Shimizu Voice Studio

Welcome, international friends!

2012-03-08T17:07:00.000-08:00

ようこそ!
Добро пожаловать!
Ласкаво просимо!
Wilkommen!

2012 McKinley Alumni Show, "Songs From The Heart"

2012-03-08T15:25:00.000-08:00

2010 McKinley Alumni Show "Jai Ho" featuring Colette Gomoto

2010 McKinley Alumni Show "Younger Than Springtime" with yours truly.

2010 McKinley Alumni Show "Honey Bun" featuring Maelin Ibara and an ugly hula dancer.

McKinley Alumni Performing Arts is presenting their 2012 show "Songs From The Heart" on Sunday, April 1, 2012 (no kidding), at the McKinley High School Auditorium from 11:00 am to 4:00 pm. Shimizu Voice Studio will be represented by Colette Gomoto, Amy Katsumoto, Tevita Apina Jr, Harold Funakoshi and our Jersey Boys Tribute featuring Larry Nakano, Michael Cabagbag, Johnathan Kiriakos and Craig Shimizu.
Others appearing are Richard Sakoda, Sandra Siu, Ipolei Kubouchi, Pat Ahloy, Chris Ano, Wayne Lehano, Dennis Yurong, Ken Morimoto, Alvin Okami, Susan Morimoto-Willy, Jenny Yoshimura, Dazzman Toguchi, Sandy Enomoto-Endo, Kineya Sakio, Kineya Samei, Jenny Watanabe, Kyoko Sano, Marissa Machida, Haley Sakamoto, Jeff Sato, Chantel Ikehara, Maelin Ibara, and Venus Kubo.
The alumni committee pretty much works year round on this show and it shows in the presentation.
Tickets are $20.00 with all proceeds going to the McKinley scholarship fund. Please come and enjoy!

This show will be dedicated to the late Hilda Fujio, who was an important part of all the previous shows.

How To Use This Blog

2012-03-08T08:45:00.003-08:00

"CLASSIC"

You have seven options on how you like to view this blog. They are listed in the black area below the heading. I normally have the blog set on mosaic because I think it looks cool. To change what you are viewing simply point and press the corresponding name.

"MOSAIC" (My favorite)

"FLIPCARD"

"MAGAZINE"

"SIDEBAR"

"SNAPSHOT"

"TIMESLIDE"

PAGE VIEWS: 9,747

2012-03-05T13:27:00.001-08:00

VISITOR COUNTS

Pageviews today

Pageviews yesterday

106

Pageviews last month

2,728

Pageviews all time history

9,747

VOCAL TIP OF THE WEEK #20: Ready...set...ATTACK!

2012-03-04T09:24:00.000-08:00

Did you know that how you start a phrase is gonna be just about as good as it gets? Yep. That's why understanding the 'attack' or 'onset' is so important. The attack refers to the first sound that you make after you take a breath. EVERY TIME, whether you intended to breathe or not. If this sound that you make is not perfect, you have NO CHANCE of the rest of the line coming out perfectly. Now, of course perfection is unattainable for most of us, but the gist of this technique is to put your best foot forward at the beginning of each line. You'll notice that when you are in control at the very start that the rest of the line comes out easier, like momentum. Many students have difficulties with high notes in the middle of a phrase and the first thing we work on it the attack of that phrase. Japanese call this "DEDASHI" or first step, as in dancing. Dancing moves are usually taught in 8 moves on 8 counts. You'll notice that if your first step is off-balance that you spend the rest of the 7 counts trying to recover. THIS IS EXACTLY WHAT WILL HAPPEN TO YOU WHEN YOUR ATTACK IS NOT WELL-DONE. This is actually the GOOD news. The bad news is the attack is hard to master as it is a combination of the right support, relaxation and breath control.

Our next recital

2012-03-03T12:10:00.000-08:00

Add caption

How to become a follower or subscriber

2012-02-29T20:18:00.001-08:00

Follow/subscribe widget

Press this icon to subscribe

Please become a follower so I know who's visiting the blog. I can then tailor the posts to better serve you!

Press the icon to follow blog

Blogger has just designed a new way to become a follower. If you point to the long black line to the right of the screen, 2 icons will come out; one to subscribe and one to follow. Either or both would be great! Press the icon and follow the instructions.
Thanks so much!

