The confusion of differing vocal training methods

I've had a lot of queries about my vocal lessons which start with the question "what method of vocal training do you use?" A fair enough question, but more complicated to answer than you might think.

I teach my trademarked method "Power, Path & Performance". It is a three-pronged approach to training voices that I have developed revolving around breath, open throat and authentic communication of message. I find that when I can help a vocalist maximize their abilities in these three areas, they have all the voice they could ever need, and it almost always surprises them how much voice this is. These three areas are synergistic, meaning if something is wrong in one area, it will affect the other two as well. Thus, if you have a tight throat you are not able to focus on communication and you will have tight breath as well. If you have not taken enough breath you will tighten your ribcage which pushes the vocal cords and the throat tightens against the pressure... well, I think you get the idea. The opposite is also true-- get something right in one area and other areas will benefit.

The teaching points that separate my method from others are: my focus on this synergistic action, and that my emphasis on how authentically you deliver the message ("Performance") is equal to my focus on how you breathe and how open your throat is.

Now, there are all kinds of different issues vocalists bring to these three areas of vocal technique. There are also all kinds of ways to correct the problems, strengthen and coordinate the muscles and relax the counter-productive tension that frees the voice. Here is where the "art" of vocal training comes in. I have to ask myself what this particular student needs help with, and how best can I facilitate that help.

Most of my training ideas come from my years of observation of my own and others' voices and what makes them stronger, safer and more effective in practical application. However, I use concepts from any training method that works. I've studied all kinds of methods and teachers, and have pulled vocal secrets from everything I study. I'm still studying and intend to for the rest of my life. It is my belief that this is true of all other intuitive, responsible and effective vocal coaches.

The teachers whose products I have in my vocal training library include such diverse practitioners as Van Christy, Jeffrey Allen, Jamie Vendera, Billy Purnell, Anne Peckham, Melissa Cross, Jeannie Deva, Robert Lunte, Lisa Popeil, Joanna Casden, Dena Murray, Seth Riggs. The latest discipline I've been fascinated to discover is the body work of Feldenkrais Method and the Alexander Technique. My hat's off to AT practitioner Ethan Kind, with whom I've double-teamed some students. I learned so much from this master.

There are all kinds of methods of training voices. Here's the truth: If there is a singer (or speaker) giving a great vocal performance to a room full of vocal coaches, each coach better see his or her training method in that performance. It's that simple... vocal training must work in practical application, or it's useless!!

Here's my two-part challenge to encourage sharing vocal knowledge:

1. Do you have a particular teacher, vocal training method or vocal training product (book, cd, dvd) that you would recommend for study?
2. Do you know (or are you) a teacher whom you believe could benefit from studying "Power, Path & Performance" vocal training?

Pitch Problems: Tips To Fix Them

Pitch problems can be frustrating... especially subtle ones that are not quite a half-step off. Here are my thoughts on the matter.

I often find pitch issues to be directly related to physical tension. This unnecessary tension can act like someone tugging on the arm of a person playing a fretless instrument. There would be no way to hit the notes perfectly in tune with that kind of outside interference. I've had a lot of fun double-teaming a few of my students with Ethan Kind, who guest-posted on the Alexander Technique previously on this blog.

Another source of inaccurate pitch is physical tightness in your throat channel when you sing. Your throat should open in three directions... up (soft palate and nasal membrane), down (jaw and tongue positions) and back (head balanced, tension-free, on tailbone instead of in front).

Problem-causing physical tension can originate from what I like to call "tense thinking"... psychological anxiety, causing physical guarding, collapsing the "scaffolding" from which the voice works most accurately. Here's where my post on the vocal magic of intention and expectation could help you.

Pitch problems can also stem from wrong vocal technique habits, such as powering your voice from too high in the body. Move your feeling of where power comes from lower... at the pelvic floor... (squeeze your butt for power, not your neck, chest or shoulders) and get taller, lengthening your spine when you sing instead of compressing it and make sure your head is not forward.

An action that can help get pitch right is to make sure you've warmed your voice up throughout your whole range. When the muscles controlling your head and chest voice are equally strong, aiming at pitch becomes much easier. Important: don't just do vocal exercises... find out how to do them CORRECTLY!

Another positive action is to focus your listening to an acoustic instrument in the track or band, instead of swimmy things or low instruments whose overtones tend not to be accurate and will through your pitch off.

To summarize, here are 6 big tips to help increase your pitch accuracy:

1. POSTURE... stand or sit tall and confidently, head balanced on tailbone.
2. WARM UP... your voice correctly throughout your whole range, mixing it.
3. LISTEN ...to the music, especially acoustic instruments such as piano and guitar.
   
4. DON'T LISTEN... to swimmy instruments or bass to get your pitch center.
   
5. AIM ...at the pitch... intend to hit a specific note.
6. CONFIDENCE... expect to hit it!
7. PRACTICE PERFECTLY... don't allow yourself to be content with pitchiness. Practice hitting the note you're aiming for, instead of allowing yourself to sing "pitchy". You'll train your ear to be much more accurate when you practice accuracy.
   

Let me know this works for you... and anything else you'd like to add!
To book a pitch fixing lesson in person or by phone, contact me here.