In honor of World Voice Day, we present two singer myths associated with what it takes to become a professional singer: perfect pitch and the complicated relationship between music theory and creativity.

by Ashley Eady

Myth #1: Perfect pitch is important for becoming a professional singer.

Alternatively known as “absolute pitch,” perfect pitch is the ability to instantly identify a musical note without an external reference. A person with perfect pitch can “pull a note out of the air”—meaning they can sing a pitch without having to hear it first—and/or correctly name any pitch they hear.

Perfect pitch is extremely rare. According to the journal Psychological Science, only one in 10,000 people has it. Some noteworthy singers who have/had it are Frank Sinatra, Stevie Wonder, and Mariah Carey.

But does a singer need to have perfect pitch to be successful? Many experts say “no.”

Dr. Michael Hanawalt, Director of Choral Activities at Wichita State University, believes that although having perfect pitch is helpful, it’s not essential.��

“Absolute pitch is, in most cases, a real asset to a singer,” he says. “But, it is not in any way necessary for a singer to have absolute pitch to be successful.”

Perfect pitch may seem foolproof, but it’s not. Singers with the ability sometimes struggle in areas their peers do not. For example, “If a piece is transposed to a different key than is written on a page, [singers with perfect pitch] may struggle to adapt to the new key, their brains being in conflict with what they see and what they hear,” Hanawalt explains.

According to Dr. Rachel Copeland, associate director of the School of Music at East Carolina University, “Having perfect pitch definitely makes ear training easier, however it is the ‘easy way out.’ Singers who practice and work really hard end up developing an excellent ‘relative’ pitch (or ear). That means the muscles used when singing automatically go to the right place to produce the right pitch.”

So how can a singer learn relative pitch?��

Copeland and Hanawalt note that knowledge and a good musical foundation are vital components to developing the skill.

“Having a solid musical foundation in sight-reading, theory and history is essential to being a successful singer,” says Hanawalt. “One must be able to learn music in an expedient amount of time, be sensitive to intonation, and, ultimately, have an instrument that people want to hear.”

As with any art form, singing requires hard work and practice. And with some effort, relative pitch is something singers can learn.

Myth #2: Music theory will stifle creativity.

Some singers believe learning the rules and parameters of music theory will stifle their creativity.

Copeland disagrees. “Learning all components of how music works helps create a better, well-rounded musician, which can only increase one’s creativity,” she says. “My assumption is that those who believe that music theory stunts creativity are only looking at theory through the standard Western European structure, which is not the totality of music theory.��I think music theory needs to include the way that jazz and improvisation work to establish such creativity.”

Hanawalt also disagrees with the thought that theory drains singers’ creative impetus. He adds that how music theory is taught is equally important. “The best theory teachers I had taught me music theory as being the building blocks of musical language, not necessarily rules that had to be followed at all costs. I’m a firm believer that one must know these essential elements of what music is and what they are called. If taught in the right way, knowing this information opens up creative possibilities rather than restricting musical options.”

Ashley Eady is a music journalist based in Los Angeles. She studied Clarinet Performance at Blair School of Music at Vanderbilt University and Arts Journalism at University of Southern California Annenberg School for Communication and Journalism.

Founded in 1968, the Grammy-winning King’s Singers are still going strong. While the original members have slowly left and been replaced, the current group remains at six, with one bass, two baritones, a tenor and two countertenors. They continue to travel the world performing commissioned works and their own unique takes on everything from jazz standards and popular hits to madrigals. They’re recognized for their intonation, diction, vocal blend, and timing. They’re also highly regarded for their educational workshops and masterclasses for singers and a cappella groups.

This summer, The King’s Singers will hold their first-ever U.S. Summer School at DePauw University for singers and vocal ensembles of all abilities (ages 16 and up).

Current King’s Singer, baritone Christopher Bruerton, founding member and choral conductor Brian Kay, bass, and former member and choral director Nigel Perrin, countertenor, took time out of their busy schedules to share some thoughts to inspire vocalists of all levels.

�ƹ�app: Most of The King’s Singers studied music on the college/university level. How has this helped their careers?

Christopher Bruerton: The importance of studying music at a tertiary (college) level is hugely important for those who choose to follow the path of��a��career in music.��Music is��a language, and a greater vocabulary and understanding of various genres and styles is imperative for being a consummate performer.

