A Singer Diagnosed With “Vocal Cord Dysfunction”

Recently a singing student of a colleague received a diagnosis of “Vocal Cord Dysfunction” from an ENT. The voice teacher asked on a forum what that meant. Those of us who work with injured singing voices responded that Vocal Cord Dysfunction wasn’t a diagnosis.

Any vocal fold injury or pathology creates “vocal cord dysfunction.” Right?? That is perfectly logical.

Evidently, in the medical community “Vocal Fold Dysfunction” is another name for “PDFM”–Paradoxical Vocal Fold Movement.

And, evidently, ‘Vocal Cord Dysfunction’ is not categorized the same as ‘Vocal Fold Injury.’ However, both affect movements of the vocal folds and the larynx.

PVFM doesn’t refer to one specific vocal fold injury diagnosis. It’s anything that causes “an episodic unintentional adduction of the vocal folds on inspiration.”  Which means the vocal folds are working backwards—they close when the patient tries to inhale. Normally the vocal folds open upon inhalation.

Can you imagine how awful that would feel? However, Kerrie Obert, a Clinical Voice Specialist at The Ohio State University and Dept. of Otolayrngology and co-author of The Owner’s Manual to the Voice: A Guide for Singer’s and Other Professional Voice Users, says

While scary, one of the things to know is that oxygen levels remain normal during an attack. People with this disorder feel they are not getting enough air but they actually are. It is one of the things that distinguishes it from asthma or other respiratory disease. It is basically a behavioral problem and generally remedied with just a few sessions with an SLP.

This voice disorder ALSO has other alias’, such as laryngeal dyskinesia, inspiratory adduction, periodic occurrence of laryngeal obstruction, Munchausen’s stridor, hysterical croup and irritable larynx syndrome….just to name a few!

Kristine Pietch, SLP at Johns’ Hopkins’ Dept. of Neck and Head in Baltimore and Bethesda, Maryland and a fine singer, noted that

We don’t like the term ‘vocal cord dysfunction’ in our clinic for the reasons you describe (very non specific!) but it is the one that most pulmonologists use and that our patients hear first! I see a number of these patients every week and on my handout have to write “vocal cord dysfunction AKA paradoxical vocal fold motion” and NOW I’m probably going to have to add yet another…ILO aka inducible laryngeal obstruction which has been taking off (especially outside of the US). Too many terms…..very very confusing….

Paradoxical Vocal Fold Movement is misdiagnosed frequently as asthma because the symptoms are:

  • Noisy or wheezy inhale
  • A feeling of not inhaling enough air when playing sports or singing but recovers quickly, within 5 minutes.
  • Asthma or allergy medications don’t help with breathing problems
  • Has a history or symptoms of acid reflux
  • Patient points to the throat more than the chest to indicate the area of tension

This condition seems to be most common in young females 11-13 who are competitive athletes and quite driven academically. It occurs more in females than in males. It’s really imperative that the student get a correct diagnosis (asthma or PVFM) and specialized therapy from a voice care clinic and an experienced Speech-Language-Pathologist.

Sometimes asthma and PVFM occur at the same time too.

The speaking and breathing need to be addressed before the singing voice.

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Please view my services as an Independent Singing Voice Rehabilitation Specialist and my qualifications:

I. Individual Singing Voice Rehabilitation

For individual singers after diagnosis from your doctor.

II. Cate’s Collegial Consults

For experienced voice teachers and their student together, for those who live in areas without access to the resources they need.

Vocal Pedagogy and Creativity, Part II

Part I in this series was well-received and lays out the groundwork for Part II–

Introduction

In this post, I’ve gone academic on you–just to have a framework to discuss broad topics.  I’ve highlighted three elements that are part of a larger concept that psychologist Benjamin Bloom identified for his learning model widely known as Bloom’s Taxology.

Anyone who wants to teach or to transform information into a useful body of personal wisdom would find his work very interesting. However, you certainly don’t need to consciously know this stuff to have the same outcome. I have operated in the following “mode” most of my life and didn’t know any of this.

Our culture does not allow for the following kinds of developmental learning, starting as early as age 5. Yet, we are all capable of it!

