apel vocal training guidebook

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APEL: The Art of Purification and Enunciation of the Larynx © ICMA 1995 — 2003

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First Published by ICMA, 1995P.O. Box 1749, Gallo Manor, GAUTENG, 2052, South Africa

Reprinted 2003

Copyright ICMA, 2003

This book is sold subject to the condition that is shall not, by way of trade or otherwise, be lent, re-sold, hired out or

otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it ispublished and without a similar condition including this condition being imposed on the subsequent purchaser.

The reader is advised to consult a medical doctor before trying out any exercises outlined in this book and by readingthis book, agrees that he does so of his own freewill and choice, and will not, in whatsoever manner, hold the author

liable, for any damages, failure, illness, loss or whatsoever consequence, deemed, rightfully or wrongfully to be

caused, directly or indirectly by the use, exposure or influence of the material in this book.

Printed and Bound In South Africa By:ICMA



CONTENTS

CONTENTS ...................................................................................................................3PREFACE ....................................................................................................................10

PART 1: INTRODUCTION ......................................................................................11

WHAT IS APEL? .........................................................................................................12

A Fresh Start .....................................................................................................13Wisdom of Planning .........................................................................................13Two Hunters......................................................................................................13

The Most Unique Musical Instrument...................................................................14 What Voice Are You?.......................................................................................14

Conventional Singing........................................................................................15Cultural Variations............................................................................................16

APEL — The Art of Playing the Larynx................................................................18 A Living Instrument..........................................................................................18The Classical Voice ..........................................................................................18The Language of Singing..................................................................................19

Medically Speaking...............................................................................................20

Dissecting Your Instrument ..............................................................................20Your Instrument Is Fragile................................................................................24

APEL IS POSSIBLE.....................................................................................................25A Little Boy's Dream ........................................................................................25

A Small Seed of Hope............................................................................................26 A Talent Denied................................................................................................26

Light at the End of the Dark Tunnel .................................................................28Who is Going to Teach Me?..................................................................................29

To Sing or Not to Sing......................................................................................29The Hunt for a Cure ..........................................................................................30

A Blind Man Leading Himself...............................................................................31

A Lot Of Research — A Lot Of Practice...............................................................32 Two Years To Find A Cure ...................................................................................32 The Day Of Reckoning .....................................................................................33





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The Cat Out of the Bag .....................................................................................33The First Performance In Two Years................................................................34Teach Us To Sing Like You Do .......................................................................35

A Tutor Learning To Teach Others.......................................................................35 Night School .....................................................................................................35

Behold Once I Could Not......................................................................................36

The Prophet in his Home Town........................................................................36Thirteen Years To Refine APEL ............................................................................37

EXCUSES AGAINST APEL ...........................................................................................39

Literacy .................................................................................................................40 Not Educated?...................................................................................................40A Matter of Confidence ....................................................................................40

The Right Voice.....................................................................................................41 Creating Originals Out of Simple Things.........................................................41

The Uglier the Voice, the Better Apel Works...................................................42

Lack of Experience................................................................................................43 The Talent Excuse .................................................................................................43

God-Given Talent?............................................................................................44God-Given Gifts................................................................................................45

Running Out of Breath ..........................................................................................46

The Opinion Excuse ..............................................................................................46 Common Problems................................................................................................47

A Good Cough ..................................................................................................47Hot Water With Glycerine ................................................................................47The Crutch Mentality........................................................................................47

Legitimate Ailments ..............................................................................................48 Acute Laryngitis................................................................................................48Chronic Laryngitis ............................................................................................48Other Disorders of the Larynx ..........................................................................49

Personality Challenges.........................................................................................50 Popular Sanguine ..............................................................................................52Powerful Choleric .............................................................................................53Perfect Melancholic ..........................................................................................53Peaceful Phlegmatic..........................................................................................54Temperament Combinations .............................................................................55

THE ARCHITECTURE OF MAN.....................................................................................56

Man Is A Spirit Being............................................................................................56 Spirit, Soul And Body.......................................................................................57The Difference Between Soul And Sprit ..........................................................59

The Nature Of Our Person....................................................................................61 Returning to God...............................................................................................62

The Heart Is In The Spirit .....................................................................................65 THE SPIRITUAL CONNECTION.....................................................................................68

The Singing God ...................................................................................................69 The Power of Music ..............................................................................................70

City Walls Fell Down Flat ................................................................................71Prison Walls Came Down .................................................................................71Army Ambush...................................................................................................72





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Therapy in the Asylum......................................................................................73God's Glory Manifesting...................................................................................73A Stream of Songs ............................................................................................74

Managing the Heart ..............................................................................................77 Pouring Out The Music.....................................................................................78

Skill versus Talent .................................................................................................80

PART 2: MUSIC.........................................................................................................83

I NTRODUCTION TO MUSIC..........................................................................................84

Pitch In Music?.....................................................................................................84 Unpacking A Sequence.....................................................................................85Understanding A Combination .........................................................................86

Notes in a Tune or Song....................................................................................87The Construction Of The Series .......................................................................89

Scales ................................................................................................................91Tone and Semitone Concepts............................................................................92The Major Scale................................................................................................93MusicAL Notation ............................................................................................95

The Clef ............................................................................................................96Time In Music .......................................................................................................98

Note Durations..................................................................................................98The Meaning Of the Time Signature ..............................................................101Time Signature................................................................................................102Time Signature Maps And Grouping..............................................................104The Need For Grouping ..................................................................................105

Rests In Various Time Signatures...................................................................105Sub-Division Of A Beat..................................................................................107

Dotted Note Values.........................................................................................109Simple And Compound Time Signatures .......................................................110

Sub-Division Of Time Values ........................................................................111 Key Signature......................................................................................................112

Notation of Key Signature ..............................................................................113THEORY TO MUSIC...................................................................................................115

Technical Degrees ..............................................................................................115 Degrees ...........................................................................................................115Generic Names are Efficient ...........................................................................116Intervals Revisited ..........................................................................................116Compound Intervals........................................................................................118

Natural versus Chromatic Intervals ................................................................119Examples Of Simple And Chromatic Intervals ..............................................121

Inversions Of Intervals....................................................................................121

The Use Of Foreign Languages..........................................................................122 Various Expressions........................................................................................123

Chord Notation And Construction ......................................................................123 Introduction to Chords ....................................................................................124

Inversions Of Chords ......................................................................................127

Putting it All Into A Song....................................................................................127 A Short Summary ...........................................................................................128





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An Additional Perspective...................................................................................128 The Compound Beat .......................................................................................128Advanced Rhythm ..........................................................................................129Developing Rhythm into a Song.....................................................................130Melody and Phrases ........................................................................................131Key Signatures And Scales .............................................................................132

The Harmonic Minor Scale.............................................................................134Scale Degrees In Minor Keys .........................................................................136The Melodic Minor Scale ...............................................................................136Revisiting the Harmonic and Melodic Concept..............................................137Constructing the Melodic Minor.....................................................................137

Octave Transposition ......................................................................................138You Are Ready To Begin ...............................................................................139

PRELIMINARIES........................................................................................................140

Personal Adjustments..........................................................................................140 A Long Hard Walk..........................................................................................140You Need Space..............................................................................................141You Need Time...............................................................................................141You Need Support...........................................................................................141

Tools....................................................................................................................142 Stationery ........................................................................................................142CD Player........................................................................................................142Tape Recorder.................................................................................................143

Medical Considerations ......................................................................................143 Laryngeal Precautions.....................................................................................143Speech Therapy...............................................................................................144

Other Medical Problems .................................................................................144On A Spiritual Note.............................................................................................144

Biblical Reference...........................................................................................145

Spiritual Power................................................................................................145 Mentor.................................................................................................................145

Choose a Renowned Talented Singer .............................................................145Identity ............................................................................................................146

PART 3: PURIFICATION.......................................................................................147

I NTRODUCTION TO PURIFICATION ............................................................................148

The House and The Meat ....................................................................................148 A Parable About a House................................................................................148A Parable about Meat......................................................................................149

Voices Need a Cleanup .......................................................................................150 Introduction to Purification................................................................................150

Pitch And The Larynx.....................................................................................153Time and the Larynx.......................................................................................154Correct Pitch and Correct Time ......................................................................156Purity in Harmony...........................................................................................156

Dissonance and Consonance...........................................................................157Other Elements................................................................................................157A Structured Approach to Purification ...........................................................158





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Making Circles with Squares ..........................................................................159PURIFICATION 101: HABITUATION ...........................................................................161

Habituation .........................................................................................................162 Introduction of the Envelope ..........................................................................162Emission..........................................................................................................166Selecting Notes ...............................................................................................167

Gearing............................................................................................................169Resounding .....................................................................................................170Stepping ..........................................................................................................171The Basics of Pacing.......................................................................................171Pace Up to Leaping.........................................................................................174Sol-fa Chords ..................................................................................................176Triadic and Tetradic Steps ..............................................................................177Sequential Harmony........................................................................................178

Choreographic Steps .......................................................................................178Acrobatic Steps ...............................................................................................181

PURIFICATION 102: OSSIFICATION ...........................................................................183Revisiting Voice Physiology...........................................................................183The Lungs .......................................................................................................184The Vocal Cords .............................................................................................185Back to Ossification ........................................................................................186Ruler Principle ................................................................................................187Dynamics Envelope ........................................................................................192Timbre Envelope.............................................................................................194An Overview of Overtones .............................................................................195

PURIFICATION 103: EMANATION..............................................................................197

Flowing is the Key ..........................................................................................197Emanation in Speech.......................................................................................198Translation to Communication .......................................................................198

Expressionism vs Impressionism....................................................................199Principle of River Walking ..............................................................................201

THE ART OF SONG ...................................................................................................203

Real Time Song writing.......................................................................................203 Extemporization..............................................................................................204Types of Songs................................................................................................205We are Vessels ................................................................................................206The Form of Music .........................................................................................207RDVC — Motion and Structure .....................................................................208Motion.............................................................................................................208Structure..........................................................................................................209

The Form of MOTIFS .........................................................................................209

Motif Form (normative structure) ..................................................................209Song Structure.................................................................................................210

The Musical Experience......................................................................................211 Sound, Movement and Arrival........................................................................211

Processes of the Elements ...............................................................................213Cadences .........................................................................................................214

Reading Sol-fa.....................................................................................................216





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SONG A NALYSIS ......................................................................................................220Studying Aural Music .....................................................................................220Micro Analysis................................................................................................222Middle Analysis ..............................................................................................224Macro Analysis ...............................................................................................225The Scholar's Habit .........................................................................................226

Putting your Knowledge to Work ...................................................................226Transcribing SONGS ..........................................................................................227

The Extent of Music Elements in Transcription.............................................227Transcribing One Note at a Time....................................................................228

Aural Training ....................................................................................................228 Four Types of Memories.................................................................................229Improving Rehearsal .......................................................................................230Motivation.......................................................................................................231

PART 4: ENUNCIATION .......................................................................................233

E NUNCIATION 201: I NNER SONG..............................................................................234Enunciation is a Song......................................................................................234

The Foundation of Enunciation ......................................................................235Singing is Singing...........................................................................................236Starting From Scratch .....................................................................................237Tuning into the Spirit ......................................................................................237Singing With the Spirit — Building the Inner Song.......................................240Perceiving With the Heart...............................................................................241Generating Melodies in the Heart ...................................................................242

Steps to Becoming a Creator...........................................................................247E NUNCIATION 202: THE SILENT SONG.....................................................................249

The Breath and the Spirit ................................................................................250Elements of the Silent Song............................................................................251

Engagement.....................................................................................................252Shadowing.......................................................................................................253Emanation .......................................................................................................253Refining the Silent Song .................................................................................254

E NUNCIATION 203: THE AURAL SONG.....................................................................256 Note Blocks.....................................................................................................256Dynamics ........................................................................................................258Timbre.............................................................................................................260Elemental Effects ............................................................................................261Vibration .........................................................................................................262Pulse Stepping.................................................................................................264

Vocal Harmony...............................................................................................265

Improvisation ..................................................................................................266Falsetto............................................................................................................268Timbre Morphing............................................................................................269Performing in Public .......................................................................................270

THE BEGINNING OF FOREVER ..................................................................................272The Ego Trap ..................................................................................................272The Lucifer Complex......................................................................................273





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So, You are Not a Preacher.............................................................................274Expressionist or Impressionist? ......................................................................275Just a Profession..............................................................................................276

The Singer's Habits .............................................................................................276 Practice Daily — Habit #1..............................................................................276Grow Your Heart — Habit #2 ........................................................................277

Keep Your Focus on the Rules — Habit #3 ...................................................278Style — The Unique Touch .................................................................................279

Mimicry Syndrome .........................................................................................279Multiplicity .....................................................................................................279Makeup and Crutches .....................................................................................279Mirrors and Rubber Stamps ............................................................................280Creating a Style...............................................................................................280The Speech of Singing ....................................................................................281

Virtual Band....................................................................................................282TOOLBOX.................................................................................................................284

Audio Trax ......................................................................................................284Exercise Summary ..........................................................................................288Exercise Worksheets .......................................................................................289Meanings Of Foreign Terms ...........................................................................318Index ...............................................................................................................320



PREFACE

The ability to sing belongs to ALL of us and I guess at one time or another, you also have hada desire to sing and especially all those times you listened to a singer whose voice you really admired. If your dream (or wish) to sing came true, your life would become different. Peopletend to believe that you can only become an excellent singer if you were born with the talent.On the other hand, almost everybody that believes this myth also contradicts himself or herselfby encouraging would-be singers to sign up for singing instruction. Well if it is true that you

cannot become an excellent singer other than through hereditary means, what good could thesuggested training do?

Most ridiculously, the suggested training teaches little or nothing about how to become asinger — instead, it teaches how to improve the supposedly already existent talent, i.e., notaccommodating those who CANNOT sing. APEL changes all that by offering you and me, the

untalented singers, a simple TECHNIQUE to acquire a beautiful and professional singing voice.APEL is THE ART OF PURIFICATION1 and ENUNCIATION2 OF THE LARYNX3. It is a unique

technique developed over a period of two years4 by one Michael MICHAEL (the author).Thereafter, it took a several years to compile an accompanying training manual, which you nowhave in your hands. The training manual is accompanied by audio material containing reference recordings5; it contains the foundation upon which you are going to build your exercises.

Your life is about to change for the better. This time around, if it does not, it probablynever will. It is up to you WHETHER you fly or not, but up to the wind HOW you fly — APELTruth.001 Your wind has just started blowing.

Michael MICHAELJohannesburg, South Africa (January 1995)

1 cleaning by getting rid of impurities2 an improvement that makes something more agreeable3 a cartilaginous structure at the top of the trachea; contains elastic vocal cords that are the source of the vocal tone in

speech4 and perfected over more than ten years5 the original concept was to provide an audio CD with all the exercises and demonstrations, but over the years, a this

option resulted in an increased practice of mimicry of the author by students, to a frightening precision.



PART 1:

INTRODUCTION



WHAT IS APEL?

You have made the right decision. You might not realize it now, but by the end of theAPEL6 program, you will know it. Your friends will know it — it will be obvious.

Let us discuss one important matter before you start. It is very important . I want towarn you, this is different from anything you have ever encountered before. APEL is

based on nothing you have seen or heard before unless you have been in one of my

classes before or know somebody who has. For this reason, your feathers might be ruffleda bit as you continue with APEL studies, unless you are pre-warned.

It is not about me getting your money; in any case, the fact that you are reading this book means that I already have your money (unless of course you obtained the bookillegally). I will not loose the money if you fail, but your failure in this matter is as mucha loss to me as it is to you because the whole idea of this process is to build you up, not to

build my bank account (which fortunately is unavoidable).Listen to me carefully; you might not have appropriately understood what it is you are

getting into. It is good and powerful — but unless you are willing to walk the weird andunusual road, you might as well turn around now.

If this method were ordinary7 , the early music teachers would have implemented it 200years ago. However, it is not conventional; in fact, it is crazy and unheard of. APEL was

largely developed in the bush, in the dark 8 and in isolation. It defies most conventionalideologies — APEL wages war against conservative singing principles, behaviors, andtradition. Most importantly, APEL works!

Acceptability and norms do not hang me up — I am naturally very defiant, and youwill learn that in this book. I do not apologize for my innovation or ideas. No, I am not a

professor of music and I am not an academic — I am just a person who dares theimpossible and thrives on swimming upstream, hence this book.

I am giving to you in this book, what I learned over a period of more than 13 years 9 —I made all the mistakes you can think of, and I experienced various stages of adjustment

6 the ART of PURIFICATION and ENUNCIATION of the LARYNX7 APEL was solely and independetly invented by the author and this is the first formal publication of the technique8 this is not a reference to occult darkness, but time of day9 1981 to 1994





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that occur when you undergo voice training, and I am still learning, and hoping to learn alot from you as well.

A FRESH START

Forget everything, FORGET WHAT YOU THOUGHT SINGING WAS. I want you

to switch your logic off until you finish reading the book, then I want you to doeverything I tell you without asking questions — only then do I advise you to challenge

the APEL technique. If you can, reinvent APEL; and you will see what new ground youwill break. You are welcome to refute the teaching in this book, criticize it, challenge itand test it against every imaginable standard — but as I entreat you, wait until after youhave read it and also applied it to the letter.

I am assuming that you would not have bought the book unless you were serious aboutlearning how to sing. So, let us do it.

In the book I use analogies and illustrations, and give you many facts — there will beexercise10 pointers, but they are not as important as the UNDERSTANDING part. Yourgreatest skill will be to comprehend everything I am teaching you.

Remember that practice in this method makes only 15% of the course. The other 85%

is all UNDERSTANDING11 and remembering the facts.

WISDOM OF PLANNING

You will need a plan before you proceed, the plan will revolve around time andrelationships. Embarking on APEL means that you will spend an awful lot of time alone,and this will affect your family. You cannot study APEL in public; you require solitudeand privacy. Leaders are inspired in public, but built in private — APEL Truth.

002

TWO HUNTERS

Two men went out hunting; the first (Tom) was very pompous and very energetic. He

told all his neighbors that he was going to catch a big animal. He was of strong physical build and everybody thought he was an expert hunter because of the manner in which he boasted about himself. The community also held him in high esteem. He went out withhis friend (James), who he laughed at and mocked quite often, because of the evident

physical disadvantages he had. Nevertheless, his friend had determined in his heart thathe also wanted to catch an animal for his family. However, he was meek and reserved. Hedid not say much, but he knew that he had to have a plan that would work.

The two men went away together on a journey to go hunting. Tom was very pushy anddemanding and when the first animal walked by, he suddenly got up and started chasingafter it with an axe. He ran for hours after the animal. After hours of chasing, he lost theanimal and was tired. He returned empty handed.

James had been studying the animal's trail and behavior all along; he had discovered

where it grazed and drank water, where it slept, and all its other habits. After hours ofwatching the animal from a distance, he knew when and where to set a trap in the pathwhere the impala would walk past. Later in the day when the animal would have to drinkwater, it would walk the same trail — he went and lay under a tree at a distance, and

10 exercise references will be made in footnotes like this one11 the technique is behavioural, hence the need to have a fresh and radical understanding of APEL.





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when the time came, the animal walked by and was caught in the trap. He returned homewith the animal and was not tired at all. A simplistic, yet educating story. Without a

plan, life becomes a fruitless expenditure of energy — APEL Truth.003

A Meek Approach to APEL

As I will remind you later, do not flaunt your APEL studies — do not attempt tomeasure yourself against people's comments. Think about it, it is harder to notice theimprovement on one's effort if you see that person daily. For example, a person might beon a weight-loss program, but because you see them daily, you might not readily noticethat they have in fact lost weight — but it is very easy to notice the weight loss if you had

not seen them for three months — because the change amounts to a noticeable difference.At the end of this manual, we would like you to experience the joy of saying, "Once Icould not sing, but now I CAN."

In a few weeks12, you will be saying it because you can — not because you wished people would say so. When you say it, people will already have noticed the difference,unless you had irresponsibly been flaunting your efforts gasping for and craving13 theirapplause.

THE MOST UNIQUE MUSICAL INSTRUMENT

In defining APEL, we must lay down a foundation first:

The foundation has everything to do with how your voice works.

That foundation refers to your voice box as an instrument that produces a voice.

As you might have already noticed, we will refer a lot to the voice, meaningyour voice or sound produced when air from your lungs passes through the

larynx and cause your vocal cords to vibrate — vibration occurs in the area of

your mouth (your nose too) which is the equivalent of the air chambers inacoustic instruments.

WHAT VOICE ARE YOU?

People have a tendency, legitimately so, to categorize voices into vocal parts or roles(more accurately referred to as vocal ranges) — and among men, those are bass,

baritone, and tenor. We will have plenty of time to define and illustrate all of these. Donot worry about not understanding some of the concepts at this stage — the idea at handis to show you what a unique instrument your voice is. Like any other instrument —YOU CAN LEARN TO PLAY IT.

This is what this book is all about, LEARNING TO PLAY YOUR VOICE BOX. Ifyou can just learn to see your voice as a musical instrument, you will find the whole

technique outlined in this book easy to follow. Most of the traditional inhibitions willsuddenly cease to hold water.

12 it is possible to complete the APEL programme within 28 days with complete results13 pride is one of the biggest downfalls for aspiring singers





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Female voices can be categorized into contralto, mezzo-soprano, and soprano. Yourvoice should have an average of about two octaves 14 — which will be discussed later inthe book. As you know, men's voices are lower than women's voices — by about anoctave. A man's falsetto will be in the same range as a woman's real or natural voice —

but a little higher and thus categorized as an alto. While a boy's voice will be equivalentto the soprano voice.

You may also know, that a boy generally sings in the same range of voice as a grownwoman — that is, until the boy's voice breaks15 into a masculine tone or range.

Although there are six conventional vocal ranges — they are generally reduced from

soprano, mezzo-soprano, contralto, tenor, baritone, and bass — to soprano, contralto (or

alto), tenor, and bass. You may already have categorized yourself into one of thesevoices. The bottom line however is that, whichever voice you might be — you are aninstrument and we must teach you how to play that instrument, and in doing so, do it suchthat you excel and not only excel, but also excel beyond your wildest expectations. THAT

IS WHAT HAPPENED TO ME — and is about to happen to you.

CONVENTIONAL SINGING

There are major differences between this training manual and the conventional formsof singing — it is perhaps important that we briefly take a look at the other accepted

perception of what singing is; which has become a world standard and an academicconvention.

When you sing, you utilize your voice in the creation of song . Breathing is the primary

generator 16 that causes sound to be produced through the same vibration mechanism thatoccurs when acoustic instruments are played, especially wind instruments, in which

sound is produced by blowing through a pipe of some sort.The sound becomes louder by the manner in which it resonates in the chamber — i.e.,

the cavity in your mouth and nose. Although hard to believe, all cavities above yourshoulders play a role in the production of the sound of your voice. You are an acousticinstrument, and the bigger your chambers17 , the better. Not only must the voice be

produced, it also needs to be articulated18 to create recognizable speech forcommunication and expression. For animals, to which speech does not play a part in thecreation and performance of music, the songs are complete without the additional use ofthe lips, teeth, tongue, and palate. Human beings are the only known species whose musicis lyrical and verbal19.

What People Think About Voice Training

Conventional20 voice trainers believe that vocal training is for the development of

better control over breathing and the regulation of relaxation degree, body tension andresonance and articulation. I agree with that, but I also I believe that training should andcan, go back further than developing what is presumed to be an already capable singer,

14 an octave is one series of notes either ascending or descending to the next similar note15 when a boy’s voice tone changes into a man’s tone16 the source of music17 people with big heads have bigger cavities, like a boom box18 bringing articulatory organs together so as to shape the sounds of speech19 relating to or having facility in the use of words20 this is no way despises the wisdom of formal education, it merely highlights the short-comings





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but initiate talent in those who are not already accepted as singers. Teach the novice how

to sing, and the expert, how to grow — APEL Truth.004

Most voice teachers will not take you in if they thought you could not sing. Does thisnot make you wonder — what is the use of training a person if you can only train those

already capable? The world has not yet accepted that all human beings can sing — if theydid, they would have made provisions for them; and not only for the talented . Many of

the incapable among us, may be the giants we should have been inspired by — APELTruth.

005

Natural Singing?

Besides training, every culture21 has a natural art of singing particular to them and thatfor me, is a sign that singing is a natural right . From whichever direction you approach it,there is enough natural instinct in us to awaken the talent or the ability.

Most low-voiced males can naturally produce a falsetto22 tone by partially vibratingtheir vocal cords — it is a technical and precision art, but they do it without academictraining. Who told them that by partial vibration, their tone would be higher? Nobody —

but it is naturally there to be discovered, BECAUSE SINGING IS ALREADY IN EACH

ONE OF US.

Not All Roads Lead to Rome

An acquaintance of mine, after training overseas as a singer and voice tutor, found theAPEL singing technique bothersome in that it sounded contemptuous towards all that shehad been taught to believe in. People do not take kindly to their philosophy being provedfallacious. Although that is not what we were doing — that is how it is sometimes

perceived. If all roads lead to Rome, then the N323

route would cost you a lifetime —APEL Truth.

006

I say, "Literally, you can't get to Rome on the N3!" If you believed all your life thatwas the way to Rome, it would be hard for you to hear me out, or even accept that I may

be right and you may be wrong — it would be even harder for you to see my directions bringing results.

CULTURAL VARIATIONS

Every culture has a unique quality of tone and approach to singing. There are alwaysvariations in tone, color , physical tension, and acoustical intensity of cultural music andstyle of singing. Some cultures use extensive melodic ornamentation, some light, andothers none.

The most noticeable of these is the classically trained, resonant, well-projected tone ofopera24 singers. There are probably very few styles as popular or expressive as therelaxed, subtly ornamented, robust singing of black folk musicians; it is often enhanced

with coarse, throaty effects. It can be tense and electronically distorted like rock — but itis not academic, yet very effective. It was developed instinctively. These people

developed their styles not through some standing academic institution, but through inner

21 think of the African harmonies which seem to be hereditary and not academic22 a tone produced by a male voice when they mimic a female voice23 freeway in South Africa from Johannebsurg to Durban24 a drama set to music; consists of singing with orchestral accompaniment and an orchestral overture and interludes





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instinct , a substance we all have. Instinct is the substance at the foundation of APEL —

APEL Truth.007

This inner ability, resident and inbuilt in all of us, should not be spoiled by people like

me with thick training manuals. We should leave the true art of singing to the individual,

while attempting to enlighten the path with principles — which should more guiding thandemanding ; this can be very difficult for the teacher to achieve. The line between

confidence and obstinacy is very thin — APEL Truth.008

The Serious Way of Singing

The high and clear-toned male voices were, and maybe still be favored in classicalcircles — Luciano Pavarotti being the well known example. This results in a vocalquality that is believed to help the listener hear the interwoven melodies of multipartvocal music.

The bel canto25 style dominated Western singing between 1650 and 1850 — it is believed that this style was developed sometime in the 16th century. Around the 18th century, the castrato26 voice was used in opera and became very dominant in the 18thcentury.

The bel canto era used breath extensively, to control the strength of sound — and is probably responsible for most of today's academic singing's emphasis on breath control.Other things contributing to style development were concert halls and perhaps various

artistic goals, which prompted and inspired singers to want to modify this technique.Some examples of standards and milestones in the history of singing are perhaps the

Polish teacher (and tenor), Jean de Resize and the Spaniard Manuel García (1805-1906)who developed new techniques to put more effect of resonance. Richard Wagner isknown for his use of vocal colors — the vocal categories such as 'dramatic soprano' and

'heroic tenor.' This was only the beginning of what is today known as 'serious' singing —to an extent that although serious music is more popular and preferred by some cultures,the new and independent cultures feel a certain amount of obligation to conform to thisstyle.

A Short History of Singing27

The 20th-century music increased in operatic singing techniques. While opera wasgaining ground, the microphone was responsible for more expression instead of power;this innovation produced a fresh art of singing, like Bing Crosby28 and Morgana King.

The late 20's and early 30's gave birth to Afro-American vocal colors that had become prominent through jazz and blues. White singers, however (through the 1940s and '50s)continued to reflect European classical roots — believing this to be 'conventional.' Thistrend continues today, where generally, Caucasian29 singing tends to conform more to the

bel canto tradition than does African singing, if at all.American and British pop styles were flavored with Afro-American traits by the

1960s. Composers began experimenting with intoned 30 speech and melodic contours

25 meaning beautiful song26 a male singer who was castrated before puberty retaining a soprano or alto voice27 courtesy of Microsoft Encarta 9728 formerly Harry Lillis Crosby (1903-77), American singer and songwriter, born in Tacoma29 white person30 speak carefully, with rising and falling pitch





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(whispers, shouts and rough sounds) and other vocal colors formerly excluded fromWestern art singing. The inner instincts were taking precedence over conventionalism.This is indicative of the variety of manipulations possible when using the voice as aninstrument. You are about to learn how to do this.