MM: What did the original King’s Singers do while still in school to lay the foundation for a singing group that’s lasted almost fifty years?

Nigel Perrin: The original King’s Singers all won choral scholarships to sing in the famous choir of King’s College Chapel while studying for an honours degree at University of Cambridge.

Brian Kay:�� Nothing could have laid a deeper foundation for our subsequent life in music as a distinctly close harmony group.

It was our director of music – the late, great Sir David Willcocks – who instilled in us the building blocks on which we developed what became such a lasting��ensemble. We were able and encouraged as choral scholars to take our combined talents outside the college chapel, to join and perform at the famous Footlights (comedy) Club, and generally to get used to performing together in public: a great training for us all.

We also enjoyed frequent visits to the local pub, and this helped hugely in building up the chemistry between us, which is such a vital ingredient of a tight-knit musical ensemble.

MM: Did the founders ever imagine their a cappella group would last half a century and counting?

Brian: Absolutely no way!��None of us really��knew what he wanted to do for the rest of his life, but we thought that it might be worth staying together for a couple of years in order to go on enjoying each other’s company and��carrying on doing the thing we loved most: singing.

Nigel: In addition to singing ‘church’ music under the direction of Sir David Willcocks, there was a tradition for the choral scholars to sing light music arrangements. In 1966, they decided to make an LP of these arrangements. This proved very popular and sowed a seed which encouraged 6 (of the 7 original members) to continue singing together after they graduated.

But everyone had their own individual careers to pursue including working as double-bass players in the BBC Northern Orchestra, as freelance singers at venues including St Paul’s Cathedral and Westminster Abbey, and in teaching. It (The King’s Singers) was only perceived as extramural fun and there was no notion of it ever becoming a full-time commitment.

That was until a promoter came along and insisted on promoting them in a concert on London’s South Bank with the Academy of St Martin in the Fields chamber orchestra directed by Sir Neville Marriner. It then became a more serious affair. The group was invited to undertake a three-month tour of Australia and New Zealand. A recording and TV shows followed, and the rest, as they say, is history!

MM: How does listening relate to being a consummate performer, whether as a soloist or as a member of an ensemble?

Chris: Listening is the single most important feature of a good performer or ensemble. It links all facets of performing together. Any decision we make can be improved by determining what we are hearing and how we can adapt what we are doing based on what we are hearing.

MM: Your best tips for a successful audition?

Chris: Have confidence. An audition, believe it or not, is designed to find out what you��can��do. If there is an option to select your own repertoire, then choose something that shows you off in the best possible light.

Be yourself.��It gives people a chance to see who they might be working with.

Be pragmatic. If you walk out of the audition knowing you’ve done the best you can, then be happy with that. The judging panel may be looking for something different, be it timbre, look, personality, or even something you haven’t thought of.

MM: Suggestions for someone who dreams of touring the world with a highly-regarded a cappella group?

Chris: Probably, aside from loving��what you do,��the most important tip we would pass on to a student or��group is to find your own voice. Find what combination of voices and choice��of repertoire��makes��you sound the best, that��you enjoy performing the most, and that, in turn, the audience will appreciate hearing.

Barbra Weidlein is co-founder and director of �ƹ�app.��

Photo Credit: Andy Staples

In honor of World Voice Day, choral conductor Mary Louise Burke shares some of her favorite tips for efficient and effective vocal warm ups. Whether you sing in a choral group or lead or conduct a choir or chorus, we hope you’ll find this information useful for improving your sound.

Q: Why are warm ups so important?

One of my primary objectives in warm ups is to help singers “get out of their brains and get into their bodies.” Through a series of physical and vocal exercises, I strive to bring their attention to their bodies/vocal instruments.

A warm up does not need to be long but it does need to be efficient. It should always cover your full range and involve the various muscle groups needed for singing repertoire, i.e. a variety of tempos and articulations, from legato-sustained to faster exercises.

I don’t, as a rule, do “diction” exercises in the warm up; I concentrate on vowels and not on consonants.

Q: What does a good warm up include?

1. Alignment

If you’re not well aligned, you’re not ready to make optimal sound. So alignment (posture) comes first. I start with a few stretches, specifically focusing on spinal extension; rib cage expansion; proper head position; shoulder release; and even checking the position of the tongue (forward) and soft palate (raised uvula.)