Bloom identified three “areas” of Learning as:

I.   Cognitive Learning (Mental skills and Knowledge)

II.  Affective (Growth in Feelings and Emotional Areas)

III. Psychomotor (Manual or Physical Skills)

According to Bloom, collecting information and remembering data are considered the beginning, or bottom rung, of Cognitive Learning.

And Creating is the top rung.

And here’s what the Cognitive Domain looks like in Bloom’s pyramid:

bloom-taxonomy

Some teachers teach from the place of collecting and remembering information, and then maybe have stepped up onto the level of Understanding what it means to them. This is a good start.

But as an exceptional teacher, you need to  eventually get to the top 1-3 parts of the pyramid.

There is obviously some overlap of all three domains because we each are unique individuals who find our own ways.

For the purposes of this article, I would like to highlight THREE aspects of learning, one from each domain, for you to consider.

Cognitive Domain

1. “Divergent Thinking” means generating multiple ways of taking information and finding new ways to address a topic or find solutions to a problem. This kind of thinking has become a hot topic for the study of brain function in creativity.

Divergent thinking occurs in a spontaneous, free-flowing, ‘non-linear’ manner. It does not move from ‘a’ to ‘b’ to ‘c.’

It prefers to zig when everyone else is zagging. It thrives in solitude, uncertainty and the imagination. It makes useful connections among unrelated pieces of information. The manner in which divergent thinking takes place is unique to everyone and everyone has to discover their own ways to develop and allow it.

“Convergent thinking”, on the other hand, is the ability to apply rules to arrive at a single ‘correct’ solution to a problem, such as an answer to an IQ test question. This process is systematic and linear.  Both styles of thinking are important and are meant to work together.

Psychomotor Domain

1. Somatic Re-Education of the Body and establishing the realization that your body carries its own wisdom!

This connection has been severed in our culture, but has revived among singers, dancers, actors, athletes, healers and physical therapists because our art is the stuff of which this connection is made.  The reason I place such fundamental importance on learning through somatic re-education is that western culture is still imbued with the notion that all worthy learning takes place in the brain and “higher realms.”

Oh my goodness, no. no no no! The physical body learns and holds information too, and is an equal with the brain and heart center. Sometimes the heart needs to heal before the body can heal. Sometimes the body needs to heal before the brain can work well. Somatic Education helps us reestablish how our bodies and minds are meant to function together, and is especially important as we age.

Alexander Technique, Feldenkreis, Yoga, Rolfing, Nutrition etc., and other modalities are all methods of somatic re-education.  But the effect it has on you is directly related to the kind of teaching you receive.

Affective Learning

1. Development of Emotional Intelligence

Emotional Intelligence can be a natural gift which seems to be more hard-wired in women that in men.  But it can be developed in anyone. It is the capacity to be aware of, control, and express one’s emotions, and to handle interpersonal relationships judiciously and empathetically. E.I. is now being taught in business schools like Wharton and Case Western Reserve as a necessary tool in what is called “Resonant Leadership.”

Other ways of developing this part of Affective Learning are through counseling and modeling behavior of other emotionally intelligent people.  Time Magazine published a recent article which, at the end of an article on drugs and depression, lists drug-free ways that have all been scientifically proven to have transformative effects on emotions and in handling interpersonal relationships well: Exercise, Cognitive Behavioral Therapy, Behavioral-Activation Therapy, Mindfulness Training and Transcranial Magnetic Stimulation.

(I totally understand the need for the right drugs in the right doses, monitored by a health care professional.)

Conclusion to a long blog post…

These aspects  of turning information into something useful are true for anyone in any field.  Many life-long learners and some of your favorite teachers are using these steps to teach, even though they may not be consciously aware that Learning Theory has names for the processes.

Are there any Vocal Pedagogy graduate programs out there including Bloom’s theories in the coursework? The steps can be cultivated and are incredibly rewarding. Those EUREKA moments and connections are the stuff of ecstasy!

Life is about experiencing ALL the aspects of learning, not just running around devouring and acquiring new information and others’ ideas. And don’t panic. You have Time to realize learning is life long and no one is ever finished.  I started teaching music when I was 13 years old, had my first paid singing gig at 18, and am now 61. It sure did not happen all at once and is on-going.

