birds
Learning to float and soar with your voice.
Birds are a continual fascination and inspiration to us - hardly surprising in music when their birdsong is so admired!
In particular, I’ve found that some people wish to emulate the soaring feeling of a bird in flight in their own singing. They enjoy the feel of ‘soaring’ or floating through the music they are singing, like a bird does. So what is that, and how can we create that in our voices?
“The birds are the opposite of Time...They are our desire for light, for stars, for rainbows and for jubilant outpourings of song!””
When you see a bird soaring above, floating almost effortlessly above the earth, what are you really seeing?
The bird has flown from a perch on/near the ground, risen to a height where it feels the support of the wind that allows it to stay in the air. The view we have is of no effort, when actually some rather complicated physics and effort has helped the bird get there.
Here are the things I suggest pupils think about and use to achieve this with their voice:
Mind
Support
Breath
Reduce the feeling of weight or pushing
Repeat and experiment
Know where your strong beats/words are, and therefor the lighter beats and words
An inflexible voice that is pushed or feels heavy will not float or feel light. How much ‘play’ and ‘give’ do you have at your disposal? Could you find more?
As ever, if you have questions get in touch below, book in for a lesson, or work with your teacher to discuss some of these and how they work in your voice.
“Birds have always had the ability to bring me out of a dark space and provide relief in bad times.”
grow
growth as a performer and why it is good for us
“Be not afraid of growing slowly, be afraid only of standing still”
In our blog today we are thinking about growth. In an attempt to allow balance in my work and personal life I have enjoyed trying to reflect the seasons more. I am learning to accept quiet times and use them for learning/technical work, planning (usually the dark winter months) and enjoy them knowing that busier times always come, particularly in the warm sunny summer months. Some people try ‘wintering’, a sort of modern-day hibernating - is this something you have tried?
So as we are now in spring, I am thinking of growth. What is growth in our performing life? Why is growth important? How can we grow?
What is growth?
We’ve all felt that nagging feeling that we are ‘stuck’, failing to progress, or being given work that does not stretch us - and felt frustration from those feelings! We don't always feel that we are in a position to progress at a pace we are happy with. So taking some ownership is helpful to plan your own development.
So what can you do? It’s a case of ‘Show: don’t tell’. Don't waste time telling people, find ways to do it!
Why is growth good for us?
Having a growth mindset means believing that effort and skill development will better your life.
As humans, having a ‘growth mindset’ is linked with higher levels of wellbeing and better mental health.
Those with a growth mindset are found to have better ability to cope with stress and anxiety.
Have a quick google to read more about growth mindset and how it might help you!
Tips to grow
Choose new repertoire, research something you haven’t yet learned. Perhaps if you are a singer you could brush up your language skills, or learn a new song cycle?
Tackle the technique you have been having difficulty with. We all come to a point where we need to address something that has been causing us difficulty - maybe there is someone who can help you do that or you can ask your teacher to help you find ways to work it out.
Work with someone new. A new accompanist, a new group of musicians, a new teacher, a new coach, a music course… Get a fresh perspective and ask their advice.
Be brave. Challenges help you to figure out the true extent of your abilities. Experimenting in lessons and with teachers is a safe space to try.
Remove the fear of failure. If you try something in a safe space, failure is not a problem, and growth is more likely as you will not be holding back.
food
Food for singers, advice on what not to eat, and some recipes to try
One of the greatest loves of my life is food. I love reading about it, growing it, making it, and of course eating it. This is not unusual among singers either! I have had part time jobs in cafes and restaurants to make some money to help pay for singing lessons - I’m sure you know or have been served by people working between music or acting jobs.
When I travel I love trying out new dishes and dream of coming home to recreate them, even if they never quite taste the same! I will greedily ask you what you ate on holiday, in a restaurant, or made for your dinner party.
This month which is often associated with summer holidays (for those of us in Europe), I thought it might be fun to talk about food and singing - what foods do famous singers eat? What is advised for singers to eat/avoid? And of course some recipes to try that are associated with some of our operatic heroes.
What should I avoid eating when singing?
Well, this escalated quickly - and the truth is… that there are no hard and fast rules! Know your own body, and respond to what works for you. There is no evidence that certain foods will be good or bad, only general advice linked to reflux and heartburn.
I recently ate ice cream just before singing, and it was delicious. Dairy is not an issue for me personally, but if you notice any extra phlegm that inhibits your singing, you might want to time it so you don’t have it right before singing. But don’t presume or deny yourself certain foods if they don’t cause you issues.
