Breathing 101 for Singers & Vocalists

INTRODUCTION
Breathing properly for singing is the most important foundation technique. Each and every tone we create is carried on the airflow of our breath. The more control you have over the air flow, the more control you will have over your singing tone.

Imagine a kite flying high in the air. When the airflow is consistent, the kite will fly smoothly and steadily on top of the air current. When the airflow is inconsistent the kite will bob and dive with no rhyme or reason. Your singing tone is much like that kite. If you provide a strong steady airflow, your vocal tone will have the opportunity to ride strongly and smoothly to our ears. But if your airflow is uncontrolled and inconsistent your voice will break and waiver.

The purpose of this narration is to teach you to breathe properly.
The purpose of the breathing exercise below is to increase your breathing capacity and control.

Before beginning this breathing exercise variation, please note that bringing more oxygen into your body than accustomed can sometimes result in lightheadedness or dizziness. Please take care to stand close to something that offers support should you need to steady yourself. Conferring with a physician is recommended before beginning any exercise routine.

BREATHING 101
To breathe properly for singing, you must breathe low into the bottom portion of the lungs, engaging the diaphragm. Your rib cage and back will expand. Your shoulders and upper chest will remain still and will not rise.

Try it yourself: Inhale deeply and exhale completely. Again inhale and exhale.

Now try it again, only this time inhale for four counts, hold your breath for four counts, exhale over four counts and then wait four counts before inhaling again. Let's do three complete sets of that counting exercise. Remember to inhale deeply and properly for singing.

Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 Again.
Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 Last Time.
Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 4.

This basic exercise is an easy one you can do every day. Plain fact, the more you exercise your breathing, the more control you will have over your voice. With a little time and practice you will be a master of breathing control. As you make progress, challenge yourself to increase the breathing count to 8, 12, 16 and more. For best results mix and match the numbers. The size of singing phrase is never the same, so practicing all different airflow situations is ideal. Breathing correctly needs to be a habit, meaning you need to do it correctly without thinking about it. So in the beginning you really want to concentrate on the proper technique.

BONUS TIP: Are you sure you're breathing right? If you are uncertain of yourself see if this little experiment helps. Sit in a chair and while keeping your back straight, lean over and put your elbows on your knees. Take a deep breath. Feel your back and rib cage expand? Now sit up and work to duplicate the feeling, only the expansion should be a ring around your entire body.

For more information and exercises on breathing properly for singing, please refer to the vocal training product Basic Foundation Series - Singing Is Easy, Singing Success Step #2 (Airflow).


An Article by: Yvone DeBandi Yvonne DeBandi, author of this article, created the vocal training method known as Ten Steps to Singing Success

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Should I Sing This in My Head Voice or My Chest Voice - Part 1

A discussion about range, register and tone placement for intermediate and advanced singers, Part I.

As an experienced vocal coach and perpetual student, I have spent twenty years studying and analyzing the singing voice. I often hear complaints from disciplined training students wondering why they are still faced with range limitations or undesirable tone quality changes after weeks, months or even years of diligent practice. Sometimes the answer lies in the much-overlooked vocal component, the pharynx, and the understanding of vocal registers.

The pharynx is simply a passageway from the nasal cavity down to the larynx (and then continuing into the esophagus). It is known to have three different regions: the naso-pharynx (located behind the nose), the oro-pharynx (located in the rear of the mouth), and the laryngo-pharynx (behind the throat). Understanding the pharynx and how it works with regard to singing can make a huge difference in a singer's voice



Just like the pharynx is actually one component divided into three regions for easy reference, singing voices are often categorized in registers (chest voice, middle voice, head voice, falsetto). These regions/registers have assigned names which indicate the tonal quality changes that occur when moving from pitch range to pitch range.

The chest voice is often associated with deep, warm, rich, thick sounds.

The middle voice is generally associated with middle pitch ranges, and warm, rich tones. The middle voice also extends to the inclusion of the vocal mask and a warm, heady sound.

The head voice (women) and falsetto (men) are associated with light, bright singing tones that are higher in pitch and resonate within the upper sinus cavities. (Some singers consider warm, heady tones associated with the vocal mask as the head voice and never reach their range potential. )

When addressed with the question, "Should I sing this in my chest voice or head voice?" my answer is always the same: sing the note. My coaching goals include teaching the student to balance all of the vocal components to achieve the best sound. That requires blending, not separating. Each individual should listen to the note and decide, does it need more warmth or more brightness - and then adjust the vocal instrument to create that sound. Not sure how to do this? The pharynx, the available avenue between most of the resonating cavities, is a major part of the solution.

