Menopause and Singing: Shifting the Conversation

As some of you know, I am co-authoring a book with Nancy Bos and Joanne Hayes Bozeman on the topic of women singing through midlife biological changes and menopause.

Research has been pretty fascinating and we are digging into areas not usually associated with The Change. (ooooo, suspense!) Our interviews include 52 female singers during 1) various stages of peri-menopause and menopause, 2) a large variety of genres and musical styles 3) many skill levels and cultural experiences.

We are speaking with colleagues and experts in a wide variety of disciplines and will reference many top-notch resources. We are grateful for those who’ve researched and written about hormonal effects on the female singing voice.

But the REAL experts are the women themselves. Their stories, their solutions, their journeys: sometimes easy and breezing on through, some devastatingly difficult.

Statistics are important but their purpose is not to reveal how individual the mid-life journey is for EACH woman. Data can be used to influence public health policy and obtaining grants for important research. Stories save individuals and pass on wisdom not found in data.

Both are needed!

Western medical science & academic learning must become equal partners with honed intuition, and listening to the Wisdom of the Body to create health, wellness and experience singing in new ways.

This is an “angle” of our book. We are writing for singers and teachers who may not have access to the information that has been gathered over the past 30 years. We are also writing for women who are willing to do the work of rebirthing themselves during these years and need extra support.

I’ll report on our progress so join me here for peeks and perks!

Index of my previous articles

Vocal Warm Ups to Enchant Your Singing

I was inspired to write this blog post by Nikki Loney, a Canadian vocal music educator whose popular The Full Voice podcast is one I just listened to for the first time. She has a three-part series called “Warm Ups from Around the World.”

The warm-ups Nikki includes are suitable for many ages and stages of singers. Part of her mission is to help singers & teachers understand the reasons for the vocal exercises they use, and sing them in a spirit of fun and exploration. While the exercises may be familiar to more experienced teachers, I was thrilled to hear the guest artist/teachers’ explanations for WHY you are using them and HOW to do them.

This matters much more than the actual exercises themselves! So consider heading over to her series and listen.

In the meantime, here’s three vocal warm-ups from CateFNStudios that I use. Thank you to my dad, the late Robert W. Frazier, the late Randolph Mauldin of The Washington, Opera, and to the Creative Juice Flow.

I.  Pick short musical phrases from the music that your student or group is singing. Choose patterns that can be moved up and down the chromatic scale easily. Keep them one or two measures at the most.

Here’s an example for developing voices of any age or stage: a passage from the end of Linda Ronstadt’s recording of Ray Orbison’s “Blue Bayou.” She ends the song with these intervals of the major Root Chord (the key the song is in.)

Use “Blue—Bay—-Ou—-“

Works for women and men. Roy Orbison recorded it first, but he ends on the upper tonic, not the displaced third. If you aren’t sure what that means, listen to them both. You’ll hear the difference without needing to know the theory.

This helps coordinate chest to head registration smoothly in all styles of music, perhaps after registration work has taken root. It easily syncs with most functional vocal pedagogy models out there that use other names for those registrations/qualities.

It can also help with teaching relationships between intervals and with coordinating sustained singing. You can also use it as a “Messa di Voce” exercise.

Plus you get to introduce people to Ronstadt and Orbison if they look at you with a blank stare….

For choristers, any pattern that has slow, sustained passages has the benefit of the kind of choral tuning that American choral conductor Robert Shaw used. Church choir directors can’t usually take the time needed for this way of working, but it can be incorporated into 2 minutes with one short passage as part of your choir’s warm-up. Over time this will bear fruit for stamina, mental focus, and group bonding.

II. For vocal flexibility and ear training for world music, Indie artists or jazz singers–have them warm up on arpeggiated patterns that are not the traditional major scale 1-3-5-8-5-3-1 pattern.

Eventually move to other arpeggiated blues or harmonic patterns using syllables they choose. Try to guide them to “ahs and ays” on the lower notes and “ees, oos or ohs” on the higher pitches. Scat singers will use their patterns or you can suggest something like “doo-bway-doo,” etc.

PS. I sometimes make classical singers do this, too, to wake up their ears.

I recognize that not all singers and teachers can play this warm up in different keys on a keyboard. You can adapt this idea for you and your students in any way that serves them.

