| During my tenure as a Voice Instructor, I have | | | | Let's start with the style where the voice is |
| coached Singers, Speakers and Actors of every | | | | usually operating to its absolute potential. That |
| age and musical of speaking style. Some typical | | | | would be Classical or Opera. I realized that I made |
| singing styles would be, Classical, Opera, Musical | | | | a not so flattering comment in #1 of my first |
| Theatre, Jazz, Pop, Folk, Rock, Rhythm and Blues | | | | group of numbered items. (This is especially |
| and Country. Some typical speaking styles would | | | | prevalent with snooty academic/classical crowd) I |
| be, Corporate Trainer, Corporate Speaker, | | | | did not make this comment about the style; I |
| Politician, Teacher, Poet or Rap Artist. Some | | | | made this comment about the some of the |
| typical Acting styles would be, Stage Actor, | | | | people that perform that style. The college where |
| Musical Theatre, Film Actor, Commercial Actor, | | | | I received my formal music degree was a place |
| Voice Over or the creation of specific Characters | | | | where the mention of Popular Music was |
| or Accents. If I missed any, please add them to | | | | considered Sacrilege. With my childhood musical |
| the list. | | | | background being Surf Bands and Rock and Roll, I |
| My point is that there are so many uses for the | | | | had to watch what I said for fear of being Tarred |
| Human Voice, an incredible miracle of an | | | | and Feathered! |
| instrument. After working with all of these people | | | | Lets analyze the physical singing style of Classical |
| through the years, I have found these consistent | | | | or Opera. We usually observe the following |
| themes in how they perceive their chosen | | | | physical characteristics in the performer. |
| method and/or style. | | | | 1) They often breathe correctly. |
| 1) They often worship their chosen style and | | | | 2) They often understand how to use their |
| exclude all others. (This is especially prevalent with | | | | abdominal muscles for proper oxygen control. |
| snooty academic/classical crowd) | | | | 3) Their Diction is often clear and resonant. |
| 2) They think that their style of singing is the only | | | | 4) Their jaw is often open or dropped to produce |
| correct way the voice can operate. | | | | the most balanced resonant tone possible. |
| 3) They have little or no understanding of how | | | | I my experience, I seldom find these important |
| the voice operates. | | | | vocal performance aspects in people who sing in |
| 4) They think they are gifted and do not need | | | | other styles. The main reason is lack of training |
| competent training. | | | | but another reason is a bad attitude about being |
| 5) They refuse to even consider expanding their | | | | open to sing in other styles. |
| capabilities by attempting to sing or speak in | | | | Unfortunately, it appears to be human nature to |
| another style. | | | | dismiss a new challenge or even minimize its |
| To me, anyone who thinks in any fashion like this | | | | importance rather than embrace it as a gift that |
| is incredibly naive and has little or no interest in | | | | will change our life. We would rather shoot the |
| becoming an accomplished vocalist. If I have | | | | messenger than listen, embrace and grow. Pretty |
| ruffled your virgin feathers, I make no apologies. | | | | sad! |
| Before you leave the room or call your Attorney | | | | What I have found is that, once I can get a |
| claiming that I have bruised your ego, please allow | | | | student past the mental blocks of experimenting |
| me one chance to explain to you the many | | | | with a new vocal style, it becomes mainly an |
| aspects of proper vocal performance that are | | | | issue of altering the diction and opening the jaw |
| similar to all vocal styles. Then we will discuss the | | | | to different positions that creates basic musical or |
| actual few differences. Here is a list of all the | | | | speaking style changes. It is really that simple. |
| aspects of vocal performance that must be | | | | I want all of you to try something so you can get |
| understood and applied by all vocalists and all | | | | the effect. I want you to act in character using |
| musical or speaking styles. | | | | two extremes. Pick any song or speech you are |
| 1) How to breathe properly to intake the | | | | familiar with and perform it in each of the |
| maximum amount of oxygen every time we | | | | following characters. Don't hold back and perform |
| breathe. | | | | the character as exaggerated as possible. |
| 2) Understand how the body is engineered to use | | | | 1) Pretend you are an Opera Singer or Speaking |
| pressurized oxygen to accomplish many vital | | | | words in a Shakespeare Play. |
| functions by coordinating the abdominal muscles. | | | | 2) Pretend that you are an old-time Country |
| 3) Have a thorough understanding of the most | | | | Singer with all the twang you can muster. If |
| important abdominal muscle for singing or | | | | speaking, just say the words that way. |
| speaking called the Diaphragm. This includes its | | | | While you are doing this, be aware of the |
| position in the body, how it is used to intake | | | | following: |
| oxygen and how it is used to pressurize airflow | | | | 1) How open or closed your throat is. |
| and expel it in a controlled and efficient manner. | | | | 2) The position of your tongue at all times. |
| 4) Have a thorough understanding of the Larynx | | | | 3) How closed or how open your jaw is. |
| or Vocal Chords and how this marvelous organ is | | | | 4) What kind of tone, nasally or balanced, you are |
| used to accomplish a fundamental sound and | | | | producing. |
| correct pitch. | | | | 5) Do you feel tension in your neck and head or |
| 5) How to keep our throat open so the | | | | not. |
| fundamental sound and pitch which emanates | | | | I hope you are getting the picture that the |
| from the Larynx is not restricted and therefore | | | | differences in vocal performance are very few |
| diminished in any way before it reaches the | | | | compared to the similarities. When you tell your |
| resonating chambers of the head. | | | | body to become a certain character, the |
| Before we discuss how style differences are | | | | subconscious mind brings it to pass by altering |
| accomplished, please review the above long list of | | | | physical positions. |
| important things that all vocalists must be able to | | | | In conclusion, I tell all my students that if they |
| understand and perform masterfully before they | | | | want to truly become and accomplished and |
| can be a powerful vocalist in any style. | | | | fulfilled vocalist, they should be able to sing or |
| Now let's discuss how we accomplish different | | | | speak in any style on command and do it |
| styles. You will be amazed at how simple it really | | | | properly. |
| is. And when you realize this, my hope is that you | | | | So, it is time to drop the ego and open yourself |
| will become a vocalist that understands there are | | | | up to receiving some proper training. Trust me, |
| more common processes than different ones. | | | | when you do this, you will be a very happy |
| And, hopefully, you will become more open to | | | | vocalist. Further, you will have a healthy respect |
| becoming an accomplished singer or speaker in all | | | | for all styles, all vocalists and increased admiration |
| styles. | | | | for your marvelous musical instrument. |