Dealing with Weather- Singing Tips

Moisture and time zones are two very important keys. On an average singers need at least twenty-four hours to adjust, their voice while they are in an entirely new enviornment. Eventually, your body will become more adept to rapid changes in climate, but in the beginning of your career I wouldn't recommend booking yourself in Maine on Monday, Tulsa on Tuesday, and then Orlando on Thursday. This would be vocal suicide. The more extreme the climate change the more taxing to the body. You are a human instrument with good days and bad days. The longer you travel, the quicker your body should adjust to travel and change of climate. In the mean time, get plenty of fluids (about twice as much as you probably think you need) and some Entertainer's Secret.

Voice Repair - Get Excited! We Have the Tools!

by Diana Yampolsky, a Toronto-based Vocal Coach/Consultant.
The Article Is As Written by Diana Yampolsky by cleverjoe.com

In this article, I would like to talk a little bit about how to deal with voice problems. As much as I wish it wasn’t the case, most untrained singers put unnecessary strain on their vocal chords and will as a result damage their voices.

Most untrained singers put unnecessary strain on their vocal chords and will as a result damage their voices.

This is especially true for rock ‘n roll singers who often strain to hit high notes to cut through the sound of distorted guitars and heavy drums. I don’t know how many times I’ve heard amateur singers say that their throat is sore for quite a few days after a practice. And the problem is actually worse for professional but untrained singers; they go on long tours and have to sing every night in a smoky environment. These are the singers that you hear about having to cancel tour dates because their voices are giving out and hurting to the degree that they simply cannot perform.
The fact of the matter is that your voice should never feel sore the day after a performance or any time due to the act of singing. You should be able to sing for at least 4-5 hours every night seven days a week and never feel even a slight discomfort in your throat. God forbid you have damaged your voice, but if that’s the case, the first thing you need to be aware of is that in most instances your voice can be cured with special vocal exercises and specific herbal remedies. Only in the very most serious instances should surgery even be considered!

Firstly, I recommend the use of natural herbs to counter the damage that has already been done to a singer’s vocal anatomy. All of the herbs that I recommend for my clientele are produced by a company called Nature’s Sunshine. I have tested quite a few others, but Nature’s Sunshine’s products are, in my opinion, by far the best. IGS 2 is a herb that will strengthen and repair your entire vocal anatomy: larynx, vocal chords, vocal box etc. Echinicea and Golden Seal coats the voice and softens the vocal box tissues. Licorice Root is a herb that is widely used by many cultures around the world; it works to restore the voice AND helps an individual’s emotional state, as it works on the adrenal glands which are responsible for the emotional state of a human being. This is a very important point. Most people assume that vocal problems are the result of straining the voice to the point of physical damage and they often are, but, vocal problems can also be related to emotions as well.
As I mentioned in my first book, Vocal Science – Flight to the Universe, when I work with my students, quite a lot of my time is spent dealing with repressed emotions and hurts which inhibit the voice and prevent the singer from reaching their full potential. For this reason, I often offer my clients special herbal remedies which will help them put their emotions in balance and, thus, free their voices.

Both KCX and Kelp are herbs that nurture the thyroid, which plays a major role in voice delivery. Furthermore, as I have said time and time again, your voice is your instrument. Therefore, I also often recommend herbs such as Stress Formula and IMM-C, which boost and strengthen the immune system. Also, as I mentioned before, diet is very important to the recovery and general performance of your voice. For this reason, I suggest to my clientele that they try not eat any of the following types of food: spicy, sour, salty, acidic and consume as little dairy as possible.

The other main part of the vocal repair equation are special voice repair exercises. I usually start out with speech exercises. After the client has mastered them, we move on to low pitch singing exercises, which I have found to be very therapeutic and healing.

Once the voice has been repaired the next step is to teach the singer correct vocal technique to prevent damage from reoccurring again in the future. After all, you would not get a tire patched up and then go park on the same broken glass that caused the hole in the first place would you? This always has the pleasant side effect of improving the quality of singing as well.

Total Voice Repair
Most people always assume that voice repair is only about removing nodes and fixing the vocal chords, but what I call ‘Total Voice Repair’ means repairing your entire anatomy. Essentially, many of the things that the modern world presents us with – fast food, pollution, lack of physical exercise – have a detrimental effect on our bodies and thus on our voices. For example, recently a client contacted me about my voice repair services. When I first met her three things were obvious to me – she had done serious damage to her vocal box, her body was extremely “polluted” and, at least in part, the latter was responsible for the former. When I talk about someone being “polluted” what I am saying is that their body is essentially full of garbage. The colon is full of waste. The sinus cavity is clogged with mucous. In the case of this person she was also extremely overweight. The result of all this “pollution” is that the person’s immune system is weak and their energy level is low; which results in the vocal anatomy being even more susceptable to damage due to incorrect vocal technique. Therefore, in the case of this client, voice repair did not begin with her voice but with her body. A complete holistic body repair was required before we could even start on her voice. Again, the first thing I did was give her a lot of herbs, but not only the herbs related to the voice but also quite a few herbs that would cleanse her body of the toxins in her system. As I have mentioned in other chapters, great and safe singing is the result of an integration and synergy between a healthy overall body, a healthy vocal box and correct vocal technique.