APEL — THE ART OF PLAYING THE LARYNXYour voice is the only instrument you can learn to play without having to go out and

purchase it. If you wanted to learn to play the saxophone, you would have to fork out atleast $300 before you could start.

Of all the instruments or ways of producing music, this is the only one that Goddecided to include in the creation package — how do I know that? It is a bold statement

but it is true. Is this not evident in the fact that this instrument is already built within us?My body does not have a stringed31 instrument like a violin, or a percussion32

instrument like a tambourine — it has a built in wind33 instrument, namely, the larynx.This is the only instrument that is manipulated remotely through the mind and instincts;and above all, the heart.

I always said that my voice ONCE MADE PEOPLE LAUGH — and after APEL, NOW MAKES PEOPLE CRY. I have never played my guitar in such an expressivemanner that somebody cried, but I have sung and seen people's tears. That tells mesomething about the power of the voice — IT IS A LIVING INSTRUMENT; it hasspiritual dimensions that I believe extend deeper than any known acoustic or electronicinstrument. IT IS HUMAN — it has the Creator's touch. It is also, the mostmisunderstood and misused instrument. It is easy, and very easy to use — but traditionhas failed it, and clouded minds from mastering it.

A LIVING INSTRUMENT

I believe that the voice is the most SPIRITUAL and most POWERFUL instrument,made by a Superior Craftsman34. Very few solo instruments have the appeal and influenceof the voice, or the ability to SAY SOMETHING with such precision. As we indicated,animals can sing, but they cannot say anything verbal, while human beings can both saysomething verbal and above all, communicate at a spiritual level through their music.

THE CLASSICAL VOICE

In an attempt to understand the classical voice, we must look at some definitions in theclassical context.

Phonation

Classically speaking, voice, or phonation, is the sound produced by the expiration35 of

air through vibrating vocal cords. Voice is defined in terms of pitch, quality, and intensity,or loudness.

31 instruments which have strings that are plucked to produce a sound32 instruments which are struck to produce a rhythmic sound33 instruments which are blown into or through to produce a sustained sound34 the Creator being God35 the act of inhaling





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Optimum Pitch — the most appropriate pitch for speaking, and varies witheach individual.

Range of Pitch — the range covered on the pitch register by the voice. Both

optimum pitch and range of pitch are fundamentally determined by the lengthand mass of the vocal cords; within these limits, pitch may be varied by

changing the combination of air pressure and tension of the vocal cords. Thiscombination determines the frequency at which the vocal cords vibrate, thegreater the frequency of vibration, the higher the pitch.

Resonance

After voice is produced, it is resonated in the chest, throat, and cavities of the mouth.The quality of the voice is determined by resonance and the manner in which the vocalcords vibrate; intensity is controlled by resonance and by the strength of the vibrations ofthe vocal cords.

Classical Articulation

Articulation refers to the speech sounds that are produced to form the words oflanguage. The articulating mechanism comprises the lips, tongue, teeth, jaw, and palate.Interrupting or shaping both the vocalized and 'unvocalized' airstreams throughmovement of the tongue, lips, lower jaw, and soft palate articulates speech. The teeth areused to produce some specific speech sounds.

The manner, in which you speak, is the manner in which you should sing. This truth isthe greatest truth in this book. For all it is worth, the entire revelation of APEL was 100%influenced by this. It is not until you have learned to speak through your singing, thatyou will master APEL — APEL Truth.

009

THE LANGUAGE OF SINGING

Language is a system of symbols agreed upon by a group of people to communicatetheir thoughts and feelings. Italians share a common language because it is an agreed setof sounds and expressions that is commonly understood to mean certain things.

Symbols may be verbal or nonverbal , that is, either spoken or written; additionally,nonverbal symbols may be gestures and body movements. In spoken language, the skills

of articulation are used; in written language, spelling is substituted for articulation. Insinging, there is a deeper level of communication that cannot be documented, thelanguage of the heart that is heard and understood from heart to heart. True singing is

generated by one heart and communicated into another — APEL Truth.010

Both auditory36 and visual skills are essential to the comprehension and expression oflanguage. A singer can add a dimension to their singing by employing visual gestures,

whether facial or manual37 , the emphasis must remain on adding .Rate and rhythm also should be considered in the discussion about speech. Normal

speech should not be so rapid, or so slow that it interferes with comprehension. Whatabout singing? Rhythm is judged mostly in terms of fluency. Here is another fundamental

36 of or relating to the process of hearing37 involving the hands





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truth about APEL — I asked myself a question at the beginning of my search for the truthabout singing; the question was simply an attempt to understand what it is that makessinging either good or bad. At its most fundamental, singing can be reduced to pitch

and rhythm — APEL Truth.011

Good or so-called normal speech, cannot be exactly measured or described. It canhowever, be judged, essentially only as it seems to be suitable to the sex, size, age,

personality, and needs of the speaker. Good singing cannot be exactly measured ordescribed either, but it can be judged fundamentally only as it seems to be suitable to theintended audience — singing is, for the same reason, a giving and a receiving language.

MEDICALLY SPEAKING

Oftentimes, potential voice students are turned away from attempting APEL becauseof myths and tradition. For example, certain speech disorders such as stuttering orstammering are perceived to be a definite hindrance to singing. That is not true. While

APEL is based on speech, it is much simpler than speech — APEL Truth.012

Singing, in fact, is easier than speaking, because in singing, most of the content isrehearsed; while in speech, most of the content is created as one goes along while the

person is busy communicating. How often do you run through your full thirty-wordsentence before you start speaking to someone, that is, unless it is somebody who makesyou nervous? Is this not the reason why we sometimes often pause and utter anoccasional um or er ?

Because speech is a learned occupation, any intrusion over one's learning ability might be perceived as a singing impairment. While this may sometimes be true, it is rare. Someof the common conditions capable of interfering with one's learning abilities are

neuroses38 and psychoses39, mental retardation40, and brain damage, whether congenital41 or acquired.

Vocal expression itself may be impaired by such physical disabilities as cleft palate42,

cerebral palsy43, or loss of hearing; it may likewise deteriorate because of paralysis of any

part of the articulating mechanism.Therefore, unless you are suffering from any of these medical conditions, you have no

excuse to even think that you are entitled to an excuse.On the other hand, if you are suffering from any of these ailments, you still stand a

more than 50% chance to become an excellent singer. It is your heart and not your head

that produces the music — APEL Truth.013

All you will really need to learn is to permit

your heart to flow through your mind and body.

DISSECTING YOUR INSTRUMENT

We already told you that the larynx is the instrument of focus here, and it is thereforeimportant to understand the physiological makeup of this instrument. When you take up

38 a mental or personality disturbance not attributable to any known neurological or organic dysfunction39 any severe mental disorder in which contact with reality is lost or highly distorted40 lack of normal development of intellectual capacities41 present at birth but not necessarily hereditary; acquired during fetal development42 the upper surface of the mouth that separates the oral and nasal cavities43 loss of the ability to move a body part





21

guitar lessons, your instructor usually gives you a background of the guitar, a littlehistory, and detail about the instrument.

Figure 1: Larynx and Larynx Cross Section44

There are really only two important things about your instrument — the larynx itself,and the skeletal structure thereof.

Chamber

The larynx is the hollow chamber in which the voice is produced, it is situated at thefront or upper part of the windpipe of mammals, frogs, and toads; it is also called the

voice box. In mammals, it leads from the lower portion of the pharynx 45 to the trachea46 and is situated in front of or ventral47 to the esophagus, behind the skin and connectivetissue of the throat. The larynx is supported by ligaments from the hyoid bone, situated atthe base of the tongue.

Structure

The skeletal structure of the larynx is made up of three large cartilaginous structures,

the epiglottis48, thyroid 49 cartilage, and cricoid cartilage, and of several pairs of smallcartilages, the most important of which are known as arytenoid cartilages.

Epiglottis — the first (the epiglottis) is a broad cartilage attached in front to thetop of the thyroid cartilage. The epiglottis is the lid or cap of the larynx; itswings over the opening from the pharynx into the voice box. When youswallow, the larynx is raised to press against the epiglottis and root of thetongue, preventing food from entering the air passages. It is actually not

possible to swallow and breathe at the same time.

Thyroid Cartilage — just below the epiglottis is the second structure (theangular thyroid cartilage), composed of two vertical plates that join in the front

44 Pictures courtesy of the Voice Center at Eastern Virginia Medical School45 the passage to the stomach and lungs; in the front part of the neck below the chin and above the collarbone46 membranous tube with cartilaginous rings that convey inhaled air from the larynx to the bronchi47 nearest to or facing toward the axis of an organ or organism48 a flap of cartilage that covers the windpipe while swallowing49 located near the base of the neck





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of the neck. The intersection of these plates causes the projection commonlyknown as the Adam's apple50.

Cricoid Cartilage — finally the third structure at the rear portions of thethyroid cartilage grip (the circular cricoid cartilage), which keeps the laryngeal

passageway open at all times. On each side of the rear upper border of the

cricoid cartilage is a small, movable arytenoid cartilage.

Figure 2: Larynx Support Sysytem

Animals such as frogs and toads have a voice box that leads directly from the pharynxinto the lungs. Frogs have auxiliary vocal sacs that, when inflated, serve to make thevoice more resonant . The size of the chamber adds to the resonance and quality of thetone produced. To understand this, simply compare a double bass51 and a violin — besidesthe fact that the strings are of different sizes and diameter, the size of the chamber islargely responsible for the differences in the sound produced.

Analogies of such resonating chambers are found among mammals in the hollowhyoid bone of the howling monkey and in the sac leading from the larynx of a gorilla virtually to its armpit. Think of this and relate it to the sound of a charging angry gorilla

and you will see a clear correlation.In birds however, the voice is produced in an organ known as the syrinx52. Incidentally,

a syrinx is also a primitive wind instrument consisting of several parallel pipes boundtogether. Lower animals use other methods to produce sounds.

In the human larynx, there are two pairs of vocal cords. They are made of elasticconnective tissue covered by folds of mucous membrane. One pair, the false vocal cords,extends from the epiglottis to the angle of the thyroid cartilage; these cords narrow theglottis (the pharyngeal opening of the larynx) during swallowing. It is impossible to

utter (a sound) and swallow at the same time — APEL Truth.014 Below the false

cords are the true vocal cords, extending from the arytenoid cartilages to the angle of thethyroid cartilage.

50 so called because of the legend, referring to Genesis 3:6, of the apple that lodged in Adam's throat51 a huge bass violin52 the vocal organ of a bird





23

Vibration of this pair of cords by air passing out of the lungs causes the formation ofsounds that are amplified by the resonating nature of the voice box. The bigger the voice

box, the deeper the sound — APEL Truth.015

This is how your instrument works —

you blow air through this pair of cords and they vibrate and resonate in the chamber.

Pitch Manipulation

There are two main movements in your biological musical instrument that control thenature and quality of pitch. The pitch of the sound is voluntarily controlled by muscles 53 that rotate the arytenoid cartilages toward the center of the body.

Lower Tones — through the slackening and lengthening the cords one can produce low tones

Higher Tones — toward the sides of the body, the shortening of the cords and pulling them tight will produce high-pitched tones.

In this context therefore, if one were to show you how to manipulate your vocal cords and the arytenoids cartilages, you would have mastered the art of playing this instrument.Most people believe they are singers because they were born with a voice54. It is not the

type of voice you have that determines your talent, but the technique of breath and

muscle manipulation, and this, is a simple art — APEL Truth.016

If you disagree with this statement, you are in fact saying that because the flute has amellow and soft soothing voice; it is a better 'singer' than the tenor saxophone, which hasa blasting and coarse voice.

The extent of the angle formed by the plates of the thyroid cartilage determines thedepth of the human voice. The angle decreases in males at puberty, causing decreased

tension of the vocal cords and a consequently deeper voice, and increases in most femalesat puberty, causing increased tension of the vocal cords.

On a guitar, the thicker strings produce the lower notes, and they are less tight than the

thinner strings, which produce the higher tones. In a human larynx, the thicker and less

tense cords will produce a lower tone in males while, in females, the thinner and tensecords will produce higher tones.

The combination is that of chamber , size, and tension — you cannot use the thin stringon a bass guitar, because no matter how low the tension, they just do not have thecapability to produce a deep slow vibration loud enough to produce bass. On the otherhand, attempting to use the thicker strings on higher notes results in a muffled high tone,which lacks the treble of a normal high note — besides, the thicker string will break if

pulled too tightly.The chamber of your voice box is the acoustic power of your voice; manufacturers of

speakers have used this theory for hundreds of years. The chamber of your speaker hasmore to do with the sound produced by your speakers, than most people are aware. Carspeakers sound better when mounted on the resonant body of a car than on thick rubber

padding. Remember then, the tension, size, and chamber characteristics of your voice.Any technique that manipulates the tension, size and chamber characteristics of

your voice will elevate the singer to new dimensions of singing — APEL Truth.017

53 remember that muscles can be exercised54 everybody, or almost everybody is born with a voice





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YOUR INSTRUMENT IS FRAGILE

The most common affliction of the human larynx is inflammation, or laryngitis55,which often accompanies colds, and usually comes with a temporary diminution orcomplete loss of voice. Other diseases commonly attacking the larynx include croup56,

diphtheria57, and cancer 58. Laryngeal cancer may be caused by cigarette smoking and by

the intake of large amounts of alcohol.Alcohol and smoking are injurious to singing — APEL Truth.018

Being a non-

smoker and non-drinker I have never been able to appreciate the need to smoke and drink.On the contrary, there are millions of good singers who smoke and drink. These habits

will not hinder you from singing, but you could do better without them.Persons who smoke and drink excessively run an especially high risk of developing

cancer of the larynx. It can be treated by X-ray therapy, especially if diagnosed early, and by surgery. Surgical procedures include partial or total removal of the larynx. In instancesof total removal, the patient must learn a new method of speech that involves, in part,

swallowing air and bringing it up again. Various other surgical techniques have beendeveloped to replace the removed tissue and restore speech of near normal quality; forexample, insertion of a prosthetic59 device through a tracheoesophageal puncture

(tracheotomy60) has shown a promising rate of success in test patients.Methods of looking after your voice in particular (and not the instrument itself) will be

discussed later in the book.

55 inflammation of the mucous membrane of the larynx; characterized by hoarseness or loss of voice and coughing56 a disease of infants and young children; harsh coughing and hoarseness and fever and difficult breathing57 marked by the formation of a false membrane in the throat and other air passages causing difficulty in breathing58 any malignant growth or tumor caused by abnormal and uncontrolled cell division; it may spread to other parts of the

body through the lymphatic system or the blood stream59 an artificial substitute for a missing part of the body of humans or other animals is called a prosthetic device, or

prosthesis60 emergency operation in which windpipe is cut and a tube inserted to permit breathing when air passage is obstructed



APEL IS POSSIBLE

I grew up on a farm. My dad was the principal of the only high school in the area. Thearea in which I grew up was very isolated — to the north, there was a range of mountains,to the east , and south and west were rivers.

Most of the children in the area did not have the same advantages as I had. My dad being academically inclined endeavored to expose us to as much privilege as was

practically possible then — at least that is how I saw it. We had encyclopedias and manyother reading materials, and although there was no television in South Africa back then(in 1969 through the early 70's) we watched a movie at least once a month on average.

The point therefore is, I had nothing but the farm to occupy my entire thought life (ofcourse, education was part of the normal activities); and besides the fantasies aboutcinematic61 unrealities which I was exposed to, the only other thing I had going for mewas my imagination. I dreamt a lot, I developed a very strong vision about my future.

A LITTLE BOY'S DREAM

That is the place where I learned to believe in the impossible. I did not know thedifference between what was possible and what was not. It should not surprise you that in

that period, I 'manufactured' cars for the local teenage community; I was in fact a toyfactory, because to me, if it could be imagined, it could be done.

My elder brother and I constructed a movie projector, or the closest we could get to amovie projector — and composed mini cartoon62 animations and charged the local boys

one to ten cents to come and view. The cartoons were more static than animate, but wedid it.

At one time, we started on a 'helicopter project,' and then there was the karate and

boxing tournament. There were hundreds of projects, or inventions if you wish, that weembarked on — because as far as I knew, everything was possible, ALL YOU NEEDED

61 of or pertaining to or characteristic of the cinema62 a film made by photographing a series of cartoon drawings to give the illusion of movement when projected in rapid

sequence





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WAS TO FOCUS YOUR MIND TO IT. Nothing is impossible to a believing heart —

APEL Truth.019

What I am trying to tell you is that there is no height unreachable, and no goalunattainable — and if it were not for this attitude, I would not have discovered this

miraculous technique of training wounded voices.

A SMALL SEED OF HOPE

When I was in Standard 9, I had grown into a very sociable character, and everybodyin my high school knew me and had actually spoken to me (At least once or twice). Bythen, we had moved into the urban area of the country away from the farm.

When opportunities of school activities and trips arose, I was always available to participate; and this one time, a trip was being planned to the then capital of South Africa,

Pretoria, to visit an Afrikaans high school as part of the public relations program63.The excitement about the trip was very tangible and in fact, intoxicating. It had then

become difficult to even pay attention in the classroom. I remember when the Englishteacher came for her class once; we could not get into the spirit of the lesson. A friend ofmine, who I guess was just as crazy about the trip as I was, got up and started to sing anold traditional Gospel song called 'Telephone to Glory'. He was the most musical of our

bunch in class.

In the excitement of the moment, I got up to join him. I started to do what I thenthought was singing a harmony part to his tune — when the class shouted me down, it

dawned on me that I was probably not singing right, to put it mildly.At that moment, fellow students (assuming that I was mature enough to take it like a

man, and not emotionally thin-skinned), started hurling truthful but harmful accounts of

what they had just witnessed me do. One fellow, echoed by the rest of the class said,"You are a whiz kid, you are very intelligent, but don't just assume that God has givenyou the talent of singing as well!" Painfully truthful!

A TALENT DENIED The fact that I did very well with my schoolwork, even without much studying, was

not going to be a comfort to me in and at that moment. I had just found out that I had ahorrible voice. Believe me, I had always been outstanding in most of what I did — somekind of a child prodigy64 if you please, because I was used to being the best at everything.

Except for the fact that, the previous year was the first for me to take a mere pass position — instead of the usual first or distinction in my class. Since primary school, Ihad always been first in class. The year before this epic, I had fallen off to number eight 65,and I was beginning to think that not everything was possible.

So then, the 'truth' kept throwing itself in my face after my infamous rendition of a

capella66 harmony. In that class of about 38 students, almost 36 of them were convinced

that I was not born to sing. Not only did they believe that, but also that God probablywould be upset if I attempted to sing — they were convinced that I could not sing even if

I wanted to. That God had not seen fit to bless me with the singing talent in addition to

63in those days it was unheard of, for a black school to visit a white school64 an unusually talented or intelligent child65 on a school reporting system where students with the highest marks in class are at the top66 vocal music style unaccompanied by musical instruments





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the many things I supposedly did extremely well. I heard them say it, and it tore me intoshreds in that short span of about two to five minutes.

Deep in my soul I was saying, "I shall rise again!" The big question was, "How?" Inaddition, I had no answer to that question. The more they screamed out their assessmentsof my horrible singing, the less I believed that I could arise out of that situation.

I was about to close the book in my pain and invisible bleeding that oozed from my

heart, rent by the 'honesty' of my classmates.Mind you, the more they spoke out, the more I remembered how my mother and

relatives used to laugh each time I sang — needless to say I was beginning to realize thatthey did not laugh and smile because I sounded good. It was becoming obvious that therewas another reason for it, and I did not care to consider it then, I wished not to. I LOVEDMUSIC, and I loved singing — but I could not sing. Your passion for music and

singing is a good sign of how great a singer you are about to become — APELTruth.

020

Your Singing Is Wrong

It also brought to my mind how one day when I was taking a walk with a friend of

mine who was a respected young musician in the community; he had labeled my singingas 'wrong.'

Wrong ? Wrong? Did he not know he was speaking to a 'genius' that can do anything? I had been raised to believe I was some kind of a genius you see. However, my friend had

just said I sang wrong . What did he mean wrong ?So, I asked him, "What do you mean wrong ?"He answered adamantly67 , "It does not sound right, everything!"I did not like that a bit. Wrong ? On top of that, he could not point out the "... probably

one or two MINOR mistakes I had made," but he so insensitively thought that my whole singing was wrong. That is what went through my mind to ease my pain. It hurt. I was notaccustomed to criticism then, I still do not take too kindly to criticism, but I have learned

to accept it.

Anyway, back to my story in my class, I was about to close the book on my future.Deep down I believed I could do it — but if the whole class believed that it was GodHimself who deliberately disabled me, how could I even dream about defying his grand

plan? I wanted to defy their faith, but I feared the 'truth' that God might also have beenreluctant about my desire to sing.

PROVERBS 13:12 (UNASB)68

Hope deferred makes the heart sick, But desire fulfilled is a tree of life.

Suddenly, from my left, an innocent observer 69, who hardly ever spoke in class — one

of those that came to school only to study and nothing else, started to say somethingabout my singing. And as I was about to both close my book on the subject and recoilfurther from what I feared was another utterance of criticism, she began to say, "He

sounds horrible, but his voice is beautiful, if only somebody would train him, he would

67 inflexibly; unshakably68 Updated New American Standard Bible69 Irene Matamba — I don’t know what happenned to her since, but I’d sure like to thank her if I ever met her again





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make it!" One TIMELY good word can change the world far more than a thousand

sermons — APEL Truth.021

O! O! O! Music to my ears — the silent woman had spoken words of wisdom, words Iwas dying to hear! Sometimes, a kind word is the only hope a desperate soul in order

to pick up the pieces — APEL Truth.022

LIGHT AT THE END OF THE DARK TUNNEL "What? If only what?"Somebody had said the magic words. I had just been liberated — it was my license to

sing. There suddenly seemed to be a possibility that God might not be opposed to mydesire to sing. Maybe He would not mind a teacher teaching me how to sing. Maybe itwas not God that had handicapped me from singing. Maybe I could do it.

Let me pause for a second here and repeat how one good word spoken at the right timecan change the world, and how in the same context one bad word spoken arrogantly andcarelessly, can damage the whole world.

MATTHEW 12:36 (UNASB)

"But I tell you that every careless word that people speak, they shall give an accountingfor it in the day of judgment."

You should have seen how my heart leapt for joy when one innocent human being hadone small good observation about my voice. Suddenly, the noise of the 37 seemed to gosilent. I could not hear their heartless rave anymore. I could now hear only one thing inmy mind and my heart, "... he would make it!" I leapt for joy on the inside.

I thought she had set me free, but she did not give me everything I needed; she impliedthat I needed a Voice Tutor.70

Wait a minute! This would have been great advice if that were possible in my area ofresidence during that period.

Mind you, this was in 1981. Where on God's green beautiful planet would I have

found a voice teacher in the far north? The only teachers I knew existed were the Biologyand English teachers.

Voice Tutor ! My mind was thinking, "What in heaven is that?" I suddenly started speculating about an experience with a voice teacher, what it was he

would teach me and whether it would actually 'heal' my vocal wounds.Knowing my expectations, I did not want to be an average singer, of course, I wanted

to excel. How was the teacher going to teach me? Would he stand in front of me and startto beat to the metronome, or would he hold my hand and pray for the talent to fall on melike ripe cherries? I kept wondering.

Before I knew it, my fantasies and newly found vision had kept me busy the whole ofthe remaining school day. Nothing else mattered that day except the one little matter ofme and God and singing — and of course, the infamous and unknown voice teacher .

70 a teacher who teaches singing





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WHO IS GOING TO TEACH ME?

That had become Mission Impossible 171, 'To Find a Voice Tutor.' Goodness, I knew Iwas kidding myself. I knew I would not find a voice tutor in my area, because if there had

been one, I would have known about him, because everybody knew everybody. It was asmall area where even your flu is public knowledge.

If I could not find a tutor, what would be next? I walked home alone that afternoon,still bothered by the question of my singing , God and a voice tutor . I quickly decided thatif I could not find a voice tutor, the least I could do was approach God, the only other

party who mattered in the case. You see, I had been taught that you could ask God foranything, and He would grant it.

JAMES 1:5 (UNASB)

But if any of you lacks wisdom, let him ask of God, who gives to all generously and

without reproach, and it will be given to him.

When I got home, the first thing I did was go and lock myself up in the toilet. In thereI could not be disturbed, you see, I shared a bedroom with my brother ... and if I needed

to talk to God, I did not want anybody interrupting.So there we were, me on the toilet seat and God, well, somewhere in the room. So I

started out, "About this matter of singing, couldn't you like … just make me a singer

somehow, and maybe then I could like … sing for you the rest of my life?"Who was I kidding; even the toilet knew that the 'sing for you' bit was bait for God.

However, I knew He was listening, He heard me — and what I knew about Him was thatHe was always ready to give good gifts.

MARK 11:24 (NASB)72

"Therefore I say to you, all things for which you pray and ask, believe that YOU HAVE

RECEIVED THEM, and they SHALL BE GRANTED YOU"

Guess what? I believed that God had answered my prayer, so I dashed out of the toiletand went straight into the living room. We had a Blaunpukt 73 vinyl record player. So Itook out one of Jim Reeves' old singles, this particular one was 'This World Is Not My

Home'. Talk about believing that you have received and acting on your faith!

TO SING OR NOT TO SING

Now, this was the great proof — to confirm whether the Lord had answered my prayer. I guess there was one little part about faith that I had missed; just because Godhad answered, my prayer did not mean that the answer had already materialized. Just

because somebody has posted a letter to you does not mean you have taken delivery of

it — APEL Truth.023

Just because a cheque has been deposited in your bank account

does not mean you can immediately draw against it. There are rules governing the process of materialization of requests from the spiritual world to the physical world —

and it all takes great patience.

71 reference to a Tom Cruise movie72 New American Standard Bible73 a popular Hi-Fi brand in South Africa in the 70’s





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The Playback Debut

So then, I went ahead and I also pulled out a tape recorder, I was now going to singalong with Jim Reeves and hear if I sounded just as good as he did. As far as I was

concerned in those days, Jim Reeves and Elvis Presley were the best singers on earth. So,I figured, if I could sound like one of them, I would have made it.

I played and sang along while recording my voice and his in the background. At theend of it all, while I was rewinding the tape, I 'knew' that it had finally happened. Thesinging talent had fallen on me like ... shall we say cobweb from the toilet roof.

I stopped the tape and pressed play ... and I heard it, the grim and brutal truth. JimReeves was sounding good as usual and I, well — I did not like what I heard. I was theworm on Jim Reeves'74 voice. Therefore, I was immediately discouraged. I had asked Godnicely in the toilet and look what I got — NOTHING! So I thought.

I later figured that maybe that was not how God worked. So, there had to be anotherway, and the only other way left for me to explore was the Voice Tutor bit. With dread inmy mind, I slowly determined to resort to that last option.

"Where does one find a voice tutor in an area where there are no voice tutors?" Iwondered.

THE HUNT FOR A CURE

Eureka! It dawned on me that there was a public library in the area and there had to beat least one book on singing. So, I ran to the library. I went through the music section andwhat did I find? The total music selection consisted of a couple of books on how to playthe guitar and five or more tiles on classical music.

And guess what my definition of classical music was back then, "… slow and boring

music played with old musical instruments by old guys who could not speak English, who

are either already dead or about to die." Was this library going to give me the miracle Ihad been waiting for? No!

So, what was next? I realized that as much as I had assumed that God was on my side,

I was the only tutor I was ever going to find. There was only one small problem with that,I did not know what to teach myself, nor did I know anything about music.

Inventing a Teacher

"Well," I thought again, but slowly this time — "who compiled the first curriculum for

the first University degree. Certainly not a university graduate, because there were none.How did they make the first straight ruler? They certainly did not use a ruler." The

supernatural is at the beginning of a thing and the spectacular, at the end thereof —

APEL Truth.024

So I figured, if ever there was a voice teacher, he would have to have

been taught by a 'non-voice teacher' in order for him to become the first voice teacher.There had to have been one self-made teacher in order to produce the first student

teacher. I had just decided to become that self-made teacher. Because the answer wasclear — the first teacher must have trained himself.Well, if he could do that, what was keeping me from training myself to become my

own teacher? So I decided, I was going to teach myself how to be a voice teacher, andafter that, I was going to teach myself how to sing! Problem solved. At least, so I thought.

74 a popular singer some of whose folk Gospel albums were very popular prior to his death





31

A BLIND MAN LEADING HIMSELF

My first assignment was to 'quickly' establish a curriculum. Therefore, I went to mymusician friend and asked him, "When I sing, what things do you feel needimprovement?"

