Vocal Music Advice

An anonymous 30 year old from the U.K. says: Hey,
I recently started singing again after a period of about 4 years. I have joined a male voice choir (T1 T2 BARITONE BASS). In the past I have always sung baritone but after a range test with the MD I was placed in the bass section. It is true of me that my voice does sound different now and I appear to have lost a few notes on the top and have gained them on the bottom.  My current range stands at the C two octaves below middle C to the D just above middle C. My lower range is very solid and my voice is fuller sounding down there. Is it possible I am just out of practice and I could regain more of the baritone range or do some guys’ voices just settle down in the mid-to-late 20′s (the period I have not been singing)?
Many thanks

Answer: Hello,

Friend, you have described what is not at all uncommon.  Men’s larynges first come to full maturity in their mid-thirties … and it is evident that from your mid-twenties to age 30 your voice has continued to settle on the lower end.  Two useful octaves from “C two octaves below middle C to the D just above Middle C”, plus “my lower range is very solid and my voice is fuller sounding down there” describes a bass, pure and simple.  You will be a huge asset to the group, for the highest and lowest voices are the most difficult to find and fill in choral ensembles.  Accept it and enjoy it.

It is possible that with regular singing over time you may regain a few more of your higher notes above middle C, (when you considered yourself baritone) but using them would be the exception not the rule for your vocal longevity and enjoyment in singing.

Best wishes.

Dr. A.

PS. In my comments above I assumed that you are healthy and have a healthy lifestyle.  However, I should add this caveat, if you are a smoker, a regular daily smoker, you will have injured your voice in such a way that results in lowering your vocal range.  This also is not reversible and will have the added consequence of shortening your singing life.  I trust that this is not true of you.

Jae (age 16) says:

Hello Dr. A, I’m doing now what you have told me to do: to explore my lower range. Now I’ve discovered that I can still sing down to the F of the bass. I never think that I’m a bass. But I still have problem in singing above the middle C, my larynx is still forcing to go up. Is this because I’m too young to sing the upper range of my voice?

Answer:
You GOT IT on the first guess. You are too young to be concerned about extending your range high or singing high notes. Over the next 5 years – especially if you are studying under the competent guidance of a reliable voice teacher, you can instill good singing habits, and observe the steady development of your voice regarding all these things. THERE ARE NO QUICK FIXES. As long as you insist on forcing your voice to produce high notes in the manner in which describe, you are reinforcing bad singing habits that will be very difficult to unlearn.

A word to the wise.

Dr. A.

Karim writes: Hey, I’m a 20 year old guy and for the last year or so I’ve been training my voice and exploring my range after I got interested in music. Over recent months my voice has developed very much as I vocalized more and more. I took a friend’s advice to learn how to use head voice and mix voice to get to the higher notes. Since then my range has expanded dramatically as I’ve learned to negotiate my breaks and access higher notes in head voice.

My range overall on a typical day is F2 to G5 and this is without the use of falsetto [Dr. A. italicized this]. I used to consider myself a bass-baritone but now my voice is capable of sustaining notes above high C with ease. I no longer know what to think about my voice and this has proven very frustrating. I used to sing quite low, often in vocal fry out of habit and had trouble going higher than F sharp above Middle C without falsetto but this no longer the case although I’ve kept my lower range. However, in recent months since my range developed I find myself singing in a higher tessitura. I have really good stamina above high C but I find that my lower chest voice has become less impressive. Am I becoming a tenor? And is there such a thing as going too high?

ANSWER: Karim, thank you for your questions.

Based on the information you have given me—and without the benefit of me actually hearing/seeing you, it would appear that your voice is developing as a tenor.

However, to be honest, I have some skepticism about the ability to now sing to a G above a tenor’s normal “high C” “without the use of falsetto”. Forgive me for this skepticism, but if this were the case you would be a rarity indeed … and if that high tessitura were comfortable also, you could consider yourself a counter tenor.  I suspect that in actuality your sound is becoming increasingly thinner as pitch ascends, perhaps without any noticeable break until you are functioning entirely in falsetto.  Still, this does not mean that you may not find yourself squarely and comfortably singing as a tenor.

You might do well to do a good deal of listening to great tenors like: Jussi Björling, Nicolai Gedda, Luciano Pavarotti, Stephen Costello, John Aler, David Hobson, Peter Pears, Bruce Ford, Fritz Wunderlich.

