SLS Manual

(1)

(2)

This manual is intended for internal circulation within the pre-certified and certified instructor base only. Each instructor must purchase a manual for personal use. Instructors are advised that this manual, in whole or in part, is not to be copied or distributed to anyone outside the SLS network. However, individual charts included in this manual may be copied for personal use and educational purposes by SLS instructors.

Disclaimer: GRAMMY(R) is a registered trademark of the National Academy of Recording Arts & Sciences and we are not affiliated with the GRAMMY Awards or the National Academy of Recording Arts & Sciences. Use of the SLS technique does not guarantee a GRAMMY Award.

For more information:

Speech Level Singing International 137 North Larchmont Ave. #661 Los Angeles, CA 90004 +1 323 936 4873

[email protected] www.speechlevelsinging.com

(3)

1

CHAPTER 1 SETH RIGGS AND THE HISTORY OF SLS

The Beginning of the SLS Organization SLS Teacher Training

Current Hierarchy

Test Your Knowledge of Chapter One

CHAPTER 2 WHAT IS SPEECH LEVEL SINGING? Speech Level Singing Defined

Why Do Singers Need This Training? How Is SLS Different From Other Methods? Test Your Knowledge of Chapter Two

CHAPTER 3 HOW IT WORKS - STRUCTURE AND FUNCTION The Larynx

SLS and the Larynx The Vocal Cords

SLS and the Vocal Cords Why SLS Works

Breath and Vocal Cord Function SLS and Breathing SLS and Volume Vibrato

Test Your Knowledge of Chapter Three

2

Resonance

Incorrect Methods of Vocal Production SLS – The Better Way

Chest and Head Registers the SLS Way Bridges, Vowel Narrowing, Mix

Resonance Transfer/Split Resonance Three Things Within a Singer's Control Test Your Knowledge of Chapter Four

CHAPTER 5 CORE CONCEPTS - CAUSATIONAL TEACHING Cause and Effect

Teaching from Objectives Two Primary Goals

Vocal Cord Adduction, Low Larynx Stabilization Release and Connection

Test Your Knowledge of Chapter Five

CHAPTER 6 CORE CONCEPTS - DIAGNOSIS AND SOLUTIONS Tends To’s

Objectives

The Four Questions The Tools Vowels Consonants Scales Voice SLS Toolbox

The Six Steps of Successful SLS Instruction Tends To’s and Tool Solutions

Test Your Knowledge of Chapter Six

CHAPTER 7 BEST PRACTICES AND SLS TEACHING METHODOLOGY Planning, Delivery and Reflection

Rapport

Teaching the First Lesson Teaching Successive Lessons

Using the Six Steps for Planning and Reflection Test Your Knowledge of Chapter Seven

(5)

3

Lesson Flow

Sample Lesson Flow for Each Tends To Transitioning to Songs

Tends To’s and The SLS Roadmap for Vocal Development Tools and the SLS Roadmap for Vocal Development Test Your Knowledge of Chapter Eight

CHAPTER 9 YOUR QUESTIONS ANSWERED - TEACHER SURVEY RESULTS Teacher Survey Questions and Answers

Test Your Knowledge of Chapter Nine

CHAPTER 10 THE ART OF TEACHING

Increasing Motivation and Student Success Test Your Knowledge of Chapter Ten

CHAPTER 11 SETH SPEAKS

Interviews with Seth Riggs

Test Your Knowledge of Chapter Eleven

CHAPTER 12 CODE OF ETHICS

CHAPTER 13 REFERENCE CHARTS TO COPY SLS Toolbox

SLS Basic Scales Vowel Narrowing Chart

SLS Roadmap for Vocal Development IMT Feedback Form for Recorded Lessons Six Steps of Successful SLS Instruction

Tools and the SLS Roadmap for Vocal Development Lesson Planning Template

Lesson Planning with the Six Steps Self Evaluation Sheet

Four Questions Chart Student Record Chart

(6)

(7)

5

FOUNDER AND PRESIDENT SETH RIGGS

Seth Riggs is considered by many to be the best and most successful voice teacher in the world. He is certainly the busiest. Recording artists, opera singers, musical theater performers, actors, directors, and producers all rely on Seth Riggs for help. Whether he is called to train voices for recordings or tours, supply singers for concerts or movies, troubleshoot in the studio, or fix vocal problems on the set, Seth Riggs is the man to whom the professionals entrust their careers.

Who is he? Why do so many music business professionals rely on him?

Seth Riggs has dedicated his life to the study of voice. A singer since childhood, Seth’s lifelong dedication to understanding how the voice really works eventually resulted in the unique and innovative approach to voice known today as Speech Level Singing.

Seth’s first professional job was as a boy soprano for the prestigious Washington National Cathedral Boys Choir. He was so moved by his experiences there that he found himself returning to the chapel after each performance, silently asking at the main altar, “How can I continue in music?”

Seth Riggs

and the History of SLS

1

(8)

6

School of Music. Additional private study included lessons with John Charles Thomas, Robert Weede, Tito Schipa, and Helge Roswaenge. However, in spite of receiving music degrees from two prestigious music institutions, he still felt that the information he had been given regarding head and chest voice coordination was incomplete.

Seth sang with the New York City Opera Company on 55th Street for five years and was a member of the first New York City Opera Company at Lincoln Center. He spent three years in Broadway shows playing leading roles, including Lun Tha in The King and I with Barbara Cook, Starbuck in 110 in the Shade, and the juvenile lead in Do Re Mi with Phil Silvers and Nancy Walker.

Beginning in 1949, while performing in New York City, Seth taught voice with a studio of 65 pupils, and in 1967 he moved to Los Angeles, California, where his studio consisted primarily of musical theatre singers. While teaching, Seth began to formulate his approach to the connection between chest and head register and to assemble the intuitive insights about vocal registration that eventually resulted in Speech Level Singing (SLS) technique.

Seth was also engaged as a vocal therapist for Dr. Henry Rubin, Dr. Hans Von Leden, and Dr. Edward Kantor, who referred postoperative vocal patients for rehabilitation. Many singers came for lessons and vocal therapy, but one significant patient changed the course of Seth’s career. That student was Stevie Wonder.

Stevie came for postoperative care on the advice of Dr. Henry Rubin after undergoing vocal surgery. Producer Quincy Jones was so impressed with the results Stevie experienced that he began sending artists such as Michael Jackson, Luther Vandross, and Natalie Cole to Seth in order to help them improve their vocal ability, strength, and style.

