tag:blogger.com,1999:blog-18851870712687229692024-03-05T02:33:32.551-08:00Ross CampbellRoss Campbell - Singing SpecialistRoss Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-1885187071268722969.post-47184662742474917902015-04-04T10:03:00.003-07:002016-03-06T09:53:01.590-08:00The Continuously Developing Voice: Adolescence to Ageing Voice<!--[if gte mso 9]><xml>
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<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b>Adolescence (16 to
19 years)</b></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">At this stage of development, the voice has usually gone
through the most extreme changes that it will ever experience. This phase is where stamina and consolidation
should be the focal points of training.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">In some cases, the voice can appear to be quite
settled, but don’t be tempted to burden the voice with repertoire which is
extreme in range and dramatic content.
It is an excellent time to be building in agility and length of phrase.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The choice of repertoire should be
challenging, both technically and emotionally, but if you are training singers,
do keep within your student’s capabilities as you try to extend them. You can also challenge your students by introducing
genres and styles which they would not ordinarily have considered for
themselves. </span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">For the classical repertoire, the early composers
such as Purcell, Bach, Handel, Haydn and Mozart, as well as the popular
collections of 17<sup>th</sup> & 18<sup>th</sup> Century Italian Songs
& Arias provide ideal repertoire for the adolescent voice. For musical theatre and more popular music,
be careful about the range of the song, especially for boys’ voices. You should be able to find songs in a variety
of keys to suit the abilities of your students.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">When choosing repertoire, be sure that the
accompaniment is not too overpowering for the voice. It can be discouraging for a young singer to
feel swamped by the density of the accompaniment so that they strain to be
heard.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b>Young Adulthood (20 to 30 years)</b></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">This is the period of life when
much more vigorous training of the singing voice can be undertaken. The pharynx has developed to its full length
and width, and the cartilage systems with their accompanying musculature have
now reached their full size.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The vocal folds have also reached
their full length, and the muscles within them are now ready to take on harder
work. The breath support system has now settled and can be worked upon to
produce longer phrases and louder dynamics.</span></span></div>
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</span></span><br />
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<br /></div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Everything is now in place for
improving tonal quality and extending the range of the voice. It should be remembered that from the age of
25 the soft cartilages of the larynx begin to harden and become more dense. This is the first step of the aging process
of the voice.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<br /></div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b>Later Adulthood (30 to 50 years)</b></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">At this stage of life, the singer
should be able to access abundant stamina and vocal flexibility. The tone is at
its peak of potential and the voice should be able to work with a wide variety
of dynamic and energy. The voice is also
capable of sustaining longer periods of higher tessitura and louder dynamics
without strain.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The teacher should feel confident in
working with voices in this age range as they should be fully settled into
voice type and capable of working hard.
The singer is also of an age where the emotional and intellectual life
is flourishing, and so will be capable of a wide range of styles and musical
challenge.</span></span></div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b>The Ageing Voice (50 onwards)</b></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Please remember that the ageing process
of the voice commences at about age 25, when the soft cartilages of the larynx
begin to harden and become more dense.
The aging process can inhibit the function of the larynx, affecting
flexibility, pitch and tonal quality. This can be counteracted by a greater
input from the muscles which control the movement of the larynx.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Constant maintenance in the form of
proper exercise will ensure that the voice will function at its best. There is no reason why the voice should sound
‘old’. Deterioration of muscular
function is the true cause of a voice which sounds ‘old’. Keep singing, as long as you are prepared to
practise!</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></div>
Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com1tag:blogger.com,1999:blog-1885187071268722969.post-85823521745242619832015-03-28T01:54:00.002-07:002016-03-06T09:55:31.491-08:00The Continuously Developing Voice: Puberty (Boys & Girls)<!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b>Puberty (12 to 15 years)</b>
</span></span><br />
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<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The onset of puberty generally
occurs earlier in girls than in boys, but most youngsters fall into the 12 to
15 age range. This stage of development
triggers a series of growth spurts followed by recovery periods. The development is not regular. An increase in hormonal levels produces an
increased growth in the body as a whole, including the larynx, with resultant
changes in the voice.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">This age range will be enthusiastic
about current popular music, a lot of which is not suitable for the developing
voice. If you can find the right popular
song, which sits comfortably in a student’s vocal range, this will maintain
their interest. These songs can be
taught alongside classical songs and songs from musical theatre.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="text-align: justify; text-indent: -18pt;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span><b>Boys’ Voices</b></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The vocal changes are most
noticeable in boys. The larynx grows so
large that it can be seen moving in the throat.