In conclusion, I would like to express my hope that you would never require any voice repair and will learn to speak and sing correctly before even attempting to make it through that long, nasty tour.

---

Diana Yampolsky is a Toronto-based Vocal Coach/Consultant/Voice Repair Specialist. She is the creator of the Vocal ScienceTM Program, which has been designed to achieve Accelerated Vocal Development and guarantees to turn a beginner into a professional singer in a matter of hours. This technique focuses on the idea that the voice is an expression of the emotional, physical and spiritual state of the person singing and Diana therefore works not just on the voice but on the performer as a whole. The Royans School for the Musical Performing Arts (http://www.vocalscience.com) specializes in Accelerated Artist Development, including Vocal Coaching/Consulting, In Studio Vocal Production Expertise, Style Identification & Differentiation, Voice Repair and Psychology of Performance.

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Singers Lets Prevent Vocal Problems

-- Dr. Barbara Mathis

Good vocal health, of general interest to everyone, is a vital concern to the professional voice user, singers in particular. The voice is a precious commodity which cannot be replaced when worn out or damaged; therefore prevention can be the most important aspect of vocal hygiene. Vocal experts offer detailed suggestions for maintaining good vocal health and preventing serious vocal problems. Stemple states that people who make professional use of their voice must take special care to avoid risks to general health of the entire body as well as to the laryngeal mechanism, for the well-being of the voice is dependent on the well-being of the whole body. Brodnitz believes that among professional voice users the singer, above all, must practice intelligent hygiene, for the singer's profession requires the highest degree of specialization in the use of the voice. Unfortunately, as Stemple states, "the lifestyles of many professional voice users are not compatible with the maintenance of a healthy larynx. Not only may these lifestyles create vocal abuse and emotional stress, but they may also lead to less than adequate physical health." Luchsinger and Arnold further advise the professional actor or singer that psychological and physical conditions which concern everyone affect them to an even greater extent; and that singers, whose occupation requires a major form of physical activity, should preserve their health through temperance in every respect. The reviewed sources agree that professional voice users must attend to physical fitness and nutrition, prevention and prompt care of illnesses and allergies, environmental conditions, and speaking and singing habits.

Physical exercise and proper nutrition help keep bodies and voices healthy. Brodnitz states that the mucous membranes prefer a diet with limited starches, thus discouraging the overproduction of phlegm which interferes with free nasal breathing and clarity of the voice. The tendency to overindulge in starches and the lack of enough physical exercise often cause a corresponding tendency toward obesity, a condition associated with high blood pressure, higher levels of cholesterol, sugar diabetes, heart disease, and respiratory problems. Unhealthy for anyone, obesity is certainly detrimental for the professional voice user who must have a healthy respiratory tract; and, as Sataloff points out, obesity has significant disadvantages for the professional singer:

Today, most people involved in voice education and singing recognize that singing is athletic. As such, it requires good abdominal and respiratory conditioning, physical strength, and endurance. All of these are undermined by significant obesity. . . Even a moderate degree of obesity may adversely affect the respiratory system, undermining support.
Bunch cautions against obesity but reminds singers that a good diet should include protein to combat wear and tear of tissues, and vitamins, minerals, carbohydrates and fat to insure vitality and energy as well as good health. Bunch also recommends physical activity which involves free movement and increased depth of breathing such as dancing, jogging, walking, calisthenics, tennis, and swimming. She states, though, that singers should refrain from diving and underwater swimming to avoid possible risks of nasal congestion and ear trouble, and further advises against weightlifting which tends to overdevelop the muscles of the neck and the adductors of the vocal folds.

