More on vocal practicing

I would like to continue my last entry on vocalizing. In my experience, as I said, it is of utmost importance that professional singers continue to practice, even when they have heavy schedules. At the Hamburg State Opera, where I was engaged for 9 years, I noticed that the singers engaged there - either as ensemble members or guest artists - hardly practiced when they had free time. To my knowledge, a perfect example of discipline was James King. I sang the Dyer’s Wife in Frau ohne Schatten with James King as Emperor and was absolutely amazed at how young his voice sounded although he was nearing the end of his career. The voice still sounded brilliant and youthful.

James King and I would meet almost every afternoon in the hallway of the practice rooms. It was really very amusing. He would say, “Brenda, are you here again?” And I would answer, “Are you here again, too?” And we would laugh. Hard work and discipline seemed to be our bond - almost our secret.

The glottis is the space between the vocal cords. When we breath, it is open; when we phonate, it closes. The closing is guided especially by the action of the arytenoid muscles. Light vocalizing stimulates the function of the arytenoid muscles without forcing closure. In my studio I emphasize humming from above to below in octaves and double octaves. This activates the co-ordination of the muscles in the larynx and avoids putting pressure on the vocal cords, promoting complete closure of the vocal cords. Also, the vocal cords are stretched to their full length resulting in a healthy vibration of the cord edges. Humming causes an automatic co-ordination between all ranges and passages.

Trills with “r” promotes relaxation, staccato exercises produce an immediate reaction and light vocal cord closure with a soft onset. Staccato exercises also strengthen the muscles in the epigastrium and develop a strong reaction of the diaphragm.

I believe that gestures can be of a help to singers to develop correct, healthy vocal actions through visualization. “Inhalation” can be visualized by using the hands in a sweep to oneself in head-height. Using the hands to remind oneself to relax the lower jaw can be helpful. Also, placing the hand on the muscles of the epigastrium serves as a reminder to retain strength in the breathing apparatus.

One should use the gesture, attaining an optimal result, and then repeat the same phrase without the gesture, so that one does not become dependent on the gesture. The singer should exercise sometimes with the gesture and sometimes without, in order to assure the best possible result when performing in public.

The singer must always work hard and enjoy practicing. Positivity influences improvement in singing. Negativity and laziness are the singers enemies!

• Author and date: Brenda Roberts (2009-03-29)
• Permalink: More on vocal practicing
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