His reputation expanded to the world of cinema when film director Martin Scorsese called him to work with Liza Minelli. Seth then began to receive more requests for help from film and theater industry actors and directors, including Steven Spielberg, Bob Fosse, and Oliver Stone.

Seth Riggs was now a force to be reckoned with – a teacher who was successfully transforming the singing of students in ALL genres.

(9)

7

Battistini, and teachers Riccardo Stracciari, Antonio Scotti, and Giuseppe De Luca, who all sang with great freedom while maintaining seamless melodic movement and no changes in registration. Seth believes the Speech Level Singing technique he eventually developed was not a new invention, but the uncovering and re-establishment of the purest approach to singing used by the greatest Italian opera singers of all time during the bel canto period.

Speech Level Singing is essentially the restoration of the original form of bel canto (which means “beautiful singing”), emanating from the 17th century Italian Schola Contorum. In the bel canto school, the voice is used in a healthy, efficient, and natural manner, with excellent “bridging”, and the same premise underlies SLS vocal production.

SLS trains singers to sing with a healthy, efficient, and natural vocal production that easily extends to all genres and styles of music.

The term “Speech Level Singing” has become identified with Seth Riggs’ technique because the positioning and usage of the physical mechanics involved in sound production closely resemble that of pure speech. Rather than producing a forced or manipulated vocal quality, SLS singers embody the art of bel canto, or beautiful, natural singing.

Bel canto (Belcanto, bel canto –

Italian for “beautiful singing”) is an Italian musical term that refers to the art and science of a vocal technique originating in Italy during the late 16th century, which reached its pinnacle in the early part of the 19th century.

(10)

8

studied with Seth Riggs.

Popular singers include: Ray Charles, Anita Baker, James Ingram, Barbra Streisand, Natalie Cole, Tamia, Michael Jackson, Michael Bolton, Al Jarreau, Luther Vandross, Julio Iglesias, Stevie Wonder, Josh Groban (first album only), Dusty Springfield, and Tina Turner.

Tamia Natalie Cole Stevie Wonder

Musical Theatre/Broadway singers include: Carol Burnett, Jeremy Irons, Richard Chamberlain, Nancy Dussault, Bernadette Peters, Leila Florentino, Peter Gallagher, Chita Rivera, Whoopi Goldberg, Douglas Sills, Robert Guillaume, Ben Vereen, and Derin Altay.

Classical and opera singers include: Metropolitan Opera singers Rodney Gilfry (lyric baritone), Donald Ray Albert (bass baritone), Angela Maria Blasi (lyric soprano), Eduardo Villa (tenor), and four Metropolitan Opera National Council Audition Winners in New York. His student Philip Webb (spinto tenor) was included with Plácido Domingo, José Carreras, and Luciano Pavarotti on a new recording from Brussels, Belgium, for Reader’s Digest.

Seth Riggs truly is the “Teacher to the Stars”, and the man behind “The Technique of Legends”. For a more complete list of Seth Riggs’ students, please visit his website at www.sethriggs.com.

(11)

9

all genres, critics emerged who tried to disprove the validity of the technique. As a result of friction created due to misinterpretations of the processes designed within the new technique, Seth was fired or chose to resign from several university positions and music organizations, including a branch of NATS (National Association of Teachers of Singing), California Institute of Performing Arts, and California State University at Fullerton.

At that time, there were many people teaching Seth’s method – some were former students, while others were using Seth’s book Singing for the Stars as a guide to their teaching but had never personally studied with him. This became a real concern for Seth as he sought to protect the integrity of the vocal technique he had developed.

This concern was shared by another man – Dave Stroud.

Dave came to California in 1989 from Utah to devote his life to studying the work of Seth Riggs. He spent years observing Seth’s teaching and analyzing what Seth did intuitively. This resulted in the creation of a unique and logical approach to vocal training especially designed for teachers who had come to believe that the “status quo” in voice teaching was no longer acceptable.

Along with Seth’s late wife Kathleen, Dave was determined to protect the purity of Seth’s approach. Together they began to devise a certification process to educate teachers. Dave’s vision was to create an organization of voice teachers who were as passionately committed as he was to preserving the integrity of Seth’s teaching.

From 1995–1999, Dave struggled to realize his vision, despite having been told many times that such an organization would never work, that voice teachers could not work together toward a shared vision, and that his ideas would never be successful. However, because of his great persistence, determination, and vision, Dave refused to give up on his goal to create a community of voice teachers with a passion for great teaching.

By 2000, the certification process was in place, with seven certified teachers.

(12)

10

has expanded to include the Summer Vocal Program, the mySLSworld Internet Community, collaboration with American Idol, international product sales, educational outreach, and certification and training of teachers in countries including the United States, Great Britain, Ireland, Austria, Italy, Germany, France, Denmark, Poland, Russia, Australia, New Zealand, Hong Kong, and Singapore, with interest in Speech Level Singing growing daily in many other areas of the world.

The branding and positioning of “Seth Riggs” has now become bigger than the man. With a network of certified instructors around the world, Seth’s legacy will continue to impact the lives of singers and teachers in generations to come. The power of Seth Riggs is in the integrity, heart, and passion of the man himself – a passion that has inspired and shaped the voices of millions of singers worldwide. At the very heart of it all remains his quest for knowledge about how the voice works and his desire to develop a technique that can be used by all singers in any language, style, or genre of music. Great teachers are perpetual students – they are always learning.

Seth Riggs is such a teacher.

Dave Stroud’s singular focus to capture and translate all that Seth is and does resulted in an organization built around integrity, education, and continued professional and musical growth. His desire to see Seth’s methods promoted with purity and integrity have given the world something to depend on – voice teachers who can truly make a difference.

What started with one man has evolved into a continually growing organization of dedicated teachers who all share a common purpose – to teach a healthy vocal technique that enables singers to unleash their potential and experience the joy of singing well throughout a lifetime.

(13)

11

Singing technique or to claim any association with the name Seth Riggs or Speech Level Singing. Certification to teach SLS requires regular and ongoing professional development. Teacher training is specifically designed to help teachers become not only outstanding instructors but also to remain on the leading edge of vocal science and education.

