Vocal Workouts For The Contemporary Singer - Anne Peckham

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p ro d u c tio n s u p p o rt.
lib ra ry o f C o n g re s s C a ta lo g ln g -In -P u b llc a tlo n D a ta
P eckham , Anne.
V o c a l w o rk o u ts fo r th e c o n te m p o ra ry s in g e r / Anne P eckham .
p. c m .
IS B N 0 -8 7 6 3 9 -0 4 7 -5 (9 7 8 -0 -8 7 6 3 9 -0 4 7 -4 )
1. S in g in g -In s tru c tio n a n d s tu d y . I. T itle .
M T 8 2 0 .P 3 3 2006
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2005019007
C o p y rig h t ~ 2 0 0 6 B e rk J e e P re s s . A I! R ig h ts R e s e rv e d .
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P rin te d in th e U n ite d S ta te s o f A m e ric a b y V ic k s L Ith o g ra p h ic a n d P rin tin g C o " In c .
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Contents '"
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CD Tracks iv '"c..
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Acknowledgments vi
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Introduction: Exercises for Contemporary Vocal Styles vii z
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PART I. VOCAL ESSENTIALS 1 u
Chapter 1. Getting Ready to Sing 3

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Practicing with the Vocal Workouts CO................... .. .4
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Getting Your Voice into Shape............................. .. 5 '"..
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Listening to Your Body....... . 5

Chapter 2. Breathing 8
The Four Steps of Effective Breathing 9
Neutral Posture .. 9
Deep Breathing 14
Keep Your Ribs Open .. 15
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A Quiet Breathing Exercise . 15 :::>
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Chapter 3. The Four P's: Essential Building Blocks for Vocal Training 16
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Practice............................. .. 17 '"
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Patience 30 ~
Perserverance
Play..........................
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Chapter 4. Vibrato, Vocal Registers, and Belting 32 >
Vibrato.......... .. 32
Registers... . 34
Belti~.. .37
Chapter 5. Essential Vocal Care 39
Maintaining Vocal Health. . 39
Detecting Vocal Problems.. .. .41
Signs of Possible Vocal Problems.. .. 42
If You Suspect You Have a Problem .. .42
Chapter 6. Auditioning 44
Taking Criticism in Stride .45
Auditions Gone Bad......... . .45
You Never Know Who's Watching........... ....45
PART II. COMPLETE VOCAL WORKOUTS 47
Warm-ups for All Voices 51
Workout 1. Basic Workout 60
Workout 2. Advanced Workout 78
Singing Harmony: Two- and Three-Part Exercises 100
What Next? 114
About the Author 116

CD Tracks
T rack
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W arm -ups for A ll V oices, T racks 2 7
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o 2 E xercise 1. W arm -up S lide
3 E xercise 2. D escending F ifth S lide

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c ,4 E xercise 3. D escending F ifth R un
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5 E xercise 4. P op/R ock S lide
6 E xercise 5. D escending A rpeggios (S w ing)

7 E xercise 6. O ctave S lides
B asic W orkout for Low V oices, T racks 8-14

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8 E xercise 7. R ock S teps
.,o 9 E xercise 8. R ock S yncopation
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11 E xercise 10. Latin Long T ones
z 12 E xercise 11. G ospel S w ing

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m 13 E xercise 12. Jazz S W ing S cale
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A dvanced W orkout for Low V oices, T racks 15-21
15 E xercise 14. R ock V ocalise
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16 E xercise 15. Latin O ctave S kips
17 E xercise 16. Jazz W altz ("M aybe on M onday")

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18 E xercise 17. R & B P op P entatonic ("W ait for M e")
19 E xercise 18. R & B P entatonic P attern ("H ey Y ah")
20 E xercise 19. R ock P entatonic A rpeggio ("B ah, B ah, B ah")

21 E xercise 20. Jazz B allad E tU de
B asic W orkout for H igh V oices, T racks 22-28

22 E xercise 7. R ock S teps
23 E xercise 8. R ock S yncopation
24 E xercise 9. M inor O ctave S cale
25 E xercise 10. Latin Long T ones
26 E xercise 11. G ospel S w ing
27 E xercise 12. Jazz S W ing S cale
28 E xercise 13. Latin V ocalise

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A d va n ce d W o rko u t fo r H ig h V o ice s, T ra cks 29-35

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29 E xe rcise 1 4 . R o ck V o ca lise v
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30 E xe rcise 1 5 . L a tin O cta ve S kip s
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31 E xe rcise 1 6 . Ja zz W a ltz ("M a yb e o n M o n d a y") ...
32 E xe rcise 1 7 . R & B P o p P e n ta to n ic ("W a it fo r M e ")
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33 E xe rcise 1 8 . R & B P e n ta to n ic P a tte rn ("H e y Y a h ")
34 E xe rcise 1 9 . R o ck P e n ta to n ic A rp e g g io ("B a h , B a h , B a h ")
35 E xe rcise 2 0 . Ja zz B a lla d E tu d e
S in g in g H a rm o n y: T w o - a n d T h re e -P a r! E xe rcise s, T ra cks 3 6 -4 4
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36 E xe rcise 2 1 . T w o -P a rt P o p /R o ck ("W h o ") ...
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37 E xe rcise 2 2 . T w o -P a rt R & B /P o p ("G o t to B e lie ve ") o
38 E xe rcise 2 3 . T w o -P a rt F u n k ("T a ke a B re a k") '"'"o
39 E xe rcise 2 4 . T h re e -P a rt C o u n try/R o ck ("L e t M e T ry"): A ll V o ice s
40
41
E xe rcise 2 4 . T h re e -P a rt C o u n try/R o ck ("L e t M e T ry"): M id d le
V o ice O u t
E xe rcise 2 5 . T h re e -P a rt R o ck ("H e y Y a h "): A ll V o ice s
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42 E xe rcise 2 5 . T h re e -P a rt R o ck ("H e y Y a h "): M id d le V o ice O u t
43 E xe rcise 2 6 . T h re e -P a rt B lu e s ("S in g fo r Y o u r S u p p e r"): A ll

