Vocal Advice

Answer: Timbre refers to the “quality” and “color” of a person’s voice.  We end up describing timbre in non-scientific language, appealing to other realms and senses.  Thus we say that one person’s voice is light, lyric, creamy, or dark, heavy, dramatic.  Lot’s of other adjectives are used also “velvety” “brassy” “nasally” “hooty” etc., but some of these may actually be describing vocal faults. When applied to finding a voice classification or voice type, one has to be VERY CAREFUL.  Timbre is only ONE criterion in determining voice classification and is one that can be misleading to inexperienced voice teachers.  Some classic pitfalls are to assume that a lyric voice is a “high voice” and a dramatic or heavy voice is a “low voice.”  This is simply WRONG, because there are lyric basses and lyric baritones just as there are lyric contraltos and mezzos … not just tenors and sopranos.  Likewise, assuming that a heavy dramatic voice is low is equally wrong.  There are dramatic tenors and dramatic sopranos.  I think only an experienced voice teacher can use timbre … and that after other criteria are factored to make an accurate judgment on voice classification.

The other criteria for discovering a person’s voice classification are RANGE, TESSITURA, and TRANSITION POINTS.

Obviously range is going to mark the compass of a person’s singing voice.  To choose a classification in which literature demands singing notes outside a person’s range is a clear evidence of wrong classification.  If you call yourself a tenor, then you must be able to sing tenor literature.  If you call yourself a tenor but cannot sing tenor literature, perhaps the only one deceived is yourself.

But range by itself is also insufficient for arriving accurately at one’s voice classification.  “Tessitura” is usually applied to music itself, for example a song.  Tessitura indicates the relative AREA of the range where MOST of the notes lie in any given song.  Applied to the voice, this means that every singer is going to have an AREA in his/her range in which s/he can sing with greatest comfort, flexibility, expressiveness and STAMINA.  E.g., A man may have a range that makes singing high A’s (above middle C) possible, but be uncomfortable sustaining that beyond a moment or two.  The ability to linger and enjoy those high notes endlessly simply isn’t there … but he’s most comfortable singing between D (above middle C) and the D below.  His tessitura would suggest that while some higher baritone literature may be in order once in a while–allowing for a high A on then off again–his tessitura (the area of his vocal comfort) is more like a baritone’s.  The area of the range (tessitura) where a singer predominantly finds most resonance and stamina should be a key ingredient in determining voice classification.

Transition points refers to those notes in the vocal range where there seems to be a natural change of quality.  This happens clearly in some singers and not at all in others.  Without going into detail on the various voice types, generalizations are made as to where the “changes” occur in each voice classification.  While this criterion can be useful (to a limited degree) by an experienced voice teacher, it is advisable to tell you that it is also far from foolproof.  Singers can learn to make a transition on any of several pitches.  The transition points also tend to vary depending on what vowel is sung.  Another problem can be that some student singers who will not accept their real classification adopt a “lift” note of their own desired classification to prove their point.  I would say that this criterion is probably used best by an experienced voice teacher on untrained voices.

So, there you have it.  Arriving at a person’s voice type entails a knowing and using the criteria of RANGE, TIMBRE, TESSITURA and possibly TRANSITION POINTS.

Hope this is helpful … and not overwhelming.  Best wishes.

Answer: You may know that the bones of new born infants are somewhat malleable. Where an adult’s radius and ulna (fore-arm bones) would snap and break, a baby’s might just bend.  Malleableness, flexibility, is especially true of the structure of the larynx … because, except for the hyoid bone (the only bone in the body not directly attached to another bone) the structural parts of the larynx are made up of cartilaginous material. This cartilage while very supple in youth, gradually hardens, but does not completely harden (in a man) until about age 35 (a necessary generalization). Therefore, it is at this age that a man’s voice can be said to have reached maturity … and is not going to undergo significant changes from here on.  During the period from puberty (voice change) to early thirties, a male singer is wise to grasp and settle into good habits of singing so that the voice can develop to its potential.

Ruben: When I was 14 I was dubbed a “baritone.”  Since then I asked my friends if my speaking voice sounds “bright” or “dark”. They replied, “bright”. Then, I asked, “High” or “low”. All replies were “high”. Now, it’s not really high if I were to be compared to a natural tenor or a male alto, but lastly, I asked, “Do I sound more like a nerd or a football jock?” The responses I got were, “Nerd.” (I recently got glasses, haha. So I don’t know if that affected the answer). So with that said, my speaking voice tends have a “bright” tone to it. What can you assume will happen in the upcoming years and should I know anything else about the current status of my voice?

