Vocal Warmups Before Singing

Take a deep breath, reaching your arms up above your head as you inhale, and lowering your arms out to the sides and down as you exhale.

As I unlocked my jaw from my mouth, nothing came out. The director and the instructor stared at me with open jaws. They weren’t able to take me in because I had lost my voice. I was the quiet 14-year-old, who lost the ability to sing falsetto anymore. My only strength was my baritone voice, but the choir, at the time, did not start a boy choir in their choir yet. I auditioned yet again, but the same result happened; however, this time, they had troubadours for me to start my life in choir: The choir that is called the South Bay Children’s Choir (SBCC)

For example, students were asked to sing a glissando up and down the scale, intone “Ah” for as long as possible, practice diaphragmatic breathing, and other vocal exercises (see Appendix B for an example of directed exercises). Although students were initially reluctant to use their voices, the justification for these activities was that the clinician must demonstrate a procedure or task for the client so that the client understands what is required. If the clinician is tentative in using his or her voice or if the clinician’s model is flawed, the client will also behave tentatively and the output will be equally flawed. Practice produced proficiency so that students were able to provide an efficient model for the voice client. Moreover, students were counseled to learn to love their voices. This was necessary because an informal survey on session one of the class revealed that every student, without exception, did not like the sound of their voice. To be a potential voice specialist, students needed to be unashamed of their voices and to behave as if they were performance artists. This appeared to have a positive effect on their voice use in class and in the clinical settings. Many students reported that they were more comfortable working with voice

Imagine a naive fifteen year old walking into his first voice lesson ever, eager to prove to his teacher that he knows how to sing.

I sang the song through on a lip trill to work on consistent air. I sang it through “like a witch” and this opened by sinuses and raised my back pallet. By singing through the aria with my tongue out as Millan had suggested to Marlee, I noticed a more relaxed tongue. I worked to be conscious of my posture, especially in keeping the head aligned with the body. I practiced the habit of dropping the stomach when I run out of air, and hopefully this improved my breathing. I enjoyed Millan’s experiment in asking three students to turn around and have their backs to Becky as she sang Skeleton Song. She had to convince them to turn around as she was singing (this was the same tactic Millan would later use when working with Rachael, and it produced similar results). It heightened the intensity and emotion, gave Becky an objective, and forced her to reach her voice to the back of the room where they were standing. I worked on aiming my voice to the back of the room during my performance in front of school friends, who were purposefully standing on the opposite end of the orchestra room. I worked on intensifying my emotional investment towards the Countess, as well as connecting with my audience. A few years ago the audience terrified me, but now connecting with them and getting reactions is my favourite part of singing. Logan’s piece Smile was a great example of the performer-audience relationship because Logan’s goal to make the audience smile with

General health of the mind and body contributes to good vocal health, Elimination of irritants such as smoking and air pollution, and correct technique for both singing and speaking are important. Any program teaching good vocal hygiene must begin with ending behaviors of abuse and misuse. Obvious forms of abuse and misuse to erase include excessive hard

With every new choir season I auditioned, and with every audition I failed. Although the reasons for my rejection varied with each attempt, I always had trouble with pitch. As this became a trend into my high school years, I began to doubt my ability. Although I still enjoyed singing in the choir and felt I had a place there, failing the solo auditions over and over again hurt. No matter how hard I worked, my pitch control did not improve, but I was determined to get a solo part. After five years of work and on my tenth audition, I was finally chosen for a part. This reaffirmed for me that if I am determined enough, I can do anything I put my mind

4. Posture. As stated previously, do not slump because that particular posture creates difficulty in supporting your weight (extremely important to remember). Also, apply posture while walking or picking up any objects--use your knees (back

Children who are physically ill have a tendency to feel more psychological distress than those who are not. A decrease in ones physical health can lead to and increased risk of depression, hopelessness, helplessness and anger. Social and relationship issues that are extremely common amongst patients who are ill also cause an increase in these emotions. Disease has the ability to ravage the self and outside relationships. It is especially important during times such as these to remember that ones physical and emotional health is in correlation to one another. Your body reciprocates to the way you feel,

Take a deep breath - stand up straight or sit up straight, breathe deeply starting from way down in you abdomen. - A deep breath supports your tone and range

* Breathe using the diaphragm. The ribs should expand outward, but he shoulders and upper chest should be still.

Stay physically active. It is recommended that you get at least 30 minutes of activity every day.

This study was designed to determine a) how psychosocial factors affected subjective and objective measures of vocal fatigue, b) if and how these outcome measures changed pre-post vocal exertion evaluated through the adapted LingWAVES protocol, and c) if there was an effect of education or employment on some of these variables.

For six years I've been in my school's choir at Buchtel Community Learning Center. That choir has taught me a lot of things; how to blend voices together, how to read music, even how to correctly warm up your voice and the posture when singing. I take these lessons everywhere I go, especially to the music program I was in, STARS. STARS was a music program that was spread all over the country that helped young people showcase their talents and gave them opportunities to learn more about their craft. We had visitors come to show us how to write lyrics, harmonize, and shared their stories on how they came from nothing and did what they truly wanted to do, perform. There were about seven people that were in STARS stationed in Akron and we were

I also lip sing too. Lip sing is singing another person's song and sounding just like them. Some times am sacred to sing in front of people sometimes. I love signing. I world stick around for more talking but we need to get on with the end.