V o ice s
44 E xe rcise 2 6 . T h re e -P a rt B lu e s ("S in g fo r Y o u r S u p p e r"): M id d le
V o ice O u t
Acknowledgments
SPEC IA L THAN KS TO A d ria n a B a lic , D e b b ie C a v a lie r, J o n a th a n F e is t, P e te r
K o n trim a s , S u s a n G e d u tis L in d s a y , M a tt M a rv u g lio , R ic k P e c k h a m , L is a T h o rs o n , and
J a n S h a p iro .
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A nne P eckham (w w w .a n n e p e c k h a m .c o m )
Jeff R am say
I ,I
Introduction: Exercises for
Contemporary Vocal styles
H IS B O O K IS F O R S IN G E R S w ho are interested in contem porary,
non-classical singing styles. It is a look at breath support, tone pro-
duction, and voice strengthening, plus m aterial for m ore experienced
singers w ho w ant to continue to develop their voices. B y follow ing the
C om plete V ocal W orkouts presented here, you w ill be able to sing w ith im proved range,
agility, sound, and overall expressive pow er.
In part I, you w ill find a review of the basics to help anchor your technique w ith
renew ed aw areness of healthy singing. S om e of these topics, and m any others, are
covered in greater depth in the com panion book, The Contemporary Singer (B erklee
P ress, 2000).
INTRODUCTION
T h e C o m p le te V o c a l W o r k o u ts in p a r t II fo r m th e h e a r t o f th is volume. These e x e r-
c is e s w ill h e lp y o u w a r m u p y o u r voice b e fo r e y o u s in g , a s w e ll a s d e v e lo p y o u r ra n g e ,
a g ility , s ta m in a , a n d o th e r a s p e c ts o f y o u r in s tr u m e n t. E ach vocal e x e r c is e is w r it-
< te n o u t s o y o u c a n fo llo w a lo n g w ith th e m u s ic a s y o u s in g . Y o u c a n is o la te s p e c ific

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e- e x e r c is e s , o r fo llo w th r o u g h th e e n tir e C D w o r k o u t. If y o u d o n 't re a d m u s ic , you can
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ju s t u s e y o u r e a r , a n d le a r n th e e x e r c is e s fr o m th e C D , th o u g h s c a n n in g th e n o ta tio n
"o'" fo r ly r ic s m a y b e a h e lp to y o u . Ic o n s s h o w th e c o m p le te ra n g e of each e x e r c is e in
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th e b o o k , fr o m th e h ig h e s t to th e lo w e s t n o te . W h e n th e e x e r c is e s in th e A dvanced
W o r k o u t d iv id e in to lo w a n d h ig h voice v e r s io n s , b o th r a n g e s a r e in d ic a te d . T h is w ill
h e lp y o u d e te r m in e w h e th e r th e h ig h - o r lo w - v o ic e w o r k o u t is b e s t fo r y o u
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Y o u w ill fin d a v a r ie ty o f fu n a n d c h a lle n g in g vocal w o r k o u ts th a t w ill s tim u la te your
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c r e a tiv e s id e w h ile y o u r e fin e your voice. Y o u w ill a ls o see Two- and T h re e -P a rt
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o w ill le a r n to tu n e y o u r voice to o th e r s in g e r s , ju s t a s y o u w o u ld when p e r fo r m in g
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z y o u d e v e lo p valuable s k ills n e e d e d b y a ll s in g e r s .
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'" T h e fo llo w in g c h a r t s u g g e s ts s e v e r a l p r a c tic e r o u tin e s . C h o o s e w h ic h e v e r one best
fits y o u r vocal n e e d s a n d y o u r s c h e d u le .
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INTRODUCTION
C O M P LE TE VOCAL W O R K O U TS
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B a s ic V o c a i W o rk o u t: 1 5 m in u te s
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1 2 m in u te s
8 m in u te s
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Cool Down: 5 m in u te s (T ra c k s 2 a n d 3 , '"o...

re p e a te d fro m W a rm -u p s )
A lw a y s s in g th e W a rm -u p s fo r A ll V o ic e s b e fo re s in g in g th e B a s ic , A d v a n c e d ,
o r P a rt E x e rc is e s . C h o o s e e ith e r th e h ig h - o r lo w -v o ic e v e rs io n o f th e B a s ic a n d
A dvanced W o rk o u t fo r th e s u g g e s te d
c o o l d o w n a fte r s in g in g .
ro u tin e s b e lo w . R e p e a t tra c k s 2 a n d 3 to
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Suggested Vocal W orkout Routines

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C om plete B asic Vocal W orkout (32 m inutes)

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32 m in u te s
C om plete A dvanced W orkout (29 m inutes)
W a rm -u p s + A dvanced V o c a l W o rk o u t (c h o o s e h ig h o r lo w v o ic e ) + C o o l D o w n =
2 9 m in u te s
A dvanced Extended Vocal W orkout (44 m inutes)
W a rm -u p s + B a s ic V o c a l W o rk o u t + A dvanced V o c a l W o rk o u t + Cool Down =