Dr. A.: Ruben, at 16 your voice truly is still in the early stages of its changes to manhood.  It is not unusual that your voice - along with almost all other adolescent boys’ voices - is lyric and without a great deal of richness yet.  That’s normal.  What you can assume in the next 5 years or so is that your vocal range will expand … just as it already has begun to do.  Neither I, nor you can predict which direction your voice is going to expand … and it could be in both directions, higher and lower.   What you need to be doing is singing in the range where singing is comfortable and does not present a great deal of difficulty.  This is likely going to be a relatively limited range - perhaps just an octave-and-a-half for a while.  Allow for this.  As you get older, your voice will continue to get stronger and your range expand.

By the way, I understood what you meant about “the voice of a football jock and nerd”, but I should tell you that such a perception is a stereotype that is as often not so in real life.  I often have to smile when I hear a burly football player or wrestler talk with a high-pitched “nerdy” sound.  Perhaps my response is due to the fact that, like you, I’ve unintentionally accepted the stereotype.

Ruben: When I entered the Senior Choir (SATB) in my church (which accepts all people 15+ years of age), I wanted to sing Tenor.  I was 14 and undergoing training at the time.  Being the newly introduced teen I was, I always had the impression that a Tenor was a male who had a powerful voice singing high notes.  So when I thought of ‘Power’ and ‘High’, I really emphasized those two characteristics when I ascended the scale. Unfortunately for me, the highest I could go during that time was a D above middle C. Upset I became, haha!   I had no choice but to sing Bass for my choir and it was more comfortable and less strenuous. The lowest I could go was A-flat below the C below Middle C. That is when I really try, via putting a lot of focus and effort, especially when being howled at by my Choir director the very words, “LOUDER, BASS!”

Still, I was determined. I worked practically everyday to increase my range.   2 Years later, here I am having trouble jumping from F3 below Mid-C, down to B-flat(2) or lower. My A(2) and A-flat(2) require more force than before, and tends to get airy. On top of that, it just sounds “Forced” now. But, over the course of those two years, my range has increased higher from that D(4) to a G4 when I just simply put my focus into it.

My friend and fellow bass, said, after I sang Tenor then Bass on the same songs (to compare which sounds better), said to me  “When you sang those notes below C(3), I couldn’t understand what you were saying.  It’s like you were mumbling.  It sounded as if you focused more on the sound of the low notes than the lyrics. You’re better off singing tenor, because that’s what sounds more pleasing to my ears. …And I can actually understand what you’re singing.”

This school year, I became part of Mens Choir at my school.  I started off singing in the Baritone section and climbed my way up to singing Tenor 1 most of the time now.   Since then, I’ve trained myself to be more well-attuned with Tenor and lost my “love” for bass.  Not bad for progressing within the last 6 months, eh?

Dr. A.: What you have described is not unusual.  Sometimes the initial change seems more drastic than later turns out.  You began thinking you were a baritone, but after 2 years you are realizing that your range has expanded upward and you are more comfortable singing the higher notes than the lower ones now.  Your voice is developing (slowly and normally).  Sing tenor in choir as long as you don’t have to strain to do so.

Ruben: So my question that goes with the info above is:

For my Church Choir, should I sing tenor or bass? I am still comfortable singing bass, until A’s and A flats get involved, but I do not want to destroy the ears of the listeners.  I also trained myself mentally to stay calm and relaxed when singing tenor, and not to ascend with too much power as I sing higher notes. So, what do you say?

Dr. A.: A true bass is comfortable singing a great deal lower than A-flat (a little over an octave below middle C).  If you find yourself making sound with difficulty down there, or your sound is increasingly fading … you’re definitely not bass.  Sing tenor … and I’d suggest that until singing up to A above middle C is VERY COMFORTABLE you stick with singing Tenor 2 - when the tenor parts split (the lower of the two tenor parts).  You’re still too young to place your voice in a position of aiming at the extremes of your range on a regular basis.  Allow yourself time … at least 2 more years when you begin studying voice seriously with a teacher.

