How My Vocal Training Can Hurt You
Got your attention? Good! Listen up, grasshopper... careful what you think you know!
NOTE: The audio player should appear below, if not, please click on the title of this post and go online to hear.
Misunderstanding new vocal techniques, vocal exercises and corrections suggested by a vocal coach can at best do your voice no good, and at worst cause vocal harm! And yes, this goes for my vocal training, too. No matter who you take lessons from, here's the bottom line: Any change you make to the way you use your voice should cause your voice to feel and sound BETTER, not WORSE! To that end, here are some clarifications to make sure my training HELPS you!
Pull, don't push, the voice
- Explanation of the training:
To get breath support (breath sent to your vocal cords) and breath control (breath held back from your cords) balanced so the voice is confidently powered but not 'blown', I use the term 'pull' instead of 'push' for vocal power.
- How to get it wrong:
- How to get it right:
Try this experiment: Put the palm of your hand in front of your mouth and say the word 'three'. I bet you felt a big puff of air on your palm. Now say the word again, but this time, try to limit the breath you puff into your hand. You just experienced the difference between pushing and pulling your voice! Like a boxer pulling her punch to avoid full contact with a sparring partner, you can control your air stream!
Now try the phrase 'three pretty felines', first pushing the 'th, 'p' and 'f', and then try pulling those consonants. You may realize that pulling not only controls excessive breath but also increases your vocal volume! This is because done correctly, pulling will open your ribcage, increasing your breath efficiency, AND will open your throat channel, giving your voice access to more resonation.
To get this pulling sensation into your muscle memory, you should create the sensation with every vocal exercise you do. Straighten the upper curve of your spine a little flexibly taller when you make a vocal sound, moving your head back over your heels instead of forward over balls of your feet. Other phrases that trigger this pulling action include 'power your voice like a magnet', and 'resonate like strong coffee, don't dilute your sound with excess air'.
Take a breath and don't use it
- Explanation of the training:
- How to get it wrong:
- How to get it right:
Alternative phrases I use that get breath pressure balanced: 'Back off pressure, add passion' Don't leak! And... Don't leave a breath mark on a glass window pane in front of your mouth.
Use your face
- Explanation of the training:
- How to get it wrong:
- How to get it right:
Press fingertips together
- Explanation of the training:
Simply put fingertips together about mid-chest level and lightly press them into each other to straighten the upper spine, opening the ribcage and the throat. This is something I teach all my students to do in exercises, as well as in the studio (where I call it studio hands). The wider diaphragm instantly increases breath control, and the open throat increases access to resonance and therefore, this technique increases vocal ability. It also instantly decreases vocal strain.
There are methods out there which try to counter the over-dropped larynx of classical singing. My warning is not to try to freeze the position of the larynx. Even for popular genres of music and definitely for speaking, the larynx needs freedom of movement at the direction of the automatic nervous system. I like what vocal coach Lisa Popeil suggests: the larynx should be allowed to raise, lower and tilt in the neck. As long as you aren't really aware of it without putting your fingers on your Adam's/Eve's apple! Your voice shouldn't feel strain!
There is a definite need for training that relaxes counterproductive tension in the mind/body/voice. However, to sing or speak confidently and get a powerful response, something's got to give! I would rather say 'relax everything that doesn't need to tense'! Power your voice from the pelvic floor, through active facial language. Then your big muscles may make you hungry from the effort, but your voice will practically float out to your thrilled audience!
- How to get it wrong:
- How to get it right:
The first time you try it, do it while you're standing with your back to a wall. Don't allow your head to move forward when you press your fingertips. If you have a wider chest area or bulky shoulders, you can try pressing the longest two fingers together, or put a back-scratcher between your palms and lightly press in. Don't use your pectoral muscles, just forearms to hands. Also, don't be stiff about it, just loosen up and experiment as you vocalize. As with everything... if it doesn't help, don't do it. You can always contact me if you want me for a lesson to personalize this for you.
Articulate clearly
- Explanation of the training:
- How to get it wrong:
- How to get it right:
Straighten your spine
- Explanation of the training:
- How to get it wrong:
- How to get it right:
You can sing as long as you want without strain
- Explanation of the training:
- How to get it wrong:
- How to get it right:
Apply the inner smile
- Explanation of the training:
- How to get it wrong:
- How to get it right:
Warnings for other vocal training (aka things I don't say)
- Keep larynx at speech level
There are methods out there which try to counter the over-dropped larynx of classical singing. My warning is not to try to freeze the position of the larynx. Even for popular genres of music and definitely for speaking, the larynx needs freedom of movement at the direction of the automatic nervous system. I like what vocal coach Lisa Popeil suggests: the larynx should be allowed to raise, lower and tilt in the neck. As long as you aren't really aware of it without putting your fingers on your Adam's/Eve's apple! Your voice shouldn't feel strain!