Craig

VOCAL TIP OF THE WEEK #19: Vowel Emphasis

2012-02-25T11:45:00.000-08:00

This is the biggest reason singers don't have a professional sound. Woh, kind of harsh. I went right to the point. Well, it's true. Singers who sing with a great deal of feeling and have a pleasant sound to listen to sing on the vowels. It's kind of funny because we speak correctly balancing consonants with the vowels. But when we start to sing, it's not supposed to be equally weighted. The vowels are much more important because they carry the pitch, volume, breath percentage and feeling. Try and put more feeling or volume into a "k" or "s" and you'll see what I mean. Consonants are defined scientifically as noise. This noise, usually made with increased air flow "bothers" the vowel that follows affecting everything from intonation to beauty. This additional breath flow and corresponding tighter vocal cords causes strain. Singing on the vowels is not only a professional requirement but it's also good, solid vocal training.

Where I am.

2012-02-20T22:23:00.000-08:00

This is what you'll see if you're at the right place. It's on the CORNER of Palama Street and North Vineyard Blvd. The large Tesoro service station is right across the street. Parking is to the right. The address is 810 North Vineyard Blvd. If you go in through the doors and turn right, I'm the last door on the left. However, we call this "the back". If you go through the doors but continue straight and exit through the next doors, just stay on the pathway and keep turning right. You'll see some stairs that lead you to our "front". Enter those doors to a holding area. Ring the doorbell if the door is locked.

VOCAL TIP OF THE WEEK #18: Talk-Singing

2012-02-20T09:35:00.000-08:00

Many students of voice are confused by what this means. I think we, teachers may also be guilty of adding to the confusion. In Japan, 'katari' is singing like how you talk, where except for the melody, you sound like you're talking. Oh-oh, I see this is gonna be another tough one to explain. I even heard one of the Japan master coaches explain this live (MIZUMORI HIDEO VOICE TRAINING UPDATE) and I couldn't tell the difference between his singing voice and his talk-singing voice. I guess an exaggerated example would be singing a line with opera quality and singing the same line with a pop quality.
Where it gets even more confusing, is when talk-singing is taught as a voice-training technique to improve the voice. It's true that many recording artist sound like they're just talking when they're singing. Michael Buble. Frank Sinatra. Barbra Streisand. However, to say that this is how everyone should develop their voices is very dangerous. It's true that the basic difference between talking and singing is elongated vowels. But it's how the vowels are stretched that is the determining factor. If it sounds good and you don't strain, then you can sing like how you talk.
Yet, this is an important technique to master because depending on the song, you should talk-sing to get the feeling right.

VOCAL TIP OF THE WEEK #17: The Diaphragm

2012-02-12T11:16:00.000-08:00

Expand your diaphragm. Contract your diaphragm. Did you know both statements are correct? This might be the only muscle in your body that actually expands while it contracts. So, it's really fun to try to explain this to a student who asks. So, of course, I don't if I can help it.
What's really fun about the diaphragm is that it has no sensory nerves in it. That means you can't feel what it's doing. I know, I know, everyone reading this is saying, "I can feel my diaphragm!" Well, the truth is you can't. What you're feeling is what the other parts of your body is doing as you expand or contract your diaphragm. When you expand your diaphragm, you're squashing your stomach, intestines and liver and expanding your rib cage. You can feel those things. (Never wondered why your stomach gurgles when you start to sing?) But this is one of the main reasons the diaphragm is sooooo hard to train and why there are sooooooo many training techniques, as most of you know. Some smart teachers won't even touch the subject, rather praying that the student will use it naturally correctly, which in my experience RARELY happens.
Shucks, I think I've written too much on this and I didn't get to cover the juiciest part: The diaphragm is the main muscle to hold air IN. Oh, well, till next time...

VOCAL TIP OF THE WEEK #16: Sing In The Front Of Your Face...WHAT?!!!!