Ruben: I’ve been told that a male’s voice is not well-matured enough until 25-30 years of age.  I am just curious to know if Maturity can do me justice before then.  Preferably before graduating high school.  If I could describe my singing voice, it sounds like I’m being delicate and soft.  Like, a little kid.  If I “powerhouse” or sing “opera-style,” I get a sound that does sound like it’s being “powered” up by confidence and with quality, but it just sounds similar as to what it is when I’m not “opera-styling” it. Quality has changed, but the sound sounds the same?

Dr. A.: Actually, Ruben, a man’s voice doesn’t reach full maturity until he’s in his mid-30’s.  However, long prior to that time a young man can develop and establish all the right habits for singing well … so that his voice continues to develop to its potential as he matures and continues to sing.  Regarding your description of your voice sounding “the same but with more confidence” - what you describe is simply that your voice now, at 16, produces a fairly light lyric sound.  That IS the quality of your voice at present, and that’s normal.  What is important at this stage in your life is that you begin the process of forming good habits in singing … then your voice will take care of itself.

Ruben: Will Maturity make my voice change and sound more masculine than child-like over the next few years? And will it, perhaps, before next school year starts?

Dr. A.: You need to realize that the “maturity” you speak of is not attained in one year … but is an ongoing process … and one which you will not likely be entirely secure in until you are about 21 (college graduation).  At that point, yes, the maturity those years bring to your voice will find you sounding more “masculine”.  But, don’t expect it, or try and force it “before next school year starts”!!

Ruben: With all that I’ve said above, could you tell me if my range will be extended in the higher end or the lower end in these next couple of years?

Dr. A.: Ruben, I think I’ve probably intimated that what happens to your range in the long run cannot be predicted now.  However, I also think that it is safe to say, (based on your description of the change that has happened over the last two years), that you should no longer think of yourself as a bass.  Currently your range resembles that of a “lyric baritone” who, in a choral situation, would normally be singing second tenor (that is: the lower of two tenor parts when the tenor parts split).  Listen to your body.  Where in your range do you find singing more easy, comfortable and resonant?  Wherever that is, that’s where you should be spending your time singing without a lot of stress at either end, low or high at age 16.

Ruben: And one more if you don’t mind! Does the physical make-up of one’s body play a role in defining everything about that individual’s voice? Such as, Height, weight, neck thickness, Pectorals, larynx size?

Dr. A.: There do happen to be some stereotypes.  But you need to remember that that’s what they are … they are generalizations that are not necessarily true in life.  Tenors tend to be men with somewhat thick short necks, wide facial features, often barrel-chested, and frequently not tall.  (Remember, this is a generalization that is not necessarily true in every case! Just look at tenors Stephen Costello and David Hobson!)  Basses tend to be men with a somewhat long neck, protruding Adam’s apple (Larynx), more angular facial features, longer in the body features, and tall.  (Again, remember that is is an over-generalization … there are always exceptions to this, so don’t pin too much weight on these features.)

Ruben: Thanks so much! And sorry for the trouble all these questions may bring. I’m just curious is all. I don’t have professional guidance and I am self-teaching and guiding myself all about singing ever since after 2 months into my 14th birthday.

Dr. A. I’m glad you felt free to ask questions Ruben.  Let me recommend that you form a list of good male singers - tenors and lyric baritones especially - to whom you listen on a regular basis.  In this way you can form a good “model” of male sound: Stephen Costello, Andrea Boccelli, David Hobson, Taylor Staton, … even Josh Groben.

Hello! I was just wondering how long I might expect it will take me to rebuild a formerly strong voice.
I sang for many years as a part of my school choirs and as an actress in both school and community theatre. When it was time for college, however, I came up short on tuition and did not end up attending an academy for arts. Instead of striving, I settled for a private state university, majoring in psychology and writing, and (depressed… and relinquished my real outlet. Frustrated with my lack of efficacy as a performer, I believe I have let my abilities dwindle from disuse). I literally have not sung a single note in over two years. Let alone that, I have become utterly quiet and have spoken, in addition, very little over the course of the past two years.

Recently, I realized that my passion for arts-involvement is not something I can merely “get over” in greater quantities of time but rather a permanent part of myself that will merely continue to ache. I am looking into private vocal lessons; however, I am worried. I went from singing daily to a two-year hiatus. Is there ANY hope? And will it take years?

What can I expect to sound like? How long will it take before I sound like I used to? Will it ever be the same? Can I ever surpass my former level even, or are my previous abilities the best I could hope for at this point?
These are my many questions; I apologize but am hoping you can help me apprise what are the realistic parameters of my situation. Thank you so very much; I look forward to your advice.