Regarding your question “is there such a thing as going too high?” naturally the answer is “yes.”  However, singing “too high” suggests that there is some compromise of good vocal balance in the process, such as an introduction of too much tension, or use of falsetto exclusively.  So, as your voice continues to develop, be sure to “listen” to your body … and pay attention to any signs of strain that works against long-term stamina.

Best wishes.

Kayla, 17 says: Hi, I have been singing for around 4 years, and am singing grade 8 and ATCL repetoire. I have recently been auditioning for classical singing at universities in New Zealand. At the first one I went to, they said they were not looking for light voices, although they could hear my lower register beginning to develop. I commented that I am only 17 and my voice has only just really begun to develop within the last year. I did not get accepted because of this. I got the same comments from the last one, although they said they probably would put me through. Why is this, when they know about normal voice development? My pitch/rhythm/etc was fine, and the rest of the audition for both went quite well, they said this was the main thing that let me down.

ANSWER: Kayla, I’m sorry for the disappointment.

Naturally, since I was not there, and since I am not part of the New Zealand university music scene, I cannot give you a definitive answer.  Of course, the elements you mention are important factors: intonation and accuracy of rhythm.  Other factors figured into a university audition would also include, authenticity of language (Italian, German, French if those were sung), native musicianship, expressiveness, ability to communicate, resident vocal problems, vocal maturity, sight-singing ability and size of the voice.  The last criterion would normally be about the least significant, unless that particular school is looking to cultivate opera/oratorio soloists.

Assuming that the judges of the school that rejected you were being forthright with you, then I think it is safe to conclude that they were looking for (young) singers who already have developed voices that are significantly larger than yours … and larger than the average singer.  In other words, for them, the size of the instrument was a significant criterion.

Some schools look to fill particular vacancies, and only those vacancies, and for this reason they can afford to be exacting in their choice of who they accept.

I realize that a rejection is difficult to accept when everything but one area seems to be strong.  Don’t fret about it.  Keep studying and allow time to mature your voice, your sound, your musicianship and your ability to communicate songs.  The majority of us have “lyric” and “small” voices, voices that are more suited to church, small theatre work and choral singing.

Still, if you love to sing, then persevere and keep studying and performing.  By the time you’re about 21, you will be producing a markedly more powerful sound, and more mature in every other respect as well.  Most of all, be encouraged with the positive feedback and the acceptance by some institutions.

Best wishes.

Raj says: I am not a professional singer. I am an Asian and just turned 50. I never practiced/learned music seriously. Now I am very much interested in learning to sing but my voice is breaking on the same songs which I used to sing easily in my younger days. Do you see any chance I can get back and sing with practice? Any advice is appreciated.

ANSWER: Salaam and Namasthe Raj!

Let me encourage you to learn to sing – with a fine experienced and reliable voice teacher.  I myself have taught “late-bloomers” with success, so I know that it is possible.  Finding a trustworthy voice teacher will likely be a primary key to your future success in learning to sing, combined with your faithful practice.

That said, I should warn you that you will need to allot considerable time – I mean years - to the study of voice because you will not find it as easy to change and learn new habits now as you would have in your late teens.  You may also find that your vocal range has shifted lower … even as you say: “but my voice is breaking on the same songs which I used to sing easily in my younger days.”  This is natural and it simply means that you will need to sing your favorite songs in a lower key than some of the professionals whose recordings you hear.  Your voice teacher should be sensitive to your current limitations of range and work with you within that scope.  We are not MADE into tenors, or baritones, or basses.  We ARE as God made us, and need to accept that and work within that sphere.  I say this, Raj, because I do not know what is available for you in India (assuming you are still there now).  I hope this has been helpful.
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Hi,
I am a bass singer, with quality notes from middle C to C1 (I think that’s what you call it) two octaves lower.  Additional notes are there and I can get to an A (below the double low C).  I am currently in NYCOS (National Youth Choir of Scotland) but there is no real way for them to train me as I am seen as almost a different singer type.  I love Southern Gospel Music and always strive to do the best within the range that I have.  I am very careful in not straining my voice.  Should I practice the notes which I find hardest to get (both high and low) or should I spend most of the time strengthening comfortable notes without going near ‘the edge of my voice?’

