How many times have you heard the term 'singer' contrasted with 'musician'? Jokes, gig contracts and common jargon often refer to instrumentalists as musicians and vocalists as, well, something else. In large part, this is due to the fact that the singer's instrument is not visible, it's not bought at a store, lugged around in a road case, set up on a stand, or strapped on.

The mechanisms of the voice are completely internal to the user, and some of its controls aren't even conscious. The voice is also uniquely vulnerable to biology and emotions,after all, keyboards don't get the flu, and when a guitar player gets nervous, the strings themselves don't tighten up in response. So if you're accustomed to gear made of metal, wood, cables, and keys, an instrument inside your body can seem completely foreign.

But if you're an instrumental musician who's been hired,or inspired,to sing, rest assured that your voice really isn't all that alien. In fact, you've used it all your life for everyday speech and emotional expression, probably without thinking twice. Extending this instrument into the realm of singing simply requires a bit more awareness and, of course, practice.

Performance Specs

The two vocal cords are not actually cords, but folds of muscle that can partly or fully close your windpipe,imagine a round tunnel with a V-shaped sliding door. When the vocal folds are close enough together that they just barely touch, a steady stream of breath sets them vibrating. The more forceful the breath, the louder the sound.

The vocal folds are located within a structure called the larynx, which is also known as the voice box or Adam's apple. Tiny support muscles change the length, thickness, and internal stiffness of the vocal folds, affecting the pitch and quality of the sound. However, most of these adjustments are not under conscious control. This is why most voice teachers caution singers not to focus on the throat,you don't have much useful sensation of what's going on in there, and tensing up to get a certain effect just interferes with the unconscious coordination that's already built in.

However, it is important to cultivate a more generalized inner awareness. This internal focus or mindfulness is similar to the subtler aspects of martial arts, and it is a prerequisite for all vocal development. It also helps protect your instrument by allowing you to notice signs of vocal strain sooner than you otherwise might.

Right now, as you're reading, notice what position your body is in. Where is your weight resting? Are you slumped or poised for action? Is the day generally going well, or are you just barely surviving a truckload of stress? Are you in love, bored, or mad as hell? All of these things affect how you breathe and the baseline tension in your vocal muscles, and your focus of attention gives you more control over your voice.

Better Breathing

Instead of concentrating on your throat, focus on your breathing. Strong, efficient, reliable singing requires well-developed breath support in a framework of good posture. Serious singers should engage in regular aerobic exercise, accompanied by yoga or other stretches for the back, neck, and shoulder areas. (For a basic daily routine, see 'Singer's Tune-Up'.

Normal breathing at rest involves relatively equal times for inhalation and exhalation. But talking and singing are asymmetrical: we pull air in quickly, and let it out slowly. So practice taking a fast breath in while relaxing your belly and expanding your ribcage. Hold the breath for a few seconds, and then release it gradually. An untrained, healthy young adult should be able to prolong the exhalation for at least 14 seconds; work toward 30 seconds or more.

It's important to hold and control your breath with muscles in your lower ribs and waist area, rather than by tightly closing your throat. A teacher can be a big help in this regard, so ask around for a referral or check the directory of the National Association of Teachers of Singing (NATS).

Spectrum Analysis

Once your power supply is developed, enhance your projection and tone quality by optimizing the resonance in your throat, mouth, and face. This means lengthening your neck, letting your jaw drop open, and mentally projecting the tone through the front of your face. This is another area where a private teacher can help. You'll know it's right when your upper teeth, nose, and eye sockets lightly vibrate and your whole mouth fills up with sound. If you have a deep alto or bass voice, you may also feel some vibes in your throat and chest.

If your voice seems flat and dull, or it doesn't carry well, practice single notes and simple scales or arpeggios on the syllables 'nee-nay-nah' or 'mee-may-mah.' If your voice is too nasal, be sure to keep your jaw low and loose, and vocalize on 'low-low-low,' 'ago-ago-ago' or 'gullee-gullee.' These techniques help to balance the resonance spectrum.