Prompt attention to and care for illnesses, especially those affecting the upper respiratory tract, is important in the prevention of more lasting vocal disorders. The common cold, which may begin with a tickle in the throat, congestion, and/or sneezing, can lead to more serious infections of the sinuses, bronchial tubes, or lungs. Unfortunately, as Lawrence points out, the cold, or the URI (upper respiratory infection), "is a fever producing, sudden onset illness that attacks the respiratory tract, and which lasts about a week with treatment and about a week without treatment." About all one can do when the cold strikes is to rest, increase fluid intake, and provide some relief for the affected tissues. Lawrence recommends steam inhalations, a decongestant, and antihistamine for the first few wet days; however, he cautions singers about the drying effects of antihistamine if used past the "pouring hot water" stages of the cold. Professional voice users should speak and/or sing as little as possible while under the effects of the cold and should avoid violent coughing or throat clearing, all of which may cause hoarseness long after other symptoms have abated. The best cold "medicine" is to avoid catching the virus in the first place, as some sources suggest. Lawrence believes that the best way to avoid a URI during the cold season is to wash hands often and to avoid touching objects which have been in contact with someone infected with a cold. Many sources recommend keeping the mucous membranes hydrated and keeping the atmosphere in homes and buildings at a high relative humidity level to help deter the spread of viruses.

Suggestions for adequate environmental and body hydration appear often as a preventive vocal health measure. Lawrence explains that water is extremely important in the normal functioning of the respiratory tract and of the vocal tract in particular. He advises the professional voice user to carefully monitor body water levels by noting the condition of one's urine: when well hydrated, urine is very dilute, nonodorous and almost invariably the color of tap water. Loeding advises vocal performers to avoid habits which dry out mucous membrane linings of the nose and throat, such as smoking and drinking alcoholic beverages, to drink eight to nine glasses of water a day, and to keep the air moist by using a vaporizer or turning on the hot shower. When outside temperature and humidity levels are uncomfortable, efforts to provide a healthy environment which contains a minimum humidity level of forty percent should often include running a vaporizer, humidifier, steamer, or hot shower, especially in homes or buildings which are centrally heated or air conditioned the year around. When outside humidity levels are too high, Stemple contends that the mucus of the respiratory tract may thin out, causing excessive drainage leading to throat clearing and coughing. He further states, though, that the presence of mucous drainage, or "postnasal drip," is a normal and natural function which should not be changed with over-the-counter "sinus" medicines which dehydrate the mucosal lining. Lawrence explains that normal mucus, which is watery, thin, and liquid, is rarely, if ever, perceived as being present. If overly aware of drainage, one is usually suffering from dehydration, although the thicker secretion can be the accompaniment of a problem such as sinusitis, upper respiratory infection, or a nasal allergy.

Nasal allergies or sinus problems can make life miserable for the professional voice user, for these conditions can cause swelling of the tissues in the throat and larynx eventually leading to hoarseness. Severe or chronic allergies need specialized medical attention; however, if attacks are infrequent and mild and if problems are minimal, Sataloff advises the use of a mild antihistamine and/or decongestant. The drying effects of the antihistamine may be counteracted by mucolytic medications such as Entex, Organidin, Robitussin, or Humibid, which increase or thin upper respiratory secretions. These medications also help dryness caused by atmospheric conditions and overuse of the voice.

Closely related to allergic reactions and general health of the laryngeal tissues is the unhealthy reaction of the voice to irritants such as tobacco, alcohol, and other recreational drugs. Almost without exception, voice experts advise against the habitual use of tobacco, marijuana, alcoholic beverages, cocaine, and other mood and mind altering drugs. Symptoms from habitual use are twofold: direct physical changes in the larynx and respiratory tract, and results brought about by changes in the sensory mechanisms. Sataloff warns that smoking not only may have eventual health consequences such as cancer, emphysema, and heart disease, but that the heat and consequent irritation of smoking also have an immediate effect on the larynx and the linings of the respiratory tract, producing inflammation that alters the vocal folds. Lawrence describes the effects of tobacco and marijuana ("weed" or "pot") smoking:
The hard palate is reddened. The soft palate and the uvula have that whitened surface look you see when you drop egg white into hot water and the protein first begins to coagulate. The edges of the vocal folds are reddened, and there is a slightly dry, nonproductive cough. . . .Pack-a-day smokers of tobacco will sometimes show those findings after a few months, but those on weed will be unmistakably there after a very short time. And the voice loses its brilliance and its cutting edge.

Sataloff explains that marijuana smoke is particularly harsh, hot, and unfiltered and may alter sensorium thus interfering with intellectual awareness and fine motor control. In a later article Lawrence offers further concerns about marijuana usage and resultant attitudes and disregard for ethics. He states that excellent singing requires physical and mental discipline and daily practice and exercise, but that the "lovely, eased-out languid feeling of a marihuana high makes this so much less urgent, so much less agreeable to do. . . .I find pot eroding the work ethic, at least among several of my university voice majors."