The answer was, as I had been told before, "Everything!"

Therefore, my friend was not very helpful. I needed a list of twelve things or seven things I could make a curriculum from. I went to another 'friend' and another, until Ifigured that I was in it on my own. When anybody I spoke to wanted to know why I was

asking the questions, I told them about my great plan — and they were 'kind' enough toinform me to "… drop it!"

That did not sound good to me either . They figured that I needed to hear one more

time again that "... God had not given me that talent!" Stay away from negative people

— APEL Truth.025

I DID NOT WANT to hear that I was born without the talent , or that

I could not possibly have everything , or even that I was wasting my time.

I was hurt. Therefore, I figured again, that I was all-alone in this. I made a resolution,"I will do it quietly, and I will come back with a bang and shame them!" Well, wrongagain, that was not going to work either.

Yes, I went away for a couple of weeks; at times I spent the odd night hour in thestreet, practicing, other times I went to the bush. I would break off a short stick from ashrub or tree and hold it as a microphone and start to sing and scream and jump anddance.

As you might have guessed, I was spotted in the bush during my famous trainingsessions. Rumors went rampant — I had lost it , they said! And people now started to lookat me with that prying eye, like they were scanning me or something.

That did not stop me. I kept at it for around 14 days. At that time, I was seventeen andwas pastoring75 a local church.

Therefore, I figured, what better platform than to sing in my own congregation. Ifigured, who would dare stop the pastor from singing just before the sermon. Let them try

if they dared!So that Saturday morning76 before my sermon I thought I would just 'come back with a bang and shock them' with a song called Precious Lord (needless to say, one of JimReeves' songs).

I sang, and I sang, and I sang — they looked at me with big eyes! Moreover, in mysoul I thought, it had happened. They could not look at me like that other than from theshock of how great a singer I had miraculously turned into, or so I thought.

Well, when I finished, they were in shock all right: not the shock of the extent of mysinging talent, but the shock of the lack of it. I did not know until after the service that Ihad done something horribly wrong.

I preached that day from cloud nine, ecstatic about my newly found 'talent'. Well, thedecisive moment came soon after the service as we were walking home (I was only a

part-time pastor you see — I did not have the luxury of owning a car). I was carrying the piano accordion that I used for musical accompaniment. Man, it was the debut

performance of my life.

75 presiding head person authorized to conduct religious worship and manage a congregation76 I was a Seventh Day Adventist





32

One of the sisters from the church started to laugh and said, "It was so hilarious, andyou will never make it! I nearly burst out laughing in church."

Guess what, the rest of the people now joined in and echoed her 'wisdom' — I justacted as if all was well. Nevertheless, I could not hide it any longer. In my heart I said, "Ihave had it — I will just throw this accordion away and stop with the music and singingthing!" That is how I felt. I wanted to sing so bad, that any failure I experienced hurt like

cold needles through my spine.They must have read my mind when they responded, "No! The playing is perfect, it's

the singing that is so hilarious!"That shut me up. The great self taught voice singer had made his debut and failed . So,

what was next? I had tried prayer and failed, or least so I thought. I had tried the libraryand failed. And I had tried me as tutor, and also failed. So, what was next?

A LOT OF RESEARCH — A LOT OF PRACTICE

There was one more thing — study singing until I could tell right from wrong. Ifnobody knew what I was doing wrong, I would find out myself. It was going to be

Mission Impossible 2: Judge and Jury. So the project started: I read everything I could find on music — much to my

disappointment, the local library kept books about music, and not on music itself. Thiskept me back at the start. I read everything in the newspaper, magazines; I absorbed every

bit of information from television that I could get hold of. Slowly, the mystery began tounravel. I began to see the elements of music that required my focus — and I was thenable, or rather eventually able to structure my curriculum.

Now that this was taken care of, I began to analyze my singing and to point out myerrors, I found out that truly, it was everything about my singing that was wrong .

Fortunately, I was also able to narrow it down to a tangible list77 .In addition, this list became the focus of my research. The teacher had uncovered the

truth; it was now time to put it into focus and application. I still did not know that finding

out what I needed to train myself on was not the entire solution to my problem, but atleast I knew where I stood and I knew that what the people had said about my singingwas true — without excusing their insensitivity. I understood their opinion. Attitude is

louder than words — APEL Truth.026

The research now initiated many experiments. It was the only way I was going to findout the right way to solve my problem. As much as I now knew where I was supposed to

be going, I did not know how to get there; I had to try out a number of paths. Many …

many paths. On a journey to success, one deceptive detour might be the end of your

dreams — APEL Truth.027

TWO YEARS TO FIND A CURE

I continued to spend time in isolation, without attempting to display my achievements,if any. I was afraid of finding out that I could be on the wrong track and, I wished rather

to complete my journey before subjecting myself to public opinion. If the route to

success were obvious and acceptable, everybody would have taken it — APEL

77 Pitch or Melody, Time or Rhythm, Texture, Dynamics, Harmony and Timbre





33

Truth.028

It is important to flock with the right birds when incubating success. Get away

from the ordinary man and his familiar approach, lest you sink back into the abysswith him — APEL Truth.

029

I liked the night, because when you sing in the night, in the dark, there is nothing butyour voice and the echo of nature, with the special effects of insects and other distantsounds enhancing your projection. If ever you needed to hear yourself, the night was the

time to feel the richness of your tone. Besides, all the lazy and negative people are asleepthen.

I was beginning to believe that I was sounding better and better by the day. I began tofocus on much finer details in my research and practice — I began to feel what I was

singing, and not merely airing the sound of my voice. I knew I was stepping onto the roadof the talented ... so I needed to find out how well I was doing, I could not evaluatemyself, I just could not be sure that I was really sounding GOOD, because previous self-assessments had revealed otherwise. I needed to be ratified.

THE DAY OF R ECKONING

By then I had moved from the school where I was doing Standard 9 78, to another where

I was now repeating Standard 10.When I passed Standard 9, I lost focus on education. There were two things on my

mind, and they were obsessions, first my faith and relationship with God and second, myVoice Training mission. I did not care about education any longer.

When the time came to write exams, I did not study, I did not write any exams — Iwent into all the exam sessions, I wrote my name and waited for the mandatory 30minutes to expire so that I could leave and go home.

When the results were issued, I had not obtained any marks. This was because I didnot write any exams, I suppose. It sounds safe to assume that you have to write the examsin order to pass, and not only to write, but to study before you write the exams.

So my father was terribly disappointed in me: the genius that I think some people hadassumed I was, had failed and shamed my father, who had become school inspector bythen. So, I was 'shipped' off to a school that I hated, but in a perfect location: in themiddle of the bush. It was so remote that you had to drive through a long stretch of thewilderness to get to the school.

This was the perfect location for me: I could steal off to the river, sit on a rock in themiddle of the water and sing. I could sing so loud and hard that the birds would gatheraround to watch. I had grown to love my moments of solitude, because in the two yearsthey had given me a maturity I could not explain.

THE CAT OUT OF THE BAG

I started to sing in season and out of season. I was always singing — from the momentwhen I woke up to the time I went to sleep. I only let up in situations where singing wasnot permissible. And one day somebody overhead me (accidentally because my voicewas still a 'secret prototype') — their remarks about my singing indicated that it was

possible that my assumptions about the improvements may have been correct.

78 equivalent to Grade 11





34

The person, who was a stranger to me then, said she had never heard anybody sing as Ihad just done. Please understand me, for a vocally wounded 'wobbler' who had receivednothing but remarks of pity, criticism and discouragement, this was music to my ears. Ihad found a pair of ears that thought I sounded as if I was talented; would the other earsof the world share this opinion, for once in my life?

THE FIRST PERFORMANCE IN TWO YEARS At that stage, the approval seemed more important than the purpose. Approval is

never more important than purpose — APEL Truth.030

So I thought, it was time I tried

the 'prototype' out. Take a test drive if you wish. Being a devout Jesus lover, I was part ofthe Student Christian Movement . So in one of the weekly meetings, I submitted a noticeto sing. I was anxious, wondering if I was going to be faced with the same kind ofreactions as I had received in the past. My turn came and I slowly made my way to thefront.

As I stood there, it had begun to rain hard outside. We were under a tin roof, the hallwe were in was larger than the universe. I opened my mouth and started to sing my oldfavorite, the Jim Reeves 'Precious Lord' standard. The key was too low, so could not hear

myself singing, and the audience could not hear me, either. I had to find a solution or my prototype would go down the drain and this time it would have been the last. Limit the

number of opportunities for failure if you wish to persist long — APEL Truth.031

I remembered that in my training programs, wherever I was, the bush, the night or the

toilet — I rarely sang anybody else's songs. I sang my own songs, I sang whatever came

out of my heart at that moment, and I had grown very comfortable with impromptu79 performances. Therefore, finding that my song was of a low key and could not be

rescued, I immediately changed gears and switched into an impromptu with a slightlyhigher and more comfortable key.

The eagle lifted off the ground, I forgot about the audience and flew off, and I closedmy eyes and was swallowed up by my song. In my mind, I was seated on a rock in themiddle of the river, and the birds were gathered around me listening to my voice, and thetrees were applauding me with their green and innocent leaves. Eventually I had to openmy eyes and round off my song, and when I did, the audience was sitting there justlooking at me. They were frozen, and bewildered. You can guess what went through mymind, "They are doing it again, shocked at my lack of talent." At least I thought so.

However, I sensed a different spirit in the hall, that of absorption of the song ratherthan that of repulsion. When your heart flows with issues of life, you will feel every sip

of the drinking audience — APEL Truth.032

Moreover, as I gazed around in that split second, I noticed that some were wipingtraces of tears from their eyes and mumbling Pentecostal whispers of worship andadoration to God. This was the same God I had spoken to in the toile. He had justconfirmed my prayer — it took a while, but it happened, and I had just sung for Him.

He had given me the talent I WAS NOT BORN WITH . Two years previously, I had prayed, and only now did I open the mailbox to find my letter. The atmosphere in theroom was thick with moisture of heart and awareness of God. It was not possible for meto jump up and down and rejoice at my confirmation, nor was it possible for the audience

to applaud me for my rendition, you can understand why.

79 a short musical passage that seems to have been made spontaneously without advance preparation





35

TEACH US TO SING LIKE YOU DO

After the meeting, four people immediately came up to me and echoed a remarksimilar to the one I had received from the stranger before I decided to sing to prove mytwo-year talent craving.

For me, this was not the end, but the beginning of a long journey. I had found the

secret — how to become a talented singer when you do not have the talent .What was I going to do with this truth? I wondered. Minutes after I had asked myself

the question, the four people that had approached me asked me for a favor."Brother Mike, do you think you could teach us how to sing like that?" Imagine rising

from a shunned singer to a desired tutor in ten minutes. When success breaks through,

it may fall in the quantities of your efforts and the sums of your consistency —APEL Truth.

033

You should have seen me; I was still wondering about the two-year curriculum full ofexperiments; and, which of the hundreds of experiments had actually done the trick. I did

not waste any time deliberating about the request. My answer was immediate."Yes, yes of course we can do that; we must just set up the times and get on with it, I'd

be happy to do that!" That was my overjoyed heart, speaking. I did not need time to think

about it. I did not need to be paid for it. I knew that I had something that was greatlyvaluable and I so much wanted to give birth to it. It was less than two years old — but ithad worked. I wanted to share it.

From being shouted down for lack of talent to being asked to teach singing — that wassomewhat highly encouraging. IT HAD HAPPENED!

A TUTOR LEARNING TO TEACH OTHERS

It was hard enough to teach myself, but now I had to figure out which of the things Iexperimented with did the trick, and then teach others. I would also have to learn how to

teach, because I did not know how.You may not be able to imagine the difficulties I had. When I was training myself, I

did not need to have a formal curriculum. There was no need for words; it went from theheart to the mind and then to the mouth.

Now here I was, faced with four believing students who wanted to know the how. Iwas the 'great teacher' — it took a couple of months to actually get my students going insome sort of direction. I was still as confused about what to teach them as I was the daywhen they asked me.

We all began to see results, and three of them were willing to stay at it, but one wasnot. He left while the remaining three went further with me until we ran out of time.

It was now the middle of the year and as the holidays were coming up, I had to leavethe 'bush school' and go home for a while. Home where the whole community knew meas an 'untalented but ambitious' joke. But I had found the truth and I was going to unleash

it.

NIGHT SCHOOL

The first thing I did was to sing for my friend who had thought I would never make it, because I was not born with it. He was the respected musician who had originally told methat everything I sang was wrong. Imagine, I WAS NOT BORN WITH THE TALENT,BUT I SUDDENLY RETURNED FROM THE BUSH WITH THE TALENT. When he





36

heard me sing, he froze in amazement. You can imagine that I made sure that I usedevery effect and trick I had acquired in singing, so it was a well-embellished

performance.You can guess what his reaction was, "How did you do it? Can you show me how to

do it?"Fortunately, I had had time to figure out which of the techniques I used on my own

training had done the trick. Therefore, I started to explain to him, and being new to theidea of teaching people how to sing, I was very sure and satisfied with myself. I was justabout to learn one of the greatest lessons of my life. The lesson was that no matter how

good you are; you should not regard yourself better than your fellow man. You willnever reach the end; if you do, you have failed — APEL Truth.

034

I remember very vividly when my friend and I went through this session. It was atnight, almost towards midnight, and we stood at the corner of one of the main streets inour area. The talk was accompanied by short demonstrations and explanations. Heimmediately started to try some of the things we had just discussed and I remember howenthusiastic he was when he realized it would work for him too. Today, he is a successfulrecording artist who travels all over the world singing.

Perhaps the most encouraging thing to him was that he knew me BEFORE andAFTER. As in those 'lose weight fast' programs, you see a picture before the person lostweight, and then another after the person lost weight. In those ads, you wonder to

yourself if the person really was that fat before, since you never got to see them foryourself and remembering at the same time that people can exaggerate things just to make

a sale.He was my friend and he knew how bad a singer I was before. He knew how many

times I came to him with endless questions. He knew that as far as he could remember —

there was no way I could ever be able to sing. But here I was, in front of him, singing. If

one man can, then all men can — APEL Truth.035

BEHOLD ONCE I COULD NOT

Now, almost all the people that were interested in music knew who I was — theyremembered the times when they laughed at me, and the times when I tried and triedunsuccessfully. That had to be the most telling sales pitch.

There was a national Christian conference going on, and as is usual, those that couldsing submitted singing items. My friend belonged to a prominent local music group and Ihappened to be with them one day when they were rehearsing. They thought it would be agood idea if I joined them. I was flattered and happy.

THE PROPHET IN HIS HOME TOWN

The time came, one evening they had to sing, and I joined them. I sang along from the

beginning and they had given me a solo piece in the middle — the perfect debut performance80. When singing along with the group the packed hall could not single myvoice out since I was singing a backup part, but when the solo came, they could hearevery breath and word.

80 I almost think this was by devine appointment





37

I can almost imagine what went through the minds of those that knew me — knowingI could not sing, they probably thought that it was going to be the greatest embarrassmentof the year. I remember a year later; I listened to a recording of that performance which afriend's wife had made. She had hung onto to it with passion.

My solo turn came and I sang, and sang and SANG ... as usual, I got carried away andI closed my eyes and started jumping up and down in my excitement. This time I did not

come to find out if my singing was right — and that would have been wrong in any case;I came to show them that I could sing — which was even more wrong .

I finished, the crown exploded with applause — I was satisfied, and that was wrong .They saw the miracle, "Behold, once I could not sing, but now I can!"

After the meeting, you should have seen the number of people that came to me, withone particular question, "How did you do that, I didn't know you could sing? In fact, youcouldn't sing, so what happened?"

Now, among the people that started to tell me how talented I now was were those that

had told me before how untalented I was. Those that told me that God had not given methe talent were now saying just how God had given me a special talent. THOSE WHOHAD SAID THAT I WOULD NEVER BE ABLE TO SING BECAUSE I WAS NOTBORN WITH IT WERE NOW TELLING ME HOW I WAS BORN TO SING. I stoppedand thought about it when I was alone. I realized that singing had nothing to do with

talent. It had nothing to do with being born, and it had nothing to do with how many othertalents you had. It was a miracle to those who knew my former state. I was going to teachthe whole world how to sing. That is what this book is all about.

THIRTEEN YEARS TO REFINE APEL

Since then a lot has happened; I have taught and taught and taught and TAUGHT. I

saw many people it worked for; I saw many that it did not work for. I now know whatmakes it work. I now know what makes it fail. I have seen all sorts of people 81 and taughtthem. I mean all sorts of people.

Some were only eight years old. Some were close to sixty. Some were professionals.Some were academics. Some were students. Some were Black, some were White, somewere Indian and some were Colored. Some were male and most were female.

I have explored this technique and I have shared it with many people. During that period, I have answered all sorts of questions. I believe in it. I believe in what I teach — Iteach this not only theoretically, but by example as well. I have a vision to teach peoplethis, and as long as I am alive, I will teach it. Many believe me, some do not — somedispute my methods, others feel intimidated, some are skeptical, but those that havefollowed my instructions have seen it work — and that is all I care about.

I grew through the stages, at I first I was unsure of myself, and then I was too sure ofmyself at one stage, and after both stages, I grew beyond singing to impress my audience.

To defeat your purpose in life you only have to border on misplaced zeal — APEL

Truth.036 I used to sing for people, then I sang for myself — now I have grown, I sing outof myself . I must apologize, there is no way I am going to be able to capture thirteen yearsof experience into this few pages. Maturity is the ability to put others first and still be

self-centric — APEL Truth.037

I could have made the book much longer 82 and I doubt if I

81 students at CAMS, our former music school, which closed down in 199582 the material had to be condensed to fit into fewer pages





38

would have served the purpose. In this attempt, I may not be able to capture the wholeessence of the story. However, I know what I will do — I will teach you the basics, and Iwill trust that you, like me, have the capacity to discover the rest 83 for yourself. Your

future is in your heart, you have the only key to your heart — APEL Truth.038

You

must unlock it, and only you can. If you receive instruction with meekness, you will

receive your talent. If you grow further by yourself, you will receive your miracle —

APEL Truth.039 You may be wondering about miracles, but you should not. Miraclesare not earned, they are received — APEL Truth.

040

83 students are advised to continue building APEL on their won



EXCUSES AGAINST APEL

The title of this chapter is not an overstatement , I discovered that over the years in myclasses. I spent more time in 'therapy sessions' 84 than in actually teaching APEL. Peoplehave to first change the way they think, before the program can do anything for them,

because for the program to do something for you, you have to pay the price of persistenceand consistence, through discipline and focus. You cannot change your life until your

self image has matured — APEL Truth.041

Succeeding at APEL

Please take this seriously; in order to succeed at APEL, you will be required to havethe following four qualities without exception:

Persistence — simply put, this is effort over a continuous and connected period. It means CONTINUING WITHOUT INTERRUPTIONS.

Consistency — the property of holding together and retaining shapes. It means

that you must MAINTAIN THE AMOUNT OF EFFORT; it must not bereduced, if anything, it should rather increase, but never decrease again. The

difference between CONSISTENCE and PERSISTENCE is that the later dealswith the amount or value of the effort, while the former deals with thecontinuation or connectivity of the effort.

Discipline — I feel it is necessary to explain this in detail, discipline is the abilityto train by instruction and practice. In simple terms, it means STICKING WITHAND TO THE RULES, with no deviations and variations or shortcuts, or even

improvisation — just simple adherence to the rules.

Focus — this is my favorite; it refers to the concentration of attention or energy

on something. Once you have put your sight on a goal, nothing should detractyour attention or energy until you accomplish that goal.

84 informal reference to encouragement and problem solving session for students





40

That is something you cannot do if you still have skeletons in the closet regarding yourown perception of what APEL is, or your chances of succeeding at it. Therefore, I felt itwas necessary to relate some of the excuses that have come up over the years, for you towork through, before you even get started. I know how it must bother you — will thiswork for anybody? What is required of you? Without giving away the contents of thetraining program, I will endeavor to explain to you what it takes to make it, and if you

have it, then you will have your answer.You will face many problems when embarking on this unusual study of learning how

to sing. I know there are many obstacles because I have been through them personally, orhave seen my students go through them. In the end, I have found that there are only somany basic hindrances. I have devoted a full chapter to hindrances against learning howto sing.

LITERACY

People have been taught to think that formal education is the only way to success. Idisagree. Formal education is a way to success, but not the only way. Formal training is

not the path to success, but knowledge is — APEL Truth.042

People were successful

before public schools were invented. In addition, because of this mentality, people thathave education have despised those who do not have it. They have regarded the

uneducated as inferior.

NOT EDUCATED?

You do not have to be highly educated to succeed with this method, all you need is to

be able to read — and even if you cannot read, somebody else can read it for you.The teaching method here requires one simple thing: listen to what you are being told

and do it without hesitation exactly as you were instructed. People that had the ability to

trust me as their teacher, have done well in singing. And when I say well , I mean theyhave crossed the seas, they have recorded albums, they have appeared on TV, they have

started their own groups, they have joined renowned choirs. They have taught others.They have made it to the heights of their dreams.

Just the other day I went to a hotel theatre where there was a big musical show, whichwas widely advertised in the national papers. While sitting there marveling at the geniusof one of the singers in particular as the performance went on, I suddenly recognized thesinger as one of my graduates from about seven years ago. He was doing exactly what Ihad taught him to do almost to the letter. You can imagine the fulfillment in my heart. Ihad become a paying audience to one of my own students. I remember him as a veryattentive and determined student, who argued nothing, but practiced everything. You toocan do it. There is no reward greater to a teacher than the maturity of his students

— APEL Truth.043

A MATTER OF CONFIDENCE

Then I had other students who came to me, but did not have enough confidence in meto listen to me and do what I told them to do. Guess what? They achieved nothing. Guesswhat? They went nowhere. I know why — some people have an ego the size of Mount

Everest, and what bothers me is that even after years of flaunting their empty ego, theystill do not realize that it is misleading them. In fact, they are too proud to notice how





41

proud they are. The worst kind of pride is the kind that blinds you from seeing your

own vanity — APEL Truth.044

Success is a choice — APEL Truth.045

If you become successful accidentally, by

winning or inheriting or through some other fortunate thing, you will soon beunsuccessful, unless you learn to stay successful . Success is maintained by the same skill

with which you attained it — APEL Truth.046

Statistics have shown that most of the people who win huge amounts in a lottery endup losing most, if not all the money. Why? Success is a habit — APEL Truth.

047

So take my word for it: you do not need education for this method to work for you. Ihad a student who took my classes who did not go far in school. He was a carpenter ,

because that is the best he could do in life; he did not have a million choices to pick from.He was very committed, attended every class, and paid his fees on time. It must have

been half his weekly wages, but I had more respect for him than the smart-mouthedyuppie with a fancy car and a big cellphone.

Of all the students I had, the less educated had the most respect for my principles andwere very committed to their goals. You can argue that they looked up to me and did not

have much experience with which to challenge me. I can live with that, but theysucceeded and exceeded the supposedly 'educated and prone-to-success elite.' —unfortunately it also stands that the former were less able to fund themselves through thecourse — the course used to run for about six months and in those days they paid R100

— R20085 a month. Most people just do not have a spare R600 or R120086 .It always hurt me when somebody dropped out because he or she did not have money,

but when one dropped out because of laziness, I did not complain. I would rather have astudent who cannot afford to pay, but is willing to work, than one who can afford to pay,

but is lazy.

THE RIGHT VOICE

This is the most common excuse. People seem to think that you have to be born with it

in order to succeed at it. No. I was not born with it, and I succeed at it. If you were not born with it — I can show you how to succeed. Believe me, I WAS THERE!

I learned a lot when I was teaching singing those thirteen years or so. I found out thatof my students, the ones that came to me just to put some finishing touches on their voiceswhere the most pitiable. They did not make it. They came to me already moulded , andthey wanted me to add another mould , which would mould their mould into perfection.Sorry! I cannot mould — I have carved shapes with a sharp instrument. Usually theresults are a total remake of the original.

CREATING ORIGINALS OUT OF SIMPLE THINGS

You cannot mould a shape which exists and is already dry. However, you can take a

chisel and a hammer and chop it up and down until it becomes smooth. When you carvesomebody's voice, you will not produce an image similar to the rough original image. Itis impossible and it is not necessary. In the end, the sculpture is at the mercy of the

shape of the raw wood as much as it is at the mercy of the sculptor — APEL Truth.048

85 $10 to $2086 $60 to $120





42

I do not want you to sound like me; I do not want to sound like somebody else.Therefore, I do not want to mould you. Molding produces identical images , carving

produces creative images — APEL Truth.049

If singers all sounded the same, you would

not need to listen to all of them, you would only need to listen to one good representation

of them all and you would be satisfied that you have heard them all . This is sometimeshow I feel when I watch TV, sometimes I cannot tell the some of the new teen singers

apart, never mind the songs — some of it all sounds the same.Do you not wonder why people never stop going to art the galleries?87 They are going

to see the same colors — most artists use less than 256 colors on their paintings. Blue is blue, green is green; there is no question about it. However, it is their strokes andcombination of the colors that make a creation, and no matter how well you know all thecolors, you will always want to see one more combination of those same colors.

Your bad voice is like a log of timbre found in the bush by a carpenter — he looks atit, and sees many possibilities. If your voice is perfect, or near perfect, it cannot not becarved into anything creative. Maybe we can try, and end up with somethingmonotonous. The best would be to chop it off seriously, in order to be able to create thedesired shape.

THE UGLIER THE VOICE, THE BETTER APEL WORKS

I have always preferred awful voices — they are full of possibilities. I was alwaysreluctant about 'good' voices. When I say good voices, I am referring to a person who

believes that they have a good voice. If you have a good voice, that is, if you believe youdo — why go for training?

Perfection does not need improvement — APEL Truth.050

I had students who came

to me thinking they were perfect, and hoping I would send them away and tell them therewas nothing to teach them. When I pointed out what they could do to improve theirsinging, they were very disappointed, as they had been hoping for a little endorsement oftheir supposedly infallible voices. I have been there and I have craved approval.

I could never carve anything out of them. If I believed that my singing was perfect, Iwould have stopped long ago with training. But because I knew I was lacking in manyways, I went for it. I will always be lacking something in my voice until the day I die.This means I will never stop training. Having found the way to improve one's singing, orcreate singing when there is no talent, does not mean I will be the best. There are peoplethat have never been trained and they sound 200% better than me, and similarly thereothers whom I have taught from scratch who sound much better than somebody whostudied at university level. Art is not about better and best , but about creative potential

— APEL Truth.051

If my best is half your best, then great — I should be as happy for you as I am abouthaving reached my full potential. If your best is half mine, then you should be as happyfor me as you are about having reached your full potential. Being the best is competitive,

but being your best is relative — APEL Truth.052

87 a room or series of rooms where works of art are exhibited





43

LACK OF EXPERIENCE

Welcome to the club. When the little boy went to swimming classes for the first time,he said to the teacher, "Madam, I have never done this before." Well, you and I know hewas afraid of the water, but the teacher said, "Well, Johnny, that is why you are here, TOLEARN TO DO WHAT YOU CANNOT DO!"

As we said before, never having done it, or never having done it right makes you the best candidate. Those who know not learn a lot , and those who know a lot , learn not —APEL Truth.

053

Your capacity to learn is directly related to your admission of insufficiency ofknowledge — APEL Truth.

054 I am not stupid; I will not learn to do what I think I

already know how to do. Goodness, why on God's green earth would I take a 'walkingcourse' — I know how to walk, I have been walking ever since I was a baby. I mighthowever want to learn how to bop.

Because I think I know how to walk, it would be impossible for anybody to teach me

how to walk. If I did not know that I was walking wrong, and that I must improve the wayI walk, there is no way I am going to learn or agree to be taught how to walk.

If you feel that you know how to sing, I cannot teach you anything. This may be

because you have arrived, you have made it. It may be because you are deceived, and youthink you have arrived, you think you have made it. The choice is the student's; he knowshow much he needs to learn. The greatest of all people, are those who will learn from the

most ignorant. The ability to learn from the ignorant88, is the first step towards theimpossible — APEL Truth.

055

What I am saying is that you have done well by realizing that you lack experience, andyou lack knowledge — you are the ideal student, one with the most potential of all.

THE TALENT EXCUSE

This is probably the most classic. People were brought up with the belief that ability is

more a product of talent than it is of training, especially in those areas that seem torequire artistic or intellectual potential.I find it odd though that we do not seem to think that you have to be talented to be a

student — you know, before you can go to normal academic schools.Everybody who can afford a car seems to think you can just go and take a driver's

license without having to be talented for driving. You can also just go and get married

without having to be talented for marriage — but you have to be talented to sing.Among these, are those who claim that it is a divine order, where if "…God has

determined your singing fate," there is nothing you can do about it. I was told the samething — "…God had pre-determined ." Well that cannot be true because if God haddecided, I would not have made it this far. I could not have succeeded against God nomatter how crafty I was. That for me rules out the possibility that God had decided that I

was not supposed to be able to sing, which is what everybody thought.

