f f i 4 F h t

I

Foreword

wide diversity of singing styles that exists in the world today demands a singing technique-a way of using your voice-that can be applied in the performance of all those styles. If a singing technique can't be applied to eaerystyle of singing, something is wrong with that technique. That's the premise we began with when Alfred Publishing Company's editors I discussedthe development of a totally new kind of book about singinS. We and wanted to do something that had never been done before-publish a book that actually taught people how to sing. But where would we find the author? There was only one PersonI knew of who could fill such a tall order-Seth Riggs, consideredby many to be the best and most successfulvoice teacherin the United States. He is certainly the busiest. No other teacher,past or present,has ever matched his phenomenal track record. His "Who's Who" of singers,actors,dancers,and entertainers students are a veritable throughout the world.* When you first meet Seth Riggs, you are overwhelmed by his dynamic personality, his flair for the outspoken, but most of all, his senseof purpose-his "mission" to clean up the messbeing made of singers' voices by voice teachersin schools,colleges,and private studios everywhere. The day I met with Seth about the possibility of putting his method in writing "Impossible,more people could benefit from his work, his initial reaction was, so you can't learn to sing from a book!" Well, I could understand his point of view. it's When Seth Riggs teaches, strictly on a one-to-onebasis. He quickly diagnosesa to singers'svocal problems and then prescribesspecific exercises correct those one not easily adapted to the printed page. problems. It's a very individual Process, But we decidedto give it a try. Ithad to be done. I proceededto do my researchand to observehim closely over a period of severalmonths, trying to find a general or systematicapproach to something that, there was no question about it, was working miracles! The first time I sat in on a lesson,I thought I had gone to singers'heaven! Seth had his students doing incredible things with their voices-things you would have thought only those with a great natural gift could do. In the weeks that followed, "star" clientele he has most of the students I observedweren't even part of the like stars. becomeso famous for. But they sounded Like so many others,thesesingers-young and old-had struggled un"voice teachers"to increasetheir range and for successfully years with other * SeeAppendix for a listing of his clienteleon pg. 138.

rT '-lhe

vii

S/NG/NG FOR THE STARS

improve their tone quality. with Seth Riggs,however, the resultswere very different, and achievedin a very short time. You see,the Riggsmethod is application.Although he likes his studentsto understand basicprinciples the underlyinghis method, he feelsthat just telling you how your voice *orit doesnothing to help you sing. You have to know how to get it to workt Well, finally the "impossible"had beenaccomplished. The manuscript was complete,as well as an audio tape that actually demonstrates how to do the exercises usedin the training program. Yet, somethingwasn't right. oh, it was all there-the theory, the exercises, the facts. But that special all quality of the man you experience betweenthe actual momentsof instruction-his charisma,if you like-was missing. To remedythis, we includeda sectionentitled "The Author Speaks out," in which seth talks more informally about his method and responds very frankly (that is his way) to the controversialissues surroundingthe teachingof singing in this country and abroad. I am confidentthat readers this book will appreciate of and utilize its direct, no-nonsense approachto developinga workable vocal technique-to begin Singing For The Stars.

The Editor

vl|l

Preface

"Open "Place your throatl" the tone fonn'ardl" Oi.,g from your diaphragml" "Give "Keep your it more supportl" Sound familiar? tongue downl" The language of voice teachers and choir directors abounds in such confusing and dangerous clichds. Every day, singers who never question "wisdom" of their teachers manipulate and strain their voices until one the "burned out." day they discover their voices are What most teachers never seem to understand is that you don't need to think about twenty different things every time you open your mouth. And you don't need to study singing for more than a few weeks before you begin to experiencepositive results. It doesn't matter whether you sing pop, rock, opera, or musical theatre. You should sing with a technique that allows you to just relax and concentrateon performing-which is what it's really all about, anywayright? This author has worked successfullywith hundreds of singers, actors, and dancers-top professionals-in all areas of musical performance and entertainment. And although some may not sing as well as others, all have achieved the ability to always sound confident and natural when they sing. Their secret is a technique called speech-leuelsinging, which allows you to sing with the same comfortable, easily produced voice you use, or should use, when you speak. No matter if you sing high or low, loud or soft, nothing feels different in your throat or mouth. Your tone and the words you sing always feel natural to you, and sound natural to your audience. With this book and the accompanying cassettetapes, you can now learn the same singing technique the pros use-one that will let you sing with a strong, clear, and flexible voice over a range that you never dreamed possible. But it does take patience and the ability to follow instructions carefully. Good luckl I wish you all the successin the world.

Jn,btx

Contents

Foreword Preface ix

vii

About theAuthorIntroduction How To Use This Book11

Basr, Principles 13How Your VoiceWorks:The Creationof VocalTone 13 V o c a lC o r dV i b r a t i o n W h e r eY o u r V o i c eB e g i n s 1 4 B r e a t hS u p p o r t 1 6 VocalCord Adjustment 23 R e s o n a n c e W h y Y o u r V o i c el s U n i q u e 2 5 Physical Sensations 26 W h a tT o R e m e m b e r 2 7 o H o w Y o u r V o i c eW o r k sB e s t :T h e N a t u r a T e c h n i o u e f l S p e e c h - l e y e li n g i n g 2 8 S Your Speech-level A Foundation Vocal Freedom 29 For S p e e c h - l e v e li n g i n g F e e l i n g n d S o u n d i n g a t u r a l 32 S a N L Singing ow Notes 32 H S i n g i n g i g hN o t e s 3 2 The Passage Areas of Your Range 33 t T A Singing hroughhe Passage reas 33 V o c a lC o r dT h i n n i n g 3 5 VocalCord Shortening 35 What to Remember 35 How To Get Your VoiceTo Work For You: The TrainingProcess 36 Developing Coordination-TheFirstStep 36 B u i l d i n g t r e n g t h - A l l i n G o o dT i m e 3 7 S What To Remember 37

xi

d*ttl ffis

conftdence40 44 46 48 52 54 58 60 62 64 66 70 72

1 Exercise Exercise 2 Exercise 3 Exercise 4 Exercise 5 Exercise 6 7 Exercise Exercise 8 Exercise 9 E xe rcise 10 E xe rcise 11 12 E xe rcise 13 E xe rcise

Singing Qart:/ Toward Speech-Level14 E xe rcise 15 E xe rcise E xe rcise 16 17 E xe rcise 18 E xe rcise E xe rcise 19 Exercise 20 Exercise 21 Exercise 22 Exercise 23 Exercise 24 Exercise 25 Exercise 26 76 78 80 82 84 86 88 90 92 94 96 98 100

75

xll

tuuJ TechniqueMaintenanceE xe rci se7 2 E xe rci se8 2 E xe rci se9 2 E xe rci se0 3 1 04 1 06 1 08 110

103

TheAuthor SpeaksOut

113

G e n e r aQ u e s t i o n s 1 1 3 l C l a s s i f y i nV o i c e s 11 3 g R a n g eE x t e n s i o n 1 1 4 T o n eD e v e l o p m e n t 1 1 6 U s i n gM i c r o p h o n e s 1 1 7 i S i n g i n g n D i f f e r e nS t y l e s 1 1 7 t Singing utdoors 118 O Choosing Teacher 118 a E x p l o i t i nS t u d e n V o i c e s 1 1 9 g t V o i c eS c i e n c e 1 1 9 Performers Teachers 121 as i Singingn Choir 121 Choir Directorsas VoiceTeachers 123 P o p u l a r u s i ca n d T r a d i t i o n a l e a c h i n g 1 2 3 M T Selecting usic 124 M i Singingn Foreign anguages 125 L Practicing 126 i S i n g i n gn R e h e a r s a l s 1 2 8 VoiceCompetitions 129 The YoungVoice 129 T h e A g i n gV o i c e 1 3 1

xill

Hmlth and Carcof theSingefs Voire

132

YourPosture 133 BadHabits 134 Alcohol Drugs 134 and Using Smoking 135 Before Eating Singing 135 YourCords 135 Shocking Volume 135 UsingExcessive OtherFactors 136 lmitation OtherSingers 136 of 136 ThatDon'tWork Remedies 137 VocalRest Unnecessary and Fatigue 137 Emotional Stress Hormones 137 YourEnvironment 137

Appendix Glossary

138 142149

Tapeand Compact DiscIndcx Cassette

xiv

Aboat theAuthor

.Ir, ,t " middle of his concert at the famous Forum in Los Angeles, superstar Stevie Wonder stopped the show to acknowledge, in front of thousands of fans, a man who has had much to do with the successand longevity of his vocal career. He wasn't referring to his manager or record producer. He was referring to Seth Riggs-his voice teacher. And, this isn't just an isolated case. Grateful stars often give credit to this man whose unconventional methods allow them to use the main vehicle for their talent-their voice-to its maximum degree of efficiency and effectiveness. Whether he has to go on location to a movie set, a concert date, or a recording studio to help a Natalie Cole, a Jeremy Irons, or a Michael JacksorySeth Riggs has helped many a star-and nervous producer---out of a jam. Recently he gave Waylon fennings a voice lessonby telephone. The country singer was in Tahoeto open a show with his wife JessieColter and his voice was ailing. It was Jennings' first contact with Riggs. However, Riggs was able to get the singer's voice in shape quickly with just a few special exercises. Seth Riggs's vocal technique and the methods he uses to teach the technique were forged and tempered by the fierce demands placed on the world's top performers, who must often perform several shows a night-night after night! A great deal of money is always at stake, so his clients' voices must be able to function easily,without strain. It is no wonder that whenever singers come to Los Angeles from other parts of the world, producers, directors and fellow performers send them to seehis master vocal technician. Seth began his careerat the age of nine as a boy-soprano singing music of Bach and Handel at the Washington National Cathedral in Washingtory D.C. His later training, however, reached into all areasof the performing arts. He studied acting with Lee Strasberg,Sandy Meisner, Bobby Lewis, and Frank Silvera and dancing with Peter Gennaro, Matt Mattox, and Luigi. He studied voice with John Charles Thomas, Robert Weede,Tito Schipa, and Keith Davis, and did repertoire coaching with Pierre Bemac, Matial Singhea Leo Thubman, Charles Wadsworth, fohn Brownlee, Hans Heintz, and Louis Graveure. He joined his first professional union, Actor's Equity, two years before completing his undergraduate degree. After that, he becamea member of all the performing unions: AFTRA, SAG, AGVA, AGMA, as well as ACRA (the Association of Canadian Radio Artists).