The professional voice user should carefully consider the consumption of alcoholic beverages. Wilson warns of these possible effects: excessive vascularization, a drop in fundamental frequency, and hoarseness. Sataloff reminds singers that alcohol opens up blood vessels and alters mucosal secretions while also altering awareness and fine motor control. He states that while very small amounts do not pose a major problem for people who are accustomed to drinking, singers who are not routine drinkers should be careful to avoid alcohol on the day of a performance. Bunch explains, though, that the habitual use of alcohol can affect the voice in several ways. As a depressant and muscle relaxant, alcohol may impair the control of the vocal folds and sensitivity of the throat, and the drying effect of alcohol can cause irritation in the tissues of the vocal tract eventually causing a raspy or hoarse voice.

Like alcohol, other recreational drugs change the sensory mechanisms of the body, a pertinent fact for the serious voice professional who wishes to maintain good vocal technique at all times. Sataloff explains to singers the decreased awareness and impairment of accurate analytic abilities caused by "street" drugs:
They not only prevent a singer from making the instantaneous modifications that are intrinsic to good singing, but some street drugs also interfere with reaction time and motor control directly. In some cases, they may also decrease feeling (particularly narcotics) and allow a singer to injure himself without feeling pain. This can result in serious or permanent vocal fold damage as the singer continues to use his voice, perhaps remaining oblivious to the problem until the next day. Certain street drugs, particularly "uppers," may also cause a tremor that can be heard in the singing voice.
Lawrence offers additional concerns about a particular recreational drug, cocaine, and its effects on singers:
As a laryngologist I see the residuals of the chemical and thermal burns of the vocal tract surfaces, and I'll hear the air escape during phonation, the harshness and breathiness, the loss of clarity of voice, the loss of high range voice.
Lawrence also attests to the personality changes which may come about as a result of cocaine. The user most often experiences mood swings, from a sense of euphoria accompanied by a speeding up of thought processes and a tongue that cannot keep pace with mental activity, to the down phases, which can include attitudes of dejection, despair, and depression. Eventually true paranoia may result. The professional voice user may conclude from the opinions stated here that avoidance of smoking, alcohol, and recreational drugs will increase the chances for maintaining good vocal health and technique.

Another important factor in preventing serious vocal problems is sensible use of the voice in regard to time and demand. Unfortunately, many people who use their voices professionally are in job situations which require exhausting schedules of preparation, performance, promotion, and travel. These kinds of demands create tired bodies and tired voices. Lawrence feels that total voice use time should be a major consideration in vocal health and that vocal abuse may be a matter of "too much, too loud, and too hard." He further states:

I would say to any singer, to any voice user, that no larynx is infinite. None of us is made of cast iron or stainless steel. Each of us has a definite, a finite amount of vocal coin to spend. We should consider our priorities and then literally put our money where our mouths are.

Sundberg advises singers and other people who rely heavily on their voices to note an important fact: the endurance of the vocal mechanism varies considerably among individuals. Even when using the voice economically and well, some people cannot perform as long as others. Endurance is affected by factors other than individuality, such as a cold, alcohol consumption, or dry air. What is harmless under normal conditions may be twice too much under unusual circumstances. Sundberg concludes this idea by stating that the more the voice is used, the more wisely and economically it must be used, and, that the risk of developing a voice disorder using one's normal vocal technique increases during adverse conditions such as a cold. Thus, if it is up to the individual to discover his own vocal limits in regard to time and demand without experiencing health problems, then the professional or future professional voice user should know recommendations from experts along these lines. In 1894 Manuel Garcia advised his students that the "practice of singing three or four hours a day will ruin the most robust organ;" and he recommended three half hours a day at long intervals as the maximum of study. Coffin also tells us that the master teachers of singing recommended four practice sessions of thirty minutes a day for "the most robust vocal organs." Coffin also cautions singers about the demands from opera and chorus conductors, and places the responsibility for limiting rehearsal and performance hours on the singer, who must "protect himself by any guise."

Luchsinger and Arnold advise the professional singer to rest the voice at regular periods and, as a general rule, to limit major performances to three per week. Sataloff reminds singers that just as the eyes burn and get "bloodshot" after staying up too late, similar changes in mucosal lubrication and irritability occur throughout the vocal tract: "When we wear ourselves out, we interfere with the body's ability to repair, replenish and balance the components of our vocal mechanisms." Sataloff and Roberts further advise singers, who must deal with both the physical and psychological stress of performance, that rest periods are essential for muscle recovery, and that it is essential to condition and build up strength and endurance before rehearsing long hours prior to a performance. Tucker supports this advice, and he lists singing for excessively lengthy time periods as one factor sometimes associated with vocal dysfunction. He also states that even the well trained singer may experience alteration of the voice during peak points of a career due to behavioral factors such as stress, extensive rehearsal, and the need for precise control and exquisite conditioning.

