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Vocal Skills Are Groups F o o * rr r a c This serieswas previouslypublished in The Pitch Pipe duringthe mid-90s.The serieswas so popularduring its first run we have decidedto update it and bring it back for an encore. have the time or money for individual to play it properly. The human voice is vocal instruction. Even so, there is a the most versatile and flexible of musi- way to become a better singer: do-it- cal instruments. Since we sing with our yourself vocal production lessonsl whole body, it is important, and the With this article, we begin a jour- basis ofall good singing, to learn how ney that will continue over the next to hold the body properly. several issues of Tbe Pitch Pipe. The The ultimate goal in singing is a goal of the series is to present informa- freely produced, rich, open and res- tion in such a way that each reader will onated sound. The vocal apparatus be able to learn and practice improved must be relaxed. The way the body is By fu tty Clipnut rt,I ttI cnu t tlon,rI vocal production techniques, even if it held -its posture- has a major impact Boail of' D irct'to r,,, Ho u.rto rt Honl.:rttt is not possible to take professional on whether the vocal mechanism can C/.ronn,,Rqqlon 10 vocal lessons.So lets begin ... remain relaxed and free. Posture is the basis ofall good 'When Every Sweet Adeline loves to sing. singing. you study a musical Commonposture problems: Whatever we derive from our member- instrument, you are first taught to hold l. Locking the knees - When the ship, it is much more rewarding for us it correctly so that you have the ability knees are locked, the body is offbal- when we sing well. Thus, we have ance. This causes body tension, which great drive throughout our organiza- creates a tense singer. Be sure to put tion to do so. The better each member Vocalskills are the weight forward on the balls of the sings, the better the quartet or chorus feet and keep the tail bone tucked sounds and the more rewarding the the key ingredients under to help avoid inadvertent lock- experience for every member. ing ofthe knees. Vocal skills are the key ingredients for all performing 2. Sr.r'ayback - Sometimes a for all performing groups, and individ- singer tries to attain a lifted chest by ual vocal lessons are the ideal way to groups. pulling the shoulders back (and con- improve; however, many of us don't sequently tensing them) instead of 10 Tur PIrcH PII,t July2004 F e a t rr r e s using the muscles around the rib Sincewe singwith taining the position of a high, cage to lift the ribs out of the waist- wide, open rib cage. line. The intercostal muscles sur- our whole body,it Note that the danger in this exer- rounding the ribcage are the muscles cise is tension and overexertion. It that should be used to lift the ribs is easy to become tense about not and the sternum. When the shoul- is importantnand allowing the rib cage to collapse. ders are pulled back instead of the Remain conscious of keeping free sternum being lifted high, and the the basisof all of tension, constriction and tight- buttocks are not tucked under but ness in the shoulder and chest are thrust backward, swayback pos- good singing,to ,ld. ^t.r". XJ ture is the result. In this tense, unbalanced position, good vocal pro- learnhow to hold tl duction is not possible. 3. Chest droop - As a musical the bodyproperly. phrase is sung and air is exhaled, it is easy to allow the chest to cave in and the rib cage to &op back into the waistline. At the end of the phrase, if SampleExercise this occurs, the singer has lost the Since posture is a key ingredient height of the sternum. As you sing a and the basis for all good singing, it phrase, consciously retain the height is important for every singer to prac- ofthe sternum and resist the collapse tice often enough and long enough to ofthe rib cage. make correct posture a habit. Even You might have other posture after you consider yourself an expert, problems as well as these three com- it is vital to continue to monitor your mon ones. To monitor your posture, posture, because it is extremely easy look in a full-length mirror and cor4- to lapse into incorrect body align- pare your body alignment to the ment. Maintaining correct posture illustration here and the example even for the length of one song photograph. Check each ofthe ten requires considerable muscle elements listed beside the illustration strength and control. Regular prac- (feet, weight, knees, buttocks, etc.). tice sessions help build strength and More information about proper endurance as well as reinforcing the singing posture is available from techniques themselves. many sources; an excellent one is Here is a simple exercise that will h tto ://www. du m m ies.com/Wil