Anne Peckham - Singer's Handbook [2004]

Handbook 5inger's

BreathManagement Your voiceis a wind instrumentthat needsbreath to producesound'Trainingyour body and unconsciàusmind to managethe breathingprocesswill giveyou the controlyou needto singlonger noteswell' and to ihrur.t, to singhigh and low gain betterconffol overdYnamtcs'

Shoulders forced back

C o l a P S e dc n e s l

Good alignment

FourStepsto Effe Try this simPleexercisetha the breathingProcess.

1. Stand with Your bodY al distanceaqart,and 1'ou high. 2. InhaIe through Your no: expanding around 1'our your lower abdominal r

3. Allow Your lower abdo contract slightiY,as )'ou tone in the middle of vt To establishgood posture' start with a comfortably high chest, rÀlaxedknees (not locked), and feet with hip-distance apatt' As you become familiar good posrure,it will feel more natural to you' buring singing, be sure to keep your chest in comfoitabty ttiglt Try practicing while standing good front of a mirror. It may be easierto see posfure than to feel it'

4. Maintain Your comfort and keePYour ribs oPe your chestcollaPse.

When inhaling, don't over your lungs createstenslon before you even make a so by expandingaround vour lower abdominalarea.tak tensionbY liftrng vour sho

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Breath L\4anagement

runnenr thar needsbreath :ng )'our bod-"-and uncon_ he brearhingprocesswill need ro sing longer , .trr\ noteswell, and tO ii:anlcs.

IT AbdominaJ area (oul)

-';:t:$" Diaphragm ascends

FourStepsto EffectiveBreathing Try this simple exercisethat outlines fbur stepsof the breathing process. 1. Stand with your body aligned, your feet hip_ distance apaft, and your én.ri comfbrtably high.

srart $'rrh a comfortably rot locked),and feet becomefamiliar with cre naruralto you. reepvour chest t : . : : { x h i l e s t a n d i n gi n ea_ircr ro seegood

2. Inha\e through your nose and mouth by expanding around your waistline and ràlaxing your lower abdominal muscies. 3. Allow your lower abdominal musclesto contract slightly, as you start to sing a long tone in the middle of your range. 4. Maintain your comfortably high chest position, and keep your ribs open, u, yJ., sing. ôon,t let' your chest collapse. a

When inhaling, don,t overfill your lungs. Stuffing your lungs creates tension in your throat and jaw before you even make u ,orr.râ. I"ilù complerely by expanding around your waistfirre lna in your lower abdominal area, taking carcnot to qeate tension by lifting your shoulàers.

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Handbook 5inger's

TheDiaphragm The diaphragm is a flat muscle, curved in a double-dome shape,separatingthe chest cavity from the abdominal cavity. It connectsto the bottom of your ribs and is the floor of your rib cage.

Diaphragm descends to a lower posrlron. drawing a r into lungs.

D achragm nses lo a hrgher arched position, lo expel aLrlrom ungs.

RibsandLungs Your rib cage is comprised of bone and cartllage. During breathing, the attached musclesopen and close your rlb cage,filling and emptying your lungs. When you sing, steady flow of air to your vocal cords is achievedby opening your ribs and slightly contracting your abdominal muscles. This exercisewill help increaseyour awarenessof the expansion of your rib cage. 1. Place your fists on your sidesabove your waist. 2. Take a fuIl breath, and feel the expansion of your rib cage. I

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Exhale, and feel your rib cagebecome narrow.

4 . Take a secondbreath, spreadingyour ribs as wide as you can. Don't lift your shoulders.

5 . Hold your breath but keep your throat open. Slowly, count to four. Maintain an open rib cage as you hold your breath. You will feel the external intercostal musclesof your ribs working to stay open.

6 . Exhale, and allow your rib cage to become narrow agarî.