This need for precise control, exquisite conditioning, and athletic endurance is another aspect in prevention of vocal disorders, as the professional voice user must certainly attend to speaking and singing habits and techniques to avoid vocal health problems. Speaking techniques have been discussed earlier in the chapter, but sources do offer hints for prevention. In his vocal hygiene program for professional voice users, Boone lists twelve "commonsense application" steps, among which are the following speaking habits or techniques: identify and reduce or eliminate vocal abuse and misuse; develop an easy glottal attack; use an appropriate speaking level; keep the speaking voice at the lower end of the loudness range; take an easy, relaxed breath; reduce vocal demand as much as possible; avoid talking in loud settings; and avoid making odd sounds with the voice. Cooper agrees that one should talk with moderate volume, even in noisy situations. He also warns against habitual cheering and yelling. In her ten commandments for vocal health, however, Loeding says one should never scream, not at a basketball or football game, not even for joy. She also warns against overuse of the voice, speaking too rapidly, and speaking or singing in the wrong tessitura or pitch range.

Most sources agree that vocal efficiency and excellence are related to fine control in certain vocal areas as listed by Reich, who offers ways to prevent dysphonia in vocal artists involved in performance speech and concert singing. He believes that vocal efficiency relates to control in the areas of intensity (regulation of pulmonary flow and glottal resistance), fundamental frequency (isometric "tension" tuning of vocal folds), vibrato (frequency modulation accompanied by some amplitude modulation), tone quality (noise-free phonation with lots of energy in the higher harmonic frequencies), respiration (maximum utilization of lung capacity and precise control of expiratory muscles), and resonance (low laryngeal position, pharyngeal dilation, lots of energy in the 2800_3200 Hz range, some nasal resonance, and lots of jaw opening at high frequencies). Further, George Antolik III feels that hyperfunction of the singing voice may be prevented by using correct techniques of posture, breathing, vocal attack, registration, and resonance. However, he does not seem to agree with other sources reviewed earlier in the chapter, such as Boone and McClosky, that once hyperfunction occurs it can be removed with the same techniques, as demonstrated by the following statement:

Since few laryngologists, singing teachers, or speech therapists are qualified to formulate techniques successful in removing vocal hyperfunction, it seems that its prevention offers a more logical approach to both singer and teacher. It should also be noted that once the laryngeal muscles are damaged, the prognosis for a complete recovery of the singing voice is extremely guarded."

Evidently some sources agree that, although cures for vocal faults are possible, they are never absolutely certain, and prevention through proper training is infinitely more vital. In 1894, Garcia, for example, offered corrections for vocal faults such as guttural or nasal sounds, tremolo, and slurring the attack of a sound; however, he stated that some of the faults are distressing and extremely difficult to correct. Today, according to Bunch, the prognosis is still not good for "restoring battered vocal folds to normal function." If a singer suffers severe muscular fatigue, a condition she thinks is the most difficult to detect or remedy, or hoarseness after every practice or performance, it is a clear sign that the voice is improperly used or that something else is seriously wrong. Bunch believes that hoarseness caused by misuse is usually one of two things: putting excessive air pressure on the vocal folds or using too much muscular effort in the larynx to produce sound. When this type of misuse continues until muscles have had more strain than they can take, sometimes the voice stops working "overnight" and thus surprises the singer who has probably abused the voice for months or even years.

All people in the voice professions would agree that prevention of vocal disorders through proper training and techniques is desirable, and many would agree that therapy is the most important treatment for vocal problems. Unfortunately, as Sundberg states, "The dispute among singing teachers and other voice experts as to what is the best method or therapy and what is the best vocal technique has gone on over the centuries, and probably there is little hope that the issue will be resolved in the near future. . ." He goes on to say that although it is difficult to judge what is a good method or technique, objective measurements on voice characteristics should help; and even though one method probably could not suit all voice types or musical styles, he prefers a method which is in close agreement with physiology. Sundberg believes that it is easier for the majority of students to understand instructions that reflect what is actually happening within their bodies. Perhaps Luchsinger and Arnold best summarize good vocal hygiene and preventive measures by stating that good vocal hygiene is based upon knowledge of the physiology and pathology of voice production; and two types of measures may be taken to avoid vocal disease: promotion of physical health and prevention of vocal misuse or overexertion.

