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Vocal lesson 1
The history of singing
In the past, it was not possible to amplify the voice using electronics, so singers had to find a way to be heard from a considerable distance. This led to the development of certain vocal techniques, which gradually became the only correct way of producing sound. In the Western world, this trained sound became known as the ‘classical sound’.
With the invention of the microphone, it became possible to amplify all sounds, including those that had previously been too quiet to be heard from a distance. This meant that new ‘untrained’ sounds became just as loud as ‘trained’ sounds. This meant that many new vocal sounds could be used, and new ideals emerged regarding what constituted a ‘good’ sound. Many of the ‘new’ singing methods turned out to be just as strenuous and complex as the ‘trained’ methods. Singers of the new style, who became known as ‘popular music’ performers, had to teach themselves to sing properly, as there was no training in the new singing styles. They could not make use of classical singing techniques, as these led to a classical sound that did not interest them. As a result of the lack of training, some of the new singers damaged their voices, and their singing styles were deemed dangerous and harmful to health, although many classical singers also had problems with their voices.
In the ‘popular music’ camp, some singers made a virtue of necessity and declared that ‘true’ popular music performers must be self-taught, arguing that formal training would rob a singer of their unique charm. Both camps harboured prejudices against one another. A gulf formed between the classical and pop camps, which, unfortunately, still exists to some extent to this day. This gulf is linked more to taste than to the use of technique.
Among the ‘popular music’ singers who lost their voices were those who remained on the sidelines in rehearsal rooms, and you have never heard of them. Some lost their voices early in their careers when they began touring, or later due to overexertion and increased demands on the voice. But there were also ‘popular’ singers whose voices ‘held out’ throughout their careers, regardless of how strained they sounded. It is therefore on the techniques of the ‘classical’ school and the experience of these ‘popular’ singers that many of the new singing techniques used today are based.
In the past, it was not possible to amplify the voice using electronics, so singers had to find a way to be heard from a considerable distance. This led to the development of certain vocal techniques, which gradually became the only correct way of producing sound. In the Western world, this trained sound became known as the ‘classical sound’.
With the invention of the microphone, it became possible to amplify all sounds, including those that had previously been too quiet to be heard from a distance. This meant that new ‘untrained’ sounds became just as loud as ‘trained’ sounds. This meant that many new vocal sounds could be used, and new ideals emerged regarding what constituted a ‘good’ sound. Many of the ‘new’ singing methods turned out to be just as strenuous and complex as the ‘trained’ methods. Singers of the new style, who became known as ‘popular music’ performers, had to teach themselves to sing properly, as there was no training in the new singing styles. They could not make use of classical singing techniques, as these led to a classical sound that did not interest them. As a result of the lack of training, some of the new singers damaged their voices, and their singing styles were deemed dangerous and harmful to health, although many classical singers also had problems with their voices.
In the ‘popular music’ camp, some singers made a virtue of necessity and declared that ‘true’ popular music performers must be self-taught, arguing that formal training would rob a singer of their unique charm. Both camps harboured prejudices against one another. A gulf formed between the classical and pop camps, which, unfortunately, still exists to some extent to this day. This gulf is linked more to taste than to the use of technique.
Among the ‘popular music’ singers who lost their voices were those who remained on the sidelines in rehearsal rooms, and you have never heard of them. Some lost their voices early in their careers when they began touring, or later due to overexertion and increased demands on the voice. But there were also ‘popular’ singers whose voices ‘held out’ throughout their careers, regardless of how strained they sounded. It is therefore on the techniques of the ‘classical’ school and the experience of these ‘popular’ singers that many of the new singing techniques used today are based.
Myths about singers
There are many myths about singers who lived before the advent of recorded music: ‘It was a voice unlike any other, one that will never be heard again,’ and so on. I don’t believe that’s true. It was probably not the performer’s voice that was special, but his or her vocal technique. We can all achieve good technique if we know what to practise and how. Unfortunately, we can only accept the myths about singers of the past, as we have no recordings to confirm or refute them; after all, their voices, of course, died with them. I believe that all singers can achieve any sound. Since the advent of recording, there has not been a single sound that could not be taught.