Reflux
Reflux can affect the quality of the voice, causing irritation and inflammation. There have been studies that link singing/professional singers and reflux, the link is not entirely clear, the linked study was with a small number of singers. You can read it here:
If you work with and are generally more aware of your body and small day-to-day differences, you may be sensitive to changes others may not notice.
If you are experiencing problems like waking with a scratchy throat, feeling burning in your throat, hoarse voice, bad breath, bloating/heartburn, you should speak to your pharmacist or doctor for advice.
Some of the causes of reflux can be:
Eating certain foods/drinks (coffee, tomatoes, fatty foods, alcohol, spicy food, chocolate)
Eating late at night
Certain medicines
Pregnancy
Smoking
Being overweight
Stress and Anxiety
So to try and reduce symptoms it is suggested you:
Lose Weight if overweight
Find ways to relax/destress
raise the head of your bed when asleep by a couple of inches to use gravity to help
Avoid food/drink that exacerbates your personal symptoms
Don’t smoke
Don’t drink alcohol
Wear clothes that are loose around your middle
You can find more information here:
Anecdotes
We’ve covered the science, we’ve discussed what should be sensible, so now we can enjoy the stories and the recipes!
It is said Pavarotti asked for three roast chickens to be available at all times where he sang. He was also famed for cooking certain pasta dishes for his friends for which there are recipes online
San Francisco opera published a recipe book called “What Aria Cooking” published by SF Opera Guild in 1974, with favourite recipes of the stars including Leontyne Price’s ‘Crabmeat Imperial Casserole’, and Tito Gobbi’s ‘Pasta alla Tito Gobbi’. I feel I need to hunt this down! There are several other cookbooks around with recipes from opera singers
Callas would collect recipes from famous cooks and hotels when she travelled, but was said to rarely if ever cook them. She ate mainly steak and salad to maintain her slimmer figure after her weight loss
Remember that what you eat will power you through your work - so balance the good and the not so good, and consult a personal trainer/nutritionalist if you wish specific personalised guidance to help you improve your fitness or lose weight.Always consult your doctor if you have any concerns and before making radical changes to your fitness and diet.I hope you enjoy trying one of the recipes below - a cocktail, pasta dish, and classic pudding for your enjoyment.
Please comment and let me know if you try one of them!
-
1 and a 1/2 ounces of gin
1/2 and ounce of Dubonnet (the red version)
1/4 of an ounce of maraschino liqueur
Dash of orange bitters (optional)
Twist of orange or lemon peel, or slice of orange to garnish
Method:
Shake together the gin, Dubonnet, maraschino liqueur and bitters (if using) in a cocktail shaker with ice, until the cocktail is mixed and chilled.
Strain the mixture into your choice of glass, and garnish. Serve with a name drop of the last famous singer you made the drink for at one of your many soirées.
-
This recipe is also called ‘pasta con le melanzane’ (pasta with aubergine/eggplant)
Serves 4
Ingredients:
2 Aubergines cut into pieces of about 3cm
1sp salt
4tbsp olive oil
1 small onion
2 cloves of garlic
pinch of chilli flakes
2 x 400g tins of chopped tomatoes
1 tsp sugar
350g spaghetti
small bunch of basil, shredded, plus extra to decorate
1 heaped tbsp capers
ricotta cheese or finely grated parmesan to serve
Method:
Add the salt to the aubergine chunks and set them in a colander over a bowl to remove excess moisture.
Heat 2 tbsp of oil in a casserole dish or saucepan. Fry the onion with a pinch of salt on a low heat for 10 minutes until soft but not coloured. Add the garlic and chilli for 1 minute, before adding the tomatoes and sugar. Bring to a simmer.
Cook uncovered for 20 minutes, stirring occasionally.
Heat the oven to gas mark 7/220C fan/200 C.
Pat the aubergine dry with a clean tea towel/kitchen roll. Stir in the remaining 2 tbsp of oil, and spread it out on a baking tray and roast for 25-30 minutes until golden around the edges.
Meanwhile cook the pasta according to packet instructions, and reserve 100ml of the pasta water.
Stir the aubergine into the sauce with the basil and capers. Season to taste.
Stir the cooked pasta into the sauce, with some of the pasta water.
Divide between 4 bowls and top with ricotta/parmesan and extra basil for decoration.