88 those perceived to know little or nothing





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GOD-GIVEN TALENT?

Then there is the classic tendency where arguments are based on the Book ofMatthew89 to excuse one from having to do anything about one's singing — claiming thatit is up to God. Let us look at that passage from the Bible and see what is says:

MATTHEW 25:15 (LITV)90

And to one indeed he gave five talents, and to another, two, and to another, one, to each

ACCORDING TO HIS ABILITY. And he went abroad at once.

The word talent is the real cause of the confusion. People immediately say, "There youhave it; God has to give it to you!"

Look at what the Bible says further on about the same talent. Actually, if talent is singing , we might as well rephrase it for the sake of clarity: "And to one indeed he gave

five talents of SINGING, and to another, two, and to another, one, to each ACCORDING

TO HIS ABILITY. And he went abroad at once."Does it make sense? The talents he gave them were numerable, per individual. You

cannot argue and say the number property is representative of quality instead of quantity,

because then the whole parable will have to be representative. That is to say, the talentwill also have to represent something other than talent, because we would be regarding

everything as a type of another.Furthermore, if you think about it, how could he have given them the talent of singing

according to their own ability, if the talent was the ability to sing? It would mean that hegave them according to what they already possessed — and that would take the talentexcuse away anyway; because I will suddenly think, that if you increase your ability to

sing, you will receive more talent accordingly, because it is given to you according toYOUR OWN ABILITY.

I hear someone saying, "Michael91, you are taking it too far." However, if you read on,you will begin to realize that the Bible is not talking about singing talents as we knowthem. A talent cannot be 'taken to the bank' — which means it must have been something

monetary and not musical.In fact, if you look at the subsequent passage, the master calls it my money. I must be

right to think that these talents were money and not divine ability to sing, as some willhave us believe.

"But Michael, this is a parable, and surely you should know that!"

Yes I do, but I also know that a parable is either fully a parable or not at all. Parablesare never part typed and part actual .

MATTHEW 25:17

Thou oughtest therefore to have put my money to the exchangers, and then at my coming

I should have received mine own with usury.

Remember also that the Greek word (New Testament period) for talent in this passageactually means 'a sum of money weighing a talent and varying in different states and

according to the changes in the laws regulating currency.' We assume here that the

89 first book in the New Testament of the Bible90 Literal Translation of the Holy Bible91 reference to the author





45

talent referred to is an Attic92 talent, which was equal to 60 Attic minae or 6000drachmae.93

Depending on the metal, a talent of silver in Israel weighed about 45 kg, while in goldit weighed about 91 kg — the same measurement may have been the equivalent in Israeland Greece.

GOD-GIVEN GIFTS Does the Bible speak about special gifts that God gives to man? Yes, of course! Look

in the book of Acts.

ACTS 8:20

But Peter said unto him, Thy money perish with thee, because thou hast thought that the

gift of God may be purchased with money.

Now if you check the Greek word for gift you will realize that God can give specialabilities if he chooses. The synonymous Greek word is doma and it refers to what God

confers as a possessor of all things.

"If any man speak, let him speak as the oracles of God; if any man minister, let him do

it as of the ability which God giveth: that God in all things may be glorified through

Jesus Christ, to whom be praise and dominion for ever and ever. Amen" (1 Peter 4:11).All you have to really do is look at Daniel's situation and you will understand that

about God — and in all occurrences, God's gifts are directly related to His plan.

DANIEL 1:17

As for these four children, God gave them knowledge and skill in all learning and

wisdom: and Daniel had understanding in all visions and dreams.

God's Gifts Are For All

I fully believe that. The real point I am making is that, the Bible tells us that God gives

gifts, and it never tells us that He refuses people gifts. So, if you have an argument that itis God who gives gifts — you are right as well, but then what makes you think that Herefuses people gifts such as singing? Actually, the opposite is true.

PSALM 84:11

For the LORD God is a sun and shield: the LORD will give grace and glory: no good

thing will he withhold from them that walk uprightly.

Believe me, God is not against you at all. God is not against your singing at all. Someof you who know that God is not opposed to you gaining a talent which you were not

born with might think that this section is overly extended. No — I know the frustration asI told in my story; it can stop you from even trying.

If, as you claim, God has not given you singing talent, THEN ASK HIM FOR IT. If,indeed, you were not born with it, then just ASK HIM FOR IT. If singing requires somespecial inherent ability not present in all of us, what is keeping you from just ASKINGHIM FOR IT?

92 ATTICA was a district in central anciet Greece 93 silver coin of ancient Greece and the monetary unit of modern Greece





46

RUNNING OUT OF BREATH

Some people have a problem with breathing94 — and for that reason, they might thinkit will hinder them from singing. To an extent it might, if it so serious that you cannotspeak. Nevertheless, if you can speak without the breathing problem hindering you, thenit is not going to be a problem at all.

As much as I do not want to let the cat out of the bag yet, I want you to know thatanything that you can do with your speech, you will be able to do with your singing.There is very little difference, if any, between singing and speaking — and when we

come to that section, I will prove it to you. As I said before, you will make it if you do asyou are told. I will be encouraging you a lot through the course — you can count on that!

THE OPINION EXCUSE

People will tell you that you cannot sing. People said that to me once. Now I can say,"Once I couldn't sing, but NOW I CAN!" It feels great.

"Michael, you are so arrogant!" No, I do not think I am! That is not proud, that is confident . People with a low self-

esteem fail to tell the difference between confidence and pride — they feel that proud people and confident people intimidate them the same. When you believe in who you are,you will not be easily intimidated.

I am relatively a strong person, but two years of battling with controversy95 andresistance is a bit too much for any person to handle; unless you have somebody helpingyou out, you can get to a place were you want to give up.

You are not learning to sing for people's sake, but people are the largest part of your

audience. Therefore, you need to learn how to handle them and the things they say. Come

to terms with criticism at the beginning of your journey so that your journey does

not end because of it — APEL Truth.056

People are not interested in how you deliver, but what you deliver — APEL

Truth.

057

So be warned, and be careful — do not assume that even your closest of friendswill be supportive of you. People do not like to see, believe or even hear of a person whois learning to sing; they hate to see your slow progress — they want to see you go out thedoor and return with the goods a moment later. If they know that you are trying tochange, they will focus on your weaknesses and mistakes; once you have proved themwrong, they will be on your side, even to the extent of telling you how supportive of youthey were when you were still battling.

It is pathetic when your attackers claim to have been your protectors because you have become somebody. I do not understand why people are like that — but, welcome to theclub, you are about to find out for yourself.

By now you are beginning to notice that my approach to your training is going to bemade up of therapeutic lectures as much as it is of musical knowledge. You need to

understand about music — and the spiritual , psychological and practical aspects.

94 when they sing95 a possible view others might have about your wanting to use APEL to learn singing





47

COMMON PROBLEMS

Your voice is delicate, and no matter what anybody says, do not just drink or eatanything people recommend to be good for the voice because it can lead to irreparabledamage. I remember what I used to do; each time after a good gulp of red pepper powder,my voice would sound husky and dry, and rather jazzy, so I liked it and got into the habit

of red pepper dosages. God forbid if I ever do that again.Here you are, learning to sing, who knows what ideas people will put into your head,

especially in that the learner has a tendency to trust any 'self-declared expert' who is

prepared to pump the desperate learner's ego sufficiently. I do want to warn you againstcommon practices I have seen among student singers.

A GOOD COUGH

People tend to cough excessively in an attempt to clear the throat, but I find it funnythat it is done only when we are about to go formal, be it in speech or singing. Any other

time, we do not seem to bother about clearing the voice, and yet, we do not have problems. I hardly 'clear' my throat − and I cannot remember when I last had a 'froggy'

phrase. All that coughing on a vulnerable pair of vocal cords can have negative results, ifyou do it long enough you will notice that your voice tends to become softer and itchy,and soon it will become very painful.

For your information, the vocal cords where not created for coughing, coughing is justa way of 'kicking out' dirt, cleaning out the passage way. The thrust of a sneeze or acough is very powerful and should be used sparingly if at all.

HOT WATER WITH GLYCERINE

A friend of mine had become quite keen on the habit of drinking glycerine with hotwater, because it 'changes the voice.' That is exactly where we go wrong; we tend to feelthat our voices are not good enough in their natural states and quality, and need to be

'changed' into something heavenly and exotic so that we can sing. The most beautifulhouses are built from the same dirty rocks and soil that we tread on — APEL Truth.

058

The house may look shiny and lofty, but the soil it was built from was not. It is notwhat voice you sing with that matters, but how you sing with it — APEL Truth.

059

Glycerin, or glycerol, is actually an odorless and sweet alcohol. Just because it softensyour voice, does not mean you should use it. This leads me to my next crusade. I advise

people not to use it — but the decision is yours to make.

THE CRUTCH MENTALITY

If you use crutches for support when you walk, you will need the crutches every timeyou want to walk. Is this correct? Of course! This same condition also occurs in singing.

I grew up on a farm and we used all kinds of techniques to tame animals, one that wasvery common and effective in 'domesticating' animals was tying them to a post (you donot have to call the SPCA96 on me here, we did not harm any animals).

I always noticed with interest that after being tied to a post for a while, that chicken,dog or cow would presume it impossible to walk away from the post, because it had been

96 the Society for Prevention of Cruelty to Animals





48

tied to the post for so long. The funny thing is that, EVEN AFTER UNTYING IT, itwould stay tied to the post in its mind.

I have seen this in many students who have been singing with a crutch for as long asthey can remember. They need to drink something, or stand in a specific manner. Theyfeel a need to tilt their head a certain way, or form their mouth in a particular manner, orhave a certain instrument. The list goes on. It takes a third person to see the invisible

chains that restrict our development — APEL Truth.060

This I call the CRUTCH MENTALITY: a condition of the mind where the victim believes he needs something to help him along. I have the deepest respect and sympathyfor physically disadvantaged people — but none or very little respect for advantaged

people who use crutches as a means to an end. Obviously I will throw in a coin or two if Ithought you were carrying those crutches legitimately, but the moment we discover thatyou are a fake, we will take our money back and a little bit of your own too. Avoid any

form of dependency unless your voice is medically indisposed — APEL Truth.061

LEGITIMATE AILMENTS

The one common disease known to affect the larynx is laryngitis. Laryngitis is theinflammation of the larynx, or the voice box, as it is commonly known. There are twokinds of laryngitis conditions, namely acute and chronic.

ACUTE LARYNGITIS

This condition is infectious but short lived. It is normally painful or at leastuncomfortable. This condition is normally caused by a viral infection and there is very

little people can do wrong to contract it, besides exposure.When a person has been in a hot environment and they suddenly move to a very cold

environment, it has been known to cause acute laryngitis, although this is not a confirmedmedical opinion. But to be on the safe side, I would avoid such sudden changes intemperature without adequate protection. Similarly, I would avoid the use of hot and coldliquids immediately following each other — this is merely my opinion.

Acute laryngitis is best treated by resting and even sleeping; incidentally, sleeping isthe best medicine for your voice. You must also get into the habit of drinking lots and lots

of healthy liquids such as water and natural fruit juice if you are going to be a serious singer. Good singers drink lots of water and sleep many hours — APEL Truth.

062

CHRONIC LARYNGITIS

Although some people are prone to contracting this kind of laryngitis, it can easily be

avoided. Chronic laryngitis is usually a result of emotional stress or strain. Impropersinging or speaking habits will cause chronic laryngitis. Sometimes exposure to smoke ordust will also cause this condition. If you experience this condition, you can get

immediate relief by gargling with marigold 97, myrrh98, raspberry leaf, sage99 or thyme100.

97 any of various tropical American plants of the genus Tagetes widely cultivated for their showy yellow or orange

flowers98 aromatic resin used in perfume and incense99 aromatic fresh or dried gray-green leaves used widely as seasoning for meats and fowl and game etc100 any of various mints of the genus Thymus





49

Garlic capsules are also very effective in preventing this condition. My favorite isVitamin C, found in most fruits, particularly oranges — now this is the kind of 'crutch'

you can lean on everyday. Singers should stay away from dust and smoke and noxiousfumes. In general, singers should try not to strain their voices. Most of the time we speak,

once in a while we shout and on the odd occasion we scream. So should it be when wesing — APEL Truth.

063

OTHER DISORDERS OF THE LARYNX

The following extracts are included courtesy of Richard Stasney ( MD, Laryngology

Advisory Board — extracted from The Texas Voice Center ).

Benign Lesions

Prenodules — prenodules are swelling on the vocal folds in the area wherenodules are formed. These are often seen before the vocal folds form calluses101 known as nodules. Speech therapy can resolve these and prevent their

progression.

Nodules102 — nodules are calluses on the vocal folds that occur with improper voice use or over use. They are most common in children and females. They

prevent the vocal folds from meeting in the midline and thus produce an

hourglass deformity on closure resulting in a raspy, breathy voice. Most times

these will respond to appropriate speech therapy. Occasionally (about 20% ofthe time), these may persist after intensive speech therapy and require

meticulous micro laryngeal surgery.

Polyps — polyps103 are benign lesions104 of the larynx, occurring mostly in adultmales, which are usually located on the phonating margin (edge) of the vocalfolds and prevent the vocal folds from meeting in the midline. Polyps can

interfere with voice production and may produce a hoarse, breathy voice thattires easily. These may respond to conservative medical therapy and intensive

speech therapy. If the lesion fails to respond, meticulous microsurgery may beindicated. One of the cofactors in the etiology of these lesions may be laryngealreflux disease.

Laryngoceles — laryngoceles are dilated areas of the larynx that result fromincreased pressure over time. They may interfere with phonation or respiration.Some may require surgical treatment .

Cysts — Cysts are lesions within the vocal folds that often impair theirvibration.

101 an area of skin that is thick or hard from continual pressure or friction (as the sole of the foot)102 small rounded wartlike protuberance on a plant103 a small vascular growth on the surface of a mucous membrane104 any visible abnormal structural change in a bodily part





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Inflammatory Conditions

Laryngitis Sicca — laryngitis sicca is caused by inadequate hydration of thevocal folds. Thick, sticky mucus prevents the folds from vibrating in a fluid,uniform manner.

Vocal Cord Concavity

Presbylaryngis — presbylaryngis is a condition that is caused by thinning ofthe vocal fold muscle and tissues with aging. The vocal folds have less bulkthan a normal larynx and therefore do not meet in the midline. As a result, the

patient has a hoarse, weak, or breathy voice. This condition can be corrected by

injection of fat or other material into both vocal folds to achieve better closure.

Tumours

Premalignant — leukoplakia is a white growth on the vocal folds. If not

treated, it can develop into cancer. Smoking, alcohol use, and reflux are all believed to be factors in the development of this premalignant condition.

Cancer — a cancer type may develop, in which lesions grow on the vocalfolds. If the lesions are detected early, they can be treated with either radiationor surgery, with a cure rate approaching 96%.

Neurological

Paralysis — vocal fold paralysis has many causes, and leaves the patient with avery breathy voice, and sometimes with no voice. Thermoplastic is a surgery tocorrect the gap and restore usable voice.

Haemorrhage

Vocal fold hemorrhage is a very rare occurrence that usually is caused by aggressive

or improper use of vocal folds (e.g. cheerleading, screaming and similar activities). It is aresult of rupture of a blood vessel on the true vocal fold, with bleeding into the tissues ofthe fold.

PERSONALITY CHALLENGES

It is possible that your personality will stand in the way of, and prevent you from

attaining your goal. To deal with the personality issue, let us lay down a brief foundation.This book is not about personalities, but having observed the effect of various

personalities on singing or studying to become a singer, it is necessary to deal with thismatter, in as brief a manner as possible.





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There are various ways of understanding human personalities, the most common wascreated by the ancient Greek philosophers. In particular, Hippocrates105 and his co-workers contributed a lot to this model.

In observing patients, they found that there were certain common behavioral patternsamong people — this does not imply that any two people are identical though. Theydivided personalities into four groups, viz., Sanguine106 , Choleric107 , Melancholic108 and

Phlegmatic109.

Personality Analysis

The reason why I chose this model is that it is based on two aspects that are integral tosinging: EMOTIONS and EXPRESSION.

Emotions — by analyzing the impact of your Emotional Quotient, one is ableto both statistically and psychological derive behavioral patterns which are

caused by this very property of our essential makeup. Most of what we doseems to be molded by the intensity of our emotional self.

Expression — our level of exposure to various environments also determines

our behavior. You can be introverted, extroverted, or in between

The Sanguine is the popular type, the Choleric is the powerful type, the Melancholic isthe perfect type and the Phlegmatic is the peaceful type. Generally, there are four basictypes of people, the popular Sanguine (emotional, influencing, socializing andexpressive), the powerful Choleric (volitional, domineering, directing and driving), the

perfect Melancholic (rational, cautious, thinking and analytical) and finally the peaceful

Phlegmatic (personal, retrieving, relating and amiable).

105 the father of modern medicine106 confidently optimistic and cheerful107 easily moved to anger108 characterized by or causing or expressing sadness109 showing little emotion





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U N E M O T

I O N A

L

S T R O

N G - W I

L L E D

A R T I S T I C

E M O T I O

N A L

C O M P L E M E N T A T Y

B L E N D S

R e l a t i o n s h i p O r i e n t e d

C OMPL E ME NT AT YBL E ND S

T a s k Or i e n t e d

WittyEasy Going

NATURAL BLENDS

Energized By People

OutgoingOptimisticOutspoken

IntrovertedPessimisticSoft-Spoken

Drained by PeopleNATURAL BLENDS

Decisive

Organized

Not Goal

OrientedGoal

Oriented

LEADLEAD

POPULAR

SANGUINE

POWERFUL

CHOLERIC

PEACEFUL

PHLEGMATIC

PERFECT

MELANCHOLIC

ANALYZE ANALYZE

A R T I S T I C

E M O T I O

N A L

U N E M

O T I O N A

L

S T R O

N G - W I L L E D

Figure 3: Temparament Summary

There is a quick way to quickly identify your general self, which we shall discuss here.

POPULAR SANGUINE

This type normally wears bright clothing and given to expressive fashion. Their

personalities are generally intriguing and very lively. When they speak they are a bitlouder than the rest and speak without inhibition, usually saying whatever comes into

their heads. You will notice that they also tend to speak a bit more rapidly than normal,with a lot to say.

We said they are very expressive, you will notice this in their grand gestures. Theywill generally not speak without using some expansive body or hand gesture. Their livingand working style is also somewhat casual, they do not seem to be uptight aboutanything. For them, life is visual, and they enjoy communication.

Positive Sanguine Traits

On the positive side, Sanguines love people and make friends easily, they are excitingand have a good sense of humor. They are very charming and have little or no problemfinding a job. They are creative and colorful; they thrive on activity, and they enjoy story

telling. Is this you? If it is, let us look at the weaknesses as well.

Sanguine Weaknesses

The Sanguine's primary weaknesses are being driven by their emotions and hatred forschedules. They feel guilty when they say no; they get bored easily and have no sense of

time. They are easily distracted and have little or no focus.





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APEL and the Sanguine

How will APEL affect you?If this is you, you will probably want to give up the program before you complete it.

You will find it difficult to stick to the schedule.110 People's comments may distract youfrom focusing on your goals and either derail or delay your progress.

The program will be very exciting to you, and this is a good thing. You will approachit with more energy than most people will, and once you have completed it, yourexpressive nature will be a great complement to your singing life111.

POWERFUL CHOLERIC

Most Cholerics work and walk fast. They are very strong even in their conversationgestures. They tend to arrive late and leave early at social gatherings, and during the timethey are there, they are busy, even using a cell phone or some other gadget.

Cholerics tend to focus on the here and now, are very task driven and sometimesmissing the small detail. They love control; they are attracted to things they can control.They exhibit strength and power more than anybody does.

Positive Choleric Traits

On the positive, they are fearless and can fix almost any problem. They love

challenges and they are very decisive. They are strong leaders and can organize quickly.They thrive under pressure, are very confident and usually right .

Choleric Weaknesses

If this is you, let us check your weaknesses. You have few or no friends, you areopinionated and over-confident. You have a problem relaxing and tend to become a

workaholic. You expect complete devotion from others. You are nervy; you usurpauthority and have difficulty showing emotions. You are arrogant and manipulative. You

have a problem apologizing. Above all, you are afraid of two things, losing control andnot being liked.

APEL and the Choleric

How will APEL affect you? You have the greater potential of succeeding at it thanothers. You will need to exercise patience because you tend to expect instant results. Youmay misuse your talent because of your arrogance, but with focus and persistence, youwill make a great singer. Your discomfort with emotions may hinder your live

performances; you may even avoid performing because you cannot handle complimentsand emotional reactions.

PERFECT MELANCHOLIC These people are the embodiment of perfection; they make you feel judged when you

are in their presence. You will notice them by their conservative clothing and perfect posture. They are not the jump-up-and-down-and-scream types.

110 APEL requires you to stick to a fixed daily practice schedule111 there are lots of spiritual principles that affect your life





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Their work and life are extremely well organized. They tend to be slow and areconcerned with balance even if it takes a while to obtain it.

Positive Melancholic Traits

On the positive, they work very well on their own and are good at planning. They love

numbers and facts. As we said, they are organized and given to accuracy. They analyzethings always and try their utmost to be fair. They adore beauty and quality.

Melancholic Weaknesses

If this is you, let us look at your weaknesses. You are easily depressed and lackspontaneity. You idealism tends to be naive and you are thrifty to extremes. You cannot

handle pressure and you need too much time to get anything done. You are a difficult person to please because of your excessive perfectionism.

APEL and the Melancholic

How will APEL affect you? It will take a while for you to get to the end of the

program. You will be very skeptical and critical of the program and you will waste timeanalyzing the material. You may discourage yourself by setting too high a standard foryourself.

On the positive, your ability to work alone will make this an ideal project. You canorganize your life to fit the program and you can appreciate the beauty of the art withintensity.

PEACEFUL PHLEGMATIC

Phlegmatics are very peaceful and they tend to take things easy. They are the

unexcited speakers with a low monotonous tone, evenly paced and seemingly wellthought out delivery. Their work and life are also peaceful, and they can blend in to the

point of almost not being recognizable. They are usually in no hurry.

Positive Phlegmatic Traits

On the positive, they are very calm and balanced. They are witty and reliable. You can

count on them to be steady and consistent. If you need a peacemaker, you have foundyour person. They are likeable and will make good administrators. Another strength oftheirs is their ability to listen and to delegate.

Phlegmatic Weaknesses

If this is you, let us look at your weaknesses. You are stubborn and aloof. You have a

problem with procrastination112. Your life and work is generally without enthusiasm. It is

difficult to get you to move along. You are careless. You need to learn to follow thingsthrough and get used to change — which you do not like much. You avoid conflict evenwhen it is necessary.

112 putting the actions off until a later and undetermined time





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APEL and the Phlegmatic

How will APEL affect you? You are difficult to predict, your type tends to be lazy. Nevertheless, the positive thing is that you can be steady and consistent once you are sold

to the program. You must use some of your motivational skills on yourself. Do not be toocareless with the practice. Try to be passionate about the program.

TEMPERAMENT COMBINATIONS113

People are generally not confined to one temperament type; it is common to be acombination of two temperaments. A Choleric might be any of three combinations, thatis, a Choleric Melancholic, Choleric Phlegmatic or a Choleric Sanguine. Similarly, theother temperaments will take the same flavors. A Choleric Melancholic will tend toexhibit power and perfectionism, while a Choleric Phlegmatic will tend to be a strong

person who is extremely calm.

The reason I am telling you this is so that you must watch the weaknesses of both yourtemperaments once you have identified them. You will also notice that you will rarely be50% of each temperament, so whichever temperament is the strongest, will have towatched more carefully. If you are 60% Choleric and 30% Sanguine, you will have tofocus on the more glaring weaknesses, which in this case will logically be Choleric weaknesses.

As I indicated, the idea is not to discuss temperaments in full detail, but to give you anidea of the impact your personality will have on you while you engage in APEL. If youwish to gain a deeper understanding of temperaments, I suggest you conduct your ownresearch.

113 hybrid temparaments resulting from crossing into two or more defined temparaments



THE ARCHITECTURE114 OF MAN

One of the first things in learning how to sing properly is understanding yourself at aspiritual level — what you are and how you are designed.

If you wanted to train a dog, you would need to understand about dogs a lot more thanyou already do. It is impossible to train anything to do anything without a lot more than

just an elementary understanding of that organism.

It is impossible to drive a car without knowing what the controls are and what they do.It is impossible to plant any seed and cultivate it through to harvest without understandingabout its seasons, patterns of water intake and pattern of germination. It is impossible toraise a baby to a full grown adult without understanding about human beings. If you thinklife is elementary and requires no understanding, try keeping a goldfish, and see howmany you kill before you get the hang of it.

MAN IS A SPIRIT BEING

Most human traditions teach that man is a spirit being — all the talk about witches andghosts confirm this. If man is a spirit being, which part of him is spirit and which part isnot? How does each part relate to the other? By now you will have gathered that the Bible

is my final authority115 and is part and parcel of this training program — I base all myspiritual truth on the teachings of the Bible.

114 the manner of construction of something and the disposition of its parts115 reference for life philosophies





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GENESIS 1:26 - 27

26 And God said, Let us make man in our image, after our likeness: and let them have

dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and

over all the earth, and over every creeping thing that creepeth upon the earth.

27 So God created man in his own image, in the image of God created he him; male and

female created He them.

God created man in His own image, that has something to do with the way man wascomposed , does it not? He was made in the image of God — man resembles116 God, thatis, in more ways than people realize. For man to be in God's image, man has to be similar to God — do not get me wrong, not in God's fullness, but only to extent that Godmeasured and determined when He created man. Man is not equal to God. Perhaps weneed to understand a little about God. Is He flesh and blood? What is God?

JOHN 4:24 (NASB)

God is SPIRIT, and those who worship him must worship him in spirit and truth.

Is this not wonderful? God is spirit , the Bible says. However, man is made in theimage of God. Simple logic has it that if A is like B and B is like C — then C is like A.

Man is fundamentally spirit. Man is not a ghost. He is made of spirit . He is not a spirit,He is spirit. His body is flesh, but the living part of him is spirit.

The Bible shows in the passage above, that man is a spirit being, but if you go back tothe beginning to Genesis, you will notice something different — or rather, something thatseems different.

GENESIS 2:7

And the LORD God formed man of the dust of the ground, and breathed into his

NOSTRILS the BREATH of life; and man became a living SOUL.

Man was formed with soil, with clay or with substance from the ground. Therefore,man's physical part is from the ground. However, it says that for this clay product to

become alive, God breathed into it, something from inside Him — and that is what madethis soil substance come alive.

Look at it again. There was a physical body, and into the physical body went God'sbreath of life and the physical body, now with the breath of life inside it — became aliving soul. I see the BODY part (the soil part of man), I see the SPIRIT part (the life

from God) and I see the living SOUL part (a bridge between the spirit and the body).Let me run this by you again. There was a body formed from the soil, and then there

was a breath from God, which is what transformed the soil body into (man 'became') aliving soul. Let me ask you a question: Was the soul a replacement of the body, or the

breath, or was it something that was formed because of the combination?

SPIRIT, SOUL AND BODY

Next, we must understand how these three elements of man function together. Wehave now seen that the source of life is the spirit — the body, it seems, is just a container .

116 appear like; be similar to





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We Are Not Containers — We Have Containers

The container came from the soil — it cannot be of as much worth as the otherelements. If you think about it, why is it then that we seem to identify more closely with

our containers (bodies) than with our real self (spirit). Are you spirit or body?If you think that all you are is a container (the body), how can you possibly play

yourself (the larynx)? — APEL Truth.064 You are not just all body; you are a spirit

with a soul (the soul has possession of your body, including the larynx or the voice box).In fact, the Bible says something about man's part that came from the ground. David,

the Psalmist says, " My substance was not hid from thee, when I was made in secret, and

curiously wrought in the lowest parts of the earth" (Ps 139:15). Look at this passage

again, but this time focus on the word my. If it is his substance, then he cannot be thatsubstance, can he?

Listen to this one more time — 'the body is not the you.' You are far more intricate

than cells and blood. You are life, and that life part of you is designed after the nature ofGod. The majority of our limitations are just perceptions — APEL Truth.

065 If we

knew and were convinced that we are spirit, we would overcome most of the problemswe encounter, because suddenly we would realize that they were in fact, not even real

threats.