2012-02-12T10:23:00.000-08:00

Sing in the front of your face! Sing to the back of the room! Sing upwards in a loop over your head! Sing in a straight line! More support! Sing from your gut!
Yes, we've all heard these things or similar. And we were happy when the teacher said we got it. And frustrated when we didn't. Especially when we went home and could not find it on our own. Ahh, yes, I remember it well.
These are what I call abstract techniques. They have no grounding in science. They all can work if you know what part of your body is being referred to. I'll translate some of these so you know what I mean.
1. Sing in the front of your face - feel the vibrations in the bones of your face
2. Sing to the back of the room - basically more energy and use your stomach and diaphragm...actually very complicated
3. Sing upwards in a loop over your head - position your soft palate correctly especially as you sing higher or louder
4. Sing in a straight line - produce a more consistent sound with consistent body movement
5. More support, Sing from the gut - better coordination between the diaphragm and stomach and reduce airflow
I know that these explanations aren't complete, but hopefully it gets you started to understanding what your teacher is trying to tell you. The expressions have been around forever, which means they work if you can understand it. I should write a book on all the terms we teachers have used to get a student to do what we want. It would be a comedic best-seller. :)

(Updated again 2/29/12) Singing Technique Books or How I Developed My Teaching Style

2012-02-01T14:57:00.000-08:00

These are books, cd's, and DVD's I've studied that have helped me understand how the voice works and how to perform. They've become more important to my teaching than lessons I've taken personally from other teachers.

1. "The Structure of Singing" by Richard Miller - the importance of attacks or onsets.
2. "Singing - the Mechanism and the Technic" by Carl Fischer - the science of vocal sound and great illustrations.
3. "The New Voice - How to Sing and Speak Properly" by Alan Greene - dropping the jaw correctly and raphe of the mylohyoid muscle
4. "The Science of Vocal Pedagogy" by D. Ralph Appelman - the Bernoulli effect and singing; the relationship of the velum and pharynx size; and the throat as the primary resonating area.
5. "Kinesiology - Scientific Basis of Human Motion" - how the stomach relates to the vocal cords and the importance of erect posture.
6. "The Art of Singing" by Richard Miller - the importance of diaphragmatic breathing; why yawning is bad technique; "easily not lazily" for sound production.
7. "Singing Technique" by Joseph J. Klein - opening the palate for falsetto improvement
8. "Basics of Singing" by Jan Schmidt - the importance of short, concentrated practice and standing while singing
9. "Elements of Acoustic Phonetics" by Peter Ladefoged - tongue and pharynx relationship in pronouncing vowels
10. "The Science of the Singing Voice" by Johan Sundberg - how the vocal folds vibrate
11. "Training Tenor Voices" by Richard Miller - what is "ring", "ping", "forward placement"
12. "Freeing the Natural Voice" by Kristin Linklater - jaw hinge
13. "The Use and Training of the Human Voice" by Arthur Lessac - minimum use of air
14. "Your Voice: An Inside View" by Scott McCoy, DMA - antagonism between inspiration and expiration muscles "breath support"; why rectus is bad
15. "Sing Like a Pro" by Elisabeth Howard and Howard Austin - "ssss" support training exercises
16. "Set Your Voice Free" by Roger Love - the two nasal sounds, what causes them and how to fix them
17. "Voice Power, Using Your Voice To Captivate, Persuade, and Command Attention" by Renee Grant-Willams - passive breathing

Other books in my library:
18. "On Studying Singing" by Sergus Kagen
19. "Teach Yourself Singing" by Susan Sutherland
20. "The Four Voices Of Man" by Jerome Hines

These are articles:
1. "Control versus Strength in Singing" by Mark W. Lee "Journal of Singing. January/February 2009"
2. "Unsolved Mysteries of Vocal Fatigue and Recovery" by Ingo Titze "Journal of Singing. March/April 2009"
3. "Consulting A Voice Doctor: When?" by Yolanda D. Heman-Ackah, MD, Robert T. Sataloff, MD, DMA, Mary J. Hawkshaw, BSN, RN, CORLN, Venu Divi, MD "Journal of Singing. September/October 2008"
4. "Cross-Training for the Voice" by Robert Edwin "Journal of Singing. September/October 2008"

Other instructors' courses:
1. "Sing With Freedom" by Per Bristow - relaxing
2. "Ultimate Voice Coach" by Gary Catona and Ron Anderson - buzzing your teeth
3. "Berklee Workshop - The Ultimate Practice Guide for Vocalists" by Donna McElroy - the lower back for power
4. "Berklee Workshop - Vocal Technique - Developing Your Voice For Performance" by Anne Peckham
5. "Love To Sing" by Roger Love
6. "Sing Clear" by John Sinclair
7. "Singing Coach Unlimited" by carry-a-tune.com - how to sing on pitch
8. "How To Train Singers" by Lara Browning Henderson - nasality and the soft palate
9. "Musica di Santo" by MdS Studios - breath control & support