-
Serves 4
Ingredients:
Choose 4 ripe peaches, the best seasonal ripe peaches you can find.
200g Fresh raspberries
Lemon Juice (optional)
some sugar
100g icing sugar
Vanilla ice cream - home made or bought
Fresh almonds/flaked almonds to serve
Method:
Blanch the peaches for 2 seconds in boiling water, remove them with a slotted spoon and place in iced water for a few seconds. Peel them when cold.
Optional- to reduce the peaches browning, place them in water with a little lemon juice. This helps if you are preparing the dessert in advance.
Sprinkle the peaches with a little sugar, and place them in the fridge.
Puree 200g of raspberries and pass them through a fine sieve to remove the seeds. Mix with the icing sugar, and refrigerate.
When ready to serve, either prepare one large celebratory dish or plate into 4 bowls.
Add a bed of ice cream with the peach on top, covered in the raspberry sauce.
Use almond flakes to decorate - Escoffier suggest only fresh and in season, but shhhh, we don’t need to tell him!
breathe
Breath control in singing
“Who has seen the wind?
Neither you nor I
but when the trees bow down their heads,
the wind is passing by.”
Christina Rossetti
We breathe and take breath every second, minute, and hour of hour lives. Yet when it comes to singing, we must breathe and use our bodies to regulate air in a slightly different way. Breathing should feel easy, use our whole body, feel relaxed, and aid our music making and communicating. But how often have we truly felt that?
As always, my blog today is not here to teach you the one and only amazing technique to fix your problems or follow for perfect singing. For that you need to work with a trained and trusted teacher who can work with you, your body, your health, and your voice. Every singer will need a different balance of the individual elements.
Instead, I will describe what breathing well does, give some guidance for better breathing, ways to balance the different things that might be going against your goals, and talk about techniques to calm anxiety. I hope I might guide you to improve your knowledge and ability to assess your own breathing needs. If you have health concerns, consult your Doctor before trying any new exercises.
The Body
Breathing is part of what is known as the autonomic nervous system, or ANS. These automatic body functions are mostly involuntary, and include things like:
Digestion
Speed of breathing
Body Temperature
Regulating blood pressure
By regulating your breathing through exercise or for instance singing, you can regulate your your ANS, which in turn has the following benefits:
Lowers heart rate
Relaxes the body and mind
Regulates blood pressure
Lowers the release of the hormone cortisol, known as the stress hormone
Diaphragmatic Breathing
Pupils and fans of tv singing shows all know that diaphragmatic breathing is needed in singing. But what does that actually mean? And why is it good for singing?
The diaphragm is just one of the many muscles that we need to use to breathe.
Our bodies need to feel loose and relaxed when we sing both for good breathing and resonance, so try to include some stretches that feel like they relax and lengthen your body so you start in a neutral state without tension.
Your intercostal muscles between your ribs help expand your rib cage to allow your lungs to fill with air. The diaphragm is below the lungs and contracts on inhalation to make extra space for the lungs to fill and move into.
In order to breathe well, we need to breathe deeply with movement and expansion around the 360 degrees of the trunk of our body.
Deep breaths should be slower, without tension, and more relaxed. Shallow breaths are often made higher the body, and tend to be more tense, sometimes faster. You can experiment with this and feel the difference for yourself. We know we want as little tension as possible when we sing, so deep, slow, low breaths using the diaphragm and filling our lungs more fully is preferable.
For some people, focussed breathing or breathing exercises might increase their anxiety or be bad for their health- so take care to pay attention to your own body and mind, and only continue if you feel happy to do so.
Breath Control
Once that breathe has been taken, it is important not to let it out without control. Good imagery to explain this is the bellow taking in air and expelling it with focus through the small opening. Or a balloon being filled with air, and being let go to produce a long sound as it expels the air slowly through the small neck of the balloon.
We’ve noted how to expand our ‘bellows’ or ‘balloon’ by expanding around the trunk of our body, and we must now think of the air when expelled . It travels up the trachea (wind pipe) and out through the mouth, first meeting resistance in the larynx through the vocal folds. The vocal folds meet together in a waving/pulsing motion at great speed to make sound as the air passes through. We use our bodies to gently support the voice, and regulate the expulsion of air so that it is is gentle, not tense or forced, and the correct speed. Each singer will will find their body works slightly differently and needs different elements tweaked through their lives to support the sound they wish to make.