TheAbdomin

These powerful musclesco* inal region, running vertica acrossyour belly.Your lo*.e relax ourward during rnhala inward slightly during e.xha

During singing,vour nb cag while your abdominal musc This is called support; it ena to ascendto its high positio allowing you to sustain long tain better pitch control. If r immediately, atr wili rush or phrasing,or a breathytone r your ribs and chesttightens muscles,preventingyour lar freely. This can causeyour s feel constricted.Good abdo help you keep your neck anc bringing you a fuIl and resor

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Breath Managemeni

l Diaphragm la: =us.-le.cun'ed rn a rdla:atlng the chestcaviry :a\':rv It connectsto the rn.: rs the floor of your rib

nd Lungs :scd ot bone and cartilage. ana;hed musclesopen and rne and emprying your s{eadvflow of air to your r t'r t'rpeningyour ribs and r at"iominal muscles, :nf:easevour awarenessof nb cage. r.r:: srdesaboveyour waist. u:c Èei rhe expansionof ;: ::b cagebecome narrow. :. spreadrngyour ribs as rn': iift r'our shoulders. rt keep vour throat open. : \laintain an open rib :: brearh.You will feel the ::usclesof vour ribs : r::: ::b cageto become

TheAbdominal Muscles Thesepowerfulmusclescoverthe entire abdom_ inal region,running verticallyand diagonally acrossyour belly.your lower abdominal muscles relax outward during inhalation and contract inward slightly during exhalation. D.ulinSsinging,your rib cageshould stay open while your abdominal-,rr.1., move in shgirtty. This is called support;it enablesyour diaph rugm to.ascendto its high positionat a slower rate, allowingyou to sustainlongerphrases and main_ tain betterpitch control.If youi ribs descend immediately,air wiil rush olt too quickly for good phrasing,or abreathytone may r.*tr. Collapling your ribs and chesttightensyour neckand throat yuyle , preventingyour larynx from functioning freely.This can causeyour singingto soundand feel constricted.Good abdo-àut"rrrpport will help you keepyour neckand throat relaxed, bringingyou a full and resonanttone.

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BreathinExercises BreathObservation

Abdom Releasing

This exercisewill help vou i abdominal musclesto take ;

This exerciseis helpful in encouragingproper abdominalaction. 1. Lay on the floor and placea smallbook approximately1 1/2 inchesthick underyour head. 2. Focuson your breathing.As you inhale,your abdominalmusclesbelow your rib cagerise, and as you exhale,they moveinward. Observe the opennessof your nbs aroundyour waistline. 3. Restyour handson your abdomenand breathe,observingthe riseand fall of your belly. 4. Standup, and reproducethisbreathingaction, expandingas you inhale.

1. Standwith your feet abc from a table (or the bach 2. Lean forward ."r,ithvour the table.

3 . Take a slow,deepbreatt toward the floor. A1lori' musclesto drop.

Exhale, with firm abdon

Inhale again, feeling the back musclesand the re inal muscles.

6 . Sing a few easypassage

your abdominal muscle inhale.

7. Repeatsteps3-6,

Breathing Exercises

:xerctses fi Observation

Releasing Abdominat Muscles This exercisewill help you releasethe lower abdominal musclesto take a full breath.

:;^ :n encouragingproper ani piacea small book I I :nchesrhick under your :.'.I1:1{ As r.ou inhale,your 'ft'.rr$ :-: rour nb cagefiSe, : ::cr :nove inward. Observe r\tr: -'fs around your waist_ ! : \ , . - : a b d o m e na n d i ::c ::se and fall of your :.t:.c

:hrsbreathingaction,

1. Stand with your feet about 1g inches away from a table (or the back of a chat). 2. Lean forward with your hands on the edge of the table. 3. Take a slow, deep breath, letting your belly fall toward the floor. Allow your abdominal musclesto drop. 4. Exhale, with firm abdominal muscles. 5. Inhale agarn,feeling the expansion in your back musclesand the releaseof your abdom_ inal muscles. 6. Sing a few easypassagesof a song, letting your abdominal musclesdrop whàn you inhale. 7. Repeat steps3-6, this time standing upright.