It is commonly called the “Adam’s Apple”. The vocal folds become longer and increase in
muscle mass, with a consequent lowering of range of pitch. The pharynx becomes longer and wider, adding
depth of resonance to the voice. </span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Boys may try to speak and sing using
the muscle memory of their pre-pubescent, unchanged voice. This no longer works, resulting in squeaks
and “breaks”. New habits need to be
developed to allow the fast-developing instrument to function properly.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">At this stage, it is important for a teacher to realise that
although vocal stability is difficult to control, this process of vocal change
is entirely natural. It is also important that a boy should continue singing
throughout this period of vocal change.
A boy is not told to stop playing football or give up all sports while
going through the physical changes of puberty.
In the same way, exercising the voice by singing will help it to grow
and be strong.</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">You should be aware that any of the following may happen:</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0.0001pt 18pt; text-align: justify; text-indent: -18pt;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">1. In ideal
circumstances, the pitch range of the voice lowers steadily without any break
and remains intact.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0.0001pt 18pt; text-align: justify; text-indent: -18pt;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">2. In extreme
circumstances, the boy wakes up one morning with a completely different voice
functioning in a lower register, with access to a much weaker upper voice. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0.0001pt 18pt; text-align: justify; text-indent: -18pt;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">3. What is almost
certain to happen is that there will be a definite change of register in the
voice, with a limited thick fold sound of approximately one octave below the
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<![endif]--><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"></span>
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<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">The job of a teacher should be to develop the middle range of
the changed voice and extend this range both up and down the scale.</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
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</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">Repertoire choices become considerably limited, due to the
loss of range, but you should select songs, or parts of songs, which cover the
range at which the voice is working easily.
A boy should not be made to continue to sing as a treble or alto beyond
a reasonable period after the voice begins to show change. This may cause conflict, undue strain and
slow down the development of the adult voice.</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">A counter-tenor voice may be developed, but this will be at
the expense of the emerging tenor, baritone or bass voice. It is a matter of choice as to which type of
voice you wish to develop through training.</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<br /></div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span><b>Girls’ Voices</b></span></span></div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="line-height: 115%;">The vocal change in a girl’s voice is generally less
dramatic, and begins earlier. A noticeable breathiness often appears, due to the
temporary inability of the vocal folds to close fully. This is because of the accelerated growth
process occurring in puberty. As with boys, the vocal folds thicken, and there
may be evidence of register changes, or transitions. These give easier access to the lower notes
in some girls’ voices.</span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Teachers
and singers have even referred to having different “voices” (head or chest) on
either side of these gear changes or transitions. In truth, there is only one voice. The singer must learn to control the
transitions by controlling the relative thickness of the vocal folds and the
position of the larynx in the throat.
Sirening is a great help here.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The notion
of a “head” or “chest” voice arises from the sensations of resonance which are
felt in these areas on varying pitches. A
teacher must strive to mix these resonances and sensations so that the tone
quality is balanced throughout the range.
This will also help to smooth out any gear changes.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The transition from one area of the
voice to another is called a register change.
The notes upon which the register change occurs is called the
“passaggio”. Notes in the “passaggio”
often feel weaker but should never be forced.
If force is used moving from a lower to a higher register, the
transition into the next register will not happen. The voice will sound driven and pushed. This is very unhealthy for the voice and can
build up long term problems. Some people
mistake this for belt quality, which it is not.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">In this phase of vocal change, it is
important not to be quick to categorise the voice as either a soprano,
mezzo-soprano or contralto. You should
listen to the tonal quality of the voice and
work on a variety of repertoire allowing the voice to settle into its
preferred range in its own time.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Throughout the physical changes of
puberty, a guiding principal of exercises for boys and girls alike should be
the siren (“ng”), as well as descending scale work. Girls at this age should be discouraged from
over-developing the lower range of their voice.
This sound may be enjoyable and easy to make, but does not carry through
to higher pitches with ease. They should work on the upper, middle and lower
parts of the voice equally, to ensure the muscular development of all parts of
the voice.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
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<br /></div>
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<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></div>
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span></div>
</div>
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</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">
</span></span><br />
<br />Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-3351156040612337172015-03-21T06:04:00.003-07:002016-03-06T09:55:43.939-08:00The Continuously Developing Voice: Baby/Toddler to Puberty<!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b><span style="line-height: 115%;">Baby/Toddler (from birth to approximately age 4)</span></b></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">From the moment of birth, healthy babies use the larynx
and lungs in a vigorous reflex action which is entirely safe. Babies can cry loudly for extended periods of
time with no damage to the voice, because of the way they support the
breath. Just observe the work in the
abdomen when a baby is in full cry!