Please like, comment or share this post if you found it useful. Thank you for being here!

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Also check out this video by Sir Ken Robinson

 

Vocal Pedagogy and Creativity, Part I

I once had 4 voice lessons with an expensive and well-known singer who had sung opera many years in Europe. After returning to the States, she developed a method of voice teaching based on 15 years of her personal research into voice science.

I sought her help after seeing an ENT (supposedly he worked with singers) who completely missed the fact that I was developing bi-lateral vocal fold paralysis. (!) Neither the teacher or the ENT helped me at all and both sets of information were actually harmful both physically and psychologically. GRRRRRR

So here were two learned professionals, WHO COULD NOT SEE or HEAR THE PERSON IN FRONT OF THEM. Did they need more information so they could have helped me? NO. What they both needed was to get outside of the information they had collected and turn it into something useful.

One of the main differences between intelligence and creativity is that the creative person has the ability to draw connections among bits of information and imagine various paths and outcomes. And this is the missing ingredient with many voice teachers who run around collecting information, certifications and degrees by the boat-load.

Read How to Make Connections Like a Creative Genius.

These are all valid ways to learn and perhaps start to assimilate experience, but one vital thing we are not taught in our school systems, academia and general culture is how to turn information and book learning into something useful. Has it occurred to you that the information presented in the learning environment is just an INTRODUCTION to understanding? Just the tip of the iceberg?

Information, by itself, is not the stuff that enables you to be effective.

Chances are good that you are getting information from someone who is also consuming information without turning it into their own Experience. When you teach, you are teaching who you are as well as whatever it is you teach. So inability to turn information into something useful is passed on in your manner of working. Rather a vicious circle.

The transformative and alchemical process to turn information into a creative experience requires time, self-acceptance, effort, and in many cases, more money. And this inner process is different for everyone.  It has its own time-table to follow and does not give a hoot about you being productive, “an expert,” and a reliable cog in society.

A personal note from my own voice studio: I work with voice teachers who are certified in 2 or 3  methods of vocal pedagogy. They are good teachers and wonderful human beings who at some level, feel that a few lessons going over the exercises that they learned in the certifications will turn them into the singers they want to be or help them with their students. So when they have not reached where they want to go after 4-6 lessons, or even 6 months, they stop. I understand. It is expensive and time-consuming. And who has the time to practice, experiment, observe, and at the same time learn how to ALLOW the process of the slow change of muscle fibers and neurological connections? And do this year after year after year? After year?

Yet, that is exactly the kind of creative process necessary, whether you do it yourself or reach out for guidance, to transform learning into useful experience.

Information continually changes, BUT SO DO OUR BODIES and EMOTIONS. Especially for women because of our life cycles and hormonal effects on the voice. But it is true for men, too, and for anyone who has survived physical or mental health crisis. If you are coping with a chronic issue that doctors can not solve, it is doubly true. It is a constant creative act to experience, assimilate and present information to others.  What you learned as a 21-year-old will no longer serve you at 25, 30, 40, 50, 60, 70+

Guess what. Life is continually about transformation into something new until it is time to transform again.

THIS IS THE SECRET THAT NO ONE TALKS ABOUT. We are taught that having a magic degree or certification or studying with that Broadway star can lead to wisdom and effectiveness.  While learning is a wonderful experience, having a personal value system that allows you to assimilate the new process is something that I have observed many teachers do not have.

Finding your own creative path is never easy in a culture that says it values creativity but does not value the time, solitude and continuous experimentation to develop a creative thing or thought and turn it into experience. As far as singing and teaching singing goes, you are more apt to do this if your personal values match up with these commitments.

I just finished watching the tv series “Genius” about the life and work of Albert Einstein, produced by Ron Howard. I recommend this series as a way to illustrate my point.

And here’s the KICKER–our personal values are shaped by our culture, religious traditions and the hive mind. What is required to live creatively and turn information into a body of deep personal experience?

I am not talking about work experience. I am talking about a deeper knowing that often comes from our deepest, most vulnerable places.

