the four pillars of singing_master_1.5.5
TRANSCRIPT
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LLEEGGAALL DDIISSCCLLAAIIMMEERR
Instruction and opinions herein are not a substitute for the advice of a medical professional. The
Vocalist Studio shall not be liable for any complications, injuries, loss, or other medical problems
arising from, or in connection with, the use of, or reliance upon any information in the training
system, "The Four Pillars of Singing: Definitive Techniques for the Modern Vocalist". Information
provided is for informational purposes only. Every effort was made to provide information that is
correct and constitutes healthy and safe vocal technique and practice; however, no warranty is
offered as to its accuracy or completeness.
UUSSEE GGOOOODD JJUUDDGGEEMMEENNTT
Vocal training is an athletic endeavor and you must always warm-up before you begin to train and
sing. Some modern styles can challenge the performance envelope for the modern vocalist,
therefore you must build physical strength and coordination to produce these modern vocal sounds
properly to prevent injury and remain healthy. Never, under any circumstances, sing by "pushing"
or forcing your body to do things it is resisting. Gripping, tightness, constriction, and all forms of
tension must be prevented at all times. If you are experiencing any results that are anything other
then complete freedom from tension and gripping, then your not executing these techniques properly
and you are not using your voice in a healthy way and should stop immediately. Singing with
distortion can be dangerous if you are not trained properly on the techniques to do it in a healthier
way, you can injure yourself.
If you are susceptible to throat injury, have a history of throat illness, smoke, or have not been
approved by your doctor to train modern vocal techniques, you should consult a medical
professional prior to working out with The Vocalist Studio training.
By participating in The Vocalist Studio program, you agree that there are inherent risks in vocal
training and singing aggressively. The Vocalist Studio is not responsible for your occupational
hazard and your choice to sing. If you ever feel pain, tension or gripping at any time before, during,
or after singing, DO NOT CONTINUE TO SING UNDER ANY CIRCUMSTANCES. If pain
persists, see a medical professional.
CCOOPPYYRRIIGGHHTT ©© TTRRAADDEEMMAARRKK ™™ && DDMMCCAA PPRROOTTEECCTTIIOONN
All content within ―The Four Pillars of Singing‖ is protected by International copyright law. All
content is protected and monitored by the DMCA (Digital Millennium Copyright Act). It is a crime
to produce and disseminate technology, devices, or services intended to circumvent digital rights
management (DRM). The DMCA heightens the penalties for copyright infringement on the internet.
That means, please do not upload ―Pillars‖ content to torrents and file sharing platforms or the
perpetrator will be prosecuted with International jurisdiction. Please don‘t let others steal my
property without paying for it… Thanks, Rob.
Dedication
Inspiration and work that went into producing The Four Pillars of Singing:
Definitive Techniques ForThe Modern Vocalist is dedicated to:
Roan Lunte Love does prevail. I look forward to the day I can introduce you to the art of
singing and the joy of being a musician.
Jim & Kathleen Lunte Without your support early on, I would have never been able to share my talents
and gift for teaching voice to others.
Maestro David P. Kyle You showed so many people how to believe in themselves and were one of the
world‘s greatest vocal pedagogues of all time. Your pedagogy is alive at The
Vocalist Studio, inspired, influenced, and I am honored to do my best to
continue your legacy. You will never be forgotten, all TVS students will know
who you were and your significance to the world of voice pedagogy.
The Vocalist Studio “Vocal Athletes” It is a privilege to be your coach. Together, we have created one of the most
significant and innovative vocal pedagogies in the world. The journey has not
been solo, you have been there with me, every step, every innovation, every new idea, learning together and unraveling the complicated secrets to singing with
great power and presence. You have been and will continue to be part of a
movement that is taking contemporary vocal technique to amazing new levels of
athletic standards. You are all champions in training.
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The Four Pillars
Of
Singing
Definitive Techniques for the Modern
Vocalist
LEGAL DISCLAIMER 1
USE GOOD JUDGEMENT 1
COPYRIGHT,TRADEMARK & DMCA PROTECTION 1
Foreword 6
Robert Lunte: biography & credentials 8
Maestro David P. Kyle Quotations 10
Maestro David P. Kyle Lecture 13
The Modern Vocalist 18
Summary 19
The Modern Vocal Application 20
Bridging the passaggio 20
Adduction in the head voice 20
Vocal Flageolet Or Whistle Register 20
Vocal Grott 20
Extreme screaming 20
Vibrato 21
Summary 21
Modern Applications vs The Classical Tradition 22
Summary 24
The Singing Voice vs The Speaking Voice 25
Summary 26
The Four Pillars of Singing 27
Pillar 1: Respiration 28
The Vocal Tract 28
Inhalation: ―High Volume‖ 29
Volume 30
Exhalation: ―high velocity‖ 30
Velocity 31
Cardio vascular exercise 32
Summary 33
Pillar 2: Phonation 34
The Creation of Sound Waves 34
the vocal folds 34
Phonation 36
The vocal muscles 36
The Cricothyroid Muscle (CT) 36
The Thyroarytenoid Muscle (TA) 36
Adduction 41
Adduction 42
Abduction 42
The Vocal registers 42
Musical/Scaled Registers 44
Physical Registers 45
Chest Register 45
Head Register 45
Falsetto 45
Flageolet or Whistle 46
The Passaggio 46
Summary 47
Pillar 3: Resonation 48
producing Overtones 48
Overtones 48
The resonators 49
Summary 51
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Pillar 4: Visualization 52
The Power of Mental Programming 52
Psychosomatics 52
The innovation of VOCAL MODES AND understanding LARYNGEAL
CONFIGURATIONS 54
Speech. 56
Sob 56
Opera 56
Belt 57
Falsetto 57
Distortion 58
Twang 58
Summary 59
Putting it all together 60
Summary: 72
FOREWORD
I‘d be tarred and feathered if I sang in choir the way I do now.
Few disciplines are shrouded in greater mystery than rock singing. After every
show I attended I racked my brain with how vocalists could unleash gravelly
screams and not developing nodules the size of marbles, let alone make careers
out of doing so. The fact remains that there are few places in the world one can
actually study to be a rock singer—somehow most music conservatories lack a
division to compliment opera and jazz. There are few resources available to
singers in this vein; fewer yet both describe and demonstrate the science of rock
vox. Hence this teaching system is so unique.
All my life I listened to rock singers (particularly the Seattle-spawned variety)
pushing the limits of the human voice. Unlike other genres, in rock I heard something honest, like the sounds were an exact expression of what the singer
felt-- raw passion instead the contrivance of most popular music. However,
believing the myth that screamers are doomed to destroy their instrument, I
sought to sing ―correctly.‖ Like many singers, I studied Classical/Operatic
Voice with the impression that the technique would be universally applicable.
While learning Classical Voice taught me a tremendous amount, the more I
studied the more I realized that the sound bore little relevance to where I wanted
to go. Furthermore, using classical technique in rock just didn‘t work. . I could
sing the ―Man in the Box‖ aria but not the song; throwing a dark
mezzo/contralto at rock butchered both genres.
In the Classical world, I found grave intolerance for anything outside of traditional Western voice pedagogy. Frustrated, I went to teacher after teacher
who claimed to teach rock singing. In my search, I inevitably came across either
a complete lack of knowledge or an absence of appreciation for the genre itself.
I did not find a single instructor who even listened to what they were claiming to
teach! One even went so far as to tell me that before learning rock I would have
to spend months in jazz and ―work my way up‖ to musical theatre, because
―rock is just a derivative of musical theatre anyway‖ (Last time I checked,
―Even Flow‖ sounds nothing like ―The Sound of Music!‖). Without fail, I found
that instructors were simply teaching variations of Classical technique.
Unfortunately, this the dead end innumerable singers face in the quest for
getting the sound they want with healthy technique. In this situation, a huge discrepancy remains between what a student aspires to learn and what they end
up learning—it‘s a shame really. But by chance, I heard of Maestro David P.
Kyle who had taught some of my idols how to sing. A light bulb went on inside
my head, I thought of some of my favorite singers. If they had a teacher, then
this aggressive of an approach could be taught. He passed away before I could
beat down his door, but through following his trail I found TVS.
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What first struck me about TVS was the fact that I didn‘t have to explain (or
worse yet, justify) where I wanted to go artistically. On the contrary, facilities I
knew that this studio was something different. Instead of the typical student,
teacher, piano format, I was in the element working with a full P.A., voice
processing, and microphone while on stage. Working with the tools of the trade
makes the training relevant – what you learn centers around practical application. Immediately upon entering, I was respected as an artist, which I
believe to be integral in building the singer. The attitude starkly contrasted my
experience of the voice student lingering as a musical peon until Maestro deems
otherwise. My first lesson was a musical awakening; I learned a completely
different way of using my voice – methods I had never touched upon in the
Classical world – at last! And unlike the competitive nature of the Classical
world (to be fair I think that competition in the specific realm is perfectly
legitimate, but not always conductive to learning), at TVS I encountered unique
community of vocalists who support each other‘s art on and off stage. Some of
the best singers I‘ve heard, famous or not, train on this stage.
Though often labeled as the wayward child of the vocal world – understandably
so to a degree as I don‘t know of any opera singers who stage dive or incite mosh pits – rock singers don‘t get nearly enough respect. I‘m comfortable
arguing that the techniques we use are among the most complicated and
demanding of any vocal pursuit. That‘s not including the added feat of putting
the work in context: performing on stage with ear-splitting volume among other
challenges that simply aren‘t an issue for other genres. This type of singing
requires unflinching dedication. But I‘ve found that the reward is immeasurable:
the voice transforms into a formidable instrument. For myself and countless
others, training here has meant incredible vocal freedom. Through diligence I‘ve
been able to do things with my voice that I didn‘t know were possible. And so
will you.
Sydni Indiman
TVS Screaming Pillar
ROBERT LUNTE: BIOGRAPHY & CREDENTIALS
Initially inspired by artists such as Steve Perry, Rob Halford, Bruce Dickinson
and Geoff Tate; Robert Lunte sought a voice teacher who understood the
techniques required to sing with hyper-extended range and power. The pursuit
led Robert to eventually meet the legendary Maestro David P. Kyle of Seattle,
WA.
Maestro David Kyle taught for over 25 years in New York, 4 years in San
Francisco and nearly 30 years in Seattle. He was the preeminent private coach
for rock and metal singers of the 70s, 80s and 90s; artists such as, Geoff Tate
from Queensryche, Ann Wilson from Heart, Chris Cornell from Soundgarden &
Layne Staley from Alice in Chains are just of few of his accomplished students.
Robert‘s home base for his own vocal studio is in Seattle, WA. So named The
Vocalist Studio (TVS), the technique is inspired by Maestro Kyle. The cutting-edge strategy of TVS incorporates positive mental imagery, training with
amplification, and developing head registers, so singers learn to bridge the path
from chest to head voice with pop sensibility and metal edge. Robert Lunte
continues the Maestro‘s legacy, pushing the envelope by incorporating new
ideas and research into the TVS techniques and knowledge base.
Robert received a BA in Business/Industry and Vocal performance from the
University of Miami. He trained with the talented artist and teacher Dr. David
Alt. The Classical training provides Robert a perspective on how to incorporate
modern techniques in a cohesive manner. Robert founded The Vocalist Studio™
in 1994.
Key to TVS is teaching vocalists to ―bridge & connect‖. Modern singers develop strength and coordination to seamlessly present a full voice from the
chest into their head register and enable a 4 to 5 octave range. Singers develop
incredible power, and the freedom from the tension that can happen when
transitioning through vocal bridges from the chest to head register. TVS is
recognized as one of the leading contemporary studios in the world for their
expert training in any genre, especially the modern vocalist looking to develop a
rock/pop style.
To assist vocalists who cannot train privately in Seattle, WA, or enhance their
personal lessons, Robert and his elite vocal athletes, ―The Screaming Pillars‖,
have produced a detailed book, CD and DVD training system called, ―The Four
Pillars of Singing: Definitive Techniques For The Modern Vocalist‖. TVS is also pioneering real-time training over the Internet via web cam media delivery,
and offers regular ―Training Vocal Athletes‖ workshops in Europe, making the
technique accessible to an International market of singers and voice enthusiasts.
Robert Lunte is also the founder and CEO of The Modern Vocalist.com, an
interactive website that offers members a cutting-edge social network that
connects vocalists, musicians and lovers of the voice with subject matter
experts. The Modern Vocalist.com is the only international social network
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community exclusively dedicated to singers. Robert was also the Director of the
TC-Helicon Voice Council whose mission is to produce educational content for
singers about voice technique and technology. Robert is an active member of
The Voice Foundation, the world‘s oldest organization leading in voice
medicine, science, and education.
MAESTRO DAVID P. KYLE QUOTATIONS
―Good singers sing and listen, Great singers listen, then sing‖
―Good speech is half sung, but good singing is not half spoken.‖
―Wear the world like a loose garment. Don‘t let it tighten in on you.‖
―Suppose you were learning to drive a car. Would it be better to learn on a road
with no obstructions?‖
―Every negation is a blessing in disguise.‖
―The art of the art is the art that conceals the art.‖
―He who would know aught of art must first learn and then take his ease.‖
―When you open up you should be able to see light from both ends.‖
―Feel like you are singing with your whole body.‖
―Your reflexes respond to your image.‖
―The reflexes respond to the imagination.‖
―Listen away from yourself.‖
―Sing on the balls of your feet, like the American Indian.‖
―Burn Bridges and don‘t look back.‖
―Listen away from yourself, right out into the auditorium.‖
―Singing is both a science and an art. All art is all imagination and you cannot
fix that.‖
―You have to believe you will receive before you receive and then you will get
it.‖
―Visualize you are already what you want to be. Act as if you are that, and you
will become it.‖
―If you always notice what you are while trying to get there, you‘ll never get there.‖
―Start as if the sound begins before the breath.‖
―The end is in the beginning, and the beginning is in the end.‖
―It‘s not a game I‘m playing! If you think that you‘re short changing yourself.‖
―People don‘t get tired of their work; they get tired of the resistance to their
work.‖
―Forever diet the voice. Diet the voice; diet the mind; diet the spirit; diet
everything but your income!‖
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―Feel like your whole self is all a part of the sound, like the full violin is just
vibrating.‖
―Imagine the sound you want, picture the sound you want.‖
―Open up the entire body and see the light through both ends!‖
―Breath, pause, release the jaw, visualize the sound you want, and sing to the
back of (Carnegie Hall).‖
―We don‘t let attitudes control us, we control them!‖
―Only babies are victims of moods!‖
―Let the sound flow right over the roof of the mouth into the masque.‖
―Bowels up, vowels forward.‖
―Some day you‘re going to stand up and say, ‗This is me‘ and go!‖
―We tend to become as we act.‖
―Attitude is everything in everything.‖
―Every time you find your thinking going to the strain or the resistance,
immediately create mentally the sound that you want, hear what you want.‖
―And remember you have a beautiful voice. At your worst you sound better
than many of them at their best!‖
―Just don‘t sound like everyone else!‖
―And tell it your singing marvelous, you‘re singing wonderfully!‖
―Sing Away from yourself, to something‖
―Listen, then sing!‖
―Way to go Baby!‖
Robert lunte Quotations
―Lighter, Brighter, Wider!‖
―Finesse‘ and Press‖.