Myths about singing technique
Being able to see what you are doing is an invaluable tool in learning. Unfortunately, singing lessons cannot rely on sight, and this has led to the emergence of myths about how sound is produced. Fortunately, science now provides new insights, so today we know much more about how the vocal cords work. We can now observe the vocal cords at work and understand more about the anatomy and physiology of voice production. This has helped to dispel many previous misconceptions and myths, which were largely based on guesswork, many of which led to the ruin of voices and careers. Thanks to a better understanding of the processes of voice production, it is now possible to avoid months of useless and harmful training. When teachers can give specific instructions, singers no longer need to undergo years of training based on vague guidance. When you can work on a problem directly, it is easier to determine whether you are on the right track. A technique should produce the desired effect immediately; otherwise, it is not being performed correctly. Experience also shows that singers who master these new techniques are able to withstand demanding tours, which is one of the reasons why these techniques are now endorsed by doctors and speech therapists.
Myths about singing technique
Being able to see what you are doing is an invaluable tool in learning. Unfortunately, singing lessons cannot rely on sight, and this has led to the emergence of myths about how sound is produced. Fortunately, science now provides new insights, so today we know much more about how the vocal cords work. We can now observe the vocal cords at work and understand more about the anatomy and physiology of voice production. This has helped to dispel many previous misconceptions and myths, which were largely based on guesswork, many of which led to the ruin of voices and careers. Thanks to a better understanding of the processes of voice production, it is now possible to avoid months of useless and harmful training. When teachers can give specific instructions, singers no longer need to undergo years of training based on vague guidance. When you can work on a problem directly, it is easier to determine whether you are on the right track. A technique should produce the desired effect immediately; otherwise, it is not being performed correctly. Experience also shows that singers who master these new techniques are able to withstand demanding tours, which is one of the reasons why these techniques are now endorsed by doctors and speech therapists.
Bel canto vocal exercises
The term ‘bel canto’ translates from Italian as ‘beautiful singing’. This name was given to a style of singing that emerged in Italy by the mid-17th century and remained widespread until the first half of the 19th century – a period known as the bel canto era.
The emergence of bel canto is linked to the birth and development of the opera genre. Following centuries of dominance by choral singing, new monophonic forms of vocal music began to establish themselves – arias and ariosi – which offered solo singers ample opportunity to showcase the individual capabilities of their voices.
The bel canto style is characterised by exceptional melodic coherence – cantilena – an abundance of virtuosic effects, and the grace and beauty of the sound.
The emergence of bel canto is linked to the birth and development of the opera genre. Following centuries of dominance by choral singing, new monophonic forms of vocal music began to establish themselves – arias and ariosi – which offered solo singers ample opportunity to showcase the individual capabilities of their voices.
The bel canto style is characterised by exceptional melodic coherence – cantilena – an abundance of virtuosic effects, and the grace and beauty of the sound.
Black Eyes
Black Eyes
Vocal Vlad Eremeev
An example of bel canto technique
Vocal exercises
The vocal apparatus can be briefly described as a tube with a double valve, which is set in motion by the diaphragm and the lungs. The voice is produced by projecting a stream of air onto the vocal cords, which occurs with varying degrees of tension. Three groups of muscles are involved in voice production, namely: those responsible for breathing, those responsible for the voice, and those responsible for sound modification.
Diaphragmatic breathing is essential for artistic singing. This is the only way in which a singer can ensure a sufficient volume of air flows from the lungs to the vocal organs calmly and with minimal effort.
Breathing
Before taking a breath – which should initially be done through the mouth rather than the nose – open your mouth wide enough. Take a deep but silent breath. We draw air into the lungs, not using the lungs themselves, but using the diaphragm. The pharyngeal cavity (throat), chest and head (mouth, nose, etc.) form a complex resonator for the vocal airflow.
Air pressure increases evenly as a higher pitch is produced. If the pressure is insufficient, the sound lacks stability and support.
Support or prop
This involves counteracting the diaphragm’s natural tendency to expel the inhaled air. This is achieved by resisting its movement. Whilst singing, the muscles of the waist and solar plexus are pushed outwards, whilst the abdominal muscles around the navel are gradually drawn in in a steady and sustained manner, and the back muscles are tensed.