These are the basic concepts of breathing and breath control in singing that are needed to make sound that is healthy and sustainable. Not all types of singing, emotions, repertoire or voice production will need the same levels of breath support or the same breath, so at all times ask yourself questions about your voice:
Does is feel comfortable?
Is it sustainable?
Do I like the sound I am making?
Can I make the sound more sustainable/comfortable by changing something?
As ever, let me know in the comments if you have any thoughts or feelings about this months blog, and if you would like to read about some more exercises for anxiety or better breathing click on the link below.
bloom
Adding colour to the voice and your performance is often seen as the last step in preparation to perform - however it is an intrinsic part of the formation of sound and communication.
So how and why should we add colour to the voice?
Singing is the simple balance of phonation, and resonation.
Phonation is ‘the process by which the vocal folds produce certain sounds through quasi-periodic vibration’ (Wikipedia) whilst resonation can include amplification and filtering the sound.
It is possible to tell the age of someone and what emotion they are communicating through sound alone of their voice, without sight of their facial features or physical gestures - so we know that the voice is a powerful and intricate communicator, and the brain adept at understanding very subtle differences in tone.
A study Read Here published online in American Psychologist recorded 24 separate human emotions in brief human vocalisation. This does not include the longer passages of speech etc, just short noises. 24. I still find this number incredible despite having read it several times!
These noises are created by instinctual things we do when talking/responding to situations. If I explain technically that they can be made by creating more inward space around the vocal tract, raising our soft palate, increasing or decreasing nasality, that helps in technical terms to describe what might be happening. But I think what might be more helpful is to provide an example of 2 scenarios that are similar but will have different sound responses to communicate different emotional responses..
‘ow’: hurt yourself, accidental papercut, self pity
‘ow’: hurt, your sibling gives you a dead arm, you are annoyed
These sounds show pain of very different types, and will be using different spaces to make the sound and communicate different layers of emotion to the listener. Have a go at making the two sounds yourself, what can you feel that is different in your breathing, posture, throat, to help you act out the scenarios and make the sounds different?
Most exciting, here is the link to the emotion map where you can hear the different emotions as recorded by researchers: Listen Here I love that each sound has a % of several emotions showing the variation possible!
As singers we aren’t aiming at displaying 24 emotions in our singing (not all at the same time/in the same aria thankfully!) - but this should also explain why your voice will not sound like someone else’s. You can’t possibly hope to match the percentages of each emotion to deliver an identical performance in sound and communication.
So we’ve talked about the different spaces the sound will resonate in due to emotion - how/why is this important when we sing? If you agree we should have Thought:Breath:Sing then you need to think the emotion/s, breath into that space with those certain parts of your singing space more open or more closed, then sing.
Some examples of Emotion in Singing:
Happy music requires more space and upper resonance. Why? Because this is what we do naturally when we are happy, as observed in normal life.
Our Faces are animated, our eyebrows are raised, we smile, we breath into those upper spaces naturally and with ease.
To help, get your pencil and draw a smiley face over your music/lyrics. Do you have to smile? No. But a smile or brightening the face is the simplest way in to acting that emotion, plus it usually magically adds other things to our voices that are very helpful (automatic space made and widening of the pillars of fauces, etc) .
Here is an example of a voiceover artist demonstrating their Happy/Bubbly voice, you can hear animation in her face and the upper resonances added by her acting happy in order to play the part for her script..
Happy/Bubbly Voiceover artist Advert
Music that is romantic requires more richness. Why? Because when we are being more romantic, we use a sing-song smooth voice with softened changes in pitch, and a rich tone.
For my example for this sound in speech I have chosen a Marks and Spencer advert in which several actors start talking with one emotion, then change to the now famous Marks and Spencer ‘This is not just…’ sensual voice. As you listen, can you hear how they change the shapes and spaces they are using to show us the new emotion?
This Is Not Just...M and S Advert
The actors are deliberately speaking with a smooth legato melodic style of speech. The voices are using a mid level of tone not too high or two low, although using those areas occasionally), and full bodied resonance, in that sounds relaxed. They are opening into and using the full depth of their body to add richness to the sound they create, with relaxed muscles/joints to further allow resonance (the opposite to help clarify, would be a small closed off sound, something like a nasal restricted tone that is small and thin with reduced resonance).
In summary: The emotional content of the music you sing should be a main starting point in your practise so that you are singing into the spaces that you need to connect the text and emotion to the music. Technical proficiency in singing includes the use of emotion and colour, and cannot be disconnected.