I want singers to be aware and responsible for their own alignment 24/7. Constant awareness of spinal extension (no slouching!), proper head and shoulder position, etc. are integral parts of fine singing. And it takes constant practice.

2. Breathing

After stretches, I have singers do some breathing exercises, emphasizing the need for rib and lower body expansion along with reminders about efficient inhalation and exhalation.

3. Sound

I then introduce sirens in a variety of shapes and using a variety of vowels. I like sirens because they are non-pitched (so singers won’t worry about intonation or correctness). Sirens can emphasize several basic elements of technique: proper airflow; crescendo into the upper range; open mouth more for high range; mouth less open for lower range.

Once the sirens are energized, efficient, and natural-sounding, I will do some pitched exercises. I often use two vowels and one (simple) consonant.

Ex.: A descending�� five-note exercise on “vee-vo.”

I might do about 3 or 4 vocalises in a warm up and then finish by using a phrase from the existing repertoire that might involve one of the elements that I emphasized in the warm up: octave leaps, sustained notes, controlled crescendo-decrescendo, etc.

Q: How long should a warm up last?

I usually warm up for 5-10 minutes, but during the course of the rehearsal, if needed, I will return to simple stretches, sirens, or a basic vocalise (singing a musical passage on a single vowel to develop flexibility and to control pitch and tone).

You can see and hear when singers are getting tired or tense, and need to just let loose with a good “singer sound” like a big, brave siren—to get the air flowing again and to get out of their heads and back into their bodies. Choral singers, in particular, have a lot of brain noise, especially during the initial rehearsals when they are sight reading and learning new repertoire.

Before a concert, I will do a longer warm up, perhaps 30-45 minutes. In addition to warm up vocalises, we will also review parts of the repertoire –– not to “fix” the repertoire but to remind singers of the variety of styles and articulations needed.

Mary Louise Burke, DMA, Vocal Performance and Pedagogy,��, is associate director of the Colorado Children’s Chorale, associate director of the Colorado Symphony Chorus, and associate music director of Montview Presbyterian Church in Denver.

by Wendy LeBorgne, PhD –

As the college audition season approaches, staying healthy for vocal auditions is on the mind of every prospective voice major. Inevitably, the timing of auditions coincides with cold and flu season. You hear horror stories of friends who wake up with a sore throat or runny nose, or worst case scenario, laryngitis, at the worst possible moment. As a professional singer, this is also something that you may experience throughout your career.

The sooner you prepare yourself to��prevent��and��minimize��illnesses that can interfere at high stakes vocal demand times, the better off you’ll be.�� Many of the following tips may be “things your mother told you,” but when they’re not coming from your mom, perhaps you will be more likely to take them to heart.

1. Get Enough Sleep

There is no substitute for sleep. You cannot “catch up” on sleep.�� People who are sleep deprived generally have slightly depressed immune systems, which makes them more susceptible to illness. Everyone has slightly different sleep needs, but generally speaking, 18-22 year olds require 6-10 hours of sleep daily for optimal brain and body function.

Not only is adequate sleep important to keep your immune system functioning at optimal capacity, but you need to be well-rested to keep your brain mentally sharp.��Mental sharpness is vital for remembering lyrics��and focusing on being your best for the most important 2-10 minutes of your life.

2. Hydrate

In a 10-year retrospective study of incoming freshman musical theatre performers (Donahue, LeBorgne, Brehm, & Weinrich, “in review”),��over 50% were significantly under-hydrated.

It takes at least 2-3 hours for the liquid you drink to filter through your body and help lubricate the vocal folds. Nothing you drink gets directly onto the vocal folds. Lack of adequate hydration is like not putting oil in a car: the gears don’t work as well, there’s increased heat and friction in the gears, and the oil that’s left tends to be gummy and thick.

The current rule for��adequate oral hydration��is to take your body weight, and divide it in half. That’s the number of ounces of water you should minimally be drinking (ex. 150 lbs. ÷ 2= 75 oz.). This formula does��not��take into consideration any activity such as singing or dancing.

