm/ns? Singers need slrenglh and slamina. 11 your diel isn'l providing il, lake a supplement.

217 Questiom Anyone?

riu Rock 'n' RoU Singer's Survi .. al ManUlll

Should I be a vegelarlan? lhat's your personal choice. A lighter diet works better for singers, which doesn't leave much room for red meat (page 24).

Is 1I bad lo eal Just beto", I slng? lhis is best answered by experience. Some people relax their bodies after eating which is good for singing, but digestive juices can coat the throat. OIhers feel they don't have room to breath when they're full, but singing require lots of strength . Vou should be sensitive to your metabolism. lhe timing is your responsibility (page 24).

Should I drlnk lols of waler durlng lhe day? Ves, the larynx needs to be constantly lubricated. and plain water is taxing on an empty stomach. content are the best source (page 30).

WIII one drlnk hurt? Definitely not (page 14).

HABITS

How does alcohol hurt your voles?

However, don't drink with meals Foods that have a high water

Alcohol dries your vocal folds which need to be wet so the two don't mix well. Is there a type of drink that's better then the rest for singers? Room temperature water.

Why do I slng better when I drlnk? lhat's what you think. Actually it's true that liquor will relax muscles and reduce inhibitions; the trouble has always been discovering you drank too much, too late. lhere is an easier way ... (page 193).

Can I drlnk after I slng? lhat depends on your schedule. Remember the drying qualities of alcohol won't take eflect until you're asleep. When you wake, you'lI have work to regaln the voice (page 16).

Are clgarettes harmful lo my larynx? Ves (page la).

Whal aboul oCCBslonal smoklng? Less harmful because you allow for recovery. Vour body appreciates moderation.

Whal's a good way lo qull smoklng? (page la).

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AU Aboul Yourself

Whal aboul pol? Various reports say one joint equaJs up to 20 cigarettes. Vour larynx doesn't care what's legal and what's not, but it doesn't lare well under abuse (page 15).

WlII eocalne hurt my volee? Ves. Doctors use coke to block the nerves lrom leeling, so when it hits your vocal lolds, singing becomes as easy as playing guitar with mittens on (page 16).

Why do I slng bener when I'm hlgh? Most people think their driving gets better, too. lhe goaJ 01 a singer is to relax certain muscles while others keep working. Vour voice may improve lor a short time after getting high as a result 01 losing tension, but the drug can't select which muscles get released and which should work. After a while coordination is impaired, then lost, and so is your voice (page 165).

Why do I lose my vo/ce so qulekly when I do eoke? The drip causes swelling in the throat and larynx. It's got the same eltect as a cold.

How ean I gel Ihal loose feellng wlthoul drlnklng or drugs? A physical warm up will reduce stress and give your conlidence a lift. A vocal warm up will prep the muscles and make your voice more controllable Irom the start (page 154).

Is Junk food bad for my volee? Ves, it doesn't provide the lasting energy necessary to sing . Sugar eats up vitamins and leaves vou depleted after the initial charge (page 27).

Does eatlng on lhe run hurt my volee? Vour body needs to locus energy to digest elticiently. The stress 01 rushing around while cramming lood creates mucus because the system is over-taxed. II the dashboard and Iloor 01 your car is littered with McDonald's bags, it's time to re-think your schedule (page 24).

ROUTINE

How mueh sleep do slngers need? As much as possible. Rest is the lirst neglected aspect 01 health.

Should I lake a nap before a performance? What condition is your voice in when Vou wake? Make sure Vou leave enough time lor a warm up (page 154).

WIII 100 mueh sleep hurt me? Toe much sleep will make your mind groggy and your muscles lethargic. That's

219 Questions Anyone?

The Rock (n' Roll Singer's Survival Manual

obviously nol a greal condilion for singing.

Shou/d / go lo work on a performance day? A period of lrial and error will dictale whal should and should nol go on lhe day of a performance. Everyone has a differenl reaction lo daily chores. Vou should build your roulina around lhe way you feel before lhe show (page 154).

Shou/d / exere/se on a performance day? See above answer.

/s Jogg/ng good for s/ngers? Only if you know how to jog correctly. I see many people tense up after running. Don't take it for granted and learn to do it right.

Whal's lhe basl exere/se lor s/ngers? Swimming. It combines stretching with flexing and increases your breath capacity. Read the section on non vocal exercise (page 32).