In Part II, I’ll outline some of the counter-culture elements that are needed to walk this particular path.  A good book to read, in the meantime, is The Courage to Teach, by Parker Palmer.

Please comment, like, share or subscribe if this post interests you!

“Transformation” abstract study by Cate Frazier-Neely

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Part V, Final Post, Journal of a Richard Miller Week

Thanks for joining me for the final installment of Journal of a Richard Miller Week. In this series I am sharing my journal notes from a 1994 week’s workshop with the great vocal pedagogue, Richard Miller.

It is interesting to compare these notes to what is available in pedagogy graduate programs now days. This information seems basic now, but 20 years ago it was new information.

Friday, May 27

The first part of the morning is spent studying female registration.
Chest voice “pivotal point” around E-flat above middle C.
From E-flat to F# 5, “voce media”–sometimes called head voice
F# first passaggio.

(I hope we have time to talk about this more. My first passaggio is around E-flat)

High C–F6–Flageolet

The size of the larynx determines the “pivotal point.” In mezzos and dramatic sopranos these points are obviously different. (my question answered.)
Lighter voices have an ease about registration matters.

Whistle voice is not the same as flageolet according to voice science. Whistle voice is a dampening and slapping apart of the folds.

Flageolet is a great assister, but not necessary for all voices. Some voices can’t do this.

Miller feels it is best to start vocalizing in upper middle voice.

Insert 1

Miller emphasizes charging what you are worth. “Is this an avocation or a profession?”

We work with the following–

1—–5—–1——54321
EH———————-

In upper middle range–
5′ 5′ 5—-1
Eh EH EH—–

1——8—7—8—–1
EH

Equality of timbre dependent on more appogiuro.

Heavier baritones may need to go toward (a) on top. Use ah-oh-oo combinations.

Do not base tenor (or anything) on the “HEY!” or “call” technique. Introduces too much vocalis pressure which can create imbalance. (Note: this was before voice science knew much about registration balance in popular music or musical theater.)

Insert 1

Mezzo di voce important every day.

Zwichen-fachs must be the patient in development.

We listen to recordings of Boerling, Corelli, Comingo, Pavarotti, all singing the same “pen-sier” to a high B-flat. All very different, all thrilling. Vowel choices interesting.

It is a common male teacher mistake to have women sing up high with too much breath pressure. Female teachers tend to underenergize their male students.

We have been saving our questions all week for today. There are many technical questions and clarifications. I ask him about his wife. What role has she played in his professional success?

Miller seems surprised by this question and says he has never had anyone ask it before. His eyes actually tear up a bit, when he says he would not be where he is without her. She has enabled him in every way to be where he is today, from taking care of his home and children to typing and editing manuscripts to listening to him practice talks.

There is a good-natured disagreement between Miller and the female teachers/singers in the class (myself included) over his assertion that the abdominal muscles have no play in support. He says there is no use of abdominal muscles other than all the muscles of the thorax have their origins in the pubic area and are therefore “used” without thinking about it in appogiuro. All the women have spoken up in disagreement, and we have a show and tell that is very interesting. He concedes that women have more space in the abdomen because of the womb, and perhaps we feel things differently.

We end the week with singing “daily regimen warm-ups.” He emphasizes warming-up before teaching.

On performing dates, sing through the voice by 12 noon. Before performing, sing agility exercises.

Learn not to sing fully during contracted orchestra rehearsals and save bloom for performance.

We leave the room slowly, speaking with each other, trading business cards, thanking Miller and talking in small groups. I am anxious to see the children but don’t fly back to DC until tomorrow morning.

Part IV, Journal of a Richard Miller Week

Welcome to Part IV of recently found journal notes from a 1994 workshop in Nashville, taught by the great vocal pedagogue, Richard Miller. You can find Parts, I, II and III HERE.

It is interesting to compare these notes to what is available in pedagogy graduate programs now days. This information seems basic now, but 20 years ago it was new information.

May 25

A medical doctor by the name of ‘Dr. Mitchell’ is brought in to lecture on vocal health basics.  They are ‘basics’ alright.  He is talking to us like we are 10 year-olds.  He gives us such gems as “A professional instrumentalist must operate at over 100% efficiency in order to do his/her work.”