ECCLESIASTES 12:7

Then shall the dust return to the earth as it was: and the spirit shall return unto God who

gave it.

Watch how the dust (body) and the spirit are kept as two distinct elements — in fact,they each return to where they came from. The dust part of you returns to the dust , as wesaid, it is a temporary container. The spirit part, which came from God, returns to God

(unless there is a problem — Satan might have taken lordship117 of the spirit; and in thatstate, it cannot go to back God, it is no longer His). The body is a house, do not forgetthat — it is an asset, and this is the asset on which we find the voice, the musical

instrument you are going to learn to play. Your vocal instrument is not part of you; itis a fixture on your container — APEL Truth.

066

Opening The Container

The Bible is very clear about the role of the body, "For we know that if our earthly

house of this tabernacle118 were dissolved, we have a building of God, an house not madewith hands, eternal in the heavens" (2 Corinthians 5:1).

The life that is in the human body comes from God. Job also said, "The Spirit of God

hath made me, and the breath of the Almighty hath given me life" (Job 33:4).

1 THESSALONIANS 5:23

And the very God of peace sanctify you wholly; and I pray God your whole SPIRIT and

SOUL and BODY be preserved blameless unto the coming of our Lord Jesus Christ.

117 referring to a state where one is not submitted to God through a consious decision or by default after the age (12) of

accountability118 a Jewish place of worship





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We never say, "Now and now." At least we do not sanely say that. Because now andnow are the same thing. If I said, "Peter and Grace arrived," — then Grace and Peter must be two distinct and different people. Spirit and soul and body are three differentelements — all of them are part of man, or are man.

Inside this body, we find two real resident elements, the SPIRIT and the SOUL. Let usthrow a curve ball right here, do you think that the MIND is in the SOUL? We will

answer this as we go along.We are now very certain of how man is composed — what we still need to figure out

is what part of man does what, or is what. We have touched on it a little, but we mustlook into it deeper.

THE DIFFERENCE BETWEEN SOUL AND SPRIT

The Bible clearly distinguishes between the spirit and the soul of man. To see thisdifference more clearly, one needs to find out which other Greek or Hebrew wordsmeaning the same things are translated differently. For example, the Hebrew wordruwach, is largely translated spirit — used both to refer to God's Spirit and, the spirit ofman. The AV119 translation uses ruwach as Spirit or spirit 232 times, 92 times as wind ,

and a few other smaller variations.However, the Bible also speaks about man as having an architecture. Look at the

following passage.

LUKE 10:27

And he answering said, Thou shalt love the Lord thy God with all thy heart , and with all

thy soul , and with all thy strength, and with all thy mind ; and thy neighbor as thyself.

At a glance, this seems to have omitted the spirit element of man. Instead, we see a

new word: heart. Could the heart be the same as the spirit?

Synonyms of the Human Elements

Luke 10:27 speaks about HEART, and SOUL and STRENGTH and MIND. Either,these are additional components in man, or they are equivalent meanings for the elementsof man we have already established. The HEART of man is part of his spirit . TheSTRENGTH of man is clearly a result of his physical element, the BODY. However, theMIND and SOUL are represented here as two different elements of man.

We see the HEART (spirit), the STRENGTH (body) and the MIND and SOUL whichwe have not yet clearly defined — or rather, seen a definition of in the Bible.

This was Luke's account of what Jesus said when a lawyer or scribe tested Him. Howdid Matthew give his account?120

MATTHEW 22:37

Jesus said unto him, Thou shalt love the Lord thy God with all thy HEART, and with all

thy SOUL, and with all thy MIND.

Matthew did not mention anything about the strength part of the subject — but thatdoes not mean it is not part of the account. Notice however, that he also makes it clear

119 Authorized Version of the Bible120 the Gospels in the New Testament have several common references to some events





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that MIND and SOUL are not the same, and that HEART (or SPIRIT) and SOUL are notthe same.

The words Jesus spoke, as quoted by the disciples, are actually quotations from thelaw that Moses gave his people in the Old Testament, obviously directed by God — let usalso see how the original account is presented in the Bible.

DEUTERONOMY 6:5And thou shalt love the LORD thy God with all thine HEART, and with all thy SOUL,

and with all thy MIGHT.

Do you see that? Only the HEART, the SOUL and the MIGHT are listed. You do nothave to be an expert to know that might and strength are synonymous. The missingdevelopment here is that of mind and soul .

Original Text Dictionary

Take note that the HEART is consistently presented, however, the body is alternatively presented as MIGHT and STRENGTH , or as MIGHT alone. Another way to understandthis better is to analyze the meanings of the original Greek or Hebrew words. I would

love to know what the original Hebrew words for these two words are.The Hebrew word for soul is NEPHESH and is defined as that which breathes, the

breathing substance or being, soul, the inner being of man — and living being or with life

in the blood; and the man himself, self, person or individual. It also describes the soul as

the seat of the appetites, emotions and passions. It is also the activity of mind. What about the word used for mind ? The New Testament account of this uses the word

mind in addition to soul as well. The Greek word for mind is DIANOIA and it means the

mind as a faculty of understanding, feeling, desiring and understanding — also meansmind, i.e. spirit, way of thinking and feeling and thoughts, either good or bad.

Can you see what this means? The mind is part of the soul. My own interpretation of

this is that the MIND is that part of the soul, which is seated in the body, i.e., the brains,

while the rest of the soul is that part of man, which resides in and is permanently joinedto the spirit — and the two create a bridge or connection with the body. If you unplug the

brain, the mind is disconnected and the soul, together with the spirit, will depart. Staywith me on this, you need to understand this before you get into APEL.

The Relationship Between the Mind and the Soul

The mind is seated in the soul. In fact, the mind is such a major and distinct part of thesoul that it is a different sub-part of the soul. Remember that in the soul there is morethan just the mind. You saw how the emotions and desires are part of the soul. Emotionsare both spiritual and mental. Spiritual emotions come from the heart — from the spirit.Mental emotions come from the soul — from the mind. The soul is the GATEWAY

between your body and your spirit —APEL Truth.067

If you were a spirit, you would need a soul in order to affect the physical dimension.That is why demons need a living soul, such as a human being, or even an animal (suchas a pig) to manifest in the natural realm. Satan needs witches and mediums to operate inthe physical dimension. Therefore, he is not all that powerful, is he? He needs help inorder to be a real devil.





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THE NATURE OF OUR PERSON

The spirit, as we saw, was created to have the nature of God. Nevertheless, its currentnature ensues from the spirit it belongs to. If it belongs to God, it will have the nature ofGod; if it belongs to Satan, it will have his nature.

ROMANS 8:9 (UNASB)However, you are not in the flesh but in the Spirit, if indeed the Spirit of God dwells in

you. But if anyone does not have the Spirit of Christ, HE DOES NOT BELONG TO

HIM.

It is possible not to belong to Christ, or God. Moreover, there are only two potentialowners. Either God owns you, or Satan does. If you have been obeying God all along,then you have made yourself God's slave121 and He owns you.

If you have been obeying Satan, then you made yourself his slave, and he owns you.

Either God or Satan owns you. You do not have to sign a paper contract, you simply haveto present yourself to either of them and say, "I am yours!" With Satan, there was no need

to make any verbal commitment because you were born into his system, or you died into

his system when you reached the age of accountability.

EPHESIANS 2:3 (KJV)

Among whom also we all had our conversation in times past in the lusts of our flesh,

fulfilling the desires of the flesh and of the mind; and WERE BY NATURE THE

CHILDREN OF WRATH, EVEN AS OTHERS.

We were born dead according to Colossians 2:13, "And you, being dead in your sins

and the uncircumcision of your flesh, hath he quickened together with him, having forgiven you all trespasses." Obviously you where not accountable to God for your stateof deadness until you reached an age were you could choose or reject God for yourself.At which time, if you did not choose God, by default, you reverted to Satan's kingdom122.

ROMANS 6:16

Know ye not, that to whom ye YIELD123 yourselves servants to obey, his servants ye are to

whom ye obey; whether of sin unto death, or of obedience unto righteousness?

Whom do you obey? Satan or God? You are already a slave — one way or another.We are all slaves, either to good or to evil — APEL Truth.

068 There are no gray areas;

we merely need to establish whose slave we want to be. It is like being a child — each of

us has a father, but we do not all have the same father.

What Makes You Good or Evil?

Being God's slave is voluntary, but being Satan's slave is not — he is an unfair,

deceptive and domineering master with no respect for your will and decisions. Even whenhe owns you, he still wants to kill you, to destroy you and to steal from you. He even

121 slave in a positive way — that is voluntary submission122 the world system and any ungodly lifestyle123 give in, as to influence or pressure





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wants to steal you from God if you belong to God. Forces of good and forces of evil are

undeniably part of our destiny, but the choice is here and now — APEL Truth.069

JOHN 8: 44

Ye are OF YOUR FATHER THE DEVIL, and the lusts of your father ye will do. He was

a murderer from the beginning, and abode not in the truth, because there is no truth in

him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it.

Jesus pointed out to these people that they belonged to their father, the devil — whichis why they had his (Satan's) nature. The people who are born again124, belong to God; Heis their Father and they have His nature, in their spirit. They are not perfect, but they are

still God's children and that is why they die and go to heaven — because they are hischildren.

His children make mistakes, sometimes mistakes more gross than even the children of

Satan make, but they get up and wipe their backsides off, and stagger desperately intotheir Father's embrace — and He forgives them. The heart of man is the source of his

behavior. Your basic nature is a direct result of who you truly are, in the heart. A good

man out of the good treasure of the heart bringeth forth, good things: and an evil man out

of the evil treasure bringeth forth, evil things (Matthew 12:35).Even the simple act of love is an act of the heart — loving your fellow human being is

not an emotion. The end of the commandment is charity OUT OF A PURE HEART, and

of a good conscience, and of faith unfeigned (1 Timothy 1:5).

R ETURNING TO GOD

I believe it would be unfair to point out to you that you may belong to a superior spirit

being you would rather not belong to and not give you direction on how to make ancorrection. Would I not be a criminal to deliberately omit the mention of this wonderfulexperience to you? I received it and I am enjoying it.

Who Wants to be A Christian?The story is simple. God created man in His own image and made him whole and

without sin. God gave man dominion over everything, the whole world in fact.

GENESIS 1:28 (NASB)

And God blessed them; and said to them, "Be fruitful and multiply, and fill the earth, and

SUBDUE it; and RULE over the fish of the sea and over the birds of the sky, and over

every living thing that moves on the earth.

So, if man had full authority over everything, how did things get so bad? Look aroundyou — disease, fear, death, crime, rape, murder and all sorts of sufferings! Where do theycome from? They DO NOT come from God. Because everything that God made "… WAS

VERY GOOD" (Genesis 1:31). Unless God thinks HIV-AIDS is good, something orsomebody interfered and messed up real good. Believe you me, it is not God.

124 the act of first accepting that Christ died on your behalf, to prevent you from being eternally separated from God orbanished for the sinful nature you were born with; and secondly confessing verbally that He has now become your Lord (or

master and owner), and you His servant (whenever one complies with these two things, one is miraculously , but notnecessarily spectecularly, BORN AGAIN in his heart or spirit).





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JOHN 3:16 (NASB)

For God so loved the world that HE GAVE His only begotten Son, that whoever believes

in Him should not perish, but have eternal life.

Why would God give His Son to save man? For many years, I heard this story as a

child and did not quite understand it. Why in heaven would, God have to resort to such acomplicated and 'risky' process — and who out there, can make God give in to barter?

It is simple. After God had created man and given him the will to choose right orwrong, man was susceptible to being stolen and taken over. And in playing by the rules of

justice and fairness, Satan took lordship over man and everything man was lord over.

Man Imprisoned for Life

This happened when man chose to obey Satan instead of God. When a woman chooses

to sleep with somebody other than her husband, she is in fact denying the previousrelationship in favor of the new one.

So man committed sin and was transferred into the kingdom of Satan. The eternal punishment for man's sin (death or separation from God) was pending and had to becarried out in full.

Man's sentence had to be carried out in full to serve justice. How could man serve alife sentence or be executed for his sins, and still live forever with God as was his original

purpose? Man had to face the consequences of what he had done.

ROMANS 6:23 (NASB)

For the wages of sin is DEATH, but the free gift of God is eternal life in Christ Jesus our

Lord.

If the wages of man's sin were death, how could man both be dead 125 or separated126 (assentence and for life) and still be returned to God at the same time? I do not think thatGod wanted a billion dead souls joined to Him or wandering around in the throne room.Imagine being in quarantine but not infected, yet surrounded by infected patients. Therewas no solution unless someone who did not deserve it paid the penalty. It is like this:

Johnny owes De Nacho $1m, Grazer decides to pay De Nacho $1m on behalf of Johnny.

Does Johnny still owe De Nacho?

An Optional Sentence

So if you were sent to prison for a crime you committed and it was possible for a person who did not commit the crime to be punished in your stead, then you would nothave to be punished.

If that were to happen, the proxy127 would have to return from exile128 because he wouldnot have been rightly disowned anyway. Nevertheless, after being punished, the

punishment would require to be allocated to one who duly deserved to be banished.

125 having lost the life and nature of God in your spirit126 because in a sinful state, they cannot be one with or united to God127 acting as substitute for another128 expelled from a community or group





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It is like you owing the mafia a million dollars and me paying that debt on your behalf.The debt is settled and you do not owe the mafia any longer, but you owe me! If themafia kept you locked up, I would have the right to bust in and set you free you.

I think Satan thought after he got Jesus down in hell that he had Him, but the fact wasHe was still God's Son and God still had the right to bust Him out, irrespective of whetherHe was locked up in hell on our behalf. I am glad Jesus did it, because if He had not done

it, I would not be able to bust myself out of hell, and God would not bust me out becauseI would have been locked up justly and legitimately.

God sent His Son, who had no sin; Satan detained Him for the sins of others. Satancould not keep Him in hell, and neither can he keep in hell those whose sins Jesus took. Ithink Satan saw Jesus on the cross with the whole world's sin and said, "I got Him now!"He forgot that getting Him meant letting the others off the hook — he forgot that gettingHim did not mean keeping Him either, because He still was God's Son.

Serve your Own Term in Hell — or Accept the Term Jesus Served

Therefore, anybody can say to Jesus, "You died on my behalf, you took my sins.

Instead of making your death of no value, I would like to claim it as a substitute for my

pending eternal death sentence which I am destined for by being Satan's slave. I want todo this so that I can become your servant instead — I want to be transferred back to your

family. Please be my new Lord forever!"

ROMANS 10:9 (KJV)

That if thou shalt confess with thy mouth the Lord Jesus, and shalt believe in thine heart

that God hath raised him from the dead, thou shalt be saved.

Jesus will say something like, "You are welcome, since I died for you, you no longer

have to remain dead — I will raise you up from the kingdom of death where you are, into

my kingdom of life. I will translate you from that area of Satan's dominion bring youover into my life — just remember that in order to stay with me, you have to allow my life

to embody you, I have to be your Lord!" If you agree, it becomes a sealed translocation. Is that not simple? All you have to dois to SAY IT TO HIM. You do not have to see Him; He can hear you wherever you are.Just say, "I accept your death as mine, and your victorious arising as mine — please bemy Lord!"

The World Had a New lord

Satan, nicknamed Lucifer 129 by Bible translators, came and took over and tricked maninto submitting to him instead of God.

ROMANS 5:12 (NASB)

Therefore, just as through one man sin entered into the world, and death through sin, and

so death spread to all men because all sinned.

When man submitted to Satan, it meant that everything God had given to man now belonged to Satan. Satan would inherit the offspring of man, at least until they reached

129 it is believed by Theologians that the name Lucifer, was added by Bible translators and does not appear in theoriginal scripts





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the age of accountability. The principles governing the earth were now under Satan'scontrol.

Satan being a spirit, could not have direct influence over the physical world even if hewas lord over it. He DOES NOT HAVE A PHYSICAL BODY. He therefore needs a host tospeak to the spirits of his earthly subjects and influence them, sometimes to act andsometimes to seek an agent to unleash his (Satan's) power on the planet.

Bridge Between the Spiritual World and our World

It is not easy for a physical being to hear from a spirit being130, it takes a lot ofdiscipline and adjustment. One has to subdue the body to a subservient131 level, and allowthe spirit to become dominant and more active — this can be done as a lifestyle orthrough a temporary period of fasting.

The connection between your soul and your spirit is permanent, the connection between your soul and your body will last until the day you die. However, the connection between the spiritual world and this world is weak, it needs to be cultivated and nurturedand grown. We are forever connected to our souls; we must nurture our connectionto the spiritual world — APEL Truth.

070

So, what happens after you have said these things to Christ? When you have made adecision for translocation?

JOHN 1:12 (KJV132)

But as many as received him, to them gave he power to become the sons of God, even to

them that believe on his name:

What happens afterwards is, He gives you the right to become His son or daughter. Is

that not simple? Since this book is not about how to grow up as a Christian, I will notspend time in describing the process of how Christ manifests Himself through you afteryour confession133. The transmuted owner of the larynx has internal power from his

Master — APEL Truth.071

THE HEART IS IN THE SPIRIT

The Bible talks about the heart as the spirit — not the Spirit of God, but the spirit ofman. The Bible also talks about the mind of man as the spirit occasionally, but the contextof the passages will be self-explanatory.

The spirit is the real person. You are not your MIND or SOUL, you are your heart ,your SPIRIT. A mind is something you have and utilize. It permanently belongs to youand will always be with you. James says to us, "But we are not of them who draw back

unto perdition; but of them that BELIEVE TO THE SAVING OF THE SOUL" (Hebrews

10:39).There would not be a need to save the soul if it was dispensable. Is that not the reason

why the body will not be saved, but be discarded and replaced with a new one? The Bibleclearly says that Christ will "... change our lowly body to be like His glorious body, by the

130 we believe that the spiritual world is very real, distinct and parallel to the physical world131 compliant and obedient to authority132 King James Version133 the verbal act of accepting Christ as Lord and personal Savior





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power which enables Him even to subject all things to Himself (Philippians 3:21 — RSV).The soul, as we said, is the seat of your natural life — I like to look at it as the bridge

between the spiritual and the natural. Remember that your will 134 is in the soul, not thespirit. If your will was in the spirit, you would not sin. The spirit would be willing, andthat would be it. However, the battle as Paul puts it, is between the two me's, the "me" ofthe spirit, and the "me" of the soul.

ROMANS 7.15-25 (RSV135)

15 I do not understand my own actions. For I do not do what I want, but I DO THE

VERY THING I HATE.

16 Now if I do what I do not want, I agree that the law is good.

17 So then IT IS NO LONGER I THAT DO IT, but sin which dwells within me.

18 For I know that nothing good dwells within me, that is, in my flesh. I can will what is

right, but I cannot do it.

19 For I do not do the good I want, but the evil I do not want is what I do.

20 Now if I do what I do not want, it is no longer I that do it, but sin which dwells within

me.

21 So I find it to be a law that when I WANT TO DO RIGHT, EVIL LIES CLOSE AT

HAND.

22 For I DELIGHT IN THE LAW OF GOD, IN MY INMOST SELF ,23 but I see in my members another law at war with the law of my mind and making me

captive to the law of sin which dwells in my members.

Paul is battling between the heart (verse 22) and the body (verse 23); the will isobviously not spread between the two parts of him that are fighting. If his will was in hisinnermost self , he would have done right long before the battle started. His mind battlesto choose right because it is confronted with his body. The body had controlled his mind

all the time before Jesus became his Lord.

EPHESIANS 4.22-24 (RSV)

22 Put off your OLD NATURE which belongs to your former manner of life and IS

CORRUPT THROUGH DECEITFUL LUSTS,

23 and be renewed in the spirit of your minds,

24 and put on THE NEW NATURE, CREATED AFTER THE LIKENESS OF GOD in

true righteousness and holiness.

Paul was not able to do right until two things happened. He had to RENEW HISMIND — retrain his mind to think different from the way it was trained by the formerlord and father who is Satan. Then, he had to PUT ON THE NEW MAN136 — accept byfaith137 and doing, the quality of the new man, think in line with the new principles of hisnew Lord and Father, who is Jesus and Jehovah. All this is for him a shift from body-

mentality to heart-mentality. The greatest men on earth are those who think with their

hearts and not with their minds — APEL Truth.072

I do not want to spend too many pages on this subject because there is a whole lot

more I must cover in order for you to complete your training. The purpose of this chapter

134 the seat of your being where you make decisions135 Revised Standard Version136 the part of you that is born again137 acting according to the reality of things not yet come





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is to show you that: YOU ARE A SPIRIT , YOU HAVE A SOUL AND YOU LIVE IN A BODY.

This truth will change your life — you will not be able to complete this course unlessyou remember and understand this statement.



THE SPIRITUAL CONNECTION

"I thought this was a singing manual," somebody will say. Yes it is. If you want tolearn to drive a car properly, you will have to understand about the parts of the car thatyou will be using to drive it.

A man who refuses to hear anything about the steering wheel, the clutch, theaccelerator and the gear lever — clearly has a problem. It is important to take the first

preliminary138 steps in order to successfully master anything. To jump farther you mustretreat farther — APEL Truth.

073 That is, unless you want to fall into the ditch

Guest what? I am teaching you how to drive your voice and I want you to know the

controls — ALL OF THEM. I told you where all this comes from and how it wasdeveloped. I told you why I think it will work for you. I told you what you are made of,so that you can understand how to 'use' yourself.

And in this chapter, I want you to know the connection that will make it allsupernatural. I did not say magical — I said supernatural. Miracles are supernatural, but

not always spectacular — APEL Truth.074

The Reality of the Two Worlds

We live in two worlds, the PHYSICAL and the SPIRITUAL. The physical world is just a mimic of the spiritual — I do not know to what extent. God made man in His own

image and gave him a little environment to live in, and He called that little home theuniverse. At the end of the day, the spiritual world in which God lives is the real reality.

Man, being both spirit and matter, exists in both worlds; it is up to him which realityhe focuses on. Music is spiritual — it does not always give you goose bumps, but it existsin the same form in both worlds. Nothing that exists in the natural is more real than the

spiritual. Your physical form might look very real to you, but it is still less real than yourspiritual person is. The spiritual realm is the source into which all life plugs and derives

substance from — APEL Truth.075

138 something that serves as a preceding event or introduces what follows





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Most, if not all of what we are and hold closest to our hearts, is the image of thespiritual. Man was made in the image of God (Genesis 1:26). Music has its source in

heaven — APEL Truth.076

JOB 38:4 (RSV)

4 "Where were you when I LAID THE FOUNDATION OF THE EARTH? Tell me, if

you have understanding.5 Who determined its measurements--surely you know! Or who stretched the line upon

it?

6 On what were its bases sunk, or who laid its cornerstone,

7 when the morning stars SANG together, and all the sons of God shouted for joy?

That was at the time of creation when the stars sang and the children of God shoutedfor joy. "Oh no, brother Michael, the stars cannot sing!" Yes, they can — at least these

stars did. The Hebrew word used for star and stargazers here is kowkab, and it means: of Messiah, brothers, youth, numerous progeny, personification and God's omniscience.

Lucifer — The Music Idol

Lucifer was a musician long before Adam was born — without glorifying Satan, Iwould guess he has a little bit more experience in perverting music than I have in utilizingit; unless I do it God's way, he may just deceive me.

Do you not wonder why there is so much corruption139 in music as a business, asentertainment, as a cult, as a political tool, as a pornographic medium and many otherforms?

As you will see later in the book, Satan has mastered the art of perverting and utilizingmusic as a means to an end — and the end is: waging war against God, His plans, His

people and His kingdom.My point is, if you understand the spiritual connection of music, you can take music

beyond an imaginable limit. You can incorporate music into many aspects of your life

and see change. And in the context of this book, if you apply these elements when you

start singing, you will soar to new heights, you will achieve more than you thought was possible.

THE SINGING GOD

I remember the first time I brought this to a friend's attention; he was furious, "Don'ttalk about my God that way! My God does not sing!" What is so wrong with God

singing? Just because you never thought of God as a singer does not mean that He shouldstop being Himself — if He sings, He sings.

We always think of God as an old man with long white hair sitting on a majestic chairand table with a feather fountain pen in His hand and an old curled scroll on the table. If

that is God, then He is plain boring — just sitting there staring at the clouds. Not myGod!

139 sex, drugs, deceit, abuse of power, etc.





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ZEPHANIAH 3:17

The LORD, your God, is in your midst, a warrior who gives victory; he will rejoice over

you with gladness, he will renew you in his love; he will exult over you WITH LOUD

SINGING.

If the Lord will exult over you with LOUD singing, it will not be the first He does it. Iknow He did not go for music lessons — because He is music. Music is a spiritual force.God is a joyful God. "These things have I spoken unto you, that MY JOY MIGHT

REMAIN IN YOU, and that your joy might be full" (John 15:11).If God sings, then He must be the Greatest Singer of all — He created singing, or as

some may wish, He invented it. Where do you think Lucifer got his musical skills that heso effectively manipulates through all his servants?

EZEKIEL 28:12-15 (YLT)

12 Son of man, lift up a lamentation for the king of Tyre, And thou hast said to him: Thus

said the Lord Jehovah: Thou art sealing up a measurement, Full of wisdom, and perfect

in beauty.

13 In Eden, the garden of God, thou hast been, Every precious stone thy covering, Ruby,

topaz, and diamond, beryl, onyx, and jasper, Sapphire, emerald, and carbuncle, and gold,

The WORKMANSHIP OF THY TABRETS, AND OF THY PIPES, In thee in the day ofthy being produced, have been prepared.

14 Thou art an anointed cherub who is covering, And I have set thee in the holy mount,

God thou hast been, In the midst of stones of fire thou hast walked up and down.

15 Perfect art thou in thy ways, From the day of thy being produced, Till perversity hath

been found in thee.

This cherub, Lucifer, was created with pipes and tabrets. The Authorized Version

says the pipes were "... prepared in thee in the day that thou wast created."

God is a musician, God is music — God creates music, God creates a musician. Satanis a perverted musician, he has perverted the music originally incorporated in him — he

perverts140 music. God is the musician, I am an endeavoring channel, and the purer I

am, the clearer God's music will be heard — APEL Truth.077

Actually, God is the song.

EXODUS 15:2

My strength AND SONG IS JAH, And He is become my salvation: This is my God, and I

glorify Him; God of my father, and I exalt Him.

This is both literal and figurative. He is my song in that all my songs and singing comefrom Him, through Him, or by Him. Once this concept dissolves into you, you will not

want of new songs, or music or creativity. He becomes the bottomless well from whichyou draw.

THE POWER OF MUSIC

Maybe as I am talking to you, you are not really getting the picture of how powerfulmusic is. Look at a few examples of how music was used to unleash God's power. This isnot a handbook for Satanism141, so I do not talk about how Satan's followers use music tounleash their master's limited power.

140 change the inherent purpose or function of something141 the worship of devils (especially Satan)





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CITY WALLS FELL DOWN FLAT

Can you imagine unarmed trumpeters overthrowing a city as big as London by simplymarching around it and blowing on their trumpets and shouting? No?

However, when one plugs into the source of the power — the whole city the size of

London can come down flat. You might think that this is far fetched, but it is not. God's

power can do more than you credit Him. "Now to Him who by the power at work withinus is ABLE TO DO FAR MORE ABUNDANTLY THAN ALL THAT WE ASK OR THINK"

(Ephesians 3:20 — RSV).

JOSHUA 6:20 (RSV)

So the people shouted, and the trumpets were blown. As soon AS THE PEOPLE HEARD

THE SOUND OF THE TRUMPET, the people raised a great shout, and the wall fell

down flat, so that the people went up into the city, every man straight before him, and

they took the city.

There is power in God and that power can be released through music. The only way to

experience the fullness of God's power in us is to play by His rules — APEL Truth.078

If you want to soar beyond the visible heights, you have to do exactly as God says, in

your daily life and in your music. It sounds like too much of a price to pay, but whywould you want anything other than God's best. Why would you want the world's best ifit does not even compare with God's least — that is if God had weaknesses?

PRISON WALLS CAME DOWN

Think of maximum-security prisons! Think of a method if any, to break the prisondown and set every prisoner free. I cannot think of any. Not even the best escape artists

can set the prisoners free from a maximum security prison — at least we are made to believe. God can — look how He did it!

Positive In Adversity

Two guys, without ever having taken music lessons or held music diplomas, they sangand praised God and guess what?

ACTS 16:25-26 (RSV)

25 And at midnight Paul and Silas prayed, and sang praises unto God: and the prisoners

heard them.

26 And suddenly there was a great EARTHQUAKE, so that the foundations of the prison

were shaken: and immediately all the doors were opened, and every one's bands were

loosed.