The psychology of performing well under pressure:

1. "Coaching The Mental Game" by H.A. Dorfman - staying balanced and focused on task not stressing over the magnitude of the event
2. "Winning The Mental Way" by Karlene Sugarman, M. A. - how to be mentally tough
3. "Body, Mind, Mastery, Creating Success in Sport" - combining a state of maximum activity with maximum relaxation; balancing body, mind and emotions
4. "The New Toughness Training For Sports" by James E. Loehr, Ed.D. - over-training and under-training; developing the challenge response.
5. "If You Think, You Can!" by TJ Hoisington - you must put yourself on the line to grow; John Wooden: "Things turn out for the best for those that make the best of the way things turn out"

How to sing with real feeling (how to give the audience goose bumps):

1. "More Than Singing, The Interpretation of Songs" by Lotte Lehman - singing from head to toe; every line has a most important word; why the quest for a perfection works against a heartfelt, soulful performance
2. "Expressive Singing, Dalcraze Eurhythmics for Voice" by J. Timothy Caldwell - main point of western music is to express emotion; music movement should be heard; music is not about words but organized sounds to express emotion
3. "Acting, A Handbook of the Stanislavski Method" by Toby Cole - well developed, mobile imagination; voluntary versus involuntary attention; reducing stage stress by immersing yourself in the song
4. "Acting & Stage Movement for Amateurs & Professionals" by Edwin White & Marguerite Battye - being intimate with the song while engaging the audience
5. "True and False, Heresy and Common Sense for the Actor" by David Mamet - What does a character in the script want? What does he or she do to get it? What is that like in my experience?; audiences respond to willingness more than brilliance
6. "Present Yourself! (Captivate your audience with great presentation skills)" by Michael J. Gelb - audience perception is 55% body (yours)/ 38% voice/ 7% content
7. "Body Voice Imagination - A Training For The Actor" by David Zinder - connecting sound and movement
7. "Body Speech" by Samy Molcho - the eyes

A work in progress...

VOCAL TIP OF THE WEEK #15: Vibrato-o-o-o-o-o

2012-01-30T10:47:00.001-08:00

Interesting story. Well, for me, anyway. The reason I went to my first voice teacher, Mr. Richard Aoyagi was because I wanted to have a vibrato. Yes, that's right, inasmuch as I have one now, I didn't before. I think the method he taught me was to change the pitch. I sang a lot of Japanese songs back then, so it was easier to copy. I did get it right in the sense that the vibrato is supposed to come from the stomach area or diaphragm. The pitch change method of vibrato development was good to kick start my vibrato but a danger of this method is that it may affect your pitch on the notes that you apply it to. A better method is to pump the air from your diaphragm with a huh huh huh sound. Feel where the vibrato comes from. Be sure that the huh huh huh's are connected as a vibrato is. Once you can feel it from the diaphragm area, then start to speed it up until you can do about 5 to 7 pulses (that's what it's called) per second. That is the ideal vibrato. I remember one of my students who had a great 5 - 7 vibrato. I could see his solar plexus pulsing at the exact rate of his vibrato! Good luck with your training!

New Hope Tithe Rap

2012-01-23T19:05:00.001-08:00

New Hope Tithe Rap

This was something we put together at New Hope a few years back. The service producer had seen me do the "Evolution of Dance" at a party and thought I'd fit in with my two "homies", Valen and Alan to do this rap/dance sketch. It was reaaaaally hard to do because we had to memorize the words and dances in about 10 days with no cue cards or screen. During the rehearsals we kept mixing up who was supposed to come in and what dance we were supposed to be doing. It was a miracle we were able to pull off 6 performances that day and night. It was actually the first time I felt like a rock star because as you can hear from the video the audience was going wild. A lot of people recognized me all over the place after that day even at Costco!

Yelp Reviews

2012-01-23T18:58:00.001-08:00

Yelp Reviews

VOCAL TIP OF THE WEEK #14: OPEN WIDE...NOT!