―Singers are floppy…‖
―When training, channel Steve Perry…‖
―Light Mass Onsets begets Light Mass Phonations‖
―… A little Fry/Cry, Cry/Fry in the morning…‖
―Create the illusion to the audience, that your singing in your chest voice‖
―Silence the Noise, put your face to the wind, sing out to your future‖
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MAESTRO DAVID P. KYLE LECTURE
Those sounds which seem to ring the most are usually the best. Those which
seem the roundest are usually the best. Those which seem to resonate are
usually the best. Those which seem to echo are usually the best. So listen out
into the theatre and see if they are echoing, and if they are round, and they are
resonant. Connect your notes and don‘t be afraid.
There are two kinds of stars. There are ―stars‖ and there are ―superstars.‖ The
star no matter how he tries he just can‘t seem to become a superstar. He‘s great,
great, great, great, but along comes a Caruso, or a Lanza, or a Gigli, and he can‘t
quite get over the hurdle. It‘s because of one simple thing. The star sings, and
when he‘s singing he listens to himself; and while he‘s listening he shapes it;
and he opinionates it; and he shapes it around. If it isn‘t round enough he
rounds it more. And that sounds logical doesn‘t it? It‘s wrong! The superstar pictures the sound and knows what he wants to hear before he makes it!
Singing is more the concept than anything. If we‘ve got the right idea, then the
muscles as they train more and more they become like a reflex and the reflexes
respond to the image. Even if you‘re trained beautifully and your image is a fear
that you haven‘t got high notes and it‘ll never get there the reflexes won‘t
respond no matter how well trained you are. The epitome of it is you can say
singing is absolutely mental. In the process of getting to realize that you have to
take a lot of physical steps before you begin to see it, but it is true!
The singer has to be in the consciousness and the mood. How does one establish
a consciousness and a mood? You tend to become as you act. So if you pretend
and try to get your feelings to act as you think they would act if you were doing it, then you‘re getting in the consciousness. But if our consciousness is only on
body and physical things then our mind is trapped in matter. And that is disaster
and death!
When a ballet dancer is spinning around and around he has to find a spot way
out there at the back of the theatre. And with his imagination‘s eye he has to see
that spot. Every time he spins around he‘s got to see that spot. If he doesn‘t he
loses his sense of balance. So singers like Pavarotti and those singers at the Met
have to picture a spot way out at the back of the auditorium and mentally every
sound soft or loud goes right there.
Never tell a singer he‘s sharp or flat. Because if you tell them they‘re flat they
try to make it sharp. If you tell them sharp then they try to make it flat, and that spoils it too. The best thing to do is to tell the singer he‘s out of tune because
then he has to listen. Because it‘s his lack of listening that causes it.
It‘s the subconscious that grows the voice. The subconscious mind thrives on
praise. So when you‘re singing well, tell it so! Just like the soul thrives on
beauty, the subconscious thrives on praise. And the whole nervous system, if
you put doubt to it, it cringes. Confidence is to ―confide‖ in yourself. So people
that haven‘t confidence have confided in themselves all the time that they think
they haven‘t got it. They keep confiding to their inner self doubts and fears and
so the poor little thing in there just cringes. But you shouldn‘t confide in it
telling it you‘re doing great when it isn‘t! There‘s a difference. But for every
bit of improvement, every bit of flowing ness, every bit of beauty, you give it
full recognition.
The voice resonates in different areas of the body. The lower and middle notes are (in the chest). As we start getting further up the registers of the voice, then
the sound begins to go into different areas, into the head. As it goes further and
further and further and further and further and further (up into the head) to the
performer (you) it begins to sound like its getting thinner and thinner and thinner
and thinner and thinner until it almost becomes almost inaudible to you because
the auditory nerves are located (at the ears) and they are used to hearing only our
speech and lower areas. When it begins to bypass then our hearing is not aware
of the overtones. Since we are not aware of it we try to save ourselves and pull
it down where we can hear it, and there comes the fight. Now as the singer
trusts it more and more and more and he gets into those areas, then little by little
as he trusts them he begins to gain the awareness of those overtones. You can‘t
learn them; you have to become aware of them. Much like suppose a man was a coal miner and he worked under ground eight, ten, twelve hours a day and then
went home and worked and worked and then one day he went to a concert hall
and heard a violinist play. If he‘s not used to hearing it, then to him the violin is
just a scratch box. It‘s nothing but noise and distortion. It‘s not that he doesn‘t
have the hearing, but his hearing is not aware of the overtones.
It‘s very much like, for instance in Carnegie Hall when you stand there to sing,
and the singer performing doesn‘t hardly hear himself. The sound all leaves and
goes way out there and then it comes back almost like remote control. The
singer, because he has the microphone he holds it there, because he thinks the
louder he hears it the better it must be doing. That is not true. More times than
not, that which is smallest to you is biggest to your listener, and that which is biggest to you is smallest to your listener. It‘s almost like lighting. If you stand
on the stage and the flood lights are all down on top of you the lights are bright,
bright. But on the other hand if it‘s a spotlight it‘s small here but the further you
get away from it (if it is projected right) the wider the picture, so small to you
and big out there. But because we are self conscious, and we‘re listening inside
of ourselves and we‘re locked up inside ourselves we hold everything here
thinking, ―Well that‘s good, that‘s good‖ but it‘s all anchored. Let it leave like
that.
It‘s not the volume that I‘m talking about. I‘m talking about the overtones, the
resonance, the projection. Otherwise it‘s just the same as the violinist who
thinks the harder he saws on the strings the more sound he is getting. That‘s not
the idea. He shouldn‘t be listening with this ear. He should be listening out here and hear his sound spinning way out in the hall.
High notes are very much like a ballet dancer learning to spin on his toes. You
have to coach him, instruct him. Then when he gets his sense of equilibrium
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and balance then he‘s got it. It isn‘t something he learns, he discovers it. And
he begins to see it, and then it is his. But he can‘t get home just by stretching on
his toes and trying to stand on his toes or he‘ll break his foot.
In other words, no matter who the singer is, Geoff Tate or Terry Young or any
of those singers, at least 75-80% of their practice should be in the lower registers
and then maybe 15-20% in the other. The tree does not depend on the highest branches, it depends on its roots. But all the singers want all the branches but
they don‘t want to build the roots, but they do!
Any interferences of any sort, don‘t ever be afraid of them, be glad for them,
because that‘s the only way you learn. If everything goes smooth all the time
what kind of an experienced singer are we going to be? The wonderful thing is
that each thing you get over, as a rule, you don‘t have to face those things again.
An actor in control of his own attitudes is in control of the part, the play, and the
audience. A singer in control of his own attitudes is in control of his voice, the
performance, and the audience. An individual in control of his own attitudes is
in control of his own life.
We always start with the humming because we are trying to get the breath which
is the support, the voice which is the noise maker, and the resonance to integrate.
The less body conscious the singer is the better, listen to the buzz of the tone,
listen to the resonance, listen to the quality. Don‘t keep trying to see how it
feels in the throat, and how it feels in the mouth, and how it feels in there.
That‘s your mind stuck in your body. Try to get your mind right out of your
body and put it on the qualities of the sound.
Say ―Sing out,‖ ―Ring them bells,‖ ―Mama makes ice cream many times,‖
―Spring is coming in England.‖ Those are your models for your speech.
When we have allergies and tonsillitis problems and pharyngitus problems then
our nervous system and our muscular system become educated to the problem.
Long after the problems are cleared up the habits of the muscular system and the nervous system remember. And in remembering they recreate similar
symptoms, until we are confused whether we have gotten rid of the original
allergies or not. When we know this, we are patient, and as long as we do what
is right in our singing and our habits then the old way will gradually fade away.
―We may be done with the past, but the past is not done with us.‖ As you re-
educate and keep yourself on the right level then little by little the mind will
forget, and then we will say we are cured!
What alters it is not trying to correct the negative. That‘s where it‘s wrong. The
affirmative position automatically erases the negation. Suppose a person had a
lawn and the lawn was full of clover, which are weeds, and the fellow said, ―I‘m
going to tear up all those weeds‖ (the negation) ―out of the lawn.‖ He goes out
there and he starts pulling the clover out, and pulling it out, and getting rid of it. He feels great, he‘s getting rid of all of the negatives! Then when he gets half
way through the job and looks back the clover is more! It‘s more! And more!
The harder he tries to clear the negation out the more negatives he gets! The
world would like to have us thinking if you have negation (and we all have it in
one form or another) all you have to do is kick it out. You can‘t kick it out.
What do you do? Feed the grass! That‘s the positive. Keep feeding the grass,
and it will push the other out. Light dispels darkness. So when you find yourself faced with these little suggestions tell yourself, ―I know that I‘m
better,‖ ―I know that I‘m cured,‖ ―I know that it‘s improved,‖ because then you
are watering the grass. I don‘t say that there are not weeds there. But handling
the weeds will only give you more weeds.
The convex of what we said earlier is also true. When you‘ve learned
something well and you‘ve been trained right that never slips. You never lose it.
It‘s like a person that has perfect manners, they may move away from those
manners for two or three years, but when they are back in the right atmosphere it
is right there.
Ninety percent of the things that interfere are NOT noticeable to your audience,
so don‘t start getting a conscience. If everyone on stage bothered with
everything that happened to them they would all have a heart attack before the day was over.
About the m-i-m-e-m-a-m-o-m-u-m w/counting 7, 9, 11, 15, and 21 exercise, the
most complete of all the exercises. If I could do only one vocal exercise it
would be that one, because it entails everything. There‘s no way to strain the
throat; no way to strain the voice. Whatever strain is all upon the abdomen, the
diaphragm, the intercostals muscles. There‘s no way to strain the throat.
Trust it, it will be there. I wouldn‘t assign something to you (that you could not
do). I don‘t experiment. I don‘t have to experiment. In other words, if I assign
a note that means it is in your voice. You have to trust that. I don‘t say to
myself ―Well, I‘ll try another one and see if it‘s there.‖ I know that it‘s there or
I wouldn‘t be working at it.
If it doesn‘t come the first time or the second, don‘t do it over and over again.
Otherwise, the human mind has a habit of always remembering the disaster, and
when we go for it we picture the disaster and then it keeps making it worse. If it
doesn‘t come, then just wipe the brain clean, go as far as it‘s comfortable and
then try the next one. If it doesn‘t come right then and there then try again later
in the day.
I‘ve explained the principal of how muscles are developed? Like a long
distance runner, suppose he is used to running six miles a day. Then one day he
should force himself to run seven miles. Then after doing that he shouldn‘t run
for two days. The next day he should run, but he should run the same seven
miles, not six again. Because when he runs the seven that‘s a strain and it
causes a deterioration of the cells in the muscles. After that assault the body will build up a resistance in case of another assault. If you rest it for two days the
resistance will get strong enough. However, you have to do the same thing so it
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will stay there. Supposing the first day you ran the seven miles, that‘s
deterioration. The next day you run the same seven miles, that would be
deterioration on top of deterioration, and then it‘s a downhill procedure. That
very basic principal runs through all the things we do vocally or muscularly in
any way. So all assaults are not bad as long as we take the time afterwards to let
the resistance build up to that.
Imagination is the key to it all. The reflexes respond to the image. Picture you
are in Carnegie Hall or the Paramount. Ignore the rest.
In my early days of studying, very early days, I used to leave my teachers studio
and I used to sit on the hydrant a half a block from the studio. I couldn‘t move!
Almost week in and week out he used to say in the middle of the lesson ―Aren‘t
you tired?‖ and I‘d shake my head.
The subconscious mind of man, the emotions, and his spirit THRIVE on
appreciation, compliments, and affirmations. They CRINGE under criticism,
doubt, fear, and mistrust. Like if you‘re singing wonderful and I tell you you‘re
singing wonderful and you say ―but I could do better,‖ the ―I could do better‖
makes it cringe.
I have more trouble with people‘s names. I‘m much better, I‘ve improved. See, for years and years I had three secretaries and Mr. Miller. They handled
everything for me. When I used to lecture in Carnegie or conduct and all that,
one of them would stand on my right or my left and people would come up and
they‘d whisper ―this is Ron Thompson,‖ and I‘d say ―Hi, Ron!‖ like a politician
you know. I didn‘t even bother to try to remember people‘s names. You see I
always had prompters with me every day. In my studios I used to handle two
thousand pupils a week at least! I used to have classes of two or three hundred
in a class. I used to teach from six or seven in the morning ‗til twelve or two the
next morning, every day of the week. I had phones all over the place. They
used to set the classes up like I‘d have a class here, and then I‘d have an
interview in the other office, like a doctor going from one room to another. All enterprises have management systems. This was all my own. It was marvelous
for 32 years. What a setup! When I tell people I‘m retired they don‘t know
what I‘m talking about. This is just lovely! What I‘m trying to say is, I‘m not
trying to be a big-wig; I forfeited my memory for names, you see, because I just
gave up. I didn‘t realize that I gave up. I didn‘t even try. I never wrote
anything, I never even signed my name for about twenty, twenty-five, or thirty
years. So when I gave all that up I was quite set back! I didn‘t realize, I had
gained so much, and on the other hand lost certain little things which were quite
amazing.