Minimize whatever can be systemically drying, such as caffeine.�� There are certain medications that also have mucosal drying effects. DO NOT discontinue any medication that you have been prescribed, but ensure that you are adequately balancing the drying properties. Besides caffeine, some of the most common and drying medications young adults take include: oral allergy medications (Allegra, Claritin, Zyrtec, Singular, Benedryl, etc.), oral decongestants (Sudafed, etc.); inhaled corticosteroids (Albuterol, etc.); oral acne medications (Accutane); ADD/ADHD medications (Adderall, Concerta, Ritalin); antidepressants (Wellbutrin, Zoloft, etc.).

Finally, beware of “overhydrating” (water intoxication). Over hydration can be a potentially medically dangerous condition. Typically, this only occurs in rare situations and generally results when someone consumes more than 2 gallons of water per day.

3. Don’t Overcommit

If you are auditioning for a career in vocal music, you are likely to be an accomplished and sought-after singer in your high school and community. Because of your talent, you are probably involved in choir, the school musical, private voice lessons, recitals, personal practice time, etc. This generally involves being “vocally overcommitted,” and can be detrimental to your ability to perform maximally at your auditions.

Think of an Olympic athlete who physically overtrains just before their event.�� They are at increased risk of injury and poor performance, compared to the athlete who gradually builds stamina for a given event so that they “peak” in their performance at exactly the right time. This is your goal for a college audition. You have spent years training and you want to “peak” at your auditions. If you are involved in too many activities (vocal or otherwise), you cannot be in optimal vocal, mental, or physical form for your auditions.

Choose your activities wisely. Practice wisely. Remember that mental practice is highly beneficial –– you can memorize lyrics, rhythms, character choices, dynamic changes.

In addition to your vocal activities, the social activities that often occur throughout your high school senior year may expose you to late nights, loud talking –– even substance abuse. By all means it is important to celebrate your achievements, but as a “vocal athlete,” remember you are in “training” for your auditions, which will help prepare you for the rest of your career.

4. Wash Your Hands

The simple act of washing your hands can significantly reduce the spread of germs from person to person.�� Think about all the places your hands have been and the things you touch that are shared with multiple others: door knobs, piano keys, cell phones, pencils, desks, computer keyboards, etc. For good hand washing hygiene, use warm, soapy water and sing (in your head or out loud) “Happy Birthday” while lathering up. Rinse with warm water and turn off the water with the back of your hand (or use a paper towel).�� If you have no available water handy, carry hand sanitizer with you and remember: hand sanitizer must have 60%+ alcohol concentration to combat the spread of flu.

5. Eat Well and Take Your Vitamins

Your body is your instrument. You’ve heard it a thousand times before, but you are what you eat. For optimal performance of muscle and brain function, your body should be well-hydrated and well-nourished.�� Good nutrition does not begin the day before your audition. Think of eating properly as part of the training process.

Fuel your body with nutritious, wholesome foods. Limit processed foods and sugar consumption. This includes sodas and sports drinks.

Wendy LeBorgne, PhD CCC-SLP��(Voice Pathologist and Singing Voice Specialist) is the director of the Blaine Block Institute for Voice Analysis and Rehabilitation and the Professional Voice Center of Greater Cincinnati. She holds an adjunct Assistant Professor at Cincinnati College Conservatory of Music and the College of Allied Health. Her research includes the area of the Broadway “belt.” In addition to her duties as a voice pathologist, she continues to maintain an active professional performing career.

Are you noticing changes in your vocal range? Are you concerned about them?

by Joanna Cazden,
Speech pathologist, singing rehabilitation specialist

Every voice changes over time. Teenage boys, of course, experience the most dramatic change, but adolescent girls’ voices also gain strength and depth, and may lose a note or two from the very top end, compared to their childhood voices.

In the early 20s, a healthy voice — like the rest of the body — typically shows a thrilling combination of strength and flexibility. Sadly, this peak of range and agility typically declines slightly by the later 20s to early30s, when the voice is considered to be fully mature at a biological level. Note that this is about the same time that the brain’s frontal lobe completes its development, offering you more reliable, thoughtful good judgment than your teenage brain allowed.

As you move from high school to college and beyond, how can you tell whether changes in your vocal range are normal or unhealthy, temporary or permanent? And is it still possible to increase your range as you get older, adding high notes you didn’t have before?

1. Watch yourself sing in a mirror or on video and compare performances over time.

If you are lifting your chin, tightening your jaw, or otherwise straining a little to get notes that used to be effortless, your range may be changing. Maybe your voice is maturing—or maybe your vocal cords are slightly swollen or roughed-up from overuse, illness, or a combination.