Answer: Colet, I’m delighted to hear from you.  Wow.  A real bass!!  I know you must be valuable to the NYCOS.  Congratulations!

Age 16 is a little early to begin private voice lessons, so I wouldn’t concern yourself about that yet.  I think, as you say, “spending most of the time strengthening comfortable notes” at this time in your life is wise.  But that doesn’t mean that you should avoid the highest and lowest parameters altogether.

Keep in mind, the lowest notes will not be there if you push (breath) … you need to sing those notes with the feeling of just letting them “roll out.”  On the other hand, as you get closer to middle C you need to apply MORE vertical space (let your jaw drop farther), MORE energy (breath pressure) and allow the “feeling” of your vowels to be more “inside” you.  Don’t be surprised by “big” sound; allow yourself to be comfortable with that.  If some of this seems foreign, cryptic or esoteric, don’t worry, as you study with a voice teacher (after beginning in a year or two) some of these things will become clearer.  Still, with regards to spending time at the “edges of your voice range” … do a little every day … but spend most of your time where you sing comfortably.  You (and your future teacher) will be glad later that you don’t have a lot of bad habits to undo when you begin studying voice (singing).

Southern Gospel (especially the male quartets) always requires a REAL BASS … so you should find that much of your singing in those quartets is very comfortable.

I wish I could hear you.  Best wishes.

Hello. I’m a nineteen year-old tenor about to begin his sophomore year of college who recently became interested in singing. I’m a music major who started out as an instrumentalist and is now double-majoring in both trumpet and voice. I became interested in this while I was taking my music theory ear training course in which we had to “sightsing” melodies. My instructor suggested that I audition for the small vocal group on campus and was successful upon trying it. I’m discovering that the more I sing, the more I love it and have decided to pursue such a career. However, the problem is that, while my instructor has told me that I have a natural ability and inclination to be a singer, I’m very behind as far as experience in different types of vocal ensembles and am very uneducated when it comes to how vocal ensembles work. There is a large vocabulary that I feel that I’m unaware of (I had no clue what falsetto meant until recently). Furthermore, my endurance poses a problem, and I my voice tends to get very tired at the end of a rehearsal. Sometimes I feel that I’ll never catch up. What advice can you give me, a new singer wanting to seriously pursue a vocal career? Is it unrealistic for me to expect to pursue such a career even if starting so late?

ANSWER: Caleb, (or is it Casey?) it’s not too late!! … and I’m delighted for you!

You’re actually at a prime time in your life to 1) discover your gift, 2) to love singing, and 3) to decide to pursue it.  The fact that you recognize some of your deficiencies is good and will provide motivation to be a good learner.  Also, the fact that you’re an instrumentalist means that you probably read music proficiently which is also a major PLUS.

Please feel free to EXPLORE my blog.  Concepts and jargon (voice language) are presented in easy-to-understand language.  You will likely find much that is helpful to you (though I say it of my own writing) and you should make use of it.

I am not surprised that your voice feels tired after a 50-90 minute ensemble rehearsal.  Your voice will need to build stamina, and the sooner you are under the careful view of a reliable voice teacher, the better.

Concerning pursuing a career as a singer: Caleb, be aware that the arts are the first to suffer when the economy is down, and the last to benefit when it is thriving.  Many talented singers do not, and cannot, make a living just by performing gigs, operas, weddings, banquets, recordings, etc.  Most of us have another “J.O.B.” that we can rely on to keep a steady stream of income.  You need to be realistic … even if you’re another Jussi Bjoerling or Stephen Costello.  That said, I think you should still pursue what you love, develop your talents to their absolute limit, and take advantage of every opportunity given to you to perform.  Performers especially have to learn to save at least 50% of their gig income … to cover the dry spells when performing is not possible.  If I were in your shoes, I would also ask God to give me performing opportunities and help me learn to steward my time and money responsibly.

Trumpet and Voice: You will find very quickly, that the process of respiration, specifically breath support, is/feels very different for playing the trumpet and using the voice.  You may, in time, find yourself needing to make a decision to choose to pursue one, instead of both.

I hope you are encouraged … and keep pursuing singing!  Feel free to ask me any pertinent questions along the way.

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.

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.