THE MODERN VOCALIST
This book is a training system for training the contemporary vocalist. The
techniques, scales, and methodology practiced at The Vocalist Studio are a
system to train any voice for any genre. The Four Pillars of Singing: Definitive
Techniques for the Modern Vocalist addresses the fundamentals of vocal
respiration, new innovative laryngeal configurations, bridging the Passaggio,
and building a resonant tone through the entire spectrum of the vocal instrument
providing complete freedom throughout a four to five octave range.
From my experience as an artist and teacher, I absolutely believe that any
vocalist that can achieve the athletic feats demonstrated by the trained
contemporary vocalist that know these extreme singing techniques will have
developed the muscle memory and strength to command total creative control in
any genre.
The trained extreme vocalist drives the human voice to its performance
envelope. Common applications include: transporting high volumes and high
velocities of air through the vocal tract, excessive melodies that require
Passaggio bridging, maintaining vocal fold adduction with smooth bridging in
all the vocal registers, extraordinary head voice development, extreme scream
pitch (ESP), and extreme screaming distortion (ESD). Extreme singing training
is to the vocal artist as running sprints are to a track athlete. These vocalists are
the Olympic athletes of voice.
The modern vocalist is commonly overlooked by mainstream genres and
misunderstood or snubbed by many traditional practitioners. Yet today‘s
modern vocalist faces the task requiring them to execute extremely complex technical applications and vocal tricks that, until recent history, were not
attempted. Consequentially, the applications referred to in this book may be
new to many ears that have not heard or had the fortune of exposure to them.
Some early pioneers that utilized these vocal applications were Ian Gillan (Deep
Purple) and Robert Plant (Led Zeppelin). These early screamers inspired the
next generation, vocalists such as Rob Halford (Judas Priest), Bruce Dickinson
(Iron Maiden), Geoff Tate (Queensryche), Ray Alder (Fates Warning), and
James LaBrie (Dream Theater) to name a few, who took the art form to a new
level of precision. Today the art form lives on. Further refining and exploring
these techniques is a new generation of voice pedagogues and artists who care
about their craft, demonstrating an increasing amount of technical skill and musicality.
19
The Vocalist Studio in Seattle, WA
SSUUMMMMAARRYY
Contemporary genres have cultivated a 21st century approach to using the voice.
One that is healthy, disciplined, and breaking new ground in the areas of increasing
range, maximizing potential in the head voice, and inventing new creative vocal
applications.
THE MODERN VOCAL APPLICATION
While many modern vocalists have thorough vocal training, information
available to the average vocal student that properly explains modern vocal
technique has been painfully limited. However, new voice pedagogy is
demystifying the methods used in modern singing. On the front lines of this
new breed of teacher, is the work of Robert Lunte, founder of The Vocalist
Studio (TVS) in Seattle Washington. At TVS, student‘s train on a live
performance stage, utilize amplification, and master the following modern vocal
applications.
BBRRIIDDGGIINNGG TTHHEE PPAASSSSAAGGGGIIOO
The Passaggio (an Italian word meaning passage) is the range of notes that
denote a change from chest to head voice. Trained singers work to create the
illusion the chest and the head voices are a single seamlessly connected voice.
Under-trained voices will ―break‖ or ―yodel‖ at the Passaggio as the voice
cannot handle the increased tension that result as pitch ascends.
AADDDDUUCCTTIIOONN IINN TTHHEE HHEEAADD VVOOIICCEE
Adduction is the process of bringing the vocal folds together. In the context of
the modern vocalist, we are concerned with training the muscles that control
adduction and maintain adduction throughout the entire spectrum of the
vocalists range. Adduction is essential as the vocalist bridges the Passaggio and
enters the head voice. The artistic objective is to develop a resonant ―cut‖ and to
have a full voiced texture in tone, in what would otherwise be Falsetto. This is
achieved by calibrating respiratory velocity with Pharyngeal contractions.
VVOOCCAALL FFLLAAGGEEOOLLEETT OORR WWHHIISSTTLLEE RREEGGIISSTTEERR
The flageolet or whistle register is the highest register of the human voice. It
refers to pitches above E6 on the piano. The ability to produce pitches in this
range is rare and requires a great deal of expertise. However, pitches in the
flageolet register around E4 and E5 are commonly utilized in Rock and Metal genres for singing expressive musical punctuation.
VVOOCCAALL GGRROOTTTT
Raspy vocal sounds are a popular texture and are pervasive in the Rock genre.
These sounds, referred to as Grott, are fundamentally a distortion of the vocal
folds induced by laryngeal gripping. Grott requires proper training to enable the
modern vocalist control of this application for effect without damaging the delicate vocal folds and laryngeal muscles.
EEXXTTRREEMMEE SSCCRREEAAMMIINNGG
Extreme screaming is when the vocal folds produce dist sounds caused by
excessive velocities of air to create an excessive amount of Grott. Extreme
screaming can be dangerous; however, there are innovative techniques to train
21
the modern vocalist how to get this effect without neither developing nodules
[read calluses] nor straining so hard that the vocalist ―snaps‖ their Cricothyroid
muscle.
VVIIBBRRAATTOO
Vibrato is an effect where the voiced frequency quickly oscillates over a small
distance. It creates a natural chorusing on the vocal tone. Vibrato is often
naturally expressed do to a balance in support, an exact equilibrium of airflow is
achieved in the vocal tract. Vibrato used in classical voice is not necessarily a
derivative that modern vocalists utilize, thus it is a modern application, but not a
modern innovation.
SSUUMMMMAARRYY
The TVS Method is a voice training methodology that at its core pushes the
envelope of what can be done with the human voice.” At The Vocalist Studio we
train vocal athletes for real world applications; we equip vocalists with the tools and
knowledge they need to have a singing voice that can produce near super human
capabilities.
MODERN APPLICATIONS VS THE CLASSICAL TRADITION
The first formal voice lesson experience of the majority of students is from a
pedagogy rooted in the Classical tradition. Given that Classical influenced voice
pedagogy is so pervasive in society, why does the Classical approach fall short
of solving the needs of the modern vocalist? Here are some thoughts on how
modern pedagogy is different from the Classical tradition and why the modern
vocalist is best served through modern techniques.
1. There are several technical reasons for this:
The Classical tradition is weightier, which further impedes extending range into
the head voice. The modern vocalist is better served by singing with a slightly
raised larynx and learning to produce pharyngeal sounds.
The Classical tradition ignores training head voice skills for men. Most classical
voice teachers simply do not know how to because head voice adduction is unknown for men in the Classical tradition (the rare exception being
―countertenors‖ who use the head voice more than usual to sing a higher range
than the typical Classical male voice). A countertenor trains himself to adduct
the vocal cords, similar to the Rock and Metal vocalists, but with significantly
less pharyngeal contraction.
The Classical tradition trains women to use breathy, ―choir girl‖. timbres in the
head voice, instead of training vocal fold adduction and pharyngeal contractions.
The Classical tradition neither teaches nor accepts Grott in the vocal sound.
2. Every year thousands of University educated musicians graduate with degrees
in music education and vocal performance. Many of these graduates teach voice
as their vocation. For every great private voice fortunate enough to learn a modern vocal technique to share with their students, there are a hundred that
learned their skills and developed their attitudes about singing from the Classical
pedagogy. Consequentially, just by the sheer weight of numbers, there is a huge
resource of people teaching voice that are Classically oriented.
3. The artistic and performance values are vastly differ for vocalists in these two
genres. The Classical artist trains to sing the richest and fattest overtones they
can possibly produce. They do not ―break the rules‖ or sacrifice tone for tricky
―stunts‖ involving the head registers. The Classical vocalist also holds high
value in the pursuit of preserving and accurately interpreting ancient music for
an audience with high regard for performing what the composer intended. This
results in the audience being more academically critical of the singer's performance and therefore the Classical vocalist must adhere to a rigid set of
technical and performance expectations. On the other hand, the modern vocalist
is most likely working with original compositions in an uncontrolled,
spontaneous environment where freedom and expression make up a large part of
their performance values. For the modern vocalist, the mission is simply to do
whatever it takes to ―shock and awe‖ a modern audience, whose expectation is
23
to be impressed with new ideas and sounds. The artistic objectives pursued by
these two vocal artists and the audience expectations are worlds apart.
You can find a teacher in every major city in the United States advertising voice
lessons. Chances are these instructors are teaching their students habits that at
best would only serve their students at a Classical recital, choral group, or
possibly a musical theater production. Too many Classically oriented teachers are providing a service to their students that ―ram-rod‖ their biased perspectives,
then when questioned insist that their way is the ―only way.‖ Unfortunately, an
elitist attitude is at play in these cases.
From my first hand experience, a student is not likely to find many teachers
serving at today‘s Universities that ―get it” or are even open minded enough to
try. It is my opinion that this attitude has truly become a sad affair, as this is
preventing influential institutions from embracing important innovations that
could be passed on to students. They are denying the student relevant and
applicable tools that would enable their students to be more versatile and better
prepared for performing in genres outside of the very narrow confines of the
Classical art song. Shame!
Before I wrap up this chapter, I want to clearly state that for the record, I love Classical vocal music and have an enormous amount of respect for artists who
practice this genre. I studied Classical technique for solo voice and was a
member of a concert choir for four years at the University of Miami in Coral
Gables, Florida. I always enjoyed the beauty of singing this ancient music.
Great art songs and aria have measures of sophistication in their melody that not
heard in modern music. It is hard to beat the level of beauty or the experience of
being part of a performance of Carl Orff‘s ―Carmina Burana,‖ or John Rutter‘s
―Requiem‖ with a group of fifty to sixty blended voices.
From a technical perspective, there are fundamentals that can be learned from
Classical singing lessons that benefit the modern vocalist such as: developing
proper breathing habits, an appreciation and skill for text interpretation, singing proper vowels, and approaching music with academic discipline and
professionalism. Classical vocal artists should be honored for their dedication to
preserving this ancient art form and their keen musicianship admired. However,
step outside the protective environment of the conservatory and you will find
there is a multi-dimensional world of colors and innovation that is being
completely ignored.
Many teachers of Classical voice are failing their students. They don‘t listen to
or understand the modern vocal genre or techniques and worse, they are
unwilling to recognize its merits. Such ignorance contributes to an endless cycle
of frustrated students who can clearly hear in their music collections that there is
merit to the modern genre, but fail to locate a teacher to help them learn the
modern techniques.
Classical Countertenor, Werner Lamm, and Rock vocalist, Justin Hawkins (The Darkness) may have
more in common in the way they use their head voice registers than either one of them would care to
admit.
SSUUMMMMAARRYY
The Classical method will only frustrate modern vocalists, especially in the Rock
and Metal genres. Classical techniques were developed for very different
applications, for a different genre, and appeal to an audience with different
expectations. Classical singing has its place and will persevere in all of its elegance
and beauty, but the elitist attitude of many of its teachers are providing a disservice
to people whom desire to sing in other styles. If you are one of these student singers,
take comfort in knowing you do not have to hurl 16th
century techniques at 21st
century applications! There is a better way!
25
THE SINGING VOICE VS THE SPEAKING VOICE
At The Vocalist Studio, we do not ―warm up‖ our voices, more accurately, we
―get into our singing voices.‖ If vocalists want to achieve a profound increase in
range and enjoy overtones with freedom from gripping and physical ticks, the
modern vocalist must learn how to get into his/her "singing voice" and get out of
the speaking voice. The speaking voice and all the bodily responses that
produce speech are not a platform for producing the singing voice.
When a singer lacks the knowledge of proper voice technique, the brain will
send creative commands from the right brain that cannot be executed because
there simply is no learned behavior or coordinated muscle memory response to
drive the singing voice. When this happens, an internal battle between the well-
intended signals of the right brain and the untrained body are out-of-sync. Yet,
―the show must go on‖ and the body responds by hurling the speaking voice at complex melodic ideas that require the muscles normally facilitated for speech
to respond in an extraordinary way they are not prepared to do. Such an
approach is inevitably doomed.
Consider this perspective, the Human larynx evolved to produce speech, not
vocal overtones at excessive volumes definitive of a ―singing voice.‖ Unlike
animals born to produce vocal overtones such as whales and birds, the ability to
produce powerful vocal overtones, thus the ability to project our
communications great distances was never critical to the survival of the human
as it is in animals. Thus, students of singing must expend great amounts of
energy training to facilitate the physics that will transform their bodies into wind
instruments capable of producing overtones at excessive volumes. The process of learning and teaching singing is an abstract endeavor. However, with practice
and physical vocal workouts, the human voice can be trained to produce the
most beautiful overtones of all animals on Earth, transforming a mechanism
facilitated for speech into the most beautiful instrument of all.
It is widely agreed by musicologists and lovers of music from all points of
reference that the human singing voice, when properly aligned, is the most
beautiful and most versatile instrument of all, capable of producing athletic feats
that no other musical instrument can.
SSUUMMMMAARRYY
The singing voice and the speaking voice are two very different kinds of vocal
systems. The speaking voice and the physical attributes involved in producing
speech are insufficient to drive the singing voice to support modern vocal
applications. Getting into your singing voice is an abstract art form. Therefore, in
order to train a modern vocalist, we must work to develop new muscle memory
responses as well as increase muscular strength in key areas of the larynx in order
to transform a vocal system evolved to facilitate speech into a system that can sing.
27
THE FOUR PILLARS OF SINGING
The Vocalist Studio has metaphorically divided the physical attributes that must
be coordinated to produce the singing voice into four components. The goal is
remove the abstract from both the learning and teaching processes and
presenting information in a manner easier to comprehend. These four
components of singing are adeptly named ―The Four Pillars.‖
PPIILLLLAARR 11:: RREESSPPIIRRAATTIIOONN
TTHHEE VVOOCCAALL TTRRAACCTT
The singing voice is a wind instrument requiring air to be played. The modern
vocalist must manage inhalation and exhalation of air to properly drive the
singing voice. Regarding good voice technique, it is always emphasized that the
singer needs to isolate the lower respiratory system and gain physical freedom
from muscular gripping and other distracting physical barriers. While this is
very true, it is important to point out one exceptional nuance. In Pillar #1,
respiration, the singing voice gains the energy necessary from support of air through the tract. Breathing originates in the lower respiratory tract, comprised
of the lungs and trachea, powered by contractions from the diaphragm. The
lower respiratory system is the engine that powers the modern vocalist‘s singing
voice.