III. This general idea is for singers who know their music well and are far enough along that it makes sense to them:

I coached privately many years ago with the late Randolph Maulden, of The Washington Opera. Obviously I warmed up before coaching with him, but then he often had me sing phrases from whatever I was working on, starting 4 1/2 steps down from its key, and going up two more 1/2 steps beyond the highest note and back down. I experienced this as a real work out. This gave me a chance to move through all the registration minutia, and solidified where high notes in the right key actually existed in my throat, body and psyche (as a whole singer.) This idea also can be adapted, so open to your creativity!

Once you know the HOW and the WHY for a warm-up or exercise, you can always adapt it to be the most useful!

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Growing Your Growth Mindset!

Two Awesome Resources to help find and ‘grow’ your Growth Mindset!

Growth Mindset for Creatives with Petra Raspel, Interviewed by Nancy Bos on Bos’ Every Sing Podcast

and

Growth Mindset for Singers with Cate Frazier-Neely, Interviewed by Dr. Dan of Dr. Dan’s Voice Essentials Youtube Channel

Note: To skip to the beginning of my interview go to around 7:00.

Let me know what you got out of listening or viewing! What one or two points really got your attention?

Excess Saliva While Singing, Part II: Vocal Master Class #11

Let’s face it, the topic of “saliva and singing” isn’t particularly interesting unless you need to swallow excess saliva after every other word. Or you need to completely stop singing to allow saliva time to move down the esophagus.

Chronic excess saliva while singing can suck the joy out of making music. It makes you feel unreliable and is both anxiety and frustration-producing as well. Which just makes the problem worse. And then you feel worse because you KNOW this.

I’d never thought much about this issue in my 38 years of working with singers and singing teachers. Then, last month, three clients turned up IN THE SAME WEEK, who were dealing with excess saliva and singing. One singer’s issue was solved within one session, but I had to do my research because it was new to me.

I then had to fit that research into my overlying pedagogic principles and the use of personal creativity in the studio. (Read Vocal Pedagogy and Creativity, Parts, I and II, starting HERE.)

Reason #2: Excess Saliva and Singing can be caused by certain mouthwashes, toothpastes and teeth whitening products.

Celia, Singer #2, is in her late 30’s, a professional chorister with a BA in piano. She developed the excess saliva about a year ago. When she came for her first session, as we were speaking I noted that her mouth smelled minty. As it turned out, I had just spoken with my dentist about excess saliva and certain mouthwashes, which sometimes contains saliva-inducing ingredients that are normally used to help people with dry mouth. Obviously, vocal fold health depends upon being hydrated.  I asked Celia about her dental regime and she told me that she regularly uses a mouthwash and fluoride gel-cams.

Da-Ding! She did her own research on the products she used and discovered that they did contain flavoring agents that are often saliva-inducing. These can include sweeteners such as sorbitol, sucralose, sodium saccharin, and xylitol, all of which stimulate salivary function. Three days after discontinuing use of these products, she noticed much less excess saliva while she sang. We had one more session and she seemed to be happy with her progress and ready to return to her voice teacher.

Jan Potter Reed, a wonderful SLP and Singing Voice Specialist at The Chicago Institute for Voice, suggested elderberry lozenges as a possible remedy for excess saliva, but added that singers have to be in touch with whether or not they dry out the mouth too much and create other issues by drying out the vocal folds.

NOTE: Another cause of excessive swallowing during singing is acid reflux.  Each singer with this condition needs a different management plan and kinds of support.

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Excess Saliva While Singing, Part I, Vocal Masterclass #10

Recently I worked with three singers who experience excessive saliva while they sing. They need to constantly stop to swallow and regroup before resuming phonation. Getting to the bottom of the issue was different for each one! What a puzzle.

In this first of a 2-part “Saliva Series,” I’ll describe reason #1 and my solutions/recommendations solutions for one singer. The next post will be on solution #2.

“Steven” is a bass with a church job who also sings with an established men’s a cappella ensemble with the name “The Suspicious Cheese Lords.” This organization is paying for each singer to have a private lesson with either Elizabeth Daniels or myself, as we have been their ensemble’s vocal clinicians for the past 7 years. When Steven came in, I asked him to tell me what he wanted to work on and he mentioned the saliva issue, among other things.