This support must be maintained constantly and continuously, as if counteracting the resistance, for as long as the sound is being produced.
Diaphragmatic breathing is essential for artistic singing. This is the only way in which a singer can ensure a sufficient volume of air flows from the lungs to the vocal organs calmly and with minimal effort.
Breathing
Before taking a breath – which should initially be done through the mouth rather than the nose – open your mouth wide enough. Take a deep but silent breath. We draw air into the lungs, not using the lungs themselves, but using the diaphragm. The pharyngeal cavity (throat), chest and head (mouth, nose, etc.) form a complex resonator for the vocal airflow.
Air pressure increases evenly as a higher pitch is produced. If the pressure is insufficient, the sound lacks stability and support.
Support or prop
This involves counteracting the diaphragm’s natural tendency to expel the inhaled air. This is achieved by resisting its movement. Whilst singing, the muscles of the waist and solar plexus are pushed outwards, whilst the abdominal muscles around the navel are gradually drawn in in a steady and sustained manner, and the back muscles are tensed.
This support must be maintained constantly and continuously, as if counteracting the resistance, for as long as the sound is being produced.
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-1-Opening the mouthAvoid jutting your jaw out or pursing your lips, as this often leads to an involuntary tightening of the vocal cords. -
-2-Breathing in and outDifferent types of breathing -
-3-Intra-abdominal pressureThe subglottic pressure we typically use in everyday speech is 10–15 cm of water, whereas a professional singer on stage can generate subglottic pressure of up to 300 cm of water or more.
Avoid jutting your jaw out and pursing your lips
Avoid jutting your jaw out or pursing your lips, as this often leads to uncontrolled tightening of the vocal cords. Ensure your jaw is relaxed by placing a finger between your upper and lower jaws. Maintain this jaw position whilst singing. The lower jaw should be set back in relation to the upper jaw. Be sure to open your mouth wider on high and low notes than on notes in the middle register. Whilst avoiding pursing your lips, it is also important to shape the vowels using your tongue, without altering the shape of your mouth too much. Consonants, on the other hand, are usually formed by narrowing the vocal tract and tensing the lips, but as you do not dwell on them for long whilst singing, they do not impair your singing. It is important to be able to release the tension by moving immediately from consonants to vowels.
Breathing in and out
Different types of breathing
It is important to practise breathing in as quickly and efficiently as possible. When you are singing, there is rarely time to breathe through your nose, so there is no point in practising this. Nor is there any point in making a sound as you breathe in, as this should generally be as quiet as possible. You should breathe calmly and freely through your mouth, without puckering your lips.
When the chest rises
Some people lift the upper part of their chest when they breathe in. The inhaled air fills the upper part (the apex) of the lungs. Unlike the lower ribs, the upper ribs are smaller and cannot move very much, so the lungs have very little room to expand. This type of breathing is uncomfortable for most people, as it causes a feeling of constriction. It is often difficult to sustain, and it can cause an uncontrollable tightening in the throat, making the voice sound strained. However, there are some singers who do not experience discomfort with this type of breathing.
Place your hand on the upper part of your chest.
Breathe in as deeply as possible, filling the upper part of your lungs, and feel your arm rise. Hold your breath and notice the sensation of the breath as your chest rises.
When the chest rises
Some people lift the upper part of their chest when they breathe in. The inhaled air fills the upper part (the apex) of the lungs. Unlike the lower ribs, the upper ribs are smaller and cannot move very much, so the lungs have very little room to expand. This type of breathing is uncomfortable for most people, as it causes a feeling of constriction. It is often difficult to sustain, and it can cause an uncontrollable tightening in the throat, making the voice sound strained. However, there are some singers who do not experience discomfort with this type of breathing.
Place your hand on the upper part of your chest.
Breathe in as deeply as possible, filling the upper part of your lungs, and feel your arm rise. Hold your breath and notice the sensation of the breath as your chest rises.
Many people talk about ‘breathing with the stomach’, but this is impossible, as there are no lungs in the stomach. It may seem as though this is the case when the stomach bulges out during inhalation, but in reality we are seeing the diaphragm pushing the contents of the abdomen downwards and outwards, creating the bulge.