5inger's Handbook

Extending YourBreath This exercisecan help coordinate and energize your breath support. Practice Step One until you can make it through comfortably, then add Step Two, then Step Three. Take care not to inhale too fast or raise your chest when you inhale. During exhalation, maintain the opennessin your ribs for the entire count. When all three stepscan be performed consecutivelywithout stopping, increasethe exhalation count to 25 or 30. put your metronome on 80 b.o.m.. Step One 1. Inhale to a count of 10, taking in two tiny sips of air per metronome beat, expanding your lower abdominal musclesand ribs. Exhale for 20 beatsusing repeatedshort hisses,rwo hisses per metronome beat. After 20 counts, begin the next inhalation. 2. Inhale again to a count of 10, taking in two tiny sips of air per metronome beat. Exhale for 20 beats using one long, sustainedhiss. 3. Inhale again to a counr of 10, taking in rwo tiny sips of air per metronome beat. Sing ,,ah" on a comfortable pitch for 20beats. Maintain the opennessin your ribs. (Continue, without stopping, to Step Two if you successfully completethis with no problem.) Step Two 1. Inhale to a count to 10, taking in one long, continuous, slow breath. Exhale for 20 beats using repeatedshort hisses,two hissesper metronome beat. 2. Inhale again to a count of 10 in a slow, continuous sip. Exhale in a slow continuous hiss to a count of 20. 3. Inhale again to a count of 10 in a slow, continuous sip. Sing "ah" on a comfortable pitch for 20 beats.Try to maintain the feeling of opennessin your ribs for the entire exhalation. (Continue without stopping to Step Three if you successfullycomplete the first two steps.)

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Step Three

1 . Inhale in a quick catch breat

Exhale for 20 beatsusing re1 fwo hissesper metronome h

2 . Inhale in a quick catch breat Exhale for 20 beatsin a con

3 . Inhale in a quick catch brea Sing "ah" for 20 beats.

Breathing Exercises

ng YourBreath

Step Three

' ;rrcrdrnate and energize ):a.-'!rceStep One until you omronabll'. rhen add Step Take care not to inhale too I s hen vou inhale. During he opennessin your ribs for n ali rhreestepscan be :.r ri'rrhoutstopping, r .ounr ro 25 or 30. put vour

1. Inhale in a quick catchbreathin one counr. Exhale for 20 beatsusingrepeatedshort hisses. fwo hissesper metronomebeat. 2. Inhale in a quick catchbreathin one count. Exhale for 20 beatsin a continuoushiss. 3. Inhale in a quick catchbreathin one counr. Sing "ah" for 20 beats.

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l . ù. :akrng in fwo tiny sips ne beat.expandingyour u.x-.esand ribs. Exhale for ateJ shorr hisses,two hisses t .{ler 20 counts,begin the rur: of 10. taking in two ne::rrnomebeat.Exhale for ong. sustainedhiss. un: oi 10, taking in two nel:onomebeat. Sing ,,ah', :ch rcr 20 beats.Maintain r nb's (Continue,without ;o :f vou successfully ,,-'p:oblem.)

10. :akrngin one long, arh Exhale for 20 beats hrsses.nr.o hissesper nr of l0 in a slow, contin_ s.orr continuoushissto a nr oi l0 in a slow,contin_ : a comfortablepitch for :a:: :he tèelingof open_ ::e cî:tre e.xhalation. lti:ng ro StepThreeif :lere rhe t-rrstfwo steps.)

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Routine Practice An organi zed practice routine helps you achieve waste more becauseyou stay mentally focused and you will less time. If you follow a routine daily, time practice your find that you look forward to and gainthe benefits of daily vocal exercise'