Re-discovering the link between breath support and the larynx, which is
so natural to a baby, is fundamental to vocal health in later life.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The larynx
in babies sits high in the throat. It is
very small with short vocal folds. The
cartilages are soft. The noises produced
are high in pitch, can be very loud, but lack wide variation of tone.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Babies then
go on to amuse themselves by exploring the range of sounds they hear in their
environment. Adults encourage this by
using a special language for babies, with cooing, exaggerated pitch changes and
simplified words. Babies respond by imitating
these sounds and begin to gurgle tunes.
They experiment with pitch, volume and length of phrase. A sense of enjoyment and play arises from the
sheer physical act of making these sounds.
This is so often lost when the teaching of singing becomes formalised.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">At this
stage, gentle lullabies and nursery rhymes sung by their parents and older
children will help to develop a baby’s musical ear.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"> <b><span style="line-height: 115%;"><br />Childhood (age range 5 to 8 years)</span></b></span></span>
</div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">As the baby moves into childhood,
the larynx begins to grow and to drop lower in the throat. The increase in the length of the pharynx
allows for a wider variation of tone, and the increasing length of the vocal
folds allows for a greater variety of pitch.
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />It is interesting to note that
the vocal folds in boys tend to grow at a faster rate than in girls. Despite the slightly larger vocal folds,
girls and boys speak at around the same pitch, but girls tend to develop a
wider singing range earlier.
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Children in this age range will
develop naturally by singing in groups.
They need to explore their voices to discover pitch, and they learn to
sing in tune more readily by listening to others in their group. At this stage, you should not insist too much
upon accuracy of pitch or memory of words if this will interfere with the overall
enjoyment of the experience.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">The type of songs which children
of this age enjoy, and respond well to, are nursery rhymes and songs with
accompanying actions and repetition.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><b> </b><b><span style="line-height: 115%;"><br />Pre-Puberty (9 to 11 years)</span></b></span></span>
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">An ideal age for a child to begin
individual singing lessons would be about 9 years. It is advisable that children should not sing
too high in their range nor too loudly for extended periods of time.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Your choice of repertoire is very
important and should be influenced by the child’s musical experience so far,
which can vary greatly from child to child.
The sense of enjoyment should not be lost in these early singing
lessons, so find out what type of music the child likes, and build up a
repertoire with this in mind. Children
of this age respond well to songs which tell a story, animal songs, character
songs, and comedy songs.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Generally, a child will learn the
words of a song more quickly than the tune.
They will also learn more easily through the process of imitation. To this end, you should sing the tune to the
child rather than just play it on an instrument, and continue to sing along
with the child as he or she learns the song.
You can then stop singing along when the child feels more confident.
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />A well-structured programme of
training can produce very gratifying standards of achievement in this age
group.
</span></span></div>
<div class="MsoBodyTextIndent" style="margin-left: 0cm; text-align: justify;">
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></div>
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br />Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span></div>
</div>
Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-23367786188739986572015-03-14T07:30:00.004-07:002016-03-06T09:56:05.088-08:00The Continuously Developing Voice<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The voice constantly changes
throughout life. As a result of physiological change in the body the voice
passes through various stages, the most obvious of which occurs in adolescence.
If you are a teacher of singing, you need to be able to recognize the condition
and stage of development of a student’s vocal mechanism from the sounds it
produces. These sounds are further defined by gender, inherited attributes,
native language and dialect.
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 0cm;">
<span style="background-color: white;"><span style="font-size: large;"><br /></span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">There is no point at which a voice
settles into being a finished product; the continuously developing voice should
instead be viewed as being a ‘work in progress’. Even the adult voice passes
through its own stages, and needs regular work to keep it flexible. Singers
need to work at technique continually.<span style="mso-spacerun: yes;"> </span>
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 0cm;">
<span style="background-color: white;"><span style="font-size: large;"><br /></span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">It is important not to sing or recommend
repertoire to a student which is too demanding. If, for example, the range of a
song is too wide for the voice-type and its stage of development, an undue
strain can be placed upon the voice. Similarly, a song with emotional content
calling for a bigger, dramatic sound brings the danger of vocal fatigue.
Clearly, it takes time to build the necessary stamina and range in any voice.
Proper training will keep a singer active and ever-developing.