44 m in u te s
Part Singing Vocal W orkout (40 m inutes)
W a rm -u p s + B a s ic V o c a l W o rk o u t + T w o - a n d T h re e -P a rt E x e rc is e s + C o o l D o w n
= 4 0 m in u te s
A dvanced Extended Vocal W orkout w ith Parts Exercises (52 m inutes)
W a rm -u p s + B a s ic V o c a l W o rk o u t + A dvanced V o c a l W o rk o u t +
T w o - a n d T h re e -P a rt E x e rc is e s + C o o l D o w n = 5 2 m in u te s
INTRODUCTION
HEALTHY SINGING RANGES
If th e h ig h e s t n o te s in th e v o c a l e x e rc is e s o n th is C D a re
o u t o f y o u r ra n g e , b e s u re y o u 're n o t fo rc in g y o u r lo w e r
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n re g is te r u p b e y o n d y o u r c o m fo rt lo n e . T ry to re le a s e in to
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a lig h te r h e a d -v o ic e to n e to s in g h ig h e r n o te s , in s te a d o f
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u p w a rd , a n d k e e p y o u r to n e lig h t a s y o u d e s c e n d in p itc h .
R e a d c h a p te r 4 fo r m o re in fo rm a tio n o n v o c a l re g is te rs .
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• Getting Ready t o Sing
• Breathing
• The Four P's
• Vibrato, Vocal Registers, and Belting
• Essential Vocal Care
• Ruditioning
VOCAL ESSENTIALS
a:
Chapter 1. Getting Ready to Sing
HERE ARE TW O B A S IC TYPES OF VOCAL E X E R C IS E S in c lu d e d
in p a r t I I 's w o r k o u t s : w a rm -u p s a n d v o ic e b u ild e r s .
W a rm -u p s w ill g r a d u a lly p re p a re y o u r m u s c le s f o r t h e h ig h e r in t e n s it y of
p e r f o r m a n c e . T h e y w i I I h e l p r e - e s t a b lis h e f f ic ie n t b r e a t h i n g t e c h n iq u e a n d
b r in g y o u r a t t e n t io n t o t h e b o d y / m in d c o n n e c t io n in s in g in g . W a r m - u p s w ill a ls o h e lp y o u
s in g h ig h n o t e s m o r e e a s ily . T h e b e s t t y p e s o f v o c a l w a r m - u p e x e r c is e s a r e d e s c e n d in g
s lid e s , lip o r t o n g u e t r ills , s c a le s w it h c h a n g in g v o w e ls , a n d s t a c c a t o a r p e g g io s .
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a n d f u n f o r s in g e r s o f r o c k , p o p , ja z z , a n d r & b m u s ic . Y o u c a n g a in a ll t h e b e n e f it s o f r e g u la r
PAR T I VOCAL ESSENTIALS
practice, keeping your voice in shape, building new skills, and learning new patterns
and riffs for im provising. Y ou can also develop a good vocal sound, build strength and
stam ina, and build rhythm ic, tonal, and pitch skills. Y ou w ill do all this w hile using sounds
and patterns that are stylistically appropriate to your idiom . D epending on your vocal
< needs, the best voice-building exercises m ay consist of long tones, pentatonic arpeggios,
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., intervallic leaps, and scales or other patterns covering an octave or m ore in range on
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various vow el sounds. In these w orkouts, you w ill encounter all of these types of voice
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builders. T he long-tone exercise below is another exam ple of an effective voice builder.
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... PRACTICING WITH THE VOCAL WORKOUTS CD
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o R egular practice w ill help you to im prove your voice and to m aintain your sound. T he
.. V ocal W orkout C D m akes it easy to stay focused. Just sing the W arm -up for A ll V oices,
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then choose one of the C om plete V ocal W orkouts on the C D , and sing along. (S ee the
introduction, page ix, for suggested practice routines.) A variety of styles are used to
....'" m ake the w orkouts fun and to develop skills that you'll need to sing contem porary
m usic.
W hen you are w orking w ith the practice C D , you w ill need a quiet room w ith a m ir-
ror and a C D player. A lthough you can sing along w ith the C D w ithout a keyboard or
guitar, an instrum ent can be helpful to check your range to see how high and low you
are singing. S tand in front of the m irror w hile singing to check your posture and to see
any signs of physical strain. S ing standing up, to m axim ize your breath capacity and
to m inim ize any tension in your neck, shoulders, and chest.
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GETTING READY TO SING CHAPTER 1
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GETTING YOUR VOICE INTO SHAPE ..
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If you haven't maintained a consistent training regimen for a period of time, or if you '"
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are a beginner, you will need to gradually build your voice. '"
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To initiate your training, or to recondition your voice, start by practicing twenty minutes
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a day, three to four times a week. Over a period of several weeks, build up to practicing ...
four to six times a week for up to forty-five minutes. Most of the benefits of any previous
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training are totally lost after four to eight weeks of vocal inactivity, so you will probably
feel that you are starting from scratch, if you haven't sung in a while. Vocalizing two
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days a week or less will probably not improve your singing, if you're out of shape. On
the other hand, vocalizing intensively for an hour or more, for six or seven days a week,
increases the risk of overuse injury and does not improve vocal condition. Find a bal-
ance in your routine that challenges you but allows for some down time. .....
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If you are an experienced singer working to maintain or further develop your vocal "
sound, it usually isn't difficult to practice four to six times a week for thirty to forty-five
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minutes. Again, use common sense about the frequency of practice. Pay attention to ~
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the way you feel, and consult a vocal technique teacher experienced in working with
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contemporary music singers if you have any questions about your voice. This book is
not meant to replace professional, private vocal instruction.
LISTENING TO YOUR BODY

If you feel tired after you sing, check to be sure you aren't forcing your voice or strain-
ing. Pay attention to how your voice feels during and after practice. Although you might
feel some initial tiredness from using muscles that you've never exercised before, this
should subside in a couple of hours after practicing. Your voice will become stronger
as you continue to practice.

VOCAL ESSENTIALS
PAR T I
E x e r c is in g n e w m u s c le s m ig h t m a k e y o u fe e l a little tir e d a t fir s t, but th is is v e r y
d iffe r e n t fr o m th e fe e lin g o f v o c a l s tr a in . Y o u w ill r e c o v e r r e la tiv e ly q u ic k ly fro m fa tig u e
c a u s e d b y e x e r c is in g n e w m u s c le s . F a tig u e c a u s e d b y im p r o p e r s in g in g te c h n iq u e
r e q u ir e s m u c h m o r e r e c o v e r y tim e .
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N o r m a l m u s c le fa tig u e c a u s e d b y e x e r c is in g y o u r v o ic e u s u a lly s u b s id e s in o n e to tw o
h o u r s . F a tig u e c a u s e d b y v o c a l s tr a in c a n la s ta d a y o r m o r e . D is c o m fo r t fro m in fe c tio n

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o r v ir u s c a n ta k e a w e e k to te n d a y s to h e a l. A lth o u g h v ir u s e s c a n te m p o r a r ily keep you
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0 fr o m s in g in g , y o u c a n h e lp y o u r s e lf b y d r in k in g lo ts o f flu id s and r e s tin g . If y o u h a v e
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If y o u p r a c tic e fo r a s e n s ib le a m o u n t o f tim e a n d e n d u p w ith a r a s p y v o ic e , c o n s id e r
o th e r p o s s ib le c a u s e s .
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o f th e c a u s e o f h o a r s e n e s s , a n d if it is p e r s is te n t, c o n s u lt a v o ic e s p e c ia lis t ( Ia r y n g o lo -
g is t) to h e lp y o u id e n tify a c o u r s e o f a c tio n th a t w ill h e lp y o u g e t b e tte r .
I f y o u 'r e o u t o f p r a c t ic e tl I . . . .
, gen e , r e g u a r e x e r c is e s w ill h e lp p ro g re s s your s in g in g
a n d d e v e lo p th e k in d o f di t·
coor In a Io n y o u r v o c a l m u s c le s need. H a rs h , ro u g h vocal
w o rk c a n o v e rta x y o u r v . d m i
o ic e a n m ig h t le a d to p e r m a n e n t dam age. Y o u d o n 't need
GETTING READY TO SING CHAPTER 1
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o f y o u r v o c a l m u s c le s a n d b a la n c e d
rig h t k i n d o f p ra c tic e .
b re a th s u p p o rt. T h is c a n b e d e v e lo p e d w ith th e
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T h e re is n o d o u b t th a t c e rta in
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h a rd ro c k o r h e a v y m e ta l is a h ig h e r-ris k s ty le o f s in g in g th a t c a n w e a r o u t
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y o u r v o ic e fa s te r th a n m o s t ja z z s in g in g . B u ta ll k in d s o f m u s ic c a n p u t y o u r v o ic e a t ris k
if y o u d o n 't k n o w w h a t y o u 're d o in g , e s p e c ia lly if y o u d o n 't w a rm u p b e fo re s in g in g .