We were able to help his excess-saliva-and-need-to-swallow-a-great-deal issue in one session.

Reason #1: Saliva as drainage can be a head/neck alignment issue.

The overlying principles used in our session together were:

Observation, Somatic Empathy, and Using Repeated Slow and Tiny Muscle Movements to Bring Head and Neck into a Freer Dynamic. (Steven cranes his head forward in a rather fixed state, but only while singing.  He described his work environment as aerodynamic, with supportive-seating, computer height, standing desk, etc.)

We then adding the task of holding music, singing small intervals of pitch while on only two vowels, back and forth along the chromatic scale.

We balanced coordination among arms, wrists, hands, and core muscles while holding music, which affects that neck-head freedom. He experienced new sensations around the T-12 vertebrae, especially in ease of breath response and engagement upon phonation.  He voiced that he thought this would reduce anxiety around performance and ensemble rehearsals.

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All this for saliva issues!

What did we “do?”

  1. Somatic Tongue release which takes a full 10 minutes to experience.
  2. Drape over a Pilates ball to experience spinal movement–which changed shoulders from a fixed to a dynamic alignment. (another ten minutes.)
  3. Then “Gorilla Breath” in stages, from draping front first over a large Pilates ball to graduated standing. (based on Alexander Technique and other body-mind work involving limbic response noises.)
  4. Tongue over straw, ai-ai-ai on 1-2-1-2-1, while guiding back to freedom of spine. At the end of all this slow work he reported that he felt freedom and movement in tailbone and pelvic area.
  5. We also worked back and forth between his native language of French and English and the curious minutia around the “a” vowel which was exposed.

All this mind-body work alternated with allowing one or two minutes between activities to process and let the work to “sink in.” I told one or two anecdotal stories to allow him to relax his focus, laugh and regroup.

I suggested that he mark in his scores when to swallow if it became excessive again while he was learning new skills

We finished by Steven singing a page of choral music. No saliva. He realizes that practicing this awareness is important and is not the same as what he normally experiences out of anxiety about the saliva overload. He said, “I feel singing as a connection between my body and my head. And the saliva is greatly reduced.”

It also helped him use the good stuff that his former teacher had taught him!

Thanks for reading! These kinds of in-depth blog posts take time to write and edit. Please like, subscribe or share if you found it useful!

 

 

Beliefs That Hinder Singing, Part II: Vocal Master Class #9

Joshua is a 46-year old tenor with a lovely singing voice and a great deal of responsibilities both at work and to his family.  He has three children under the age of 13, a wife managing her chronic medical condition, and he works full-time in a demanding corporate job.  It is amazing to me that he has made time for voice lessons consistently since his wife bought him a few lessons for his 40th birthday, 6 years ago!

Josh studied singing in college, follows written music, and performed in musical theater for many years. At the time we started lessons he was singing in his synagogue choir and occasionally soloing as a lay cantor. He wanted to eventually return to singing musical theater in community productions. He figured if he could keep at it, he wouldn’t be rusty when he retired.

He has a history of severe sinus and throat issues, including terrible allergies and multiple procedures to remove nasal polyps.

Josh has little time or head space to practice. While he enjoys our journeying through  functional vocal development, it took him a very long while to change the way he sang. Progress was slow but I always allowed time at the end of every lesson for him to sing through a song or two, with my accompanying at the piano so he could enjoy music-making.

After about 3 years of consistent bi-weekly lessons, he began to understand that he couldn’t just launch into a major aria or show tune because he wanted to, and he started to discern what would bring him satisfaction with the progress he’d been able to make.

Joshua also began to also understand the relationships among his singing, sinus and throat issues and the merciless way he drove himself through life to accomplish what he wanted and needed to do.

Up until this personal epiphany, the physical releases and different vocal sensations created by our work together couldn’t take root for this reason:

He equated the pressure in his throat with the pressure he needed to keep going with his responsibilities as as father, husband and bread winner. To let go of some habitual muscles responses to create freer singing responses felt, to him, like letting go of what he needed to”have” to push through life.

Personal Ego identifications often shift during voice training based on motor learning change, as opposed to a more band-aid approach of completing a motor task. And this ego change can be threatening to many singers.