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 0cm;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /><span style="line-height: 115%;">The songs
which you or your teacher selects for you should also reflect your emotional
range. For example, giving a 10-year-old a song such as ‘Hello Young Lovers’
from <i style="mso-bidi-font-style: normal;">The King and I</i> is not
emotionally appropriate, even though the technical demands of that song may be
reasonable for a young singer. Adopting an
holistic approach to training the singing voice is advisable right from the
outset; emotional and technical content of songs should go hand-in-hand, and be
appropriate to a singer’s age and stage of development. If you are a teacher of
singing, then repertoire choice is one of your most important tasks. </span></span></span>
</div>
<div class="MsoNormal">
<span style="background-color: white;"><span style="font-size: large;"><br /></span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="line-height: 115%;">Stages of Vocal Development</span></span></span><br />
<div class="MsoNormal">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The voice’s stages of development fall roughly into the
following age ranges. Each has a corresponding physical set-up for the voice,
which produces its own particular type of sound. </span></span></div>
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 0cm;">
<span style="background-color: white;"><span style="font-size: large;"><br /></span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Baby/Toddler (from birth to approximately age 4)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Childhood (5 to 8 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Pre-Puberty (8 to 11 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Puberty (11 to 15 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 162.0pt; mso-list: l0 level2 lfo1; tab-stops: list 162.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">o<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>Boys</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 162.0pt; mso-list: l0 level2 lfo1; tab-stops: list 162.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">o<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>Girls</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Adolescence and Young Adulthood (16 to 19 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Adulthood (20 to 35 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Later Adulthood (35 to 50 years)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 126.0pt; mso-list: l0 level1 lfo1; tab-stops: list 126.0pt; text-indent: -18.0pt;">
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>The Ageing Voice (50 onwards)</span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
<div class="MsoNormal">
<span style="background-color: white;"><span style="font-size: large;"><br /></span></span></div>
<span style="background-color: white;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">
</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span></div>
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Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-73952583178136629792015-03-07T12:20:00.002-08:002016-03-06T09:56:48.120-08:00The Muscles of Breath Support<!--[if !mso]>
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<span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2xxo0hUu7QhrbzeA1FUlNbb_8MsWcz9eXrbz68nBs3cKQntSDkck6OPH8tFneWUL6UAgFz1CnzlLxf9e9cvmnlSabX6oHG-v8FQjvooy3ztTgoT9yOslg5L_2FbDD6mXDBHrqVfH5Ql61/s1600/Muscles2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2xxo0hUu7QhrbzeA1FUlNbb_8MsWcz9eXrbz68nBs3cKQntSDkck6OPH8tFneWUL6UAgFz1CnzlLxf9e9cvmnlSabX6oHG-v8FQjvooy3ztTgoT9yOslg5L_2FbDD6mXDBHrqVfH5Ql61/s1600/Muscles2.png" width="640" /></a></span></div>
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="font-size: large;"></span><span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";"></span></span><span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";"><br />For breath support purposes, the
abdominal muscles consist of four groups:</span></span>
<br />
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<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">The rectus abdominus, which lies just underneath the
surface of the skin</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">The external obliques, which lie underneath the
rectus abdominus</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">The internal obliques, which lie underneath the
external obliques</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">The transverse abdominus, which is the deepest and
which lies underneath all of the above</span><span style="font-family: "calibri" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The
<b><a href="http://backandneck.about.com/od/r/g/rectusabdominus.htm"><span style="color: windowtext; text-decoration: none;">rectus
abdominus</span></a></b> muscle (the six-pack) is the most <a href="http://backandneck.about.com/od/s/g/superficial.htm"><span style="color: windowtext; text-decoration: none;">superficial</span></a>
of the abdominal muscles, and it runs from the bottom of the ribcage at the
front of the torso to the pubic bone. The muscle fibres run lengthwise down the
body, which has a serious implication for singing. Contraction of these muscles
pulls the body forwards and down, which interferes with the posture needed for
singing. A singer will lean forwards if this is happening. For this reason many
teachers advise students not to exercise using stomach crunches.</span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The
<b><a href="http://backandneck.about.com/od/e/g/externaloblique.htm"><span style="color: windowtext; text-decoration: none;">external
obliques</span></a></b> are a pair of abdominal muscles which are located on
either side of the torso and are superficial to the <b>internal obliques</b> which lie in a similar position, but deeper. Both sets of oblique muscles are attached to
the lower ribs and to the pelvis at the hip.</span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The
<b><a href="http://backandneck.about.com/od/t/g/transverseabdom.htm"><span style="color: windowtext; text-decoration: none;">transverse
abdominus</span></a></b> muscle is the most important of this group for breath