As a modern vocalist, you must learn to isolate your inhalation and exhalation to
the area below the rib cage in the front, sides and into the back. It is critical the
singer keep his/her musculature above this area relaxed, as tension above the
lower abdominal muscles results in tension creep into the vocal mechanism. If a
trained singer is working hard, a sore abdomen may result from all the
abdominal contractions required to drive the singing voice. Meanwhile the
upper body, namely, the upper torso, shoulders, neck, and face must remain completely relaxed.
As a wind instrument, the modern vocalist must understand some basic physics
at play in producing the modern singing voice. The first one is the study of the
causes and effects of air moving through a tract.
29
The Lower & Upper Vocal Tract
IINNHHAALLAATTIIOONN:: ““HHIIGGHH VVOOLLUUMMEE””
So much about maintaining a good singing voice depends on your ability to
properly manage or to eliminate physical ticks and tension creep which
compromise the singing voice by disrupting the steady flow of air through the
vocal tract.
The first muscle memory / physical habit the singer must develop is learning
how to inhale ―deep and low,‖ isolating all breathing to the area below the rib
cage. Improper, high breathing is best illustrated by the kind of breathing we all
do when we go to the doctor‘s office and asked to ―take a deep breath.‖ Most
people take Herculean breaths, resulting in a raised chest and shoulders. When
singers breath ―high,‖ it significantly decreases the volume of air they are able to inhale; also, it significantly handicaps their ability to generate ample kinetic
energy to engage the physics producing the singing voice (Bernoulli‘s
Principle).
The best way to develop this new breathing muscle memory response is to
watch yourself in the mirror while you slowly take deep and low breaths. As
you inhale, you can help facilitate a deep breath that is isolated below the rib
cage by pushing your stomach out as you inhale. This will create a vacuum and
train the body to put the air into the lower parts of the lungs instead of filling the
upper regions of the lung and chest. When done properly, you should feel
expansion into the lower back. Put the tips of your fingers on your lower back
verify you feel expansion as you inhale. If you feel expansion, and your upper
chest and shoulders are not moving, you are creating a deep and low breath.
Keep practicing this for several minutes each night in the mirror for several
weeks, and you will begin to develop it. It is a fairly simple muscle memory
skill to develop.
Breathing deep and low enables the modern vocalist to increase the mass of air
they use to blow through their vocal tract. The greater mass of air at your
disposal the more versatility and power you can call upon when you sing.
See TVS Breathing Exercises
VVOOLLUUMMEE
Volume is the mass of air inhaled and moving through the vocal tract.
EEXXHHAALLAATTIIOONN:: ““HHIIGGHH VVEELLOOCCIITTYY””
The exhalation is where you will trigger and execute the physical inertia
required to maintain the air pressure to support the singing voice. High volume
air needs to be launched at high velocities; this support is primarily produced by
contractions from the diaphragm which squeezes the air out of the lungs and
send it on its way through the vocal tract.
Here is a method for developing a strong, supportive exhalation. Make the
sound that an American football quarterback might make as he is getting ready to ―snap,‖ or hike the ball on offense. Vocalize the sound, ―Hut, Hut, Hut‖ as if
you are calling out the play and about ready to hike the ball. Put your finger tips
on your diaphragm and feel how when you say ―Hut,‖ your diaphragm will
assertively produce an inwardly and upwardly contraction. Now try it on a ―Ma,
Ma, Ma.‖ Did you feel the lower abdomen assertively contract again? Did your
diaphragm flex in a quick and asserted manner? If so, that is the idea. Practice
saying, ―Hut, Hut, Hut,‖ and after taking a high volume of air, you will begin to
develop this muscle memory response so that each time you sing a vocal tone in
your workouts, your diaphragm and stomach will have this asserted response.
(Note, for softer, more intimate singing, you may not need this ―snappy,‖
assertive exhalation response from the diaphragm, but we are working out here).
31
VVEELLOOCCIITTYY
Velocity is the rate of speed by which the air moves through the vocal tract.
The “Deep and Low” Inhalation is followed by an assertive exhalation with no movement in the
shoulders or chest at all. Keep it isolated below the diaphragm.
The diaphragm during inhalation and exhalation. Notice the contraction of the diaphragm pushes
on the lungs to propel air through the vocal tract.
Breathing ―high‖ results in two unfavorable outcomes:
Inefficient Breath Support
If the singer can not get enough air to drive the singing voice into the resonators,
resonant tone will fall out of the resonators and dump back into the throat. You
have to have high velocities of air pressure to keep the sound waves placed in
the resonators.
Self-Induced Physical Tension
Breathing high activates the chest, shoulder and neck muscles, which create a lot
of physical tension that will impede the singers ability to be physically relaxed.
Working in concert with the diaphragm, the singer absolutely must learn how to inhale and exhale correctly to drive the physics that will drive the singing voice.
One common misunderstanding that people have about how the vocal folds
work with the vocal tract is that a stream of air is traveling through vocal folds
and continuing into the resonators. This theory is incorrect. Activity inside the
resonators is purely raw sound wave oscillations, but not a stream of gaseous
fluidity (air) as you might imagine.
Understanding that the singing voice and the speaking voice are very different
from each other, it makes sense to conclude that the use of air for each is equally
different. Consider this final point, if I simply let air ―fumble‖ and ―tumble‖ out
of my mouth with the least possible effort, I am essentially facilitating speech.
Speech does not require high volume, high velocity airflow through the tract. Take a moment to consider the amount of air that is moving through your vocal
tract (trachea) when you speak. As you can see, this may be enough to converse
but it is not going to be enough air mass or speed to effectively support modern
applications. The modern vocalist must produce high volumes of air by
mastering coordinated, deep and low, breathing that will then be supported at
high velocities required to drive modern vocal application.
CCAARRDDIIOO VVAASSCCUULLAARR EEXXEERRCCIISSEE
The modern vocalist is literally an athlete in training. There is no doubt that if
cardio vascular exercise has such profound benefits to the respiratory system,
then implementing a regular routine in your vocal training is going to reap
fantastic benefits.
When the heart rate increases for prolonged periods, muscles draw on oxygen in
the blood as well as fats and glucose to build strength in the muscles. Cardio
vascular exercise does not just get you in shape. Like no other form of exercise,
it immediately calls upon the body to work at its performance envelope clarify
―work at its performance envelope‖. This results in very rapid strength building.
In order to endure regular cardio vascular exercise on a regular basis, the body‘s muscles, lungs, diaphragm, and mental focus must improve exponentially.
33
Cardio vascular exercise quickly pushes the body to its performance envelope in
many areas simultaneously.
Benefits to the modern vocalist from regular cardio vascular exercise:
Exponential increase in volume and velocity in the vocal tract.
Exponential increase in lung capacity to maximize vocal sustain and endurance.
Increased coordination of rhythmic breathing.
Strengthening of the abdominal muscles and diaphragm, resulting in more
powerful contractions to move high velocities of air.
Increase in blood flow in and around the larynx, improving the flexibility and response of the vocal folds and CT/TA.
Increase in flexibility.
Increase in the ability to induce deep concentration and meditative states of
mind.
Exponential decrease in body fat, improving appearance and self-esteem.
In order for cardio vascular exercise to be worthy enough for the modern
vocalist to enjoy the benefits, the vocal athlete should maintain an exercise
routine of 30-45 minutes at least 3 to 5 days a week. Running is best because it
makes the body work the hardest, but biking, swimming, and aerobics are also
good.
SSUUMMMMAARRYY
Respiration is the source of the energy that will drive the modern vocalist’s wind
instrument. Achieve proper breathing by producing high volumes and high
velocities of airflow through the vocal tract. Cardio vascular exercise is the best
thing you can maintain a superior respiratory system that provides the fuel and
drive for the modern vocalist.
PPIILLLLAARR 22:: PPHHOONNAATTIIOONN
TTHHEE CCRREEAATTIIOONN OOFF SSOOUUNNDD WWAAVVEESS
Phonation occurs when steady air pressure excites the vocal folds, causing them
to oscillate and produce sound waves. As a wind instrument, the "singing voice"
utilizes the vocal folds located in the larynx to create sound waves, much like a
reed in a reed instrument such as a saxophone Generating sound waves with the
vocal folds is critical because the vibrations can be transported without
interruption and processed to the resonators, thus creating overtones. Let better
understand vibration by reviewing the complex anatomy of the larynx along with some of the delicate membranes and muscles the modern vocalist trains.
TTHHEE VVOOCCAALL FFOOLLDDSS
The vocal folds, which are two muscular membranes that connect from the
inside front to the inside back of the larynx, produce sound waves. The
mechanism is made up of cartilage, ligaments, and muscles that rest on top of the trachea. The vocal folds, also known as the vocal cords, are composed of
twin folds of mucous membranes stretched horizontally across the larynx. They
vibrate, modulating the flow of air being expelled from the lungs during
phonation. The sound of the human voice, no matter what the pitch, is
essentially a lot of small puffs of air, many per second, separated by the closure
(or partial closure) of the vocal folds between each puff of air. However, if
there are enough puffs of air per second, we cannot hear the individual puffs;
instead we perceive a continuous sound.
35
PPHHOONNAATTIIOONN
Phonation is a physiological process where the energy of moving air in the vocal
tract transforms into acoustic energy in the larynx.
TTHHEE VVOOCCAALL MMUUSSCCLLEESS
The two muscles we are concerned with the most as modern vocalists and require strengthening to sing modern ―applications‖ are the Cricothyroid and the
Thyroarytenoid muscles. These are also the muscles controlling the process of
adduction and abduction of the vocal folds.
TTHHEE CCRRIICCOOTTHHYYRROOIIDD MMUUSSCCLLEE ((CCTT))
These are the vocal fold lengtheners. They pull the thyroid cartilage down and
forward on its hinge, increasing the distance between the arytenoids and the thyroid notch (the Adam's Apple), and thereby lengthening and tightening the
vocal folds. This movement causes the folds to vibrate faster, thus raising pitch.
TTHHEE TTHHYYRROOAARRYYTTEENNOOIIDD MMUUSSCCLLEE ((TTAA))
These are the muscles forming the body of the vocal folds themselves. They
shorten the vocal folds by pulling the arytenoids (back) end of the vocal folds toward the thyroid (front) end. This shortens the vocal folds and bunches them
up, which causes them to vibrate more slowly, thus lowering pitch.
The Cricothyroid (CT) & Thyroarytenoid (TA) Muscles These are the muscles moving the vocal folds to enable speech, and move to much greater extremes
and sophisticated coordination for singing.
They are often referred to as the “CT” and the “TA.”
37
Falsetto is not your head voice!
In my experience as a teacher and coach for modern vocalists, I have found that
there are ways to describe or define similar ideas in the language of voice
pedagogy. In a world of differing vocal dialects, the most propagating and
confusing is the notion that the cavities in the head that support resonation is the
―Falsetto‖. Falsetto is a timbre that a vocal artist chooses to use. Falsetto is
physically produced in the head voice; it is not your head voice!
Jaime Vendera called me and asked me to write a piece for his second edition of,
―Raise Your Voice II‖. We agreed, my article should be a spearhead to try to
help people clarify the confusion around the semantics of ―Falsetto‖ and ―head
voice‖. This semantic mess creates distractions that can stop a new singer‘s ability to progress and master the techniques of bridging the Passaggio and
inducing vocal fold adduction. It is driving me crazy just writing about it…!
Let us cut to the chase.
Falsetto is not a place. Falsetto is not a register one sings in. Falsetto is not the
physical cavities in your skull that house the resonators, where high notes
resonate. Falsetto is a timbre. It is a term to describe the sound produced when
the vocal folds are not adducted, causing too much air to pass. When singers
sing in their Falsetto, they are employing a unique stylistic timbre in the head
voice.
The head voice is the physical register where high notes are produced and
resonate. I have observed too often that people refer to the ―Falsetto‖, in the context of the physical placement in the upper vocal track and the resonators.
They really mean to say ―head voice‖.
Do you still question what you learned from your choir teacher years ago? Let
us consider the formal definitions of these vocal terms.
Definition of Falsetto:
singing whereby the tone produced has a light, "head voice" quality; this use of a
"false" voice, which is what the term really means, enables a bass or a baritone
to imitate a female voice, for example.
What we read is, ―singing whereby the tone produced has a light, ―head voice‖
quality…‖ ―Tone‖, is the key word here. This definition properly points out
that Falsetto is defined by its timbre in a stylistic sense.
39
Definitions of head voice or head register:
Singing using the upper range of the voice.
The upper register of the singing voice.
head register: the higher ranges of the voice in speaking or singing; the
vibrations of sung notes are felt in the head.
In this definition, the proper references to ―registers‖, ―ranges‖ and ―…notes
are felt in the head‖ are describing a physical sensation and the infrastructure of
the upper vocal tract.
Figure 1
Falsetto
The vocal folds abduct allowing excess air to
pass and results in a breathy timbre.
Figure 2
Vocal Fold Adduction
The Vocal Folds adduct. The surface area
of vibration when singing in the head voice
shortens.
However, this does not mean singers cannot develop full-voiced tones that
match the palate resonance (chest voice). Show me a singer that does not want
to know how to sing full voiced tones in their head voice registers and ill eat my
microphone! The creative objective is to produce a sound that creates the
illusion to the listener that the upper and the lower voices are one. I am sure we
can all generally agree that this is of critical interest for all singers and is what the audience prefers to hear.
There are two main coordination‘s that must be trained to transcend from
―good‖ singing to ―great‖, from a technical perspective, they are:
Seamless bridging of the Passaggio so that the singer can produce a smooth
transition between the palate resonance (chest voice) and the upper voice
without ―yodeling‖ or ―breaking‖
The ability to induce the process of vocal fold adduction, or ―zip up‖ the vocal
folds to transform Falsetto placements into sounds that have a ―cut‖ and match
the timbre of the palate resonance (chest voice).