Yet he did understand that his singing needed to be easier. We began changing his diet through working with a nutritionist and found a medical practice for his sinus issues that had a holistic approach.  He also found a better ENT for his sinus flair ups and changed some of the chemical cleaners in his home to less toxic alternatives.

Slowly he opened to to the idea allowing regular somatic education with an outside body worker/practitioner. Somatic education is largely guided by a practitioner or voice teacher, such as myself, who has trained her/his high “somatic empathy” to serve others as a precursor, or partner, to functional vocal pedagogy. I am not the only person doing this in lessons and sessions, but it is still a rare combination to find in one voice teacher.

I also got Josh into regular therapeutic massage.  He started working with an integrative health specialist on adrenal fatigue, which effects hormonal balance, which frankly, made all the difference in the world in his ability to make faster vocal progress. Then the somatic experiencing started to make more sense to him as he started to feel different physically.

Josh studied with me regularly–every other week–for over 6 years before the air flow pattern and patterns of muscle dysfunction were transformed to consistent freer singing. But kudos to him for not giving up when most people would have because of family and work, and kudos to me for having the patience of the Biblical Job!

Josh continues to sing as a lay cantor in his synagogue and now enjoys singing musical theater repertoire from the Golden Age standards as well as Disney film musicals like Hercules.

If you teach voice primarily in academic music programs, or even work mostly with children and teenagers, chances are good that you don’t see students like  Josh in your studio. As people age, their belief systems and health patterns become “fixed,” unless they are tenacious about learning to change and grow. And this requires a huge leap of faith–those “fixed” ideas were originally developed to help a person survive in their environment. This is obviously complicated by the number of responsibilities one has, cultural and religious attitudes, personal expectations and mental & physical health.

All we want to do is sing and enjoy our singing! But the ability to do so is very tied to every facet of our being.  Singing is part of living well–everyone needs some movement, some exercise, some beauty and the support of others to connect body to soul, the stuff of a well-lived life!

If you liked this article, please comment, subscribe or share. Thank you for taking the time to read this post!

Click here to read “Beliefs That Hinder Singing, Part I.”

or “Higher Education Without The Terminal Academic Degree”

 

 

 

 

 

“Higher Education” Without a Terminal Academic Degree

A former student who just completed her graduate degree in Vocal Pedagogy returned to resume our work together.

She asked how I developed the combination of vocal pedagogy and somatic education she experiences in her lessons. Her words: “nobody teaches singing like this.” So her prompt gave me the idea for this post.

SO HERE’S A “SHORT” ANSWER

What did the founders of Alexander Technique, The Feldenkrais Method and other somatic education, and vocal pedagogy innovators, have in common?

They used themselves  as primary subjects.

Alexander was an actor who lost his voice. Feldenkrais was an engineer with a black belt in judo and chronic knee pain due to an injury. Ida Rolf,  founder of Rolfing Integrative Technique, was a biochemist who needed solutions to her own health problems and the health issues of her two sons.

Many of the current popular CCM/popular singing pedagogies were developed by people who couldn’t get what they needed as singers from classical teachers, so they set out to build credible research and formulate methods which have ended up serving countless others.

Each of these people had the ability to draw connections among many observations and intuitions. They discoursed with open-minded colleagues and scientists.  They studied the human body and psyche with unusual depth.

TODAY, FUNCTIONAL VOCAL PEDAGOGY & SOMATIC EDUCATION…

… are partnering for freer and stronger performance and life styles.

Finding a voice teacher who combines them both well, and regularly, in their teaching is still rare.  However, this has been done for at least two generations now, and is getting more traction.

MOVING IT ALL FORWARD

So this is my ‘shtick’: I learned how to do this, not through any degreed program, not through certifications or teacher training, not through modeling other pedagogues, but, like those listed above, using myself as the primary subject.

Believe me, it was only out of sheer desperation and necessity.

SO, HOW DID THIS HAPPEN?

Yoga was not really a “thing” in the US in 1980, when I was 24 and had just finished a 2- year grad program in Vocal Performance and Pedagogy.

Yoga, Alexander Technique, Feldenkrais and other methods were not yet in the awareness of  voice teachers, international performers or performing arts’ education systems in the US.