Practice Routine I. BeginningWarm-uP (2-: a.PhysicalStretches

b.Warm-uPVocalizatio

II. VocalTechnique(10-20

III. SongSrudY(15-20mint

IV. Cool Down (2-5 minutt

Practice TiPsfor Productive not be Location. Work where you can relax and self-conscious.You need to feel free to make mistakes,and not hold back for feat of disturbing to neighbors or family. If there is no place at home of pritice, inquire at a local school or house worship to iee if there is a room that you could use regularlY. you Keyboard /Guitat Wherever you practice' for wili need some kind of keyboard or guitar checking Pitches. on Mirror. Practice in front of a mirror, focusing your body, posfure, and expression'Observe iension in the face, neck, and jaw, which indicates a problem. Use the mirror to help correct awkward or tense looking movements' The musclesof your throat can become tight to compensate for a collapsed chest posture' Align yorribody in order to allow the musclesof your throat to function freelY' Tape Recorder. To hear a realistic (though imperfect) representationof your voice, use a cassette You ,rrordât in practice and at your voice lessons' Try singing' can learn a lot from hearing your own to listen objectively,and don't be distractedfrom your goals by being overly critical' Metronome. A metronome wilt help you establish and and maintain tempos when working on songs keep you from rushing when practicing scales'

l. Beginni

You probablv rvouldn't rul before warming uP and str way, it is advisableto \\'ar working on vocal techntq lent of stretchingvour leg warm-ups increasethe blo and graduallv releasetens for activiry.The i'en'minu and warm-uP vocalizatlo intendedto PrepareYour andare generallYnot eno up your instrument' For z warm-up, comPletethe bt the vocal techniquesegm practiceroutine.

A. Physical Stretches(2-

It is imPortant to begtn s freedom.We sing and Pe bodies,which need to be Notes on warm-ups:

1. If you feel Pain,stoP 2. Don't hold Your brea

3. A stretchedmuscle is so don't stressit br. ti 4. Readthe directionst oughlY before atteml 5. Choosea few of the onlY what feels right to Your bodY and us

6. ModifY stretchesto : ical limitations.

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Practice Routine

loutine ùrrceroutlne helps you achieve r stav mentally focusedand waste ollori a routine daily,you will : toni'ard to your practicetime :l:s ot'Jailv vocai exercise.

,r hoductivehactice r ic:c \ tru ùâDrelax and not be :: :cc: :o tèel free to make ':ack :o.; for fear of disturbing r I: :hereis no placeat home to I a .txa. >.-hoolor houseof ie:c :,i a room that you could , \\':c':rver vou practice,you :J ,.r: levboard or guitat for : *t-t:: oi a mirror, focusing on a:; e.rpression. Observe :e;i. and jaw, which indicates :r::-o: ro help correct ooi::g movements.The 'oa: can become tight to r..ased chestposture.Align :,. :llorv the musclesof your

Practice Routine I. BeginningWarm-up a.PhysicalSrrerches(2-3 minutes) b. Warm-up Vocalizations(3*5 minutes) II. Vocal Technique(10-20 minutes) III. SongStudy(15-20minutes) IV Cool Down (2-5 minutes)

l. Beginning Warm.up You probably wouldn't run a couple of miles before warming up and stretching.In the same way, it is advisableto warm up vocally before working on vocal technique or songs.The equiva_ lent of stretching your legs before yo, ,rrn, vocal warm-ups increasethe blood flow to your muscles and gradually releasetension to prepare your body for activity. The few minutes of pnyiical stretches and warm-up vocalizationsrecommended here are intended to prepare your voice for more activity and are generally not enough to completely *ur_ up your instrument. For a more comprehensive warm-up, complete the beginning warm_up and the vocal technique segmentof this recommended practice routine. A. Physical Stretches (2-3 minutes)

1ea: a realistic(though imper_ rcrur r.oice,use a cassette "-rj à:J at vour voice lessons.you hea::ng vour own singing. Try a:; ;on'r be distractedfrom ove:-l cntrcai. rû:o:ne rr'rli help you establish rs ç hen w'orking on songsand rg u'hen practicingscales.

It is imporranr ro begin singing with physical freedom. V/e sing and perform with àur entire bodies, which need to be preparedfor activiry. Notes on warm-ups: 1. If you feel pain, stop immediately. 2. Don't hold your breath while stretching. 3. A stretchedmuscleis in a weakenedposition, so don't stressit by forcing or bouncing. 4. Read the directions for each exercisethor_ oughly before attempting it. 5. Choosea few of the following stretches. Do only what feels right and good ro you. Listen to your body and use common sense. 6. Modify stretchesto suit your needsand phys_ ical limitations.

