Find Your Voice – The No.1 Singing Tutor

Introduction

In recent years there has been an unprecedented surge of interest in singers and singing. With the continuing popularity of karaoke and the success of wannabe pop star TV shows, more and more people want to ‘have a go’, many having aspirations to become professional singers in their own right.

Find Your Voice is an innovative and invaluable handbook for singers of any style or ability. The aim was to write a comprehensive and user-friendly guide that offers a practical, step-by-step course in singing technique, arranged in a logical and easy-to-follow format.

Singers of all styles and at every level will learn how to:

develop and strengthen every aspect of their singing technique

sing with good style and phrasing

maximise all elements of their performance

develop auditioning skills

take good care of their voices, and much, much more.

The teaching of singing is still largely shrouded in mystery, and sadly many people with little real knowledge or understanding of singing have exploited this. There are far too many charlatans amongst those who put themselves forward as singing coaches. Poor, uninformed coaching ranges from the completely ineffectual to the downright damaging.

Naturally, there will always be a healthy debate amongst good practitioners about which approach is the best; indeed, there will be people who disagree with some of the things I have to say within these pages. I make no apologies for this, however.

This new, completely revised and expanded edition of Find Your Voice is a book born of over 25 years’ experience as a singing coach and represents a personal view of singing, singers and singing training.

It is my aim to demystify what is known about the voice, explain in the clearest terms what constitutes good vocal technique, and show the best way to go about vocal training.

To anticipate the obvious question, yes, you can learn to be a better singer through reading a book — well, this book anyway! In fact, if you follow the basic principles and advice suggested within these pages it is my hope and anticipation that your singing will improve way beyond your expectations.

SECTION ONE:

HOW YOUR VOICE WORKS

Clearly, anyone can sing without knowing technically how their voice works - singing seems to occur quite spontaneously and naturally. However, if you do know something about what is happening at a physical level, it can really help your singing. Let me explain.

We all use our voices every day in a variety of ways in much the same way we drive our cars — automatically or unconsciously. It is usually only when things start to go wrong that we feel the need to look ‘under the hood’.

Whilst voice production appears to be a natural part of human experience, good singing technique involves some voluntary control over our bodies. Consider our breathing. Like our heartbeat, most of the time we are hardly aware of the cycle of our breath. The mechanisms involved are part of our autonomic nervous system and function largely below the level of consciousness, whether we are awake or asleep.

An interesting difference between the heart and the breathing process, however, is that we can exert a degree of control over the latter. For example, we can choose to inhale and exhale quickly or slowly, and we can even hold our breath – in other words, stop our breathing temporarily.

As we shall see, ‘correct’ breathing and support (see page 21) are absolutely essential to good singing. One of the key principles of this book is that you need to learn to exercise a particular kind of control over your breath, and once mastered this will lead to a great improvement in your singing. In other words, there are things to learn about the use of your breath, specifically when speaking and singing, that go beyond the automatic ‘ebb and flow’ of normal breathing.

There are, then, several physical elements to singing, including breathing and support, over which a singer must learn to gain some control, and, put together, these constitute what we refer to as technique.

In order to understand how to sing well I believe it really helps to have a little anatomical knowledge, since it provides a framework on which you can hang everything else you learn about your voice.

So, although the thought of a quick biology lesson might switch some of you off, I strongly urge you to take the trouble to read this section because, if you do, everything that follows will make a lot more sense. In addition, there are a number of exercises I recommend here that will help you get in touch with the parts of your body you should be using when you sing.

The first two chapters in the section, Breath and Vocal Cords, deal with how the basic singing sound is produced and, from the singer’s point of view, the most effective way to go about this. The key concept of Support is discussed here. There then follows a chapter on the Larynx and one on the Mouth, in which the importance of the tongue, jaw, soft palate and pharynx is explained.

Throughout the book reference is made to the kinds of problems some people experience with their voices. Voice care and voice health are extremely important concerns. I would argue strongly that if you know a little about what can go wrong physically with your voice, it can be a lot easier to put things right — or better still avoid developing problems in the first place.

Chapter 1

Breath

Without breath — well, let’s face it, you wouldn’t be reading this now! Seriously though, breathing properly and supporting the breath correctly is the key to singing well. Without air, of course, there’s no sound. Let’s start by looking closely at what happens to the breath and how the sound is created.

The Cycle of Breath

Breathing In

As you inhale, air travels in through your nose or mouth, through your larynx (voice box), down your trachea (windpipe) and into the lungs. Your lungs and the ribcage that surrounds them expand — you can imagine yourself as a balloon filling with air.