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If y o u k e e p y o u r b o d y in g o o d c o n d itio n a n d y o u r te c h n iq u e u p -to -d a te , you can head ...
o ff a n y p ro b le m s b e fo re s e rio u s d a m a g e o c c u rs . T h is re q u ire s a h e ig h te n e d sense of
s e lf-a w a re n e s s . Y o u h a v e to k n o w y o u r v o ic e , y o u r re q u ire m e n ts fo r h e a lth y liv in g , y o u r
lim ita tio n s , a n d w h e n to g iv e y o u r v o ic e a re s t. A lo t o f v o c a l p ro b le m s c a n b e p re v e n te d
w ith s o m e b a s ic c o m m o n s e n s e a n d w ith d e v o tio n to a h e a lth y life s ty le . III
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Chapter 2. Breathing
INGERS TYPICALLY LEARN BREATHING TECHNIQUE in their

first voice lessons. The idea of low-body, diaphragm atic breathing is not
a com plicated concept. But rem em ber: breath support takes minutes to
learn and a lifetime to master. Understanding this concept intellectually
does not m ean that your m uscles will autom atically respond when you
sing. You m ust consistently practice good breathing technique until it
becom es second nature. This is why m any professional perform ers check in with their
voice teachers regularly to m ake sure their voices are functioning well, and put into place
any corrective m easures necessary to ensure efficient production that m inim izes strain.
The usual in and out of airflow is fine for everyday activities, but efficient m anagem ent of
your breath can give you better vocal control, m ake your voice freer and m ore powerful,
and give you better stam ina.
Even if you already know how to breathe properly for singing, spend a few m inutes at
each practice session refreshing your skills. W hen you reinforce proper breath m anage-
_________________ B _ R _ E _ A _ T _ H _ I_ N _ G _ I C H A P T E R 2
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m e n t a t th e b e g in n in g o f e a ch p ra ctice , yo u 'll b e m o re like ly to co n tin u e th a t a ctio n fo r
e xte n d e d p e rio d s o f sin g in g . T h is cre a te s a b e tte r fo u n d a tio n fo r a ll style s o f sin g in g .

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THE FOUR STEPS OF EFFECTIVE BREATHING
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1. A lig n yo u r b o d y w ith n e u tra l p o stu re (d e scrib e d b e lo w ).
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2. In h a le , e xp a n d in g a ro u n d yo u r w a istlin e .
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NEUTRAL POSTURE
T h e stre sse s o f ca rryin g b a g s, b o o ks, sittin g a t a co m p u te r fo r lo n g p e rio d s o f tim e ,
a n d o th e r b a d p o stu ra l h a b its ca n p u ll yo u r b o d y o u t o f a lig n m e n t,
sh o u ld e r a n d b a ck p a in , a n d e ve n m u scle sp a sm s.
ca u sin g
P ro p e r a lig n m e n t,
te n sio n ,
o r ke e p in g a
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e xtre m e s d e scrib e d o n th e fo llo w in g p a g e s a re a m e th o d o f fin d in g yo u r b e st b o d y
p o sitio n . B y stre tch in g to e xtre m e p o stu re s, su ch a s a n o ve r-e xte n d e d ch e st p o sitio n ,
yo u ca n g e t a b e tte r id e a o f w h a t n e u tra l p o stu re fe e ls like a s yo u re le a se th e stre tch .

Establishing neutral posture
1. Stand with feet hip-width apart.
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BREATHING I CHAPTER 2
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3. E x h a lin g , squeeze your b u tto c k s to g e th e r and p u ll in your s to m a c h m u s c le s , "z
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m a k in g your lo w e r back v e r y fla t. Then, r e la x y o u r m u s c le s s o th a t your p e lv is '"
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tip s back s lig h tly . B e s u re th a t y o u a re n o t a r c h in g your lo w e r b a c k .
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e lb o w s b e h in d y o u a n d y o u r s h o u ld e r s b a c k . T h e n r e le a s e t h e e x t e n d e d p o s it io n ,
m a in t a in in g a c o m f o r t a b ly h ig h c h e s t p o s it io n .
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Spine stretched
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Neutral Head Position
1. G lid e y o u r h e a d fo rw a rd a s fa r a s it w ill g o .
2. K e e p in g y o u r h e a d le v e l, g lid e b a c k , p u IIIn g y o u r
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w ith h ip s , h ip s w ith k n e e s , a n d k n e e s w ith a n k le s .
DEEP BREATHING
...o Inhale Exhale
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2. In o rd e r to e x p e l a ir to s in g , your
fu lly s o y o u r w a is t e x p a n d s a ll th e
a b d o m in a l m u s c le s c o n tra c t s lig h t-
w a y a ro u n d your b o d y , in c lu d in g
ly , c a u s in g y o u r d ia p h ra g m to a rc h
in to y o u r b a c k . T h e re s h o u ld b e n o
u p a g a in s t y o u r lu n g s , p u s h in g th e
m o v e m e n t in y o u r u p p e r c h e s t n e a r
a ir o u t o f y o u r lu n g s .
y o u r a rm p its .
3. T ry to k e e p y o u r body open and
d o n 't c o lla p s e . If y o u p u s h to o h a rd
w ith y o u r a b d o m in a Is , y o u w ill fo rc e
a ll o f y o u r a ir o u t to o fa s t. T h is a c tio n
s h o u ld b e g e n tle a n d firm , w ith a n

I
e m p h a s is on k e e p in g your body
o p e n a s y o u e x h a le .
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B REA T H IN G CHAPTER 2
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KEEP YOUR RIBS OPEN ..
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A s yo u g e t to th e e n d o f yo u r a ir su p p ly, yo u 'll fe e l th e u rg e to sq u e e ze yo u r rib s a n d
co lla p se yo u r ch e st to e xp e l th e la st o f yo u r a ir. H o w e ve r, g o o d b re a th in g te ch n iq u e
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d icta te s th a t yo u try to m a in ta in a n o p e n ch e st a n d rib ca g e to th e e n d o f yo u r b re a th .
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T h is w ill h e lp yo u a vo id b e co m in g te n se . Z
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T ry to ke e p yo u r rib s o p e n , e ve n if yo u fe e l yo u 're a t th e ve ry e n d o f yo u r b re a th . S o m e
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e xh a le . If yo u to ta lly e m p ty yo u r lu n g s o f e ve ry la st b it o f a ir, yo u a re m o re like ly to a d d ...
p re ssu re to yo u r th ro a t m u scle s. T h is cre a te s stra in in th o se m u scle s a n d w ill lim it th e
fre e d o m o f yo u r vo ice .
A QUIET BREATHING EXERCISE II>

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1. S ta n d in fro n t o f a fu ll-le n g th m irro r. ::>
2. T a ke a d e e p b re a th w ith n o ch e st lift (d o n 't o ve rfill), a n d