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!.sq!'^9!99! Gentle llead Rolls the neck Purpose:to stretchthe strongmusclesof and to releasetension' this Let your jaw hanglooseand openthroughout your head stretch.Go at your own pace,circling keepyour in both directions.If you becomedizzy' eyesopen. closeto 1. Gently drop your headso your chin is let the weight of your head your Ëhest,-and Do stretchthe strongmusclesof your neck' not pushyour headdown-let it hang' your 2. Startingfromthis position,slowlyroll to close is headaiound until your right ear your right shoulder' 3. Continueroliing your headuntil you're looking upward,elongatingyour spine'letting yorr, Àorrth and jaw hang opel' Avoid dropthe way back' which would pi.tg yo,r, head a-11 sffessYourneckmuscles' 4 .C o n ti n u e th e h e a d rollcir cleuntilyour |eftear is nearyour left shoulder,pausingto stretch your neck. head In a continuous,slow movement,roll your ear througheachof thesepositions:chin to chest' If to shoulder,eyes,rp*uid, and earto shoulder' let your feeltensionin a particularspot' pauseand ihe weight of your headstretchit out before continurng.Completefwo or three full rotations and then reversedirection' Neck TensionReleaser that Purpose:to releasetensionin neckmuscles -uy inttiUit free laryngealfunction in singing' Your neckmusclesare complexand canbe to injury if you forceyour headinto susceptible use any position'Be gentlewith this exercise'and commonsense. and l. Leanyour right eafto your right shoulder feel the weight of your head elongatethe muscleson the sideof Yourneck' 2. Reachyour right arrn overthe top of your head and restyont tight palm on your left ear'simply letting the weight of yo"t arm increasethe stretch in vour neckmuscles'Do not pull your head'

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3. After You have stretchedsu seconds),move Your arm I just let Your head hang in t few seconds. 4. Next, support Your head s using it to bring it back to To avoid stressingthe stre use your neck musclesalo head. RePeaton Your left

Shoulder Rolls Purpose:to releasetensiontn shoulders.

Proceed at a slow, relaxed Pa positionto the next without s using a full rangeof motton' breathe normallY.

1. Bring both shouldersuP t them back so Your shoulc touch in back. 2. Brittgthem down to a rel then forward to round vc 3. Reversedirections'and r motion'

Rib Stretch Purpose:to stretchand deve rib muscles,and imProvefu

Rib stretcheshelP releasete body for the extendedbreat

1. Stand with Your feet abc aqart. 2. Reach uP with Your rigt ceiling, and stretch it uP of Your head a bit, lean 3. To increasethis stretch as You stretchYour righ should remain straight) good stretchin Your rig 4. RePeatthis stretch on r

Full Roll-Down PurPose:to increasea\\'are rib exPansionduring breat back, leg, and Posruralmu

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Practice Routine

e sirong musclesof the neck rseand open throughout this in pace,crrclingyour head ;ou becomedizzy, keep your read so vour chin is closeto thc'ri'eightof your head :us;.c'sof VOurneck.Do I jrr$ n-let it hang. \rs:::on. slowlyroll your .Lru::tght ear is closeto ru: head until you're )asa::ng vour spine,letting r, :ang open. Avoid drop_ he rrav back, which would .\.c:.

:e-r.. c:rcleuntil your left ear u,,jer.pausingto stretch ro\ c:nent, roll your head lrs:::ons:chin to chest,ear ;, and ear to shoulder.If r-:.ular spot,pauseand let i s::erchit out before ro ,:r rhreefull rotations t:

on rn neck musclesthat al runction in singing. onple.xand can be (r- :orcevour head into r::h :hrsexercise, and use J rp'.;1nght shoulder and :: head elongatethe i lrtur neCk.

rrr.'rhe top of your head n on vour left ear,simply )ur arrn lncreasethe stretch )o not pull your head.