The abdomen expands significantly, whilst the chest and ribs move very little. The diaphragm expands mainly downwards, putting pressure on the digestive organs. There is no point in overdoing this pressure, as it does not improve your breathing or make your voice sound better. It is usually tiring and uncomfortable to hold the diaphragm in this position, and it takes a lot of energy to keep the abdomen expanded in this way. Such pressure often causes uncontrolled tightening around the vocal cords, and this is not a particularly pleasant sight.
Breathe out and in, allowing only the abdominal cavity around your navel to expand. Neither the upper ribs in your chest nor the lower ribs at your sides should protrude outwards. Hold your breath and notice the sensation when inhaling causes your abdomen to protrude.
The abdomen expands significantly, whilst the chest and ribs move very little. The diaphragm expands mainly downwards, putting pressure on the digestive organs. There is no point in overdoing this pressure, as it does not improve your breathing or make your voice sound better. It is usually tiring and uncomfortable to hold the diaphragm in this position, and it takes a lot of energy to keep the abdomen expanded in this way. Such pressure often causes uncontrolled tightening around the vocal cords, and this is not a particularly pleasant sight.
Breathe out and in, allowing only the abdominal cavity around your navel to expand. Neither the upper ribs in your chest nor the lower ribs at your sides should protrude outwards. Hold your breath and notice the sensation when inhaling causes your abdomen to protrude.
For most people, it feels more natural for the area around the diaphragm to expand during inhalation. The diaphragm contracts and the lower ribs move outwards, causing a bulge in the solar plexus region. The abdomen around the navel also expands slightly. After inhaling, the diaphragm relaxes and exhales.
The lower ribs return to their original position, the bulge in the solar plexus area disappears, and the abdomen around the navel becomes flat again. Place one hand on your ribs at the side of your lower chest and the other hand on your solar plexus. Breathe calmly and freely through your mouth, without puckering your lips, etc. The lower ribs expand, and a bulge appears in the solar plexus area. This bulge is a sign that the diaphragm has tensed. You may also feel your abdomen expand slightly on its own. Allow the area around your navel to work independently; there is no need to help or hinder it. The upper chest should not rise. Hold your breath and notice the sensations. Relax and exhale; feel the bulge in the solar plexus area disappear as the air leaves your body. This type of inhalation should feel comfortable; it is usually easy to perform and allows you to hold your breath easily.
The lower ribs return to their original position, the bulge in the solar plexus area disappears, and the abdomen around the navel becomes flat again. Place one hand on your ribs at the side of your lower chest and the other hand on your solar plexus. Breathe calmly and freely through your mouth, without puckering your lips, etc. The lower ribs expand, and a bulge appears in the solar plexus area. This bulge is a sign that the diaphragm has tensed. You may also feel your abdomen expand slightly on its own. Allow the area around your navel to work independently; there is no need to help or hinder it. The upper chest should not rise. Hold your breath and notice the sensations. Relax and exhale; feel the bulge in the solar plexus area disappear as the air leaves your body. This type of inhalation should feel comfortable; it is usually easy to perform and allows you to hold your breath easily.
Place your hands on either side of your ribs at the bottom of your chest. Exhale slowly, deeply and freely, whilst pressing gently on your ribs with your hands. Release the pressure on your ribs as you inhale, allowing your lower ribs and the bulge in the solar plexus area to expand as much as possible, WITHOUT lifting the upper part of your chest. Your inhalation should be calm. Allow your ribs to push your hands outwards and feel the bulge in the solar plexus area being pushed outwards as well. Practise this expansion until it feels natural.
Avoid straining your abdomen
If a singer tends to tense their abdominal muscles when breathing in, it is helpful to practise an exercise to expand the abdomen. Some singers make breathing difficult by tensing their abdomen so much that there is no room left for the diaphragm, which pushes the digestive organs upwards; consequently, the only possible expansion is upwards, into the chest. By placing your hand on your abdomen, near the navel, and feeling how your abdomen expands as you breathe in, you can avoid the chest rising. Note that the lower ribs expand outwards at the sides.
Don’t breathe in too much air
Although you expand your diaphragm as you breathe in, you can disrupt proper breathing by continuing to inhale for too long until your chest rises. If you inhale too much air, filling your lungs to capacity, this will create unwanted tension as your chest rises. Avoid this by practising expanding your lower ribs and solar plexus as much as possible without raising your chest.