Imagine you are in prison — you did nothing wrong, but you were locked up for acrime you did not commit. How natural would deciding that the best thing to do was to

sing and praise God be? The prisons in those days were most likely not equipped withcomfortable furniture. I would not be surprised if the prisons had muddy floors 142 withcrawling insects. Nevertheless, these two SANG AND PRAISED GOD! We catch a cold,and blame God for everything.

142 typical of ancniet prisons according to history





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This was also not the best time to sing, it was at midnight! But they sang so loud thatthe other prisoners heard them, I bet the real criminals were not amused by it at first. Thenext thing that followed was an earthquake so aggressive that the foundation of the prisonwere shaken. Now this was no natural earthquake, that selectively loosened shackles.This is the power of praise through music! You will not have God's best until He has the

rest of you — APEL Truth.079

Neighbours with God

What do you think would happen if you went to a house where God lived? Say, downthe street where you live there was a house and in there lived God Almighty with His Son

Jesus Christ and the Holy Spirit!Do you not suppose that God's power would regularly be witnessed at that house, as if

it were flowing out constantly? In fact, there is a house in your street where this can

become a reality — and that house could be you.

JOHN 14:23

Jesus answered and said unto him, If a man love me, he will keep my words: and my

Father will love him, and WE WILL COME UNTO HIM, AND MAKE OUR ABODE

WITH HIM .

It says with him, meaning you will not be left out! You will not be a spectator! WhenGod's power starts to ooze143 out of your inner being144, you will be part of it.

ARMY AMBUSH

Sometimes you face a situation in life out of which you cannot seem to see your way.

King Jehoshaphat in Jerusalem faced such a situation. The Lord said to him to stopworrying and sing . That is what He told him. He said to him not to worry because God

would do the rest — and He gave him instructions on how to go about letting God take

over.

Stop Worrying?

"And He said, Listen, all Judah, and you people of Jerusalem, and king Jehoshaphat!

So says the LORD to you, do not be afraid nor dismayed because of this great multitude.

For the battle is not yours, but God's. Tomorrow, go down against them. Behold, they

come up by the cliff of Ziz. And you shall find them at the end of the valley, before the

wilderness of Jeruel. You shall not fight in this battle. Set yourselves and stand, and see

the salvation of the LORD with you, O Judah and Jerusalem. Do not fear not be

dismayed. Tomorrow go out against them, for the LORD will be with you." (2 Chronicles

20:15-17 — MKJV).Then God told them to be still. Can you imagine fighting against a super power and

not having to lift a hand to win? Imagine Swaziland waging war against the US andhoping to win? The two countries are not the same size and the odds would not be goodfor the smaller country, would they?

143 pass gradually or leak through or as if through small openings144 spirit





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King Jehoshaphat was afraid and he went to God for help, and God came to his rescue.God will manifest Himself when you seek His face.

2 CHRONICLES 20:22

And when THEY BEGAN TO SING AND TO PRAISE, THE LORD SET

AMBUSHMENTS AGAINST the children of Ammon, Moab, and mount Seir, which

were come against Judah; and they were smitten.

I like what God does — I like the role that music plays in God's plan for mankind.

There is a connection between music and the spiritual realm that we have not pluggedinto as we should have, and the sooner we do, and the sooner God's plan will beaccomplished. Music exists in both the spiritual and the natural realm — APEL

Truth.080

THERAPY IN THE ASYLUM145

The people that work in mental hospitals know how difficult it is to look after a personwho has lost their mind. Sometimes even trying to subdue the patient is a struggle. Musiccontains such power that it is capable of passing beyond a disturbed mind and reachinginto the person's inner being. It is not an intellectual force; it is a spiritual force. " And the

Spirit of Jehovah turned aside from Saul, and a spirit of sadness from Jehovah terrified

him … " (1 Samuel 16:14). Without arguing about whether God made Saul crazy or not,and the fact that the Authorized Version calls it "... an evil spirit from God …" I want to

make a point that when the music was played, the troubled man was stilled .

1 SAMUEL 16:23

And it came to pass, when the evil spirit from God was upon Saul, that David took an

harp, AND PLAYED WITH HIS HAND: so Saul was refreshed, and was well, and the

evil spirit departed from him.

I like the idea of playing with his hand , and look at what happened to Saul, he was

refreshed. The Hebrew word ravach means to be wide, be spacious, to breathe easily, andbe relieved . He was RELIEVED … all because David played music.

GOD'S GLORY MANIFESTING

In these days of the final revival146 , people long for the glory of God to manifest and

sometimes do not know how to draw near to God so that He can draw near to them."Draw nigh to God, and He will draw nigh to you. Cleanse your hands, ye sinners; and

purify your hearts, ye double minded"(James 4:8). The children of Israel saw God's glorycloud. They were AS ONE147 when it happened.

145 a hospital for mentally incompetent or unbalanced person146 a expected maximum manifestation of God before the Second Coming of Christ147 united and believed to be thinking and acting the same





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2 CHRONICLES 5:13

It came even to pass, as the trumpeters and singers were as one, to make one sound to be

heard in praising and thanking the LORD; and WHEN THEY LIFTED UP THEIR

VOICE WITH THE TRUMPETS AND CYMBALS AND INSTRUMENTS OF

MUSICK, and praised the LORD, saying , For he is good; for his mercy endureth for ever:

that then the house was filled with a cloud, even the house of the LORD;

The house was filled with a cloud. What cloud? "The priests could not stand tominister by reason of the cloud: for the glory of the LORD had filled the house of God" (v14). That was not a light case of God's manifestation — this was a serious event. Theglory was so strong people could not stand, if they stood up, they fell.

Music, my friend, has a plug into the Great Power 148. And you have started in thatdirection.

God's power can be overwhelming, when I first started in the ministry I did not carefor all that goose-bump 'screaming and jumping' charisma, until one day while praying

for the sick at a meeting where I was preaching, the people suddenly started falling as Ilaid hands on them — I DID NOT FEEL ANYTHING, but they fell. I was shocked. For

me it was a nice dry service, logically and intellectually rich.

Suddenly the people decided to fall? I had this tendency when I prayed for people: Iused three fingers and lightly touched their foreheads. I could not push a fly of their head

with that lightness. Frankly, I was startled when I heard a thump as the prayer seeker hitthe floor, then the next and the next. Nevertheless, hey, you would not want yourcongregation to see that fright on your face, would you?

A STREAM OF SONGS

Each one of us has music in them. Paul in writing 149 to the "… saints and faithful

brethren in Christ which are at Colosse," speaks about this. Remember that he waswriting to the brethren — it is not something they had which other brethren cannot have.

He says when they come together, "… THEY HAVE" a psalm.

1 COLOSSIANS 14:26

How is it then, brethren? WHEN YE COME TOGETHER, EVERY ONE OF YOU

HATH A PSALM, hath a doctrine, hath a tongue, hath a revelation, hath an

interpretation. Let all things be done unto edifying.

Do you see that? " Every one of you …has …" it. Is this not great? What is a psalm anyway?

What Is a Psalm?

The Old Testament Hebrew word used for psalm is mizmowr meaning melody. I like

that! Each one of you has a melody. Every one of you has a melody! The New Testament

(Greek) word for psalm though is psalmos meaning of a striking the chords of a musicalinstrument or of a pious song. Another word in the Greek is psallo probably strengthenedfrom psao meaning to rub or touch the surface. Psallo means to pluck off, pull out, to

148 the Anointing of God149 the Epistles in the Bible are letters which Paul wrote to the ancient Christian churches





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cause to vibrate by touching, to twang, to touch or strike the chord . Some may ask, "Doesthis take talent to do?"

From the look of things, you are expected to have this, talent or no talent. That tells methat you CAN DO IT — otherwise somebody is lying.

Various Kinds of Melodies

IF I HAVE THIS MELODY IN ME — WHERE IS IT? It will be no use havingsomething and not knowing where it is, would it?

COLOSSIANS 3:16

Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one

another IN PSALMS AND HYMNS AND SPIRITUAL SONGS, singing with grace in

your hearts to the Lord.

Paul goes further now, instructing the brethren to teach one another in PSALMS,HYMNS and SONGS. What are these things — psalms, hymns and songs?

Psalm — a psalm, as we said, is PLAYING AN INSTRUMENT. Stay with me;

do not run off now. Think about playing a melody on a musical instrument,keeping in mind that you are the musical instrument. Paul says you can strike

the chords of this instrument, and in fact, play a melody on this instrument. APSALM IS A SONG YOU PLAY BY THE SPIRIT OF GOD. It can be a

poetic and rhyming song, or a normal and complete song from your inner being, by the Spirit of God.

Hymn — defined from the Greek word humnos apparently from a simpler(obsolete) form of hudeo (to celebrate) — as a song in praise of God, and also

a sacred song. That is something initiative — in praise of God, or a song youcompose in order to praise God or declare something. A hymn is a preparedsong with a purpose. Most of our songs are hymns. We prepare them —

drawing from God's resources inside us. We have various purposes for them.The Greek word refers to a hymn as being a sacred song.

Spiritual Song — the spiritual song is the most fascinating. It is a normal songin every sense of the word, meaning it is an ode — but there is somethingsuperior about its nature. The Greek word for spiritual is pneumatikos, which is

relating to the human spirit ; which is AKIN TO GOD AND SERVES AS HISINSTRUMENT OR ORGAN. It still posses the nature of the rational soul but

it belongs to a spirit, or a being higher than natural man. It refers also to one being filled with and governed by the Spirit of God.

The Spiritual Song

The spiritual song is a SPONTANEOUS SONG INSPIRED by the Spirit of God. The psalm comes to us complete (but we must play it out — birth it out ), the hymn comes tous by preparation (not carnally, but by God's resources inside us), and the spiritual song comes to us spontaneously (you just open up and let it through).





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Notice that according to Paul, the Psalms are received at home, and when they cometogether, they already have them ready to share with others. Have you noticed how

prophetic and directed David's psalms are?They were given to David, for David, but they have content in them to teach others.

Some of them are so personal that you would doubt whether they should be shared withothers.

David did not make any of that stuff up — he just reached down AND PULLED ITOUT. You can start to flow in psalms too if you practice the scriptures. Notice how Paulsays "... the word of Christ … " must "... dwell in you richly in all wisdom." That is thefirst step. You will not move in psalms until you are full of God, full of His Word.

EPHESIANS 5:19

SPEAKING TO YOURSELVES in PSALMS and HYMNS and SPIRITUAL SONGS,

singing and making melody in your heart to the Lord;

Notice that Paul says, "Speaking TO YOURSELVES …" meaning exactly that. Making melody in your heart — that is very important. Remember that your heart is

the source of your music. The fact here is that melody is made in the heart .

A New Language

Melodies not made in the heart are dead. Heart music appeals to the heart,

intellectual music appeals to the intellect and physical music appeals to the body —APEL Truth.

081

Spiritual Music — there is music which when sung or performed, goesdirectly from the singer or performer's heart, into your heart and does

something in there. This music affects your heart according to the sourcecontent of the singer's heart it came from. Godly music will influence the hearer

to godliness, but perverse150 music will deposit perversion in the heart of thehearer and the singer .

Intellectual Music — created based on academic standards which man hascreated and established for himself; and what it does is intellectual. You willnot be able to appreciate it until somebody teaches how you to, or, until youlearn to enjoy it. Because it is mental — it appeals to the mind and needs someacademic basis for you to appreciate.

Physical Music — made to strong pulses. The pulses are usually so strong that

the music loses its appeal unless it is so loud you can FEEL THE BEAT.Usually that kind of music has no melodic content; it is the heart that generatesa living melody.

Every speaker speaks in the voice and language he understands, and the languageand voice that makes the most sense to you is a reflection of your own

communication means — APEL Truth.082

Have you been around that music that makes you tap your feet even when you do notlike it? Your body runs with the music against the wish of your heart. Have you noticed

150 containing undesirable content





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that there is also a type of music, which has little or no meaning until somebody explainsit to you? Until the explanation, it was incomprehensible. This is mental music.

Music that Cuts Like a Knife

Spiritual music on the other hand, could be set in a style you do not even like, but it

will still penetrate into your heart like a sword. The word of God cuts like a double-edgedsword for the same reason — it is alive and spiritual.

HEBREWS 4:12 (YLT)

For THE RECKONING151 OF GOD IS LIVING, AND WORKING, AND SHARP

ABOVE EVERY TWO-EDGED SWORD, and piercing unto the dividing asunder both

of soul and spirit, of joints also and marrow, and a discerner of thoughts and intents of

the heart;

Are you with me? God's Word, God's reckoning is alive, working and sharp — itCUTS APART152 the spirit from the mind, it even divides the body from the spirit and thesoul … it discerns thoughts. THAT IS POWERFUL. The most powerful tool ever made.Can you imagine that? Why would one want to cut apart spirit and mind — it is simply

the best way to operate in this universe, knowing that you are spirit and knowing exactlywhat is spirit and what is mind.

It is advisable to incorporate some cutting element into your music — that is, theWord of God. The more Word there is in your music, the sharper it will be. When I say

Word , I do not mean Bible passages, I mean the meaning of the Bible passage. "God islove" in John 3:16, could be sung as "He loves me unconditionally" or "I did not earnyour love."

MANAGING THE HEART

From the heart comes a great force. Jesus made a statement about the effect of

sourcing from the heart. When you speak from the heart , there is life. When you singfrom the heart, there is life. When you act from the heart, there are results. "The good

man out of his good treasure brings forth good, and the evil man out of his evil treasurebrings forth evil" (Matthew 12:35). If you are evil — your songs carry that evil in them.Remember, an evil man will say a good word, but evil will still ooze out! Fire burns,

there is no coldness in its nature — APEL Truth.083

MARK 7:18-19

18 And he saith unto them, Are ye so without understanding also? Do ye not perceive,

that whatsoever thing from without entereth into the man, it cannot defile him;

19 BECAUSE IT ENTERETH NOT INTO HIS HEART, but into the belly, and goeth

out into the draught, purging all meats?

Do you see that? It defiles if it enters153 the heart! It does not defile if it does not enterthe heart. In addition, notice what the next verse says, "And He said, that which cometh

out of the man, that defileth the man" (v24 — AV). In addition, it defiles if it comes from

151 or word according to the AV152 separating the desires and behavior of the body, mind and soul153 through the ear





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the heart. That is the perversion Satan distributes through his agents — there should bemore life distributed by God's singers and musicians than through Satan's system.

Two Ways of Defilement

A heart can be defiled in two ways. Please remember this because it has a huge impact

on the power of your singing.

Inward Defilement — the first way of defiling your heart (which is in yourspirit), is perversion entering your heart. When a thought enters your heart, it is

not yet sin, but it is potential sin. You must remove it immediately, if you donot, it ossifies into evil and starts to contaminate you heart, when that part of

you heart becomes weak from contamination, your will can no longer beinfluenced by your heart.

Outward Defilement — the second way of defiling your heart is perversion brewed out of your heart. These are things that you devise and act on willingly. Action gives life to faith, or fear or sin. When a thought enters your heart, youmust root it out immediately. If you do not, it ferments and contaminates the

rest of your being when it becomes part of your will, then actions, and thendeath. It is like cancer: one cancerous cell must be removed before it becomes

malignant 154.

Remember that the more you sing an evil song, the more it defiles you, because it iscoming out of you, and it will defile whoever it goes into as well.

POURING OUT THE MUSIC

One of the concepts in the Bible I like — is the pouring out of what is in your heart .Assuming of course that your heart is full of the Living Word, full of the life of God, andHis Spirit.

PSALMS 62:8

Trust in him at all times; ye people, POUR OUT YOUR HEART BEFORE him: God is a

refuge for us. Selah.

Refilling the Container

When you pour something out of a container, the container is usually full — you haveto be full before you can be poured out. Continued outpouring from your heart willeventually drain you unless you refill — APEL Truth.

084 You see, for a Spirit-filled

believer, there is no such thing as writer's block. There is always an abundant endlesssupply of new and living songs. The Bible tells you how to be full.

EPHESIANS 5:18And be not drunk with wine, wherein is excess; BUT BE FILLED WITH THE SPIRIT;

When you drink wine, you become drunk and full of wine, and wine becomes yourcontroller, it determines what you do and how you do it. The same applies here, when

154 (pathology) characterized by progressive and uncontrolled growth (especially of a tumor)





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you drink of the Spirit of God, you become full of Him and you become controlled byHim. And whatever comes out of you is from Him. This is what Jesus meant when Hesaid, "It is the spirit that quickeneth; the flesh profiteth nothing: THE WORDS THAT I

SPEAK UNTO YOU, THEY ARE SPIRIT, AND THEY ARE LIFE" (John 6:63 — AV).

Giving Life to Your Words

Can you say that? The words that I sing to you they are spirit, THEY ARE LIFE? Thisis the only way your music will give life — because only the Spirit gives life. Remember,

IT IS THE SPIRIT THAT GIVES LIFE!Where does the music that gives life come from? Where does this river flow from?

Even in the Old Testament, Solomon understood the concept of life and from where itflowed.

PROVERBS 4:23 (RSV)

Keep your heart with all vigilance; FOR FROM IT FLOW THE SPRINGS OF LIFE.

From your heart! The springs of life come from your heart! But you will have to keepyour heart with ALL VIGILANCE155 — guard your heart against evil. This is a reallyimportant matter. You must guard your heart. "But that on the good ground are they,

which in an honest and good heart, having heard the word, keep it, and bring forth fruit

with patience" (Luke 8:15 — AV). Notice a good and honest heart is the way to bringingforth fruit — GOOD FRUIT!

JOHN 7:38

He that believeth on me, as the scripture hath said, out of his belly shall flow rivers of

living water.

You have to believe in Him. Out of your belly (spirit) WILL FLOW RIVERS OFLIVING WATER. Living water gives life — that is what music is all about. Once youhave completed your training, you can always measure yourself with this yardstick, ifyour singing gives life, you know you are on the right track. If it does not, your singing isempty and needs to be filled with life. " Is any among you afflicted? Let him pray. Is any

merry? Let him SING psalms" (James 5:13 — AV). Notice it did not say "Let him go to

the doctor." While it is perfectly in order to see a doctor, the Scripture says that he must pray, and if any is merry, he must sing psalms. In addition, notice that is says, "Is ANY …

let him SING …" Do you realize that James seems to expect every person to sing? Does itmean he wanted to say, "Is any …. Let him sing badly … God looks at the heart and

enjoys bad singing?" Of course God looks at your heart! Let me leave you with this thought — why do we

rehearse and practice before we sing if quality does not matter to God?

Even your sad songs are from the heart. You can sing for joy from your heart; you

can cry for sorrow from the same heart — APEL Truth.085

Whatever it is that you are pouring out, it will affect the people who hear you. Examine the rivers that flow from

your heart — APEL Truth.086

155 the process of paying close and continuous attention





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ISAIAH 65:14

Behold, my servants shall sing for JOY OF HEART, but ye shall cry for SORROW OF

HEART, and shall howl for vexation of spirit.

Notice the last phrase "... shall HOWL …" meaning that it comes from deep down in

your heart.

While this is all true, I believe it must be disgusting to God when we present inferiorspeech, music or actions to Him — or something which is so fake, it has nothing to do

with our hearts. Something which we claim to be the truth, when in fact, our minds are amillion miles away from what we are presenting or performing.

MATTHEW 15:8

This people draweth nigh unto me with their mouth, and honoureth me with their lips;

BUT THEIR HEART IS FAR FROM ME.

The heartbeat of today's worship156 is in the Spirit . This is the key to everything. Youcannot worship any other way. You should not wish to sing any other way.

JOHN 4:23

But the hour cometh, and now is, when the true worshippers shall worship the Father in

spirit and in truth: for the Father seeketh such to worship him.

"God is a Spirit: and they that worship Him must worship Him in spirit and in truth" (John 4:24 — AV). There is no way to relate to God other than on a spiritual plane.

Life in the Spirit

Life in the spirit, be it singing or worship, or just living you daily life operates on threelevels, and you will see later in the context of song.

By the Spirit — when the spirit influences you to do something, and you goout with that inspiration. Divine MOTIVATION . The motivation to dosomething comes from the spirit; this is being "... led BY the Spirit …" (orspirit). I tend to see this as your spirit under the guidance of the Spirit of God.

This takes knowledge.

With the Spirit — when the spirit inspires you and you take every step with

the spirit. Divine INSPIRATION . I tend to see this as a joint venture betweenyour spirit and the spirit of God. This takes wisdom.

In the Spirit — when the spirit takes over 100% of what you are doing andyou take a back seat. Divine INTERVENTION . This almost has nothing to dowith you. I tend to see this as being a channel.

SKILL VERSUS TALENT

Do not for one moment think that the spiritual connection is meant to replace skill —skill is as much a requirement by God as it is ours; in fact more. God works with the best

156 the act of acknowledging God, evidenced by actions following a feeling of profound love and admiration





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— He does the best, gives the best, and expects the best. God takes the worst and

makes it the best — APEL Truth.087

If God uses the reviled, He makes it esteemed.

What about an unskilled singer in God's hands?

PSALM 3:3

3 Sing unto him a new song; play skilfully157 with a loud noise.

Play skillfully — do not just waltz in and strum or strike and hope the "…anointing 158 will cover my shortcomings." You have to be skillful ! To be skillful, you have to train or

be trained.

Voice Training in the Old Testament

Did you know that in the Old Testament the singers were trained? They were trainedand were skillful . The complement of skilled singers was not small — it was a whole 288in one instance. Did you catch that? Close to three hundred trained and skilful singers!Strive for excellence and you will never have to compete — APEL Truth.

088

1 CHRONICLES 25:7

The number of them along with their brethren, who were TRAINED IN SINGING TO

THE LORD, ALL WHO WERE SKILFUL, was two hundred and eighty-eight.

Take note of the phrase, "… trained in singing to the Lord." Think about it, why didthey need to be trained in singing? I bet it improved their singing! If they could betrained, so can you. In fact, so should you. I believe in excellence, I believe you must doeverything you can in order to attain it.

The interesting thing would be discovering what was in their training program. Iwould love to know that, but of course the Bible does not say anything about it. I hope tofind out after I die.

2 CHRONICLES 34:12

And the men DID THE WORK FAITHFULLY159. Over them were set Jahath and

Obadiah the Levites, of the sons of Merari, and Zechariah and Meshullam, of the sons of

the Kohathites, to have oversight. The Levites, all who were SKILFUL WITH

INSTRUMENTS OF MUSIC.160

The people in the Old Testament were not lazy either: they were faithful and they didthe job that they were appointed to. That means rehearsing when you are supposed to, andarriving on time when you are expected to! Keep excelling in what you are appointed todo. Do not stop just because the people seem to be happy with what you are doing. Doeverything as unto the Lord — not unto men (Colossians 3:23).

157 refers roan ability that has been acquired by training158 manifested power of the Holy Spirit159 training preceded by diligence160 these were trained to play musical instruments





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Do not stop until you impress God — APEL Truth.089

God is the only person you

should care about impressing. If He were to say, "Buddy, you blow my mind," then youcan stop trying or working hard.



TOOLBOX

AUDIO TRAX

Major Scales433

01 C Major Scale02 D or C Major Scale03 D Major Scale04 D or E Major Scale05 E Major Scale06 F Major Scale

07 F or G Major Scale08 G Major Scale09 G or A Major Scale10 A Major Scale

11 A or B Major Scale12 B Major Scale

Melodic Minor Scales434

13 C Melodic Minor Scale

14 D or C Melodic Minor Scale15 D Melodic Minor Scale

16 D or E Melodic Minor Scale17 E Melodic Minor Scale18 F Melodic Minor Scale

19 F or G Melodic Minor Scale20 G Melodic Minor Scale

21 G or A Melodic Minor Scale22 A Melodic Minor Scale23 A or B Melodic Minor Scale

433 two octave from below middle c — same ascending and descending434 also two octave from below middle c — difference ascending and descending orders





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24 B Melodic Minor Scale

Harmonic Minor Scales435

25 C Harmonic Minor Scale

26 C or D Harmonic Minor Scale27 D Harmonic Minor Scale

28 D or E Harmonic Minor Scale29 E Harmonic Minor Scale30 F Harmonic Minor Scale31 F or G Harmonic Minor Scale32 G Harmonic Minor Scale

33 G or A Harmonic Minor Scale34 A Harmonic Minor Scale

35 A or B Harmonic Minor Scale36 C Harmonic Minor Scale

Chromatic Scales436

37 C Chromatic Scale38 F Chromatic Scale

39 G or A Chromatic Scale

Meterless Metronome437

40 MM = 7041 MM = 10042 MM = 120

2 Pulse Meter Metronome438

43 Two-Two at 70 bpm44 Two-Two at 100 bpm45 Two-Two at 120 bpm


46 Three-Four at 70 bpm47 Three-Four at 100 bpm48 Three-Four at 120 bpm


49 Four-Four at 70 bpm50 Four-Four at 100 bpm51 Four-Four at 120 bpm

435 two octave from below middle c — same ascending and descending436 two octave from below middle c — same ascending and descending437 60 second duration438 60 second duration439 60 second duration440 60 second duration





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6/8 Meter Metronome441

52 Two-Two at 70 bpm53 Two-Two at 100 bpm54 Two-Two at 120 bpm

55 C Major Scale Chord Sequence442

d - d6 - s - s7 - s6/9 - s - f - dsus -

d - dM7 - s6 - sM9 - s6 - s - fM9 - d6 -

d - dM9 - s7 - s6 - s - s7 - fM7 - rm6 -

d - lo7 - mo7 - s7 - tm7 5 - s - rm6 - ssus7 -

s11 - d7 - s - s7 - s6/9 - s - f - dsus -

d - d6/9 - s6 - s6/9 - rm7 - msus - fM9 - dsus -

56 C Dorian443 Scale Chord Sequence444

dm - dm7 - sm - ssus7 - sm - - - f6/9 - dm6 -

dm7 - dsus7 - ssus - sm - lm7 5 - maw - mawM9 - dm -

dm - - - sm - ta - lm7 5 - mawM9 - maw6 - rm7 -

dm - dm7 - sm - ssus - f7 - f9/6 - maw - rm7 -

dsus7 - dm - sm - - - lm7 5 - - - f - dsus -

dm - - dsus sm - maw - mawm7 - f9/6 -lm7 5

- sm -

57 Diatonic 2nd [E ]445(start)d — r r — m m — f f — s s — l l — t t — d(end) 446 447 (end)d — t t — l l — s s — f f — m m — r r — d(start)448

58 Dorian 2nd [A minor](start)d — r r — maw maw — f f — s s — l l — t t — d(end) (end)d — r r— maw maw — f f — s s— law law — ta ta — d(start)

59 Diatonic 3rd [F ](start)d — m r — f m — s f — l s — t l — d t — r(end) (end)t — r d — m r — f m — s f — l s— t l— d(start)

60 Dorian 3rd [G minor](start)d — maw r — f maw — s f — l s — t l — d t — r(end) (end)ta — r d — maw r —f maw — s f — law s — ta law — d(start)

61 Diatonic 4th [D ](start)d — f r — s m — l f — t s — d l — r t — m(end) (end)l — r t — m d — f r — s m — l f — t s — d(start)

441 only 1 minute or 60 seconds in length on avarage442 bars separated by ":" for clarity; tempo is MM = 70; key = E , with click track overlay443 based on d, r, maw, fah, soh, law, taw and doh 444 bars separated by ":" for clarity; tempo is MM = 90; key = E m, with click track overlay445 start of sequence446 end of ascedning order, and middle of entire sequence447 end of sequence448 start of descending order, and middle of entire sequence





287

62 Dorian 4th [F# minor](start)d — f r — s maw — l f — t s — d l — r t — maw(end)law — r ta — maw d — f r — s maw — law f — ta s — d(start)

63 Diatonic 5th [E](start)d — s r — l m — t f — d s — r l — m t — f(end)

(end)s — r l — m t — f d — s r — l m — t f — d(start)

64 Dorian 5th [C minor](start)d — s r — l maw — t f — d s — r l — maw t — f(end) (end)s — r law — maw ta — f d — s r — law maw — ta f — d(start)

Author Singing [© 1995 – M. Michael (Priesthood Music)]

65 I Will Abound66 I Will Stay67 Father We Adore You68 You Have The Holy Name69 Lord of Lords

70 Spirit We Are Friends71 Ancient Yahweh72 All Hail Holy King

Author Singing [© 1998 – M. Michael (Priesthood Music)]

73 North Ridge Sunset74 Love Never Fails75 Mountain Dance





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EXERCISE SUMMARY

EXERCISE NUMBER RECURRENCE PURPOSE PAGE

1 PCUH SIMPLE BREATHING 161

2 PCUH BREATH ENDURANCE 163

3 PDUH BREATH INTENSITY 1644 PDUH BREATH POWER 164

5 PDUH FRICATIVE HUM FORMATION 165

6 PRUH SELECTION OF NOTES 167

7 PDUH GEARING 169

8 PDUH RESOUNDING 170

9 PRUH MODAL PACING 172

10 PRUH EXTENDED LEAPING 177

11 PRUH BI-DIRECTIONAL LEAPING 179

12 PRUH POPULAR RIFFS 180

13 PCUH PITCH ENVELOPE 189

14 PCUH SYLLABICATION EXTENSION 190

15 PCUH VOLUME ENVELOPE 192

16 PFUH TONE ENVELOPE 19317 PCWH SYLLABIC RIVER WALKING 200

18 PRFL PERCEIVING 241

19 PRFL GENERATING 244

20 PRUH AUDITIONING 245

21 PRUH BROWNING 257

22 PRUH BRIGHTENING 258

23 PRFL LUNG CAPACITY 259

24 PRUH VIBRATIONS 263

25 PRUH H-PULSE 264

26 PRUH HARMONY PARTS 265

27 PRUH CHORDAL PARTS 265

28 PCUH EXPRESSIONIST RIVER WALKING 280

29 PCUH VIRTUAL BAND 282

The purpose of the exercises is simply to correct your BREATHING, PURIFY yourelements and ENHANCE your technique. You must rehearse as long as you feelinadequate.