2012-01-06T09:03:00.000-08:00

Have you ever had a choir director facing you with his fingers directed into your mouth? I've heard as many as four fingers that were supposed to fit into your mouth to get you to sing better. During my opera days, I was instructed to put 2 fingers held vertically into my mouth and sing like that. So, that's the case for drop your jaw singing. And then there's the side where I noticed beautiful Hawaiian falsetto singers who barely open their mouths. In fact, while we were rehearsing our harmonies for a play I was in, this high soprano singing next to me hit this high "C" with her mouth open normally in a talking position! Two other sopranos, of course had their mouths wide open, but did not have the tone the other girl did. So, what's going on? No doubt the superior soprano has a little bit different vocal cords from the other two that allowed her to sing high easier (although I remember her to have a beautiful chest range too). But seeing her changed the way I taught the jaw after that. It's not about how much you drop your jaw, it's how loose your jaw is. The best description I learned was the "dangling jaw". The jaw is just naturally tight because you're holding it up all day long. It's loose position is when you're about to fall as asleep and your mouth opens. Try singing like this. You'll be amazed at the tone. Of course, it's really difficult because as soon as you begin to sing (or talk) the jaw muscles begin to tighten up.

VOCAL TIP OF THE WEEK #13: RELAXING

2011-12-27T20:47:00.000-08:00

As you have read in my other tips that relaxation is the key to singing well. Why is it so hard to relax while you're singing? The answer is simple, yet difficult to accomplish. Everything above your chest should be relaxed. That's right...everything. I know there are all kinds of techniques that use your mouth, your jaw, your tongue, your throat and even your eyebrows! And I've been guilty of teaching some of those techniques in the past. But I slowly realized that the answer kept going back to the same thing... relax some body part! There are two reasons why it's so hard to achieve complete relaxation of the neck and head. 1: Most of the head likes to become tight when we sing or even talk. 2: Your lower body (for breathing and exhaling) must do the work. You can't relax your head if your breathing is wrong or you don't push the air out correctly (support). Needless to say, whatever tension you have will become worse as you sing higher or louder. Not to mention (I guess I am) the tension will also become worse when you're nervous. There. Good luck.

VOCAL TIP OF THE WEEK #12: TOP TEN VOCAL LESSONS

2011-12-19T16:09:00.000-08:00

A student I had once took notes of each lesson. About a year or so later, I asked if I could see his list of notes. He had over 50 things he learned (and this was over 15 years ago!). Each tip made him a better singer. In keeping with the spirit of top ten lists, here are my choices. Of course, this will open a whole can of worms and I'll probably update this one (more than once). PLEEEEASE POST YOUR COMMENTS so I can explain the list or change it.
Number 10: Relaxing the proper body parts.
Number 9: Fixing the break.
Number 8: The open throat.
Number 7: Reducing air flow.
Number 6: Understanding the head voice and chest voice.
Number 5: Proper support.
Number 4: Diaphragmatic breathing.
Number 3: The attack or onset.
Number 2: How to train properly.
Number 1: Understanding strain.
These are the 10 main things every singer should understand about their voices to have a long singing career.

2011 Halloween Recital Recap

2011-12-12T15:20:00.000-08:00

Another recital down in the books. About 290 singers, family members and friends attended the October 23, 2011 event at the Honolulu Japanese Cultural Center's Grand Ballroom. Overall, this was one of our better recitals from a technical standpoint as well as audience feedback. The Halloween recital is meant to develop the singer's showmanship skills like dancing, acting and even comedy in a safe environment. Well, safe as an event that charges $45.00 per person can be. There will be expectations. As this has now become our featured recital, that theme seems to resonate well with attendees. We had about 40 performers doing a variety of songs from Japanese to Broadway, the standards to current pop hits. A survey of attendees listed these as their favorites:
1) Janet Hadama singing and praising herself in "Janet's Greatest Hits. LOL
2) The Jersey Boys Medley part 2.
3) Il Divo's "Regresa A Mi"
4) 8 year old McKenzie Kurosu soaring through the air while she sang Tinkerbell's "Gift Of A Friend"
5) 11 year old Tyra Carvalho-Wong belting out Beyonce's "Listen".
And many more.