- Just relax and sing
There is a definite need for training that relaxes counterproductive tension in the mind/body/voice. However, to sing or speak confidently and get a powerful response, something's got to give! I would rather say 'relax everything that doesn't need to tense'! Power your voice from the pelvic floor, through active facial language. Then your big muscles may make you hungry from the effort, but your voice will practically float out to your thrilled audience!
- Sing from your diaphragm
Don't do it!
Read this blog post and learn how this teaching can collapse the ribcage, sabotage the diaphragm's control of breath and result in one of the most destructive vocal training concepts out there.
What about you... ever been hurt by vocal training? Your story can help protect others. Please share it in the comments.
Read this blog post and learn how this teaching can collapse the ribcage, sabotage the diaphragm's control of breath and result in one of the most destructive vocal training concepts out there.
Last caution about my training:
OK and finally, my vocal training can hurt you if you don't actually practice it. So to all my students who do their exercises as perfectly as possible, warm-up adequately before performances and practice good vocal health actions in general... YOU don't have to be afraid. I will never hurt you! Promise:)What about you... ever been hurt by vocal training? Your story can help protect others. Please share it in the comments.
Labels: "All Things Vocal", "judy rodman", bad vocal technique, misunderstanding vocal training, singing lessons, vocal coaches, vocal lessons, vocal training
4 Comments :
At April 1, 2019 at 3:15 PM ,
Ron Calabrese said...
Judy, I always enjoy your writings on technique. Even at my “ advanced age” there’s always an opportunity to learn something. It’s so true certain methods or imagery work for some people while confusing others. My teacher at the American Conservatory used the imagery of “staying on top of the note,” particularly for the top notes. This image was like Greek to me until I experienced the proper position.
When I first started lessons, my breathing was backwards. I would breath by pulling my stomach muscles in and hold that position until the vocal line was completed. Because I was in my late 20’s and strong as an ox, this inefficient breathing method didn’t kill me! For a long period I would use the teacher’s breathing technique and my own in almost alternate breaths, which messed up my emission considerably. Once I finally gave into the proper technique, all kinds of good things happened, easier high notes and abundant breath capacity, even for long vocal lines previously impossible.
The teaching masters of the 17 th and 18th century would insist on years of scales before allowing students to sing songs. This was done to instill a strong foundation before allowing bad habits to creep into the technique. No teacher can get away with this in the modern age where immediate results are expected. ( I suspect you would agree!) So many promising voices are ruined by singing inappropriate songs or operatic arias because the voice is not on the tracks and crashes are inevitable. There were arias I attempted which seemed like climbing Mt. Everest with my nose and mouth plugged and an anvil on my stomach. My teacher put those aside until my technique improved. Like a miracle, when I tried those arias 2 years later the trouble spots had disappeared. Brute force may allow a singer to get through inappropriate music, but that’s a disaster in the long run. Musclurer singing will only work until the muscles wear out in a short time.
Your students are extremely fortunate to have a teacher who understands the vocal mechanism and stresses a natural UNCONTRIVED production.
Many times I recall my teacher’s admonition when I was blaring beyond my natural volume level: Ron, NEVER SING LOUDER THAN BEAUTIFUL!
Great advice for every singer, whether in popular or classic idiom.
At April 1, 2019 at 3:21 PM ,
Judy Rodman said...
Thank you so much for sharing your thoughts and experience, Ron... I am honored! Also, I agree 100% with your teacher who said 'never sing louder than beautiful'... what a great refrigerator magnet! Voices should NEVER push to the point of strain. This should be carved in stone as principle for every vocal lesson, vocal exercise, vocal performance. Also... very happy you found your way into good technique so your voice opened up to all kinds of improvement. If everyone knew this... that if they are not improving, there is something wrong with their practice and/or with their interpretation of their teacher's advice. It is imperative to get to the bottom of the mistakes. Bless you, Ron... thanks again for your comment!
At April 4, 2019 at 3:11 PM ,
Unknown said...
Always enjoy your blog. Very informative. Thank you ..Linn Roll
At April 4, 2019 at 3:59 PM ,
Judy Rodman said...
Thank you so much for the comment, Linn... glad you enjoy!!
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