support. It lies at a deeper level in the body than the other abdominal
muscles, and wraps around the torso, creating an effect similar to a back
support belt. The muscle fibres run from side to side, so when this muscle
contracts, the effect is to flatten the belly. Unfortunately this muscle tends
to be rather lazy, so if the rectus abdominus is doing all the work, the
transverse abdominus need not do anything. Posture is the key here; the singer
should avoid leaning forwards and should be aware that the oblique muscles are
at work. The transverse abdominus will then function as it should.</span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">These abdominal muscles operate
together, not in isolation. It is important however that the rectus abdominus
does not dominate and upset the balance. The work of the muscles should not
interfere with the diaphragm as
it contracts. </span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The following activity shows the
diaphragm and the abdominals working together. It demonstrates the same
muscular action used in supporting the breath for singing. </span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><i>►</i><i><span style="font-family: "calibri" , "sans-serif";"> <b>activity</b>:</span></i></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">1.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "calibri" , "sans-serif";">Using the fingertips, find the band
of muscle above the navel and just below the centre of the ribcage. </span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 72pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">2.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "calibri" , "sans-serif";">Push and release the fingertips into
this band of muscle to feel how elastic it is. Make a lengthened and vigorous
‘SHH’ sound, and observe how this muscle contracts, pushing the fingertips
outwards. Repeat this exercise with the band of muscle below the navel and just
above the pubic bone. <span style="color: blue;"></span></span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Note that
the navel is not being pushed outwards as these muscles contract. (You should
not in any case push out the belly when breathing as this locks the torso and
reduces flexibility.) To demonstrate the mechanics behind this, place a
fingertip in the navel and make a long gentle ‘SHHH’ sound. The navel naturally
moves inwards towards the spine as the air is exhaled. This is because the
transverse abdominus muscle is contracting and flattening the belly.</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><b><span style="font-family: "calibri" , "sans-serif";">Related
Muscle Groups </span></b></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The abdominal muscles are helped in
their work by muscles in the back and the pelvic floor, which have their role
to play in controlling the use of breath in both speaking and singing.</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Although not so easy to observe in
action as the abdominals, the action of these muscles can be shown in an
activity similar to the above. <span style="color: blue;"></span></span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><i>►</i><i><span style="font-family: "calibri" , "sans-serif";"> <b>activity</b>:</span></i></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">1.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "calibri" , "sans-serif";">For the muscles in the back, place
the palm of the hand on the back muscles just below the ribcage. Make a
lengthened and vigorous ‘SHH’ sound and feel the muscles contract.</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">2.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "calibri" , "sans-serif";">For the muscles at the sides, place
both hands just below the ribcage on either side of the body, the fingers in
front and the thumbs to the back. Make a vigorous ‘SHH’ sound. Squeeze gently
as the sound is made, and the contraction of the muscles is easily observed</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">3.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-family: "calibri" , "sans-serif";">For the pelvic floor muscles, sit
upright on a hard chair. Make a vigorous ‘SHH’ sound. As the sound is made,
there will be a very slight uplift of the torso as the muscles contract against
the chair.</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span><br />
<div>
<br /></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></div>
Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-85157889199352848212015-02-28T08:58:00.000-08:002015-02-28T09:09:51.535-08:00The Action of Breathing<!--[if gte mso 9]><xml>
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<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">Control of breath underpins all
speaking and singing. Air is taken into the lungs either through the mouth or
nose as we breathe in, and passes out of the body as we breathe out. On its way
out, it passes through the larynx and is used to power the voice. The control
of airflow must be the job of the breath support system and, when properly
supported, the voice will emerge freely and under control. </span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">The following are the most important
parts of the anatomy with regard to the use of breath in singing:</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 90pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: Symbol;"><span>·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-family: "Calibri","sans-serif";">the lungs, which hold the air when it is inhaled</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 90pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: Symbol;"><span>·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-family: "Calibri","sans-serif";">the diaphragm, which controls the <b>inhalation</b>
of the air</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 90pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: Symbol;"><span>·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-family: "Calibri","sans-serif";">the abdominal muscles, which control the <b>exhalation</b>