This was our final Halloween Recital till further notice, but next year we will be having a Christmas Recital in December.

VOCAL TIP OF THE WEEK #11: WHAT IS GOOD TECHNIQUE?

2011-12-11T16:35:00.001-08:00

Myoelastic-aerodynamic balance. Yup. Or so the theory goes. Myoelastic refers to the vocal cords. Aerodynamic refers to the breath pressure. Hmm, let's see if I can simplify more. Even though the worse thing we could be accused of is singing from the throat, in actuality the throat (vocal cords) does all the singing. What good singing is is to get the vocal cords to vibrate as efficiently as possible. When they do (there's two), singing is effortless, kind of like a car that runs smoothly. The way you accomplish this is to minimize the airflow. But you have to maintain the velocity of the air. OMG I can't simplify. How about solving this riddle? Before microphones were used in theater, singers had to be heard from the back of the auditorium. Yet they had to sing pianissimo (softly) at times. The only way you can accomplish this is with high speed air. Like one of my opera teachers told me, you have to work your diaphragm and stomach really hard regardless of the volume level. And she was absolutely right.

What is the 'X-Factor' or 'It-Factor'? (UPDATED WITH MY VIEW)

2011-12-08T19:29:00.001-08:00

My view follows the article.

The following is an answer from wisegeek.com
(http://www.wisegeek.com/what-is-the-it-factor.htm)

In the past the “it factor” might have been defined as someone with je ne sais quoi, or the indefinable something that makes someone special. The “it factor”, was also called the X Factor in some cases, and still may be referred to as such. Most often, it is applied to celebrities or semi-celebrities that seem to radiate charisma and charm.

There is considerable debate about who possesses this unknown variable. Some people look at celebreality stars like Paris Hilton and are certain she has that “it factor”. In some way she draws people to her like a lodestone. The young woman can’t seem to make the smallest movement without a host of paparazzi avidly lapping at her heels.

Others look at Paris Hilton and wonder what the fuss is about. She is assuredly wealthy, and she can wear the finest clothes, make-up and jewelry that money can buy. However, people examine her and fail to see the “it factor”. Determining the “it factor” can be a matter of taste, moral background, viewpoints, and preferences.

The “it factor”, that nebulous prejudice-laced something, can apply not only to celebrities but also to politicians, to people seeking work, or to religious leaders. Mother Theresa eschewed the fashionable world and lived a life of privation to serve others. Her “it factor” had everything to do with the spiritual way in which she lived her life. People would wait for days for audience with her. The same can be said of the exiled Dalai Lama, who again inspires people in a completely non-materialistic way.
When people interview for jobs, a certain confidence can be the “it factor” prospective employers are looking for. Somehow, an interviewee must stand out from the crowd. There are numerous books written on how to apply for, interview for, and land a job. Most of these books focus on appearing strong but flexible, and moreover establishing a personality that will be remembered in a positive way. Many of the recommendations have to do with making the interviewer feel at ease and comfortable. Basic things like nodding one’s head and smiling can establish an “it factor” other job candidates do not possess. However, the “it factor” differs according to cultural traditions. Smiling in many Asian cultures is seen as a sign of embarrassment. Thus an Asian employer might view smiling as the very thing suggesting one does not have the “it factor." Knowing one’s audience is vital. In Rob Reiner’s film An American President, there is an argument central to the concept of “it factor” and image regarding whether President Franklin Delano Roosevelt would have been elected in the TV age. The fact that Roosevelt was in a wheelchair might have stripped him of the “it factor” that made him such a popular president, particularly if he was daily viewed by a television audience. Reiner’s point is that image and “it factor” are crucial to successful politics, though perhaps they are not the best basis for electing people to office. It is often clear that even presidential elections in the US are decided partly on personality as evidenced by polling. Some people felt Al Gore was boring and John Kerry was wooden. President Bush, on the other hand, had the “it factor”, and seemed like a sincere, nice, good guy. Thus, if a politician doesn’t have “it,” he or she must train to get “it.” Unfortunately the “it factor” can get in the way of judging people on who they really are. There is an old saying that one can’t make a silk purse out of a sow’s ear. However, frequently the “it factor” in its most superficial forms is all about transforming the sow’s ear into the silk purse. It is about looks alone, and not about one’s view and contributions to the world. While it may be amusing to watch the parade of “it factor” folks, society also takes intense pleasure in seeing such idols torn down, as evidenced by the massive interest in the decline and fall of celebrities. Thus the “it factor” is both elusive and transient. Those who have it today, may lack it tomorrow. It is usually not an adequate measure of the human, and there is no definable yardstick by which to rule such a factor. MY TAKE: I believe a singer can develop their on-stage charisma to a high degree. But it will be, for some a very painful process. Much of what a person might do naturally may have to be completely stifled. Eye control is essential to develop higher watchability. You must control your eye movement as they are the "windows of the soul". If the audience believes your story telling, they will much more want to watch you and enjoy the experience. And this is only the start, how you stand and move will affect the audience's perception of you. Every move you make must be understood. A strictly choreographed performance will not work if it looks that way. Certain 'goofy' gestures may add charm to the performance. Choice of material, as the above article indicates, will play a big part in the overall effect. And this is hard because the songs you enjoy singing may not necessarily be the best ones for you. One performance stands out in my mind and changed me forever. It was a down-syndrome young man singing and performing his heart out at a serious singing recital. His effect on the audience was amazing. Even though he did not sing well, his enthusiasm was contagious. Though there were outstanding singers that followed him, not one even came close to drawing that type of response. In fact, everything was an emotional, downhill ride after him. From then on, I realized and have taught everyone that performance is at least as important as singing well.

