11. Techniques, Devices and Suggestions

The following techniques, devices, and suggestions are offered as pos­sible ways to solve vocal problems. For the most part they are based on a psychological or indirect approach to a physiological action, which involves knowing, within certain limits, how the vocal mechanism functions. The success of this approach, which is basically to set up a cause to get a par­ticular result, can be judged best by how it sounds.

Voice Classification

1.         Sing first verse of "America" in your natural singing voice quality. This is an acoustical approach based on what you hear, or preferably on what someone else qualified hears, to determine your type of voice. Some voices are definitely one type, particularly the real high or the real low voices.  The great majority of voices lie in between.   It is ad­visable therefore to classify young, comparatively immature voices as low, middle or mezzo, or high voices.

This means that the question is not "are you a soprano, mezzo or con­tralto; or are you a tenor, baritone or bass?" The question really is "where does your voice lie? Where is it easy or grateful for you to sing?" The word for it is "tessitura." Your tessitura should fit the tessitura of the music.

This can be illustrated best by saying that the tessitura of music that is suitable for a soprano to sing, does not fit the contralto tessitura, or the music for a tenor does not fit the bass tessitura.   Or vice versa.

2.         Speak your name; "John Doe," without raising the loudness of your nor­mal speaking voice.

This is an acoustical technique to determine the average pitch of your normal speaking voice. If your average speaking pitch is below Bb, the tessitura of your singing voice is low; if it is between Bb and D, the tessitura of your singing voice is in between a middle or mezzo type; if it is at D or above, the tessitura of your singing voice is high. These are approximations to which there will be exceptions to the rule.

3.        Sing octave arpeggios, up and down, beginning on the average pitch of the normal speaking voice, until you hear a change in the quality. This is an acoustical technique to determine the end of the low voice, and the change to the middle voice.   This change is called the first lift. The previous rule applies here, except that it is based on where there is a change to the middle voice, instead of on the average pitch of the normal speaking voice. The first lift maybe said to indicate the middle of the singing range, regardless of how high or how low the range may extend on either side.   This means that a singer should have a range of at least two octaves, one octave on each side of the first lift, divided into a low, a middle or mezzo, and a high voice. This range will cover practically all the literature for a particular type of voice.

4.        ing song on tape recorder and listen to play back.

This is an acoustical approach based on your hearing of your own voice as others hear it, to determine a preliminary classification of your own voice.

Posture     Lesson Plan No. 2

5.         Carry yourself erect without strain.

A psychological suggestion to induce good posture.

6.         I never felt better in my whole life.

A psychological suggestion to induce good posture.

7.         Stand tall.

A psychological suggestion to induce good posture.

8.         Stand with back to wall, so that the back of your head, your back, your buttocks, and your heels touch the wall.

An indirect technique to illustrate good posture.

Quality     Lesson Plans Nos. 3,4,5,6

9.         Sing ee, ay, ah, oh and oo on one pitch Ab, in quality of the speaking voice.

A psychological technique to establish an even line of one quality.

10.       Cup hand over each ear while singing.

An acoustical device to hear the contrast between what one hears when the sound heard through the outer ear is cut off, and when it is added to what one hears with the inner ear.

11.       Focus your tone.

A psychological suggestion to sing in your normal quality.

12.       Call loudly "Hey."

An indirect technique (psychological) to establish through imagery the normal quality of the singing voice, through a co-ordination of the dy­namic processes of breathing, phonation, articulation and resonation (physiological).

13.   Hum.   Use the m hum, or the ng hum, as in the word hung.

A psychological technique to establish a sensation of resonance forward-in-the-masque. In humming, the breath passes through the nose. In actual singing of normal quality the nasal port may be completely closed or partially closed by the position of the soft palate.

14.       Imitate good tone production.

A psychological suggestion to induce a student to copy or follow the voice quality or vocal technique of outstanding singers. This is a dangerous approach, since the tendency is to imitate results instead of causes. It is impossible to eliminate imitation entirely, since a large part of learn­ing, including learning how to sing, is based on imitation.

15.        Sing vocalise or song in (1) a metallic quality; (2) a muffled or hollow quality; (3) a nasal quality; (4) a denasal quality; and (5) a normal quality. A psychological approach to normal quality by singing contrasting quali­ties.