of the air</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 90pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: Symbol;"><span>·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-family: "Calibri","sans-serif";">related muscle groups in the back and pelvic floor,
which support the abdominal muscles </span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><b><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">The Lungs</span></b></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">These are large sacs lying within
the rib cage, above the diaphragm. Their main purpose is to provide the body
with oxygen which they extract from the inhaled air. The air left over is then
exhaled, and it is from this that we can make sound. Lungs cannot inflate or
deflate by themselves because they have no muscles of their own. They inflate
and deflate due to the action of the <b>diaphragm</b>.<span style="color: blue;"></span></span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><b><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">The Diaphragm</span></b></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">The diaphragm is a sheet of muscle
attached to the lower edges of the rib cage and to the spine at the back. It
lies deep inside the body under the rib cage. You can feel the effect of it
moving when you touch the upper abdominal muscles, but you are not touching the
diaphragm itself. When relaxed, the diaphragm lies in a dome shape underneath
the deflated lungs. When it contracts, it moves downwards towards the abdomen
and the lungs fill with air.</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">Diaphragmatic breathing is often considered
to be a support mechanism in singing. However, we use the diaphragm to breathe
in. When we sing, we are breathing out! The diaphragm is relaxing as we breathe
out (exhale), so it is losing energy and can’t be depended upon to support the
voice. Breath support for singing in fact comes from the muscles which control
exhalation, the outward flow of breath. These other muscle groups support the
breath, giving power to the voice – and are particularly important for long
phrases, whether spoken or sung.</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">When the lungs are full, the
diaphragm will have contracted and moved downwards. This action creates the
inhalation of air and the lungs inflate. </span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">When there is little breath in the
lungs, the diaphragm is relaxed and sits high in the rib cage.</span></span></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "Calibri","sans-serif";">Locking or holding the diaphragm
interferes with and impedes the free flow of air. The diaphragm can become
locked if the rib cage is constantly being held in a rigid, high position. This
is a common problem, since some people mistakenly believe that this ‘military’
posture is good for singing. But flexibility is the key to success in singing,
and it stems from well-aligned posture.</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-size: large;"><span style="color: #141823; font-family: "Calibri","sans-serif";"><span>-<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="background: none repeat scroll 0% 0% white; color: #141823; font-family: "Calibri","sans-serif";">Ross Campbell<br />
Professor of Singing, Royal Academy of Music, London</span><span style="color: #141823; font-family: "Calibri","sans-serif";"><br />
<span style="background: none repeat scroll 0% 0% white;">Director & Head of Singing, Musical Theatre
Ireland, MTI</span><br />
<span style="background: none repeat scroll 0% 0% white;">Award winning Author for ABRSM Songbooks 1 - 5<br />
<span class="textexposedshow">1-to-1 Vocal Training & Consultations available</span><br />
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Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-4764914736793133912015-02-21T03:56:00.004-08:002016-03-06T09:57:00.349-08:00Muscle Memory & Posture<!--[if gte mso 9]><xml>
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<h1 align="left" style="line-height: 115%; text-align: left;">
<span style="font-size: x-large;"><span style="font-family: "calibri" , "sans-serif"; line-height: 115%;">Muscle </span><span style="font-family: "calibri" , "sans-serif"; line-height: 115%;">M</span><span style="font-family: "calibri" , "sans-serif"; line-height: 115%;">emory
</span></span></h1>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Muscles
‘remember’ the actions they perform. The more often these actions are repeated,
the more efficient the muscles become at doing them. The clearest example of
muscle memory is one’s accent. This is the result of years of repetition of
particular muscular actions of the tongue and throat. It is habitual – if you
wish to change your accent, you have to create new muscular habits. In <i>My Fair Lady</i> Eliza Doolittle’s cockney
accent became </span><span style="font-family: "calibri" , "sans-serif";">‘</span><span style="font-family: "calibri" , "sans-serif";">Received Pronunciation</span><span style="font-family: "calibri" , "sans-serif";">’</span><span style="font-family: "calibri" , "sans-serif";">
only after endless work.</span></span></div>
<span style="font-size: large;">
</span><br />
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<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Training
a voice involves building up the muscle memory which will allow the voice to
work at its best. Singers may arrive for </span><span style="font-family: "calibri" , "sans-serif";">a first
singing</span><span style="font-family: "calibri" , "sans-serif";"> lesson with
muscles that are under-active, over-active or used incorrectly. Correcting old
habits and creating new, more efficient ones is an essential part of teaching
singing. A </span><span style="font-family: "calibri" , "sans-serif";">singing </span><span style="font-family: "calibri" , "sans-serif";">teacher needs to encourage regular
practice and rehearsal of these new habits, because it is through repetition
that the new muscle memory is established. Repetition also builds stamina for
more prolonged and sustained singing.</span></span></div>
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<br /></div>
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<br /></div>
<div align="left" class="MsoHeading8" style="line-height: 115%; text-align: left;">