At TVS, I refer to these skills as ―bridging and connecting‖. If you can “bridge
and connect‖, you will enjoy freedom of expression and fantastic range of 4-6 octaves!
Let us take a closer look at the actual moving parts and science so we can better
understand and appreciate why ―bridging and connecting‖ is so critical to
modern vocal bliss.
When a singer is singing a Falsetto tone, the vocal folds are blown apart and a
permanent oval orifice is left in the middle between the edges of the two folds
through which excessive volumes of air escape. This is the posture the vocal
folds assume that result in the familiar ―breathy‖ tone associated with Falsetto.
Adduction is the result of the vocal folds coming back together, or ―zipping up‖,
while singing in the head register. Adduction is the shortening of the oval orifice
by bringing approximately 1/3 or more of the vocal folds back together as pitch increases. As there is less area of the vocal fold vibrating, it's much easier for the
folds to vibrate faster.
The body‘s natural posture for vocal tonality in the head register is Falsetto. The
laryngeal responses evolved to assume the Falsetto posture as a means to
prevent laryngeal injuries. One would have to resort to screaming at the top of
their lungs to survive in the early days of mans evolution. Many a pre-historic
hominid may have snapped a tenoid muscle while warning his colleagues to start
moving his feet as a hungry saber-toothed tiger targeted his prey. Apart from
the fact that, meat eating beasts could probably smell early hominids a mile
away.
Fortunately, we no longer only live to survive and can now use the vocal
mechanism in new, artistic ways, such as singing. A vocalist can build the strength and coordination required to produce full-voiced tones in the head voice
41
with a voice teacher who has the experience training bridging and connecting
techniques.
The modern vocalist has two primary tools to use to induce adduction;
Increase respiratory velocity.
Train the ability to induce adduction, or ―zip up‖ the vocal folds to transform
Falsetto tone, into sounds that have ―cut‖ and will match the timbre of the palate resonance (chest voice).
This is the technique used by every great singer that can vocalize extreme,
super-human high notes in their head voice, without sounding Falsetto.
Adduction is the secret.
Modern vocalists require the ability to create the sounds that their music is
requiring. Who would prefer to not have the ability to use 5 octaves and remain
under-utilized, by using only half of their range? Would you rather drive a
Chevy or a Porsche? Bridging and Connecting turbo charges your vocal
abilities and blows people away with amazement and makes you feel super-
human as you are singing.
Forget the notion that some people are born with certain anatomical advantages
that allow them to scream C4, ―face melters‖ and others are not. This is another popular vocal myth that is just completely bunk! From first hand experience,
people can learn to achieve truly amazing vocal stunts, even ―bridging and
connecting‖ with just a little bit of concentration and about 90 days of practice
on the technique. Frankly, the biggest challenge is simply finding the right
teacher that understands these techniques and knows how to train them.
Adduction, extreme screaming, vocal grott and other applications are cutting
edge, 21st century innovations that need to be taught for 21st century genres. Be
weary of 16th century doctrines designed to coach proper interpretation of
ancient music, this will not be your most successful path to modern vocalist
enlightenment. The argument can be simplified by stating that new genre‘s
require cutting edge vocal applications. Cutting-edge vocal applications require legitimate, modern vocal techniques. Look for a voice teacher who lets the
service of helping their clients get the sounds they want to make, lead to push
the boundaries of technique and method. Be weary of ―ivory towers‖ of elitism
that turn their nose up at other genre‘s and cultish vocal organizations that insist
that their method has every answer, for every genre and every application. Most
of all, if someone refers to the head voice as Falsetto in the context of physical
registers and not timbre, run like hell because Falsetto is not the head voice!
AADDDDUUCCTTIIOONN
Key to the issue of vibration is a process called ―adduction‖ and second only to
bridging the Passaggio, adduction is the most critical skill a modern vocalist
must develop-- especially the Rock and Metal ―screamer.‖ Numerous times you
have read about ―adducting in the head voice‖ in this book. As we explore the
merits of vibration, this is the best place to clarify exactly what adduction
means.
Simply stated, adduction is the process of bringing the vocal folds together. The
modern vocalist is concerned about adduction because the vocalist needs the
vocal folds to remain together to create full voiced tones throughout the entire
range and all bridges of the singing voice. The muscles that are most responsible for adduction are the Cricothyroid, the thyro-arytenoids and the pharyngeal
constrictors. Without building strength and coordinating these muscles, the
singing voice will not be able to adduct the vocal folds, leaving the modern
vocalist with the breathy Falsetto tone. (Review the modern vocalist
applications). Developing the coordination and strength of the Cricothyroid,
the thyro-arytenoids and the pharyngeal constrictors to adduct in the head voice, creating
full voiced vocal tones is essential to be able to “torque” or “press” Falsetto
tone into a full voiced tone.
AADDDDUUCCTTIIOONN
Adduction is the process of bringing the vocal folds together to create full voice
tones in the head register.
AABBDDUUCCTTIIOONN
Abduction is the process of opening, or relaxing the vocal folds to induce a
decrease in vocal pitch.
TTHHEE VVOOCCAALL RREEGGIISSTTEERRSS
Vocal registers are differences in voice placement which can be sustained over a range of pitch and loudness. The differences between the various registers are
created by many factors, including the balance between the activity of the
Cricothyroid and the Thyroarytenoid muscles, the balance between adduction
and abduction (closing/opening) of the vocal folds, the amount of the vocal folds
that is in vibration, and the shape of the vocal tract.
Now let us explore how a listener hears the differences between registers, and
how singers create them.
43
This is the Four Registers and Bridges matrix from the training system, ―The
Four Pillars of Singing!‖
Registers III & IV lay in the head voice. Adduction takes place primarily in
Register III and transforms Falsetto tones into full-voiced, adducted tones.
MMUUSSIICCAALL//SSCCAALLEEDD RREEGGIISSTTEERRSS
The following is a matrix of where the four registers, the Passaggio, and the
associated bridges between the registers commonly occur for most voices in the
context of the piano using C4 as middle C for reference:
Men
1st Register
1st bridge ~ around Eb4
(above middle C)
2nd Register
2nd bridge ~ around A4 (above middle C)
“The Passaggio”
3rd Register
3rd bridge ~ around Eb5 (above middle C)
4th Register
Flageolet or ―whistle tones‖
Women
1st Register
1st bridge ~ around Ab4
(above middle C)
2nd Register
2nd bridge ~ around Eb5
(above middle C)
“The Passaggio”
3rd Register
3rd bridge ~ around Ab5
(above middle C)
4th Register
Flageolet or ―whistle tones
45
PPHHYYSSIICCAALL RREEGGIISSTTEERRSS
Often, vocal registers are referred to in a more subjective description, more
related to vocal timbre and where the sound waves are oscillating in the
resonators. Here is the general definition of vocal registers in the context of
timbre and laryngoscope views of the vocal folds.
These photos are really helpful. They show you clearly what adduction looks
like as vocal fold membranes vibrate in each register.
Chest Head Falsetto Flageolet or Whistle
CCHHEESSTT RREEGGIISSTTEERR
Perceived when the timbre is richer or heavier. This quality is produced when
the singer contracts both the CT and TA muscles at the same time but the TA is
more active, thus the folds tend to shorten and produce a lower pitch range. The
overtones are stronger than higher overtones in chest voice and a large amount
of the vocal fold will vibrate. Also, the vocal folds are usually closed through more than half of each cycle of vibration.
HHEEAADD RREEGGIISSTTEERR
Perceived when the timbre is lighter or thinner. Both the CT and TA muscles are
contracted, but the CT muscle predominates. Therefore the range of pitch for
head voice is higher because the folds are lengthened, thinned, and stretched. A smaller portion of the folds is in vibration in head voice. This is the voice that
follows the Passaggio and is where the majority of the modern vocalist‘s work
to develop muscle coordination and strength is concerned. In this visual, the
vocalist is adducting in the head voice, resulting in a full voiced tone. The vocal
folds are ―zipped‖ up about 2/3rds of the length of the vocal folds.
FFAALLSSEETTTTOO
Falsetto is a term commonly used to describe the fluty, often breathy tone
produced in the female head register range by adult males. Females are also able
to produce this timbre, and it is sometimes referred to as the flute register in
females. In this register, the TA muscle relaxes completely, so the length of the
folds depends solely on the degree of contraction in the CT muscle. The folds
are open for a very large portion of each cycle, usually over 70%.
As the modern vocalist ascends in pitch, there will come a point in the scale or
song where the voice begins to tighten so much that it can no longer gracefully
increase pitch. This is the result of the Cricothyroid muscle maximizing its
ability to lengthen the vocal folds. It can only lengthen so far, before the
anatomy of the larynx reaches its performance envelope and ca not lengthen the
vocal folds any further to protect the larynx from damage, the nervous system
will send a response to the larynx to relax the lengthened posture and this is
when the vocalist experiences a bridging to the head voice. For the untrained vocalist, who has not built the muscle memory or strength to induce adduction in
the head voice, a ―break‖ or ―yodel‖ will be the outcome, resulting in the
production of a Falsetto tone.
Most vocalists will agree that the Falsetto has very few practical applications. In
fact, the Falsetto is actually a style of singing, it is not a ―thing‖ clarify thing or
an anatomical component of the singing voice. It‘s a timbre. Too often, people
confuse ―Falsetto‖ with ―Head Voice.‖ Outside of some character voicing and a
few other exceptions for tonal contrast, the use of the Falsetto has little value for
the modern vocalist. Certainly, in my experience as an artist and a teacher of
voice, it is not a sound that anyone is particularly impressed by. Therefore, the
modern vocalist must learn how to turn Falsetto tones into full voiced tones that
can be blended to the chest voice creating the illusion that the chest and head voice are seamlessly connected.
FFLLAAGGEEOOLLEETT OORR WWHHIISSTTLLEE
The highest head tone notes. Notice how the vocal folds are almost completely
―zipped.‖ More common with women, but men can also develop impressive
Flageolet notes. This is an important, modern vocal application found in a lot of Rock and Metal music for punctuation at the end of certain musical passages.
TTHHEE PPAASSSSAAGGGGIIOO
Much has been written about the Passaggio, meaning ―passage‖ in Italian.
Without a doubt, no other challenge that the modern vocalist faces is more
profound and wrought with frustration than how to maneuver around ―the break‖ as it‘s commonly referred to.
The Passaggio is the region that resides between the modern vocalist‘s chest
voice and head voice. The chest voice is where any singer can produce a
powerful sound, and the head voice is where a powerful and resonant sound is
accessible only by training the Cricothyroid muscle to adduct the vocal folds. It
is absolutely critical that the modern vocalist develop the muscle memory
responses to seamlessly bridge the Passaggio on ascending and descending
scales as well as in their music. It can safely be said that great vocal technique is
largely defined by the vocalist‘s ability to properly manage the Passaggio.
Mastery of bridging the Passaggio will open up the entire head voice to the
modern vocalist, is an important part of developing hyper-extended ranges of
over four octaves, as well as eliminating vocal gripping and tension around the larynx.
47
The frequency of oscillation, F0, is the number of back-and-forth movements made per second.
SSUUMMMMAARRYY
The 2nd pillar concerns itself with the intricate “moving parts” responsible for
producing sound waves. The vocal folds are the primary organ that produces sound
waves while the Cricothyroid and Thyroarytenoid muscles are the outer muscles
that lengthen and relax the vocal folds during the process of increasing or
decreasing vocal pitch. As such, it is critical that through extensive vocal work-outs,
the modern vocalist develops new levels of coordination and strength in these
“moving parts” so that they can maintain a steady vibration through each vocal
register. The key to the success of maintaining vocal fold vibration in the head voice
and flageolet registers is the process of bringing the vocal folds together and not
letting them assume a Falsetto posture. This process is called adduction. Together
with the ability to seamlessly bridge through the Passaggio, the break between the
chest and head voice, these two skill sets are arguably the most important
techniques to master as a modern vocalist. Mastery of these skills will require the
most work, but will return the greatest benefits to the modern vocalist.
PPIILLLLAARR 33:: RREESSOONNAATTIIOONN
PPRROODDUUCCIINNGG OOVVEERRTTOONNEESS
Of all the ―Pillars,‖ the 3rd Pillar is where most of the magic happens. It is
where the speaking voice and singing voice transcend. Resonation is also where
sound waves are processed from the vocal folds, producing overtones.
Previously, we discussed the physical properties of air through a tract. Now let‘s
review the physical properties and the process of creating overtones.
OOVVEERRTTOONNEESS
Overtones are the spectrum of the higher-pitched frequencies that accompany
the fundamental (root note) of any pitch and will determine its tone color They
are formally defined as, Tones of higher pitch that are present in every musical
sound and whose presence determines the quality, or some believe, the measure
of beauty in a musical sound…Or, the spectrum of the higher-pitched
frequencies that accompany the fundamental of any pitch and determine its tone color.
Overtones give an ordinary sound aesthetic beauty or qualities perceived to be
pleasant to the human ear. Dogs barking and ordinary speech lack sufficient
overtones to make any aesthetic impression to the listener… violin strings,
plucked guitars and trained singers all share a common quality: the production
of overtones. This is the main reason the sound waves created by these
instruments sound ―good. It is interesting to also point out that overtones are the
physical properties that allow whales to communicate through miles of ocean,
birds to communicate through miles of forest and, if trained… singers to be
heard to the top of the most distant Mezzanine deck of an arena or to back of a
loud noisy club, regardless of how obnoxiously noisy the band is. Vocalists who
produce overtones can project, be heard, and be felt. Their voices simply are beautiful and powerful.
Singers that can‘t produce overtones are not into their true singing voices and
are always struggling to be heard, regardless if their volume knobs go to ―11‖ on
the PA system. This is the result of something not being coordinated: not enough
air velocity, pulling the tongue back, not opening the mouth and ―lifting‖ the
check muscles to open the sinuses more, or failing to coordinate the first three
pillars in their warm ups, to name just a few. When a singer knows how to
create overtones in their sound, there is literally a ―ring‖ and a ―cut‖ to their
voices in the PA system. Overtones are a coveted virtue at The Vocalist Studio--
a staple in how we train-- we listen acutely to maximize them in our practicing.