16.        Sing vocalise or song in (1) a breathy quality; (2) a harsh quality; (3) a hoarse quality; and (4) a normal quality.

A psychological approach to normal quality by singing contrasting vib­ratory qualities.

17.       Sing on-the-flow-of-the-breath.

A psychological suggestion to sing a smooth, legato line of normal qual­ity without throat constriction.

18.       Sing "the singer's in his nose"; "the singer's in the well"; and "the sing­er's in the bell" to the tune of "The Farmer's in the Dell."

A psychological technique to bring out, through imagery, contrasts in quality between nasality or nose quality, well or mouth quality, and bell, a balanced pharyngeal-mouth quality. Nose quality or nasality is the result of overemphasis of the nasal passages as a resonator; well or hollow quality is the result of an overemphasis of the mouth as a re­sonator; and bell or normal quality is the result of the proper balance between the pharynx and the mouth as resonators.

19.       Sing on the dark side of the voice if the tone quality is too bright or metallic; sing on the bright side of the voice if the tone is too dark.

An indirect approach through imagery to establish a middle-of-the -voice quality, neither too dark or too bright.

20.       Sing normal quality first as the basis for clear diction.

A psychological suggestion that the basis for clear diction is first a matter of singing the vowel sounds in normal quality.

21.       Sing as if you had no throat.

A psychological suggestion not to interfere with a forward-in-the-masque resonance, by constricting the throat.

22.        Sing a song with the teeth locked, and then with a floating or relaxed jaw. A physical technique to show the effect of a locked jaw on the production of normal quality.

23.        Sing "the singer's in a smile"; "the singer's lips are dead"; and "the singer's lips are square" to the tune of "The Farmer's in the Dell."

A psychological technique to bring out, through imagery, contrasts in vocal quality through the use of different lip positions.

24.       Sing with the nose but not in it.

A psychological suggestion to induce "nasal" resonance or normal qual­ity, by keeping the breath from passing through the nose except on the nasals. The student may have the illusion that the tone quality is nasal because he feels vibrations which are the result of bone conduction. This he mistakes for resonance, since what he feels he believes to be true.

25.       Sing with a yawning sensation.

An indirect approach, through imagery, to increasing the size of the pharyngeal resonator, thereby improving the quality of the tone.

26.       Vocalise single vowel sounds, scale or arpeggio fashion, while holding the nose closed with thumb and forefinger.

A physical device to determine nasality.

27.       Sing forward-in-the-masque.

A psychological suggestion to establish the tactile sensation of the tone or vowel sound being forward in the face above the mouth. Has the effect of releasing or relaxing the swallowing muscles, and making possible the large or open throat position, as well as great pharyngeal flexibility.

The tactile sensation of sound vibrations forward is essentially the same as those in humming. The essential difference is that in normal quality the nasal port is closed, or practically closed, except on the nasals, where the nasal port is open.

28.       Sing the three words:   sheep, judge, church, holding each three slow counts.

A psychological technique to establish an open square or bell-like po­sition of the lips, using the two affricates sh and ch and the consonant j. This position tends to bring in a forward-in-the-masque illusion of "nasal" resonance.

Diction     Lesson Plans Nos. 7,8,9,10

29.       Sing the three words: sheep, judge, church, as in L. P. 28.

A psychological technique to bring in a pharyngeal enunciation of the vowel sounds.

30.       Allow your vowel sounds to shape themselves pharyngeally by singing "open" vowel sounds.

An indirect technique to establish a pharyngeal enunciation of the vowel sounds.

31.       Check your singing diction for dialectal pronunciations by means of a tape recording of one of your songs.

An acoustical technique to hear actually what your singing diction sounds like from a dialectal standpoint.

32.       Do not be too precise in your diction.

A psychological suggestion to avoid sacrificing normal quality, of which clear diction is a part, for what seems to be clearer speech in song.

33.       Sing:   I heard a forest praying, not: a forust praying.

This is a psychological suggestion to avoid unstressing the vowel sounds in unaccented positions. When unstressed, the vowel sounds modify to­ward the schwa vowel uh.