Shou/d / s/ng at rehearsa/ the n/ght balore a performance? Unfortunately, no rules are written in stone. It's not so much the length of time, but how you sing. Hopefully, after using this book you'lI be singing constantly with no worry about blowing out (page 193).

Shou/d / warm up my vo/ee? Definilely (page 154).

What does a warm up do? It does the same Ihing for singers that it does for any athlete. lhe muscles of the throal and larynx actually become warrner during this light activily that prepares them for singing.

How /ong shou/d / warm up? Until you're ready. lhe longer the performance the shorter the warm up and vice versa.

What shou/d / do for a warm up? (page 154).

I'm embarrassed to warm up /n Iront oi others, what shou/d / do? Find a privale place, your car, the bathroom, or a closet. After you feel the benefits of warming up, you'lI be less inhibited about how you look. Don't feel bad about not having the courage to do il in front of others; just make sure you do it.

Do / need to warm down when I'm done? Yes, especially if you're going lo sing the next day.

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How long should I warm down? Unlil your speech sounds and feels normal (page 154).

Whal should I do lo warm down? (page 154).

Whal's lhe dlfference b8tween vocallzlng and slnglng? When you voeslize your only concern should be on form; it's when lhe larynx develops. When you sing lhe enlire focus is on sound, no matter whal il lakes lo creale il (page 49).

Whal should I do lo pracllce? (page 49).

How often should I practlce? Five lo six days a week for a leasl a half hour.

Whal happens If I never pracllce? Nolhing.

Can slnglng aI glgs, recordlngs, and rehearsals b8 consldered pracllce? Ves, but you should slill spend lime alone lo work wilhoul lhe pressure of having lo sound good. Vou need lo allow yourself lo make mistakes lo grow (page 49).

Should I pracllce on a performance day? Ves, il should never hurt lo voeslize, bul keep your schedule in mind for slamina.

Should I practlce In prlvale? Definilely. It's so importanl lo be uninhibiled when exploring your voesl possibil ilies.

Can I pracllce flrsl Ihlng In lhe momlng? Practice begins after you've warmed up; olherwise, it's eslled a warm up. It's fine lo warm your voice up after you've slrelched your body.

ABILrrvrrRAINING

How long wlll II lake? Unlil you're ready. I'm asked Ihis queslion more Ihan any olher and lhe answer depends on where you are when you slart training, how hard you wOrk, and how much you wanl it. Mosl classical l eachers advise a 14 year developing period before beginning your career. Mosl rock and rollers begin and relire in Ihal amounl of lime. I lell my sludents lO look for advances in six monlh inlervals and expect greal changes lo lake two or Ihree years.


TIu Rock 'n' Roll Singers Survival Manual

Does everyone need vocal lessons? No, only il vou desire something more than Vou already have. See "Should I Train?" (paga 46).

Why do some peopla slng so well wllhout any tralnlng? The sama raason a savan loot man makas a battar basketball playar. How doas (flll In your favorlte slnger) get that sound? The sound somaona makas is a combination oi thair anatomy and lha way he manipulatas his musclas, ar tha sum total oi his abilities and inabilities (page 120).

What does "support" mean? This is a vary misundarstood tarm. Read "Walch Vour Language" (paga 206).

What does "S/ng from the dlaphragm mean?" It's an iIIusion dasignad to reduce tha air pressura undar your vocal lolds.

How can I make my volce raspler? By closing the throat abova tha larynx (saa paga 201). It's not a goOO idea to get raspy by ova~oading lha vocal lolds with pressura.

How can I clean It up? Thin the vocal lolds and balanca tha air pressure (see page 126).

Why does my volee ehoke o"? Vou are eilher associating pitch with tension ar with lifting the larynx (see page 126).

Why doas my volce sound breathy? The vocal lolds ara not making a good seal when they meet, like a leaky valve. The cause can be weak laryngeal muscles ar pushing toa much with your abdominal muscles. See "Exercises lar Slrenglh and Flexibility" (page 140).

Why does my volee sound weak? An under-energized sound is aither caused by a lack in conlidenca ar a lack oi air. See "Every Breath Vou Take" (page 60) and "Mind Games" (page 165).

Why doas my volee sound thln? Tha lolds do not hava the strength to Ihickan (page 112), ar there is a great deal oi tension in the Ihroat. See "Exercises lar Strength and Flexibilily" (paga 140) and "Every Breath Vou Take" (paga 60).