SLS teacher training is delivered by Seth Riggs and a team of Master Teachers, collectively known as the Instructor Management Team (IMT). IMT events are held in numerous major cities around the world for the purpose of educating SLS teachers and bringing Speech Level Singing to the community at large. IMTs hold Masterclasses, give private lessons, and observe teachers while they teach students in order to provide effective feedback. Public Masterclasses may be attended by anyone with an interest in learning more about Speech Level Singing.

Every SLS teacher who is committed to their teaching should fully participate in all IMT events in the local area. They should also encourage all of their students to attend SLS Masterclasses during every IMT event. Additionally, teachers should assist in spreading the word about IMT events to their communities - church members, schools, theatre companies - any acquaintances who might benefit from a greater understanding of Speech Level Singing.

In addition to participation in local IMT events, teachers are highly encouraged to attend the annual Summer Vocal Program and Teachers’ Conference. All of these educational opportunities are designed to give teachers SLS-specific skills and knowledge that is difficult or impossible to find elsewhere. SLS events also provide an invaluable opportunity to network with other professionals who are dedicated to the art and science of teaching voice.

(14)

12

•

An exceptional opportunity to study from a “Master Teacher” – a person who has a legacy of successful teaching, training, and methodology. This term commonly occurs in the “Arts” fields, including music, singing, acting, and dance.

•

The Master Teacher is a world-renowned expert in his/her field, with numerous credits, accolades, and awards for exceptional accomplishments in his or her area of expertise.

•

A Masterclass is given in order to allow local students the opportunity to learn from a teacher who has attained “Master Teacher” status.

•

Students who are not selected to sing during Masterclasses will learn equally by observing other students working with the Master Teacher. Students benefit tremendously from the information they receive, as well as from the opportunity to meet a successful industry professional.

•

A Masterclass may focus on pedagogy or application to style, or may be given to introduce SLS to a community.

•

Attendance at Masterclasses allows all SLS teachers and students in a community to get to know one another and become more unified.

•

Advanced students who are ready for a career in music are able to draw upon the connection with the Master Teacher for networking in the industry, and a Master Teacher may refer exceptionally talented students to other professionals who can assist them in the advancement of their careers.

•

Anyone with an interest in Speech Level Singing is encouraged to attend SLS Masterclasses.

(15)

13

! David Stroud, CEO ! Chuck Meyer, COO

! Dean Kaelin, Point IMT-IE ! John Henny, Point IMT-ID

! IMT (Instructor Management Team)

! Group of Instructor Developers – Group of Instructor Evaluators ! Spencer Welch, Point EAG

! EAG (Educational Advisory Group) ! Instructors, Levels 1–5

For more information, please visit:

! Speech Level Singing International www.speechlevelsinging.com ! Seth Riggs Vocal Studio www.sethriggs.com

(16)

14

1 How is Speech Level Singing similar to “bel canto” vocal production?

2 Describe how the term “Speech Level Singing” has become identified with Seth Riggs’ technique.

3 Why do you think that teaching after having a few lessons with Seth and purchasing the

Singing for the Stars book is not sufficient to protect the integrity of Speech Level Singing

technique?

4 Why is it important to teach SLS in a “pure” way?

5 How do you think the ongoing education requirements for SLS certification could raise the level of professionalism in the field of voice teaching?

6 How do you think the education requirements for SLS certification could help you in your own teaching?

7 What is a Masterclass?

8 Why should all students of SLS teachers attend Masterclasses?

9 How is attendance at SLS IMT events, Teacher’s Conference, and Summer Program beneficial to SLS teachers?

(17)

15 SPEECH LEVEL SINGING DEFINED

Speech Level Singing is a revolutionary technique that enables people to sing without inappropriate muscular tension in the same easily produced and effortless way that they speak (assuming the speaking voice is not constricted, forced, breathy, or pitched incorrectly). SLS technique enables singers to develop a marketable yet healthy voice that is connected through the entire range, allowing the singer to negotiate the “bridges” of the voice and to mix into the upper register easily and without muscular tension. SLS singers perform in any style with freedom and flexibility, their voices remaining healthy throughout a lifetime of singing.

The purpose of SLS training is to induce and maintain a healthy, naturally produced, and relaxed vocal production through the use of “Tools” which create:

•

balanced registration and connection between registers

•

seamless negotiation of the bridges of the voice

•

appropriate vocal cord adduction and compression

(not over-compressed or under-compressed), and

•

a relaxed, low and stable larynx.

What is

Speech Level Singing?

2

“I define Speech Level

Singing as an absolute refusal to help the pitch in any way, or to reach for low notes or high notes” – Seth Riggs

(18)

16

“Speech Level Singing is the ability to always maintain a speech level production of tone –- one that stays connected from one part of your range to another. You don’t sing like you speak, but you need to keep the same comfortable, easily produced vocal posture you have when you speak so that you don’t reach up for high notes or press down for low ones. This takes time and patience to coordinate. A teacher needs to know how to get each of his students to sing through his or her range in a connected, easy manner, without any “breaks” or sudden changes of tone quality. This is Speech Level Singing.” – Seth Riggs

The combination of all these elements makes SLS training unique – there is no other vocal training method that so clearly identifies these important parameters of structure and process. SLS provides specific tools that can be implemented in a methodical and effective training program.

For that reason, it is vital that SLS is taught in a pure and unadulterated way, without mixing in other vocal methods.

Why do singers need this training?

Many singers consciously or unconsciously use excessive muscle (known as “extrinsic muscle”) in order to sing higher, louder, or with more emotion. When incorrect muscles are engaged in an attempt to “help” the sound, the vocal cords are prevented from vibrating freely.

In SLS vocal production, the larynx remains relaxed, low and stable (not rising for high notes or pressing down for low notes) and the vocal cords remain appropriately closed (adducted) throughout the entire range so that the singer easily negotiates the bridges of the voice, making smooth transitions through all the vocal registers with uninterrupted connection.

As a result, the singer’s words are clearly and effortlessly produced and the sound is natural, rather than manipulated or forced. The SLS-trained singer is able to sing easily through an extended vocal range with an even and connected vocal production and freedom from vocal breaks and strain.

(19)

17

How is SLS different from other vocal methods?

Several elements make Speech Level Singing a unique and innovative approach to voice training. SLS offers a unique, yet scientifically based, instructional method which may differ in the following areas from the standard approach to voice teaching: breathing; relaxed vocal production; bridging; vowel narrowing; chest, head and mix registers.