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h iss o n a su sta in e d "S " so u n d fo r a s lo n g a s yo u ca n . ~
3. Y o u w ill fe e l firm n e ss in yo u r a b d o m in a l m u scle s a s yo u ~
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4. A t th e ve ry e n d o f yo u r a ir su p p ly, b e su re to ke e p yo u r
rib s o p e n a n d yo u r ch e st in a co m fo rta b ly h ig h p o sitio n .
R e p e a t tw o o r th re e tim e s, w a tch in g ca re fu lly to m a in ta in

g o o d fo rm . W h e n yo u m e m o rize g o o d fo rm b y w a tch in g yo u r-
se lf, yo u a re te a ch in g yo u r m u scle s to "re m e m b e r" th is a ctio n
fo r sin g in g .
1
•
Chapter
Buildin
HE FOUR E S S E N T IA L B U IL D IN G BLO CKS fo r v o c a l tra in in g a re
p ra c tic e , p a tie n c e , p e rs e v e ra n c e , a n d p la y . T h e "F o u r P 's " a re a g o o d
w a y to re m e m b e r h o w to a c h ie v e b a la n c e in y o u r s tu d ie s .
PRACTICE
D e v e lo p y o u r s k ills
PERSEVERANCE
A q u a lity
more rare than talent
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T H E F O U R P 'S C H A P T E R 3
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PRACTICE
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P racticing is the w ay singers develop skills. S ingers w ith w ell-developed
can be m ore expressive. R egular practice can help fine-tune

instrum ents
the craft of singing and

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m aintain
a sufficient
a high level of skill, sothetechnique
skill base, or foundation,

supports the expressive process. W ithout
there can be no deep em otional or physical base

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on w hich
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creates an unstable building

building constructed
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on sand. A w eak
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practice can build a strong foundation of technique that can help support a pow erful ..
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voice. A full, strong, self-assured voice that has stam ina can have the ability to express ...
any em otion. In short, a strong foundation m akes it possible to use your voice to its
fullest capacity of creative expression.
C O M P O N E N T S O F C O M P L E T E P R A C T IC E
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1 . W arm -up: P hysical and V ocal
2 .
3 .
Technical W ork
S ong P erform ance

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4 . C ool D ow n
P h y s ic a l W a rm -u p s
S tretching allow s your body to m ove m ore efficiently and perform at its peak. It can
release residual tension in your shoulders, neck, jaw , and back that you m ight not
be aw are of. S etting up good posture w ill increase your breath capacity. It's also an
extrem ely soothing w ay to connect your m ind and body, and it just feels good'
,
M ista ke s to a vo id :
• D o n 't b o u n ce . U sin g b o u n cin g to in cre a se yo u r stre tch ca n a ctiva te yo u r b o d y's
p ro te ctive re fle x, ca u sin g m u scle s to co n tra ct in ste a d o f stre tch .

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is n o rm a l,
is w ro n g .
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1. R e a c h b o t h a r m s a b o v e y o u r h e a d , w it h h a n d s c r o s s e d a n d p a lm s t o u c h in g .
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2. I n h a le , s lo w ly p u s h in g y o u r h a n d s u p w a r d , t h e n b a c k w a r d , k e e p in g y o u r b a c k
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Stretch 2. Shoulder Stretch

1. R a is e o n e a rm a b o v e y o u r h e a d , a n d b e n d y o u r e lb o w s o th a t y o u r fin g e rs p o in t
d o w n y o u r s p in e .
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Stretch 3. Shoulder Rolls
1. S ta n d u p rig h t w ith y o u r h a n d s b y y o u r s id e s .
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2. L ift y o u r s h o u ld e rs s o th a t th e y a re u p b y y o u r e a rs .
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V o c a l W a rm -u p s
O n c e y o u 'v e s tr e tc h e d o u t y o u r b o d y , g e t r e a d y to w a r m u p y o u r v o ic e . T o d o th is ,
p u t o n th e C D , a n d s in g a lo n g w ith tr a c k s 2 - 7 , th e W a r m - u p s fo r A ll V o ic e s .
< The most important thing you can do before you sing is warm up your voice. V ocal
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w a rm -u p s a r e th e p h y s ic a l e q u iv a le n t o f s tr e tc h in g y o u r le g s b e fo r e y o u r u n . A g e n tle
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v o c a l w a rm -u p w ill h e lp y o u r v o ic e fe e l m o r e fle x ib le a n d r e s p o n s iv e . It w ill a ls o h e lp
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o y o u g e t th e b a s ic s o f b r e a th in g in p la c e , r e m in d in g y o u r m u s c le s to p r o d u c e th e p r o p e r
"oc a c tio n . W a r m in g u p w ill a ls o g e n tly in c r e a s e y o u r r a n g e to its fu lle s t c a p a c ity , so w hen
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y o u g o fo r th e h ig h n o te s , y o u r v o ic e w ill fe e l fr e e r . T h e e x e r c is e s o n th e C D s ta r t in th e
m id d le v o ic e . T h e y h e lp w a r m u p th e lo w r a n g e , th e n th e h ig h .
H e r e a r e s o m e s o u n d s c o m m o n ly u s e d fo r w a r m in g u p . Try s o m e o f th e s e b e fo r e y o u
g o to m o r e s tr u c tu r e d s c a le w o r k to h e lp w a r m u p y o u r v o ic e . A ll o f th e s e sounds a re
...
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d e m o n s tr a te d o n th e C D in th e w a r m - u p r o u tin e s ( tr a c k s 2 - 7 ) .
...
..
:z :
n
E x e rc is e T e c h n iq u e B e n e fits
o
z
..... I L ip /to n g u e tr ills A b u b b lin g s o u n d m a d e w ith lip s L ip a n d to n g u e tr ills r e q u ir e a lo o s e
:II: o r to n g u e . C a n b e u s e d w ith s c a le s ja w a n d s te a d y a ir flo w ; b e th b e n e fi-
-e o r s lid in g . c ia l to fr e e to n e p r o d u c tio n .
o
.,
.,
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S lid in g o r s ire n s o u n d s M o v in g y o u r v o ic e u p o r d o w n ,
... H e lp s fr e e u p la r y n g e a l m u s c le s .
g lid in g s e a m le s s ly th r o u g h a s e r ie s R e q u ire s s m o o th m u s c u la r m ove-
...z
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o f p itc h e s w ith o u t s to p p in g o n m e n t, g e n tly s tr e fc h in g m u s c le s
..,.
"
H u m m in g
s c a le n o te s . S o u n d s
U s e a n y v o w e l, o r h u m .
lik e a s ire n . in v o lv e d in s in g in g .
C r e a tin g to n e w ith lip s c lo s e d o v e r T h e b u z z in g fe e lin g p r o d u c e d