Why doas my volee sound raspy? Nades, bowed ar swollen vocal lolds, muscle latigue and toa much push Irom your abdominal muscles ara ali common causes. Ii this is the sound you're looking lar, there's another way to get it wilhout permanent damage. See "The Jobs oi the Larynx" (page 105), "Evary Breath Vou Take" (page 60), "Exercises lar Strength and

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AU Aboul Yourself

FlexibilitV" (page 140) and "How Do Vou lose Vour Vaiee?" (page 126).

Why does my vo/cs sound nasal? Tension in the rool 01 vour mouth allows toa mueh ar 100 little 01 an opening into vour nasal cavity (see lhe diagram in "Ali Aboul Vour Inslrumenl" page 98). Also, tension in lhe walls 01 lhe Ihroal will reslrict airflow and amplity Irequencies whieh we relale lo as nasal (around 8,000 Hz). See "Vour Voiee has a Buill in EQ." (page 119) and "Exereises lar Strength and FlexibililV" (page 140).

Why does my voles sound so bad? II Vou can'l pinpoint a single issue to work on, chances are Vou jusl don'l like voursell very mueh. See "Mind Games" (page 165).

Why am I sharp wlth pllch? A common cause is lension around vour pelvis causing Vou lO over-blow the nole. For some remedies see "Welcome to lhe Jungle" (page 193).

Why do I slng fiaI? Tension around lhe larynx, Irom the longue ar swallowing museles prevenI lhe vocal lolds lrom slrelehing lo lhe correct tension. Releasing the externai museles will make vour pileh shakV aI lirsl bul will evenluallv provide a more reliable conlrol. See "How Do Vou lose Vou r Voiee" (page 126) Whal makss me slng off pllch? AnV eombinalion 01 the two previous answers. Tension is nol consisten!. Therelore, don'l use il lo contrai pileh. For a look aI how piteh is erealed see "The Jobs 01 the larynx" (page 105).

Whal Is psrlSCI pltch? (page 181).

Does hsarlng havs anythlng lo do wllh pllch? A singer lislening lo his voiee while he's singing is like a guilar plaver looking aI the neek 01 his inslrumenl while he's plaving. Don'l do i!. See explanation in "Perfect Pileh" (page 181).

Why does my vo/ce crack? Slress and pressure have caused lhe vocal lolds lo vibrale ar "break" lo a harmonie ralher Ihan lhe pileh inlended (page 114).

Whal causss lhe brsak In my vo/ce? Changing registers is a realitv 01 lhe vocal lolds. The "break" occurs between lhe regislers when Vou hold lhe walls 01 lhe throat slift. FlexibililV is whal separales lhe voiee lrom ali olher instruments. See "Exereises For Slrenglh and Flexibility" (page 140), and "The Jobs 01 lhe larynx" (page 105).


TM Rock t,.' Roll Singers SurvivaJ Manual

Whsl Is 'slsano? A vary simpla vibrating pattam, primarily at tha adga 01 the vocal lolds. The sound produced is not harmonically rich enough to create any sympathetic vibrations, so thare is a lack 01 resonance. Sae "Falsetto" (page 114).

Whsl sre lhe reglslers? From the bottom up: Fry, Chest, Head, Falsatto and Whistle. This represents the live dillerent vibrating abilities 01 the lolds. Remember, a II exibi e throat cavity will melt the transitions between them (page 114).

Whst's lhe dlfference bBtween chesl snd hesd volce? In chest voice your vocal lolds are thicker, and they vibrate in several dillerent ways, craating a rolling or wave-like appearance. This creates a complex sound rich with harmonics. The size 01 the sound wave is large and trigge15 sympathetic vibrations in the chest cavity. Head voice occu15 when the vibration occu15 only within the lining 01 the lolds. Since this is a simple motion, the sound wave is smaller and not able to stir the air in your chest. The throat, mouth and nasal cavities begin to resonate because thair size matches those 01 the sound waves. Note, only their action to the sound has changed, not the source. See "The Jobs 01 the Larynx" (page 105), and "The Jobs 01 the Vocal Tract" (page 118).

Where's lhe volume control 'or my volce? The combination 01 the vocal lolds thickening and an increase in air pressure. See "Whare's the Volume Knob?" (paga 112).

Why csn'l I slng sofler on hlgh pllches? Vou have combined the control 01 pitch with volume. See Diagram #31 (page 117).

Why csn'l I gel sny volume bBhlnd my low reglsler? This is tha other side 01 the same problam in the question above (page 117).