1

FORTHESTAHS S/NG/NG

on He spent ten years in New York City' For three years he performed New York City Opera' Broadway, and for six seasonshe was a guest artist with the that his greatest Yet, in the midst of pursuing his own singing career,he discovered with him, singers talent lay in his ability to help others. After taking a few lessons and consistently than they could were able to use their voices^*or" "g'nfitely usinganyconventionalapproach.Tnrsencouragedhimtotaketeachingmore seriously. so wellrarty in his new career/seth's successwith his students became to study wiih him. He tried to convince known that many singers left their teachers success. other teache* oith" merits of his teaching method, but without were frowned on by Nonconventional methods, no matter how well they worked, Associationof the teachingesiablishment. He was kicked out of the National he taught' Rejectedby Teachersof singing and lost positions at the collegeswhere he has establishedthe the establishment, Riggs heaied west to Los Angeles, where most versatile school of vocal technique of our time' and music with $330in his pocket, and.a rented truck carrying his motorcycle Ann-Margret (sent to scores,he arrived ln l.e. His first show business client was "belting" too hard-while singing and dancing in him by Allan carr), who had been St{ley iut V"gut. Next, Bob Fosseand Gwen Verdon hired him to prepare also retained in New York by voice for the movie SweetCharity. He was Maclalne's and Hal Prince to Richard Rogers,Alan Jay Lerner, Jules styne, David Merrick results grew, so did teach their irincipal ,ir,!"rr. And, as his reputation for getting to recommend a his list of star clientele. br"gory Peck once asked Frank Sinatra sent him to seeseth Riggs' Mr' good voice teacher for his son Anthony-sinatra Geoffrey to study with sinatra also suggestedto Roger Moore that he send his son voice teacher' Seth. Mr. Rlggi is considered the entertainment world's top known for the stage,screen,recording, and But, altlh'oughSeth Riggs is best have won over a half of a television p"rroriuliti"s he il"orks with, his other students over the last ten million dollars in prizes, grants, scholarships,and fellowships Winners, Chicago's years. These u*urd, inclide four NationaiMetropolitan Opera Awards, Young Musicians wcN, Rockefeller Foundation Grants, the Frank sinatra National opera Award, and Foundation Awards, salzburg Mozart Festival Award, have successful to Fulbright and Rotary Scholar:ships Europe' Se1tr1opera -pupils Staatsoper, La careerJsinging in lf4unich, Hamturg, Frankfurt, Saltzberg,Vienna, Europe' Scala,CovJntbarden and other mafor opera houses throughout two international voice technique In the summer of 1982,Mr. Riggs replaced where he was in charge of teachersat the Banff Centre near Lake Lolise in Canada, Government' He was also vocal technique for 33 opera singers for the canadian His diversity of studentsasked to work with 20 yon"s uJott from stratford' singersofpop,oPera,andmusicaltheater,aswellasactorsanddancershis technique' con"stantlyr"uffir*r the universality and practicality of of He draws over 1000new voice students Per year without advertising' mixture of musical theatre and pop these,40 percent are opera, and 60 percent a I to a 75-seatrecital hall students. He teachesirom his privite studio, which converts with a 20-foot stage.

2

ABOUTTHEAUTHOR

He lecturesand conductsMaster Classes vocal techniqueat collegesand on universities throughout the United Statesand Canada. He also has assistedsome of the country's foremost doctors who specializein organic and functional disorders of the voice in vocal therapy (the elimination of vocal nodules,polyps, and various conditions of fibrosis). Consider a man who believeshis best credits include being kicked out of a national singing association and severalcollegemusic facultiesfor encouraging pop and musical theatreteachingon an equal footing with opera,and you have seth Riggs. In the pragmatic world of show business, where time is money,seth Riggs,whose studentshave won 90 Grammy awards,is the man professionals turn to for results. Seth Riggs

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Kathleen Riggs

EaelynHalus Associateocal V Instructor LosAngeles lohn Fluker Gospel StyleInstructor LosAngeles WendyWarshaw Associate Vocal Instructor LosAngeles

3

Introduction

hat do Michael Jacksonand Bernadette Petershave in common? They, and many other music professionals and celebrities the entertainment in field, have endorsedthe author'smethod of vocal training as a key to their vocal success. Here. thesecelebrities how this method helned tell them use their voicesmost effectivelyand survive the vocal stresses live perforof mancesand long recordingsessions.

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SING/NG FOR THE SIAFS

nyittg rlor.utr ttocnltrncksbt'ttt,t,r,rl A.M. 12 orrc day tutd4 A.M. thc rttxt, crutkill vour uoice. Sinct beginnittguocal strLdrl ruith Seth Rrrggs,trcter lose ability to sirtgnt nt:lrly any I mq luxrr. I'ttr a ytinnist, sttd uheu it cotncs sittgittu, to I't't olrm.rls l,rt:rr ct'lrncnSnrrl. Ncrrc tlnl I'uL' Ie srnednbout taking high pitthes irt n cttnnecttti "lrcud" "chest" cottrLiiuntion,l don't lnue to prill ttoicclikt l hsuein the 1tast.lt's n ottcsltlirectittrt I'zteneeded, bcciltseit lttLys longcr sttstttirtittg n Irnlllr for rrrrt ,'oicc. lnmes Ingranr Rc ording Arti st, Shryer c l.,.rs 11l11t'1t'.

t t ; t n I L ' r r / r ' l l r ' r { .tl1 l t Ltll t i p r 'i1tt t t u s l n , q t t t i r t ' r r t r r l i ut,'? r r n i s1 t t : , , 1,1, q c t t . v s t l ift tl r o t t l , l t / r t l i r r q r r r i r i , ! i l t t r . l t n , l Ittttrnttcltnntl ltelting too,hard. Sethtnught me t0 u-ctt lrcnrluoiccftr tnkc tlrcstmitt orL,rttl ptiling irrl my t't'om ' "up." [tottttrtt rtul?e I can stry ft'eshr nou,,tt,ithltetter qualityand more corrtrol,ruithin singlip|rfarrnrury a i, , it i | i i l g r r/ , r i i ,c r l , t n , ( { ' r n cottlr r . q lt L ' l i n tH o l m e s Sirtqer I-r.s ,4rrfr'/t's

xer lhe years,l ltauestudid on aud ot'futith -ooice tenclrcrs the in LLS.and Europt. Llmlttrto CsticLt, engineer, riy hnrlspoke to rne n tthoutScthRry.gs, ttegnrr luL)rkrLtith I to lfun. For tltc first time in rnq aocal " Iift , I Lliscttttered countctat{ my headt)oice." I hegttn sirrq lt'rror,lriq/l Cs lo q!1lttt. The neutpower,rcnge md confrol zLlas (t.zitlg.Thnnky ou, ttttd fiftr 5 i l l t .f t t r. U t r t ! ri i i r l a i l c e r rH o m b r e S o l o . n o lulio lgtesias .(inlrr ltl,t,lritl

6

INTHODUCTION

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I 14 old. to withSeth when was years began study and alt octaues suened the"breaks'" roday,y;;:';::;:i,3r',,1t

of Recently hadthepleasure playingthe title rolein a BBC I d singing. of lactiinilmeMikado and thnt the rol.e Tnyo in Fiddler. roles, breaking-into-singing but he explains these notexactly are that a haue aocal In mmtion until theyhadbeen it completed. anycase,I 't'or knowledge of about a decent now,whichwasbrought by singing aoice works singing.I thankSethRiggs thistraining t'or for

S/NG/NG FOR THE SIAFS

hen I write s song,I needa uocalrangettnd corrtrol

teatingsr:!;',:!,it'-;i:iH:::h7:,'L:i::'***'Sofar, there lnue been uocal no limitations mein my for work. Withlhispnrtinilarapproach singing, canadapt to I my aoice sirrg to God's praises a Gospel in style, singa romantic

I;:H;;ri::i;';iif xltfX;!o:f;::::,::;:'urn(candAandDeniece Williams

?::ii:;:i,:''"'Ircnhebelieues your uocal in abilityheis relentless in making sureyou neucr back awayfromyourt'ull potmtial-instilling cont'idence truc giftof a great is lhe teacher. Becsuse SethRiggs, meeting uocal of I'm any challenge euer I'ue wartted to-relaxcdandhauing much so fun.