The number of glands that lubricate the cords and larynx dry up as you get older, just as a course of regular aging.  wow, I did not know this….

Medication for infertility can have a permanent effect of lowering the voice. Aspirin can cause vocal fold hemorrhage.  Blood pressure medications can cause drying and mood changes.

Increase hydration when on medications.  Lord he is on a roll.

He says one vague thing about the female endocrine system–“premarin helps keep you moist.”  (used when? all through the life passages? how? the lack of useful information from this medical person is astounding.)

Other brilliant tidbits include 1) When you are on tour, bring your own food. (which you figure out fast enough when you are on tour, ) and 2.) Environmental allergies are hard to test. (smoke, perfume, carpet cleaners, etc.) Basically got nothing out of his lecture.  pffffft.

Next we observe slides of various surgical processes. First one is removing a cyst from a fold. Also observed enlarged blood vessels due to great subglottic pressure in one singer and during menstruation in another. Observed a laser coagulating blood vessels.

Observed a vocal hemorrhage in an undergraduate singer.

Fig 4 Vocal fold hemorrhage

Miller notes that speech pathology degrees do not include singing training until the masters’ level.

Vocal folds should vibrate in phase relative to each other.  When they fail to oscillate in phase, these phase differences contribute to dysphonia. Normal is when the vocal folds open and close together.  Out of phase vibration is when one fold in the open phase while the other fold is in the close phase.  Phase shifts can occur in the lateral/medial plane or anterior to posterior direction.

Many possible variations in vocal fold oscillation means that some seemingly abnormal vibratory patterns are actual normal variations.  Miller says the “open posterior chink” is common, especially in women.

“Bowed vocal folds” typically applies to the aged voice.  It appears that the front part of the folds have atrophied or there is nerve injury to the folds.  This means that the Bernoulli effect takes place through a smaller space and picks up speed.

(I am belly-missing my children but it is a relief to have a break from continuously coordinating all my moves so the kids are taken care of…)

Afternoon Masterclass

Soprano sings Schumann “Widmung”

Miller uses the interval of a 6th on (eh), followed by (a) and back again to even out a wobble on the top.  He maintains that just by opening the mouth while ascending, vowels are modified.  He does not think one needs to substitute different vowel sounds to modify.  It seems to me that he is using “opening the mouth” to mean how the jaw moves through an ascending pattern.

Most of today’s master class singers got lessons on vowel migration or lack thereof.

May 26

Epiglottis covers the larynx in the act of swallowing.  Epiglottis responds to the tongue.  He recommends the book “Comparative Anatomy and Physiology of the Larynx” by Sir Victor Negus.  (Note today: look for this in discount venues and used book stores because it is crazy expensive on Amazon.)

Vibrato is a healthy relaxation principle. The shaking jaw or tongue may be tension, but it is more often in a healthy, relaxed posture, particularly in sopranos because of the size of the larynx.

Miller abhors straight-tone singing.

The “tracheal pull” occurs with lower abdominal breath–lowers the larynx automatically.  Note: this does not mean ignore the width of the ribs or movement of the back when inhaling.

The false vocal folds move away from the true folds as pitch ascends.  This is not a conscious thing, but occurs with proper coordination.

Vocal folds have three parts (skin or ligament, middle, vocalis muscle) The muscles and tissues of the larynx are as sensitive to minute adjustments as the eye.

Chest voice vibrates more fully in the vocalis muscles, Head voice vibrates more on the edge of the folds.

There is fixed subglottic pressure in trachea and bronchi.

Voice scientists at present think there are only 2 registers. (? really?)

When Leontyne Price sang Carmen, she carried chest voice up to a4 and b-flat4 and got nodes.  Had to take off for 6 months.  Miller admits he knows nothing about mitigating technique for popular styles.  (He was good-naturedly accused of living in an ivory tower.)

Point–I don’t want to imitate technical differences between vocal styles. I want to be able to teach technical differences and have been trying to develop methods to do this for years.  Feel like I am out on my own, with few resources. Disappointed Miller couldn’t speak to chest registration and belt more. He does mention that he has observed that a higher larynx allows a singer to sing in chest longer.