Why doesn'l my volce suslsln s nole? Lack 01 air. See "Every Breath Vou Take" (page 60), and "Exercises For Strength and Flexibility" (page 140).

Why do I hsve Irouble slopplng s nole short? Lack 01 coordination with the diaphragm. In other words, vou don't know how to take your loot 011 the gas. See the STACCATO HA'S exercise (page 146).

Why do I hsve Irouble "hesrlng" hsrmony psrts? Some singe15 will always end up on the lead line when trying to harmonize. Usually the lead line lits nicely with the chords 01 the song and the harmony leels removed. Each interval has a dillerent "Ieel" which should be remembered as a separate sensation. II you're trying to make the harmony leel like the lead, you'lI end up singing the lead.

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AU About Yourself

Why do 1 slng belter on lhe hsrmony psrts rslher thsn on lesds? In an elfort lo blend wilh l he lead voice, you've reduced lhe load on your larynx and crealed a batler balance. This means vou pus h 100 much when Vou sing lead. See "Mind Games" (page 165), and "Exercises for Strenglh and Flexibilily" (page 140).whst Is Isryngllls? When lhe vocal folds are infected Ihey become swollen and unable lO vibrale. This is a dilferenl silualion from pharyngilis which is when lhe walls of lhe Ihroat are infected. See "Sore Throats - To Sing or Not to Sing" (page 92).

Should 1 slng when 1 hsve s eold? It's OK unless Vou have laryngilis. See "What Singe(s Should Know About Colds" (page 84).

Why do 1 lose my volce when 1 hsve s eold? Coughing, dehydration and lhe dripping congestion swell the vocal folds so they can no longer vibrate. Prevent the three factors and vou won't lose your voice. This is not laryngitis because the folds are not infected, only alfected (page 92).

Do sllergles sffeet my slnglng? Anything Ihal causes coughing, dehydralion and dripping congestion will harm your singing.

Csn someone wlth sSlhms be s slnger? Yes, when a singer trains they become more elficient with their breathing and sensitive to their overall health. This can only help the condition, what Vou lack in air power can be embellished in other araas. Stay in touch with your doctor to monitor your health, and start exploring your potential.

Why do 1 gel dlzzy (rom vocal exerelses? You're exchanging more air than you're used to and balance in your blood is disrupted. Take a break and future, explore more aerobic activilies.

Whst Is good posture?

oxygenfcarooll ã-QlIX!e tlings balance

Good posture is when your skelelon supports your body ...,õgtll. See "Posture Alfects Your Voice" (page 79).

Is there s speclsl slnger's pos/l/on? A low center of gravity and 10ls of flexibility, whatever thal looks hl<e (paga

How does posture sffeet my volee? Muscles will lense to support a misaligned body, and that restricts you capacity and interferes with control of lhe larynx (page 79).


The Rock in' Roll S;ngers Sun;val Manual

How CBn I Improve my posture? Don't allow tension to hang around too long in any part 01 your body. Get a massage, stretch, exercise, breath, get rest and drink water. See "Posture Altects Your Voice" (page 79).

Is standlng bBtter than slttlng? This one is not as simple as you might have though!. While it's true standing aligns ali the lorces nicely, many people stand with tightly locked muscles. For them, sitting allows Ireedom and the dilterence is easily heard. A goal should be to stand with as much Ireedom as you leel sitting. See "Posture Altects Your Voice" (page 79), "Welcome to the Jungle" (page t 93), and "Exercises lor Strength and Flexibility" (page 140).

How can I make my volce conslstent? Read this book.

How can I get speed or flexlblllty wlth Bd IIbs? Get your "technique" 01 singing reduced to only the small muscles 01 the larynx (page 105); they react as quickly as you think. Also see "Welcome to the Jungle" (page 193), and "Mind Games" (page 165). Once your larynx becomes rellexive to your thoughts, you'd better mean what you're thinking.

What Is real control? When you trust something enough to let it be Iree, that's true control (page 158).

Why do I get dry when I slng? Tension in the throat restricts saliva ducts Irom lubricating the area. To lind out il the source 01 tension is physical or mental, see "Exercises lor Strength and Flexibility" (page 140) and "Mind Games" (page 165).

ANATOMY

Does the s/ze of the body matter? Only when you want something il can'l produce, (Le. A little person wanting lhe "sound" 01 a big person).

Are some people natural slngers? Some people have natural instrumenls, with ali lhe righl proportions. II also lakes a singer's mind lo play the inslrumenl and when Ihose two meel, look ou!.