Breathing Out

As you breathe out, the air flows from your lungs, back up through your trachea, through your larynx and out through your nose or mouth. It is when the air is flowing back through your larynx that the sound is produced. Your vocal cords (or vocal folds) are inside this ‘box’ and as the air, under pressure, passes over them they vibrate and it is this that creates the sound. (See Vocal Cords, page 25)

The Diaphragm

The diaphragm is a large, strong, dome-shaped muscle separating your heart and lungs from the rest of your ‘insides’. It is the main muscle involved in breathing. The diaphragm is joined to your sternum (breastbone) at the front and to your spine at the back. The diaphragm works like a bellows — the rise-and-fall motion of the diaphragm fills and empties air from the lungs.

When you breathe in your diaphragm flattens out. As it does so it ‘squashes’ down onto your other organs and pushes your abdomen out. Similarly, as you breathe out it moves back up.

Gaining Control Over Your Breathing

To begin to develop any control over your singing it is essential to develop an understanding and awareness of your breathing: how it feels to breathe deeply, and how it feels to control this deep breath in the most effective way.

To achieve a smooth, flowing sound you require smooth-flowing breath. You have to be able to control the out-flow of air as you are singing so that you don’t use it up all in one go. You must learn how to release the breath gradually in order to control the sound and be able to sustain any length of phrase. This control of the breath is known as support, which we shall be looking at in detail later.

You might think that there is only one way of breathing, but in fact you can breathe in different ways. These variations can be categorized as clavicular, intercostal and diaphragmatic. As I will explain, diaphragmatic breathing is the type of breathing you should be developing — the other two should be avoided. Let me explain why.

Clavicular Breathing

Clavicular breathing means breathing into your clavicles or collarbones. If your breathing is centred here, you will feel it high up in your chest. It will be shallow and feel ‘snatched’ or ‘grasped’. You will also feel tight across your chest and shoulders, and this will be reflected in your singing. Incidentally, this is where you breathe when you are in panic mode. Clearly, if you are feeling anxious when you sing you can find yourself in a vicious circle of constantly snatching in breath, which in turn fuels the feeling of panic.

Intercostal Breathing

The ribcage contains the lungs and consists of twelve pairs of ribs. All of them can move, except for the first pair. The intercostal muscles connect the ribs to each other. As you breathe in the external intercostals lift the ribs and allow more space for your lungs to fill with air. As you breathe out the internal intercostals pull the ribs back down.

Some singing teachers encourage this way of breathing. Whilst it is true the intercostals play a part in controlling the diaphragm as you breathe out, I think focusing on these muscles is a mistake. I was taught this approach and encouraged to practice singing with my hands on the sides of my ribcage. It created a huge amount of tension in my body which was then transferred to my singing. I therefore do not recommend it.

Diaphragmatic Breathing

The diaphragm is the most active and important muscle involved in breathing.

The fall-and-rise action of the diaphragm fills and empties air from the lungs.

As you breathe in, the diaphragm and intercostal muscles contract together, enlarging the chest wall and allowing the lungs to expand with air. When you breathe out, the ribs and diaphragm relax, the chest wall goes back to its normal position and the air is squeezed out. Simultaneously, the deep abdominal muscles, especially the transversus abdominis, contract to help with the release of the air.

There are three layers to the abdominal muscles: from the outside moving in, the rectus abdominis and external obliques, then the internal obliques, and finally the transversus abdominis. It is the deepest muscle layer, the transversus abdominis, lying under the other two, which is the one you want to be in touch with. The transversus abdominis is often referred to as your ‘core muscle’. Those of you who do Pilates or work out in the gym are likely to be aware of it. It is attached to the diaphragm and is the third layer of muscle in (see the diagram below). When you engage it there is a feeling of internal control, but this should not be experienced as pushing, squeezing or forcing. The transversus abdominis (or transverse abdominus as it is also known) is not to be confused with what people refer to as their ‘abs’ (the ‘six pack’), the more external rectus abdominis. In efficient diaphragmatic breathing you engage the transversus abdominis and not the more external muscles.

Here is a good exercise to help you connect with the transversus abdominis. If you do the exercise correctly you will begin to understand what I mean by diaphragmatic breathing.

Stand with your feet the width of your hips apart. Put your hands below your tummy button. Breathe out slowly whilst gently drawing your tummy button backwards towards your spine.

And here’s another good exercise to connect with this muscle.

Stand with your feet the width of your hips apart. Put your hands below your tummy button. Breathe out in short bursts, making a ‘vv’ sound. Your tummy should feel like it is ‘springing’ in with each out-breath. Repeat several times. Slide up and down in pitch on the ‘vv’, it feels a bit like you are softly revving a car engine. It doesn’t want to be loud or forced.

You want to feel this muscular connection when singing. This muscle needs to be permanently ‘switched on’, although you will have to consciously engage it more at particular times. For example, when you sing a high or sustained note you need greater control over your breath, so you increase the muscle engagement. This is at the root of what we call support (see page 20) which we will move on to after we have done some work on our breathing.