Schedule a checkup with your throat doctor, and be super-careful for a few weeks. Avoid any feeling of strain or tension. Avoid overuse. Then re-evaluate.

2. Measure your range regularly every day or week at the same time, singing high and soft.

Track this in a journal to understand your typical variability, and jot down relevant notes about your fatigue, allergies, partying, etc.

Fluctuation of a half- or whole-step day to day, at the very top of your voice and/or the placement of your passagio, may be normal. Once you know how much variation is typical for you, it’s easier to recognize bigger, long-term changes.

3. Do you tend to “cheat” high notes with extra tension?

If so, do the above measurement (see #2) in a head-down position or lying on the floor. These positions tend to disconnect the neck and jaw compensations, so you’ll get a cleaner measurement. Again, singing softly is the most useful challenge.

4. Respect your limits! Note the following:

• Your genetic profile, including the size and shape of your vocal instrument, may not give you the range displayed by your favorite operatic or Broadway-style role model.
• Composers and producers will always push for more extreme performances, but their own bodies and voices are not at risk — yours are!
• Fame, wealth, and healthy singing don’t always go together, so be honest�� with your teachers and career advisors, and exercise your maturing frontal lobe to choose your roles wisely.
• If you stop pushing and straining for high notes, you may be able to feel a deeper ability to relax and stretch the throat, and to fully anchor your breath support. Then, if higher notes show up, you’ll know they are yours to keep.

Joanna Cazden, MFA, MS-CCC, is a speech pathologist and singing rehabilitation specialist in Los Angeles, and the author of “Everyday Voice Care: The Lifestyle Guide” (Hal Leonard Books).

As a musical theatre major, it’s essential that you understand and protect your voice for the long term. Professional singers are vocal athletes and it takes serious commitment and training to work in the field.

by Nadine Gomes and Rebecca Schorsch

If you are considering turning your passion for musical theatre into a career, here are some important things to consider.

1. Imitation and over-singing

When the Musical Theater bug bites, the fever it causes can result in belting out show tunes in your bedroom, kitchen and car for hours on end. Imitation and over-singing are two significant dangers for the young MT singer. Listening to Idina Menzel or your favorite Broadway star can be fun, but the young high school and college level voice is still developing. The seductive nature of imitation can prevent a young singer from discovering and mastering their own individual and genuine sound. Manipulating your own voice to sound like someone else’s can result in serious and limiting stress and strain. Learning to sing without tension is an essential principle, not only of vocal study but of a long-lasting professional career in Musical Theater.

2. Warning signs

Eight to ten shows a week is a reality for the professional Musical Theater singer. This requires serious training and deep understanding of your voice and body, its strengths and limitations.

Vocal fatigue is unfortunately common among young singers, and it is important to recognize the symptoms. Listen to your body and learn to recognize the important messages it is sending you when singing. Hoarseness, physical discomfort and pain are signs of vocal exhaustion.

Good singing should not hurt . A singer should never lose their voice unless seriously ill. Singing to the point of vocal weakness or strain must be avoided. Know when to stop! If you are experiencing drastic vocal weakness or changes that last longer than a week, it may be time to consult an otolaryngologist, or the voice specialist ENT in your area.

3. Finding the right mentor

First and foremost, someone else needs to be your ears. If you are considering a career as a singer in any style, you need to work with a vocal technique teacher who is an experienced singer. This person should be well-versed in Musical Theater style and performance practice, and understand the principles of good vocal health, including how the body works. They should also be able to help you sing healthily and assist you in choosing appropriate repertoire for study and auditions.

Good singing feels good, sounds good, and is consistently repeatable. It takes time, regular practice and commitment to understand your own voice, and you need a knowledgeable partner on this journey. You should feel comfortable with the teacher and feel that they are helping you take ownership of your own instrument and how it works.

4. Warming up

Vocal warm-ups in your voice lessons are meant to be duplicated on your own as a ritual before all singing. Find time to warm up your voice and body before every practice session, rehearsal and performance. Skipping this essential step is physically dangerous. Think of it this way: Would you run 5 miles without first warming up?