Where Is the larynx? At lhe end 01 your windpipe.

What does It look IIke? (page 110).

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AU Abaut Yourself

WIIat are vocal cords? Inside the larynx there are two musde membranes which close ofl the windpipe. On the edges that meet Ihera are . strips 01 cartilage which are called the vocal cords (page 101).

What makes them slng? Air coming up through lhe windpipe is resisted by the closed vocal lolds. Depending on the tension 01 the lolds, their vibrating allows small pufls 01 air to be released. The number 01 puffs equals the pitch you're singing. (example: 440 pufls a second equals middle A ). See Diagram #27 (page 107).

WIIat determines your range? The size and flexibil ity of your vocal lolds.

What are nodes? A callous on the edge of the cord which prevents a good seal. See "Diagnosing Damage" (page 136).

How do you deve/op nodes? Too much pressure builds lriclion at the point 01 contacl (where the folds meet). The body responds 10 the liclion by fortifying the point with more skin, the same way vou get callouses on your hands (page 137).

Can you get rld o( them wlthout surgery? Ves, in most cases. Surgery should be an absolute last resort. Nodes are symptoms 01 a forcelul singing technique and they'lI re·appear unless vou change your approach. As long as you're going into therapy to reduce the stress in your singing, give il a chance lo mell lhe node as well (page 137).

Why Is my volce lower In the momlng? Like lhe resl 01 your body, lhe muscles within lhe larynx are stifl. The Ihicker rigid vocal lolds will nalurally produce a lower pilch until they regain Iheir flexibility. Don't force yoursell, slretch your bady lirsl and follow "Exercises lor Flexibilily and Range" (page 140).

What and WIIe", Is the dlaphragm? The diaphragm is a dome shape muscle which divides lhe lungs Irem your digeslive organs. II lollows lhe battom rib line. See Diagram #9 (page 61).

Should I tense my stomach muscles to support my slnglng? No, these muscles will aulomalically conlracl as Ihey mainlain pressure. If vou concenlrale on lensing lhe slomach, you'lI push 100 hard and slress lhe Ihreal muscles. See "Every Brealh Vou Take" (page 60).


The Rock In' RoU Singer's Survival Manual

Whal musc/es should I use? As you inhale, you should expand lhe abdominal cavily. lhe nalural recoil of lhe muscles provides plenly of force. See "Every Brealh Vou lake" (page 60).

Whal should I ralax? Ali of lhe visible muscles. lhe large externai muscles of lhe body are heavy· handed and awkward in relalion lO lhe delicate balance of singing.

Whal are lhe hard and 50ft palale? lhe hard palate extends from your top front teeth lo lhe middle of lhe roof of your mouth. lhe soft pai ale is a muscle extension from the poinl where the hard palate ends lo your uvula (lhe bag hanging down in the back of your mOUlh). See Diagram (page 98).

Does a devlaled seplum eltecl my slnglng? Ideally you don'l want to rely on nasal resonance for your voice. II doesn't contribule lO lhe sound you project. However, a small percenlage needs to "ventO inlo the nasal cavity, so if you have a little passage you'lI be alright.

WIII a nose job change my volce? A new shape lo your nose will not change your voice. I would advise you to work with a vocal therapist before and after lo reduce the eltects of the operation. lhe trauma to the area mighl cause you to hold the muscles in a peculiar way.

Do tonslls maka a dlfference? No noticeable dilterence.

DO brsces have an eltecl? If they make you hold your moulh in an unnatural way, the lension will limil you. Muscles have memory and can slay tense long after lhe braces are removed.

Whal 15 T.M.J. syndrome? lemporomandibular joinl syndrome is a condition when the lower jaw is oUl of alignment. Recenl sludies have traced this to be a possible source of headaches, neck tension, back pain and many more unexpected symptoms. Vou should be diagnosed if you suspect this is a problem. It can cause extreme discomfort. lhere are drug free methods of Irealment available.

WIII T.M.J. syndrome dlslurb my slnglng? Ves, it interferes with the muscles' freedom. lhe process of training your voice will not hamper Ireatment, it speeds it up.

Why does my jaw make nolse when I open lI? lension in lhe jaw muscles create slress at the hinge causing a short term alignment problem. Slowly loosen your jaw before you warm up, don'l force it. lhis can also be a sign of I .M.J.