evC D help you develop strength and A/DummiesArticle/id- endurance in the intercostals muscles, 2 0 15ol02 Csubcat-ARTS.htm l, so that they are more able to hold the another one is How to Train Singer,t, a rib cage high and wide more effi- book and audiotape package by ciently and for longer periods of time: Larra Browning Henderson. Both . Take in a full breath through the sources include many good exercises nose, inhaling as much air as possi- as well as vocal production theory. ble but without creating any ten- The book package is available sion in the chest or shoulder area. through international sales. Expand the rib cage to its capaciqz. If all singers in a chorus will prac- r Now exhale, using a hissing tice and attain good posture, it will sound like air escaping from a make a noticeable difference in the tire, as you count slowly from overall sound ofthe group. So I chal- one to eight. Resist the inclina- lenge you to master correct singing tion to allow the rib cage to col- posture. When you do, you will notice lapse while exhaling; use the a significant improvement in the qual- intercostal muscles to keep the iqr of your voice. And you will be pre- rib cage high and wide. pared to begin work on the next key o Continue to perform the exer- ingredient of vocal production: breath- cise on a daily basis, gradually ing. We will take up that subject in building up your exhalation the next issue of Tbe Pitcb Pbe, time to l6 counts while main- July2004 THr PrrcH Ptrr 11 I | tuDa d i Jtr.'z| I -.-- Thisseries was previouslypublished in The Pitch Pipe duringthe mid-90s.The series was so popularduring its first run we havedecided to updateit and bringit back for an encore. prop- for the soundswe produce' lungs. If the muscles are working By Betty Clipnuut, pat intenntbnnl prati' is the fuel to sup- th" singer does not have to help the of ?it'ectorr, nut'tter We see,then, how important it is ?ent, itzternational boafi ""1y, ensure that proPerlY. airinto the lungs, but simply ?irectoajdge qeci'tli'tt nwderuto4 certifb) ply the fuel in breathing the passageway is open. It is the move- ju)ge, Horizon Chondt, Region l0 The muscles involved Hotuton muscles and are the intercostal muscles, including the of th" intercostals -".rt inhalation to epigastrium and the abdominai muscles, diaphragm that causes including the di"phragm. (Ifyou are not occllr, breathing for singing familiar with the epigastrium, place your What makes or other special- right hand just belowyour breastbone, different from normal action of the rib where you can feel the inverted V of ized breathing is the breathing, the rib cage your rib cage. Make a fist with your left cage. In normal in oxygen, then col- hand, put it toyour mouth and blow to bring "rp.ttd" as the breath is used' In gently onto the fist without allowing any 1"p"". o" Iowers to create a feeling of air out. Your right hand will feel the epi- .iogog, we want lungs in the inter- gastrium pop firmlY outward.) frrm support for the muscles, so that as The lungs are where the fuel is costals and epigastrial not we use the air the rib cage does not col- of do-it-yourself stored, but the lungs are organs, We began this series resist- elastic, but not capable lapse. It is a feeling of nonviolent production lessons in the July muscles; they are vocal the rib cage high and movement unless the ance - keeping issue of The Pitch Pipe by discussing pos- of independent The wide and not allowing the ribs to drop all good singing, and we movement is initiated elsewhere' ture, the basis of about this attached to the rib cage and to into the waistline. @e talked continue today by taking up breathing lungs are is in the posture article in the July issue; It is important to the di"phragm. When the rib cage and breath suPPort. review it pulls the lungs upward and you maywant to go back and realize that all of the subjects we will dis- ">rp"rrd"d, diaPhragm is low- that article.) in this series are interrelated: Proper outward; when the cuss intercostal and epigastrial ered, it pulls the lungs downward' When Practicing posture is critical to ProPer breathing, manner, breathing helps the singer because suc- just is the basis of all good the lungs are stretched in this and as posture ofthe rib expansion ofthe rib cage and cessfrrl resistance to collapse singing, breath is the fuel for singing' through vac- cage gives us control ofthe breath, when we sing lowering of the diapbragm, a partial The tone we Produce of air into and air mshes into the allowing us to feed the cushion rests on a cushion ofair; thus, the breath uum is created October 2004 PtPr 6 THt PIrcH F o r t rro the tone in a steady stream (like the con- tense up and produce a strangled tone.
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