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3. After you havestretchedsufficiently(10_30 seconds),moveyour arm from your ear and just let your headhangin this position for a few seconds. 4. Next, supportyour headwith your right hand, usingit to bring it backto its uprightposition. To avoidstressingthe stretchedmuscle,don,t useyour neckmusclesaloneto puil up your head.Repeaton your 1eftside. ShoulderRolls Purpose:to releasetensionin the upperback and shoulders. Proceedat a slow,relaxedpace,moving from one positionto the next without stopping.Focus on usinga fuIl taîge of motion. Rememberto breathenormally. 1. Bring both shouldersup to your ears,then roll them backso your shoulderbladesalmost touchin back. 2. Bring them down to a relaxedposition,and then forwardto round your.rpp., back. 3. Reversedirections,and roll in a continuous motion. Rib Stretch Purpose:to stretchand developawareness of the rib muscles,and improvefullnàssof breath. Rib stretcheshelp releasetension and.prepareyour body for rhe extendedbreathingusedin singini. l. Standwith your feetaboutshoulder_width apart. 2. Reachup with your right arm, palmflat to the ceiling, and stretchit upward urrdou.. the top of your heada bit, leaningto your left. 3. To increasethis stretch,bendyour right knee as you stretchyour right arm up (your left leg shouldremain straight).you shouldfeel a good stretchin your right_siderib muscles. 4. Repeatthis stretchon your left side. Full Roll-Down Purpose:to increaseawareness of abdominaland rib expansionduring breathingand stretchyour back,leg, andposturalmuscleito releasetension.

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HaMbook 5inger's

your When you are bent over at the waist' keep as far knees loose (not locked), and only bend over palms to as it feels comfortable. Do not force your touch the floor. 1. Standing with feet hip-distance apart, slowly drop your chin to your chest' Continue to ro11 down, leading with your head, proceeding one at vertebra at a time until you are bending over the waist. 2. Inthis position, take a fullbreath that expands your beily and ribs. (The belly expansionwill make you rise from the floor slightly') Then exhale. Check the back of your neck to make sure you are not lifting your head, but rather letting the top of your head drop to the floor' 3. Still in this rolled-down position, breathe normally as you slightly bend and straighten your knees a few times, feeling the stretch in the back of Your legs. are 4. Shift your weight back slightly, so your hips ou., yorr feet. With slightly bent knees' take one more breath, exhale, and slowly roll up one vertebra at a time, sensingyour feet push into the floor. This action will help you use your legs to stand up again, instead of your newlY stretchedback muscles' Chewing Purpose: to induce relaxation in the facial muscles and free Your jaw. and Stand or sit in a comfortable, relaxed position effortimagine the sensationof your head floating lessly toward the ceiling. 1. Pretend you have two large piecesof bubble gum in your mouth, one on each side' Chew with exaggeratedmovements' with an open mouth, saYing"mum-mum-mum' " 2. Chew for a few secondsand rest' Do three or four repetitions of these exercises,then rest' 3. Sing or speak a line of text using the chewing action with vigorous movement of the lips' jaw, and cheeks'This exercisecan be done in brief intervals throughout the day'

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Self-Massage Purpose:to releasetenslon muscles,and jaw.

You can target Your o\\'n sl routln€ in this self-massage

1. Standingor sittrngcorr head level, massagethc neck with the Padsoi r circular motion. 2. Work Your fingers uP t your earsand along th

3. Let Your mouth droP c soft sPotdirectlYunde thumbs. 4 . G e n t l Yc o n t i n u eu P t h your head, PlaceYour scalP,and move lour r Imagineair enteringb your scalP. 5. End Your massagebr' with Your fingers alon a time, from the insid corner. B. Warm-UP Vocalizatit

Sighs,humming, slidrng getting the "cobwebs" ou flow to Your vocal cords nontraditional vocallzatr suggestedhere allow vou and prePateYour voice t Slides

Purpose:to begin vocall especiallYfor singersri.h

During this exerclse,cht tension,and releaseit a' middle raîge of Your vc freelyand havea consis front of a mitror, and L' your voice uP and don'r