Breathing: Many voice teachers overemphasize breathing techniques and give exercises that result in too much air pressure, particularly for high notes. SLS teaches that although breathing may need to be addressed and is part of the process of singing, it is not the most important issue in vocal development and may in some cases be overused; excessive air pressure causes the vocal cords to react by tightening too much.

Higher notes actually require less air because the vocal cords gradually reduce in vibrating mass as the scale ascends, so less air is required for efficient vocal cord function. SLS pedagogy emphasizes a balance between “muscle” (resisting ability of the cords) and air, which results in healthy and free vocal production. Breathing is a result of good vocal production rather than the cause.

Relaxed vocal production: Consciously exerting too much tension over the muscles that govern airflow is counterproductive; SLS teaches that relaxation is vital for efficient singing. However, relaxation is a result of good vocal production and not a cause. The singer should not feel tension or strain anywhere in the body, should remain sensitive to any buildup of air pressure, and should never push the voice. SLS teachers are also aware that volume is a by-product of good vocal production – as the voice achieves better coordination, balance and registration, volume naturally grows.

Bridges: Primary importance is placed on the functioning of the vocal cords and on the student’s ability to mix smoothly into the higher registers without strain by correctly negotiating the bridges of the voice while maintaining a low, stable larynx, adducted (closed) vocal cords, and connection between registers. The bridges or transition areas are also known as passaggio (singular) or passaggi (plural).

(20)

18

Vowel narrowing: Vowel narrowing will counteract the student’s tendency to grip by activating the outer (extrinsic) muscles and remain stuck in the chest voice. When we narrow a vowel, we substitute a more effective vowel (a more narrow vowel) for one that may be causing the singer to pull chest in a song or exercise. The more narrow vowel, by it’s acoustical nature makes it easier to sing without activating the outer (extrinsic) muscles. For example, the phrase “Somewhere over the rainbow” becomes “Somew[I]r over the r[i]nbow”. When the vowel is narrowed, the resulting sound will be perceived as correct by the listener because the student has been prevented from “spreading”, and thus altering the vowel. When the vowel is more narrow, the student will experience a feeling of ease while negotiating areas of the voice that were formerly problematic. This process is used both in the bridges of the voice and in the approach notes to the bridges to encourage release. Expansion occurs after every area that has been narrowed, so the entire voice is a series of “figure 8” patterns of narrowing and expanding.

Chest, Head and Mix: There are two commonly used but incorrect methods to get through the bridge; either to push the chest voice up too high (which sounds like yelling) or to disconnect into “falsetto” (falsetto is a breathy sound that cannot connect back into the chest voice).

Chest belters usually associate pressure with power in singing and tend to use too much muscle. Often the singer’s mouth spreads wide into a smile or grimace, particularly as the singer attempts to sing higher notes. Students who pull chest too high usually widen the vowel and blow too much air, particularly at the first bridge. Belting can result in vocal damage and will limit vocal range and style.

Commonly, singers trained in traditional “legit” or classical methods use too much air and not enough cord adduction. The head voice is brought down as far as possible, resulting in incorrect register balance and inaudible vocal production in the lower registers for women.

SLS teaches singers to mix. When the mix is used correctly, a connection between the lower and upper registers is maintained as the singer ascends in pitch and there is an even, smooth transition through the bridges (or transition areas) resulting in an easily produced, natural, yet powerful and free vocal sound throughout the entire range. With SLS technique, singers can sing in any style while maintaining the health and longevity of their voices. Professional singers in every genre – including Gospel, R&B, Jazz, Pop, Country, Musical Theatre, and Opera – all rely on Speech Level Singing.

(21)

19

1 Speech Level Singing enables people to sing without inappropriate _________________. 2 The purpose of SLS training is to induce and maintain a _____________ vocal production. 3 SLS training will result in _________ registration and a _______, ___________ and

_________ larynx.

4 Most singers use too much __________ to sing higher, louder, or with more emotion. 5 What is meant by “appropriate vocal cord adduction”?

6 Describe how SLS may differ from other methods with regard to teaching breathing. 7 What are two incorrect ways an improperly trained singer may attempt to sing high notes? 8 “Legit” or “classical” singers often use too much _________ and not enough _______,

particularly on the lower notes of their range.

9 “Chest belters” often associate __________ with __________.

10 SLS singers learn to _______________ instead of pushing, forcing, yelling, or disconnecting on high notes.

11 In correct SLS vocal production, a _____________ is maintained between the upper and lower registers.

12 In correct SLS vocal production, the goal is to achieve a smooth transition through ____________________.

13 True or False: SLS singers should only sing in one style, preferably their teacher’s favorite style.

(22)

(23)

21

It is important that the “Structure and Function” information that follows is not the primary emphasis of the lesson. You may not or may not encounter a student whose learning Tends To’s would require the disclosure of such information. However, it is provided here in order that teachers will have an increased understanding of how the voice works; remember that a good SLS teacher is defined by his/her knowledge of the SLS Tools.

THE LARYNX

The larynx, also known as the “voice box”, is located just below where the pharynx (throat) divides into two tracts: the esophagus, which leads to the stomach, and the trachea, which leads to the lungs. It is made up of cartilage, ligaments, muscles, and mucous membrane and houses the vocal cords (also known as the vocal folds), which are attached horizontally from front to back. Vocal sound (phonation) is created by the resistance of the vocal cords to the air pressure which builds up from below. Compressed air molecules released from the vocal cords during the vibrating process create sound waves, which are reinforced in the cavities above the larynx. Besides its role in phonation, the larynx has a role in swallowing (which is its primary function), respiration (breathing), and in a function known as “effort closure”, which refers to the function of the larynx during coughing, lifting, and straining. When the larynx is relaxed and stable (not moving up or down during phonation), the vocal cords vibrate freely and can adjust easily to create pitch as needed.

How It Works:

Structure and Function

(24)

22

MUSCLES

The muscles of the larynx are divided into two groups: intrinsic and extrinsic. The intrinsic muscles of the larynx function as abductors (openers) or adductors (closers) of the vocal cords:

1. The cricothyroid muscle lengthens and stretches the vocal cords. 2. The posterior cricoarytenoid muscle abducts the vocal cords. 3. The lateral cricoarytenoid muscle adducts the vocal cords.