Review the diagram above (be sure to note the pharynx & resonating cavities) and consider the following analogy and theory: The vocal instrument, your body, is a multi-level building and the pharynx is the elevator inside running from top to bottom.

Sinus cavities are the penthouse and associated with the highest pitches.

The nasal cavity, naso-pharynx, and vocal mask represent the top floors.
The oral cavity, oro-pharynx, and soft palate represent the middle floors.
The upper chest cavity and laryngo-pharynx represent the first floors.
The lower chest cavity represents the building basement and associated with the lowest pitches.

Many singers refuse to use the elevator which moves effortlessly to the next pitch. Instead they laboriously climb the building staircase, often taking mental note of each and every stair landing (register or note change). Instead of concentrating on one floor (or one note) at a time, learn to use the pharynx to your advantage and improve the overall tonality of your voice. This technique will also increase your range. Use the following glissando vocal exercise to test out the concept. Be sure your body and instrument are free of tension before beginning.

On the syllable "HEEE" we are going to start on a comfortable low note in our range and slide one pitch at a time to a comfortable high note in our range (from the bottom floor to the top floor of the building, currently ignore the basement and penthouse). Follow these exact instructions:

1. Think about the comfortable low pitch you are going to start on - hear it in your head.

2. As you initiate the pitch, actually create the mind picture of the elevator beginning in your chest.

3. Begin to slide on the syllable "HEEE", pitch to pitch, up to the comfortable high note. With each note, picture the elevator on a steady, smooth and effortless rise to the top.

4. You will need to gradually increase your airflow with each pitch.

5. Know your top pitch. Hear the top note you wish to hit in your head. As the educated elevator doorman, make a definite yet easy stop once the destination is reached.

The transition between one registers often produces a vocal tone that breaks and cracks, or experiences a great change in quality. The first goal is to sing the "HEEE" syllable strongly over each note; even through a break or tone change should one occur. Repeating this exercise over time will help you gain the necessary strength and coordination to negotiate pitch changes without cracks or breaks. It will also help you develop a full and natural singing voice, with an enviable singing range. This brings us to our next step:

So you want a higher range?

Developing a higher range can be a daunting task and is an eluding goal to many singers. Many students are taught to focus primarily in the vocal mask. As a result, even after years of training, some singers sing up to a certain note and get stuck as if they were hitting their head on the ceiling. Returning to our analogy, it is as if the elevator is reaching the top of the building, or nasal cavity ceiling, and is permitted to go no further. The sound created using this type of focus is often a bit heady or even covered sounding. In order to increase your singing range past this point, we need to access the penthouse, the frontal sinus cavities and cavities in the top and back of the head. The tonal sound created will be light and bright, without the headiness associated with the vocal mask.

For those of you familiar with the fictional character, Willy Wonka, and the famous glass elevator shooting through the roof of the building, this concept may be easier for you because you have a true mind picture of what needs to happen. That's right; to increase your singing range you need to shoot the elevator through the roof. This requires a minor increase in air flow and a change in focus. Move your focus from behind the bridge of your nose/eyebrow area and turn it to the top of the head. Float the notes easily. You may need to drop your jaw to add space. Don't search for volume or strength too soon. Sing easily. Repeating this exercise often will help to develop strength, dexterity and stamina within this pitch range.

Follow the steps listed above and do the vocal sirens again, only this time allow the elevator (and focus) to access the Penthouse. Shoot your focus through the roof and sing higher than you ever have before. Use the elevator theory and related mind pictures to help you understand where the tone is focused for every pitch. Remember that the resulting tone should be light and bright, but with a sense of warmth and richness. Although the sensation may seem uncomfortable at first, there is no vocal straining involved. In fact, when done properly, singing very high notes is quite easy.

Remember to drink room temperature water every few exercises to prevent dehydration of your voice instrument.

So you want a lower range?

Now that we have discussed the penthouse portion of the elevator theory, you probably have a notion of where we are going with the basement idea. Let's call again upon the training exercise vocal sirens to demonstrate the idea, this time beginning on a high note.