te e th th a t a r e s lig h tly a p a r t. A b u z z - w h e n h u m m in g in c re a s e s
in g fe e lin g r e s u lts in th e lip s , n o s e , y o u r a w a re n e s s o f re s o n a n c e .
fa c e , a n d c h e e k s . C a n b e u s e d R e s o n a n c e a m p lifie s a n d c o lo r s
w ith s lid in g ( a b o v e ) . to n e , m a k in g it b r ig h te r , w ith b e tte r
p r o je c tio n .
S ig h in g S ta r t w ith a fe e lin g th a t y o u 'r e T h e " p r e - y a w n " fe e lin g h e lp s lift
a b o u t to y a w n . M a k e a v o c a l s o u n d y o u r s o ft p a la te s lig h tly , m a k in g a
( ':a h " o r " u h " ) o n a m id r a n g e m o r e o p e n s o u n d . T h e fo llo w in g
p itc h , a llo w in g y o u r v o ic e to g lid e
d o w n w a rd g lid e re le a s e s y o u r v o ic e
d o w n w a rd w ith a re le a s e o f a ir.
fr e e ly a n d a llo w s a g e n tle m u s c le
s tr e tc h .
a:
w
Technique "...
Z
N ow that you're on your w ay to loosening up your voice, it's tim e to w ork on som e
...
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a:
voice-building exercises. C hoose a C om plete V ocal W orkout on the C D , and sing a:
a:
along. Try to develop a variety of singing skills, such as better breath m anagem ent, o
...,.
flexibility, and range extension. S top if you feel tired or if you're straining in any
w
w ay.
...
Z
o
u
w
H ere are som e com m only used vocal technique exercises, elem ents of w hich are :z:
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included in the w orkouts in part II. U se these ideas to better understand the benefits a:
o
of each exercise pattern and to vary your routine. ...
Long Tones
Technique: S ustain a clear (not breathy) m idrange tone for sixteen beats at a
slow tem po. Tone should be at a m edium -loud volum e. C an also be ......
used w ith dynam ic variation: soft-loud-soft. P itch should not w aver. :::>
o
""
a:
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B enefits: Long tones require efficient use of breath. A low intake of air and
~
controlled
coordinate
exhalation,
and strengthen
keeping the ribs from collapsing,
m uscles used for breathing.

w ill help -
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J =69
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l~i~a>~=
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Runs/Scales
S in g s t e p w is e n o t e - p a t t e r n s a t a m e d iu m - f a s t t o f a s t p a c e .
T e c h n iq u e :
D e v e lo p s a g ilit y b y t r a in in g t h e v o c a l m u s c le s t o r e s p o n d q u ic k ly a n d
B e n e f it s :
<
o
..
in a c o o r d in a t e d m a n n e r .
n
~
J = 108
..
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~
o
o
'"
c
.... . Nee Nay Noh Noo
Staccato Exercises
T e c h n iq u e : S in g s h o r t , d e t a c h e d n o t e s o n a s in g le b r e a t h , le t t in g y o u r a ir o u t
. " a b it a t a t im e . S t a c c a t o n o t e s c a n b e r e p e a t e d s in g le n o t e s o r in
o
.. a r p e g g io o r s c a le p a t t e r n s .
...
..
=
B e n e f it s :
n D e v e lo p s a g ilit y a n d b r e a t h c o n t r o l r e q u ir in g q u ic k a d ju s t m e n t s o f t h e
o
z v o c a l c o r d s . S t a c c a t o n o t e s a r e t o b e s u n g lig h t ly a n d a r t ic u la t e d o n
...
..
...oz
t h e b r e a t h .
..
..
..
Staccato J = 76-96
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z
...
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- ~ ~ ~ - ~ : I I
Hey hey hey hey Hah hah hah hah H~y hey hey hey Hoo
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Arpeggios
T e ch n iq u e : S in g skip p in g -n o te p a tte rn s th a t o u tlin e ch o rd s. A rp e g g io s a re
..
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typ ica lly b u ilt o n m a jo r ch o rd s, m in o r ch o rd s, a n d p e n ta to n ic '"
a:
p a tte rn s. '"e,
o
:IE
B e n e fits: D e ve lo p s fa cility in moving th ro u g h e n tire ra n g e , e a sin g re g iste r

...
w
:IE
o
tra n sitio n s, e xte n d in g ra n g e a n d re q u irin g fle xib ility a n d b re a th u
w
co n tro l. :z:
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J = 66
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F- F -/E ~
'tI~I~
------
00 ---- ------
00 ---- .....
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o
'"o'"
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00 _ 00 ~
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r
Articulation Exercises
T echnique: U se the five prim ary vow els (a, e, i, 0, u) com bined w ith various
consonants on m usical patterns, creating nonsense syllables, such as
<
o
n
:D B enefits: H elps develop articulation skills. A lso, various vow els and consonant
~
com binations practiced throughout one's range develop facility and
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ease in tone production.
"
o
....
c
Latin J = 138
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Mah may mee _ moh Mah _ may mee_ moh_
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n Mah may mee _ moh Mah _ may _ mee Mah may mee _ moh Mah _
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me~ FIA
F C/E C FIG C
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.... - may mee _ moh _ Mah may mee _ moh Mah may _ mee
...
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IX
Dynamic Contrast "z...

Technique: S ing a m idrange long tone over eight slow counts, gradually
louder, then softer. C arefully pace the increasing

becom ing
and decreasing
..
<It
IX
a:
IX
volum e so it occurs sm oothly, and so the pitch doesn't w aver. o
...
B enefits: D evelops vocal control and increases aw areness of dynam ic contrast.
..
:IE
I-
Z
o
S inging softly requires extra attention
energy. S killful singing at different

to m aintaining
dynam ic
consistent
levels w ill help you sing in

breath
..
u
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tune m ore consistently. IX
o
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C G A- F E- D- c
'I a,
Ah
P
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--- ---
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P
t :1
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IX
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Range Extension Exercises

