I will never forget that ONE concert in college where I sang that ONE song with that ONE unforgettable note!
No, not the thrilling Whitney Houston/Carrie Underwood/Beyoncé kind of note:
as high as the heavens, long as the day and loud as a train.
No, this note–my note–was quite the opposite.
The VOICE: the Instrument
It took me a long time to realize that as a singer, I really am my own instrument. It can be a help or a hindrance to contain in our bodies the means of the music. We singers possess a lot of intimate control and awareness of the subtleties of sound. A good singer knows no separation from the flow of breath, pitch, volume, rhythm and emotion coming through the throat and lifting from the lips. Unlike, say, a cello player, the vocalist has not even a synaptic nano-second between impulse and sound. No fingers on strings or hands on hardwood, the singer glides effortlessly on a melodic whim. From the shape of the voice box, throat, nasal cavities, facial bone structures, tongue, mouth and lips comes the uniqueness that is the voice, my voice, your voice, our instrument.
The VOICE: the Hindrance
Many conditions are a hindrance to singing. Fatigue and vocal cord weakness are the worst. Add phlegm and tension and dehydration to the mix and we are in trouble. Also, the hidden flaws of the vocal cords contribute to singing struggles and even failure. These days, voice specialists can see what is happening in the larynx using cameras that reveal cord inflammation and even scar tissue called nodules. Nodules can resolve on their own if the voice can rest and heal from overuse. A disruption in the connective vibration of the vocal folds either from phlegm or inflammation or scarring can cause huge problems for those who regularly rely on their singing.
The VOICE: the Incident
I didn’t know about any of this that evening as the band began playing my favorite Linda Ronstadt ballad. I sang the first verse and felt the fatigue of the previous hour of singing setting in. My wobbly sound was not the worst of it, though. My biggest mistake was wanting to sound like the soulful belter that Linda was. At the climax of the chorus when the big payoff arrived, I held out that note. That note. It started out strong, but, to my horror, my clear tone suddenly distorted and split into an awful gargling kind of cacophony. My instrument had found a mind of its own. What was it thinking?
To this day, I do not know exactly what happened to make my voice get so out of control that night. It was probably a combination of fatigue, dehydration, nerves and perhaps even nodules. Also, I didn’t know the limits of my instrument. I was trying to sound like Linda Ronstadt instead of finding my own vocal style. I was not, and am not, a belter with the power to pull it off.
The VOICE: the Help
My voice students hear me talk about vocal health a lot.
Our instruments need what our bodies need:
- lots of rest
- plenty of water
- healthful food
Our voices do not need:
- stress and tension
Adhering to these helpful lifestyle choices, we can then build vocal strength and other vocal techniques on that solid foundation. Most of all, we need to know our limits and try to find the God-given voice that is ours alone. Then our strengths and singularities can find their way to the song and our very being becomes part of the performance.
If you want to know more about the voice, singing technique and lots of helpful exercises and applications to singing, check out my handbook/workbook, The Singer and the Songwriter, which has an entire section devoted to singing. If you’d like the piano cover, you’ll find it here. See below a sample of what’s inside. ~Christine