4. The thyroarytenoid muscle (also called the vocalis muscle) shortens the vocal cords.

5. The transverse arytenoid muscle adducts the vocal cords.

Figure 1: Intrinsic muscle action

The extrinsic muscles, also called the “strap” muscles, move the larynx up or down during swallowing and coughing.

(25)

23

CARTILAGE

There are nine cartilages that make up the framework of the larynx: 1) Thyroid 2) Cricoid 3) Epiglottic 4) Arytenoid x 2 5) Corniculate x 2 6) Cuneiform x 2

The arytenoid, corniculate, and cuneiform cartilages form a cartilaginous structure referred to as the arytenoids.

Under the thyroid cartilage sits the cricoid cartilage, which is the base and support structure for the entire larynx. The agonist-antagonist action of the cricothyroid muscles with the thyroarytenoid muscles creates a complex kind of “rocking” motion between the cricoid and thyroid cartilages that alters the length of the folds.

THE HYOID BONE

Suspended just above this framework is the hyoid bone, which bridges the tongue and the body of the larynx. During swallowing, the hyoid bone rises up and meets the epiglottis, a leaf-shaped cartilage, which folds down. This protects the vocal cords, the trachea, and the lungs from foreign bodies during swallowing. The hyoid bone is not considered a part of the laryngeal framework but is important in vocal production.

(26)

24

LARYNGEAL TRAUMA

Symptoms of laryngeal trauma (distress in the larynx) include hoarseness, loss of voice, pain in the throat or ears, and breathing difficulties.

Types of trauma:

•

Acute laryngitis is the sudden inflammation and swelling of the larynx and can be caused by the common cold, excessive shouting, extremely loud singing, singing in the high ranges incorrectly, or by overuse of the voice.

•

Chronic laryngitis is caused by smoking, dust, frequent yelling, or prolonged exposure to polluted air, and is a serious condition.

•

Polyps and nodules are growths on the vocal cords caused by prolonged exposure to cigarette smoke, vocal abuse, or overuse of the voice.

•

Two related types of cancer of the larynx – squamous cell carcinoma and verrucous carcinoma – are strongly associated with repeated exposure to cigarette smoke and alcohol.

•

Vocal paralysis, in which one or both vocal cords totally stop functioning, or paresis, in which there is a weakness of one or both vocal cords, may be related to nerve damage.

SLS AND THE LARYNX

The term “Speech Level Singing” refers to the functioning of the larynx as it occurs in easy, comfortable speech production: the larynx remains in a relaxed, stable position; it does not rise for high pitches and does not lower to create darker or bigger sounds; the throat, mouth, and soft palate are not manipulated to alter the sound.

Speech Level Singing does not necessarily mean “sing like you speak” – many people speak incorrectly, with breathy tones, nasal sounds, or constriction in the throat muscles. The term “Speech Level Singing” simply refers to a natural, unconstrained, and unmanipulated vocal production. The cords are appropriately adducted throughout a large range of pitches while the larynx remains relaxed, low and stable, as it is after a breath or during effortless speech. When the larynx is relaxed, low, and stable (not moving up or down during phonation), the vocal cords vibrate freely and can adjust easily to create pitch as needed.

(27)

25

It is common for untrained or badly trained singers to incorrectly involve extrinsic muscles such as the swallowing muscles in an effort to sound louder, more intense, or to attain higher pitches. Engaging extrinsic muscles to control or “help” the voice causes the larynx to rise, which prevents the vocal cords from adducting efficiently and vibrating freely, thereby creating tension in the resonating system.

THE VOCAL CORDS

The anatomical term for the vocal cords is the vocal folds; these terms are interchangeable. The term “vocal cord” is commonly misspelled as “vocal chord”.

Figure 4: The vocal cords

Vocal cords are not actually cords or strings, as is commonly believed, but are skin-like flaps made of mucous membrane and muscle stretched horizontally across the opening of the trachea. The vocal cords form a “V” shape, with the narrow end toward the front of the larynx and the broad end towards the spine. In women, the vocal cords are approximately 0.5–0.7 in. (12.5– 17.5 mm) in length and in men 0.8 –1 in. (17 –25 mm) in length.

(28)

26

When we breathe, the vocal cords are in a relaxed and open state (abducted). When we talk, cough, or swallow, they adduct. During swallowing, the larynx rises and the epiglottis moves down over the top of the vocal cords to assist them in keeping food and fluid out of the trachea and, ultimately, the lungs.

Air building up from the lungs under the vocal cords creates subglottal pressure, causing the vocal cords to oscillate. When the cords are pushed apart by this increased subglottal pressure, the natural resilience of the cords brings them back together. This process is called the “vibratory cycle”. In order to create pitch, the cords must oscillate at the relevant frequency (Hertz; abbreviated Hz). For instance, at A4 (middle C = C4), the vocal cords oscillate 440 times per second (440Hz).

Figure 6: The vibratory cycle

Vocal cord length and tension is controlled through the thyroid cartilage movement and by the intrinsic muscles within the vocal cords.

The lowest frequency produced by any particular instrument is known as the “fundamental frequency”. In the voice, pitch is determined largely by the fundamental frequency of the sound generated by the larynx. The fundamental frequency is influenced by many factors, including the length, size, and tension of the vocal cords. In an adult male, this fundamental frequency averages about 125 Hz, adult females around 210 Hz, and children over 300 Hz.

(29)

27

Figure 7: Vocal cords during breathing and speech

“When we are learning to sing, we cannot see or touch what we are working with, but we need to elicit voluntary and controlled movements in response to thought processes... The unskilled performer invariably increases tension and effort. If the musculature of the larynx has been developed properly through training, this is not necessary”. – (Ingo Titze:

Voice Research and Technology)

SLS AND THE VOCAL CORDS

Because singing requires a much greater range of pitch, duration, and quality, the demands made on the vocal cords when singing are greater than those made during speech. These demands must be met by the vocal folds using the intrinsic muscles of the larynx, rather than the extrinsic (swallowing) muscles. In correct SLS vocal production, the ideal is that there is no extrinsic muscular interference; as a result the vocal cords are free to function in a natural and efficient manner.

As an SLS singer ascends in pitch, there is no straining, pushing, and there are no "breaks" or changes in vocal quality. Instead, as the singer transitions smoothly upward, the vocal cords are allowed to gradually reduce in vibrating mass.