34.       Avoid the inverted "r" sound.

This is a psychological suggestion not to overemphasize the "r" by allow­ing the tongue to retract.

35.       Drop your final "r" sound or "r" before a consonant.

This is a psychological suggestion to improve quality by less constriction in the oral cavity.   This is a matter of personal taste.

36.       Give a "bronx" cheer.

An indirect technique through imagery to establish flexibility of the lips.

37.       Keep your tongue relaxed, with the tip touching the inside of your lower teeth.

A physical technique to establish tongue flexibility.

38.       Let the vowel sounds modify.

A psychological suggestion to allow for natural changes in the vowel sounds.

39.       Move your jaw from side to side and up and down.

A physical technique to establish a flexible or floating jaw position.

40.    Sing an "open" oh with mouth and lips in an open position.

An acoustical technique to establish a pharyngeal enunciation of the vowel sounds.

41.       Sing legato.

A psychological suggestion to sing an even line of vowel quality.

42.       Sing tone syllables not words.

An acoustical technique of delaying the completion of syllables and words, by ending each syllable in an open vowel sound and carrying final con­sonants or second sounds of diphthongs over and merging them in with next syllable.

43.       Sing portamentos without changing an open position of the mouth and lips.   (see vocalization chart for portamentos)

An indirect technique to develop pharyngeal flexibility.

44.       Sing tone   syllables,  using p, b, m, and w and wh as prefixes to the vowel sounds ah, ay, ee, oh, and oo, on one pitch, and up and down on one sound in scales and arpeggios.

Indirect techniques through lip pronunciation to establish flexibility of the lips and lower jaw.

45.        Sing tone syllables, using f and v as prefixes to the vowel sounds ah, ay, ee, oh, and oo, on one pitch, up and down, and in scales and ar­peggios.   Example: fa, fay, fee, foh, foo; yah, vay, vee, etc.
Indirect techniques through pronunciation to establish flexibility of the
lower lip and the lower jaw.

46.        Sing tone syllables,  using t, d, n, 1, s and z, r, y, k, and g as pre­fixes to the vowel sounds ah, ay, ee, oh and oo, on one pitch, up and down on one vowel sound in scales and arpeggios.

Indirect techniques through pronunciation to establish flexibility of the tongue.

47.       Sing as you speak.

A psychological suggestion to carry the same vocal production used in speaking over into your singing voice.

48.       Speak as you sing.

A psychological suggestion to carry the same vocal production used in singing over into your speaking voice.

49.       Sing a song in a conversational style: suitable for parlante or talking songs.

Sing song material in recitative style: suitable for recitatives from ora­torio and opera.

Sing a song in oratorical or aria style (the big voice): suitable for operatic arias or dramatic song literature. Psychological suggestions to use a style to fit the literature.

50.       Avoid the so-called "glottal attack" when singing in English.

A psychological suggestion not to use a noticeable sharp attack when enunciating the vowel sounds.

51.       Sing legato style.

A psychological suggestion to sing tone syllables, without overemphasiz­ing consonant action.

52.       Know the meaning of what you are singing.

A psychological suggestion to have a word for word translation of foreign songs.

53.       Sing "pure" vowels.

A psychological suggestion to sing "single vowel sounds which are produced by one position of the vocal mechanism."w Each vowel sound be­longs to a family of sounds called a phoneme. As long as it can be rec­ognized as belonging to that family or phoneme, even though there is a modification of the sound, it is considered to be a "pure" vowel. A vowel sound in a drawl or a glide actually becomes a diphthong, due to a change in position of the articulatory mechanism. As such it is an "impure" vowel.

54.       Sing like a ventriloquist speaks.

A psychological suggestion to use a pharyngeal vowel production, which is the basis of ventriloquism.

Vocalization     Lesson Plan No. 11 (See vocalization chart)

The average pitch of the normal speaking voice is suggested as the start­ing pitch for vocalization, raising the starting pitch a half step each time.   The use of the "open square" lip position is also suggested.

55.       Vocalise open vowels - ay, oh, and ah, each separately, without changing the mouth opening, in five tone and octave scales, in arpeggios with and without a turn, and in portamentos.   Limit the range to an octave and a fourth or fifth.