Graduate programs in vocal pedagogy programs were still rare. My program required singers to do both–about 1/3 pedagogy and 2/3 performance. I had to do a graduate recital, pass a 6 hour exam on general music, IPA and vocal anatomy and write a paper on an historical vocal pedagogue of our choice. I chose Cornelius Reid.

And remember-no Internet. If you wanted information you had to get dressed and go somewhere to dig deep. Using technology meant having an electric typewriter and hand-held calculator, although the first computers, which took up a small room, were being used in colleges.

About age 23, I began experiencing the symptoms of IBS, and anxiety disorder roared through my body. The American Psychiatric Society did not recognize Anxiety Disorder until 1980!

The many doctors I consulted over the next 5 years were condescending and dismissive, and gave me high doses of valium with instructions to “stop being hysterical.” My uber-sensitive system could take one-half of a dose of valium, which enabled me to sit in a corner and drool, and still have the symptoms without being able to move.

I also had many invasive tests administered by sadists that did not bring up anything definitive other than health bills because I didn’t have insurance right then.

There were few alternative health care clinics and no naturopaths. Information about alternative solutions was difficult to find. However, I continued to perform and study singing privately a great deal, and made a name for myself in my 20’s and early 30’s in the niche market of contemporary classical music and chamber opera. I also was teaching over 20 hours a week privately & at the college level, as well as developing courses. Remember, pre Instant Information via Internet.

But then I began missing work due to my symptoms and pain..

I asked for Divine guidance and, while I don’t remember how, was led to a beginning yoga glass taught by a woman in my neighborhood. I took her class in yoga and meditation every week for two years. It gave me practical and grounding tools to manage whatever this awful “thing” was.  I started drawing connections between yoga and singing and adapting poses to teach singing without realizing what I was doing.

I read biographies of famous singers and was influenced by Robert Merrill’s struggle with allergies, diet and singing. (American operatic baritone, 1917-2004.) He ended up living on fish and vegetables in order to be able to sing. So I experimented with diet to see what seemed to trigger symptoms. I constantly drew connections between yoga, diet and the physical act of singing. Back then, no voice teacher talked about diet and life style changes. I offered suggestions to students who usually then searched for their own solutions and made rapid  improvements in their own health.

I was on “tour” in my late 20’s, off and on for two years: Out on the road for 3-5 days then back home again for a few weeks, out and back. I added light weights to my routine and bought a book by Jane Fonda to learn how to use them. She also had an exercise book that included relaxation techniques. Once again, I adapted for teaching.

At the time, nobody in vocal pedagogy and voice science organizations discussed the interconnectedness of all things and how one will affect the other.  This is still true to a large degree.

Over the years, my health took a sinister turn and chronic patterns of surgery and illness became intrenched. I tenaciously looked for and found help for physical and emotional recovery in many out-of-the-mainstream ways.

My husband and I committed financially to my working yearly with 2-4 body workers, somatic educators, chiropractors and alternative medicine practitioners.  One extraordinary medical doctor saved my life and the lives of our children.

But honestly, most of the rest of my experience with western medicine has been quite awful. Botched surgeries, even with “the best surgeons,” resulted in complications that almost killed me, both almost taking me from our children. I refused to be taken from them.

Before the Internet developed advanced search engines, I combed magazines, libraries and bookstores for resources. My favorite early resource was “Maggie’s Women’s Book,” which you can still find on Amazon. She had exercises for post C-sections and pelvic/abdomen health which were revolutionary at the time.

I worked with a yogini privately for five years, an Andover Educator (“Body Mapping”) who was a colleague, and received Therapeutic Massage, Chiropractic, Acupuncture and Rolfing. Certainly not all at once but spread out over the years. All before the year 2000.

At a party I talked with a hip surgeon and asked him if scar tissue created its own kind of problems. He did a rare thing, perhaps because we were at a  reunion and he was into cocktail hour. He admitted that scar tissue often created more problems than the reason for the surgery. BINGO! So I began researching and tried to find someone who could somehow break up the scar tissue in my abdomen. I worked with several massage therapists and an alternative osteopath who used infrared light and facial release. (I avoided bee venom injections because that sounded crazy.)