(30)

28

Because we now have only the ability to look at the vocal cords from above in order to observe vocal production taking place, we are not able to get the “whole picture”. Ear, nose and throat specialists and other vocal scientists are not in complete agreement regarding vocal cord function. Even with stroboscopic, super-slow motion, or even stop-action photography, there is no way of determining absolutely what is happening at all times during vocal production, particularly at the subglottal level. Additionally, the process of scoping is an invasive one that limits vowel and consonant articulation, so it is impossible to tell exactly what is occurring when various consonants and vowels are being sung.

What is known is that as a singer ascends in pitch, there is a gradual reduction or elimination of the vibrating element (vocal cord mass) and a corresponding decrease in the amount of air required to provide optimal vocal cord function.

WHY SLS WORKS:

The "cause and effect" approach used in Speech Level Singing is a major reason for the success of this technique. The exercises encourage or even "trick" the nervous system and the brain into accepting the transitions that occur naturally when the body is free from tension.

In the application of SLS exercises, a new neuromuscular response is created that gives the student an experience of effortlessly moving through the bridges of the voice while continuing to maintain vocal cord closure and a relaxed, low and stable larynx.

These neuromuscular responses are reinforced and developed over time as a result of exercises specifically designed to lead the singer into a condition of freedom from muscular interference and on to a healthy vocal production that can be maintained for life.

SLS singers can vocalize over a wide vocal range with ease and freedom because the technique enables them to create sound with a relaxed and natural vocal posture that is free of tension and interference from incorrect muscles.

“Resist Assisting the Pitch” Seth Riggs

(31)

29

BREATH AND VOCAL CORD FUNCTION

When air is exhaled from the lungs, it travels up the trachea (windpipe) and through the vocal cords housed in the larynx. During inhalation and exhalation without phonation, the vocal cords remain open. During phonation, the cords approximate (or adduct) and then quickly blow open again to allow compressed air underneath to escape. This process creates a sound wave. A series of sound waves is known as “vibration”. Sound generated in the larynx is altered as it travels through the vocal tract by the position of the tongue, lips, mouth and pharynx.

Figure 8: The respiratory system

SLS: BREATHING AND SUPPORT

While other vocal techniques stress breathing and support as primary steps in good singing technique, SLS believes that they are a RESULT of good singing, rather than the CAUSE. Scientific and medical studies show that too much air pressure causes the vocal cords to swell (this is called edema) because they are not designed to withstand an extreme amount of air pressure.

To breathe correctly for singing, the singer should simply stand tall with the shoulders slightly back, the chest up and out, the abdominal muscles relaxed, and then easily breathe to the bottom of the lungs, without excessive noise attached to the intake of air. There should be a slight expansion in the abdomen and the ribs. As one sings, the abdomen slowly comes in until the next intake of breath. It is important not to grip the glutes, tighten the abdominal wall, push the stomach out, or do anything else that will result in muscular tension.

(32)

30

The abdominal strength a singer has (no matter what kind of shape he or she is in) is already more than sufficient to do the job required for singing, so additional abdominal strengthening is not necessary. Of course, general aerobic fitness is extremely beneficial to good singing and to good health and is highly recommended.

“For optimal singing, a sense of muscular stress and the exertion of great force is neither necessary nor desirable.” – (Ingo Titze: Voice Research and Technology)

The SLS teacher should always be focused on creating BALANCE in the student’s voice. Over-supporting, pushing the air, and using excessive abdominal muscle all result in an imbalance in vocal production that is highly unhealthy and damaging to the vocal cords.

The most important thing an SLS teacher can do is to balance the registers, getting the student into a well-produced mix by creating a balance between airflow and the resisting capability of the vocal cords (sometimes referred to as “muscle”). The student should be prevented from blowing or pushing too much air. However, as the student gains in strength, he or she will be able to resist more, and eventually “press in” (provide greater vocal cord resistance without incorporating incorrect muscle) to the sound. This happens at the vocal cord level; the term “press ” in SLS terminology refers to the ability of the vocal cords to more efficiently resist the air, and does not refer to the extrinsic muscular action of the throat or abdominal muscle.

CORD ADDUCTION – BREATHY PRODUCTION VS. OVER-COMPRESSION

A “breathy voice” is created when the vocal cords are positioned in such a way as to allow air “leakage” through the glottis (the space between the vocal cords). In falsetto, a permanent oval orifice is left between the edges of the true cords through which air escapes. This orifice increases in size as air pressure is increased.

The opposite of a breathy voice is an “over-compressed” sound, in which the vocal cords are pressed together more than is necessary for good vocal production. These are the extremes of a continuum of adduction. In an efficiently produced sound, a small separation of the vocal cords allows for an optimal pattern of vibration to be maintained.

(33)

31

If the folds are not properly adducted, the result is an overly breathy sound that diminishes power. Too much adduction (over-compression) also diminishes vocal power and overuse of this effect will eventually damage the vocal cords.

“In mature, well-developed voices, tones are produced with a firm (but not tight) vocal fold adduction, with a small glottal opening and an efficient use of the sub-glottal pressure and airflow. There is a tendency for those who use hyperadduction to apply greater sub-glottal pressure.” – (Ingo Titze: Voice Research and Technology)

SLS AND VOLUME

Volume is a subject that teachers must monitor very carefully. Many students believe that “louder is better”. Unfortunately, some teachers teach as if that were true. As SLS teachers, it is extremely important that we not allow or encourage our students to employ too much volume in their singing, especially when they are beginning. Would a person beginning a fitness routine go to the gym and bench-press 500 pounds (227 kg) on the first day? They might try, but would not be back the next day! In the same way, we must give the vocal mechanism time to learn to coordinate effectively and eventually work toward building up stamina and strength.

In SLS, “volume” is defined as “the result of the proper ratio of vocal cord resistance versus air pressure coordinated in a state of balance”. With too much air pressure, the cords are unable to remain appropriately adducted. Too little air pressure and the cords have nothing to resist. In SLS, the priority is to find the optimum balance between air pressure and the resistance capability of the cords. Once that balance is established, the student can gradually “press” more; ultimately, the result will be an increase in volume.

Students are often attracted to the larger, fuller sounds of advanced singers. Our responsibility is to initially prevent them from singing as loudly as a fully developed and mature voice. Teachers should aim instead for balance. Volume will, with regular practice and reinforcement of good

technique, increase in proportion to the genetic predisposition of the student. This means that

“Volume is a result of the vocal cords’ ability to resist air pressure.”

