Expanding Vocal Range - Myths and Facts - P3

By Jeannie Deva

July 2007

Sometimes it seems that the promises of voice lessons are themselves a myth. Singers of any popular-music style want to experience not only a solid, multi-octave and flexible range, but good tone, stamina and power. Is it really asking or expecting too much to receive voice training that encourages and develops your voice as an instrument, supports your own unique attributes and does not make you sound like everyone else?

MYTH: �You are an alto.�

Many schools of voice training are rooted in an historic way of thinking about the voice. This approach includes classifying each singer as a particular type of �voice� such as bass, baritone, tenor, alto, first or second soprano, mezzo-soprano (high range with a deeper �fuller� tone) and lyric soprano (higher range with a lighter more �female� sound).

Each classification of voice is given a certain number of notes � a certain range � within which their voice is believed to fit and sound best. Even though the singer may be able to sing lower and higher, or want to, this method of voice training will discourage developing more range than their particular classification. Additionally, each classification has a certain �sound� or tonal color for which it is trained. This �pre-fabricated� vocal model is imposed upon each singer trained within the system.

History

To understand this better, it helps to know what was happening historically at this method�s birth. Over three hundred years ago in Europe, (in particular in Italy) singing in public performance was �permitted� only by the monks in churches. All else was considered sacrilegious. When the voice was finally permitted to be used in �public display� no women were allowed, only men. Solo voice was not permitted, only voices used in choirs. (See the movie �Amadeus.�) Musically, for choral arrangement, the voices needed to be low, middle and high, so the singers were subdivided into parts. Individuality of voice was discouraged. Blend was of course, important. Additionally, each vocal part was required to contain certain tonal characteristics. These were thought of as admirable vocal tones and presented as a model: �the right way to sound.�

Somehow, this practice of dividing voices into choral parts became, in my belief, confused with a singer�s actual vocal potential.

To recognize potential as distinct from one�s current performance, requires having a complete understanding of vocal physiology and knowledge of how to develop a singer�s voice. During the early days of voice training, science was not technologically advanced enough to see inside the body so no one knew how it worked � especially the voice. So of course, when voice coaches first came upon the scene, they had a lack of understanding with which to knowledgeably help each singer tap into and develop their potential. Additionally, the attainment of full potential was not sought. Instead, it was a system in which everyone was supposed to fit in.

The Present

The unfortunate part of the story is that many vocal methods still have these myths sewn into their approach. I have spent over 30 years working to dispel these myths and bring to contemporary singers a method of voice training that is more holistic; one that will permit individuality not conformity. Since the voice is an instrument composed of the human body, I have found ways of working with its structure that not only develop full potential, but preserves the sensitive link of emotion and sound.

All my vocal exercises and warm-ups are geared toward this achievement: to free you as an impassioned artist, confident within the spontaneity of your vocal expression - able to create with sound by choice not convention.

Exercise using an �N�

Step One: Say the word �nothing.� Now say it again but this time, maintain the position of your tongue in the �n� position as you sustain the vibration of your voice. Essentially, the upper front of your tongue will be resting upward on the front of the roof of your mouth. As you sustain your voice with your tongue in this position, think the sound into where your tongue is touching the roof of your mouth (called the hard palate).

Keep your tongue relaxed and �fat� as you do this. Do not push your tongue against your hard palate. Think of it as a balloon that drifted up and is resting on the ceiling.

Step Two: Decide on a song to use for this purpose. Now sing the melody of the song with your tongue in the �n� position. This may take some concentration. Think the vibration of each note into the front part of the tongue where it is in contact with the hard palate. You should feel some kind of vibration in that area. It may spread out from that area, but you keep your concentration on the vibration where the tongue is touching there.

Go through the song as smoothly as you can. You should do it slowly, so if it is a fast song, slow it down (this is an exercise) and if it has short phrases, try to connect them, letting your voice sustain the buzzing in your tongue as consistently as you can.

Work on maintaining the same buzzing energy no matter the change of notes. If you notice your tongue tensing, re-focus your attention on the buzz in the front of your tongue as described above and re-do the phrase until you can do it with your tongue remaining �fat� and not pulling up or the back of it plunging down. It should remain relaxed throughout.

Again, this may take some practice. You may have some bad habits intertwined with singing higher or lower notes. If so, these habits, not your potential, can be limiting what you are actually able to do and achieve vocally.

Step Three: Once you have gone through the song in the above manner, re-doing sections as needed until you have made at least some progress remaining consistent with this approach, sing the song with lyrics. Notice any improvements. It should be easier, feel freer, and at least certain higher areas of range should now be more in your control.

Continuing to practice with this method, you will be able to do it better and better. Try it with other songs, including ones that are more challenging. Stay patient with yourself as you sort out any sneaky bad habits!

In my last article of this four-part series I�ll cover the myth of �Chest Voice,� �Head Voice� and �Falsetto� and why these terms and practice can limit your potential as a singer.

All the best to you,
Jeannie Deva