49
Sound Waves in the Overtone Series
The illustration demonstrates how the simultaneous, harmonic overlay of frequencies in the overtone
series is a multiplier of the Fundamental pitch (the pitch that the singer is intending to sing).
Overtones are what give a sound its aesthetic beauty, and are the source of a sound’s ability to
project over great distance. So how are overtones created? Overtones are created when the sound waves
created by the vocal folds (Pillar #2) are transported by high volumes and high
velocities of air (Pillar #1)into open cavities of the face and skull (mouth, nose
& sinuses). In singing these cavities are referred to as the resonators.
TTHHEE RREESSOONNAATTOORRSS
Resonation is defined as the tendency of the mouth, nose, and sinuses to absorb
more oscillatory energy when the frequency of the oscillations matches the
cavities natural frequency of vibration, resulting in the production of overtones.
Resonation can also refer to the quality of the voice as regulated by the soft
palate and cavities of the head. These spaces create regions that have their own
natural frequencies. The natural frequencies of vocal tract generally occur
around 500, 1500, and 2500 Hz. The frequency of speed is determined primarily
by the vocal cords. The vocal tract frequency response further shapes the
singing voice, acting like a filter that amplifies the frequencies produced by the
vocalist‘s unique vocal tract.
Amplification occurs when the natural frequency of the vocal folds is at or near
the natural frequency of the vocal tract. This is called resonance. Here lie the
important resonators in the upper respiratory tract in which the modern vocalist
places sound waves to excite resonation. The modern vocalist must train to balance different ―cocktails‖ of resonation amongst the general regions of the
mouth, nose and sinus cavities, in order to command their vocal range. Once the
sounds are amplified by resonation, it becomes increasingly pointless to sing
with laryngeal gripping.
You will hear singers referring to ―Placement‖ or ―Masking‖ to describe this
process. Masking is what frees the throat from gripping and ―weight‖ associated
with trying to sing extended vocal melodies that are high in the vocalist‘s range
using only the chest register or worse, the speaking voice.
You can safely say that resonation IS the ―singing voice. All other muscle
memory development is trained to develop this end result. Resonation is final
destination of the air that moves through the vocal tract, starting from the
respiratory systems from Pillar #1. Just look at the complicated placements that modern vocalists must learn to coordinate.
Again, it becomes increasingly clear why the speaking voice is inadequate for
singing. Attempting to use the speaking voice to sing is like driving a race with a
covered wagon when you could drive your singing voice with a sports car. I will
cut to the chase, if you don‘t resonate in the mask when you sing, or you‘re a
vocal ―chump‘ and your voice will have no aesthetic quality and your technique
will inevitably leave you fatigued.
51
The Resonators
These diagrams illustrate
the lower and upper
respiratory tract, or
known to modern
vocalists as the
Resonators. Different
variations of air velocity,
at different degrees, will
be “placed” into these
“masked” regions to
achieve vocal register
and produce overtones
SSUUMMMMAARRYY
The capability of the modern vocalist to place sound waves in the resonators
through a process of “placement,” or “masking” is the “trick” behind transforming
the speaking voice into the singing voice. The vocal folds produce sound waves.
Transported on a steady stream of high volume and high velocity air which goes
through the vocal tract, these waves are then sent to the resonators where they “cut”
off the edges of the bone and cartilage in the cavities in the skull (mouth, nose &
sinuses). This processes the raw sound waves into beautiful and powerfully
projected overtones. Getting into your singing voice literally means, getting the
sound waves to the resonators to produce overtones.
PPIILLLLAARR 44:: VVIISSUUAALLIIZZAATTIIOONN
TTHHEE PPOOWWEERR OOFF MMEENNTTAALL PPRROOGGRRAAMMMMIINNGG
Visualization is the attempt to bring about improvement in the singing voice by
the power of mental imagery, mental concentration and meditation. At The
Vocalist Studio, you will become well-versed in recognizing how powerful the
inner voice and positive mental programming can be-- to directly impacting the
quality and execution of the singing voice. It cannot be emphasized enough the
amount great singing closely relates to the successfully managing negative self-
talk, coupled with positive visualization techniques. Especially in singing, psychosomatics plays a huge role in training the body to not develop distracting
―ticks‖ as well as helping the vocal sound project, be seen, heard, and felt. The
modern vocalist must be conscious of a phenomenon known as Psychosomatics.
PPSSYYCCHHOOSSOOMMAATTIICCSS
Psychosomatics refers to bodily symptoms caused by mental or emotional disturbance. The ―mission critical‖ issue of managing body tension, controlling
physical "ticks" for singers as they ascend higher in range (for example, sing a
particular difficult passage of music), is almost entirely brought on by
Psychosomatic barriers. Fortunately, practicing good visualization habits can
eliminate such ―ticks.‖
I often compare the process of preparing to sing well to preparing to play a great
game of golf. Both require acute mental focus, a silencing of the mind and
visualization of the result you want before you execute the action. For example,
before Tiger Woods putts, you know he has already visualized the path the ball
will travel and the force at which he needs to swing the putter. By repeating this
process thousands of times when he plays the game, he has literally transcended
the meta-physical into a real neurological connection in his brain. When he putts, his body knows just exactly how to align his itself to hit the ball with near
perfection. Modern vocalists must do the exact same thing each time they sing,
whether it be in practice or performance.
Great vocalist‘s ―hear‖ the sound in their heads with visual imagery before they
sing it. Not just any sound, but the best sound they know you can create. In your
practice and study of voice, there will be times when as a beginner, you will be
able to produce a perfect singing tone that has strong support, doesn‘t grip the
neck, and produces beautiful overtones. Use these moments as your benchmark.
Don‘t forget what it sounded like; take a mental picture of how it felt. Each
time you open your mouth, regardless of if it‘s the most interesting passage in
your original music or the most boring scale in the work out session, strive to achieve this level of success in your vocal execution and tone. A multitude of
tiny incremental improvements repeated over and over again result in very large
improvements. And note, because singing is intimately connected to our bodies,
the neurological connections that become aligned for consistency will develop
53
relatively quickly once the body is programmed for this consistency, great
singing becomes intuitive.
Here are some great visualization ―mantras‖ you can repeat to yourself as you
sing to insure that pesky physical ―ticks‖ and substandard vocal projection,
doesn‘t take control of your singing:
Sing to something away from yourself… pick a target in the distance and sing to it-- a distant light in the corner, a person in the crowd at the back of the club, the
top row of the Mezzanine deck…
Good singers sing then listen… Great singers, listen and then sing.
Keep your eyes open and off the floor. Look to the distance and listen to your
sound in the ―house,,‖ venue, and practice room.
Never forget that you are a champion in training, a ―vocal athlete…‖ an elite
member of the community of awesome modern vocalists who care about what
they are doing and are willing to pay the price of practice, drilling boring scales,
and hard work to achieve great things.
Watch your thoughts; they become the ―pilot‖ of the body‘s movements.
Repeated bodily responses become your muscle memory. The quality of your
trained muscle memory becomes the measure of your skill as a vocalist. Your skill as a vocalist becomes an enabler or handicap in your ability to
communicate the artistic message.
TTHHEE IINNNNOOVVAATTIIOONN OOFF VVOOCCAALL MMOODDEESS AANNDD
UUNNDDEERRSSTTAANNDDIINNGG LLAARRYYNNGGEEAALL
CCOONNFFIIGGUURRAATTIIOONNSS
TVS Pedagogy embraces the innovation of teaching voice in a context of vocal
modes. Vocal modes are the scientific categorization of specific physiological
―configurations‖ of the larynx that produce unique overtones, colors, and frequencies for the purpose of understanding how the larynx and surrounding
anatomy can help the vocal artist achieve the vocal sounds they seek to achieve.
There are many vocal modes. The human larynx can be manipulated into many
different configurations to produce a unique vocal result. However, the
scientific community and a couple of existing vocal organizations, namely, Estill
and CVI have helped to bring the idea of vocal mode categorization to the
consciousness of vocal pedagogy. As follows:
The 6 EVTS Vocal “Qualities”:
Speech
Sob
Opera
Belt
Falsetto
Twang
The 4 CVI Vocal “Modes”:
Neutral
Curbing
Overdrive
Edge
However, it can be argued that both systems lack a complete system to
categorize vocal modes. Estill ignores ―distortion‖ sounds which are critically
important to any contemporary vocalist. If a pedagogy is going to frame its talk
track around the pedagogy of vocal modes, then it cannot limit itself to any
finite number of possible modes. CVI does not provide the specific
configurations that Estill offers. For example, there is no recognition of speech
mode or opera mode which are both popular vocal sounds people are
accustomed to hearing, Opera mode characterized, among other things as the result of lowered laryngeal settings in the pharynx. CVI chooses to categorize a
―blend‖ or mix of what would otherwise be several specific EVTS vocal
qualities in their purity. For example, CVI does recognize distortion vocal
sounds as important configurations for vocal study, but it is a combination of a
55
cocktail of their ―overdrive‖ & ―edge‖ vocal modes. Another example would be
CVI‘s complete disregard for Falsetto mode which, although is not a popular
vocal quality for singing, is critically important to singers in their training
process. Falsetto mode helps the singer to find their head voice and it is the
starting position for calibrating into the most important vocal mode for extreme
singing, twang. In summary, Estill offers a study of all potential most vocal qualities that the
human voice can make regardless if it is a sound that can be used in singing or
not. Many speech pathologist find value in Estillian study for the strong
physiology understanding. CVI seems to cater only the context of the art of
singing. CVI will create hybrids of pure Estillian modes and categorize them for
singers, with less medical-like talk track. Estill ignores contemporary vocal
sounds that must be understood such as distortion.
Because of these helpful, but flawed categories, TVS proposes a 3rd vocal mode
categorization to frame a contemporary vocal pedagogy around.
The 7 TVS Vocal Mode System:
Speech
Sob
Opera
Belt
Falsetto
Distortion
o ESDI (Extreme Scream Distortion – Inhale)
o ESDE (Extreme Scream Distortion – Exhale)
o Classic Distortion (Constrictors)
o Others … TBD
Twang
Waiting To Be Discovered…
You will note that not only is distortion an important new vocal mode that must
be understood, it arguably may prove to be the most sophisticated study of all
the vocal modes. It‘s the latest in popular music and is still evolving. Some
would argue that perhaps distortion is a ―vocal effect‖, this definition is
reasonable, but because distortion is produced by manipulating the physiological
configuration of the larynx, distortion really belongs in the elevated status of a
legitimate, pure vocal mode worthy of the others. Distortion is just the latest in
what may prove to be more unique vocal mode discoveries yet to be understood
because of the advance of vocal research technology and science. Vocal mode
study is like searching for new rocky planets in far off solar systems, we know they exist, but are yet to be discovered due to the limitations of current
astrological telescopes.
SSPPEEEECCHH..
Speech mode assists the singer the least. Speech mode is our most familiar
vocal mode, we live with it each day. However, the laryngeal configuration for
speech mode does not facilitate the complex movements and coordination
required for extreme singing. Singing in speech mode is akin to reciting poetry.
It is speech, as such, it generally is ―weighty‖, ―whoofy‖, ―heavy‖ and does not
produce efficient phonation for singing. For TVS pedagogy, speech mode is
referred to when discussing the opposite of what we want to do with our voice when singing. A common anecdote is, ―the speaking voice is an enemy to the
singing voice. It fatigues the singing voice‖. The reason for this is the
configuration is lower larynx, phonation is not very efficient comparatively and
resonation and overtone production are throaty for most people.
SSOOBB
Characterized by the sound we often make when we are weeping. Sob has
limited value in TVS pedagogy except for embellishment in the art from time to
time. It is encouraged to create a ―feel‖ of sobbing or desperation in a lyrical
interpretation.
OOPPEERRAA
Opera obviously is an important vocal mode to understand and appreciate for
both its beauty, historical significance in singing and to understand that its
massive propagation into the world of voice pedagogy is actually a detriment to
most contemporary singers. Those that strictly teach Classical vocal mode do
so, because that is what they were taught and there is an obsolete message in the
world of voice pedagogy that ‗Opera Technique‘ is the ultimate and best vocal
technique for any singer. That if you are training ―Opera Technique‘ that you are
somehow aligned with the best practices of all things singing. Perhaps, if we
were still living in the 16th century when there was one genre‘ of music, no
amplification, no microphones and no where near as much invention on the
sounds the human voice can make as there are in modern times! So allow me to
politely cut to the chase and put a stake in it! Classical vocal technique is really, Classical vocal coaching for a specific genre‘, Classical. If you are not a
Classical singer, singing Classical repertoire, would like to have amazing vocal
range into the head voice, play with distortion and on and on, then studying a
lowered laryngeal vocal mode configuration that is Classical, is going to do
exactly the opposite of what you want to do! If you are not a Classical singer,
the lowered larynx configuration of Opera mode will anchor the larynx and trap
the contemporary vocal artist preventing bridging and bluntly killing the ringy‘r
overtones needed in all things contemporary singing. A TVS mantra states,
―Sing lighter, brighter, and Wider‖. Also, ―Sing from the top down‖. ―Through
the mask and resonators‖. These anecdotes have a lot to do with lifting the
voice from lowered configurations. The beauty that Opera mode creates is due to the increase in space in the pharynx and indeed, it is a beautiful set of
overtones that is produced, but that is not what we are going for in TVS training,
57
nor what we are talking about when any good contemporary voice teacher refers
to contemporary voice technique. Contemporary voice technique is much about
singing through the resonators, new inventive laryngeal configurations like
twang, belt, bridging the head voice and special effects like distortion and
extreme scream distortion. Classical music and its vocal art form, Opera are
beautiful, but it is rather the opposite of what we are trying to achieve. Therefore, it is no surprise that there is so much confusion and frustration in the
world arising from contemporary singers that want to sing contemporary sounds.