For singers, this means careful attention to the following recommendations for good laryngeal
health and the prevention of serious vocal problems:

• General rules of good health for the entire body
• Voice training and exercise
• Proper speaking techniques
• Good vocal habits (avoidance of yelling, throat clearing, etc.)
• Attention to allergies and hormone balance
• Prompt and professional care for respiratory infection and laryngitis

Source : Singers's, Lets Prevent Vocal Problems

Singing Tips - A 2 Z

A = Airflow. Never hold your breath while singing. The airflow carries your vocal tone, so keep it flowing. Learn the proper way to breathe for singing, called diaphragmatic breathing. Direct some of the air out through your nose. Singing Tips A

B = Breathing properly for singing requires the shoulders to stay relaxed, not rise with the breath intake. A singer will gain power to their voice by strengthening the muscles in the rib cage, back and diaphragm. Singing Tips B

C = Communicate the music's message. During performance you should communicate the message of the song. If you make a mistake don't "admit" it to your audience. They probably did not even notice. Singing Tips C

D = Diaphragmatic Support. Develop the strength and coordination of the diaphragm and control the speed, the quantity and the consistency of the airflow. Singing Tips D

E = Elasticity of the Vocal Folds. The vocal tone is created as airflow bursts through the cleft of the vocal cords causing them to vibrate/oscillate. The vocal folds can lose elasticity due to misuse, lack of use and/or increase of age. Be sure to train your voice with vocal exercises on a regular basis to keep your voice in shape. Singing Tips E

F = Free your natural voice. Don't be a slave to any music style -- even your favourite one. Learn to sing with your full and natural voice by developing your vocal strength and coordination. Then add stylistic nuances to achieve any singing style you desire. Singing Tips F

G = Guessing Games. Never guess the pitch you are about to sing. Hear the note in your head before you open your mouth. Singing Tips G

H = Higher notes require an increase in airflow. Singing Tip H

I = Increase your breathing capacity and control by doing breathing exercises daily. Singers must negotiate phrase lengths of all different sizes, so it is important to be versatile. Singing Tips I

J = Jumping Jacks. If you are having trouble getting your body completely involved with singing, try doing some cardiovascular activities, like jumping jacks, for a few minutes before getting started again. Sometimes your instrument simply needs an airflow wake-up call. Singing Tips J

K = Know your limits. Don't sing too high or too low. Don't sing to the point of vocal fatigue. Never strain or push your voice. Doing so will not result in a higher or lower singing range, or a stronger voice, only a voice that has suffered undue stress. Singing Tips K

L = Lower notes require a decrease in airflow. Singing Tip L

M = Mirror. Training in front of a mirror can help a singer discover many things about their instrument, as well as confirm that other actions are being done correctly. Be sure to rely on a mirror during vocal training, but be able to leave the mirror to face an audience. Singing Tips M

N = Never sing if it hurts to swallow. Singing Tip N

O = Open your mouth wider. Nine times out of ten this will help you achieve a stronger, more defined vocal tone. Singing Tips O

P = Prepare your instrument before singing. Singers are very much like athletes. Take care of your body/instrument by stretching out the vocal muscles and relieving the body of unnecessary tension before singing. Singing Tips P

Q = Quit smoking. As a bonus, you will probably live longer :-) Singing Tips Q

R = Raise the Soft Palate. Creating a larger space inside your mouth by raising the soft palate, or fleshy part of the back of our throat, helps achieve a deeper more well rounded singing tone. Singing Tips R

S = Sing through the vocal breaks. If you do not teach the muscles the necessary actions to sing through the trouble spots, success will never be achieved. Sing through it, sing through it again, and again.... Singing Tips S

T = Tone Placement. Learning the facts about tone placement and resonance make a huge difference in the abilities of a singer. In simple terms, a singer has numerous body cavities (nasal cavity, chest cavity, etc.) and amplifiers (bones, ligaments, etc.) that act as resonators. Focusing the vocal tone through the proper resonating chamber with the proper support is important with regard to controlling and developing your personal sound. Singing Tips T

U = Unique Voice Under Construction. Remember that your voice has its own unique fingerprint and is constantly changing with our actions, environment, health habits, etc. With this in mind, listen to your own voice often and use vocal training tools to keep your voice on the right track. Singing Tips U

V = Vibrato. Vibrato is a natural or forced fluctuation of a pitch. Do not concentrate on learning how to sing with vibrato. Instead, concentrate on the basic foundations of singing, breathing and support. When the proper coordination is achieved, vibrato will occur naturally. Singing Tips V

W = Water. Water. Water. Drink room temperature water as often as you can to keep your voice organ hydrated. If you only have cold or hot water available, swish it around in your mouth for a moment. This action will keep your voice organ from being startled or stressed by different temperatures. Singing Tips W

Y = You Can Sing with Impact! Exercise your voice daily with contemporary voice lesson products. Don't Just Sing when You Can Sing with Impact! Singing Tip Y

Z = Zzzzzzzz. Be sure to get plenty of rest. If you are tired, your voice will show it. A tired body/instrument will not allow you to produce your best possible sound. Singing Tip Z

Source : http://affordablesingingvoicelessons.com.