All singers are different. Some are happy with a large amount of air, others with less. Practise inhaling until you understand how much air you are comfortable inhaling and holding. Practise this sensation until it becomes natural.
Avoid straining your abdomen
If a singer tends to tense their abdominal muscles when breathing in, it is helpful to practise an exercise to expand the abdomen. Some singers make breathing difficult by tensing their abdomen so much that there is no room left for the diaphragm, which pushes the digestive organs upwards; consequently, the only possible expansion is upwards, into the chest. By placing your hand on your abdomen, near the navel, and feeling how your abdomen expands as you breathe in, you can avoid the chest rising. Note that the lower ribs expand outwards at the sides.
Don’t breathe in too much air
Although you expand your diaphragm as you breathe in, you can disrupt proper breathing by continuing to inhale for too long until your chest rises. If you inhale too much air, filling your lungs to capacity, this will create unwanted tension as your chest rises. Avoid this by practising expanding your lower ribs and solar plexus as much as possible without raising your chest.
All singers are different. Some are happy with a large amount of air, others with less. Practise inhaling until you understand how much air you are comfortable inhaling and holding. Practise this sensation until it becomes natural.
Intra-abdominal pressure
The subglottic pressure we typically use in normal speech is 10–15 cm of water, whereas a professional singer on stage can generate subglottic pressure of up to 300 cm of water or more. What strength must a professional singer’s glottis possess to maintain a pressure 30 times greater than that of speech! How well-developed and finely tuned must the entire respiratory system and larynx be, so that this pressure does not impair the development of the finest vocal qualities, nor disrupt the functioning of the glottis (as observed when the voice is strained)!
Naturally, in order to use the vocal apparatus in opera singing without causing damage, given the high subglottic pressure mentioned above, a strict, gradual increase in the load on the vocal apparatus is required. Only by achieving the correct coordination in the functioning of the vocal apparatus and gradually strengthening its entire muscular system will it be possible to develop those professional qualities of volume, ease of control, complete mastery of the range, and endurance during prolonged singing, which typically characterise good professional singers.
Such a gradual approach is particularly necessary because breathing involves involuntary muscles and self-regulating systems. Attempts to disregard this fact, various irrational actions involving the vocal apparatus, and forcing the development of the voice, its strength or range may hinder the manifestation of their natural function and disrupt the proper functioning of the vocal mechanism. Such disruptions cannot be easily remedied and usually lead to vocal deterioration.
Recently, numerous other factors have been identified that link their function via neural pathways. As demonstrated by studies conducted by Yusson and Gian, Garda et al., the air flowing through the glottis is the most powerful stimulator of vocal muscle activity. The tone of the vocal cords increases, and their excitability, performance and endurance improve. The larynx is also stimulated by nerve impulses received from the respiratory muscles, which are actively engaged in the process, thereby enhancing its performance. The large surface area of these muscles exerts a strong influence on the tone of the laryngeal sphincter. Therefore, the active engagement of this musculature can facilitate the work of the larynx. This influence, for example, easily explains the frequently observed relative ease of producing a singing sound when singing loudly with good breath support, and the difficulty of producing it at mezzo forte and piano.
For instance, in the case of ‘i’, the wide pharynx is followed by a narrow oral cavity, which causes the sound to be dampened to the greatest extent; whereas in the case of ‘a’, the sound, upon leaving the larynx, enters a narrow pharynx which opens into a wide oral cavity. This configuration results in the least loss of sound. Therefore, different vowels have varying volumes. If the vocal apparatus did not respond to this phenomenon of varying vowel volume, then when attempting to pronounce them with equal effort, some would always be loud, whilst others would always be barely audible. To eliminate this variation in loudness, the vocal apparatus, through auditory control, always amplifies soft sounds and attenuates loud ones. To produce a soft vowel, greater subglottal pressure and a larger volume of air are supplied, whilst for a loud vowel, the pressure is reduced and less air is supplied.
Many researchers have long noted that the vowel ‘i’ requires greater subglottal pressure than the vowel ‘a’. Rabotnov, having measured subglottal pressure for various vowels, gives the following sequence of its decrease across different vowels: i-u-e-o-a. For i — 13.5, u — 12.5, e — 12, o — 11, a — 10 mm of mercury when the sounds are pronounced with the same vocal force.