Practice Routine

\er at the waist,keepyour :i). and only bend over as far : f)o nor force your palms to : h:p-distance apart,slowly r our chest.Continue to roll h rour head,proceedingone untrl vou are bending over at ire a tuIl breaththat expands tThe bellr.expansionwill : :i^.ei'loor slightly.)Then rJ.i t-rirour neck to make :::g vour head,but rather ou: head drop to the floor. poslrton,breathe bend and straighten ièeling rhe stretchin

Self-Massage Purpose: to releasetension in your neck, facial muscles,and jaw. You can tatget your own specific muscle tensions in this self-massage routine. 1. Standing or sitting comfortably and with your head level, massagethe back and sides your of neck with the pads of your fingers in a gentle circular motion. 2. Work your fingers up the musclesin front of your ears and along the edge of your jaw. 3. Let your mouth drop open and massage in the soft spot directly under your ctrin withyour thumbs. 4. Gently continue up the back of your neck to your head, place your fingers f,rrmly on your scalp, and move your entire scalp around. Imagine air entering befween your skull and your scalp. 5. End your massageby tracinglong, firm strokes with your fingers along your eyebrows, one at a time, from the inside corner to the outside corner. B. Warm-Up Vocalizations (3_5 minutes)

\ar:on rn the facialmuscles :able.relaxedpositionand i r 1'';.1p head floating effort_ t.rlargepiecesof bubble rrlc trn each side.Chew ,ic'arcrtS.ri.ith an open '-T'!m-mrrm

tt rrtulll.

:.:s and rest.Do threeor esc e.rercises, then rest. 'f :cr: usingthe chewing tirr"c'îtefll of the lips, exe:rlsecan be done in hour rhe dar'.

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Sighs,humming, sliding, andlip trills are greatfor getting the "cobwebs,,out and increasing blood flow to your vocal cords. Vocal slides and other nontraditional vocalizationslike the ones suggestedhere allow your voice to function freely and prepare your voice for more vigorous activify. Slides Purpose: to begin vocalization exercises; useful especiallyfor singerswho are very tense. During this exercise,check your jaw and neck for tension,and releaseit as you go. Explore the middle range of your voice, which sÀould flow freely and have a consisrenrrone quality. Stand in front of a mirror, and begin to voiahzeby sliding your voice up and down.

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Handbogk 5inger's

1. Start at or slightly aboveyour speakingpitch and gently say,"hoo," letting your voice slide down in pitch in a slow smoothdescent' Imaginethat you let the soundfall out of your body without trying to control or manipulateit' 2. Startat a slightly higher pitch and repeat' 3. Continueto a comfortablyhigh level,and then proceedback down agatn' Lip Trills Purpose:to initiatetone productionwith a steady airflow and relaxedjaw. Lip trills can be valuableat the start of a warm-up session,partly becausethey soundsilly and help free you from inhibitions about singing' Practice to developevennessin the trilling of your lips and in your tône quality' Don't be discouragedrf at first you cannotmakeyour lips bubbleconsistently.Many singersfind that they can vocalizeon a lip trill .uri.t than on any other syllable'If this is tiue for you, take inventory of your vocal in your production,posture,and the sensations ihroat and neckwhen trilling' Evaluatehow your voicefeelsand how you might developthe same senseof freedomsingingon vowel sounds' 1 . First try to make the sound of a motorboat by

loosely bubbling your lips without any pitch' Let your jaw hang as if you have no control over the musclesin your mouth and tongue' Start by blowing air over the lips and letting them vibrate. 2 . When this becomesconsistent,add pitch' Slide freely through the middle raî1e of your voice using a descendingPattern.

Sliding Warm-UP Combinesliding,which helPsi relaxationand liP trills,to mar airflow,for an effectivebeginn Repeatthe PatternmovinguP r steps. .,=1o

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Humming Purpose:to initiatetoneProd ot' I increasing Yourawareness Light humming can be an tde the buzzingse rzatronbecause mouth, and nosehelPsensur placement. 1. Takea relaxedbreathand your iiPsbarelYtouching' your liPs shouldbuzz u'rtl 2. As you continueto vocal slides,then u'r descending pitchedat the keYboard/g vibrationsin Your "mask'

C ; *=.--.4 Hnr

3. If you havetried to make your lips trill without ,rrà..rr, placeyour index fingersgently at each coïner ol yont mouth. If this helps,vocalize lip trills with your fingersin this position' Take cârenot to slouchif you bring your handsto your mouth' If you still cannot do a lip trill' usethe humming exerciseinstead'

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practice Routine

rlr' 356y. your speakingpitch "hoo," lening your voice slide n a slorv.smooth descent. ru let the sound fall out of your vrng ro control or manipulate jt. .r higher pitch and repeat.