In PURIFICATION, you priority focus is PITCH and TIME — and inENUNCIATION, your priority focus is DYNAMICS and HEART . The frequency codesare merely a guideline, if you have no problem with breathing, there is no reason why youshould focus on the breathing exercise. Be careful, many singers fail to judge their ownweaknesses; they base their own assessments on people's opinions and therefore, fail to

progress to beyond the false-hearted comments of their loved ones.If you want to know how perfect a singer you are, simply get an audience of strangers

to assess your Expressionist River Walking449 and Virtual Band450 techniques. If you passthe assessment without a single error on any of the six elements, you have arrived.

449 APEL Exercise 28450 APEL Exercise 29





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EXERCISE WORKSHEETS

Exercise 1: Simple Breathing451

No. Inhalation Results Exhalation Results

01

02

03

04

05

06

07

08

09

10

11

12

13

14

15

16

17

18

19

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21

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23

24

25

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28

2930

31

32

33

34

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36

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38

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40

41

451 Row one show how when you inhale, you check the INHALATION COLUMN, if you get it right, you will check the

results column accordingly. At two inhalations per minute, the worksheet should last you 20 minutes, make copies so thatyou can do the exercise over and over, unless you choose to use pencil and erase your markings for the next exercise.





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Exercise 2: Breath Endurance452

No. Walk/Run Duration Date Results

01 Walk or Run 33 min 12/08/95 or

02

03

0405

06

07

08

09

10

11

12

13

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44

452 The idea of this table is for you to indicate what you did — was it a walk or a run? When you did it, how long was the

session? The answer to this question will be in minutes and will vary according to your sessions. Try and be faithful to yourminimum duration of 30 minutes, where you have exceeded the time, record the actual minutes. Recording the date is

important in tracking your routine. In the final column, you can add a tick ( ) to indicate OK and a cross ( ) to indicatefailure, i.e., when you did not meet the minimum duration or did not have your session.





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Exercise 3: Breath Intensity453

No. Exhalation Results Exhalation Results

01

02

03

0405

06

07

08

09

10

11

12

13

14

15

16

17

18

19

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4445

46

47

453 In this exercise, the first two columns are the same as the second pair, that is, you must work across the table beforeyou move to the next row. Check to indicate that you have completed an EXHALATION, in the RESULTS column, indicate

whether it was successful or not by ticking off similarlly with an OK ( ) or FAIL ( ).





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Exercise 4: Increasing Breath Power454

No. Inhalation Results Exhalation Results

01

02

03

04

0506

07

08

09

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

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44

4546

454 The difference between this and the previous exercise is that in this one, you must first INHALE, with specificinstructions to do this through the nose, if you fail to inhale through the nose, youmust approriately tick it off as a FAIL.

There are two tick against INHALATION, the first under the INHALATION column indicating whether you did it or not, and thesecond, whether you succeeded or not. Success will be measure by your judgement of your own performance based on

steadiness and power you experienced. EXHALATION will be measured the same (was it throught the mouth) and have itsown results column.





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Exercise 5: Hum Formation455

No. Fricative Results Hum Results

01

02

03

0405

06

07

08

09

10

11

12

13

14

15

16

17

18

19

20

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23

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43

44

455 Each row is one entry. There are two check points, the performanc eof the fricative is checked as having taken place,or otherwise, and the results are judge against success of failure. When the fricative is converted to a hum, the same

process takes place, first an indication of whether it took place or not, and then the outcome of the hum — was it good orbad? Use the ENVELOPE and RULER PRINCIPLES are the critria for evaluation of your results.





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Exercise 6: Selection456

No. Note Name Results Note Name Results

01

02

03

0405

06

07

08

09

10

11

12

13

14

15

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4445

456 In the selection exercise, you simply need to write the name of the note, and then hear it or vice versa, when you

sound it internally, check the results as OK ( ) or FALSE ( ). Complete the row horizontally before you move to the nextrow. Remember that the objective is to HEAR the note internally. You must judge yourself correctly.





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Exercise 7: Gearing457

No. Note Name Results Note Name Results

01

02

03

0405

06

07

08

09

10

11

12

13

14

15

16

17

18

19

20

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4445

457 Just like in the selection exercise, you simply need to write the name of the note, and then GEAR FOR IT, or vice

versa. When you GEAR UP, check the results as OK ( ) or FALSE ( ). Complete the row horizontally before you move to the

next row. Remember that the objective is to GEAR UP for the note visibly but not audibly (you still need to hear the auditionin your heart). You must judge yourself correctly.





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Exercise 8: Resounding — Notes and Intervals458

No. Note or Interval Results Note or Interval Results

01

02

03

0405

06

07

08

09

10

11

12

13

14

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47

458 In the first column, write the note or the interval name, and in the results column, indicate the outcome by using an

OK ( ) or FAIL ( ) mark. Compare this with your tape recorded version afterwards and confirm whether your judgement onthis worksheet was the way you marked it, it is sometimes easier to be objective when you are not singing, hence the tape.





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Exercise 9: Modal Pacing459

No. Launch Note Leap Results Launch Note Leap Results

01

02

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0405

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47

459 The emphasis of this exercise is the leap from one note to the next, so that you record the note from which you arejumping and the results.





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Exercise 10: Extended Leaping460

No. Step Pattern Leap Results Step Pattern Leap Results

01 strm dfl

02

03

0405

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46

460 In the Step Pattern column, simply write down the actual notes of the pattern, and accompany the first half of the

row with the appropriate results, right ( ) or wrong ( ).





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Exercise 11: Bi-Directional Leaping461

No. Launch and Landing

Note

Leap Results Launch and Landing

Note

Leap Results

01 A - C d - t

02

0304

05

06

07

08

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4344

461 In past exercises, we were not interested in the name of the note you launched from, but rather, whether youactually did launch from that note — to add variation and encourage HABITUATION SELECTION, we require that you writethe note out in solfa, together with the landing or destination note (if you insist you may use alpha, although it defeats the

aural advantage of the note). Your results must be added accrodingly. Remember that the row caters for two parts of theexercise.





300

Exercise 12: Popular Riffs462

No. Popular Riff Riff Results Popular Riff Riff Results

01 sf2d 463 ldrdl

02

03

0405

06

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462 The popular riff must be written out in note form, the rhythm thereof will vary with your feel based on the pitch

template of the notes you have associated into a motif. The results must be added accordingly, in your discretion of how

well you think the riff was delivered.463 Inflections are easier written as numbers than in their actual names, i.e., d2s instead of d maw s





301

Exercise 13: Pitch Envelope464

No. Syllable Score For 10 Runs Syllable Score For 10 Runs

01 Chi Dur

02

03

0405

06

07

08

09

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464 The syllable must be written out in full, the results must only be reagarded as CORRECT ( ) when all 10 syllableswere performed immaculately, where youhave missed even just one, or the one was not 100 correct, the results for all 10

should be a WRONG ( ). DO not cheat on your own progress. The pitch envelope is very important.





302

Exercise 14: Syllabication Extension465

No. Syllable Set Target Melody Target Technique Set Results

01 Du, Ree, Chi, Vo, Ker Q&A (or Phrase) Pitch Envelope

02

03

0405

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46

465 This exercise might be slightly more complicated, in the first column, you must decide on the syllable set, once this isdone, you muse decide on what the form of target melody will be (where you choose, you can even include a structure such

as ABA1) in the context of phrase or Q&A or similar. Finally, you must decide on the technique. When you carry out yourperformance, evaluate the whole set in its various aspects of syllables, target melody format and technique employed.





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Exercise 15: Volume & Sustain Envelope Superset 466

No. Syllable Duration Volume Results Time Results

01 Hee 15s

02

03

0405

06

07

08

09

10

11

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4445

466 This is a superset of VOLUME and SUSTAIN. Pick a syllable and use it against ONE NOTE, the same note used for theprevious syllable, and to be used for all subsequent syllables you pick. Check the volume envelope — determine a duration in

seconds and see if you can complete it without fluctuation. The longer the duration, the harder the body of the envelopebecomes.





304

Exercise 16: Tone & Sustain Envelope Superset467

No. Syllable Duration Volume Results Time Results

01 Hee 15s

02

03

0405

06

07

08

09

10

11

12

13

14

15

16

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4445

46

467 This is a superset of TONE and SUSTAIN. Pick a syllable and use it against ONE NOTE (the note should be in the middleto head register of your voice), the same note used for the previous syllable, and to be used for all subsequent syllables you

pick. Check the volume envelope — determine a duration in seconds and see if you can complete it without fluctuation. Thelonger the duration, the harder the body of the envelope becomes.





305

Exercise 17: Syllabic River Walking468

No. Session Theme Duration Results

01 Life: l d r 15s

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468 This exercise is unique, the first column is extremely creative, you can write a lyrical theme together with a

sequential or modal riff. Your results will be tabled accordingly — it is important that you decide on a duration before youproceed with the exercise. This will form part of the target for your session.





306

Exercise 18: Perceiving469

No. Melodic Concept470

01 ||m.,s:-:.,f:m.r,d.r|ll:-:-471

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469 based on the spiritual song and psalm — comes through intervention and inspiration470 wait for the full melodic phrase before you write it down, your writing skills will have to be improved471 single line solfa





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Exercise 19: Generating472

No. Startup Note Tempo Melodic Outcome473

01 m MM = 68 ||m.,s:-:.,f:m.r,d.r|ll:-:-

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472 similar to perceiving but based on the hymn song, that is spiritual motivation473 the end product is the same as in perceiving, only the method is different





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Exercise 20: Auditioning

No. Generated or Perceive Melody474 Assessment

01 ||m.,s:-:.,f:m.r,d.r|ll:-:-475 16%476

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474 you may rehearse the inner song, i.e., the inner melody before you resound it475 if your transcription skills are low, you might have a problem — once transcribed, do not sight read you melody,

remember it from the heart (the idea is to aurally reproduce what you hear)476 rate yourself on a scale of one to one hundred on your rendition of the perceived or generated melody





309

Exercise 21: Browning

No. Note477 Duration Browning Effect

01 E (d in Key D Major) 16%478 23%

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477 it is important to indentify the note by name, iether solfa or letter name478 rate yourself on a scale of one to one hundred on your rendition of the perceived or generated melody





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Exercise 22: Brightening

No. Note479 Duration Brightening Effect

01 E (d in Key D Major) 16%480 23%

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479 it is important to indentify the note by name, iether solfa or letter name480 rate yourself on a scale of one to one hundred on your rendition of the perceived or generated melody





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Exercise 23: Lung Capacity

No. Breath Hold Duration 15 Seconds 30 Seconds Longer

01 6s481 37s482

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481 indicates that after inhalation, you held your breath for 6s482 37 seconds, indicating that you did not make your minute (if it is longer thatn 1 minute indicate the full duration,

e.g., 67s)





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Exercise 24: Vibrations

No. Syllable Pulses Per Second Connective Quality

01 Re 3 5%483 (too disjointed)

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483 rate in percentage and include commnets where necessary





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Exercise 25: H-Pulse

No. Scale Pulses Per Second Scale Accuracy

01 F m 4 5/7484

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484 meaning you got 5 notes out of 7





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Exercise 26: Harmony Parts

No. Scale Interval or Part Harmony Accuracy

01 C m 3rd (alto) 3/7485

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485 meaning you got 3 notes out of 7





315

Exercise 27: Chordal Parts

No. Chord Part Harmony Interval Assessment

01 Tonic M7486 5th (tenor) 3rd487

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486 identify the chord487 the interval you picked from the chord





316

Exercise 28: Expressionist River Walking

No. Chord Part Harmony Interval Assessment

01 Tonic M7488 5th (tenor) 3rd489

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488 identify the chord489 the interval you picked from the chord





317

Exercise 29: Virtual Band

No. Song Pitch Time Harmony Stage

01 "Forever" — Kling Rut490 5% 56%491 45% No eye contact492

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490 song title and artist491 rate in percentages492 add comments





318

MEANINGS OF FOREIGN TERMS493

493 Although in this book we cannot cover the complete dictionary of foreign words used in music, we have includedthose that seem necessary for you to study APEL.

Aa tempo — (Italian) in time, resuming normal speed after

a variation.

accelerando (accel.) — (Italian) gradually faster.

adagio — (Italian) slow, but generally not as slow aslargo.

agitato — (Italian) agitated.al segno — (Italian) as far as the sign.

alla — (Italian) to the, in the manner of.

alla marcia — (Italian) in the style of a march.

allargando — (Italian) broadening.

allegretto —(Italian) lively, but less so than allegro.

allegro —(Italian) quick tempo, lively.anacrusis — an unstressed beat (usually the last or up-

beat).

andante —(Italian) moderate tempo, going, moving.

andantino — (Italian) faster than andante, slightly

modified andante.

animando — (Italian) becoming more lively.

animato — (Italian) animated, lively.

attaca — (Italian) go straight on, immediate move on tothe next section.

ausdruck — (German) expressively.

B

belebt — (German) lively, animated.

ben — (Italian) well.

bewegt — (German) with movement, agitated.

C

cantabile — (Italian) 'singable,' in a singing fashion.

cantando — (Italian) singing.

capriccioso — (Italian) in a whimsical, fanciful style.

colla destra — (Italian) with the right.

colla sinistra — (Italian) with the left.colla — (Italian) with the.

comodo — (Italian) convenient.con brio — (Italian) with vigour.

con forza — (Italian) with force.

con spirito — (Italian) spirited.

con — (Italian) with.

con espressione — (Italian) with expression.

con moto — (Italian) with movement or motion.con anima — (Italian) with soul, with feeling.

con grazia — (Italian) with grace.

crescendo (cresc.) — (Italian) growing, increasing involume.

D

da capo al fine — (Italian) from the beginning to theword fine.

da capo (D.C.) — (Italian) from the beginning.da capo dal segno — (Italian) from the beginning

and then from the sign.

da capo al segno — (Italian) from the beginning tothe sign.

dal segno — (Italian) from the sign.

decrescendo (decresc.) — (Italian) decreasing inloudness.

delicato — (Italian) delicate.

diminuendo (dim.) — (Italian) decreasing inloudness.

dolce — (Italian) sweet, soft.

E

empfindung — (German) emotion, feeling.

energico — (Italian) energetic.espressivo — (Italian) expressive.

F

fermata — (Italian) pause, literally a stop.

fine — (Italian) the end.

forte (f) — (Italian) strong, loud. forte-piano — (Italian) pianoforte, loud and then

immediately soft.

fortissimo (ff) — (Italian) very loud.

forzando (f) — (Italian)) forcing (indicated by >

above the note/s).

frisch — (German) vigorous. fröhlich — (German) cheerful, joyful.

G

grave — (Italian, French) very slow, solemn.

grazioso — (Italian) graceful.

K

kräftig — (German) strong.

L

langsam — (German) slow.

langsamer — (German) from langsam, more so than

langsam.

larghetto — (Italian) a little largo, slow but not asslow as largo.

largo — (Italian) playing to be slow, broad.





319

lebhaft — (German) lively, vivace.

legatissimo — (Italian) as smooth as possible.

legato — (Italian) bound, smooth, tied.

leggiero — (Italian) light

lento — (Italian) slowly or lent (French).lustig — (German) cheerful.

M

ma non troppo — (Italian) but not too much.

maestos — (Italian) majestic.

mano sinistra — (Italian) left hand.

mano destra — (Italian) right hand.

marcato — (Italian) emphatic, accented.

marziale — (Italian) in a military style.mässig — (German) at a moderate speed.

meno — (Italian) less.

mesto — (Italian) sad.

mezzo — (Italian) half.

mezzo forte (mf) — (Italian) half-loud, midway betweenloud and soft.

mezzo staccato — (Italian) half short or detached.

mezzo piano (mp) — (Italian) half-loud.

misterioso — (Italian) mysterious.

moderato — (Italian) moderate.

molto — (Italian) much.

morendo — (Italian) dying away.

mosso — (Italian) moved, moving fast.

N

non legato — (Italian) not bound or tied.

Oopus — (Italian) work.

P

pesante — (Italian) heavy.

pianissimo (pp) — (Italian) very soft.

piano (mp) — (Italian) soft.

piű — (Italian) more.

poco — (Italian) little, slightly, gradually.

portato — (Italian) carrying on without breaking.

posthumous — (English) published after author's death.

prestissimo — (Italian) very fast.

presto — (Italian) faster (faster than allegro).

prima volta — (Italian) first time.

Rrallentando (rall.) — (Italian) slowing down.

rasch — (German) quick.

rinforzando — (Italian) reinforcing, rinf., rfz, rf.

rinforzato — (Italian) reinforcing, rinf., rfz, rf.

ritardando (rit.) — (Italian) slowing down, holdingback.

ritenuto (rit.) — (Italian) held back, slowing down(immediate slowing).

ruhig — (German) peaceful.

Sscherzando — (Italian) playful, joking.schnell — (German) fast.

seconda volta — (Italian) second time.

semplice — (Italian) simple.

sempre — (Italian) always.

senza — (Italian) without.

sforzando — (Italian) accented, forced, sfz, sf.

sforzato piano — (Italian) forced but quite.

sforzato — (Italian) accented, forced, sfz, sf.

smorzando — (Italian) dying away in tone andspeed, smorz .

staccatissimo —- (Italian) very short.

staccato — (Italian) detached (dots above the notesto be detached).

stringendo — (Italian) gradually getting faster.

subito — (Italian) suddenly, sub.

T

tempo commodo — (Italian) at a moderate speedtempo di menuetto — (Italian) at the speed of a

minute.

tempo primo — (Italian) at the original pace.

tenuto — (Italian) held.

traurig — (German) sad.

V

vivace — (Italian) lively.

volti subito — (Italian) turn (the page) at once.

Z

zart — (German) tender, delicate.





320

INDEX

A

ability, 4, 10, 11, 12, 14, 32, 34, 37, 38, 39, 48, 92,137, 139, 145, 150, 158, 162, 172, 210, 217, 219,

221, 231, 234, 248, 260, 267, 310academic, 6, 9, 10, 11, 37, 69, 189, 191, 193, 202account, 6, 23, 32, 53, 54, 266

achieve, 62, 89, 220, 244, 266acquired, 14, 30, 32, 105, 151, 195, 268acute, 42

admission, 37adult, 50agent, 58, 143, 144

always, 20, 23, 27, 30, 35, 36, 48, 59, 61, 71, 72, 77,86, 88, 97, 100, 117, 119, 129, 130, 136, 137, 138,139, 141, 150, 153, 157, 158, 165, 171, 176, 179,

192, 194, 198, 200, 201, 202, 203, 205, 223, 233,234, 237, 239, 240, 246, 257, 261, 262, 263, 264,266, 267

analyze, 26, 48, 102, 120, 124, 157, 198, 210, 215

answer, 21, 23, 24, 29, 34, 111, 126, 175anxious, 28

Apel, 6, 33APEL Truth, 4, 7, 8, 10, 11, 13, 14, 15, 17, 18, 20, 21,

22, 23, 24, 25, 26, 27, 28, 29, 30, 32, 33, 34, 35,

36, 37, 40, 41, 42, 43, 52, 54, 55, 59, 60, 61, 62,63, 64, 65, 66, 69, 70, 71, 72, 74, 76, 78, 90, 92,102, 119, 128, 136, 137, 140, 141, 142, 143, 144,

145, 146, 147, 148, 149, 150, 151, 152, 153, 155,158, 161, 162, 163, 164, 167, 172, 174, 177, 178,179, 180, 182, 184, 189, 190, 191, 192, 193, 194,

195, 196, 197, 198, 199, 201, 203, 204, 217, 220,221, 222, 223, 224, 225, 228, 231, 232, 233, 234,

235, 236, 237, 238, 239, 240, 241, 242, 244, 246,248, 249, 250, 251, 252, 257, 259, 260, 261, 262,263, 264, 265, 266, 267

applause, 8, 31

Approach, 8area, 8, 19, 20, 23, 24, 30, 58, 150, 168, 177, 228,

231, 232, 237, 256, 257

argument, 39, 139arrival, 202, 203, 204, 205artistic, 11, 37, 198, 246

aspects, 41, 62, 75, 92, 123, 151, 165, 168, 172, 185,202, 244

attack, 157, 158, 159, 160, 181, 182, 185, 245

audience, 14, 28, 29, 40, 167, 191, 222, 223, 235, 241,242, 248, 254, 257, 260, 266, 310

aural, 148, 219, 221, 224, 225, 234, 239, 242, 244, 257

aurally, 222, 242authority, 47, 50, 56

B

background, 15, 24, 78, 134, 140, 141, 257

balance, 48, 172, 175, 236, 243battle, 59, 60, 65, 222, 236, 257, 263

believebelieved, 10, 11, 21, 23, 36, 147, 238

Believe, 20, 39, 149, 235benign, 43

best, 11, 20, 24, 25, 35, 36, 37, 42, 64, 65, 74, 75, 76,123, 125, 138, 145, 170, 178, 189, 235, 241, 248,258, 260, 266

Bible, 38, 39, 59, 227, 229Bible, 38, 39, 50, 51, 52, 53, 58, 59, 71, 74, 140,

238, 259, 260, 264bless, 21

blocks, 153, 155, 180, 229, 244body, 9, 12, 13, 14, 15, 17, 18, 51, 52, 53, 54, 59, 60,

69, 70, 146, 147, 157, 158, 159, 163, 178, 181,182, 197, 201, 204, 220, 226, 228, 231, 233, 245,255, 258, 263, 266

book, 1, 6, 7, 8, 9, 13, 21, 24, 31, 32, 39, 45, 59, 62,

75, 79, 91, 134, 136, 139, 143, 205, 208, 210, 217,259

born, 4, 17, 20, 25, 30, 31, 35, 39, 55, 56, 62, 147,178, 189, 207, 228, 242

breath, 9, 11, 17, 37, 51, 52, 156, 157, 158, 159, 163,

165, 177, 184, 188, 203, 224, 237, 238, 239, 240,242, 247, 268, 310

build, 4, 6, 7, 153, 154, 180, 236

business, 62, 224, 310

C

calluses, 43

cancer, 18, 44channel, 63, 196, 233characteristics, 18, 123, 164, 165, 179, 181, 182, 185,

186, 199, 202, 212, 246, 249, 256Choleric, 45, 47, 49chords, 67, 68, 83, 119, 120, 121, 123, 132, 169, 170,

171, 202, 204, 206, 212, 213, 215, 218, 249, 253chorus, 125, 126, 201, 208Christian, 30, 59, 140, 141, 259, 261

chromatic, 79, 81, 82, 83, 84, 86, 107, 109, 166, 170,171, 182, 184, 185, 186, 199, 207, 310

chronic, 42, 43

class, 20, 21, 75, 141, 190, 220, 237classical, 11, 12, 24, 79, 210climax, 201

closure, 202, 203, 206combine, 125, 182, 185common, 13, 14, 35, 41, 42, 45, 49, 88, 93, 139, 150,

175, 177, 189, 196, 200, 201, 202communication, 9, 13, 46, 69, 82, 111, 190, 194, 223,

225, 242, 268

composer, 87, 89, 91, 112, 126, 131, 201, 211, 235,252, 253

concept, 4, 60, 63, 71, 72, 81, 99, 102, 126, 127, 131,

140, 153, 155, 162, 171, 176, 179, 187, 190, 195,202, 207, 234, 238, 240, 265

concern, 37, 233

condition, 1, 42, 43, 44, 138, 139

conductor, 124, 240confidence, 11, 35, 40, 152, 164, 199

confirm, 50, 162, 238consonance, 152, 170, 171, 212, 213, 215, 216construction, 82, 83, 118, 120, 175, 249

context, 12, 17, 22, 51, 59, 62, 79, 81, 131, 140, 150,165, 171, 176, 179, 184, 193, 210, 225, 226, 227,232, 255, 267, 269, 310

cords, 4, 8, 10, 13, 16, 17, 41, 163, 176, 177, 178,247, 248





321

count, 40, 48, 77, 84, 85, 92, 103, 124

counterpoint, 134, 205, 211course, 6, 7, 19, 22, 29, 35, 37, 40, 42, 60, 71, 74, 96,

126, 156, 157, 226, 262creative, 36, 46, 75, 76, 193, 196, 234, 235culture, 10, 94, 210curve, 153, 204, 240, 242, 266, 310

Ddaily, 8, 47, 64, 137, 163, 194, 247, 251, 252, 263dead, 24, 57, 58, 69, 177, 178, 239, 266

death, 55, 56, 57, 58, 105, 117, 228, 230decision, 6, 41, 59, 89, 165, 222, 237, 238, 261, 262decrease, 159, 181

defile, 70, 71, 230, 264degree, 9, 24, 105, 106, 107, 108, 129, 130, 131, 137,

219, 310

detail, 15, 47, 49, 79, 91, 123, 130, 155, 205, 213, 215direction, 10, 29, 56, 67, 88, 131, 172, 192, 193, 229,

266, 267

discordant, 151, 152discussions, 137, 204dissonance, 151, 170, 171, 212, 213, 215, 216

distinct, 52, 53, 54, 125, 158, 203, 219, 226, 244, 250

divine, 38, 232dream, 4, 21, 192, 226

drunk, 71, 227dynamics, 88, 91, 123, 137, 152, 157, 158, 179, 184,

185, 198, 199, 202, 216, 220, 245, 248, 249, 260,267

E

ear, 76, 84, 94, 151, 152, 159, 178, 185, 189, 194,198, 200, 201, 206, 217, 242, 256, 310

education, 9, 19, 27, 34, 35, 207

effect, 11, 30, 45, 70, 77, 132, 139, 161, 170, 171,

178, 199, 203, 205, 207, 213, 215, 223, 247, 249,254, 256

effective, 10, 42, 43, 143, 166, 196, 204, 210, 248,

256emission, 156, 160, 163

emotion, 56, 112, 115, 141, 145, 191, 193, 310emotional, 43, 45, 47, 139, 167, 173, 192, 203, 231,

260emphasis, 11, 14, 92, 97, 168, 199, 254

enigma, 164, 199ensure, 165, 166, 167, 171, 172, 173, 175, 257enunciation, 164, 167, 173, 188, 191, 193, 223, 232,

244, 246, 266, 267, 310ENUNCIATION, 4, 145, 152, 173, 188, 205, 258

envelope, 156, 157, 158, 159, 179, 180, 181, 182, 183,

184, 185, 186, 188, 244, 245, 246, 250epiglottis, 15, 16errors, 26, 146, 147, 167exercises, 1, 4, 137, 138, 150, 158, 159, 165, 166,

167, 168, 171, 178, 180, 182, 184, 185, 220, 247,

310existence, 79, 239, 255

experience, 22, 32, 37, 43, 62, 64, 138, 139, 140, 141,156, 166, 167, 184, 189, 192, 202, 203, 204, 234,241, 242, 258, 259

extended, 39, 99, 100, 108, 158, 171, 172, 228

F

fact, 6, 8, 12, 14, 16, 19, 20, 31, 35, 38, 52, 56, 65,66, 68, 69, 73, 74, 75, 76, 78, 109, 139, 145, 147,158, 169, 177, 178, 189, 190, 199, 203, 207, 217,219, 226, 237, 244, 250

factor, 87, 120, 206, 212, 214, 215, 216, 256

facts, 7, 48fake, 42

fall, 22, 61, 64, 109, 179, 202, 240, 255, 261falsetto, 9, 10, 256

fear, 56, 65, 141, 174, 192, 228, 237, 240filled, 67, 68, 71, 72, 227, 228, 232, 239, 265final, 50, 66, 85, 126, 200, 215, 242, 244, 260fingers, 76, 77, 163, 178, 220, 241first, 7, 8, 15, 20, 23, 24, 25, 27, 30, 32, 33, 37, 50,