1. Think about the comfortable high pitch to start on - hear it in your head first.

2. Initiate the pitch with the mind picture of the elevator starting in the Penthouse.

3. Begin to slide on the syllable "HEEE", pitch to pitch, down to the lowest note of your singing range. With each note, picture the elevator on a steady, smooth and effortless ride to the bottom.

4. As you reach the bottom of your range it is important to balance the decrease in airflow, the amount of resonating space in the chest cavity, and the amount of muscular control used. As the doorman, experiment with access to these areas. The ability to negotiate the space in the "basement" is directly related to how low you can sing and how warm your tone sounds.

NOTE: Do not "push" the voice in this range at all. It is much better to relax and decrease your airflow, while continuing to support with the diaphragm. With productive vocal practice and repetition the strength of that vocal range will increase. Pushing the voice in this range will only result in stress/damage to the voice organ and delayed vocal development.

Stay tuned for Part II, Using the Elevator Theory to Create Your Personal Sound.


An Article by: Yvone DeBandi
Yvonne DeBandi, author of this article, created the vocal training method known as Ten Steps to Singing Success

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Pemanasan Sebelum Latihan (Bagian 2)

5. Menarik Bahu Ke Belakang

Latihan ini bisa membantu melemaskan bahu para penyanyi. Mintalah agar mereka melakukan gerakan bahu kanan ke depan lalu ditarik ke belakang. Pertahankan posisi kaki tetap ke depan saat melakukan gerakan ini. Lakukan hal yang sama dengan bahu kiri dan seterusnya secara bergantian hinggau menjadikan gerakan bahu kiri dan kanan berputar ke depan dan ke belakang bergantian.

6. Miringkan Kepala

Latihan ini berguna untuk merelakskan leher penyanyi anda. Seperti kita tahu, sewaktu menyanyi jangan sampai terjadi ketegangan pada bahu dan leher. Karena sewaktu bernyanyi seluruh otot bahu dan lehar bekerja. Otot yang relaks akan membantu udara (nafas) dari bagian perut hingga menyentuh pita suara membentuk sehingga terjadilah nada (suara). Lakukan gerakan ini, miringkan kepala ke depan - tegak lurus, miring ke kanan - tegak lurus, ke kiri - tegak lurus, dan ke belakang - tegak lurus. Lakukan pengulangan gerakan ini seperlunya sambil berhati-hati karena bagian leher adalah bagian yang sangat peka dengan cedera.


7. Pelemasan Bagian Siku dan Lengan Atas


Latihan ini akan membantu para penyanyi untuk melemaskan tubuh bagian siku (tangan) dan lengan bagian atas, terutama pada otot triceps dan memperlancar aliran darah di bagian lengan. Mintalah agar tangan kiri mereka meraih siku tangan kanan melewati bagian belakang kepala.. Tahan sebentar lalu lepaskan. Lakukan hal yang sama sebaliknya dalam keadaan relaks seperti gambar di atas.


Catatan dari saya: Teman pecinta paduan suara, latihan-latihan di atas adalah beberapa contoh baik yang bisa dilakukan sebelum kita memulai paduan suara dan sebelum melakukan latihan vokal. Ada hal2 lainnya yang perlu kamu lakukan utnuk membuat para penyanyi lebih semangan dan tidak bosan.

1. Ada baiknya kita melakukannya dengan partisiapasi aktif dengan anggota paduan suara, misalnya dengan meminta mereka melakukan hitungan-hitungan secara bergantian dalam tiap gerakan hingga semua anggota mendapat bagian menghitung.

2. Partisipasi aktif dari para anggota sangat berguna bagi kekompakan dan kesatuan hati.

3. Jangan kaget dan jangan pula terlalu melarang jika ada di antara penyanyi bercanda sewaktu menghitung gerakan. Yang penting adalah mereka mengerti pada saat latihan memang harus serius tapi juga harus tetap bisa santai. Karena ini juga bisa membawa mereka pada mood yang baik. Hati yang senang ada lah obat bukan?

4. Suasana relaks akan membawa mereka akan menuruti instruksi-instruksi pelatih dan hal ini akan sangat berpengaruh pada penguasaan materi-materi lagu sewaktu kita melatih mereka.