All his slides this afternoon are from his book, The Structure of Singing. He also has pictures of the epiglottis/folds from Appleman’s book.

Miller insists on a quiet breath for efficiency.  Sub-mandibular muscles are attached to the hyoid bone which is attached to larynx.

The mouth, pharynx and larynx are the main resonators, just occasionally, the naso-pharynx.

The Germanic school often teaches “cover.”  The Italians teach a small amount of graduated modification at first passaggio and continues on up. Miller recommends starting this adjustment right below the primo passaggio.

Use falsetto in men to counter rigidity.  Falsetto is not head voice in men!

Increase appoggio for high notes.  We compared visual performances and spectrographs of Price, Tebaldi, Steber and Shirley Verrett singing “Visse D’Arte.”  Miller calls Verrett a “zwischen.” She was not as successful singing this aria as the others. She used high clavicular breathing, head bobbed all over the place, very unstable compared to the stillness of the others.  Tebaldi was under-energized in appoggio.

We then spend some time talking about exercises for men’s voices.  He suggests 5-4-3-2-1-5-3-1, starting on “oo” and going to “ah” on 1, using falsetto if the voice is rigid.  He works with several different volunteers from class.  If a singer has a  break going from 5 to 1, he has them sing softer and slide more, sometimes changing the vowels.

Increase appoggio for high notes.

Afternoon Masterclass

Tenor-“Comfort Ye….Every Valley”

Miller vowel-tracts (has singer go vowel to vowel) for more legato and brilliance in a beautiful voice.  Also uses “nie, nie, nia, nia, niu.”   Just an observation–he seems much more comfortable working with male voices.

Soprano–(did not note what she sang) but she has a wonker of a voice–very loud with crazy vibrato.

Miller first realigns support from “pull in” method to appoggio.  He says this will change her subglottic pressure which is currently creating throat tension.

This soprano is large breasted and he has her put her hands behind her back, walk slowly forward, kneel, walk backwards while singing on “ya.”  1—5—1—54321—-5—-1.   This seems to help her alignment and freedom of breath.

Soprano sings John Duke “Nobody Knows This Little Rose”

Miller starts by using agility exercises in mid-voice:

13451345135

He is trying to build focus in her middle voice, which doesn’t have much of a presence.

The old wisdom “inhale through the nose like you’re smelling a rose,” pertains to the zygomatic arch.

Stuck in between the pages of this journal at this point were two postcards I sent my children that week. wow.  remember hand-written mail?

Part II, Journal of a Richard Miller Week

Part II of sharing personal journal notes from five days of intensive teacher training with the great vocal pedagogue and singer, Richard Miller, at Belmont University in Nashville, Tennessee, in 1994.  You can read Part I HERE.

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Monday, May 23, 1994 Morning Session focusing on reading Spectrographs*

Miller’s own singing is in excellent shape.  He always illustrates and models well.  He says to never, ever pull your own throat out of shape to show a student what they sound like.  He is emphasizing that in this day and age of instant everything, building a systematic technique slowly, over time, has become a lost art.

I spoke on the phone early this morning (before cell phones) with (the 2-year old).  She just listened, smiled and told Grandma she had to poop.  (The 6-year old) is already in school.

Every vowel has a laryngeal position, coupled with the position of the vocal tract, which acts as a filter.  I want to ask more about this.  I don’t think he means that you consciously change these things for every pitch on every vowel.   I am sure he is speaking to what he has observed as a voice scientist. I want to ask him about test subjects.  All professionals? Women in various life cycles? Rock singers?  I think all the test subjects have been classical singing men but I may be wrong.

‘Front’ Vowels (Lateral vowels) such as ee, the pharynx is the stronger resonator.

‘Back Vowels” (rounded vowels) such as ah, the mouth is the stronger resonator.

Do not use the term ‘idiot jaw.’ This actually closes the throat and is not an indicator of jaw freedom in singing.

“Sing as one speaks” means let the vowels follow the same vocal tract as in speaking.  I want to ask about this, too.  How can that work with the way most Americans speak??? LIGHT BULB moment–he is talking about the shape above the cords, not the way breath is used, right? Another question. Am I the only one with all these questions??