5. Staying healthy

Staying in top physical shape is mandatory for a lasting career in Musical Theater. Drinking plenty of water, eating well, staying physically active and getting sleep aren’t just good for you as a human, they are necessary for career survival as a singer. Learning to go home and sleep instead of staying out partying with friends is a hard but important lesson to learn. The voice is a delicate instrument and it is easier to harm it than you might think.

6. Continuing education

A professional singer’s education never ends. It takes dedication, patience, years of work and healthy life habits to be a successful performer. If this is where your passion lies, the joy needs to be in the journey itself. Staying in top vocal and physical condition makes that journey so much more enjoyable!

Rebecca Schorsch�� and��Nadine Gomes��are both full-time lecturers in Studio Voice for the Theatre Conservatory at��.�� Their students sing on Broadway, Chicago, National Tours and regional stages.

Your voice can withstand a certain amount of use without vocal fatigue, depending on the intensity of use and your level of vocal fitness. By singing too much, too loudly, or out of range, your vocal mechanism will begin to fatigue and your body will try and compensate.

by Wendy DeLeo LeBorgne, Ph.D.�� CCC-SLP

Symptoms of vocal fatigue may include: hoarseness; change in laryngeal sensation (tightness, neck muscles aching); increased vocal effort to produce sound; loss of dynamic control (generally soft becomes more difficult); and vocal onsets become discoordinated. You may begin to experience physical compensation (jaw tightness, tongue tightness).

Over time, continuing to sing on a vocally fatigued mechanism may result in physical and vocal changes (and possible injury) that will alter the way that you perform as a singer.

How to minimize vocal fatigue?

There are several ways to minimize vocal fatigue. We turn to the athletic model of training to serve as an example:

1. Ensure adequate nutrition and hydration.

It takes approximately two hours for the liquids that you drink to become systemic (with the exception of alcohol and caffeine). Therefore, it is imperative singers begin drinking non-caffeinated, non-carbonated fluids several hours before and consistently throughout their singing day. The vocal folds require appropriate lubrication to vibrate efficiently. Vocal folds lacking appropriate lubrication result in a system at increased risk for injury because of increased heat and friction (imagine an engine that doesn’t have enough oil, gears heat up and don’t work well).

2. Practice and train in a cost-efficient manner.����

Training for a marathon takes place over a period of several months, with gradual increase in pace and stamina. There are also built-in periods of rest.

Think about what we often do as performers. We wait until the last minute to learn new music, we rehearse for several hours at a time “full out,” and the most intensive week vocally is often tech week (and then everyone is vocally exhausted for the show).

Consider training smarter. Train like an athlete and vary the intensity of your vocal workouts.�� Pace your training schedule as well as during your practice sessions. For example, Weeks 1 to 3 can be vocal building weeks and Week 4 a recovery week. Then, Weeks 5 to 7 are increased vocal building, with Week 8 a recovery week.

Within your weekly practice sessions, balance your vocally intensive practice days with an easy vocal day the following day. Take a day of vocal rest each week for adequate recovery.

After practice sessions, be sure to cooldown your body, voice, and mind to return to “neutral.”�� This is especially important when you are at vocal extremes during your practice session.

3. What to do if you are vocally fatigued?

Because singing involves the entire body and psyche, there will be times when vocal fatigue is unavoidable. Here are several tips to recover quickly from vocal fatigue:

• Modified (not complete) vocal rest. Consider minimizing your talking (both the amount of talking you do and the intensity/loudness).
• Decrease the length and intensity of your vocal practice sessions (i.e. practice for 15 minutes 3-4 times per day instead of one 45-60 minute session).
• Use vocal “unloading” exercises during practice sessions. Specifically, vocalize in the mid-range at a moderate vocal intensity. Use step-wise exercises (the larger the interval, the more vocally complex the exercise is). Vocalize on semi-occluded vocal tract exercises for singing –– lip buzz, tongue trill, straw in water (bubbles) –– to help unload the system.
• Hydrate!

Wendy LeBorgne,��PhD CCC-SLP (Voice Pathologist and Singing Voice Specialist) is the director of the Blaine Block Institute for Voice Analysis and Rehabilitation and the Professional Voice Center of Greater Cincinnati. She holds an adjunct Assistant Professor at Cincinnati College Conservatory of Music and the College of Allied Health. Her research includes the area of the Broadway “belt.” In addition to her duties as a voice pathologist, she continues to maintain an active professional performing career.