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henthe" tracks" hot,sweetening arc and balance to consider, release still and dates pending, thcre precious is little timeto accommodatesrtist's an uocal indisposition.has lt been experience myriad my that problems as such

knowing, practical aocal technique. SethRiggs has an uncsnny abilityto prepare uocalists thatthere so is little timelostto theusual uocal problems. His assistance duringtheMichaelJackson World 1988 TourhaskeptMichael tunedup like Ferrari. a QuincyJones

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\-..17inging iazz means a great many syncopated rhythms and a uide range of pitches. Ozserthe years I'd pirUia up some bai oocal habits u:hich began to cause uocal strain and fatigue. ln other words, I'd "trash" my ooice. By helping me take pressureoff mV chest range and getting into my head to begun Seth Riggscontributed a relaxation and, ultimately, a better longeuity for my caleer. coordination, Al Jarreau Recording Artist, Singer Los Angeles "utobble" eth was my 74th poice teacher.I came to him uith a minor third. and neuer singing aboue a high F. After a couple months, I was taell into my that I go into the Metropolitan Opera auditions. head uoice, and Seth suggested (Actuallv, he bet me $700 I could utin it.) I uas a pop singer and hadn't sung in In foreignlanRuag,es. fiue more months (seuenin aII), I uent into the'72 'Metipolitin iuditions. I came in second in the N.Y. finals, the only male finalist 2,000 applicants.)I sang operain Belgium, France,Germany. that Vear. (There u.tere seueral years. I enioyed singing opera, the big sounds, exItaly and lreland for tended ranles and precisecontrol, but I returned to my first loue-musical theatre. Seth is an old time BeI Canto feacher,perhaps the first to extend Bel Canto into pop and musical comedy styles. I knou his uocal approach works. Thomas McKinney Baritone New York City who haue been National P.S. There hatre been three more of your studenfs Metropolitan winners sincemy uitt in 1972. They are all singing in maior housesin Europe.

s a ilntfoft.r., tlou usttnlly lmuenrt idenof ttou, you d Itkey(tttrtnusi( strng.I like lltt, . sntSC.r cotntnunicalc textu,ithss bcntrtiftrl to lhe a t,ocnl sortndas possibfu.Hou,cuer, t ocat if p,roble grt in tlrc wn.ry, tt'fcctit,tnest bc ms tlrc can d$troyL,don tnany leuals. !,uenlwnqsttriovrd Sallr Riggs's.singers, becttuse they singeierrly'iri tnntry kt'ysiuith ptttwer arrdcontroi. Ttir., I trit,c thc "preserrce,, freedomto t'ind the best t'or tlte text, the aoice, aild the chnrt. Msrain Hamlisch Cornposer, Pianist NezuYork Cittl

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'ke all y.oung singers,I wantto get uoict'togtthcr my tt,itltrts mtrch strength, qualityandcontral I catr.It scents tnethnttlrcre ns to is alwcysso:ne,neru neu sound newdirectiort poTuilttr style, or in nrusic. like I'd to bcrearlq rchntcut'r hnppers. workirrg tpirhsrtltis itritdir4q uocnr a for caordination whichprepares to meetall thtsechnllengt:s. me

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netter.3tutg bet'orc, ttoice aslazu s bass, netter uty is as ['d tried "higtrcr ranges."I bagan t'ilnt whtret\rc scriytt a calleti trrycharacter siir.g. on io , I figured thevruoultl probchly my uoice.ThestuLlio meto stilr. Nit dub sent ortly IuittLlt4tsiri{ur{' 07r1 dil ffiy sottqs,btrl alnrt,s! n song we tlid front Leonnrd Bernsfuiris Mass.I knozu haztr gtt fromntydeep nou, to rmtge the into highutithnochunge quality In skort, not neru(n$ in , I'tn aboti singingtltrytw)re,

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Whoopi Goldberg Come,lintt, Actrcsi LosAngeles

]tttr yL'nrs tu(nt,'dt'ri r,oict'conchnssist o.qo 0 lo Sltirlcrl MncLnitre gttlrcruocnl to cltops slnptt ttta sweetcharity. BohFossi Grcrtt irr nrrd ve'rl,rott for filur rccommcrrdnl RiggsfrrtlrcTtrpjy;1. Srl/r Wrlr I nrriued LosAngtlcs ssllfieuocal itt lo ktlls Shirlcy, dccidd fhntshautns to use I shle n*icJteaer sttited ailian of thechar{lcier key for tlrc in thescene. Thatnernt she cotid singin seuercl Llit'ferent I nlwnys keys. nppreciated the qunlitytcorkthaf SltirltvntrtlSctltpttl itrtul,rop,trti'prrcltrrri,rruoicalr,t Ctnrity tl'rcroltof Cy Coleman Crrnrpost'r, Pimrist Nrw York Citrl

How To UseThisBook

C(lnlike the starswhoseendorsements appearat the front of this book, youmay not be able to arrange for a personal lesson with the author. But this book and accompanying tapes can be the next best thing to it. Here are some guidelines and suggestionsto help you get the most out of this training program. 1. Is this book meant only for those studying a certain kind of music, such as classical music or popular music? No. This book teachesa vocal technique based on speech-levelsinging. Speech-level singing is a way of using your voice that allows you to sing freely and clearly anywhere in your range, with all your words clearly understood. Since you are not learning what to sing but rather how to sing, you can apply this technique to any type of music. 2. Can anyone learn this technique?, or do you need prior singing experience or musical training? This book has been designed to be used by singers at any level-from ner to advanced. 3. Can I study this book without a teacher? Yes. You can study either with or without a teacher. You can probably progress more easily and faster if you can find a teacher familiar with this method of teaching to guide you. Otherwise, you should be able to study successfully on your own by following the instructions in this book and on the accompanying cassettetapes. But you should pay special attention to the precautions advised. 4. What are the precautions advised in learning this technique? As valuable as the exercisesin this book are for training your voice, any exercise can be overworked or misused to where it will do you more harm than good. You don't develop your voice by pushing it to its limit. You develop it by gradually conditioning it to work efficiently with a balanced coordination. When doing the exercises,please follow along with the material in the book and the accompanying tapes as my students and I demonstrate how each of begin-

11

S/NG/NGFOR THESTAFS

the exercises shouldbe done. It is important that you do eachexercise correctlybeforeyou proceedto the next. 5. Do I need to study the "Basic Principles" before starting the practical exercises? That's really up to you. If you are working with a teacher,you should follow your teacher's recommendations. However, if you are working on your own, the "BasicPrinciples"sectionwill help you better understand how your voice works and how this method of voice training works. You will then be able to progressmore quickly. Don't worry about memorizingevery detail. When you feel you understand As the material,go on to the exercises. you do the exercises, you find an if instruction unclear or have difficulty carrying it out, go back and study more closelythe text or illustration that applies.A glossaryhas beenprovided at the end of the book to make it easierto locatedefinitionsof unfamiliar words. 5. Are there any guidelinesfor doing the practical exercises? Theseare suppliedon the tapesand in the accompanying text. If you have personalquestions about your training or career,or how to take the best care of your voice, you may find some answersin the two sections "Health at the end of the book-"The Author Speaks Out" and and Care of the Singer's Voice."

first metSethin thelate40safter WorldWar lI, whenI wastrying to learnto singat thePeabody in Maryland,and Conseraatory Baltimore, studying undertheGI bill. "passagio" I neaer the got right. I hada gooduoice gettingthroughthe but "bridge" consistently always problem. was a In my late60s,afteryears frustration,I traaeled LosAngeles ot' to and began studywith Seth.My passaggi noTtr to are intactand,at 72years age, of my aoice assteady a rockthroughout range is as my bass-baritone E low from to thetenorhighA. In my confusion, majorcareer neaer a was aaailable to flat me,but I'aeaccomplished lit'e' dream, is,to learnto singeasily my s that , confidently consistently and throughout operatic my repetoire. Thank yor.r, Seth. Gaspari Vecchione Bqltimore,MD

12

BasicPrinciples

Before you begin your training program, we should first go over somebasic principlesabout how your voice works, how it works best, and then finally, how you will get it to work for you.

How Your Voice Works: The Creation of Vocal ToneThere are two factors involved in making vocal tone-aocal and resonance. cord uibration

1. Vocal cord vibration Theair you exhale from your lungs workswith your vocalcords to create initial an tone. 2. Resonance That tone is then modifiedand as it

Vocalcords

travels through the spaces above your vocal cordsbefore your Ieaving

Exhaled air

Let's examinethesefactors more closelv.

13

S/NG/NG FOR THE STARS

Vocal cord vibrationwhere your voice begins

Locatedat the top of your windpipe (trachea-pronouncedtr6y-key-uh) is a group of cartilages, ligaments,and muscles that functionsas a single unit. This unit known commonly as your voicebox,is your larynx (pronounced las in cat] -rinks). Insideyour larynx, attachedfrom front to 16 back, are the main muscles your larynx-your vocal cords. of

The location of your vocal cords

Larynx Topview

Vocalcords (open for breathing)

Trachea (windpipe)

Esophagus (passageway to yourstomach) Epiglottis

Vocalcords (inside larynx)Trachea (windpipe-

passageway to yourlungs)

LarynxSide view

Larynx Front view

14

8AS/C PRINCIPLES

If your vocal cords are closed (or almost closed) at the same time you exhale, air'pressure builds up below them.

cordsclosedvEw

Vocal Cords Trachea

When the air pressurebecomestoo great for your vocal cords to hold back, the cords are blown apart. The suddenreleaseof air pushesthe air moleculesabove your cords together and.oututard, creatinga wave of compressed molecules-a sound u)alJe. air cordsopen Waveof compressed air

Once the air pressureis released,your vocal cords spring back to their closed(or almost closed)position.

15

lr

S/NG/NGFOR THESTAFS

As your vocal cords come back together again and again, they are of blown apart again and again-creating a series sound u)Aoes'which is This processis called ztibration. picked up by the listener'sear.

But, now let's examinevocal cord vibration as it relatesto the more d"tn".di^s.eq.rit"-et tt of ln" singer'svoice. To do this, we must consider breathsu/poi and pocal cord adiustment. Breath support Normally, your respiratory system-which you use to send air to your v effort. Its primary .ordr-opetates automatically,without any'conscious function'is to supply your body with the life substance,oxygen, and eliminate the waste product, carbon dioxide. Inhalation beginswhen too much carbon dioxide builds up inside body.

