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Gaining the Edge |
For singers, actors and dancers who want to participate fully in Musical Theatre but aren’t booking the jobs consistently or are getting down to the wire but getting cut near the end due to their singing, the main obstacle seems to center around consistency.
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And this lack of consistency tends to center around two issues: |
- Vocal production, or having a smooth and effortless transition between chest and head voice, or range issues
- A lack of presentational skills, which usually includes poor choice of material and/or not communicating a song interpretation in a way that is truthfully unique and fun to do
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Vocal Technique |
| WHAT WE WORK ON |
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VOCAL TECHNIQUE |
Allowing the air to start first so that the voice is activated with the released air.
This immediately eliminates any struggle and/or tension in the throat, using a simple physics principle called “The Bernoulli Effect”. This is the main thing I showed Norbert Leo Butz when he was doing RENT on Broadway that expanded his range and kept him from losing his voice. |
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Daily breathing and individualized vocal exercises |
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KEEPING THE LAYRYNX DOWN
Because the primary function of the vocal apparatus is not phonation but rather to open (for breathing) and to close (for swallowing and keeping out foreign objects), the vocal apparatus will automatically lift and try to constrict when we make the physical transition from chest voice (where the vocal folds are elongating like rubber bands) to head voice (where the vocal folds partially close).
However, when trained to stay down while making this transition, the vocal apparatus can fully function through this transition with ease. |
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We start by simply rounding the lips, which lowers the larynx.
Then, as we breathe in, we solidify that lowered position by gently initiating the beginning of a yawn and finally, to maintain this position while doing vocal exercises and singing, we use an umlaut articulator position. |
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ACCESSING THE UPPER EDGE OF THE VOCAL FOLDS
Our vocal folds are like a pair of lips in that they function as the embouchure of our instrument. And just like a trumpet player, the most effective and efficient use of the vocal folds (lips) occurs when we maintain the use of that upper edge at all times.
This is the main thing I worked on with Sherie Rene Scott to get a hot full-bodied sound up to F’s as she prepared to take over the part of Maureen in RENT and why Norbert Leo Butz called me to find out why (when every one else was running into vocal problems) Sherie was getting stronger with each performance. |
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While maintaining the larynx in this down non-constrictive position we add a slight “cry” to the sound.
Oren Brown, a renowned singing instructor at Julliard once said, “All great singers have a “cry” in their voice”. And when we use this “cry” (upper edge of the vocal folds) it gives efficiency and allows for clarity, timbre (quality) and projection.
In other words, it creates a clear-ringing effortless sound coming from the body, commonly referred to as “singer’s formant”. |
PRESENTATIONAL SKILLS |
Watch these videos of my students demonstrating a song interpretation in a way that is truthfully unique and fun to do. |
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For a FREE 30 minute assessment and for private sessions, email Ron.
A 2-CD practice set is also available for $29.95 plus shipping and handling. |
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