VOCAL TIP OF THE WEEK #10 UPDATED: SINGING IN THE MASQUE

2011-12-05T18:48:00.001-08:00

Singing in the masque (pronounced mosk) is to focus your voice in the upper part of your face (like a mask). I was taught this technique as an opera major back in the 70's. At that time I had no idea what I was doing. After researching the technique with no further improvement, I trashed 'masque' singing as just another 'abstract' technique with no scientific grounding. But now that my diaphragm is working correctly and my throat is relaxed, I see the value in this technique. What you are trying to do is vibrate the front nasal portion of your head while you're singing. When done properly it results in a resonant voice that's easy on the throat. What is actually being trained are your vocal cords. The better your vocal cords are vibrating, the more masque vibrations you'll feel.

WARNING: There is a big danger
with the masque technique! See
the update.

UPDATE: The danger of the masque technique is the tendency to push the voice into the nose while focusing on the frontal vibrations. This would have the opposite effect of what's intended...more air loss and a muddier sound.

VOCAL TIP OF THE WEEK #9: HIGH NOTES

2011-12-02T12:10:00.001-08:00

High notes. OMG. ""I used to be able to sing high..."   "I prefer singing low songs because I can't sing high." What is it with high notes?   This is the number one reason people come to take lessons.   The most common reason people can't sing high as they used to is because they don't sing high notes correctly. They strain when they sing high.
If you're going to train yourself singing, you have to remember only 2 rules:
     1) It's got to sound good. (Duh!)
     2) It's got to feel good.
Most people can tell when they sound good but don't pay attention to it not feeling right.   That's the main reason pro's come in for lessons.   Obviously they sound good but they weren't paying attention to it not feeling right until the strain was too much for the vocal cords. (Remember Adele, Fantasia and Steve Tyler).
So that's it. You have to train your high notes or your going to lose them anyway, but you have to train in a way that feels comfortable.

VOCAL TIP OF THE WEEK #8: WHAT IS 'SLS'?

2011-11-26T11:02:00.000-08:00

I first heard this term when a prospective student called to ask if I taught 'SLS'. I thought it was some new buzz word for a new singing technique. Well, I got the book by it's creator, Seth Riggs, and taught the technique to myself and my students. I have to admit it's a great technique but you just can't beat a full understanding of how your body produces a singing tone correctly. Anyway "SLS" means speech level singing. Speech level singing means to keep your larynx or Adam's Apple in a level position while you're singing. It's easy for men to see what their larynx is doing because it sticks out. It's really hard for women, but if you put your finger about half way up your neck front-center and swallow, you'll feel a small bump that moves upward when you say something. If it does move up, then this is not speech level singing. Why is this so important? You'll notice that the higher the larynx goes, the more discomfort you feel as you sing. You are straining. You can begin your "sls" training simply by keeping your finger there and noticing when it moves up.