<span style="font-size: x-large;"><b><span style="font-family: "calibri" , "sans-serif"; line-height: 115%;">Posture </span></b></span></div>
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<br /></div>
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The voice works best if the
instrument – and the instrument here is the body – is set up properly. There is
an ideal physical set-up for the voice, which we call posture. </span></span></div>
<span style="font-size: large;">
</span><br />
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<br /></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The two main elements of good
posture for singing are:</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">a
long spine</span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; margin-left: 36pt; text-align: left; text-indent: -18pt;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "calibri" , "sans-serif";">breadth
across the upper chest</span></span></div>
<span style="font-size: large;">
</span><br />
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<br /></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The alignment of these two elements
helps the voice to work optimally. The spine should be long, so slouching must
be avoided. </span><span style="font-family: "calibri" , "sans-serif";">Think</span><span style="font-family: "calibri" , "sans-serif";"> tall, with the back of the neck
straight but not rigid, and the base of the spine tucked down. The simpl</span><span style="font-family: "calibri" , "sans-serif";">est way of achieving this is </span><span style="font-family: "calibri" , "sans-serif";">to rock the pelvis backwards and
forwards so that </span><span style="font-family: "calibri" , "sans-serif";">you</span><span style="font-family: "calibri" , "sans-serif";"> can feel the lower part of the
spine dropping down and tucking under. The knees </span><span style="font-family: "calibri" , "sans-serif";">should</span><span style="font-family: "calibri" , "sans-serif";"> </span><span style="font-family: "calibri" , "sans-serif";">remain flexible, but not soft,</span><span style="font-family: "calibri" , "sans-serif";"> and </span><span style="font-family: "calibri" , "sans-serif";">certainly </span><span style="font-family: "calibri" , "sans-serif";">not
locked. This position means that the muscles of the lower abdomen are ready to
work. Breathing can then function efficiently. </span></span></div>
<span style="font-size: large;">
</span><br />
<div align="left" class="MsoBodyText" style="line-height: 115%; text-align: left;">
<br /></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Breadth of upper chest refers to a
sense of widening of the sternum. This engages the pectoral muscles of the
upper chest which help to support the muscles in the neck, and it stabilizes
the larynx. In order to achieve breadth of the upper chest, the shoulders
should be moved gently back. With hands clasped behind the back at waist level,
the singer should pull the elbows back, before lowering the hands (still
clasped). There will be a feeling of stretch in the pectoral muscles as the
chest widens. While maintaining this posture, the hands should be released and
the arms allowed to drop to the side.</span></span></div>
<span style="font-size: large;">
</span><br />
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<br /></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">The breath cannot work properly if
the body is not correctly aligned, for example if it is collapsed in the
centre. This happens when the superficial abdominal muscles, the ‘abs’,
contract and pull the upper body downwards. The diaphragm then cannot work
efficiently and tension rises into the neck. In addition, if the chin juts
forwards, muscles in the neck, which hold the larynx in place, are stretched,
which prevents the larynx from moving freely and therefore working easily. </span></span></div>
<span style="font-size: large;">
</span><br />
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<br /></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><span style="font-family: "calibri" , "sans-serif";">Teachers should always be reinforcing g</span><span style="font-family: "calibri" , "sans-serif";">ood posture </span><span style="font-family: "calibri" , "sans-serif";">in a singing lesson, </span><span style="font-family: "calibri" , "sans-serif";">and </span><span style="font-family: "calibri" , "sans-serif";">singers need to be reminded that they</span><span style="font-family: "calibri" , "sans-serif";"> can practise good posture</span><span style="font-family: "calibri" , "sans-serif";"> at any</span><span style="font-family: "calibri" , "sans-serif";">time,
anywhere, and whether or not they are singing. It is a question of being
mindful of how they are standing, sitting or walking, of checking the position
of the spine and the shoulders (whether they are properly aligned), and of
thinking about how the muscles feel. Good posture may feel unnatural at first
if bad habits have become entrenched; new habits often feel odd, even when they
are more efficient. </span><span style="font-family: "calibri" , "sans-serif";">Teachers
& singers</span><span style="font-family: "calibri" , "sans-serif";"> should
persevere until good posture becomes habitual. </span><span style="font-family: "calibri" , "sans-serif";">Good</span><span style="font-family: "calibri" , "sans-serif";">
posture is fundamental to good singing, and much more than an optional extra. </span></span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></div>
Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0tag:blogger.com,1999:blog-1885187071268722969.post-74251223854739785302015-02-13T15:36:00.001-08:002016-03-06T09:57:14.375-08:00The part Muscles play in Singing & Voice Production<!--[if gte mso 9]><xml>
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<span style="font-family: "calibri" , "sans-serif"; font-size: large;">Singing
is a physical activity involving the use of muscles. It is helpful to think of
the singer as a vocal athlete. As in all sport, the muscles we need for singing
have to function properly and be strong enough to meet the demands of the
music. Therefore, how muscles work needs to be understood at a basic level.