No system of silent breathing exercises can lead to the development of singing breath. Singing breath is breathing that is coordinated with all other parts of the vocal apparatus during singing. Good singing breath is possessed by a singer whose vocal sound is correctly organised, not by someone who can inhale or exhale slowly without making a sound, or hold their breath for a long time.
A calm, moderate and deep inhalation, a slight pause before the onset of sound, a smooth delivery of breath and the ability to distribute it — these are the essential principles of breathing that should always be applied when working with a student.
Naturally, in order to use the vocal apparatus in opera singing without causing damage, given the high subglottic pressure mentioned above, a strict, gradual increase in the load on the vocal apparatus is required. Only by achieving the correct coordination in the functioning of the vocal apparatus and gradually strengthening its entire muscular system will it be possible to develop those professional qualities of volume, ease of control, complete mastery of the range, and endurance during prolonged singing, which typically characterise good professional singers.
Such a gradual approach is particularly necessary because breathing involves involuntary muscles and self-regulating systems. Attempts to disregard this fact, various irrational actions involving the vocal apparatus, and forcing the development of the voice, its strength or range may hinder the manifestation of their natural function and disrupt the proper functioning of the vocal mechanism. Such disruptions cannot be easily remedied and usually lead to vocal deterioration.
Recently, numerous other factors have been identified that link their function via neural pathways. As demonstrated by studies conducted by Yusson and Gian, Garda et al., the air flowing through the glottis is the most powerful stimulator of vocal muscle activity. The tone of the vocal cords increases, and their excitability, performance and endurance improve. The larynx is also stimulated by nerve impulses received from the respiratory muscles, which are actively engaged in the process, thereby enhancing its performance. The large surface area of these muscles exerts a strong influence on the tone of the laryngeal sphincter. Therefore, the active engagement of this musculature can facilitate the work of the larynx. This influence, for example, easily explains the frequently observed relative ease of producing a singing sound when singing loudly with good breath support, and the difficulty of producing it at mezzo forte and piano.
For instance, in the case of ‘i’, the wide pharynx is followed by a narrow oral cavity, which causes the sound to be dampened to the greatest extent; whereas in the case of ‘a’, the sound, upon leaving the larynx, enters a narrow pharynx which opens into a wide oral cavity. This configuration results in the least loss of sound. Therefore, different vowels have varying volumes. If the vocal apparatus did not respond to this phenomenon of varying vowel volume, then when attempting to pronounce them with equal effort, some would always be loud, whilst others would always be barely audible. To eliminate this variation in loudness, the vocal apparatus, through auditory control, always amplifies soft sounds and attenuates loud ones. To produce a soft vowel, greater subglottal pressure and a larger volume of air are supplied, whilst for a loud vowel, the pressure is reduced and less air is supplied.
Many researchers have long noted that the vowel ‘i’ requires greater subglottal pressure than the vowel ‘a’. Rabotnov, having measured subglottal pressure for various vowels, gives the following sequence of its decrease across different vowels: i-u-e-o-a. For i — 13.5, u — 12.5, e — 12, o — 11, a — 10 mm of mercury when the sounds are pronounced with the same vocal force.
No system of silent breathing exercises can lead to the development of singing breath. Singing breath is breathing that is coordinated with all other parts of the vocal apparatus during singing. Good singing breath is possessed by a singer whose vocal sound is correctly organised, not by someone who can inhale or exhale slowly without making a sound, or hold their breath for a long time.
A calm, moderate and deep inhalation, a slight pause before the onset of sound, a smooth delivery of breath and the ability to distribute it — these are the essential principles of breathing that should always be applied when working with a student.
Manfred Scmitz
Jazz oda to London
Piano, Bass-guitar, Drums
Vlad Eremeev
The audience won’t tire of dancing
and singing along with you!
Contact us
Join in the harmony!!
+447729759359
eremeyuk@gmail.com
eremeyuk@gmail.com
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All photographs, text and video material belong to their respective owners and are used for illustrative purposes only. Please do not use this content for commercial purposes.