How to prepare for a great performance 2

3. Watch What You Eat
Many vocalists don't think about how what they're eating can affect their singing. I do know which Food items to stay away from. Don't eat dairy, chocolate, pasta or things that will dry your throat out or create mucus. Also stay away from citrus, as it can do damage to your chords too. I tend to think that apples are good, as they provide nourishment and in addition are juicy, which creates wetness, which is good for the voice. Also, oily things that allow for the vocal chords to easily "slide," though I think the best bet is soup. Soup is good because it is known to help when people are sick, which means it has the power to heal. It also doesn't create a "residue" that will dry out your throat. In combination with a healing tea, soup is probably the best thing to eat before you perform. Make sure you eat before you warm up, giving your food time to settle in your stomach. You don't ever want to sing on a full stomach (or an empty one), as that can alter your ability to sing and breathe effectively.

4. Drink Plenty of Water
I can't stress enough how important it is to be hydrated. We're supposed to drink eight glasses of water a day, whether we're vocalists or not. A voice teacher once said that as a vocalist, you should drink so much water that you need to use the restroom every fifteen minutes! I think that is a bit far fetched but making sure you drink a lot of water is not. It's especially important to fill up the days prior to performing because like most things, our bodies need time to adjust and prepare. And while most people (myself included) carry around a bottle of water to keep on hand the day they perform, it's actually not the best choice during a performance. For some reason, water has a tendency to dry people out when they drink it during a set. I have not yet figured out a better alternative, though I am thinking that tea of some sort is probably the answer. The important thing is to hydrate yourself with H2O in the days leading up to the show and even the day of, just not while you are performing. I drink two to three bottles of water daily, even if I won't be performing.

5. Get Plenty of Sleep
I don't know how the major league performers do it. Sleeping on a tour bus is hardly good for your body, mentality or your voice. For those who have the ability to sleep a full eight hours in the comfort of your own bed, take advantage! When you are tired, your voice is tired and when your voice is tired, you cannot perform your best. Also, singing when your voice is not rested can harm your vocal chords and sometimes creates vocal nodes. Sleep and water are probably the top two most important ways to keep your voice and yourself healthy. 6. Stay in ShapeThis is particularly important for singers who also dance while on stage. It's hard enough to breath properly and keep your voice under control while sitting still but when you're up on stage moving around, you can easily lose your breath. This is perhaps why many major artists have personal trainers. Staying in shape keeps you fit physically, mentally and emotionally and helps you learn to control your breath while you're moving. This is why I sing in my car or even sometimes when I am on the treadmill. It helps you gain control of your body and your voice, the two of which must work together. Not to mention, your voice isn't the only thing you use when you sing. If you play an instrument, your hands, fingers and arms need to be in shape. If you stand when you sing, you need to be in shape so you don't feel the need to sit down. Everything on our bodies works together when we perform, so it is important to keep our whole body healthy, not just our voice.

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Your Singing Voice And Eating

Your singing performance can be either helped or hindered by the foods you eat beforehand. You shouldn't sing on an empty stomach; however, don't sing on a full stomach either! Here are some tips on how and what to eat before your singing event.

When to Eat Meals before the Performance

Try not to eat only moments before the event. This can cause harmful throat-clearing before or during your performance. Also, if your stomach is full while singing, your diaphragm movement will be hindered. You will find it difficult to take a full breath when needed. Also, you might begin burping! That will definitely turn off any audience!

On the other hand, don't perform when you're starving. Your stomach might begin growling during the performance. Also, you’ll need enough energy to be vibrant for your audience. If you skip a meal beforehand, you might develop fatigue, nausea, or headache, which can hinder your singing voice and performance.

With these in mind, try to eat a "normal" balanced meal about an hour or two before singing. This will give your digestive system a chance to work. Eat non-heavy foods that are easy to digest. Eating foods that sit heavy in your stomach or overeating can cause you to become extremely sleepy. Eggs are great because they offer high protein, but are low in density.
Foods to Avoid before Singing.

Avoid foods that can cause you to experience an increase in nose and throat mucous while singing. These include dairy products such as milk or ice cream. Avoid citrus fruits as well. These tend to dry the throat. Spicy foods and coffee are throat irritants. Also, avoid food choices that can cause too much air in the stomach such as sodas and other drinks with "fizz." Try to avoid ice cold food or drinks before a performance. These can cause your throat to constrict. Avoid alcohol and large amounts of junk food on the day of your performance. And, go easy on the salt!

Foods to Enjoy before Singing
While there are foods and drinks that do harm your throat, there are a few foods that soothe the throat such as candy or licorice tea. Drink lukewarm drinks such as herbal tea or water. Some healthy meal choices for your body and voice include chicken, almonds, fish, yellow vegetables, apples, eggs, and rice.