Silahkan jika ada di anatara teman-teman yang hendak menanggapi atau menambahakan. Materi di atas saya dapatkan dari buku karangan Russle Robinson dan Jay Althouse, yang sebagian besar dari kita tahu karya-karyanya yang mengagumkan. Saya membeli buku ini sewaktu menjalankan tugas kantor di Singapore beberapa tahun lalu. Akan saya bagikan bagi isi dari buku ini selanjutnya bagi teman-teman yang kesulitan membeli buku ini dari luar. Jika hendak membeli buku ini ada bisa mencarinya di iternet tentunya dengan ongkos kirim yang dan menggunakan kartu kredit.

Pada pembahasan selanjutnya saya akan membahas postur tubuh dan kebiasaan-kebiasaan sewaktu latihan paduan suara.

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Pemanasan Sebelum Latihan (Bagian 1)

Sebelum memulai latihan paduan suara memang adalah keharusan untuk melakukan pemanasan (warming up). Sama pentingnya sebelum kita olahraga kita melakukan pemanasan untuk menghindari cedera. Dalam latihan paduan suara juga bisa terjadi cedera yang tidak diinginkan. Namun kita tidak akan membahas cederanya melainkan urutan-urutan benar dalam melakukan pemanasan (warming up).

PERENGGANGAN BADAN (STRECHING)

Pertama yang akan kita bahas adalah pemanasan / perenggangan tubuh yang biasa dalam paduan suara kita kenal sebagai streching.

1. Penggangan Tangan

Perhatikan gambar di atas, lakukan 3 langkah di atas secara berulang-ulang. Ada baiknya anda meminta para penyanyi untuk berbaris membentuk lingkaran atau kurve (lingkaran terbuka). Lalu meminta mereka untuk menghitung satu per satu dari kiri ke kanan atau sebaliknya. Tujuannya agar mereka secara aktif melakukan streching ini dengan tidak meain-main. Disamping itu cara ini juga membawa anggota koor berinteraktif satu sama lain.

Lakukan penghitungan hingga angka 10 untuk setiap posisi a, B, dan C dan ulangi hinggap putaran ke 4. Ini berarti setiap posisi mendapat 4 X 10 hitungan. Mintalah agar setiap anggota yang bertugas mengghitung dengan tidak buru-buru dan satu anggota melakukan hitungan dengan tempo yang sama dengan anggota lainnya supaya setiap posisi mendapatkan jatah peregangan yang relatif sama hitunganya.





2. Perenggangan Gaya Memanjat Tangga.


Lakukan penghitungan yang sama dengan perenggangan tangan pada no.1 tadi terhadap perenggangan gaya memanjat tangga seperti terlihat pada gambar di atas. Lakukan gerakan seakan-akan memanjat ini tujuan membantu tubuh kita mendapatkan postur yang lurus saat bernyanyi. Agar lebih semangat, pelatih boleh memberi semangat dengan aba-aba,"Ayo naikkan tangan kanan, tangan kiri, regangkan!" begitu seterusnya





3. Tekuk Badan (Merunduk)

Berikutnya adalah melakukan gerakan merunduk. Penyanyi diharuskan untuk gerakan berunduk dengan tangan diarahkan ke lantai seperti pada gambar G dan H. Lakukan seperti kita melakukan senam pagi. Lakukan penghitungan hingga angka sepuluh pada posisi G lalu secara perlahan bangkit hingga pada posisi H selama 10 hitungan juga. Prihal bangkit hingga pada posisi H secara perlahan ini bisa di artikan / mengingatkan penyanyi akan tanda cressendo padayang harus diingat dilakukan secara perlahan.


4. Tekuk Badan (Merunduk)

Mintalah para penyanyi untuk berdiri tegak seakan-akan bergantungan pada atap dengan tangan terulur ke atas. Lalu mintalah mereka untuk membungkuk dengan tangan ke depan kepala seperti pada gambar tengah dengan tangan bergerak seolah-olah sedang menarik tambang. Lalu perlahan-lahan angkat tubuh bagian atas hingga berdiri tegak sambil menjaga tangan tetap melakukan gerakan menarik tambang. Ketika badan kembali pada posisi tegak lurus dan seakan-akan "tambang" tetap pada tangan yang sedang dalam posisi lurus ke atas. Latihan seperti ini berguan untuk mencegah penyanyi dari posisi miring.

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John (Milford Rohn Milford) Rutter

Lahir di London, bersekolah di Highgate School kemudian belajar musik do Clare College, Cambridge di mana ia menjadi anggota koor dan kemudian menjadi pengarah koor Dari 1975- 1979.