To add colour, we must study and think of how we might act out and speak the lyrics. Perhaps using words or emotion faces drawn on our music can help guide us when studying, a bit like Stanislavski who wrote how actors should prepare their scripts. Notice where we naturally move our anatomy, where we close the space and open it, to help us guide the voice to add colour.
I hope you’ve enjoyed this blog post about adding colour, what will you add to your practice? Leave a comment below with your thoughts.
As always, this is a discussion you can take to a trusted teacher or coach and use in your own practise with guidance and lots experimenting.
Adding colour is something highly personal, which will be different for every singer depending on their individual anatomy and interpretation. But it’s definitely something you can experiment with no matter your stage in vocal study.
Singer Down!: what to do when illness strikes
Singer Down! Tips for singers when illness strikes
You’ve done everything right, big scarf, lots of water, no socialising, threw salt over your shoulder… but illness can still strike!
We’ve all been there, a busy Christmas Schedule/Auditions/Performance time and all of a sudden… ‘is that a slight sore throat?’, ‘how many times have I sneezed today?’, ‘my speaking voice feels more raspy today…’
So. You have two options, 1. panic, panic and worry, or 2. hunker down and read every piece of internet advice and old singer folklore on tinctures, lucky omens and cures… there’s got to be a magic tea or brand of cough sweet to help?
No. Fear not, for a bring you news of modern medical science! Here is your third option: Follow my list of practical and proven methods to help, with some science to back them up (Please see link below for a little science).
Plus, feeling proactive and taking control will help give you a positive mindset, as you need your energy for healing, not mental anguish!
This list is meant as a lighthearted self-help guide for standard colds and viruses - but please seek medical advice if you are experiencing medical symptoms that are more serious. Remember that what starts as a simple cold may have a longer effect on your voice/health that requires the services of a medical expert, so monitor your progress and find help if you need it.
Cancel Work/Performances
This is a tricky one, as no one likes to cancel. It can be hard to let people down, or go without income. But there is more harm to be done trying to sing when you are not well and possibly straining your voice. You will not be singing your best, your audience will not be enjoying your best performance. We’ve all sung while ill, it isn’t pleasant, and it can hinder your recovery. Please try to cancel when you need to.
2. Vocal Rest
You’ve maybe heard about it, there are many famous singers who have talked about it like Mariah Carey, or maybe you haven’t. This is one of the easiest and cheapest ways to ensure you heal and recover as quickly as possible, and get back to singing as soon as you are able to.
When your throat/vocal tract/vocal chords are enflamed and swollen, or maybe you are coughing a lot, it can be very helpful to talk as little as possible, and certainly don’t sing. It’s the equivalent of staying off a twisted ankle while the swelling goes down. There is also evidence that whispering or playing a woodwind/brass instrument may not be helpful.
Your aim is to reduce the the tension and burden in the area while the muscles and soft tissues are inflamed. Relative voice rest (as opposed to total voice rest) is one of your best hopes.
3. Fluids
You are already dedicated to keeping hydrated, so keep this up when you are ill. Water, Caffeine, Juice, or herbal teas, they are all good for you and helpful if you have are ill or fighting a temperature. Many singers swear by hot water with lemon and honey - I certainly find this very soothing. I do not use expensive honey, sometimes I add some fresh ginger, and nothing more exciting than a lemon wedge. It is certainly no worse or better than cough medicine! Plus, you may already have these ingredients in your home.
4. Finding other ways to Work - optional!
It can be frustrating feeling like your busy schedule is suddenly decimated - but if you want and have energy, there are other things you can do without physically singing.
update your website, CV, Biography. Write your next blog/newsletter
update your tax return info. Whatever system you are using, make sure everything is up to date, or research a new system/accountant/tax breaks you could make use of
Learn words. You can still listen and learn words, write in translations and pronunciation into your scores
research new repertoire/concert work. Listen to new composers/compositions
5. Rest
Overlooked, and often ignored. It’s ok to just have a duvet week: sleep, eat, and watch your favourite box sets. Enjoy the time you have been given to focus on you and get yourself better.
There are lots of relaxing audio books and guided relaxation tracks to make use of, so that you keep calm, rested, and positive as you come through your cold. Finally getting around to reading that positive mindset manual is being your future friend!
I hope you’ve enjoyed this short list of things to help you get back on your feet and singing the high (or low!) notes. Take care of yourself and get well soon!