Indirect techniques to establish pharyngeal flexibility, resulting in agility and in an even scale of normal quality.

56.       Vocalize open vowels - ay, oh, and ah, each separately, softly, arpeggio
fashion, covering a range of approximately two octaves.

Indirect techniques to blend the registers through the process of soft singing.

57.       Vocalise regularly.

A psychological suggestion to keep the vocal mechanism in good condition through an intelligent vocalizing procedure.

58.        Sing a messa di voce, beginning softly on the pitch G on the treble clef, in an open vowel sound, ay, oh, or ah - gradually increase the soft tone to a loud tone, and then decrease the loud tone to a soft tone. Repeat at intervals of a half-step higher up to C.   An indirect technique to estab­lish a control of loud and soft singing through pharyngeal flexibility.

59.        Vocalize difficult range patterns, either a step or two lower or an octave lower, until the intervals are clear.

An indirect approach to solving a range problem.

60.       Vocalize difficult florid passages slowly until the intervals are sung accurately.   Then go back to the original tempo.

An indirect approach to solving a problem in florid singing by changing the tempo.

Registration     Lesson Plans 12,13,14,15,16

61. Hum octave scales and arpeggios on an open hum as in hung.

A psychological technique used to show register changes as reflected by changes in resonance placement of the sound vibrations.

62. Allow "lifts" to come into the vocal range.

A psychological technique of allowing the vocal mechanism to make its own changes, the first about an octave above average pitch of the normal speaking voice; the second on an average of about a fourth or fifth above the first lift.

63.       Imitate a siren.

An indirect technique through imagery to bring about a change to the falsetto mechanism.

64.       Sing falsetto.   (male changed voices)

A psychological suggestion to sing in a false or abnormal quality. Basic­ally mouth resonance with lip pronunciation of the vowel sound, which releases vowel tension in the vocal cords. The problem is to teach the student how to maintain his vowel tension, which when coupled with mouth resonance and pharyngeal enunciation, establishes the process called "dampening."

65.       Sing lip falsetto.   (male changed voices)

An indirect technique of singing oo softly in a closed lip position in the high voice, to establish a particular adjustment of the vocal cords called the falsetto mechanism.

66.       Sing pharynx falsetto.   (male changed voices)

An indirect technique of singing oh softly in the high voice, with an open square position of the lips and mouth, to establish a particular adjust­ment of the vocal cords called the high voice mechanism. This has the effect of dampening the vocal cords, and changing the adjustment from the falsetto mechanism to the high voice mechanism. There is also a change from the false quality to a quality that sounds like an extension of the normal voice quality.

67.        Sing closed oh softly, open oh softly, and open oh loudly.
Procedure to establish the high voice mechanism. (See procedure under Lesson Plan No. 15).

68.        Imitate voices of animals and birds:   the bellow of a bull (male voices); the howl of a dog; the meow of a cat; the crow of a rooster.

Indirect techniques through the use of imagery to establish a change to the high voice mechanism.

69.       Sing closed oh loudly, using a closed lip and mouth position, arpeggio fashion, to cover an octave and a fourth in range.

An indirect technique to establish an early change to the high voice. Helpful with students who have difficulty changing into either the falsetto or the high voice mechanism.

70.         Modify ee and ay towards in; ah, oh, and oo towards uh. Psychological techniques to establish changes in resonance placement through vowel modification.

71.        Talk in the high voice register.

A psychological technique to make the student aware that he has a high voice range.

72.       Hum in the high voice with the mouth open, and then enunciate ay, oh, and ah softly off the hum.

Indirect techniques to establish vowel sounds in the high voice.

73.       Sing 5ths to octaves, using ay or oh, and then come down arpeggio fash­ion.

An indirect technique to establish a change to the high voice mechanism.

74.       Approach your high voice as if you were going to sing it open, and thenmake the change to a lower resonance placement.

An indirect approach to maintaining a basic vowel tension, which is the basis for dampening with the change to a lower resonance placement.

75.       Think low when you sing high.   Think high when you sing low.

A psychological technique (1) to establish a lower resonance placement. (2) to establish a higher resonance placement.

76.       Don't let your registers show.

A psychological suggestion to sing an even scale.