Healthy belting is an extension of speech, so as voice students, if you do not have a strong, clear sound when you are speaking, particularly in your lower notes, you may not have a natural capacity to belt.

By Jeannette LoVetri

Healthy belting is also produced with a kind of trumpet-like intensity that makes the sound seem to be very powerful without causing vocal fatigue or stress. It takes a good amount of breath support generated by a strong, deliberate use of the abdominal muscles while singing, but it does not use air in the same way that a good classical sound does.

Belting may or may not have a vibrato (a steady fluctuation of the pitch being sung), and it may or may not extend to the very highest pitches in a singer’s range. Some singers belt only up to a specific pitch or pitch range, particularly if they also sing in other styles that are not belted. Those vocalists who also sing classically have to learn to “shift vocal gears” if they are to sing easily in both belting and classical sound, and that takes time (from months to years) to do well.

It is rare, but not impossible, to find teachers of belting who are not, themselves, belters at a high level, who also sing classical and other styles of repertoire, and who are experienced and effective singing teachers. Many who claim to teach belting are neither trained belters nor have any professional-level experience as belters. Students who want to learn to belt should be especially wary of such teachers.

Note that it is possible to learn to make the belt sound without training, through trial and error and through imitation.

What You Need to Know about Belting

• Many classically trained singers who now teach were taught that belting was automatically injurious to the vocal folds (cords). This is an old wives’ tale, based on a lack of accurate understanding and experience. Sadly, many vocal programs do not allow students to do any belting throughout their entire four years of undergraduate training, and will not accept any belted material from a student during an entrance audition.
• Any kind of squeezing, pushing, forcing, yelling, and extreme nasality in belting can lead to both musical and vocal health problems over time. The sound should be free, easy and comfortable, and the vocalist should also be able to sing softly in most pitches without undue effort.
• The face, neck, head and body should be in harmony and look comfortable in a belt sound, although the louder, higher sounds will require more activity on the part of the vocalist in order to be done correctly.
• General advice: if it feels good, and sounds good, and does the job over and over, it probably is good. If it feels bad and sounds good, be suspicious. If it feels good but sounds bad, something is not working correctly, and if it feels bad and sounds bad, it is bad and should be stopped. This is true in any style of music.
• If you study with a teacher who is not familiar with the belt sound, with repertoire that uses the sound, and who can’t answer your questions about how the sound is made, find another teacher! Knowledgeable teachers understand all these things and will happily explain them in a simple, clear manner.
• If your voice ever feels “bad” or “sounds funny” and doesn’t get better, find a good otolaryngologist (ENT or Ear, Nose and Throat specialist) and have your vocal folds examined. Serious vocal damage can sometimes be permanent and prevent you from singing professionally for the rest of your life.

Jeannette LoVetri�� is the director of the��Voice Workshop��and has been teaching singing since 1972. Her students appear on Broadway, in concerts and recordings, and include rock, pop, jazz, classical, gospel and other styles. She is a voice researcher and author, and teaches at five nationally-recognized universities.

Sounds like an oxymoron, but World Voice Day gives us a chance to consider the benefits of silence. Your larynx is in constant motion.�� Every time you breathe or swallow, your larynx moves, so unlike most other parts of the body, the larynx is never truly “at rest.”�� Here are a few thoughts on maintaining vocal health through the acronym of SILENCE.

by Wendy LeBorgne, Ph.D,CCC-SLP

[intense_dropcap]S[/intense_dropcap] –��Shhh!�� Performers are generally vocally-enthusiastic folks.�� Consider decreasing your vocal volume in conversation…but never whisper. Imagine you are always talking to someone about an arm’s length distance away from you.

[intense_dropcap]I[/intense_dropcap] –��Injury.���� Silence –– i.e., complete voice rest –– is often recommended for a period of time following vocal fold surgery to allow the laryngeal wound to heal appropriately.�� Check with your surgeon regarding length of time for complete vocal rest. Complete voice rest means no laughing, talking, whispering, or coughing –– as those are all voiced behaviors.

[intense_dropcap]L[/intense_dropcap] –��Less is more. Although we think of commercial or any non-classical music as often being loud and edgy, sometimes less is more.�� Remember that almost all commercial music (e.g., jazz, pop, R&B, etc.) is amplified.�� Use the full palette of dynamics and colors in your voice to make your performance interesting.�� This technique will also help conserve your voice for those WOW moments.