Technique: Sing fast-m oving m usical patterns (scales and arpeggios), briefly
touching on highest and lowest notes. Do not dwell at the extrem es of
your range.
<
o
n
:D
~ Benefits: Helps develop vocal strength. G radual stretching of range and
~ developing your upper register creates the ability to use m ore vocal
o
"'"
colors and balances your instrum ent. G reater freedom throughout
o
c your range allows you to sing m ore varied repertoire.
...
In
~ t~ ~ ~ A ~ ~ ~ 7 ~
Ah _
Db Ab7 Db A7
~ ~ ~ -~
n
o
z
...
"'
z
...
,~~-~~
o D A7 D Bb7
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:D
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In
00 _ continue moving
z
C 'I by hal f steps
"'
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....
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Song Performance
After you have w orked w ith the C D , take som e tim e to w ork out on a couple of songs,
....
...z
..
C hoose any style that you like, and check the range to see if it's w ithin your lim its. To
do this, look for the highest and low est notes of the song. The m ajority of the song
..
a:
...o
should be in the m iddle of your range. If your song has a couple of notes that seem
a little high or low , you can w ork on them to see if they becom e easier in tim e. If too
.....
:IE
z
o
m uch of the song is outside your range, you're better off choosing a different song. Be
sure to w atch yourself in the m irror to check for expression and body alignm ent.
..
u
:z:
...
..
o
Experienced singers m ay already know how m uch body m ovem ent is appropriate ...
for their perform ance. But w hile you're developing or refreshing your technique, just
stand and sing. Later on, w hen your technique is solidly established, you can focus
on the song lyrics for the expression of em otions and ideas. This w ill free you up to
use your hands and body m ore. O nce you are able to focus on lyrics w ithout dim in- .....
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ishing your vocal skills, you'll be able to present your m usic w ith personal style and
good vocal technique. If you accom pany yourself on guitar or keyboard, practice your ....
o
e
singing unaccom panied first, and progress to self-accom panied singing as you gain
~
vocal skills. -
a:
u
o
>
Practice first w ithout a m icrophone to establish good projection and resonance aw are-
ness. Be sure you're not relying on the m icrophone to create w arm tone and projection.
You have to develop these qualities as a part of your ow n vocal skills, to use w ith or
w ithout am plification.
Cool Down
Spend about five m inutes doing som e less intense vocal exercises to cool dow n
your voice. Tracks 2 and 3 from the W arm -up for All Voices can be repeated to cool
dow n. This w ill help your speaking voice sound m ore stable, and ease the transition
from very active singing to a m ore norm al state for everyday vocal use by allow ing
the tissue tem perature to low er. This is sim ilar to w hat w e should do after vigorous
physical exercise. After any kind of aerobic exercise, it is advisable to transition

d' t to the change in heart rate. After a lot of

radually so that the muscles can a JUs .
g t th vocal cords needs time to decrease gradu-
singing the increased blood flow 0 e
,
ally During cool down, the laryngea I m uscles also relax and
return
. to
. a more neutral
. Cooling down also helps dirssipa
state. . te some of the normal fluid.... buildup that OCcurs
< . . should involve light vocalizing In. the middle to
o when you sing. Cool-down exercises
n
.
lower range. Descending I'tp t n'11
s are helpful for cooling down, as are
" sighs, descend-
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~ ing slides on "00," yawning that ends with an audible sigh, and light humming.
o
'""o J = 69
c
E--
t#! J ----- J
-<
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«
Yoo__ yoo__ yoo__ yoo
PATIENCE
n Learning vocal technique requires patience, especially if there are bad habits to undo.
o
z The payoff for patience is having a well-trained instrument capable of greater expres-
-<
In
:II: sion. Most of the time, progress is gradual. Sometimes, we have "light bulb" moments
...
o in singing, but most of the time, progress comes after a long period of work that finally
"'"'" peaks, and then plateaus for a while. Sometimes, progress is made with two steps
-<
forward, then one step back, as we remind our muscles to memorize new actions and
...z'" as we get used to different sounds and feelings. This is typical in the learning process
"
In for singing, and it requires a lot of patience.
'"
Your voice will grow, change, and develop all through your life. Your voice will change
as you age, and your sound will vary depending on how you feel and the state of your
emotions. The changing nature of the human voice requires you to think beyond your
immediate goals, such as song learning and breath management. So, be patient. Your
best sound will continue to emerge and change as you develop.
.....
'"
w
Z
PERSEVERANCE
..
'"
P e rs e v e ra n c e and p a tie n c e go hand in h a n d . M u s ic ia n s , a c to rs , s in g e rs , a n d o th e r
'"
a:
a rtis ts k n o w th a t w h ile p u rs u in g g o a ls , w e m u s t k e e p in m in d a b ig g e r p ic tu re of what '"o
l1 .
w e w a n t to a c h ie v e . W ith th e m a n y n a tu ra l u p s a n d d o w n s in m o s t s in g e rs ' p ro g re s s , :IE
w
t-
it is im p o rta n t to s ta y d e te rm in e d . W h e th e r y o u a re d e a lin g w ith th e s e n s e o f d is a p - Z
o
p o in tm e n t a fte r a n u n s a tis fy in g p e rfo rm a n c e , o r ju s t le a rn in g to e n jo y u s in g y o u r v o ic e u
w
to e x p re s s y o u rs e lf, k e e p try in g to d o y o u r b e s t. :z:
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o
PLAY
In th e p ro c e s s o f le a rn in g , it is e a s y to b e c o m e w o rrie d a b o u t a ll th e th in g s th a t y o u
h a v e n 't y e t a c h ie v e d . Rem em ber th a t s in g in g s h o u ld b e fu n .
'"
t-
D e v o te a p o rtio n o f e v e ry p ra c tic e s e s s io n to s in g in g ju s tfo rfu n . T ry s in g -a lo n g re c o rd - :>
o
in g s o r k a ra o k e . T u rn o ff y o u r c ritic a l th in k in g fo r a w h ile , a n d ju s t e n jo y e x p re s s in g
'"o
y o u rs e lf th ro u g h m u s ic .
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~
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a:
u
W h e n y o u 're d e v e lo p in g y o u r v o ic e , y o u s h o u ld p ra c tic e w h a t y o u can d o , n o t ju s t w h a t o
>
you can'tdo.
I
III
I
Chapter 4. Vibrato, Vocal

Registers, and Belting
ocx; W ORKOUTS W ill B R IN G YOUR A T T E N T IO N t o d if f e r e n t
p a rts o f y o u r voice th a t y o u m a y n o t have n o t ic e d b e fo re . V ib r a t o , vocal

r e g is t e r s , a n d b e lt in g a r e t h r e e im p o r t a n t is s u e s s in g e r s n o t ic e m o re when
t h e y a r e w o r k in g o u t . A t t e n t io n t o t h e s e m ig h t h e lp a n s w e r any q u e s t io n s
t h a t o c c u r a s y o u d e v e lo p y o u r voice.
VIBRATO
Vibrato is t h e s t e a d y o s c illa t io n ( a w a v e - lik e sound) above and b e lo w a p it c h c e n te r. It
is c r e a t e d in t h e la r y n x b y t h e a lt e r n a t in g c u rre n ts o f n e r v e im p u ls e s and u s u a lly o c c u rs
n a t u r a lly in v o ic e s t h a t have b a la n c e d s u p p o r t a n d f r e e d o m o f t h e m u s c le s in t h e t h r o a t ,
n e c k , a n d ja w . I f y o u d o n 't have v ib r a t o a n d y o u w a n t t o d e v e lo p it , m o s t voice te a c h e rs
w ill s t a r t b y w o r k in g o n b r e a t h s u p p o r t a n d r e le a s in g e x c e s s iv e t e n s io n .
I t is h e lp f u l to have a n a w a r e n e s s o f y o u r o w n v ib r a t o a n d h o w t o d e v e lo p and c o n tro l it
w h e n n e c e s s a r y . A lt h o u g h s o m e s in g e r s d o n 't u s e v ib r a t o a t a ll, m a n y w a n t a t le a s t a lit t le