16

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to or 21ftrlecrs had tlrcgrcnt oprportunity l plny the lettLl rolc iruEvita nt the Aktin u T l t , n ! l t t t B r a n L l t L , nF r.i l a i : t t t t tt l t l u ' t t r o s t t l t : r t n t r l i ttr,ta c n r o l t si r r n r , ' l c r t tr r t r r s i t '!otlt n l t r . l l Thueis itospokantlialLtgrrc tlrcrcore 2'f ' lttnts htt "bclted ofhnrtlsinging;incltttling high n middle," 'hl,tck,qos;,r'l" I : r l t i t l r i d t . l t i g l r t t l on t i ittutrrl. l i; ztoice *citiniq,but yttttt"ould nunihilttte unlcss ryour grnre rte youkttoiuztlmt tioil re doirrg. SetltRrggs t h tl , ' t l t n i q t rn r r dy t r c o r t n l t i l i l v t o . q r r i Jttt t v s c l I r t grwrd cgninstztttctrl tocnlhl Ltrtd nbuse and t'atigue. Duin Alltty 4 ,/ ; . ' s - , 5 i r r { , ' r ' \ r ' t t 'Y r r r k i i t T C

r.;

\

S/NG/NG FOR THE SIABS

lnhalation:Normal 1. Signal Your brain signals your breathing musclesthat your body needsoxygen. 2. Action Your diaphragm -your main breathing muscle -descends (flattens), enlarging your chestcavity at the bottom, while your rib muscles lift your ribcage, enlarging your chest cavity at the sides.This crebtesa vacuum inside your chestcavity. 3. Result Air fills your lungs, as the outsideair rushesin to fill the vacuum.

Brain

Signal from brain

Exhalationbeginsas soon as inhalation has taken place.

18

8AS/C PRINCIPLES

Exhalation: Normal 1.Signal Yourbrain signals yourbreathing muscles your that bodyneedsto get ridof carbon dioxide. 2. Action Yourdiaphragm and muscles rib relax. The diaphragm returns to itsup positionand yourribcagecomes down. This allows yourlungs to shrink back. 3. Result Air is squeezed out ofyour lungs.

Brain

Signal from brain

I -l

J

In singing and speaking, however, you can regulate inhalation, as long as it doesn't interfere with your body's requirements for life support.

19

FORTHESIABS S/NG/NG

lnhalatlon:Slnging 1. Signal Your brain signals your breathing musclesthat you need a suPPlYof air to make sound. 2. Action Sameas normal inhalation, except you regulafehow much air you need and at what rate you will take it ih. Be sure your chest "comfortremains ably high" (see p.132) and that your abdominal (stomach)muscles are relaxed to let your diaphragm descendeasilY, without any resistance. 3. Result Air fills your lungs.

vrG5tbe Chestshould "comfortablyhigh'l

RibMuscles i

qiu"g*-l

You can also regulate exhalation.

20

BAS/CPRINCIPLES

Exhalation: Singing 1. Singing Yourbrain signals yourbreathing that you muscles need send air to to yourvocal cords. 2. Action Not the same as normal exhalation. To be able to regulate the amount air you of send your vocal to you must be cords, able control to yourrate of exhalation,Your rib muscles, therefore, continue keep to yourribcage (thus yourlungs) expanded, while your muscles abdominal take over control. Yourabdominal push your muscles (in diaphragm a of state flexible tension) steadily up andslowly against yourlungs. 3. Result Air is releasedto yourvocal cords as needed.

BrainAir

Signal from brain

ryil

Rib MusclesIDiaphragm

-J

21

Balanceeguars Support

Breathingfor singing is a very relaxed process.When we say you can regulateit, we only mean you allout it to happenso that inhalation and exhalation are done in a way that best suitsyour musicalneeds.You do not have to uork at breathingcorrectly, unlessyou have poor postureor a and take shallow breaths.Nor do tendencyto raiseyour chestand shoulders your breathingmuscles. you needto do any specialexercises strengthen to (pronounced rib muscles, and abdominal die-uh-fram), Your diaphragm muscles already strong enoughfor your needsas a singer. are If you maintain good posturewhen you sing, and are carefulnot to let your chest "collapse" as you exhale,your diaphragm is able to move freely and be regulatedby your abdominal musclesautomatically. There is no need to consciouslyexert tension in those muscles.If you try to directly control your breathing muscleswhen you sing, the extra tension in your body will your vocal cords to overtense-to jam up. only cause V'ery little air is required to produce a good tone. Even for a loud tone, the amount of air you use need only be enough to support the vibration of your vocal cords-no more, no less-so that your tone is produced without any effort or strain. Justas trying to control your breathingmuscles directly will causeyour vocal cords to jam up, so will using too much air. when you sing, your cords are instinctivelycommittedto That's because, holding back (or at leasttrying to hold back) any amount of air you send their way. And, the more air you sendthem, the tighter your cords have to get to hold it back. You know you have proper breath support when there is a balance coordinabetweenair and muscle.There will be a mutual and simultaneous tion of the proper amount of air with the proper adjustmentof your vocal cords. Imbalance equals Effort and Stlain Air

22

8AS/C PRINCIPLES

Vocal cord adiustment by As your exhaledair reachesyour vocal cords, your vocal cords, assisted the other musclesof your larynx, adiust with your breath flow to createthe pitch and intensity of your tone. When we talk about the action of your vocal cords, we are actually talking about the combined efforts of all the muscles your larynx that influencetheir activity. in musclesof larynx

Larynx Muscles

Larynx (voicebox) Larynx Muscles Trachea (windpipe)

S/NG/NG FOR THE SIARS

Pitch (lrequencyof vibratlon) Definition Pitch is the frequency of completedvibration cyclesin a given tone. It is in measured hertz (cyclesper second).The human ear has a rangeof 20 to 20,000hertz. by Pitch is determined how often, or how frequently, your vocal cords (open and close),which is determined the tensionin your by vibrate cords. The more tensionthere is in your vocal cords, the more quickly they will return to their closedposition once they are blown apart. The greater the frequencyof vibration, the higher the pitch. When we talk about vocal cord tension,however, we don't meanthe type of tensionthat resultsin vocal cord strain. They are two different things. Vocal cord tension,which you shouldn'tfeel if you are singingcorwithin your larynx as rectly, is createdby the interactionof the muscles from your lungs. your vocal cords balanceagainstthe air pressure they help The kind of tensionthat can lead to vocal cord strain, on the other hand, is createdwhen you use the musclesoutside your larynx to pull on and tighten around your larynx to control the pitch and intensity of your tone.

How pitch applies to yourvoice

lntensity(force oI vibration) Definition Intensity is the force of each sound wave on the ear. It is measuredin units of of loudnesscalled decibels.The relative degrees loudnessare called dynamics. by Intensity is determinedby the force of the air released your vocal cords, by which is determined how long your vocal cords can hold back the mounting air pressurebefore they finally blow open. The louder the tone, is the more air pressureand vocal cord resistance neededto produce that tone. open sooner In softer tones,your vocal cords (offeringlessresistance) and stay open longer in eachvibration. In louder tones,your vocal cords (offering more resistance) take longer to blow open but then closeagain almost immediately. need more air when you sing loudly than when You don't necessarily your vocal cords stay closed you sing softly-just more air pressure. Because therefore,has unused.Air pressure, longer in louder tones,little air escapes point where, when it finally doesblow your a chanceto build up to the (and thus the soundwave) is vocal cords open, the force of the air released much greater. to the because ear is more sensitive higher Pitch also affectsloudness frequencies.

How intensity applies to your voice

24

8AS/C PRINCIPLES

Although your vocal cords continually adjust to meet the pitch and dynamic (the degreeof intensity or loudness)requirementsfor each note you sing, we simply refer to all vocal cord adjustmentsin terms of the physicil sensations they produce in the singer. Youl- chestooice, or chestrigiiter, refersto the lowest tonesin your range,while your headuoice, or-head register, refers to the highest ones. The part of your range where qualities of both head and chest overlap is called your middle uoice, or middli register. Yet, the sensations you feel are not the result of vocal cord vibrationlthey are the result of resonance.

Resonancewhyyour voice unique is

Between the time your tone leaves your vocal cords and the time it exits your mouth, it goes through a process of transformation. The interconnected spacesabove your larynx-including the surface condition of the walls which define those spaces-reinforce and augment sound waves of certain frequencies, while damping or even eliminating others. This process is called resonance.

Yottr resonance

Soft palate Resonance soaces (wheretone is

transformed)

Vocalcords (where tone begins) Trachea

25

SING/NG FOR THE SIAFS

Physical sensations A by-product of resonanceactivity, as we have already mentioned, is the in creation of physical sensations the singer. Low tones feel like they are in your throat and mouth and, at times, can even be felt in your chest-thus the term chestuoice. As you sing higher, your voice (if you are singingcorrectly) feelslike it leavesyour throat and mouth and goesmore and more behind your soft palateuntil, finally, it feelslike it goesout the back of your head-thus the term headaoice. you experience have nothing to do with But the physicalsensations can sensations do, however,is what the listeneractually hears.What these use help guide you in the correctand consistent of your voice. There will be more about this in the training program itself. Physicalsensations ol the singer's voice MiddleVoice of A blend chestand lt's headsensations. in themiddle. HeadVoice tones feellike Highest theytravelout the backof yourhead.

Chest Voice Lowesttones feel like they travel out of your mouln.

26

BAS/C PRINCIPLES

the Vocal cord vibration determines initial quality of your tone, but the final quality-the quality that makesyour voice resonancedetermines is That difference due mainly to the sound different from anyone else's. system. unique sizeand shapeof your own resonance perconhas a voice

should work independently. Both vocal cord vibration and resonance the ability of the other to do its job. Yet, problemswith one always affect Fortunately,theseproblemscan be avoidedwith good singingtechnique.