[intense_dropcap]E[/intense_dropcap] –��Enthusiasm at sporting events.�� Find an alternative, such as an air horn or hand clapping, to cheer on your favorite sports team. Loud talking, shouting, and screaming require the vocal folds to move further away from midline and impact harder and longer.�� Persistent voice use at increased vocal volumes results in trauma to the vocal fold tissue.�� Repeated phonotrauma (abuse or misuse of the vocal folds) can result in vocal pathologies such as nodules and polyps.

[intense_dropcap]N[/intense_dropcap] –��Naps.�� Take a “vocal nap.”�� Even 5 minutes of being quiet will serve you well.�� Shut your mouth and give your voice a break for short intervals several times throughout the day.

[intense_dropcap]C[/intense_dropcap] –��Cell phones.�� Unlike landlines and headsets, most cell phones don’t have amplification in the earpiece, which means you talk louder than normal when you’re on them. And if you are talking in the car, your volume becomes even louder!

[intense_dropcap]E[/intense_dropcap] –��Enjoy the peace of being quiet.�� Use the time to center yourself and your voice. Or take this time to mentally practice your music.

Wendy LeBorgne, PhD CCC-SLP��(Voice Pathologist and Singing Voice Specialist) is the director of the Blaine Block Institute for Voice Analysis and Rehabilitation and the Professional Voice Center of Greater Cincinnati. She holds an adjunct Assistant Professorship at Cincinnati College Conservatory of Music and the College of Allied Health. Her research includes the area of the Broadway “belt.” In addition to her duties as a voice pathologist, she continues to maintain an active professional performing career.

What does it take to keep your voice healthy for auditions, performances, and everything else you do? In recognition of World Voice Day, Dr. Wendy LeBorgne, voice pathologist and singing voice specialist, shares her top five tips to help you be at your best vocally.

1.�� Train your voice and body just like an athlete:��Learn proper singing technique, don’t overuse the voice, get plenty of rest, eat a balanced, healthy diet.�� Singers are like vocal gymnasts who traverse their artistic range with apparent ease and flexibility. Gymnasts are extremely disciplined people who spend hours perfecting their craft and are much more likely than the general public to sustain an injury.�� Professional singers carry some of these same risks and must maintain a disciplined practice schedule with intervals of rest and recovery to perform at an optimal level, regardless of genre.

2.�� Let your voice shine.�� Attempting to imitate someone else’s voice or singing style can require you to sing or do things outside of your comfortable physiologic range or current vocal skill level.�� This could result in vocal injury.�� Also remember that if you are imitating someone who is already famous, their millions have been made.�� You want to be the next star that they hire, not just a copycat.

3.�� Pace yourself.�� When you are preparing for a show or audition season, you must pace yourself and your voice.�� You would not think of trying to get all of your exercise in at the gym by going one day a week for 5 hours.�� Rather, you should sing (and exercise) in smaller increments of time (30-45 minutes) each day, gradually building muscular skill and stamina.�� As you improve, you should be able to increase the amount of time as well as the difficulty of vocal skill.

4. Avoid phonotraumatic behaviors such as yelling, screaming, loud talking, singing too loudly.�� When you increase your vocal loudness, your vocal folds bang together harder (much like clapping your hands really hard, loud, and fast).�� After a period of doing this, your vocal folds begin to react to the impact by becoming swollen and red.�� Long term phonotrauma can lead to vocal fold changes such as vocal fold nodules.

5.�� Adequate hydration.�� Be sure to drink plenty of non-caffeinated beverages throughout the day.�� Although nothing you eat or drink gets onto the vocal folds, adequate oral hydration allows the mucus to act like a lubricant instead of glue.

��Photo:��USC Thorton Popular Music Major – Annie Dingwall

Wendy LeBorgne,��PhD CCC-SLP (Voice Pathologist and Singing Voice Specialist) is the director of the Blaine Block Institute for Voice Analysis and Rehabilitation and the Professional Voice Center of Greater Cincinnati. She holds an adjunct Assistant Professor at Cincinnati College Conservatory of Music and the College of Allied Health. Her research includes the area of the Broadway “belt.” In addition to her duties as a voice pathologist, she continues to maintain an active professional performing career.