(34)

32

some singers, because of the size of their vocal cords and other bodily structures, will ultimately be able to produce bigger sounds. When dealing with younger singers, a good teacher should never attempt to superimpose a professional singer’s sound on an undeveloped voice.

“Coordination of the voice at your speech level must be developed before you can begin to build strength. As you do the exercises, don’t feel that you have to do them loudly. That is not important. If you try to sing too loudly (using too much air) too soon, your outer muscles will never give up their pulling and tightening reflexes. Have patience.” – Seth Riggs

Students often fail to realize that constant forte (loud) dynamic levels soon become boring to the ear and that greater effect can be achieved by using contrasting dynamics such as moderately soft (mezzo piano or mp) with moderately loud (mezzo forte, or mf) sounds. Encourage students to find the freedom and ease of a well-balanced vocal production and they will maintain a much healthier vocal instrument for life.

As teachers, our first responsibility is to give our students even, controlled sounds from the bottom to the top of their vocal range. Volume should never be our primary goal; it is a by-product of good vocal training.

The following chart shows some examples of vocal cord injuries resulting from singing with too much pressure on the vocal cords.

(35)

33

VIBRATO

Vibrato is a cultured or artistic fluctuation usually introduced purposefully by the singer. The pitch will alter +/- 0–3%, occurring 4.5–6.5 times per second and at a rate of 4.5–6.5 Hz. The rate of vibrato can vary according to such factors as vocal intensity, the age and physical condition of the singer, muscular interference or tension, and the singer’s preconceived notion of how vibrato should sound.

Recent research indicates that the cricothyroid and thyroarytenoid muscles are the primary producers of vibrato, and that the movement of the thyroid and cricoid cartilages is the main source of vibrato.

Most “natural” vibratos are actually learned by imitation, and vibrato aesthetics (what is considered to be a pleasing sound) vary. For example, in some parts of the world, an extremely fast vibrato coupled with a high larynx is used in indigenous music and is considered highly attractive. As in speech, singers often automatically assimilate the vibrato sounds they hear while growing up (for better or worse). Therefore, a good instructor should be able to model appropriately and demonstrate good vibrato in order to provide a better vocal example to a student.

Vibrato can also vary in style application. For example, many rock singers use little or no vibrato. Classical singers use vibrato on every note, which is appropriate for operatic and classical styles in music. Jazz singers often use a “delayed vibrato”, which is a straight tone followed by vibrato. The stylistic demands of the song will dictate when, where, and how much vibrato is required.

Various vibrato styles are all correct as long as they are produced without throat tension and fall within the acceptable limits of a pulse rate of approximately 4.5-6.5 pulses per second.

If the student is pulling, over-compressing, or does not have cord closure, vibrato is likely to be incorrect. Advise the student to practice at medium volume (mf) or even softly (mp) to discourage muscular tension. Remember, balance will encourage vibrato to occur naturally.

(36)

34

VIBRATO RATE – TOO SLOW VS. TOO FAST

Voices that consistently use too much weight often develop a very slow vibrato, or wobble. Singers who use excessive vocal cord and throat tension often have a fast bleating sound, which is called by the Italian word tremolo.

(37)

35

Vibrato adds richness, warmth, stability, and power to the tone. It is an essential element of good singing. Vibrato should be introduced as soon as sustained tones can be sung with good vocal production. Vibrato is often the favorable result of a well-balanced voice; however, sometimes it is necessary to encourage vibrato production. The following methods will give a student the experience of vibrato; ultimately, the neuromuscular system will take over and the vibrato will occur more naturally.

Be aware of tension building up in the student’s throat; in creating vibrato, the teacher should not allow extrinsic muscular action to occur. As the voice becomes better balanced, the singer will sometimes naturally start to use vibrato, particularly if he or she has had good vibrato modeling from the teacher. Therefore, emphasis should be placed on balancing the voice first.

1) A “false” vibrato can often be encouraged by rapidly pulsing on the area just below the sternum as the student sings a sustained [i] vowel in a comfortable range. This allows the student to experience vibrato without having to “make it happen”. Alternate between exercises sung with the teacher providing pulses, and exercises sung without teacher assistance. Then ask the student to place their fingertips in the same area and pulse rapidly when singing a sustained pitch.

2) Ask the student to oscillate the pitch up and back a minor second on an “Edgy mmm”. Then ask the student to do the same on an “[i]” or an “[u]”. The closed vowel will provide release for a student whose Tends To (tendency towards) is “pull chest”. If the student’s Tends To is “no chest” (refer to Chapter 6), you may want to try tool combinations that provide more air resistance and cord closure, such as wide vowels and hard consonants. Your two primary objectives should always be good cord closure and a low, stable larynx.

“A relaxed vibrato should exist whenever you dwell on a note, or sustain. It is a natural function of a

(38)

36

3) The student will sing a lip trill followed by a straight tone on a closed vowel such as [i] or [u] with the teacher pulsing on the area just below the sternum to facilitate vibrato. The pulse rate should approximate the correct vibrato pulse rate of 4.5-6.5 pulses per second. Next, alternate the “tummy pulse” with the student attempting to initiate the vibrato on their own.

4) 5-tone scales on F[i] or F[u] are effective because they create release due to the narrow vowel. G[i] is also effective because the hard consonant establishes cord closure. Again, use the “tummy pulse” and start this scale in the student’s chest register, sustaining with vibrato on the top note.

5) The “Car Start” exercise is an exaggerated form of good vibrato and may be helpful in getting the student to experience the feeling of vibrato; use the [i] vowel and make the sound of a car trying to start with an almost dead battery: ee-ee-ee. Start slowly and increase speed.

6) To correct an overly fast “bleating” vibrato (tremolo), or its opposite, the slow “wobble”, have the student sing a straight tone. Once that is accomplished, you can “trick” them into feeling a more correct vibrato by manually pulsing the area below the sternum at the rate of about 5-7 pulses per second.

7) Teacher modeling: demonstration followed by student imitation is effective in teaching vibrato. Students often learn “aurally”, that is, by listening to the sound and imitating it. Start by demonstrating vibrato on a whole note (four counts). Have the student imitate you. Extend to eight counts, and then move on to exercises with sustain, such as the “repeater with sustain” and “octave down 3x” exercise. Sing phrases of music with vibrato and have the student imitate you. (If you cannot model good vibrato, consider working more often with a higher-level SLS teacher on your own voice).