77.        Make a tape recording of your voice to observe your register changes.

An acoustical approach to a study of errors in range production, such as singing sharp or flat at the lift points.

78.        Listen to records of outstanding artists.

An acoustical approach to a study of where artists close or cover their tones.

Agility     Lesson Plan No. 17

79.       Sing open vowels in normal quality.

A psychological technique to establish a pharyngeal vowel production as a basis for agility.

80.       Sing octave portamentos up and down on one vowel sound - ay, oh, or ah, without changing open lip and mouth position, but allowing tongue and palate to make changes naturally.   Do not scoop or slur.

A psychological technique to establish pharyngeal flexibility.

81.       Sing octave portamentos, beginning with ay on the bottom note, carrying ay up to and changing to oh on the top note, and carrying oh down and changing to ah on the bottom note, without changing open lip and mouth position.

A psychological technique to develop pharyngeal flexibility.

82.       Sing octave arpeggios up and down, with turn on top.   Maintain without change open square position of the lips and mouth.

A psychological technique to develop agility through pharyngeal flexi­bility.

83.       Sing ah on alternating notes in the middle of the voice range, B to C; slowly at first, and then gradually with great rapidity.

An indirect technique to establish a trill.

84.       Imitate trills as sung by artist who has a voice similar to yours.

A psychological technique through imitation to establish the basis for trilling.

85.       Sing "ah-ra," allowing mouth to close for pronunciation of "r" sound; then sing "ah-ra" without allowing mouth to close, to establish roll with tip of tongue.

An indirect technique to establish a rolled "r" with the tip of the tongue. See Vaccai Vocalises for exercises in agility, to include interval prac­tice, runs and scale passages, the long grace note (appoggiatura) and the short grace note (acciaccatura), the mordent, the gruppetto, or turn, the trill or shake, the portamento, and the use of the long grace note (appoggiatura) in recitative.   Schirmer edition.

Loud and Soft Singing      Lesson Plan No. 18

86.       Sing "open" oh and "closed" oh alternately, using an open square position of the lips and mouth, and then changing to a closed lip and mouth po­sition.

An indirect technique to show how loudness is dependent on an "open" or "closed" vowel production.

87.       Sing first two lines of "America" with the jaw and teeth locked; then re­peat with a floating or relaxed jaw.

An indirect technique to establish a coupling of the mouth and pharyngeal resonators.

88.       Whisper the phrase:  "My country tis of thee," gradually increasing the loudness by saying the words louder each time.

A psychological technique to increase the loudness through the dynamic process of speech.

89.       Sing "open" oh softly arpeggio fashion, increasing and decreasing the loudness of the top note three times, and then returning loudly to the starting note.

A psychological technique to establish a pharyngeal control of loudness through an open vowel production.

90.       Exaggerate the "nasal" ring in your voice.

An indirect technique to increase loudness through a stronger nasal ring, which establishes a stronger tension of the vocal cords.

91.       Sing the first line of America:   "My country tis of thee" softly, and then the second time, increase loudness by the strength of your breath sup­ port.

An indirect technique to increase loudness as the result of a stronger vibration of the vocal cords because of a stronger pressure flow of the breath.

92.       Sing an arpeggio softly on an open ay, oh or ah vowel sound, so that the top note can be sung open; increase the soft tone to a loud tone, decrease to a soft tone and return to starting note,   (called a "messa di voce")

A psychological technique to establish a control of loud and soft singing through a flexible pharyngeal control.

93.       Sing an arpeggio softly on an open ay, oh or ah vowel sound, so that it is necessary to cover or close the top tone; increase the soft tone to a loud tone, then decrease it to a soft tone, and return to the starting note.(Called a "messa di voce")

A psychological technique to establish a control of loud and soft singing in the high voice mechanism, through a combination of breath pressure flow and laryngeal enunciation. It has been suggested that a singer does not have control of his voice until he can execute a messa di voce on any note in his singing range. This is entirely possible within the normal singing range, but highly questionable in the male high voice.

Inhalation     Lesson Plan No. 19

94.       Breathe as if asleep.

A psychological technique through imagery to establish high abdominal or diaphragmatic breathing. Very little intercostal or rib breathing used.