Sliding Warm-Up Combinesliding,which helpsinduce laryngeal relaxationand lip trills, to maintaina consistent airflow, for an effectivebeginningwarm_up. Repeatthe patern moving.rp oido*n by half steps.

ontbrtably high level, and then ts'n again.

:one production with a steady _a\\ lab^e at the start of a warm_up ;*re:hev sound silly and help ,itonsabout singing.practice rn rhe rnlling of your lips and Don r be discouragedif at (e \ùur lrpsbubbleconsis_ lrn,j rhar they can vocalizeon r_rrâDv orher syllable.If this inventon' of your vocal a:; :he sensations in your : :::.iing. Evaluatehow your rûu :nrghrdevelopthe same €t.:q on vorvelsounds. rhe sound of a motorboatbv r ou: l:ps u.ithoutany pitch. g as ri vou have no control l:t \ ùur mouth and tongue. r,:ro\.erthe lips and letting e> consistenr,add pitch. Slide mrd.ile rangeof your voice g paftern. o nake vour lips trill without : :niex fingers gently at each ruih Ii this helps, vocaljze lingersin this position. Take :i vou bnng your hands to ; srili cannor do a lip trill, :.rerciseinstead.

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Humming Purpose: to initiate tone production while increasing your awarenessof forward resonance. I-ight humming can be an ideal beginning vocal_ ization because thebuzztng sensatlon in your iips, mouth, and nose helps ensure correct natural tone placement. 1. Take a relaxedbreath and lightly hum with your lips barely touching. The inside edgesof your lips should buzz with vibrations. 2. As you continue to vocalize, first with descendingslides,then with descending fifths pitched at the keyboard,/gaitar,try to feel the vibrations in your ,,mask.,'

SingeùHandbook

(10-20minutes) ll. VocalTechnique This part of practicing will complete your warming up and help you work out vocally' to During iechttique work, identify what you need improie in your singing (increasing-rarlge' aglbty' bràth control, improving tone quality)' Regular in vocal technique work will help keep your voice The shape, readyfor the demands of singing' skills new prrrpor. of iechnical work is to develop learn and reinforce muscle memory' In singing, we by by intellectually understanding conceptsand a and tiatntngmuscles. It is both an intellecfial

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physical Process. I If you have skipped the beginning warm-up' that you back up and complete 2-3 ,..o--.td minutes of light vocaliztng first' Though many singers start practice by vocalizing scales, pre"cedingvoial technique work with a beginning easy *ut--np that includes physical stretchesand vocalizirtgon a descending slide pattern is much fleximore effective.If you are working on vocal that find bility and agl\ity, for example, you may youi voice feels sluggish and resistantto quick' If light movements,if you have not warmed up' yàu complete the recommended beginning warmagile ,rp, you can work more directly toward free' pioànctio.t and avoid the frustration of trying to is sing before your voice is agile and your body

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relaxed. pracIdentify your goals for your vocal technique tice. Have a puïpose for every exerciseor scaie you sing. You can adapt exercisesyou know to suit your needsor make up your own exercises' Repeat the patterns, moving up by half steps'

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Practice Routine

que(lÈ20 minutes) u : . . c o m p l e t ey o u r t'tlj \\ OIk Out vOCally.

:. :Jcnrrh'rvhatyou needto E ( :ncreaslng range, agility, rs ione qualiry). Regular ,':ll help keep your voice in ::ands of singing.The ::i rs to developnew skills cîtr)r\'. In singing,we learn :anJ:ng conceptsandby ..:l an rnteliecfualand a

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