8) Shaking a fist or both fists in the air creates a temporary pulse as they hold a straight tone. Alternate this with attempting to initiate the vibrato on their own.

(39)

37

1 The larynx is made up of: _______________ __ __ . 2 Phonation is created when the vocal cords

_________ _ . 3 The sound wave is modified by ..

4 Laryngeal trauma can be a result of _______________ . 5 What is Titze’s opinion regarding the requirements for optimal vocal production?

6 Speech Level Singing does not necessarily refer to singing exactly as you speak. Why? 7 When we breathe, the cords open or .

8 When we speak or sing, the vocal cords . 9 What occurs when the cords are adducted too much?

10 A breathy voice is the result of too little .

11 Although we can only see vocal cord function from above, we are reasonably sure that the cords require less to sing high notes because they are functioning with less .

12 Why is it not necessary to focus primarily on breathing techniques with our students? What is a more effective approach?

13 What happens if we blast too much air against the cords?

14 Why is volume not our first priority as teachers? What is more important? 15 What is the definition of volume, as stated in the manual?

16 What is vibrato? Should every singer have it? 17 What does Seth say about vibrato?

18 An overly fast, “bleating” vocal sound is called . 19 A vibrato that is too slow is called a and may be the result of

too much _________________________ . 20 True or False: Vibrato just happens: some have it, and some never will.

21 Vibrato is often the natural result of a voice. 22 Name three techniques that will encourage vibrato in a student.

23 If you are not able to demonstrate and model good vibrato, you should: a. Avoid teaching vibrato and hope they get it on their own.

b. Tell the student they should have a natural vibrato if they are talented.

c. Study with a higher level SLS teacher than you are, and work daily on your own vocal technique.

(40)

(41)

39

CHEST VOICE, MIX AND HEAD VOICE

In SLS, you will often hear and use terminology such as chest voice or chest register, head voice or head register, mix, bridging, etc. This chapter will define and explain these terms from the SLS perspective.

The sensations felt by the singer when they are in “chest” or “head” voice are actually byproducts of vocal resonance. For example, the singer may feel vibrations in the chest when singing low notes. Sound resonating throughout the chest cavity produces the sensation of sound coming from the upper chest because lower-frequency sounds have longer wavelengths, which resonate in the larger cavity of the chest. Because of the resulting sensation of resonance in the chest, the lower end of the vocal range has become known as the chest voice or chest register.

As a singer ascends in pitch, he should feel a resonance transfer starting around the first bridge; as he moves higher he will experience a feeling of split resonance, with some of the sound resonating behind the soft palate. In SLS, this area of the voice is known as the “mix”. As the pitch continues to ascend, the highest notes may appear to be vibrating out of the back or top of the head; hence the term “head” voice or register.

SLS Pedagogy

Registration and Bridges

(42)

40

RESONANCE

The voice, of course, does not begin in the chest or the head; it begins in the larynx. Pitch and intensity are created at the vocal cord level, and then the sound is modified and amplified before leaving the mouth.

The singer experiences physical sensations resulting from resonance activity. Although vocal cord vibration initiates the tone, resonance determines the unique sound of each singer; resonance is affected by the size and shape of the cavities within the skull.

The physical sensations experienced by the singer as a result of resonance activity can be used as a guide to help maintain consistently correct use of the voice. Remember that when teaching SLS, we do not talk in terms of sound description, aesthetics, or the expected result. Instead, we use the Tools to create the sound so that the singer can experience it.

INCORRECT METHODS OF VOCAL PRODUCTION

Resonance activity combined with interfering (extrinsic) muscles can make transitions between areas of the voice very difficult. An incorrectly trained singer’s voice will shift in quality, sound strained, or even disconnect as they attempt to move from chest register to head register. Here are some of the commonly used but incorrect methods of vocal production:

CHEST VOICE TOO HIGH

In contemporary genres such as Broadway belt, rock, blues, and gospel, singers are often encouraged to sing exclusively in the chest voice. In this process, shouting or yelling (singing at inappropriately high volume levels) while singing is encouraged, and the lower register is pushed as high as it will go to achieve a “belted” or powerful sound. Use of chest voice to hit inappropriately high notes indicates that the singer is forcing the voice or “pulling chest”. This practice will result in pitch issues (singers who “belt” often sing flat because they are pulling up too much weight), vocal deterioration, trauma to the cords (e.g. nodules), a more limited vocal range, and usually a shortened career.

(43)

41

HEAD VOICE TOO LOW

Other techniques encourage the exclusive use of the head voice. With this methodology singers are trained to bring the head voice down into the lower register as far as it will go. Classical female singers and choral singers are usually trained in this way. When vocal cord approximation is insufficient the resulting sound is breathy and weak; this may occur throughout the range or just in the lower register. Some classically trained singers may have sufficient cord adduction in the upper register, but the lower register sounds weak because of the avoidance of the chest register.

Choral singing may be wonderful for musicianship but it is not always healthy for the voice, especially if the choral director insists on an airy sound with no vibrato in an effort to make blending a priority. This approach wreaks havoc on voices, particularly if rehearsals are long and the tessitura (vocal range) is high. Young choral singers often do not develop vocally because of the emphasis on breathy sounds and avoidance of the chest voice.

FALSETTO

The weak and breathy upper register sound that is entirely disconnected from the bottom voice or chest register is known as “falsetto”. In falsetto, there is a permanent opening between the vocal cords; since the vocal cords never approximate, air escapes continuously. When a singer is using falsetto, it is difficult or impossible to smoothly enter the chest register because the vocal cords do not adduct.

SLS – THE BETTER WAY

In SLS training, singers learn to negotiate the bridges of the voice and to mix. We begin by “discovering” and “releasing” both the chest voice and the head voice. We then acquire the ability to transition through the bridges, expanding into extended ranges while maintaining appropriate cord adduction and connection between the registers.

When the degree of vocal cord adduction is correct, the sound that is produced in the upper register matches the chest register in intensity and volume. The result is a unified and balanced vocal production with no abrupt changes in sound quality between the registers as the singer moves through his or her entire range.

“You must first eliminate any outer muscle activity that interferes with your tone.”