Learning which muscles should be doing which action will help a singing teacher
and a singer to train muscles to function properly and to build up the
necessary strength, and from this to develop healthy voice production. <span style="color: #7030a0;"></span></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large;">Muscles
essentially have three actions: </span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: 162.0pt; mso-list: l0 level1 lfo1; tab-stops: list 162.0pt; text-indent: -18.0pt;">
<span style="font-family: "symbol"; font-size: large; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: "calibri" , "sans-serif"; font-size: large;">they
contract</span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: 162.0pt; mso-list: l0 level1 lfo1; tab-stops: list 162.0pt; text-indent: -18.0pt;">
<span style="font-family: "symbol"; font-size: large; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: "calibri" , "sans-serif"; font-size: large;">they
relax</span></div>
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<span style="font-family: "symbol"; font-size: large; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: "calibri" , "sans-serif"; font-size: large;">they
can be stretched</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: large;">In
singing, all three actions can be happening at the same time. </span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: large;">Contraction
of a muscle is often called flexing a muscle. When a muscle contracts, it
shortens – and the muscle bulges. This can be easily observed by looking at the
bicep in the upper arm. The most basic muscular action is the spasm (jerk
reflex); it is a quick contraction of the muscle, caused by energy passing
through it. Singing uses a lot of energy because of the amount of muscular
activity involved. </span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large;">When
muscles relax, they ordinarily go back to their original length and the bulge
disappears. In sustained athletic activity, however, muscles which have been
overworked may lose this function and go into a state of chronic contraction.
In such cases, muscles need to be stretched, which is why athletes are
constantly massaged. </span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoBodyTextIndent" style="line-height: 115%; margin-left: 0cm; tab-stops: list 90.0pt;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large;">Athletes do
stretching exercises to loosen up the body and to warm up. In the same way,
singers can benefit from a physical warm-up routine, such as stretching,
shaking out shoulders, and moving arms and legs, in order to prepare and
energize the body for work. This should then lead on to a vocal warm-up.</span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large;">Muscles
tend to work in groups rather than in isolation. For example, a group of
muscles works together to raise your arm, and a group of muscles works together
to lower your arm. If both these muscle groups decided to work at the same
time, there would be a problem. The arm would neither raise nor lower, and the
conflicting energy would block any movement. This conflict of muscular energies
is referred to as tension.</span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><br /></span></div>
<div align="left" class="MsoBodyText2" style="line-height: 115%; text-align: left;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 115%;">Consider
<span style="mso-bidi-font-style: italic;">the tongue, which is not simply one
muscle, but a combination of several which work together to comprise the
fastest-moving organ in the body. It is also a very flexible organ, allowing
the singer to alter the shape of the mouth and pharynx with speed and
precision. But any conflict of energies in the muscles of the tongue can result
in tongue-root tension – when the base of the tongue becomes locked,
interfering with the free movement of the tongue and tending to stiffen the
jaw. This can hinder the formation of vowels, consonants, and the free movement
of the larynx, all of which has a negative effect on the singing voice. </span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></div>
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: 'Times New Roman'; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Ross Campbell<br />Professor of Singing, Royal Academy of Music, London<br />Managing Director & Head of Singing & Music, Musical Theatre UK, London<br />MTI Award Winning Author for ABRSM Songbooks 1 - 5<br />1-to-1 Vocal Training & Consultations available<br /><a href="http://www.rosscampbell.biz/">www.rosscampbell.biz</a><br /><a href="http://www.musicaltheatreuk.com/">www.musicaltheatreuk.com</a><br /><a href="http://www.dailysingingtips.com/">www.dailysingingtips.com</a></span></div>
</div>
Ross Campbellhttp://www.blogger.com/profile/11976369409786303695noreply@blogger.com0