The two factors involved in creatingvocal tone are: 1. Vocal cord tsibration.The air you exhalefrom your lungs works with your vocal cords to createthe pitch and intensifyof your initial tone. Breathing for singing is a very relaxed processin which very little air is requiredto producea good tone. The initial tone is modified and amplified as it travels 2. Resonance. above your vocal cords before leaving your mouth. through the spaces Each person has a different resonancesystemthat makes his Or her own which are a by-product of resonance voice unique. Physicalsensations, use activity, can help guide you in the correctand consistent of your voice.

27

S/NG/NGFOR THE SIAFS

How Your Voice Works Best: The Natural Technique of Speech-LevelSingingMost singers use excessivemuscular effort when they sing. Muscles the body normally uses to chew and swallow food, as well as open the throat wider when it needs to get oxygen into the lungs quickly, are used to manipulate the larynx-forcing it up or down. This is done to accomplish a difficult "improve" pitch, increase intensity, or the quality of one's tone. We call these muscles the outer muscles, becausethey are located outside the larynx.

q:

Wrong: Reaching highnotes for

Right: Speechlevel

Whenever you use your outer muscles to control your voice in any way, however, you prevent the free vibration of your vocal cords inside your larynx, and alter the relationship (and the over-all condition) of the resonance spacesabove your larynx. The result is a labored and unbalanced sound. Only when your larynx is in a relaxed, stable position can your vocal cords adjust easily with your breath flow, to create the pitch and intensity of your initial tone. And, only when your larynx is in a relaxed, stable position will your final tone contain a balance of top, middle, and bottom harmonic qualities-like a good stereo system-so you never sound "splatty" "muddy" on high ones. on low notes or Yet, there's another important reason why your larynx must be kept free of outer-muscle interference. Many of these muscles are involved in the production of speech sounds, and their interference in the tone-making process inevitably disrupts the word-making process as well. It's hard to form vowels and make consonants when the muscles controlling the movement of your tongue and jaw, for instance, are also trying to control your tone. Hence, voice production using the muscles outside your larynx is a hopelessbattle in which both your tone and your words become the casualties.

28

BASICPRINCIPLES

Yourspeech levela foundation for vocalfreedom

Generally, when you speak in a quiet, comfortable manner, your outer muscles do not interfere with the functioning of your larynx. That's because tone is not your primary concern-communication is. Therefore, your larynx is allowed to rest in a relatively stable, or what we call a speech-leuel, position. This is the ideal vocal condition or posture with which to sing.

If you can learn to initiate and maintain your tone with this comfortable speech-leuelposture when you sing, you can sing with the same easily produced voice you use-or should be using- when you speak. Nothing will feel any different in your throat or mouth. Both your tone and words will feel natural and sound natural. "sing like you But be carefull Speech-levelsinging doesn't mean speakt"

29

S/NG/NGFOR THE SIAFS

Singing High Tonesproduction RIGHT:Speech-level

Larynx stays relaxed at speech level.

and"full." is Tone "bright" Result: clearandare easyto produce. sound Words Larynx forced WRONG: up.Larynxis forced up. Swallowing muscres may also be squeezing arounoyour throatand rarynx.

is and Tone "strident" "brittle." Result: to distorted aredifficult produce. and Words sound

30

8AS/C PRINCIPLES

Low Tones Singing production RIGHT: Speech-level

Larynx stays relaxed at level. speech

Result:Tone Wordssoundclear and are easyto produce. WRONG: Larynxforceddown.

love I "fqll." is "bright"and

you-

Larynxis forced down.Muscles may also be squeezrng arounoyour throatand

rarynx.

tove

you-

Result:Toneis "dark"and "throaty." to and Words sound distorted aredifficult produce.

31

S/NG/NG FOR THE SIARS

When you talk, you only use a limited pitch and dynamic range of tones, so it doesn't require a great deal of cord tension to create those tones. In order to meet your needsfor the higher pitch and greater dynamic levels often required in singing, howevef;,your vocal cords must be able to achieve of greater degrees tension. Increasedcord tension is what brings your cords back together more quickly each time they are blown apart, when you need to sing a higher tone. Increasedcord tension is what enablesyour cords to hold back that extra bit of air pressurebefore they finally blow open, when you needto sing a louder tone. If your vocal cords and the other musclesin your larynx are unable to you can be sure that your outer provide the requiredtensionthemselves, help. But, that's the kind of help you don't will volunteer their muscles wantt Any outer muscleparticipation in the vibration processwill only level. causeyou vocal problemsby pulling you off your speech

Speech-level singing-feeling and sounding natural

You should be able to sing through your entire range-from the lowest notes of your chestvoice, up through the highestnotes of your head voice-in a smooth, even, or what we call connectedmanner, and still maintain a relaxed speechlevelposture. Singing low notes The lower part of your range is never a problem as long as you are careful not to pressdown with your larynx in an effort to scrapethe bottom of your range to get your lowest notes, or do anything in your throat or posture. An exampleof the latter would mouth that alters your speech-level "creating more space"in your throat or mouth, to achievea "deep, rich, be resonant"quality. note To begin with, the lowest note in your rangeshould be the lousest posture. As far your speech-level you can sing easily while still maintaining as the resonancequality of your voice, it should be whatever resultsnaturalposture. You should never try to make yout ly from that samespeech-level voice resonant.You should never try to make it do anything. Singing high notes It doesn't take a genius to know that a singer'sbiggestproblem, at least from a vocal standpoint,is singinghigh notes.Therefore,we will be most concernedabout extendingyour range upward. As you free your upper range, your lower range will also increasebecause,when your outer muscles they allow your larynx, thus your vocal are relaxedin the vibration process, to relax as well. cords,

32

BAS/CPRINCIPLES

areasof your range The passage As you sing higher into your range,,you quickly encounterareaswhere muscularand/or resonance activity make it difficult to negotiatesmooth transitions betweenvocal cord adjustments.Most singersknow theseareas all too well. They are placeswhere the voice iams up, suddenly shifts in quality, or even breaks-things that can discouragesomeonefrom ever exploring the full potential of his/her voice. We, however, refer to theseareasas passage areas.That's because, ways between when you approach them the right way, they becomepassage you are comingfrom and whereyou want to go in your aocal range. zphere areas Singing through the passage (if Your first passage areais the most critical. It's where your outer muscles they haven't done so already) are most likely to enter into the adiustment process.When they do, they pull on and tighten around the outside of your tension larynx in an effort to stretch your vocal cords to get the necessary for the pitch or dynamic level you require. But, as we have said, stretching your cords in this manner causesyour entire singing mechanism-tone and words-to jam upl Fortunately,there is a better and much easierway to tensionswithout disrupting stretch your vocal cordi to achievethe necessary your tone-making processor your word-making process. The key is to do lessin order to do more. To be specific, the higher you sing, the lessair you should use.When you reducethe amount of air you sendto your vocal cords, you make it possiblefor the muscles inside your larynx to stretch your vocal cords by themselves. Your outer muscles there isn't as much air to hold back.* are lesslikely to interferebecause you use Your outer muscles uill interferein the aibration process uhenezter insideyour larynx are more air than your oocal cords and the other muscles able to handle.

*You

"Intensity" don't need a lot of air to sing loudly (see on page 24).

33

S/NG/NG FOR THE SIAFS

The PassageArcas: Women

-Rppro*itut" I

Performance {

Ranges

t

The Passage Areas:Men

.nppro"imate I

Ranses

Performance {

,--f-i---l-

Baritone Bass-----.

- t i

Tenor-i

t

*These.are approximate ranges. There are individuals whose ranges extend beyond, but they are exceptions.

BAS/CPRINCIPLES

Vocal cord thinning When your vocal cords are stretched, they begin to thin. And the thinner your cords get, the less cord "weight" there is for your exhaled air to move. When the thinning takes place at your speechlevel, however, your cords are able to thin without disrupting your tone or words. Vocal cord shortening Then, something very interesting takes place when your vocal cords reach the point where they can't thin (be stretched) any farther-the vibrating "shorten." length of your cords begins to Let me explain why and how it happens. Your vocal cords never open all at once and then close all at once when they vibrate. Even in your lowest tones, your vocal cords open frorn front to back and close from back to front. That's because they are more flexible the closer they get to where they attach to the inside front of your larynx (where your Adam's apple is), and air breaks through that point first. If you continue to use less and less air past the point where your cords have thinned as far as possible, the back ends of your cords stay together, with less and less of the front part opening and closing. This also means, however, that they open and close much faster, increasing the frequency of vibration which continues to raise the pitch of your tone. If, like the initial thinning, this shortening can take place at your speech level, you can continue to sing easily through the rest of your passageareas with your tone and word production intact. You will be able to extend your range far beyond what most singers can only dream about. As your vocal cords begin to thin and shorten automatically when you sing, you become less aware of your passageareas. Eventually you come to think of your chest, middle, and head voices as a single uoice-connected in the way it's produced and connected in qualityl "natural" Speech-levelsinging is a technique in which your voice is: '1,. Produced tuithout effort. When you don't allow the muscles outside your larynx-your outer muscles-to interfere with your tone-making process, your vocal cords are able to more easily balance with your breath flow. Also, when you free your tone-making process, you free your wordmaking process as well, letting you produce all your words easily and clearly. 2. Balanced in quality. A relaxed and stable larynx results in a stable resonance system in which your voice always contains an appropriate balance of top, middle, and bottom harmonic qualities, no matter where in your range you sing.