Classical vocal doctrine has been tirelessly pounded into them with the fear of
God to never raise the larynx, distort, belt, etc… the contemporary voice student
in this situation just shuts down, conclude that ―they cant do it‖ and hangs up
their vocal spurs. Sad, very sad. Personally it frustrates me to no end that these
students deserve better.
How did it come to this? Too many voice teachers only know how to teach
opera modal configurations, but ironically, most of their students wish to sing
contemporary music. Right off the bat, there is a polar opposite conflict. Opera
mode was invented for ancient Operas, art songs and Classical singing that
prefers the darker, lowered larynx sound. Sadly, there are far too many students of singing that become disappointed in their vocal training because the operatic
coaching they are receiving is not preparing them for contemporary singing.
Opera voice training has really become more about Opera voice coaching,
whereby a teacher coaches a student to produce Opera-like overtones required
for Classical singing the Classical genre‘. Good Classical voice training should
also deal with text interpretation and proper diction of foreign languages for
English speakers. There is much to learn from Classical coaching, but it is not
the final word in ―proper‖ vocal technique any longer. It is only one of two
legitimate vocal paths to take, Classical and the brave, exciting new world of
contemporary pedagogy.
BBEELLTT
Belt is one of the four vocal modes that we dedicate quality time with at TVS.
Belting is described as a general term meaning the use of speech-like or yell-like
sound in any number of vocal styles, including, but not limited to rock, metal,
jazz, country and R&B. While this is not technically the case, at TVS we tend
to imply in our ―talk track‖ that belting is singing in the high chest voice. To be sure, belting is an important vocal mode that must be mastered and close
attention to properly training it is critical to the TVS instructor. Primarily, belts
play with fire. When we belt in the high chest voice, it flirts with the ―red zone‖
(see the ―Pillars‖ IV Registers chart) and as such teases the constrictors and false
vocal folds to tighten. Also, it is in the belts that the TVS singer bridges to head
voice. So belts are a ‗close run thing‘. It requires a balance of proper
respiration, wide jaw dropping, lift/bite and resonance.
FFAALLSSEETTTTOO
A voice teacher or student of extreme singing techniques may conclude that
Falsetto is a vocal mode that we would not spend time training or understanding
compared to others like Belt, Twang or Distortion because it produces a breathy,
feminine quality of sound in the head voice that simply has few applications to
the art. However, the truth is actually far from that. Because Falsetto is in fact
the opposite of what we are working to coordinate in the head voice, twang
configurations, it must be understood and its appreciation as a training tool has
to be underscored. Falsetto mode is used to help a singer find their head voice. Surprisingly, some students have so rarely phonated in the head voice, that
Falsetto is very foreign, how it sounds and how it feels. Others can do it, but
choose to avoid it like the plague because they hate the way it sounds.
In the beginning of ―connectivity‖ training, the student should start by finding
their head voice and finding placement of resonation in the head voice. They do
this by playing with Falsetto. Once the head voice has been squarely felt and
understood, the TVS instructor then begins the calibration and messa di voce
workouts to help the student change Falsetto laryngeal configurations into twang
configurations. Once the student can produce a strong twanged phonation in the
head voice an amazing realization overcomes them, and that is, Falsetto and
strong twang phonations ―sit‖ in the same place in the head voice. They share a
common resonation or placement and that the secret to getting full sounding head tones is all about Pillar II, phonation, what we do with the larynx, not Pillar
III how we place sound into the resonators. Falsetto and Twang sit in the same
place in the head voice and the objective is to learn to replace Falsetto vocal
mode for twang mode. Falsetto being the natural, attractor state for the head
voice in most people and twang representing a learned, trained skill. The ―trick‖
is twanging in the head voice.
DDIISSTTOORRTTIIOONN
As stated above, distortion is not recognized by the originators of vocal mode
pedagogy, Estill and CVI who adopted a similar vocal modal categorization
considers distortion to be a cocktail of other pure bred modes. Leaving the vocal
student confused on both ends. Why not recognize distortion as a separate and
unique vocal mode in its own right and leave it be? At TVS, we propose that
distortion is a separate and unique vocal mode worthy of study and
understanding of physiology. However, since distortion is both the latest vocal
mode to emerge into the spotlight, it has the least amount of understanding and
research to define it. Further, the study of vocal distortion quickly becomes a ―rabbit hole‖ as there are numerous ways to distort phonation, some are barely
understood and others have yet to even be looked at in any serious nature.
Constricted vocal distortion sounds are produced very different then false vocal
fold distortion sounds. In the book I will elaborate on distortion mode, the
current research and will even propose sub-categories of distortion to further
categorize this most intriguing vocal mode.
TTWWAANNGG
Twang is arguably the most important vocal mode to master for the TVS vocal
athlete. Twang provides the singer with numerous benefits. When executed
properly, twang will:
59
Help provide smooth Passaggio bridging.
Induce vocal fold adduction and bring the vocal folds together out of an open
glottis.
Amplify a 2kh – 4kh frequency in the head voice to make the vocal tone ―cut‖
and loudly project.
Aggressive calibrations of twang eventually morph into healthy, ―top down‖, ―overlay‖ distortion in the head voice.
Learning to train twang, particularly in the head voice is one of the cornerstones
to TVS pedagogy
SSUUMMMMAARRYY
The singer’s inner voice and positive mental imagery will directly impact the body’s
response to vocal commands. Great singing is closely related to hearing the sound
before you sing. The successful management of positive mental imagery will reduce
distracting physical tension and mental “noise”.
PUTTING IT ALL TOGETHER
In the previous essays, we have examined the differences between modern
pedagogy and the Classical tradition. We have also pointed out that the modern
vocalist has unique requirements and must be able to produce certain
―applications‖ to enjoy complete artistic freedom. In order for the modern singer
to produce these ―applications,‖ we need to transform the speaking voice into a
system that facilitates singing. We must get out of the speaking voice and get
into the singing voice.
The sequence of coordinated skills is as follows: the modern vocalist manages
air through their vocal tract by increasing and decreasing air pressure through
the upper and lower respiratory tracts (Lungs and Trachea for singers) Doing so
provides the kinetic energy required to assist in the vibration of the vocal folds,
achieved by maintaining consistent adduction, to produce puffs of sound waves that transport to the upper respiratory system (Mouth, Nose & Sinuses). The
purpose is to excite the resonators into processing sound waves into overtones.
this will create a vocal sound that aesthetically beautiful and can ―project.‖ be
heard, be seen, and be felt.
This process requires the singer to understand that the voice is essentially a wind
instrument. Therefore, the physics related to moving air through a tract and
producing overtones must be aligned to produce the singing voice. This requires
good management of air-flow through the vocal tract training key muscles
around the larynx to produce sound waves, primarily the Cricothyroid and the
Thyroarytenoid muscles. The vibrations that produce the sound waves must be
consistent through each vocal register, which is achieved by maintaining closed vocal folds in a mission critical skill called adduction. Once adduction is
maintained throughout all of the vocal registers, the modern vocalist can then
transport these sound waves to the resonators where the sound waves are
processed into overtones, resulting in powerful singing voice.
In the end, no amount of physical coordination and strength building will help a
vocalist if their head is not in the game! The first three pillars are the physical
―brawn;‖ the fourth pillar is the ―brains quotient‖ of the operation. The final
critical step for the modern vocalist to master is to learn how to silence the
mental ―noise‖ and negative self-talk, replacing such handicapping disruptions
with effective visual imagery and positive programming. Don‘t sing like a
―chump,‖ ensure that psychosomatic behavior is advancing and enhancing the performance, not hindering it.
Copyright 2010 by Robert J. Lunte / The VocalisT sTudio™
Printed and distributed in the U.S.A. All rights reserved. No part of this book, images, audio
CD or DVD may be reproduced in any form,
by any means, including electronic distribution, photocopying, scanning, downloading,
uploading to distribution servers,
streaming or by any data storage system, without written permission from the publisher,
producer and owner.
61
TVS respiratory exercises
These exercises should be practiced at least 3-4 times a week. The
objective is to strengthen the
diaphragm and abdomen so that the
vocalist can support the vocal
instrument properly, rapidly
developing high velocity and high volume breathing.
Inhale deep and low through the nose or mouth. Hold the breath for 60 seconds.
As it becomes easier, increase the holding time.
Inhale deep and low through the nose or mouth and then exhale completely.
Hold still for 30 seconds. As it becomes easier, increase the holding time, but
do not exceed 60 seconds.
Inhale deep and low through the nose or mouth and then exhale completely. Begin to count out loud very quickly so that there is no break in the airflow.
Inhale deep and low and hold the air. While holding your breath, recite the
alphabet at a controlled rate. Work to get through the alphabet as many times as
you can.
Inhale deep and low through the nose or mouth and then exhale completely.
Strengthen the abdomine by pulling the stomach in (flexing), and then back out
(relaxing). Continue this movement as many times as you can until you feel real
muscle fatigue. Repeat this exercise three times.
Do some abdominal crunches or sit-ups. Three sets of ten.
WARNING These exercises are very serious. If at any time you feel dizzy, stop immediately and
catch your breath. Continue with caution.
Copyright 2010 by Robert J. Lunte / The Vocalist Studio™
Printed and distributed in the U.S.A. All rights reserved. No part of this book, images,
audio CD or DVD may be reproduced in any form, by any means, including electronic
distribution, photocopying, scanning, downloading, uploading to distribution servers, streaming
or by any data storage system, without written permission from the publisher, producer and
owner.
63
FFoollllooww tthhee iinnssttrruuccttiioonnss bbeellooww aanndd uussee aass aa
gguuiiddee WWiitthh tthhee vviiddeeoo ttuuttoorriiaallss..
1. Establishing The Resonant Tract (The Semi-Occluded Phonation):
Balance sub-glottal & super-glottal air pressure for more efficient phonation.
(Make the vocal folds phonate better by balancing the air pressure below and
above the vocal folds).
Lay a ―resonant track‖ through the Passaggio to train the body to maintain more
efficient phonation through the Passaggio (vocal break).
Get out of the speaking voice and get into the singing voice. Lift the voice out of
a dark, weighty, whoofy, throaty ―bottom phonations‖ and into light, bright, masky, excited resonators, bridging, heady placements, all virtues of ―top down
phonation‖
You are laying a foundation for a successful work out and performance. The
objective is to ensure that your resonant track (the ―buzz‖ sensation) remains
consistent in all registers and through all the passaggio bridges. As you do this
exercise, make sure that you keep the buzzing sensation as you pass through the
Passaggio. In doing so, you will keep the voice in a healthy phonation and will
be less inclined to break into the less desirable Falsetto mode.
Never push! Most students want to push and lean too heavy into the resonant
tracking, do not do this. Make your resonant tracking very gentle, soft, just
enough to feel your lips tickle and vibrate. You will want to ―buzz‖ through the Passaggio, if you are driving the resonant tracking too hard, you will trigger
constriction around your Passaggio. A gentle ―buzz‖ serves a gentle and
successful bridge to the head register.
The warm up should always be done before attempting to sing and a fanatical
commitment to warming up each time you intend to sing. Failure to do so, will
result in the physics not being aligned to facilitate the singing voice, which will
result in throatiness, laryngeal gripping, vocal breaks, ―pulling chest‖ and
general frustration as you try to bridge the chest to head registers.
Do not ―hum‖, ―buzz‖. There is a difference. Humming is whoofy, windy and
very much ―bottom up phonation‖. Use the vibration you feel in the lips when
properly laying resonant track as your guide to whether or not your humming or
65
buzzing. When you lay resonant track, your lips will vibrate and tickle. Not all,
but some people report having their nose tickle as well. Any excited sensation in
the ―mask‖ is a good sign and is considered ―top down phonation‖. You want to
do what you need to, to maintain and even accentuate the excitement of the
resonators and mask region at all times frankly, but particularly when warming
up with the resonant tracking. As you approach your Passaggio, use your ―lift up / pull back‖ technique to go around the Passaggio, not straight through it. It may
seem contradictory to maintain resonant track while at the same time, lifting up
and pulling back to navigate the Passaggio, however, it is a balancing act that
must be mastered.
One more note here, resonant tracking is also part of a set of vocalizing we refer
to as ―singercizes‖ with a stint of humor at TVS. A ―singercise‖ is a vocal
workout that you don‘t have to have the CD, DVD, amplifier and mic in hand to
practice. They are simple phonations that you can do ―in the shower, in the car‖
to supplement your daily routine with full serious facilities about you.
Alternate: “Hummm” / “Hunn” / “Hung”
2. Track & Release: (Set and Release – Resonate, Registrate, and Release)
Balance respiration, establish efficient vocal fold activity and release the singing
voice from a “top down” resonant placement:
Having warmed up your singing voice and established ―top down phonation‖,
with efficient vocal fold usage, you will now release the singing voice from the
new healthy, resonant placements staged by your buzzing.
―Buzz‖ the first scale and then on the second scale, you will release the singing
voice and sing an open vowel (for beginners, an ―A‖ vowel is best to begin with,
than move to ―Ah‖. Never work out in closed vowels ―Ee‖ and ―Oo‖). Let the
masked/placement you feel in the ―buzzing,‖ hand off to the open vowel you
release into. It will maintain the ―masked‖ and resonant placement. It will feel very ―top down‖, not throaty, shouty and ―bottom up‖. The rhythm of the
vocalizes is a gentle ―tracking‖ then a vigorously supported ―release.‖ The
process will not change as you bridge the Passaggio although, as most
phonations are in and around the Passaggio, this phonation will be more difficult
to coordinate.
It is critical that when you release the singing voice, you go to the TVS training
formant of ―A‖ (drop jaw, bite/lift to show the upper teeth/canines, tongue
forward and blow air). Too many students get lazy and fail to drop jaw and bite
into the sound and I too often repeat myself, ―drop jaw, bite!‖. Don‘t be one of
these students. Decide right here, right now that you are going to release your
singing voice with a big, wide, open, ―splatty‖ ―A‖ vowel and show your
canines (bite) into the sound, at least in the beginning stages of your training.