The more you practice controlling your breath in the right way, the more natural it will feel and the easier your singing will become. When you are supporting your voice well, you may feel the muscles in your lower back beginning to work. This will happen naturally. Don’t try to force them to work as it can create tension in your breath and body.

Never adopt any breathing practices which feel awkward or uncomfortable. The breath should always feel relaxed. If something really doesn’t feel comfortable don’t do it!

Note: Many dancers have been trained to pull their tummies in as they breathe in. They therefore find it difficult to adjust to the idea that when you breathe in to sing, your tummy should move out.

Mental Control

Because it can be hard to imagine what is happening to the muscles involved in breathing, developing some mental imagery will help you achieve or ‘anchor’ the kind of control you want. For example, I never think of pushing out sound or breath; instead I think about drawing it in (where I gain control of it). By ‘thinking’ about it — focusing or directing your thoughts into particular areas — you can alter the places where you feel the breath and where the sound resonates.

Breathing Exercises

Some voice teachers are not big fans of breathing exercises, but I believe they are an essential way of getting in touch with your breathing, feeling its natural rhythm and experiencing its full potential.

Most of my examples have their roots in Hatha Yoga breathing practices.

Breathing exercises are also a very useful tool for relaxation. They change how you feel both physically and mentally. I use them a lot to help singers steady their nerves before a live gig or TV performance. Many performers (including sportsmen and women) feel extremely anxious before they go out to perform — a mixture of nerves and excess adrenalin — and some are even physically sick. Spending time breathing will help you get into the right frame of mind to be as focused as possible to get the most out of your performance.

Exercises

1. Three-stage Breathing

I love this yoga breathing exercise. It is incredibly relaxing and helps you become more profoundly aware of you breathing.

Lie on the floor with your knees bent and your feet flat on the floor, with your head resting on two medium-sized paperbacks. Rest your hands on your tummy, just below your tummy button. Breathe in and out through your nose, but if you find this difficult breathe in through your mouth. Relax and consciously slow down your breathing. Picture the bottom of your lungs filling with air as you breathe in. If your mind starts to wander bring it back to your breathing. Do this for 12 breaths.

Next, move your hands into the middle of your tummy. Picture the middle of your lungs filling with air and feel your ribcage at the front, sides and back moving in to the floor. Again, repeat for 12 breaths.

Now place your hands on your collarbones. Use the in-breath to help you open up across your chest and shoulders. Use the out-breath, which is the ‘relaxing’ breath, to let go of tension. As singers we are always trying to avoid breathing here but it feels good to open up this area.

Finally, place your hands back on your lower tummy and breathe using the whole of your lungs. As you breathe in, picture filling your lungs from the bottom up, and as you breathe out empty them from the top down. You can visualise this as a wave of breath washing in and out, or it could be a nice, warm colour filling your lungs.

2. Counting Breath

This exercise has a calming effect, leaving your mind and body feeling ‘quiet’. Use the thought of breath being ‘quiet’ to help you avoid gasping in air before you sing.

Part 1: Lie on the floor as in Exercise 1. Slowly breathe out through your nose. Note that in all the exercises so far you have been breathing in through your nose, not your mouth. Breathing through the nose is more relaxing and makes it easier to get the breath into the bottom of your lungs. When you sing you have to take air in through your mouth as there isn’t time to take it in through your nose.

Slow your breathing down. Breathe out for a slow count of 5 or 6 and then in slowly for the same count. Don’t force anything; the length of breath can be longer or shorter.

Part 2: Repeat Part 1. Breathe out then pause for the same count before breathing in.

Part 3: Repeat Part 2, but this time, after you have breathed in, pause for the same count and then breathe out again. So the pattern is: breathe out, pause, breathe in, pause. Never strain the breath; do what feels ok for you.

Always start with the out-breath as this is the relaxing phase of the breathing; when you pause, your body becomes extremely still and relaxed.

3. Humming Bee Breath

This exercise is helpful in observing the steadiness of your airflow.

Sit or kneel comfortably. Put your fingers on your ears — on the bit just above your lobes which when pressed covers the openings of your ears. Hum a note (not too high) on an ‘mmm’ sound, with your lips lightly touching. You should feel the note vibrating around your nose and the front of your face, or in your chest (or a bit of both). The sound will resemble that of a buzzing bee. Because your ears are covered, the sound will be louder and more buzzy in your head.

Notice how long the breath lasts. Is it shaky? Does it come in waves? With practice you can make the sound even. To start with, try practicing for two minutes and gradually increase it to five minutes. You can experiment with varying the pitch of the note, taking it a little higher or lower. If you practice this in a group you can create some amazing harmonies and