35

S/NG/NGFOR THESIABS

How to Get Your Voice to Work for

The Training Process

Training your voice, as you may have guessed, means learning to

the in and strengthen muscles your larynx so you can sing with speechJevelposture over a wide pitch and dynamic range. Coordination and strength most easily developed by doing special exercises.You don't control your

voice directly by working on or thinking about breath support, vocal cord Thesethings are all by-productsof speech-level or adjustments, resonance. singing.They happenautomaticallywhen you condition your larynx not to and by allowing your vocal cordsto move, by relaxingyour outer musclesthin and then shorten for higher notes to insure that your outer muscles relaxed. As you do the exercisesin the training program following this section, you will memorize the physical sensationsyou experiencein your voice as you do each exercisecorrectly. Everything else will take care of itself.

Developing coordination-the first step

Coordination of your voice at your speech level must be developed before you can begin to build strength in your voice. As you do the exercises, don't feel you have to sing them loudly. That's not important. If you try to sing too loudly (using too much air) too soon, your outer muscles will give up their pulling and tightening reflexes. Have patience. You must first eliminate any outer muscle activity that interferes with your tone. This will free your tone and, consequently, free your ability to produce words easily and clearly. Your body's neuromuscular system, however, has been programmed by years of poor singing habits to activate every muscle it can to help you control your voice. It will attempt to resist any changes in muscular coordination you try to make. For a while you may feel tension in the muscles under your jaw, in your neck, in the back of your mouth, and in your soft "wrong" palate. These tensions are caused when the muscles (your outer "right" muscles (the muscles muscles) are reluctant to give up control to the your larynx) in producing tone. of Never work around these tensions by doing things like changing the

position of your tongueand jaw, raisingyour soft palate, making more spacein your throat, or changingthe pronunciationof your words. You only createother tensions. Justfollow the instructionsin the training reprogrammed program and do the exercises. Once you have successfully your neuromuscular systemto acceptyour voice'sfunctioning at yourspeech level, these tensions will disappear. You will then be able to sing release,a condition in which your voice works without your having to f about it, or'do anything to it.

36

haue thepleasure associating Mr. SethRiggs thepast20 had ot' with for years.Seth one themost is of outstanding teachers aoice thezaorld of intoday,teaching majority of thepop singersthat areamongthe woild's most the famous,as well as tainnersot'theMetropolitanOperaAuditions in New York City. His understanding the natural deuelopment the singing aoiceis of ot' much needed today,with all the inept teachers arehelpingto bring about that thedeclineof the OperaticVoice. His book,Singing for the Stars, is oneof the mostoutstandingtreatises aoiceproductionaaailable on today. I wasa member theMetropolitan Operafor 14 yearsas oneof their of Ieadingtenorsandfor the last 28 yearshaaeserued Artist Teacher as at Southern MethodistUniaersita Dallas,Texas. haoe in I studied aoice usith some thegreatestteachers thepast including Frank La Forge,Renato of oi "singing Bellini, EdnaForsythe and DeIIaHayward. TheyaII stressed thnt and speakinglspeaking singing" is oneot'the mostimportantfunctions of the and gifted singer. This is discussed throughoutSethRiggs'sbook. Sincemy tenure at Southern Methodist Unioersity,zue haaehadsome the mostoutstanding of teachers the world giaing Master Classes aoiceincluding LiIy Pons, in in Eaelyn Lear,I erome Hines, RamonV inay and, of course, SethRiggs. Mr. Riggs'sbookis usedby many of our studentsand teachers zaithoutstanding results,and I can only giae thehighestpraise Mr. Seth Riggs.) ) for ThomasHayward Tenor Professor Voiceand Opera of Dallas

Building strength Don't be concerned about building a strong voice right away. The ability to -all in good time increase the loudness of your tone will come by itself, after the coordinationof your vocal muscles has been established. Once the "crutch" of depending on your outer muscles to help keep your vocal cords balanced with your breath flow is gone, your vocal cords will develop their own independent strength. Little by little, your vocal cords will be able to hold back more and more air in the vibration process, eventually providing you all the dynamic (loudness) flexibility you'll need. In the meantime-or at any time, for that matter-you should sing only as loudly as you are able to stay on your speech level, with a clear, connected, and easily produced tone throughout your entire range.

Voice training: 'J-. Deuelops coordination. The first step in training your voice how to function at your speech level, is to condition your vocal cords to adjust with your breath flow without interference from your outer muscles. This frees your tone and, consequently, your ability to produce words easily and clearly. 2. Builds strength. Once you have conditioned your outer muscles not to participate in the production of your tone, your vocal cords gradually develop their own independent strength. This allows you to sing louder "outside" without your vocal cords needing any muscular assistance.

37

PracticalExercisesCaution Pleasefollow along with the material in the book and the accompanying cassettetapes as my students and I demonstrate how each of the exercises should be done. It is important that you do each exercisecorrectly before you proceed to the next. As valuable as the exercisesin this book are for training your voice, any exercisecan be overworked or misused to where it will do you more harm than good. You don't develop your voice by pushing it to its limit. You develop it by gradually conditioning it to work efficiently with a balanced coordination. IMPORTANT: You must stop doing any exercise whenever you begin to lose your speechlevelposture, lose your connection from chest to head voice, or feel any strain or effort in production. Do not if continue the exercises you feel your voice is being damaged even slightly. to Seea doctor before proceeding. It'is not necessary go as high as the piano. The exercisesin this book will work best if you are relaxed-mentally as well as physically. Singers who have not yet achieved confidence in their instrument will often develop a nervous tension-a fear of failing to make a good sound. It is this fear, however, that sets up even more tension throughout your body, which in turn exerts more tension (the wrong kind of tension) in and around your larynx, which makes you more tense, and so on, creating a vicious cycle of fear and anxiety. There are ways to minimize this and other tensions. As you practice the exercisesbe sure you: 1. Maintain good physical posture. Stand comfortably so you don't place stress on any part of your body. For example, don't slouch or lean on one leg. Seepage 132. 2 . Practice in as quiet an environment as possible. Try to eliminate any surrounding noise.

3 . Keep a positive mental attitude. These exercisesreally work. If youfollow instructions, you will accomplish your goal. 4. Stay relaxed. Induce relaxation, if necessary,by deep breathing, and by doing any stretching or other exercisesthat promote blood circulation and eliminate nervous tensisn. We have used a variety of different voices to demonstrate the exercises.Our purpose in using them is not to give you vocal models to copy but rather to demonstratehow each exerciseshould be practiced.

38

Building Confidence1r ou will Ibegin your voice training by developing the confidence that it is possible to increaseyour vocal range to its full potential and to sing from the bottom to the top of your range without your voice jamming up, shifting in quality, or breaking. Some of the exercisesare designed to directly bypass your neuromuscular reflexes--they won't work unlessyour outer musclesare completely relaxed. some, on the other hand, are designedto deliberately activate certain musclesin order to deactivateothers, or to demonstratean important concept. Just keep in mind that ail the exercisesin this first part of the training program are only temporary devices to help you begin the process of freeing your voice and keeping it connected through your passage areas. They may sound somewhat peculiar to you, but that's part of what makes them work. You can rest assuredthat how you sing theseexercises does not represent the way you will sound by the end of the training program.

-

5rr

-J

39

S/NG/NG FOR THE SIABS

Exercise1.Instructions: listen to tape so Placeyour fingertipson your cheeks that you pick up the weight of yo.r, ,ki., frorr, ar.,ut d your lips. Feelwhere your teeth come together.You push the skin in that far. This keepsthe musclesrelaxed so you don't feel you have to use a lot of air to move them' "UH" sound, (listento tape),Iet your lips "bubble"as Then, using an looselyand as evenly as they can as you sing the exercise' i.et the air do ihe work. Justrelax your lips as well as the rest of your of The slower you can control the vibration speed face and throat muscles. your lips, the better. Don't worry too much about pitch accuracyat first. The relaxation tone, of and freedomof your lips, as well as the maintenance a connected are what's most imPortant. "disconnecting"suddenly into a without Try to do the entire exercise lighter production. (Listento tape,) you must get used to the In Exerciset and in all your exercises, In the lower part of your range, your of transference resonancesensation. tone will appear to go straight out of your mouth, while, as you sing higtrer, into your h"ud t'oicl, yorrrlor," will appear to go more and more behind waves from your vocal cords Vorrr'r"ft palate. Whai you feel are the iound spaces' activating thoseresonance

Notes:

40

PART BUILDING ONE: CONFIDENCE

( L i pr o l l )

Approximate starting pitch:

T-rar io'

T"tar

Soprano Practicelog: DatestartedDateaccomolished

= Alto

Tenor

Bass

41

S/NG/NGFOR THESIARS

ExerciseSuggestions(L-4)If you use too much air or anticipate the higher notes in Exercises1 th 4, your outer muscles will activate thus stopping the movement of your and tongue. When this happens, bend forward as you approach the top notes of the problem exercise, returning to your standing position at its pletion. Your concern about singing the higher notes will be lessened the oncoming floor will make you think you're going "down" instead of " You can use this bending technique whenever you find yourself "tightening" "reaching" for notes.

+' /t

l/)\

\

42

ee L

f

get into my high aoiceproperly. I Acting taokoaerand,lo and behold,lgot into a part where had to sing. aoice and and,t'irst lesson,Iwaswell into my head called Seth, in Theproducers "passaggio," "transition," through the beganto learnhow to makethe t'rommy "where going" I'm I into thehead aoice.It is still deaeloping,butknow chest whenI sing. Thsnkuou Seth.) ) Armand Assante Actor LosAngeles

a I to akid. I thinklwas tenor. eaenflirtedwith used singwhenlwas never anylneto helpme theidea singing a liaing,butI could of find for

Problem note(s) sung at thisooint.