All this was necessary to allow me to function passionately and with purpose as a parent, partner, teacher, singer and instrumentalist.

I studied detailed anatomy of the body, not just the larynx or how the vocal folds work. Over a 30 year period I kept studying singing with 3 fantastic functional voice teachers while I attended, as well as taught, master classes, workshops and events.

With each thing I attended and observed, I became more convinced of the connections between truly effective vocal pedagogy and somatic education principles.

I became certified in Somatic VoiceWork tm: The Lovetri Method, because Lovetri’s manner and functional methodology closely follows the principles of somatic reeducation–the connection of the body, mind and psyche– at its best.

There was a 6 year period in my late-30’s/early 40’s where I received talk therapy and was on anti-depressent, anti-anxiety and ADD medications all at once. They enabled me to function in the day-to-day, but absolutely killed my passion and creativity. They caused massive weight gain and just masked endocrine and emotional issues caused by endocrine dysfunction that needed to be healed. The 4 endocrinologists I saw were useless.

I relearned how effective visualizing is a gift of the neuroplasticity of the brain.  Of course, as a singer and instrumentalist, I had been doing this unconsciously my whole life, but with Tai Chi, Tribal Belly Dance, Alexander Technique and pilates classes over a 20 year period, I became a beginner again. It was astonishing! With each surgery and surgical complication, with an immune system disorder due to the MTHFR double gene, I had to find ways to “come back.”

I worked with Suzan Postel, who is a most brilliant somatic educator. She was a dancer and singer on Broadway, playing Tuptim in “The King and I,” opposite Rudolf Nureyev as The King. She got into this type of education due to her own injuries and is a master of explaining what we do and why.

AND IF THAT WEREN’T ENOUGH–TRAUMA CAN OPEN and STRENGTHEN INTUITIVE PATHWAYS WITH PERSONAL INTENTION FOR GOOD

No reasonable vocal pedagogue would admit this, but hey, clearly my path has not been “reasonable.” I have visions…always have.

One day I was writing down what I had learned about pelvic stability & respiration, and suddenly I had a ‘vision’ of an elephant waving its trunk at me, balancing easily on a tiny ball with all four huge feet.

I sat quietly for a moment. Then I reread an article sitting on my desk on the psoas muscles being the emotional core of the body.  BAM! The “psoas” are the STABILIZERS OF THE TRUNK–hahahah! Repeated emotional and physical trauma will cause them to freeze and shorten.

And there I went, down the rabbit hole of psoas muscle research (found Liz Koch’s work) and finding body workers who could work on this with me and explain what they were doing and why. One tell-tale sign that the psoas is dysfunctional is walking with the feet splayed outward, which, at the time, I did. And the relationship to the function of the diaphragm is amazing.

I also honed those intuitive skills by working with disciplined spiritual practices to make sure I was truly reading a student’s energy clearly. I have three posts on “Clairsentience as a Teaching Tool” on this blog.

MOST RECENTLY...

Over the past 5 years I’ve delved into neurological health after being diagnosed with bi-lateral vocal fold paralysis from “unknown neurological dysfunction.” (the vocal folds are pristine.)

Only 5 years ago, most otolaryngologists and speech language pathologists new very little about singing voice dysfunction. The field has exploded in the past five years, and there are more skilled people who can help. But five years ago, 2 otolaryngologists and 2 speech-language pathologists that I saw were 2 thumbs down.

There I went again, searching for my own solutions out of desperation. This time I added salt baths and cranial sacral techniques, herbs, veganism, created a reduced work load at a higher pay rate, committed to psycho-spiritual counseling, and read up on vagus nerve stimulation. This lead to Poly-Vagal Theory.

I worked with Jeanie Lovetri in her role as singing voice rehabilitation specialist. After 5 years I am singing functionally again, but certainly not optimally. This means that getting through a simple song is difficult, and if I don’t do my exercises and meditations, the voice goes again.

I never gave up. Sometimes your weakness becomes your greatest strength.

I’m finished living like this though. I am going to learn through wellness now.

None of this learning resulted in an extra couple of academic degrees because you can’t earn degrees in this kind of stuff.

Sometimes the Highest Education comes out of how you’ve lived your life.

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Check out my case studies on Functional Training, Somatic Education and Singing Voice Rehab HERE.

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