With time and consistent exercise, you will benefit in these key areas of vocal development:

• THE LARYNX:
  Expect to develop and strengthen the muscles affecting tonal production and phonation, the production of sound and words, and be rid of vocal tension.

  Just as we don’t strain and struggle or experience pain or hoarseness when we talk, neither should we have such symptoms when we sing. Vocal exercises will provide a smooth muscular transition from speaking (as in everyday conversation) to applying tones and rhythmic patterns to words (yes, singing!) with no greater strain than when you talk. Vocal tension is the enemy of dynamic control, stylistic “licks and trills,” vibrato, pitch, and transition from chest to head voice. And let’s not forget those high notes that seem just out of reach. A relaxed, well developed voice will “float” as you transition from one vocal register to another.

 

• CORD CLOSURE:
  Learn to diagnose the difference between cord closure and falsetto, and develop and strengthen the muscles involved in maintaining cord closure throughout Chest, Mix and Head Voice.

  A common problem with singers occurs when transitioning from chest voice into the head voice during a song; they experience a “break” in tonal quality and resonance, sounding weaker and airy as the vocal folds separate, allowing too much airflow and preventing cord closure. Many students say it’s as if they have two different voices, one for singing lower and one for singing higher. A common approach to this problem is that students will try to transition or reach the “dreaded” high note by yelling, turning up the volume, only to find themselves hoarse as a result. Specific exercises designed to address cord closure will improve this very important part of the singing voice.

 

• AIR FLOW:
  Expect to strengthen and develop proper breathing.

  Ok, so I highly suspect that up to now, you’ve been breathing for a long time – and you don’t have to think about how you’re going to breathe each time you speak. When you sing, you don’t need to exhale harder or hold your breath. These are common problems and will sabotage any performance. It’s important to understand that airflow is your “fuel” for sound. If air doesn’t pass through your vocal folds as you form words, then you aren’t going to be heard. You’ll be forming words with no tonal production (i.e., lip syncing, mouthing words). Not very effective! Too much air can result in a hissy, wheezy sound, or running out of air before the end of a phrase, resulting in choppy phrasing and loss of dynamic control. You will learn specific exercises to strengthen rib cage muscles, lungs and airflow and how to apply to singing so that breathing isn’t laborious and strained.