Answer: Dear Lacey,

You’re only 20 … so there is DEFINITELY hope!  You can make a full recovery.  Be encouraged.

Having given you this encouragement, I should warn you that you need to start slow … and forget seeing a teacher for about 6 months.  Follow a regimen SOMETHING LIKE the following:

Weeks 1 - 3, Sometime shortly after you are fully awake (maybe after breakfast) find a favorite book or magazine, and read aloud for 15 minutes (not two hours!).  Your voice needs to get back to phonating!!  If your work place does not let you talk or interact, then read aloud again when you return home … and start calling your friends on the cell phone for 5-minute chats.  Start using your voice.  Do this EVERY DAY.  Hum your favorite songs around the apartment/house.

Weeks 4-6, Continue starting early in the day reading aloud.  At some point later in the day, vocalize (singing) for 15 minutes.  Your vocalizing can either be singing songs you know, humming, vocalizing tunes on open vowels or just vocal exercises like scales on all the primary vowels.  Do this EVERY DAY.  You have started to use your voice again, and it needs to feel comfortable and easy and not over-taxed.

Weeks 7-12, Read aloud for 15-minutes early in the day.  Later in the day (it can be evening), warm up your voice vocalizing easily and without strain for 15 minutes.  Follow this with 10 minutes of vocal rest, and then sing songs that are comfortable in your voice for another 15 minutes.

Weeks 13-16,

a) Read aloud for 15-minutes early in the day … be sure that it is interesting and that you find yourself becoming EXPRESSIVE … reading in a communicative manner.

b) It’s at this point that you should locate and join a well established community, church or synagogue choir that rehearses at least once a week.  Don’t be surprised if your voice feels tired after those first two or three rehearsals.

c) Vocalize for 20 minutes now on your warm ups, and begin to explore the parameters of your range again, as well as start using vocal exercises that demand some power and flexibility … say in your last 5 minutes of the 20-minute warm up.  Also, “play” with your voice … make animal sounds and sirens, and coos … and see what its capabilities are.

By month 5, you should feel weird if you have not used your voice for a day.  Let the daily routine of reading aloud early in the day and singing later in the day be just that … a natural routine.  During this month, begin to resurrect one or two of the favorite songs you once learned for performances earlier … three or four years ago.  By now, you may well find that your voice has MORE capabilities than it did 3 years ago … and you may well be “itching” to find a reliable voice teacher with whom to study.  Work up two or three songs to the best of your ability so that during your first “audition” lesson, you can present to your teacher a fair representation of your current abilities.  Be sure that you have found a trustworthy voice teacher.

Lacey, you will likely face two dangers in this process of “returning to singing.”  The first will be attempting to do too much, too fast … getting yourself hoarse … and very discouraged.  The second danger will be to not make your “return journey” a routine.  This has to become a daily activity, something you enjoy, and something you get used to again.  A once-in-a-while practice marathon will only result in disappointment and discouragement.

Do I think you can regain what was lost?  Yes.  Start slow, then make it part of your daily lifestyle … you’ll be so glad to be singing again!

My suggested “regimen” is just that … something you CAN do, starting slowly (like an exercise program).  You should not think of my time line as something set in stone.  If you find that you can progress faster EASILY … then do what you are comfortable doing.  Likewise, if your voice and body indicate that you need longer, then take longer on each stage.  Remember, you’re returning to a life style and art form you love.

Best wishes.

Hi, I’m 16.
I’ve got a ‘low voice’ with a range from a C two octaves below middle C to a D just above middle C. I find that my voice keeps shifting up and down a few tones, regardless of the time of day. For example I can sometimes hit a B-flat (two octaves below middle C and not reach middle C). What should I do to keep my notes and improve the quality of singing.

Answer: Colet, thanks for the question.  First I must say is that you’re perfectly normal!

You’re 16, and voices, male voices especially, tend to be unstable both in range and quality.  While your range suggests that you are a bass now, the next 5 years is going to include a marked development in which range and tone color (quality) will mature and possibly even change (range).

What you need to concentrate on now until you start studying voice seriously (possibly in your 18th year), is to sing clearly and easily in the part of your range in which you are most comfortable, rather than concentrating on the low and high “barriers.”  Besides singing bass in choirs, participate in some dramatic events in which you are called upon to speak clearly (without yelling) and cultivate your expressive abilities.  It’s natural to be concerned about an unstable range and quality.  But, take it from me … don’t be.  This phase of vocal maturity (or immaturity) will pass and become more secure.  Enjoy being one of the few in your school who can reach those low notes in the bass section of your choir!