56, 61, 62, 63, 65, 69, 76, 77, 78, 79, 82, 85, 92,

117, 124, 126, 128, 136, 143, 144, 146, 150, 151,152, 156, 157, 158, 163, 164, 167, 170, 173, 182,189, 190, 191, 200, 202, 203, 212, 213, 223, 227,231, 233, 235, 238, 239, 241, 245, 246, 252, 253,260, 262, 264, 265, 267

fixation, 265, 266fluctuation, 179, 181

focus, 15, 26, 27, 33, 40, 46, 47, 88, 140, 151, 153,

156, 164, 165, 171, 172, 188, 203, 211, 215, 220,256, 257, 261, 265focusing, 47, 81, 153, 257

folds, 16, 43, 44followers, 64, 227footnotes, 7

force, 63, 66, 70, 114, 172, 175, 192, 201

foreign, 112, 113, 121, 138, 171, 200format, 138, 157formula, 82, 119foundation, 4, 8, 11, 45, 65, 84, 88, 123, 132, 154,

171, 173, 190, 192, 198, 207, 218, 224, 232, 249,

261

frequency, 13, 149, 167, 185, 186, 187, 212, 242, 244,247, 250, 310

fricative, 159, 160, 163, 188, 224, 248

fundamentals, 105, 151

G

generate, 177, 187gift

gifts, 23, 39, 248

glass, 233glycerin, 41, 266goal, 20, 45, 159, 259, 266

God, 12, 20, 21, 22, 23, 24, 25, 27, 28, 31, 37, 38, 39,41, 51, 52, 53, 54, 55, 56, 57, 58, 59, 62, 63, 64,65, 66, 67, 68, 69, 70, 71, 73, 140, 141, 179, 196,

197, 224, 225, 226, 227, 228, 229, 231, 232, 234,235, 236, 238, 239, 240, 246, 260, 261

godly, 69, 140

Greek, 39, 45, 53, 54, 67, 68, 199, 225, 236, 240

ground, 11, 28, 51, 52, 72, 154, 174, 179, 221, 230,238, 261, 266

guitar, 12, 15, 17, 24, 87, 247, 258, 266

H

habits, 7, 18, 43, 172, 248, 257, 263, 265habituation, 155, 156, 157, 160, 161, 164, 172, 174,

178, 190happy, 29, 31, 37, 74, 159, 196, 237, 240, 241, 264





322

harmony, 20, 83, 132, 151, 168, 171, 179, 198, 199,

204, 212, 213, 214, 215, 248, 249, 252, 253, 254,255, 267, 310

harmonic, 82, 83, 121, 129, 130, 132, 170, 171,184, 202, 204, 205, 212, 213, 216, 249, 253, 310

head, 15, 41, 42, 155, 157, 158, 161, 162, 163, 179,181, 189, 204, 222, 233, 241

hear, 10, 11, 22, 24, 25, 27, 28, 31, 40, 46, 58, 59, 61,69, 72, 138, 145, 148, 159, 162, 163, 172, 177,

182, 197, 216, 217, 218, 219, 224, 225, 226, 230,233, 242, 243, 250, 253, 262

heart, 7, 12, 13, 14, 21, 22, 26, 28, 29, 32, 53, 54, 56,58, 59, 60, 69, 70, 71, 72, 75, 112, 145, 152, 156,

159, 161, 162, 163, 164, 173, 176, 177, 178, 179,189, 191, 193, 197, 221, 222, 223, 224, 225, 226,227, 228, 229, 230, 231, 232, 233, 234, 236, 239,

240, 241, 242, 246, 257, 258, 261, 262, 263, 264,266

Hebrew, 53, 54, 62, 66, 67

hemorrhage, 44high, 7, 11, 17, 18, 19, 20, 48, 89, 138, 143, 163, 177,

220, 226, 227, 236, 251, 252, 257

human, 10, 12, 16, 17, 18, 22, 45, 50, 52, 54, 56, 68,88, 149, 185, 196, 201, 220, 223, 234, 240, 241,

246, 265

HYMN, 68, 196, 232

I

ideas, 6, 41, 196, 198, 199, 210, 216, 229, 234identify, 46, 107, 125, 145, 150, 157, 174, 202, 213,

218, 219, 253, 267, 310illness, 1

imagination, 19immoral, 262implied, 22, 123, 144, 150, 171, 211, 212, 227, 258,

310important, 6, 7, 9, 15, 28, 61, 69, 72, 76, 79, 81, 82,

84, 86, 93, 95, 96, 102, 105, 124, 126, 133, 136,

138, 139, 140, 143, 149, 152, 155, 163, 173, 174,177, 179, 180, 190, 191, 192, 197, 201, 204, 211,

218, 223, 233, 249, 253, 257, 261, 265impossible, 6, 19, 36, 37, 42, 49, 50, 137, 154, 165,

174, 178, 224, 251, 252, 266improvisation, 254, 255

impurities, 4, 249, 250, 266increase, 159, 160, 177, 178, 181, 184, 247inflections, 102, 103, 130, 133, 171, 207

influenced, 13, 211, 262inhibitions, 8, 136, 155, 156, 193, 235instructions, 32, 65instrument, 8, 9, 12, 15, 17, 18, 36, 42, 52, 68, 87,

88, 89, 91, 146, 147, 149, 162, 166, 171, 173, 174,178, 218, 233, 310

INSTRUMENT, 12, 68intensity, 10, 13, 48, 112, 158, 159, 163, 165, 185,

188, 310

intervals, 76, 77, 106, 107, 108, 109, 110, 111, 112,118, 119, 120, 122, 123, 131, 133, 153, 163, 164,172, 173, 213, 216, 249, 253, 310

J

Jesus, 28, 39, 53, 54, 56, 57, 58, 60, 65, 70, 71, 227,

229, 230, 239, 264

K

keyboard, 87, 88, 90, 128knowledge, 34, 37, 39, 41, 77, 88, 91, 105, 119, 130,

134, 138, 181, 195, 221

L

language, 13, 14, 69, 75, 104, 105, 126, 138, 139, 180,

190, 195, 204, 223, 225, 233, 241, 246laryngitis, 18, 42, 43Laryngitis, 42, 43, 44

Laryngoceles, 44larynx, 8, 12, 15, 16, 17, 18, 42, 139, 140, 145, 146,

147, 148, 149, 150, 176, 178, 179, 197, 233, 246,

256, 266LARYNX, 4, 146, 149, 176leap, 168, 173, 174, 175, 182

lesions, 43, 44lessons, 15, 30, 63, 64Leukoplakia, 44

level, 12, 13, 14, 37, 50, 59, 89, 138, 147, 150, 153,159, 160, 177, 178, 182, 190, 197, 202, 212, 213,214, 215, 217, 219, 224, 226, 227, 242, 244, 255,

260, 265, 266

life, 4, 10, 19, 23, 26, 28, 30, 32, 33, 35, 46, 47, 48,51, 52, 54, 56, 57, 58, 59, 60, 61, 62, 64, 65, 70,

71, 72, 80, 91, 136, 137, 140, 153, 179, 180, 184,186, 192, 195, 196, 197, 199, 204, 217, 220, 226,228, 230, 231, 234, 236, 237, 238, 239, 241, 243,

246, 249, 250, 253, 257, 261, 262, 263, 264listen, 25, 31, 34, 35, 36, 48, 148, 192, 193, 198, 202,

212, 213, 214, 221, 222, 229, 231, 237, 241, 250,

257, 266, 267, 269logic, 7, 51, 126, 237loudness, 13, 115, 185, 212

love, 27, 46, 47, 48, 53, 54, 56, 63, 65, 74, 125, 180,190, 191, 222, 224, 226, 229, 238, 259, 261, 262,264

lungs, 8, 15, 16, 17, 158, 159, 176, 177, 179, 247lyrics, 198, 213, 214, 232, 264

M

manifest, 54, 66, 197

meaning, 8, 11, 53, 65, 67, 68, 69, 70, 77, 79, 81, 87,89, 145, 157, 158, 195, 204, 208, 216, 225, 239,

241, 250, 258, 262measure, 8, 72, 83, 92, 93, 94, 96, 179measurements, 62medical, 1, 14, 42, 139, 159, 310

Melancholic, 45, 48, 49, 202melody, 67, 68, 69, 78, 83, 91, 97, 125, 126, 131, 132,

133, 134, 154, 166, 171, 194, 196, 197, 198, 199,200, 203, 204, 213, 214, 217, 218, 223, 224, 225,226, 231, 232, 242, 247, 249, 252, 253, 254, 255,

310mental, 14, 54, 66, 69, 70, 136, 138, 173, 210, 241,

247, 310mentor, 141

metronome, 22, 123, 124microphone, 11, 25

million, 35, 57, 73, 241, 266mimicry, 141, 265, 266, 267mind, 12, 15, 21, 22, 24, 26, 27, 28, 29, 36, 42, 53,

54, 59, 60, 66, 68, 69, 70, 82, 89, 102, 112, 138,

146, 147, 148, 149, 152, 155, 163, 165, 173, 178,182, 192, 196, 197, 198, 201, 217, 219, 222, 223,





323

226, 227, 228, 229, 231, 233, 234, 240, 242, 245,

248, 256, 260, 262, 265, 267miracle, 24, 31, 32, 248, 266

model, 45, 185modern, 45, 93, 101, 205, 211money, 6, 35, 38, 39, 80, 136, 261, 262, 263, 266month, 19, 35, 144

morph, 200, 204, 256motion, 77, 114, 124, 164, 165, 167, 168, 173, 195,

199, 212, 213, 249, 253motivation, 220, 222, 232motive, 174, 195, 198, 199, 200, 202, 203, 215, 233,

255

mouth, 8, 9, 13, 14, 28, 29, 42, 58, 73, 76, 144, 148,155, 156, 157, 159, 173, 193, 231, 233, 238, 239,241, 242, 246, 247, 257, 262, 263, 264

movement, 13, 76, 81, 114, 124, 150, 151, 158, 165,173, 175, 202, 204, 205, 206, 213, 215, 258, 310

multipart, 11, 205, 212, 213

musicmusical, 8, 20, 24, 26, 28, 41, 52, 63, 68, 75, 89,

112, 123, 134, 152, 173, 192, 195, 196, 202,

203, 204, 207, 211, 217, 221, 225, 229, 232, 310MUSIC, 21, 69, 74, 82, 123, 124, 138, 203, 221

myths, 14

N

negative, 25, 41, 136, 260, 265new, 7, 11, 18, 30, 59, 60, 62, 63, 71, 74, 88, 99, 100,

112, 121, 130, 131, 138, 141, 155, 159, 165, 172,

177, 178, 189, 190, 191, 195, 196, 197, 199, 212,214, 220, 240, 256, 263, 265

night, 25, 27, 28, 30, 136, 137, 220, 225, 227, 235,262

nodules, 43

normal, 14, 17, 18, 19, 37, 46, 68, 78, 113, 136, 138,144, 158, 198, 231, 232, 256

notation, 75, 86, 88, 89, 91, 95, 98, 101, 110, 112,

124, 134, 143, 206, 207, 210, 217, 219, 231, 233notes, 9, 17, 76, 77, 78, 79, 80, 81, 82, 83, 84, 86, 87,

88, 89, 91, 95, 99, 102, 105, 106, 107, 109, 118,119, 123, 127, 128, 130, 131, 133, 145, 146, 150,151, 152, 153, 154, 157, 162, 163, 164, 166, 168,170, 171, 173, 174, 183, 193, 195, 198, 202, 206,

207, 208, 213, 217, 219, 220, 224, 231, 244, 247,249, 253, 256, 310

O

octave, 9, 108, 109, 133, 134, 208, 219, 242, 256, 310open, 16, 28, 68, 122, 157, 159, 190, 222, 231, 233,

262, 264

opera, 10, 11opinion, 26, 28, 42, 196, 199original, 4, 36, 54, 81, 100, 111, 118, 145, 177, 181,

182, 196, 253ossification, 176, 179

P

passage, 15, 28, 38, 39, 41, 53, 66, 144, 197, 225,241, 262

passionate, 49patient, 18, 66, 139, 234pentatonic, 173, 207

people, 8, 10, 11, 12, 13, 17, 25, 26, 27, 29, 30, 31,32, 34, 35, 36, 37, 39, 40, 41, 42, 43, 45, 46, 47,

48, 51, 53, 54, 56, 62, 64, 65, 66, 67, 71, 72, 73,

74, 76, 80, 106, 128, 136, 137, 139, 140, 146, 147,148, 149, 151, 152, 153, 156, 158, 175, 177, 180,

189, 191, 192, 194, 196, 207, 217, 218, 221, 222,223, 224, 226, 234, 235, 236, 237, 238, 239, 242,243, 256, 257, 259, 261, 262, 263, 264, 266, 267,268

perfect, 26, 27, 36, 45, 48, 63, 109, 110, 120, 136,153, 157, 162, 197, 206, 221, 227, 233, 254

performers, 75period, 4, 19, 31, 59, 136, 137, 139, 158, 203, 228Phlegmatic, 45, 48, 49, 202phonation, 13

PHONATION, 13physical, 7, 10, 14, 23, 51, 53, 54, 58, 59, 61, 69, 139,

176, 234, 265

physically, 42, 310physiological, 15, 155, 156, 226, 247piano, 26, 76, 77, 87, 88, 90, 112, 115, 116, 117, 118,

128, 145, 146, 147, 148, 149, 150, 162, 202, 220,258, 262

picture, 26, 30, 63, 126, 155, 200, 233

Pitch, 13, 26, 75, 148, 150, 181, 182, 198, 207, 217,248, 310

placement, 133

play, 9, 12, 24, 52, 64, 68, 74, 76, 77, 89, 90, 91, 92,138, 146, 147, 148, 149, 162, 178, 186, 198, 211,257

Polyps, 43positions, 80, 84, 88

pour, 71, 152, 233, 240, 241power, 11, 12, 17, 47, 58, 59, 64, 65, 66, 140, 158,

159, 160, 162, 194, 196, 227, 230, 239Prenodules, 43

preparation, 28, 68, 145, 195, 310preparedness, 163prescribe, 159

pressure, 13, 47, 48, 139price, 33, 64, 137, 144pride, 40, 228, 230, 261

prime, 120

principle, 86, 94, 99, 105, 156, 176, 179, 181, 182,185, 189, 192, 196, 202, 245, 310

problems, 34, 41, 189, 222, 259process, 14, 23, 59, 85, 139, 143, 150, 161, 172, 176,

190, 194, 196, 197, 203, 204, 210, 211, 217, 225,226, 227, 228, 229, 236, 249, 265, 310

procrastination, 48produced, 8, 9, 10, 11, 13, 15, 16, 17, 63, 101, 153,

158, 310producer, 221, 242progression, 152, 175, 213, 218

PSALMSpsalms, 68, 69, 71, 197, 231

public, 7, 24, 26, 34, 235, 243, 257

pulse, 90, 91, 92, 93, 94, 99, 100, 123, 124, 127, 149,150, 199, 205, 207, 212, 240, 242, 250, 260, 310

purchase, 12, 140purification, 151, 152, 176, 179, 184, 191, 193, 223PURIFICATION, 4, 144, 145, 150purpose, 28, 32, 68, 82, 104, 124, 136, 140, 159, 180,

201, 202, 203, 204, 210, 232, 235, 261, 266

Q

question, 14, 21, 23, 29, 30, 31, 36, 90, 126, 131, 137,146, 180, 185, 203, 237





324

R

radiation, 44, 310range, 9, 13, 86, 87, 89, 91, 160, 166, 172, 180, 185,

187, 213, 242, 247, 252, 256

raspy, 43read, 7, 26, 34, 38, 81, 86, 89, 93, 95, 124, 133, 136,

137, 138, 156, 208, 234, 258, 265ready, 23, 69, 112, 136, 144, 148, 194, 196, 233, 234

reference, 4, 6, 25, 82, 91, 103, 108, 109, 110, 138,140, 149, 150, 162, 174, 180, 182, 197, 204, 219,

227, 247, 310rehearsal, 138, 139, 172, 190, 220, 242relationship, 27, 76, 80, 81, 82, 83, 84, 93, 131, 168,

211, 212, 213, 214, 219relative, 37, 91, 101, 132, 220, 252

repetition, 200, 201, 214, 232, 310

research, 26, 27, 49, 248, 264resound, 164, 184, 220, 226, 248results, 8, 10, 11, 17, 27, 29, 36, 47, 70, 136, 164,

178, 212, 221, 230, 237, 242, 265rhythm, 14, 99, 124, 125, 127, 150, 198, 199, 202,

203, 204, 210, 213, 218, 233, 242, 248, 253, 254,255, 267

river, 27, 28, 72, 153, 192, 211, 236, 310

root, 16, 120, 122, 139, 206, 230, 252rubber, 18, 266

S

sad, 72, 116, 118, 240, 249, 264Sanguine, 45, 46, 49Satan, 52, 54, 55, 56, 57, 58, 60, 62, 63, 64, 70, 229,

235Lucifer, 58, 62, 63, 260

scope, 78, 87, 95, 104, 162, 171, 205, 227, 228

score, 88, 95, 112, 113, 162, 166, 167, 171, 208scriptures, 69, 261

seamless, 160, 163, 190, 191, 265selected, 87, 161, 163, 183, 245semitone, 81, 83, 84, 110, 130, 131, 133, 149, 165,

170, 221, 310

sense, 46, 68, 69, 82, 105, 138, 143, 172, 198, 203,206, 232, 266

sequence, 75, 76, 77, 78, 80, 84, 86, 128, 130, 162,

163, 164, 165, 166, 171, 174, 198, 202, 253shadow, 240, 241sign, 10, 55, 80, 87, 91, 102, 109, 113, 114, 115, 119,

133, 147, 167, 191signature, 91, 92, 93, 94, 96, 97, 98, 99, 100, 101,

102, 103, 104, 130, 133, 134, 141, 166, 172, 193,

199, 208, 212, 218, 220, 267simultaneous, 77, 134, 151, 152, 212, 310sing, 4, 7, 8, 9, 10, 12, 13, 20, 21, 22, 23, 24, 25, 27,

28, 29, 30, 31, 32, 34, 37, 38, 40, 41, 43, 50, 62,64, 65, 70, 71, 72, 73, 75, 76, 77, 92, 126, 139,140, 143, 146, 147, 148, 149, 150, 151, 152, 157,

160, 161, 162, 163, 177, 178, 179, 181, 182, 185,

186, 189, 190, 191, 192, 193, 198, 217, 222, 224,225, 226, 229, 232, 233, 234, 240, 241, 248, 252,

253, 257, 259, 260, 261, 262, 263, 264, 265, 267,268sang, 21, 24, 25, 28, 31, 32, 62, 64, 65, 140, 141,

191, 234, 262singing, 4, 9, 10, 11, 12, 13, 14, 18, 20, 21, 22, 23,

24, 25, 26, 27, 28, 29, 30, 31, 35, 36, 38, 40,

41, 42, 43, 45, 47, 62, 63, 68, 69, 72, 74, 89,91, 92, 114, 134, 137, 139, 140, 141, 145, 146,

147, 148, 149, 150, 151, 152, 153, 155, 156,

157, 158, 168, 169, 176, 177, 178, 179, 180,184, 189, 191, 192, 193, 194, 195, 197, 208,

210, 220, 221, 222, 223, 224, 225, 226, 231,233, 237, 240, 241, 244, 246, 252, 253, 254,257, 259, 260, 261, 262, 263, 265, 266, 267,268, 310

singer, 4, 10, 11, 14, 17, 22, 23, 25, 29, 30, 42, 45,47, 62, 69, 76, 112, 126, 141, 145, 146, 147, 148,

149, 150, 151, 152, 162, 164, 181, 189, 197, 199,205, 210, 221, 222, 223, 242, 248, 252, 253, 254,255, 256, 257, 259, 260, 263, 265, 266

skilful, 74

sol-fa, 161, 169, 170, 171, 173, 206, 207, 208, 217,219, 220, 231, 233, 242

song writing, 194

soprano, 9, 11, 252, 253, 254soul, 21, 25, 51, 53, 54, 59, 68, 70, 114, 173, 191, 232sounds, 9, 12, 13, 16, 17, 22, 27, 36, 64, 75, 76, 77,

78, 82, 94, 109, 136, 137, 149, 152, 153, 164, 177,182, 212, 220, 231, 233, 234, 242, 250, 262, 266,310

speak, 13, 24, 39, 40, 43, 46, 58, 70, 152, 157, 158,177, 190, 192, 193, 194, 202, 223, 224, 225, 227,

237, 241, 242, 247, 257, 266, 267, 268

speaking, 13, 14, 21, 29, 40, 43, 80, 153, 158, 190,197, 228, 233, 239, 257, 266, 267

speech, 4, 9, 12, 13, 14, 18, 40, 41, 73, 139, 140, 148,

153, 156, 158, 176, 177, 190, 191, 194, 223, 250,265, 267, 268, 310

spirit, 20, 28, 50, 51, 52, 53, 54, 55, 56, 58, 59, 60,66, 68, 70, 71, 72, 73, 141, 176, 196, 224, 225,226, 227, 228, 230, 232, 233, 234, 235, 236, 239,240, 241, 242

SPIRIT, 51, 53, 59, 60, 68, 71, 72, 226, 227, 235,264

spiritual, 12, 23, 41, 50, 54, 59, 61, 62, 63, 66, 68,

70, 73, 140, 141, 143, 189, 192, 196, 197, 224,225, 227, 228, 232, 233, 235, 236, 241

staff, 86, 87, 88, 89, 90, 91, 103, 110, 119, 120, 127,

133, 137, 184, 206, 207, 217, 219, 231, 233

step, 37, 69, 89, 134, 143, 151, 155, 165, 168, 169,170, 171, 173, 174, 175, 177, 178, 232, 261, 310

story, 21, 32, 39, 46, 56, 178, 259, 260strings, 12, 16, 17

structure, 4, 15, 16, 26, 77, 111, 122, 125, 126, 146,153, 157, 176, 195, 200, 202, 203, 204, 206, 214

studies, 6, 8, 82, 169, 176, 188, 210, 219, 248, 258stuttering, 14, 139

subconscious, 150, 161, 163, 175, 178subdivision, 97, 125, 218subject, 1, 21, 54, 59, 60, 95, 123, 134, 139, 150, 155,

157, 164, 173, 180, 189, 193, 204, 205, 208, 210,219, 231, 247, 248, 267, 310

successful, 30, 34, 143, 164, 221

suggestions, 136supernatural, 24, 61, 235

surgery, 18, 226, 236sweet, 41, 115, 153, 180, 198, 201, 310syllable, 125, 157, 180, 181, 183, 250symbol, 91, 180

syndrome, 248, 265, 267

T

talenttalented, 10, 27, 28, 29, 31, 37, 76, 144, 145, 151,

153, 259, 261





325

taste, 126, 211

teacher, 11, 20, 22, 23, 24, 26, 29, 34, 37, 141, 146,153, 177, 207, 210, 217, 265

teachers, 6, 10, 22, 24technique, 4, 7, 8, 11, 17, 20, 31, 146, 164, 177, 223,

251, 252, 253, 260, 310temperament, 49

tempo, 91, 113, 118, 124, 163, 166, 178, 202, 218, 255tension, 9, 10, 13, 17, 152, 154, 163, 178, 212, 220,

247, 248terminology, 105, 204theory, 17, 88, 126, 143, 167, 198, 211therapist, 139

think, 6, 14, 20, 27, 29, 33, 34, 35, 37, 38, 39, 40, 57,60, 61, 63, 64, 65, 73, 79, 84, 95, 139, 140, 144,148, 173, 177, 180, 192, 194, 195, 199, 217, 221,

223, 225, 227, 233, 234, 239, 240, 241, 262, 264,265, 266

throat, 13, 15, 16, 18, 41, 148, 189, 310

thyroid, 15, 16, 17time, 4, 6, 7, 8, 19, 20, 21, 24, 25, 26, 27, 28, 29, 30,

31, 33, 35, 37, 41, 42, 46, 47, 48, 59, 60, 62, 65,

69, 72, 74, 76, 77, 78, 82, 88, 89, 91, 92, 93, 94,96, 97, 98, 99, 100, 101, 102, 105, 106, 112, 113,

117, 123, 124, 136, 137, 138, 139, 141, 145, 149,

150, 151, 153, 160, 161, 163, 164, 166, 172, 176,177, 178, 179, 180, 182, 184, 190, 193, 195, 198,199, 200, 201, 202, 203, 207, 208, 212, 218, 219,

220, 221, 222, 226, 228, 230, 231, 232, 233, 235,236, 237, 238, 240, 241, 244, 246, 247, 249, 250,

251, 252, 253, 254, 256, 257, 259, 261, 262, 263,267

tone, 4, 9, 10, 16, 17, 27, 48, 83, 84, 86, 110, 112,118, 123, 128, 130, 145, 148, 149, 152, 156, 157,

159, 163, 165, 176, 178, 179, 185, 186, 187, 192,205, 214, 215, 219, 244, 246, 248, 260, 310

tongues, 226, 228, 233

tradition, 11, 12, 14, 50, 137, 195training, 4, 7, 9, 10, 11, 12, 20, 24, 25, 28, 29, 30, 34,

36, 37, 41, 50, 60, 72, 74, 137, 143, 145, 147, 151,

163, 177, 189

tree, 8, 224, 235tutor, 137, 138, 265

TV, 34, 36, 264

U

understand, 12, 14, 15, 16, 28, 29, 39, 40, 41, 50, 51,

52, 60, 61, 62, 76, 78, 81, 83, 86, 93, 101, 105,106, 111, 121, 123, 125, 134, 139, 143, 146, 147,149, 152, 156, 165, 180, 187, 190, 195, 196, 198,202, 214, 215, 217, 237, 239, 244

uniform, 165unlocking, 155

UPBEAT, 124

V

variation, 83, 86, 113, 150, 200, 201, 214, 232, 310verbal, 9, 12, 13, 55vibrate, 8, 13, 17, 68, 267vibration, 8, 9, 10, 13, 17, 247, 249, 250, 251, 252Vitamin C, 43

voice, 4, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 20,22, 23, 24, 26, 27, 28, 36, 41, 42, 52, 61, 69, 87,

88, 139, 140, 141, 143, 145, 147, 148, 149, 150,151, 152, 153, 154, 155, 156, 163, 167, 172, 174,

176, 177, 178, 179, 184, 185, 186, 187, 189, 190,192, 194, 205, 223, 224, 233, 234, 241, 246, 247,248, 249, 250, 256, 260, 261, 262, 265, 266, 310vocal, 4, 8, 9, 10, 11, 12, 13, 16, 17, 20, 22, 41,

88, 138, 141, 152, 158, 160, 161, 163, 164, 172,

176, 177, 178, 179, 187, 188, 207, 212, 246,

247, 248, 252, 260vowel, 157, 181, 183, 251

W

walk, 6, 7, 21, 37, 39, 47, 77, 136, 144, 158, 164, 178,196, 204, 236, 240, 241, 263

walking, 25, 37, 177, 178, 233, 241, 310

wisdom, 9, 22, 26, 39, 63, 68, 69, 225, 227, 229, 231,261

word, 14, 22, 35, 38, 39, 53, 54, 62, 66, 67, 68, 69,70, 72, 112, 114, 138, 152, 155, 157, 176, 190,198, 225, 226, 229, 230, 231, 232, 236, 237, 240,

264words, 9, 13, 22, 26, 29, 53, 54, 65, 72, 77, 80, 87,

112, 113, 132, 145, 152, 157, 165, 181, 190, 191,

192, 193, 194, 201, 202, 204, 225, 229, 230, 236,239, 246, 262, 264, 310

work, 7, 20, 25, 30, 31, 32, 34, 35, 47, 48, 61, 64, 66,

112, 117, 128, 129, 136, 137, 140, 141, 155, 164,175, 180, 183, 184, 217, 220, 236, 238, 245, 253,257, 259, 262, 265

write, 27, 75, 89, 90, 99, 103, 112, 118, 119, 123, 127,129, 130, 133, 137, 138, 184, 194, 196, 217, 234,236

writing, 67, 86, 88, 123, 126, 133, 166, 194, 195, 208,231, 235, 259, 264

wrong, 10, 21, 25, 26, 31, 37, 40, 41, 51, 62, 64, 86,

140, 144, 145, 146, 149, 151, 162, 176, 193, 196,242, 244, 256, 259, 260, 261, 263, 268

Y

years, 4, 6, 17, 27, 28, 29, 31, 32, 33, 34, 35, 40, 136,

138, 145, 156, 189, 219, 236, 242, 248, 259, 260,265, 266

apel vocal training guidebook

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