Supraglottic considerations in singing–above the glottis.  Tongue has 8 muscles.  He’s talking about lots of info on tongue and hyoid bone which is familiar and easy to see in my “Gray’s Anatomy” book.

I am paying a lot of attention to Miller’s pacing and humor and he is brilliant at rhythmically moving his lecture along.  I am as interested in his manner of delivery as well as the information because of all the workshops I am teaching these days.

The zygomatic region is the area of the cheeks, muscles under the cheeks and related to the soft palate. (What affects the front affects the back. makes sense.)

We are introduced to a 1951 recording of Jussi Boerling singing Pagliacci and are learning to read a sound spectrograph of his singing.* Each voice has its own harmonic system.  When there is “noise” in the voice, there are “overtones” which don’t belong to the universal system.

Analysis of the spectrum is tedious.  I just want to bask in Boerling’s sound. So much for being a scientist…

Tenor voice does not need to drop the jaw to define the vowel.

Work “NIU”  5—3—1           “YOU”   5—3—1

Afternoon Session-Masterclass with singers from class

A soprano sings “Vilia”

Miller wants more first formant so that the fundamental is augmented. He worked with this–

1

He asks for more “zygomatic arch” on the top G’s and emphasizes the axial posture of the neck.

He stops working for a moment to give her a rest.  He is telling a few anecdotes about his opera roles and what stage directors asked him to do, and how singers need to find ways to show character in the body without violating basic body alignment principles so the instrument can work.  “Stage directors usually don’t know anything about singing.”

He is working on her breathing and breath management through the following exercises, first by sitting, and then standing:

2

Don’t pout out the belly–it is not necessary to do anything in the hypogastric area.

A tenor sings Mussgoursky

Wow this guy has a fast vibrato.  He teaches at a college in Wisconsin. Miller says the vibrato rate seems to be part of him, not the result of pressure on the throat.  Miller wants more relationship between his Forte and Piano.  (“more legitimacy in the piano.” He has the tenor hum the melody, then work tongue position with a voiced “V.”

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He has the tenor open his mouth ever so slightly during the second passaggio while retaining the same vowel. (this seems to slightly loosen his jaw?)  Don’t pull down upper lip while ascending.

Miller stops to interject his thoughts on singing while aging. 1) know what you are doing. Constantly seek learning, balance, redoing. 3) don’t stop.

I sing “El Majo Discreto” by Granados

Miller “This voice may get into Verdi in another 5-10 years.”  Just when I am feeling puffed up and smug he adds

“Get rid of hang dog look.  Don’t drop the jaw so much, especially through the middle and lower voices.  Save for upper range.”

He has me work quite a bit with “Garcia posture.” I put my hands behind my back, palms facing out, to open chest.  Watch that sway back doesn’t come in. He wants me to stop preparing to sing so much.

He asks if I have ever considered a lingaul frenectomy, and I tell him my teacher (Elizabeth Daniels) has recommended it in the past.  He looks at the underside of my tongue and encourages me to have the procedure for more tongue freedom.

We wrap up the afternoon listening to some old Firestone Classic Performance Videos.  We listen to Renata Tebaldi and Franco Corelli.  (note: some of these are available on Amazon now.)

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*Two years before I attended Miller’s teacher training, I delivered our daughter by a complicated high-risk c-section that went horribly wrong–the surgeon sewed the placenta back into my womb.  In the week following her birth, (and thank god she was ok) I fought for my life and had two more surgical procedures that year to correct the damage.  Then my husband’s father suddenly died.

I began searching for ways to heal on multiple levels, which is when I first experienced Somatic ReEducation–although I didn’t know at the time that is what I had stumbled upon.  I attended Miller’s symposium in 1994 to try to reconnect with my intellectual interests, but had a great deal of difficulty focusing on his science lectures because of what I had been through. Retrospect provides perspective.

This is why I don’t have a lot of notes on reading a spectrograph analysis. Most of his important observations in voice science can be found in his books.

spectrograph

Please stay tuned by subscribing or commenting, for Part III of “Journal of a Richard Miller week.”