Salt water or baking soda gargles, sugar lozenges or some hard candies, and honey can help soothe the throat if it's irritated just before a performance.
When you take notice of the foods you eat on the day of your singing performance, you'll be amazed at how these affect your singing voice. Shoot for the healthy stuff to give your singing audience a real thrill!

Source

Aids Against Extremely Cold - Colds, Flu bugs, Runny Noses and More!

If you are very sick or have a fever then you probably need to cancel your singing event. If you only have a common cold, runny nose, or minor sore throat, there are ways to help your voice and combat these problems. With a runny nose, use nasal spray before singing to clear out any extra mucous.

With a sore throat, use honey and lemon mixtures to help soothe your throat before performing. If possible, take the mixture with you to the event and take a break to use the solution half way through the performance when singing multiple songs. In case of an emergency, find some soothing cough drops with honey and lemon. If your throat is severely sore and it hurts to swallow, try postponing your singing event until it feels better.

With a stuffy nose, use a humidifier the night before near your bed. There are also medicines to help clear the nasal passages such as Vicks (TM) vapor rub.

These tips about singing and the weather will do one of two things. It will either reinforce what you may already know about singing and the weather or it will teach you some new voice tricks. Both are good for your singing voice.

Source : http://www.largemart.com/singing/singing-blues-bad-weather.htm

Regarding Food For Singers

When it comes to nutrition, it can get pretty complex, A problem which most of the singres and vocalist face is what kind of food should I consume in order to maintain or improve my voice. So my message to singers is: KEEP IT SIMPLE.

Food

Your body needs energy so that it can perform for you. So Help it to digest and metabolize well by keeping your food intake simple. Some singers find juicy fruit and raw salads with a little light dressing to be easily digested. And if you wish you can add to that a small serving of pasta with tomato or garlic sauce (avoid cheese or cream sauces). If your body's blood type does better with protein, then substitute chicken, fish or tofu for the pasta. One can go for Onions too, oninos have a tencendy to improve your voice. I strongly advise against going hungry the day of a recording or performance. Hunger will stress-out your body which needs nutritional energy and hydration to deliver good vocal performance.

Water

The sound of your voice is created by small internal muscle movements. Muscles need the energy furnished by well metabolized food in order to function well. They also need to be hydrated to achieve peak energy, flexibility and elasticity. Drinking room temperature water as your principal beverage is best for hydration. Room temperature is better than iced because when you swallow, the water flows down the esophagus behind but adjacent to your larynx (voice box). If the temperature of what you’ve swallowed is either cold or hot, it will affect the muscles of your larynx and vocal folds. This would be like putting a hot or cold compress on your leg muscles right before running a race. So drink your hot or cold drinks after the rehearsal, show or recording session. Before or during performing, just drink room temperature water.

Caffeine
What about caffeine? Caffeine is a diuretic which induces urination and tends to dehydrate the body. Coffee which contains caffeine, acid and oils, can irritate the vocal folds, stimulating mucous production and stiffness. You may experience a slight burning or irritation of your vocal folds or need to clear your throat after drinking coffee. For some, the adverse effects disappear after a while. If you decide to continue as a coffee drinker, be sure to drink plenty of water throughout the day ( as much as 8-8 oz. glasses daily). This will help to flush out your system and restore the bodily fluids that have been lost due to the diuretic effect of caffeine. Cola and many other carbonated drinks contain added caffeine and will have a similar effect. As well, the carbonation may cause burping at inopportune times while singing. Black teas contain less caffeine than coffee and may work as a substitute beverage as would herbal teas.

Rules to follow:

1. Do not drink coffee or caffeinated beverages within two to three hours prior to singing.




2. Do drink lots of room temperature water.




3. Do not drink iced beverages within two to three hours prior to singing.




4. Do not drink hot beverages prior to or during singing.




5. Do eat high water content fruit for hydration and energy.




6. Do eat high water content vegetables for hydration and minerals.




7. Do stay fed, but don't overeat or stuff yourself

Source : Internet and some books

To protect your vocal cords, try these tips

• Eat Regularily and do not fast on the day of the performance
• Eat salad and increase the intake of onions (not much though) on the day of the performance
• Do not drink very hot or vey cold water as these tend effect your vocal chords
• Practice singing in the shower for added moisture
• Drink plenty of water each day
• Keep a humidifier on hand
• Limit dairy product intake on the day of your performance
• Add lemon to your water
• Use honey regularly to soothe your throat
• Practise Singing Both High And low notes to increase your range
• Reduce the intake of Coffe as it contains Caffine which is bad for vocal Chords