95.       Breathe lying down.

An indirect technique to establish so-called natural breathing: high ab­dominal or diaphragmatic breathing.

96.       Breathe like a baby.

A psychological suggestion through imagery to use a high abdominal or diaphragmatic type of breathing. Babies breathe high abdominally, since their ribs are not formed sufficiently to assist in their breathing.

97.       Breathe naturally.

A psychological suggestion to take attention away from the physical as­pects of breathing. Since natural breathing calls for about fifteen to eighteen inhalations and exhalations per minute, equally spaced, it is questionable whether natural breathing can be directly applied to singing or speech, both of which call for a quick inhalation and a slow controlled exhalation. After this later type has become a habit, then it may be considered as a natural way of breathing for singing or speech. In other words natural means habitual.

98.       Breathe through your feet.

A psychological suggestion through imagery to breathe deeply.

99.       Pant like a dog.

A psychological technique through imagery to induce high-abdominal breathing. The mid-section comes out on inhalation, goes in on ex­halation.

100.     Breathe with cane placed horizontally on back of neck while holding it there with hands towards ends of cane.

A physical device which induces a more active intercostal or rib breath­ing.

101.     Breathe with palms of hands on back of head.

A physical device which induces a more active intercostal or rib type of breathing.

102.     Place palms of hands on sides of body.   Press in on ribs while blowing out.   Then inhale allowing ribs to expand.

A physical device which induces stronger intercostal inhalation.

103.     Push out back ribs.

A psychological suggestion for a greater intercostal expansion.

104.     Smell or sniff an imaginary flower.

An indirect technique through imagery to induce high-abdominal breath­ing.

Breath Support     Lesson Plan No. 20

105.     Blow on the edge of a card.

A physical device to establish a continuous pressure flow of the breath, which is essential to singing.

106.     Blow out a candle.

A physical device to establish breath support below the breastbone and above the waistline.

107.     Call "hey." Repeat with palm of one hand placed below breastbone. An indirect technique through imagery to establish breath support below the breastbone and above the waistline.

108.     Clear your throat.   Repeat with palm of one hand placed below breast
bone, to feel abdominal press, the basis of breath support.

A physical device which indirectly establishes breath support, and co­ordinates it with phonation.

109.     Cup hands, one in the other, and pull.

A physical device which indirectly establishes breath support through a contraction of the abdominal muscles and a tighter approximation of the vocal cords for phonation.

110.     Make the breath do the work.

A psychological suggestion to depend on a stronger pressure flow of the breath.

111.     Do not lock the breath.

A psychological suggestion to avoid too much tension or rigidity of the abdominal muscles.   This will lock the vocal cords.

112.     Grunt.   Cry.   Squeal.   Yell.   Place palm of one hand below the breast­ bone to feel abdominal press, the basis of breath support.

Indirect techniques through imagery to establish breath support, and co-ordinate it with phonation.

113.     Hold the diaphragm firm,   (false imagery)

Direct conscious control of tightening or relaxing the diaphragm is im­possible since it is below the level of consciousness.   What is probably meant is to hold the mid-section firm, a physical technique. Just a case of mistaken identity.

114.     Let your abdominal muscles do the work.

A psychological suggestion to establish your breath support below the breastbone and above the waistline.

115.     Lift.   Pull.   Push.

Physical techniques for indirectly establishing breath support and assist­ing in the approximation of the vocal cords through reflex action. Strong contraction of the abdominal muscles increases the strength of the ab­dominal press or breath support.

116.     Resist the pressure of my (the teacher's) fist as I press against you as you sing.

A physical device which indirectly forces a student to increase his breath support through a stronger abdominal pressure.

117.     Throw the tone into your head.

A psychological suggestion to direct the sounds vibrations more into the head through a stronger breath support.

118.     Tighten your buttocks while you sing.

A physical device which indirectly gives support to the pelvic diaphragm and helps to stabilize the breath support. Not recommended as a reg­ular practice.

119.     Hold the breath under pressure.

An indirect technique to establish breath support as a form of com­pressed air.

120.     Delay the return of the mid-section to its normal position.

A psychological suggestion not to pull in the mid-section, which has the effect of releasing the vocal cords and the breath support.

Are You Ready To Move Onto The Next Lesson? Click Here...