Pada tahun 1974, John Rutter berkunjung ke Amerika Serikat diundang oleh musisi koor Melvin Olson untuk menjadi konduktor pada Kantata "Gloria" di Ohama, Nebraska di Witherspoon Hall di Joslyn Art Museum. Menampilkan komposisi dari Olson yang diambil dari Olson Chorale yang berikutnya mejadi komposisi favorit di tahun-tahun selanjutnya. Pada konser yang sama, Young People's Choir dari Midlands membawakan karya Rutter "Eight Childhood Lyrics" yang menjadi penampilan pertamanya di Amerika Serikat.

Di tahun 1981 Rutter membentuk koornya sendiri yaitu Cambridge Singers. Koor yang dia konduk dengan banyak hasil karyanya sendiri dinyanyikan dan menghasilkan banyak album. Bahkan Rutter mendirikan perusahaan rekamannya sendiri yaitu Collergium Records. Sekarang beliau masih tinggal di dekat Cambridge tetapi sering menjadi konduktor bagi paduan suaranya keliling dunia.

Di tahun 1980 Rutter menjadi anggota kehormatan di Westminster Choir College, Prinston dan di tahun 1988 di Guild of Church Musician. Di tahun 1966 Archbishop of Canterbury menganugrahi beliau gelar LAmbert Doctorate Of Music atas kontribusinya dalam dunia paduan suara gereja.

Tahun 2008 Rutter menerima bangku kehormatan dari Middle Temple karena perannya dalam Temple Festival 20008.

John Rutter juga bekerja sebagai editor dan arranger yang kebanyakan karyanya terkenal dan sangat sukses yaitu beberapa seri bunga rampai Carol for Choir, hasilkerja sama dengan Sir David Willcocks

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Music washes ....

Music washes away from the soul the dust of everyday life
by: Berthold Aurebach

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Approval Google Adsense

Akhirnya selesai juga apa yang saya geluti selama ini. Mengenai google adsense yang dari dulu tak kunjungi di approve. Sekarang terjawab sudah.

Jika di antara pembaca ada yang mengalami hal yang serupa, berikut ini caranya. Bagi yang punya akun blogspot, anada beruntung, karena dari dalam blogspot itu sendiri ternyata sudah ada fasilitas untuk link ke pendaftaran google adsense.

Pertanyaannya, bagaimana jika kita sudah terlanjur punya akun google adsense dan sudah lama tidak di-approve juga.

Jawabnya adalah buat akun blogspot baru. lalu jangan lupa pada kolom pengaturan/format anda setting bahasa inggris (amerika). Lalu di-save.

Kemudian silahkan kembali ke bagian tataletak dan klik gadget di mana anda hendak meletakkan iklan google adsense..nah barulah keluar fasilitas google adsense. Jika bahasa yang kita pilih pada kolom format tadi adalah bahasa indonesia, maka fasilitas google adsense ini tidak muncul.

Selanjutnya klik gadget adsense dan silahkan mendaftar seperti biasa anada mendaftar sebelumnya sekaligus melakukan setting ukuran dan warna tampilan iklan ggogle adsense menurut kehendak anda. Setelah itu google akan mengirim email langsung ke email yang anda cantumkan pada waktu pendaftaran, jadi setelah setting selesai, akan ada tampilan baru pada halaman blog anda yaitu iklan google, tapi masih belum ada iklannya, dalam arti baru kolomnya saja terbentuk.

Selanjutnya, cek email anda, maka akan ada link untuk konfirmasi akun anda pada google adsense...silahkan anda ikuti prosedurnya. Jika proses ini selesai, maka iklan anda akan tampil pad blog.

Selanjutnya, anda ubah juga format bahasa pada bolg lama anda (yanng tak kunjung di approved itu). Setelah bahasanya di ubah ke Inggris (amerika) maka akan terjadi hal yang sama, yaitu jika anda klik tambah gadget, maka ada kolom adsense dan sewaktu anda mengklik akan muncul pertanyaan, apakah anda akan menggunakan akun lama atau membuat akun baru. Selanjutnya tinggal anda masukkan data akun yang baru tadi yaitu email dan kode pos/5 digit no telp sesuai pendaftaran anda sebelumnya. Lalu ikuti prosedur selanjutnya anda tinggal menentukan tampilan iklannya. Selamat mencoba.

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