Finally, it's important to sing within a range of pitch and loudness that truly fits your instrument. Rather than straining to make your voice sound like a favorite star or to meet an arbitrary goal, stay internally mindful and develop your own sound to its fullest.

Training Manual

There is almost as much mystique about voice training as there is about singing itself. In addition, vocal styles are now extremely diverse, and most performers have a personal goal or target sound in mind, not wishing to be shaped by a teacher's preferences. However, just as instrumentalists do, you can acquire a solid, fundamental technique from an experienced teacher, and then adapt the result for your own purposes.

Better yet, choose a mentor from a style close to yours. For example, rock and R&B vocals are rooted in gospel, so a dynamic church-choir director may be an ideal teacher for these styles. On the other hand, singer-songwriters may benefit more from voice-for-actors classes, which support effective storytelling. Ask around, network, and take sample lessons from different folks. Another alternative is a voice-training program on audio or videotape, many of which are available at various music stores and Web sites.

Maintenance Contract

Even if you take some lessons, practice what you've learned, and develop a sound that fits your individual instrument and goals, your voice can be damaged by overuse, health problems that affect your throat or breathing, and the environment in which you live and sing. Sure, a rough, gravelly sound can add 'character' to your performance, but even if it sounds cool now, you're putting your long-term career in jeopardy. Here are some general guidelines for keeping your voice at its best.

In addition to regular exercise, be sure to get adequate nutrition and sleep. Many of the voice clients who come to me with problems are simply run down, not even aware of how exhausted they are and what effect this has on their breath support and stamina for singing.

Avoid vocal fatigue by pacing yourself, talking less on days when you have to sing and setting aside occasional days for complete vocal rest,no singing or talking. Minimize talking during set breaks, and try not to talk or sing over noise. For instance, after a show, chat with friends and fans in a quiet room instead of at the bar, and then shut up, pack up, and go home.

There's a lot of folklore about what singers should eat and drink, but what you breathe is more directly relevant. A humid environment is best, so take long showers, and soothe your voice with steam when it feels stressed. Avoid dusty and smoky hangouts when possible, and don't take a day job where you're exposed to chemical fumes. And in case this needs repeating: Don't Smoke!

Speed Bumps

The most common health problem for vocalists is the development of vocal nodules or nodes. These are small calluses that form on the edge of one or both of the vocal folds in response to forceful overuse of the voice. Correct diagnosis requires an exam by a laryngologist (ear-nose-throat doctor), but typical vocal symptoms include a rough, breathy, or grainy sound while talking as well as singing and a loss of the high end of your range.

If nodules are caught early, treatment is usually successful, and with proper retraining of the voice, they need not recur. At the early stage, treatment usually involves vocal rest, careful commitment to the health guidelines discussed earlier, and adjustments in vocal technique, usually prescribed by a licensed speech pathologist.

The longer nodules are ignored, the larger they become, invading and scarring more of the vocal folds. At this stage, surgery may be required, and the voice may be permanently damaged. So if your sound is deteriorating, get it checked out right away.

You should definitely seek medical help for any loss of voice, loss of range, throat pain, or sensations of dryness or fatigue that last two weeks or more. And don't ignore chronic respiratory allergies and heartburn or acid reflux, both of which can inflame the vocal folds. Getting access to good health care is a problem for many musicians, but taking care of your instrument is important. Laryngologists who see a lot of singers are usually sensitive to financial woes. Low-cost public clinics are another option.

Taking Flight

Every singer dreams of the moment when a big, pure, passionate sound soars effortlessly out of their throat, captivating the audience as no other instrument can. As with most other musical magic, the key ingredients are often mundane measures, such as technique, training, and practice time.

For vocalists, staying healthy, self-aware, and self-protective are important components of success. Follow these guidelines, and you'll be as true an artist as any other musician.
 
© Joanna Cazden 2001