Friday, May 6, 2016
How To Master Your Speaking And Singing Voice… Scientifically Speaking!
Spending over 32 years running my own professional voice/vocal business, I have been working with (estimated) over 20,000 clients on their speaking and singing voices. Luckily, the mechanics (which are applicable for the speaking and singing voice) are exactly the same.
Both my speech (The Total Communicator Course) and singing course begin with exactly the same speech exercises. Those exercises have a very important purpose, as they are designed to relieve the pressure of the sound from the vocal anatomy as a whole.
The wholesome mechanism takes place to allow the voice to work in the fullest capacity possible with no pain or strain on the vocal anatomy. The voice, restructured to the facial muscles, begins to work in full conjunction and coordination with the abdominal muscles, which play the role of the support for the lifted sound. And the upper diaphragm muscles (rib cage) assure the width and the body of the sound.
When all of the components of that wholesome mechanism begin work simultaneously, the voice then becomes supported, structured, placed and projected to its aimed destination. The speaking voice begins to sound clearly enunciated and projected.
The latter is good preparation for embarking upon the singing voice development. Utilizing the same mechanics as for the speaking voice, now it is the time to address the musical side of it.
In this case, the singer-to-be represents the “Instrument” and the “player” at once. The physical body and its emotional makeup would represent the “instrument”. The proper application of the speaking and singing voice will represent the “player”. If the “instrument” is in good physical and emotional balance, the voice (which will be bouncing off of it) will sound that much better. The future singer should know the parameters of his/her “instrument” to be able to apply the sound above the physical anatomy (an out-of-body experience, so to speak…)
Therefore, needless to say, before attempting to sing any song, the music analysis of the chosen song should be applied. Any song consists of certain combinations of sounds, duration and pitch, (i.e., intervals). During the singing exercises, all possible combinations of sounds, duration and pitch, should be addressed.
With that said, once you are aware of all of the combinations and all of the situations (where those combinations may and will exist), you will become the owner of your voice. (Speaking and Singing).
Diana Yampolsky is the Master Vocal Coach, Studio Vocal Producer, and Non-Surgical Voice Repair Specialist at The Royans Professional Vocal School and The Royans Institute for Non-Surgical Voice Repair, in Toronto, Canada and worldwide. She is the sole creator of the Vocal Science (TM) method - Trademarked with the Government of Canada.
If you find yourself struggling with voice/vocal performance or are in need of non-surgical voice repair, you can reach Diana Yampolsky personally via email (firstname.lastname@example.org) or phone, (416-857-8741)