43

S/NG/NGFOR THESIABS

Exercise2Instructions: listen to tape"[JH" sound as you Let your tongue lightly flutter as you make the same made in Exercise1. The notes are the same. (Iisten to tape). Remember, the object is to keep the tone connected as you sing into your head voice.

lVotes.'

44

PARTONE:BUILDINGCONFIDENCE

(Tonguerill) t

Approximate starting pitch: -rTfia) io'

F

Soprano Practicelog: DatestartedDateaccomplished

o Alto

Tenor

45

FORTHESTARS S/NG/NG

Exercise3Ingtructions: listcn to tepe the The instructions for Exercise3 are the same as for Exercisel-only are larger, covering a wider area of your range morc skips between the notes quickly. Exercise L gave you a running start, so to speak, because the notcs were closer together. In Exercise3 the interfering outer muscles must let go even more. Your cords must be free enough to adjust to the wider skips. Don't slide from one note to the next. EaChnote should be done clearly and cleanly. (Listen to tape.) Sornetimesit helps, whenever you sing from one note to another note ie higher in pitch, to approach the second note as if you were going to that sing the same pitch as or lozner than the one you are corning from. This helps to keep you from reaching.

46

ee

T L

old. Besides when utas years I ll to first began studysinging me Seth and"head" coordination, tricked into my "chest" connecting

as high area,zohich, we continuedto work, beganto join into the nn extremely rest of rny aocalrange. I signedwith my t'irst major labelat age11. From that days,when oaer3'lz octaaes.These and earlyage,I alwnysaocalized performed I'ae neoerhad to fear high notes, singershauebegunto usestratospheric high notes. Tiank you Seth. ) ) exiemely lout io extremely ShaniceWilson Singer LosAngeles

rL

{., t' *l.

(Liproll)

r Ii,

starting pitch: Approximate

4_T--U

T-toa t

U

Soprano Practice log: Datestarted Dateaccomplished

Alto

Tenor

Bass

47

S/NG/NGFOR THESIAFS

Exercise4Instructions: listen to tapeThe instructions for Exercise4 are the same as for Exercise2. Again, only the notes and rhythms are different.

lVotes;

48

BUILDING CONFIDENCE PARTONE:

)

(Tongue trill)

starting Pitch: Approximatet-

4i

a1A--

TFr--

zr-

L

_ o

T

-

d u

Soprano Practice log: DatestartedDateaccomplished

Alto

Tenor

Bass

49

S/NGINGFOR THESTAAS

ExerciseSuggestions(5, 6)Once you can do the lip rolls and tongue trills with little effort, it will in(it's dicate that you aren't gripping your larynx with your outer muscles hard to roll your lips or trill your tonguewhen the muscles controlling them are aleo trlnng to control your larynx to make pitch). It will also indicate that your cords are thinning and their vibrating length is "shortening"as you sing higher, and that you are using just the right amount of air to support their vibration. The lip rolls and tongue trills, however, rely on the closing of your lips and tongue to lrclp counteract any excess pressureyou may be using. air Therefore, coordination of air and rnusclecan't yet be said to be taking place solely at the cord level. Developingthe coordinationthat allows your cords to thin and shortenat your speech level (usingjust the muscles of your larynx to do the work) takestime. Unfortunately,your motivation can run out beforeyou get to that point. So, beforeyou go any farther in the program, it's important that you get to expertence concept of cord thinning and shortening at the cord the level-even if it meansactivatinga few unwantedouter muscles do itl We to will do this in Exereises through 1-L.You must quickly abandontheseexer5 cisesas soon as they seruetheir purpose! Exercises and 5 are called high larynx exercises. 5 They use the muscles above your larynx to pull it up. A raised larynx will stretch, and thus thin your vocal cords, making it possiblefor them to go into the shortened condition necessary sing high pitches.But again, you are only using these to musclestemporarily, iust to demonstrate concept.You don't want to use a this teehniquewhen you sing. This is not yet speech-level tone production.

50

FORTHESTAFS S/NG/NG

5 ExerciseInstructions: listen to tape "nay nay" sound into your nose. It will be nasal enoughwith Don't iam the "n" sound. the exaggerationof the Also, be careful not to reach up in chestvoice.

l\lofes.'

52

Q Q (rr,

Riggs teachesa technique that doesn't detract from the basic qulitv of the actors' spokm sowtd. Actors Studio West b most appreciatioe of hb Wl and lack of intimidation for actors uhm approaching the act of singing,) / classes, Rltt Muk Rydell/Mutht Landu/Morth Actors Studio West Los Angeles

Approxlmate startlngpltch:

-at i , _ _f,e Soprano log: Practlce Date started

aJf;eAlto Tenor Bass

Dateaccomplished

53

\

FORTHESIARS S/NG/NG

Exercise6Instructions: listen to tape The instructions for Exercise6 are the sameas for ExerciseS-the notes and rhythms are different.

IUotes.'

54

PART ONE: BUILDING CONFIDENCE

nay nay nay nay nay nay nay nay nay nay nay nay

startlngpltch: Approxlmate

+I- = (Soprano Practlce log: Datestarted Dateaccomplishedt

E

i

=uTenor

55

S/NG/NGFOR THESIAFS

(7-lT) ExerciseSuggestionsLout-larynx exercises(Exercises7 through 11) use the muscles below your larynx to pull it down. They also get your cords to thin and shorten. Yet, they do it with your larynx in a low position. It's lower than actual speech lerrel, but it's closer to speechJevelposture than the high-larynx coordination. As you sing into your head voice, the feeling of thinning and shortening-if the exerciies are done correctly-is similar to the high-larynx thinniig and shortening. That is, you will experiencea connected production of tone from chest into head voice. Yet, it's different enough so that you have to work through the connection all over again. Your cords will still thin and shorten as you sing higher, but this time without any assistancefrom the high-laryni muscles. In fact, the low-larynx exercisesactually help deactivate your tendency to use your highJarynx muscles. Just remember, if you operuse either the high-larynx or the low-larynx exercises,there is the danger that you will lock into one or the other of those extreme vocal postures, producing all your pitches off your speech levell So again, once you get yourself through the passageareas with a connected tone, you should discontinue Exercises5 through 11. ExercisesL through 4, however, can continue to be used. They make good warm-up exercises.

56

, w

57

S/NG/NGFOR THESIAFS

Exercise7Instructions: listen to tapeAs you do 7-a through 7-e, put a little "cry" in your voice-but don't overdo it. (lrsf en to tape.) This little cry slightly imposes your larynx down by activating the low larynx muscles, and deactivating the high larynx muscles. "imposition" But this is only temporary. You want to cancel the tendency of your larynx to rise as you sing higher-the opposite of what you did in Exercises5 and 6. "imposition" You will discard this low larynx by the time you get to Part Two of the program, because you neper want to force your larynx down when you sing, just as you never want to force it up. When you do 7-a, make sure your soft palate stays very relaxed, with the sound going behind it more and more as you sing higher. And, make "Mum" sure you continue to say as you sing higher. Don't go to "Mam"-that would mean your larynx is starting to come up. In Exercise7-b through 7-e, don't take the exerciseas high as you did "G" "K" with 7-a. The sound (7-b through 7-d) and the sound (7-e) are "Mum" much more difficult to sing than the sound because of the motion of your tongue. Only take them as high as is comfortable.

l\lotes.'

58

utantedto takethis momentto thankyou t'or helpingmy dreambecsme and teaching wnsableto I a reality. Throughyour wonderfultechnique

uponwhicht0grour. builda firm foundation dit'ficulty in there mewhen wasexperiencing I Thankyou being for for passagesmusic.Afterall, Aida ls noutalkin thepark. certain of au)ayyoucalled I called 'we or and were I 3,000 miles Although wassome , " problems Then, the ." on able solue to whatseemed meto be enormous to phone,you you taught butI had me reminded of things once me forgotten. "enormous problems" no mlre. were those Suddenly You'reagem.))as PriscillaBaskeruille Aida Aida-M et ropolitan Opera Fung@1991. Drawingby Selene by Used Permission

Piscilln Baskeruille Soprnno New York City

( a )m u m (b) guh (c) so (d) gee (e) koo

mum guh go gee koo

mum, etc. guh, etc. go, etc. gee,etc. koo, etc.

Approximate

Soprano Practicelog: DatestartedDateaccomplished

Alto

Tenor

Bass

59

S/NG/NGFOR THE SIARS

Exercise8Instructions: listen to tapeThe instructions for Exercise8 are the same as they were for exercise7only the notes and rhythms are different.

l\lotes:

60

PARTONE:BUILDINGCONFIDENCE

(a) mummummum,etc. (b) guh guh guh,etc. (c) go go go, etc. (d) gee gee gee,etc. (e) koo koo koo, etc.

pitch: starting Approximate

_0_a-r--

0t-J U l-l-

a

v U

Soprano Practice log: DatestartedDateaccomplished

Tenor

Bass)

61

S/NG/NGFOR THE SIAFS

Exercise9Instructions: listen to tape As before, use a slightly imposedlarynx as you do the exercise. "hootier" or more "hollow" soundingyou The higher you go, the should get to keep from grabbing.Don't worry if your tone soundsbreathy from the beginning or weak on the higher pitches.Iust try to stay connected to of the exercise the end of it. Even though you are imposingyour larynx down slightly, you must sing eachvowel with the samepronunciationyou would useif you were "Oh" sound incorrectly, it will speakingit. For example,if you do the "splat" as you take it higher. You've got to keep your larynx slightly imposedto keep it from raising. (Listento tape.)You may want to think of "Oh" through "Oo" lips. singing As you get into the upper part of your range,let your jaw drop just slightly to give the sound more space-but don't grab with it.