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AU Aboul Yourself

PERFORMANCE

What should I be thlnklng when I'm slnglng? About the inlent oI the song. See "Mind Games" (page 165).

How ean I let go of body tenslons whlle I'm performlng? Focus on your brealhing. A body stretch should be an inlegral part oI your warm up; on slage is lhe wrong place to start loosening up. See "Warming Up and Down" (page 154).

Roek 'n' Roll Isn'l meant lo be re/axed; what should I do? Football isn'l a real relaxed sport either and those players spend lime warming up and slrelching because il improves Iheir ability on lhe field.

Do I have a good volee? Ves. Now lel's make it better.

Why ean'l I sound IIke other people? The same reason Vou don'l look Ihem eilher.

Why Is slnglng In the studlo dlfferenl? The headphones provide a perfect environmenl, allowing vou to sing wilhin yoursell inslead oI competing with other instruments. Il's important to remember Ihal Vou don't have lo shout over lhe band to be heard.

Why does my volee sound so dlfferent on tape? Vou're lhe only 009 who hears your voice the way Vou think it sounds; the tape is correct. Singers hear a mixture oI internai and externai vibralions. Only lhe externai ones count. Sing lrom leel and you'll be on a better track.

Why does my volee get beller as I slng? Vou're warming up as vou sing, muscles are re laxing and becoming coordinated. Why don'l Vou do thal belore Vou sing? See "Warming Up and Down" (page 154).

Why does my volee gel worse as I slng? Vou r singing style involves lension which eats away at your slrenglh. See "Exercises lor Strenglh and Flexibility" (page 140).

Should my slnglng volee sound IIke my speaklng volee? Ves, the qualilies should be recognizable.

Do I have whal II lakes lo be a slar? Nol il Vou have to ask. See "Resisting Success" (page 168).


The Rock 'n' Roll Singer's Survi.,al Manual

Whal csn I do aboul my narves bafore I slng? Gel in louch wilh current realily. See "Rx for Slagefrighl" (page 179).

Should lhe band change lhe keys of songs 10 fIt my volce? Ves, or lhe band should find a singer lo betler fil lhe songs.

Why are some words eas/er on hlgh noles IhBn olhers? The lension used lo creale certain vowels chokes lhe larynx. It's easy lo find consislency so ali vowels are Irealed equally, see Vowel Exercises (page 141).

Do emollons affecl my muscles? Definilely, it's part of your body's defense mechanism. See "Feelings" (page 173).

Should I ba able lo slng when I'm upsel7 Technically yes, but Iry lelling Ihal to someone who's upset. As you bacome more experienced, you'lI leam to rise above it. Depending on the problem, you'lI find some remedies in "Feelings" (page 173).

Is Ihere a speelal mlcrophone for slngers? Betler ones come on the market ali the lime. It's worth spending time and experimenting until you find one that responds best to your voice. Rock is an electric art form and you're only as good as your electronics.

Should slngers rely on lhe slage monllors? No. This is one of lhe hardest habits lo break. Truth is you'lI be a batler singer if you focus on your intemal feelings rather than the extemal result. The Bealles never had monitors, yet lislen to lhe harmonies on "Uve at the Hollywood Bowl". They didn't miss them because they weren't available. See "Perfect Pitch" (page 181 ).

How can I slop compellng wllh lhe band's volume on slage? By focusing on the feeling inside and keeping the vocal forces balanced. If you compete with the volume on slage, you'lI always lose in two ways. See "Perfect Pitch" (page 181).

Why Is " eas/er lo slng cover songs Ihan my own? The songs are "pre-fixed" when you listen. Ali your muscles have to do is imitate what's already Ihere. It takes 10lS of energy lo plot inlo the unknown territory of a new song. For some help see, "Make the Song Fit." (page 188).

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ALL ABOUT MARK BAXTER

Mark Baxter has been a rock musician ali his life. His interest in vocal

therapy began oUl 01 lrustration with his limitations. As his understanding 01 the

voice grew, he developed an ability to communicate the complex issues 01 singing in

a simple way. He began teaching in New Vork City, and now runs a private vocal

studio in Boston, Massachusens. Each year, exclusively through word 01 mOUlh,

hundreds 01 singers, Irom intemational stars to beginners, seek his training. lhe

unique aspect with Mark, is that he is still very aclive in his singing career, and is

constantly researching and discovering bener methods lor developing the voice.

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[Mark Baxter] the Rock-N-Roll Singer's Survival Ma(BookZZ.org)