Best wishes.

I am 17, and a male singer with a soprano voice.   I can reach the C5 and more (higher) than that but I want to sing the whistle register.  I have notice that when I have opened my mouth widely, I have reached the C6 and higher, and when i do so my voice is more light and sounding like a bird in that ‘whistle voice’.   Please, I want you to give me a good technique to sing the whistle voice without problems like Mariah Carey and Minnie Ripperton.

Answer:
You are a rarity if you actually have a soprano voice … especially if you have not experienced any vocal change that has given you access to lower notes like most men.  I am aware of others with  whom this is the case … and you are rare.

If you are singing notes that are two octaves above middle C (and higher) then you are already in the “whistle register” area.  You accurately described the ability to access these notes while opening your mouth “widely.”  What you need to be watchful of is that the sound is not “heavy” and “tense”, but be sure that it is without a lot of muscular tension and light.  At 17, you don’t need to be spending a lot of time up there.  Access those notes lightly, and descend to lower notes again.  If you are wanting to develop your voice - including those highest notes, you need to find a voice teacher who has experience with voices like yours.

That is my advice.  Best wishes.

I’m mommy to Emma & Audrey’, who are 6 & 4 yrs old.  They are taking private voice lessons together for 30 minutes a week.   I have heard from someone that when kids take voice too early that they can permanently damage their voice … nodules or something like that.   What do you think about that?   Do you think 4 & 6 is too young?   I think their teacher is knowledgeable & has lots of experience teaching very young kids.   She has been the music teacher at my children’s preschool for several years & has been teaching private voice lessons for a long time. She seems to be teaching them proper breathing techniques, etc.  Please let me know what you think.   If you need more information to access, please let me know.

Thanks,
Concerned mommy.

Dr. A: I replied to this note with a request for more information.  “Concerned mommy” replied in some detail about the children’s activities, the capabilities of the teacher and her desire for a well-rounded upbringing.

ANSWER: Dear Mommy of Emma and Audrey,

As you can see I’ve not been in a hurry to post a reply to your questions, for I thought it wise to let this issue “sift” in my conscious and subconscious for some time before putting words to my thoughts.

I need to be honest with you and tell you that I have had conflicting, almost fiercely antagonistic thoughts on the matter.  But don’t fear.  I will be brief and try to be careful in expressing myself.

My knee-jerk reaction response would NORMALLY be something like: “It is utterly absurd to have a 4 and 6 year-old taking voice lessons!” and then follow my high-blood-pressure response with a litany of negative results that I’ve observed in college students who started out that way.

But, let me get back to my reservations after first saying that I sense that you have all good intentions for your girls.  Furthermore, there are teachers who specialize in communicating to young children effectively.  I’d guess by your description that you believe that that is the kind of teacher your girls have currently.  This time in their lives could be a time when a great love for music and music making is cultivated.  For children their age, love for music-making should probably be the chief aim of the teacher.  At the age of your daughters, learning to sing should be fun … relatively easy … and without pressure, period! The moment they sense “expectations” from you, (and they can sense it very readily) they will experience “pressure” that will have defeated the purpose for their “studies” at this age.  DON’T take voice teaching to such young folk too seriously.  Taking voice lessons too seriously (mom and teacher) presents the danger for small children.  The voice is NOT like a piano, an eighth-size cello, or quarter-size violin.

Therefore, my response is necessarily weighted more on warning, than applause.  There must be “acceptance” on the part of a teacher of small children … that what they get (i.e., what they hear) is going to be “childish.”  Hearing, vocalizing and coordination are all in the process of development.  When voice teachers push youngsters and adolescents into “sounding mature” early, the very warnings you have already heard concerning “permanent damage” are realized and most frequently occur then.  I can attest that such damage caused in a youngster is very difficult to fix in a young adult, and sometimes it is permanent.

There are “Fine Arts” and “Performing Arts” summer camps, many in the northeast of the country, some making claims of the long list of musicals they are able to mount.  I have been employed as a voice teacher in one prominent such place, and can tell you that the vocal damage done to children’s voices by the demands of (children’s) Broadway musical directors, and the teachers hired by ambitious parents wanting their children to be stars, is appalling.  Protect your children from such pressure, and allow them to enjoy music making.

Best wishes.