62

la

ap 'a'f, , +

or 2/z years I had the great opportunity to play the role of Eaita on broadtoay... Seth Riggsgaue me the technique and personal ability to L guide myself oocally and guard against oocal abuse and fatigue') )

Derin Altay Actress,Singer New York City

(a) (b) (c) (d) (e)

Oo oh Uh Ee Ah

starting pitch: Approximate-^?FTa, i u -:'T YFT-ar =

-

't'

Soprano

Alto

Tenor

Practicelog: DatestartedDateaccomplished

63

S/NG/NGFOR THESTAFS

Excrdgc 10krbucdm: lletca to tapc Thc instructions for Exercise10 are the same as they were for Exercise9only the notee and rhythms are differmt.

Illotcc:

)

64

CONFIDENCE PART ANE:tsUILDtNG

(a) Oo (b) oh (c) Uh(e) Ah

(oEe

starthg pltch: Approxlmate

+i l i l o o o a o oTenor

Soprano log: Practlce Date startedDateaccomplished

Bass

65

S'NG'NGFOR THESIAFS

Exercise 11lnstrucdons: listen to tape Still keep your tone a little breathy, as before. The obiect of the larger skips between the notes is to increaseyour ability to releasethe tone. You have to let go of the pressure of one pitch so your cords can re-tune to the next one. But, don't releaseso much that you disconnect into falsetto. You must continue to connect your chest voice into your head voice. (Lbten to tape.l

IYoles.'

00

e C

'zte "belter" been a aII my life. I didn't eaenthink I hada headuoice. f WhenSethconnected middleaoice,I wasableto drop the wearof 20 L my yearsof hard singing. ) ) Carcl Burnett Actress,Singer Hautaii

!

(a) (b) (c) (d) (e)

Oo oh Uh Ee Ah

)

Approxlmate startlngpltch:

Soprano Practlcelog: Datestarted Dateaccomplished

Tenor

Bass

67

FORTHESrABS S/A/G/NG

ExerciseSuggestions"muscled Occasionally,an individual'svoice is so up" that it is very difficult to get the cords to thin and shorten enough to achievea connected prescribedso far fail sound from chest into head voice. When the exercises to accomplishthe task, you may have to start with the "disconnected"condition of cord vibration, usually calledfalsetto.If you have alreadyachieved 12 a connectionin your tone, you may skip Exercises and L3, and proceed to Part Two. falsettovoice, like the connected head voice, lets you The disconnected higher part of your range without the experience freedom of singing in the strain. But, unlike your head voice, falsettocannot blend with your chest "disconnected"). This, and the fact that it is impossible uoice (thus the term intensity past a certainpoint, makesfalsettoimpracticalto use, to increaseexcept for occasional special vocal effects. Falsetto, however, is easier for untrained voice to sing. Becauseof this, it can be useful in leading you into the preferred connected condition of head voice.

intensity Equal capabilityChest

Head(connected)

----t'"1"1'ntensity

capability -->

(disconnec Farsetto

Same resonance areasactivated

68

S/NG/NGFOR THESIABS

Exercise12Instructions: listen to tapeStart with a falsetto sound. As you come down into your chest voice, try to make the transition as smooth as possible. Come down gently so you don't "fall" into it. Then try to bring in your chest voice more firmly each time you do the exercise.You want to replace your falsetto production, wh,ich can't blend, with head voice (which can). As you do the exercise, don't panic when you feel the chest voice come in. Come in lightly, till you feel it start to take-don't grab it in (listen to tape), and don't fall into it (listen to tape). "Gee" sound, be careful. It's not as easy When you do L2-b, with the "Wee" to start it as high as the sound becauseof the activity of the tongue. Remember, you may feel you are making your falsetto stronger-but you're not. Falsetto production merely gets you to relax in the higher part of your range so you can work on your head voice.

Notes.'

70

eo n ' t

MCA Records suggested work with Seth Riggsin order to I \ ometime ago, "gospel get my chops"in shape.In the middleof our work, alongcomes the lJ role of Charity ln Sweet Charity t'or the LosAngelesand New York reaiaals. "belter," "get "high Charity wasa but now I can't wnit to dotan" with that gospel"soundand style. Seth'stechnique makes easy.) ) it DebbieAllen Director,Actress,Singer LosAngeles

(a) Wee wee (b) Gee gee

wee gee

Wee Gee

wee gee

wee gee

wee, etc. gee,etc.

Approximate starting pitch:

-i---sl--

trTr-u a

+) Alto Tenor

Soprano Practicelog: DatestartedDateaccomolished

Bass

71

S/NG/NGFOR THESTAFS

Exercise1.3Instructions: listen to tapeYou will now start in chest voice, go into your head voice and then back into chest voice. "Gee" sound in 13-b as high as you do the And, again, don't take the "Wee" sound in 13-a. Once you can make a smooth transition from head to chest and chest to head voice, you may want to try Exercises5 through 11 again.

Note:

72

PARTONE:BUILDINGCONFIDENCE

(a) Wee wee wee, etc. (b) Gee gee gee,etc.

Approximate starting pitch:

Soprano Practicelog: DatestartedDateaccomolished

Alto

Tenor

Bass

73

I hen I was 13 yearsold, Quincy lonessuggested work with Seth "boy whileI made change my soprano" my adult aoice. to t'rom me period. Mostpeople adaised agiinst siudying uoiie duing this dilt'ficult my but, whenI came on out Sethnot only knewhow to balance unruly uoice theolhersideat 75 years waseasy together.What old, my uoice and eaenly usedto be,the soprano uras now a man'sconnected aoice head with no boy strain. Thankyou Seth. T.E.V.l.N, Campbell Singer LosAngeles

to when.I.w.as-19 o!d..Weco_nnected uoice my up ye.ars ftrst came -Seth to an E flat aboae tenorhigh C, with nofalsetto.Oaertheyears, I as pursued singing a career, I graael"t'or"et'fect. use It ,began"to a lot ofi'throat began hurt thequalityof my aoice, Sethgaaemean alternatiue to so " cdrdination and i'm bick'inti aotalhealth.

lohnnyGill Singer Los Angeles

"chest" 'ae into the been singingsinceI wasa child. Always,the "head" uoicewasa stickyproblem. I now hauea t'irm graspon the "connection" R&8, stylingwith much in my middle.I canleaninto a gospel, "pure belling"and knowingthat I won't getcaughtin chest morepower, what a relief .

Marilyn SingerLosAngeles

alwayssung a kind of baritone-tenlrrange. At'teryearsof in all kindsof conditions,l to t'oundI washauingto work harder produce higherpitches.Now that I'ue begunto usemore" heqd the I aoice," sing purer aowels thehigherpitches on without strain. My new aocal technique keeps t'resher giuesme moreendurance.Workingwith Seth me and madethe two-show-a-night engagement LasVegas pleasure in a instead a of fatiguingjob.

'ue

GeoffreySinger,Produce.*, LosAngeles

TowardSpeech-Level Singingtjo fur, you have done exercisesthat let you experiencesinging with a connected tone over a wide range of pitches, without much concern about the overall quality of that tone or the way in which you achievedit. Each exercise served as a mechanical assist, that permitted your vocal cords to maintain a connection through your passageareas and, in so doing, became a psychological assist becauseit gave you confidence that you could accomplish that connection. We will now proceed with exercisesthat condition your voice to work only at your speech level. This means from this point on we will only use exercisesthat bypass your neuromuscular reflexes completely. We will "edge" basically use what we call an unfinished or sound. This sound needs very little air and cord to work. Like the exercises used in Part One, the "edge" will assistyou in maintaining a connectedtone through exercises your passageareas-but this time, in a way that directly leads you into singing with a speech-levelposture. Your larynx won't raise or lower very much as your vocal cords make their adjustments, so you will experiencea blending of resonancequalities. Also, your vocal cords will begin to relax, allowing you to sing even your lowest notes more easily.

-

t--

75

S/NG/NGFOR THESTAFS

ExerciseL4Instructions: listen to tapeThis is the first time in your program you are going to be doing an exercise that gives you the feeling of where speechJevel sound is made. Starting in chest voice, just below your break area, make a sound (with your lips closed) like a squeaky door hinge and inflect into your head voice. (Listen to tape.) Be careful not to break into falsetto; you have to keep it connected. (Listen to tape.)

IVotes;

76

e C

of I ike mostnatural singers, had no knowledge how to getfrom my f "break," "false" or change in without a noticeable chestinto my J-/ quality. As a pianisi I had no troublesetting the key to hidemy pribtem. When of I ioined Prince,the decision keysrnasno longerup to me. Princehnd worked with Sethand hadsent SheilqE theretoo,soI wassent to him also. Halleluiah! "break" much better quickly,but my style hasbecome mended Not only was the I had morenoteswith which to riff .) ) because Rosie Gaines Singer LosAngeles

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Practicelog: DatestartedDateaccomplished

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FORTHESTABS S/NG/NG

Exercise1.5Instructions: listen to tape "edge" Using the samesqueaky door or sound you made in Exercise start L4, lower in the scale. This time add a little "whimper" or "cry" to the sound to help keep the cords connected-but don't overdo it. You don't want to overcompress the air so usejust enoughto keep the connectionas you sing higher. (Listento tape.) More doesn'tmeanbetter in this instance. your tone The stopping and starting of the tone keepsre-establishing at speechlevel so that you don't get off that level as you go through the exercise. Once you can maintain a connection all the way through Exercise 15, go on to Exercise At this time you may want to start monitoring any 1,6. speechmuscle activity by feeling the musclesunder your jaw. Thesemuscles should always be soft, with no tensionwhatsoeveroccurringwhen you do If the exercise.* there is any musculartension,listen to the tape again to see if you have followed the instructionscorrectly.

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