You will have to develop four key four muscle memory responses; drop jaw,
lift/BITE, tongue forward (TIP OF THE TONGUE BEHIND THE BACK OF
THE BOTTOM TEETH) & increase velocity, BLOW MORE AIR! Alternate
between the three open vowels, ―Ah,‖ ―A‖ and ―Oh‖.
If you don‘t drop your jaw
and lift there are countless
problems that can interfere
with you producing the
sound and feeling you seek
to produce with your TVS
techniques; blunted, dull
overtones, late bridging
that will trigger constriction, clunky
bridging through the
Passaggio, fold closure
releasing and the voice
breaking and on and on.
No other concept from
TVS is simpler to master and at the same time, is more user friendly to the
singer, paying big dividends. This alone, will immediately help you to sing 20%
better all the time. Commit to it! Practice in front of a mirror if you need to, to
insure that your formant has great drop jaw space and bite in it.
If you don‘t put your tongue forward, your overtones will be snuffed out and the sound will be dark and wont ring.
If you don‘t increase your velocity (the speed of air flow), in the vocal tract the
sound will fall back to the throat.
Once you have the coordination of releasing to an open vowel out of a semi-
occluded ―buzz‖, begin to listen for your singing voice. Your ―singing voice‖ is
characterized by a brighter, ringy overtone, increased amplification and volume,
a more desirable aesthetic (It just sounds better…) and a more pleasurable
physical sensation. If you hear and feel that, you are probably dialing into your
signing voice.
The ―buzz,‖ or resonant track, is gentle so don‘t push! But as you move to the
open vowel, release the increased velocity of airflow and let the sound project as
67
big as you can. Track and Release is a great ―singerciser‖, do this ―in the
shower‖, ―In the car‖.
Alternate: “Hummm” – “A” / “Hummm – “Ah” / “Hummm – “Oh”
3. Bridge and connect exercise I
Bridging Passaggio, Connecting Registers And Adduct
Now you should be getting into your singing voice. When you release, you
should be hearing the overtones ring which is a great indication that you are well
placed in the resonators and overtones are being produced. On exercise three,
you will begin to do the work required to build strength and coordinate muscle
memory responses. This is imperative to learn so that you can smoothly bridge
the Passaggio and maintain a resonant track into the head registers.
Make sure that you are starting at the top end of Register 2 or your chest
voice/belts, so you are immediately bridging through the Passaggio. Alternate between the three open vowels: ―Ah,‖ ―A‖ & ―Oh.‖ Follow the piano, as you
get higher, you will engage your Passaggio (―break‖). Do NOT push or try to
muscle your way through the Passaggio, as we have already discussed, this
approach will fail you. Finesse the transition between the top end of Register 2
with the bottom end of Register 3.
If the ―inner‖ voices tell you to push, your response should be the opposite. The
more you hear ―push‖ in your inner voice, the more you must relax and simply
let Register 2 bridge into the bottom end of Register 3. If you are gentle enough
and are maintaining your resonant track, you will feel the transition through the
Passaggio move smoothly. If your coordinated in the mask with the proper
amount of respiratory velocity, your sound wont be Falsetto, it will have a full
voiced tone to it. As we say at TVS, it will ―cut‖ and you will be inducing the process of adduction.
Alternate: “A” / “Ah” / “Oh”
4. Merrily We Roll Along with a song in our heart
Phrasing, Legato & interpretation
At this stage you should be into your singing voice, bridged and connected.
While you worked with the physics to facilitate the singing voice, you must
begin to engage the fourth Pillar, listening for the beauty in your voice.
Be conscious of trying to be musical. This means that you‘re working to make
your melodies expressive and shape your lines with legato. The point here is to
overlay a little bit of text on top of the aligned, bridged and connected singing
voice. The consonants inside of text/lyrics have a tendency to interrupt the air
flow and can ―trip‖ the singers otherwise smooth transitions through the bridge,
if not practiced. Just singing scales and open vowels in a linear and academic
fashion is not good enough, we must begin to communicate with text and
interpretation.
“Mer-ri-ly We Roll A-Long, With A Song In My Heart…”
5. Bridge and Connect exercise II
Bridging Passaggios, Placing Resonators and Adducting
This is one of the most advanced TVS workouts. The objective is essentially the
same as exercise three, but we are adding a major 3rd leap in the scale. This
additional melodic interval helps the modern vocalist to bridge and registrate
more aggressively. The modern vocalist must be able to bridge the Passaggios
and adduct in the head voice, both by smooth transitions, as well as via melodic
leaps/intervals.
Again, be sure that you are starting at the top end of Register 2, (or your chest
voice) so you are immediately bridging through the first Passaggio. Alternate
between the three open vowels; ―Ah,‖ ―A‖ & ―Oh.‖ Follow the piano, as you get higher, you will engage your Passaggio (―break‖). Do NOT push or try to
muscle your way through the Passaggio, as we have already discussed, this
approach will fail you and you will be singing like a ―chump.‖ Finesse the
transition between the top end of Register 2 with the bottom end of Register
Alternate: “A” / “Ah” / “Oh”
6. Merrily We Roll Along with a song in our heart
Phrasing With Melodic Intervals
Same as exercise four, but with the melodic 3rd interval. Be sure that your ―e‖
vowel on ―…we,‖ is thinned out. We DON‘T sing a big open ―e‖ in
contemporary voice technique. In order to effectively get bridge and connect to
the head registers, you must train yourself to be able to ―cover‖ our E‘s and thin
them out. In this exercise, the E‘s are not a vowel we are trying to sing. We are
using the ―e‖ to set placement in the mask, (just like exercise two on ―set &
release‖). Use the E to set your placement and then release to the open ―Oh‖
vowel in ―Roll.‖ This is fairly complicated to master, please view the video
tutorials to understand what we are talking about here. You must be able to
master this ―closed/thinned-out‖ E. If you do not, you will ―pull chest,‖
laryngeal gripping will ensue and you will be singing like a ―chump.‖
“Merrily “We” Roll A-Long, With A Song In My Heart…”
7. Vowel Coordination
Open and Closed Vowel Coordination
Another great work out for the closed vowel, ―e,‖ and its ―set & release‖
relationship to open vowels.
An open ―e‖ vowel is commonly trained for Classical and Choir groups, but
intended for blending with other voices. The Vocalist Studio is training soloists,
therefore your closed vowels need to be able to ―cut‖ in the upper registers and be set in the mask to facilitate the open vowels. Open ―e‖ and ―u‖ are simply
much more difficult on higher notes than in the lower voice, if not covered. On
the other hand, at The Vocalist Studio, we train that the ―singing‖ vowels are the
open vowels: ―Ah,‖ ―A‖ & ―Oh.‖ Because of their spacious shape, they
69
facilitate the air velocity and release overtones much easier than the closed
vowels, ―e‖ & ―u.‖ Of course we will have to sing E‘s and U‘s , but for the
workouts we are developing a healthy working relationship between the closed
and open vowels by making the closed vowels set the placement in the
resonators and for the open vowels to unleash the overtones, and beauty, of the
voice. When applied to your art, you should be able to more effectively navigate our closed and open vowels. You should be able to make tactical
decisions on how to sing each vowel, allowing you remain open and fluid in
your singing instead of letting consonants trip you up and induce ―tension
creep.‖
The higher you go, the thinner you need to shape your E vowel. You will need
increase your velocity to facilitate the open vowel. Consistent with the first two
work-outs, embrace the head voice as you get higher and work on bridging
Register 2 with Register 3 through the Passaggio.
Alternate: “Kee” – “A” / “Kee – “Ah” / “Kee – “Oh”
8. “The Hero”
Optimize The Performance Envelope, Calibrate velocity, Fine Tune Overtones and
Phrasing
Lets wake up the neighbors by taking the voice to its performance envelope.
The objective is to maintain your equilibrium of volume and velocity so you can
produce the biggest sound you are capable of. The four muscle memory
components of open vowels are at play here: drop jaw, lift, tongue forward, and
increased velocity.
Make sure that the open vowels are still in the mask, use these sustained lines to
fine tune your overtones and calibrate your air velocity. Your tone is never
good enough, always strive to maximize your overtones even when they‘re
already sounding pretty good. When you‘re working out your voice at its performance envelope like this, don‘t settle for ―good enough,‖ that‘s what good
singers do. Great singers are obsessed with perfection, even when they are
working out. Great singers see themselves as vocal athletes in training. Are you
working out or just going through the motions? In a split second, determine
how the next scale could be better than the last by imagining the perfect sound
with all its components a spilt second before you sing: velocity calibration, drop
jaw, lift, fine tuning overtones, inducing vibrato, inducing some stylistic grotto
if you want to, et cetera. Do these sound like the principles of Pillar # 4? Great
improvement will ensue from many small, incremental adjustments.
Many students experience a lot of growth from working out on this scale. Its
fun, let it inspire you, be musical and expressive! Bridge and connect to the
head registers as you get higher. By now you know the drill.
“Mee – Aaa – Ohh …”
9. Solfege
Managing Respiratory Resources, articulating vowels and Developing
diaphragmatic punch
This is a variation on the Classical Solfege exercise. This is an ―advanced‖
work out and you should be physically when you have completed your work
here. your diaphragm should be especially ―worked-out‖ because of all the
support from the octave leaps and sustained velocities.
When descending on the La don‘t move your jaw… keep your jaw static and
simply use your tongue, and make sure that you only use two breaths. Breathe
in the beginning and then at the end of the ascended Si, Do so take your 2nd
breath right before you begin your descending ―La, Las.‖
Properly manage your limited resource of air after the second breath in order to get through the descending major scale and back up to the octave (top note).
At TVS we say, ―See,‖ not ―Tee.‖ ―See‖ does not interrupt the airflow, ―Tee‖
does.
(Breath) “Doe Rae Me Fah Soe Lah See Doe…,”
(Breath), “Lah Lah Lah Lah Lah Lah Lah Lah….(Ascend 1 octave & back)
10. octave registrations and pharyngeal contractions
Bridging Passaggios and Adducting The Head Voice
The Same rules apply as in exercise 10 and as in many of the previous workouts.
This is just another variation of the siren work we drill on at TVS to build
bridging and connecting strength and coordination.
At the top of this slide, make sure that you have set on a strongly sustained open
―Ah‖ vowel using high velocity and high volume.
Remember, we are building the strength of the upper register, so sing at your
performance envelope with assertive but calibrated velocities of air support.
However, moving through the Passaggio is not going to be any easier, you will
have to learn to make that transition in a split second with having less time to
―finesse‖ than in exercise 10. Continue to build strength and coordination in
your Cricothyroid and be sure to not sing your head tones like a choir-girl or boy
soprano. Torque and ―press‖ the head tones to induce adduction. An overage of
―torque & texture‖ will create more aggressive, ―witchier,‖ tones that are
appropriate for Rock and Metal. But be careful with ―torque & texture,‖ it does take a slight toll on your larynx. ―Torque & texture‖ is for advanced singers and
must be respected and used in a responsible manner.
Alternate: “A” / “Ah” / “Oh”
11. Cool Down (Nine note scale)
Reinforce Register Connectivity, Passaggio Bridging, and Vocal Fold Adduction
Cool down… easy open vowel work. Don‘t just abandon the head voice here…
cool down the Register 2 & 3 bridging as well.
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Alternate: “A”… / “Ah”… / “Oh”…
SSUUMMMMAARRYY::
Always “drop jaw,” “lift,” move your tongue forward, and increase velocity on open
vowels. These positions facilitate open the resonators. Without consistency in
remembering these four things, you’re just going to be working against yourself. No
amount of great warm up nor coordination of the first 3 Pillars will help you if
you’re not opening your resonators and are instead “snuffing” out the overtones by
swallowing your tongue. Strict discipline quickly turns into consistent muscle
memory. A helpful TVS mantra states, “Sing Lighter, Brighter and Wider.”
Remember to always thin out your “e” vowels the higher you go. Closed vowels are
a challenge, this is how we work around them.
Take big breaths. Breath “deep and low.” Don’t breath high (chest and shoulders
raising)! Pillar 1 is the engine that drives the kinetic energy. “High Volume, High
Velocity”!
When your inner voice says, “push,” respond by relaxing and using finesse,
especially when you’re a beginner. This too will quickly turn into muscle memory
and your new habits will develop. Good Pillar 4 principles.
Each scale, needs to be better than the one before it. Hear the sound you want to
produce a split second before you sing it. This concerns Pillar 4.
Sing away from yourself... sing to something. Pick a distant target to sing to it. Stop
listening to yourself inwardly… listen to your voice “out there,” in the theater. Be
conscious of the way your voice sounds in the room/club/hall, etc. Hear the note
before you sing it. Good singers sing and listen/analyze, great singers listen then
sing what they heard in their head. “Be Seen, Be Heard, Be Felt.” Pillar 4.
Trust your technique; don’t be afraid to turn up the Repertory velocity to achieve
the note and stability you need. If you have coordinated the first three Pillars and
are “Masking,” it won’t grip you! 90% of the time, most singers are not blowing
enough air and the TVS Method advocates blowing more air then other voice
techniques to drive volume and the adduction process. You have to begin thinking
of yourself as a vocal athlete and work harder… below the rib cage, of course! If
you can’t train like a vocal athlete, then your singing with mediocrity. This is “high
volume, high velocity” singing!
Most importantly, always be masking-- it’s the only way… otherwise you’re trying
to sing from your speaking voice.
73
At the end of working on your technique, be sure to work on your music! The new
skills your developing don’t mean anything if its not applied to the art… and after
all, its the fun stuff and reward after working out on the scale.
Copyright 2010 by Robert J. Lunte / The VocalisT sTudio™
Printed and distributed in the U.S.A. All rights reserved. No part of this book, images,
audio CD or DVD may be reproduced in any form, by any means, including electronic
distribution, photocopying, scanning, downloading, uploading to distribution servers, streaming
or by any data storage system, without written permission from the publisher, producer and
owner.
CREDITS The Vocalist Studio™ is a company of vocalists. I want to personally
thank everyone’s generous contribution in time and content to help make “The Four
Pillars of Singing” the best training system for the modern vocalist in the world.
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Mark Grubb – his professional assistance in the valuable editing and evolution of Pillars
Nathan Burch – transcribing & sharing notes from his lessons with Maestro David Kyle
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