VIBRATO, VOCAL REGISTERS, AND BELTING CHAPTER 4
or.
w
...
to ro u n d o u t th e ir s o u n d . A h e a lth y v ib ra to c a n b e p ro d u c e d w h e n a v o ic e h a s a b a l- Z
...
a n c e o f a d e q u a te b re a th e n e rg y (o r s u p p o rt) a n d re la x a tio n . V ib ra to s p e e d a n d w id th ,..'"
c a n v a ry d e p e n d in g o n th e p itc h o r v o lu m e o f th e s o u n d b e in g p ro d u c e d .
or.
a:
or.
o
"-
T h e re is a w id e ra n g e o f a c c e p ta b le v ib ra to s o u n d s . M o s t s in g e rs w h o w a n t v ib ra to c a n z
w
l-
d e v e lo p it o n th e ir o w n , a s th e ir v o ic e s b e c o m e b a la n c e d . T h e s o u n d o f a v ib ra to is a Z
o
p a rt o f w h a t s in g e rs h e a r a n d te n d to im ita te in v o ic e s o n re c o rd in g s , s o it c o m e s w ith - u
w
o u t e ffo rt to m a n y y o u n g s in g e rs . O n th e o th e r h a n d , s in g e rs w ith a p e rs is te n tly s tra ig h t :I:
l-
to n e w h o w a n t to d e v e lo p v ib ra to n e e d to b e s u re th e y re le a s e e x c e s s te n s io n . or.
o
...
C la s s ic a lly tra in e d s in g e rs fre q u e n tly n e e d to le a rn to c o n tro l v ib ra to a n d s in g w ith
m o re s tra ig h t to n e w h e n p e rfo rm in g c o n te m p o ra ry c o m m e rc ia l m u s ic . T h is c a n be
d iffic u lt, b u t it is a n e c e s s a ry s k ill in o rd e r to s in g w ith a u th e n tic s ty le in m a n y g e n re s
o f n o n -c la s s ic a l m u s ic .
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l-
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P ra c tic e th is b y s in g in g th e lo n g -to n e e x e rc is e h e re . Im a g in e th a t y o u s e n d a th in
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s tre a m o f a ir to th e c e n te r o f th e to n e to c o n tro l v ib ra to . ~
~
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Latin J = 92 o
>
BbMa·7 Abl3 BbMaj7 BMaj7(#ll)
~~---'---'LJ
Mah
J -"J'-----'w==:::l~1I -= ~ ~ J ~ II
mey mee moh moo
~~~SS. _
t
I. 112
B7(#II) B7(# 11) BbMaj7
Mah mey mee moh moo _

REGISTERS
M ost singers are keenly aw are of shifting in their voices as they sing up or dow n. These
areas in your voice are called "registers." This shifting feeling often results in a change
<
o in sound quality.
n
...
:D
~
W hen you sing, your vocal cords and larynx go through m any adjustm ents in order to
o
II I :D be able to produce different types of sound. V ocal cords vibrate at different lengths and
"
o thicknesses in different registers. For exam ple, in chest register, there is light tension
..
c
... along both the length and w idth of your vocal cords. The higher you sing, the m ore
the tension increases as the thickness decreases, so your vocal cords thin out as you
ascend in pitch. A tthe sam e tim e, your arytenoid cartilages adjust to shorten your vocal
cords for the change to head voice register. The shifting you feel is this com plex series
of m uscles m aking the changes necessary for you to sing w ith different tone qualities.
These adjustm ents can happen sm oothly if your laryngeal m uscles are coordinated,
...
% and the other aspects of your vocal technique are balanced. B ecause w e can't see our
m
n
vocal cords, using im agery and singing by "feel" are im portant m ethods in learning.
o
z
...
m
Z
Try this sliding exercise. The slide should feel sm ooth and flow to the next pitch w ithout
... any obvious bum ps or changes in register.
o
:D
:D
:D
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F- F-lE b Db C7(b 13) F-
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~ IIII~ s ,J t ij' > J t
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W ~ --J = ;n2. ~tg:11
W ee __ w ee w ee _
VIBRATO, VOCAL REGISTERS, AND BELTING CHAPTER 4
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T h e re a re m a n y d iffe re n t n a m e s fo r th e s e re g is te rs , a n d q u ite a fe w o p in io n s about "z...
how m any re g is te rs th e re a re a n d at what p itc h e s th e s h iftin g o c c u rs . M any ro c k , '"
>-
p o p , r& b , a n d g o s p e l s in g e rs -b o th m e n a n d w o m e n -a u d ib ly s h ift re g is te rs in th e ir
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a:
s o n g s fo r s ty lis tic e ffe c t. S h iftin g re g is te rs s m o o th ly c a n h e lp y o u a c c e s s h ig h e r p itc h e s
...z'"
o
w ith o u t
v o ic e
s tra in a n d c a n h e lp y o u to a c h ie v e a c e rta in c o lo r o r s ty le o f e x p re s s io n .
d o e s n 't n e e d to s o u n d e x a c tly th e s a m e fro m to p to b o tto m , b u t it s h o u ld

Your
be
.....
z
o
s m o o th enough th a t it's d iffic u lt to te ll w h e re th e s h iftin g o c c u rs , u n le s s y o u 're y o d e l- ...
in g . Yodelingis th e te c h n iq u e o f a c c e n tu a tin g a c h a n g e b e tw e e n re g is te rs v e ry q u ic k ly ,
..
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flip p in g to h e a d o r c h e s t re g is te r w ith a s ta rk c h a n g e o f v o c a l q u a lity .
..
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For wom en, chest v o ic e is th e lo w e s t re g is te r, head v o ic e is th e u p p e r re g is te r,
and middle v o ic e is a m ix o f th e tw o in b e tw e e n . A c c o rd in g to th e b o o k Singing: the

Mechanism and the Technique b y W illia m V e n n a rd , b e c a u s e th e h e a v y m e c h a n is m
(c h e s t re g is te r) is tw o -th ird s o f th e lo w e r ra n g e , a n d th e lig h t m e c h a n is m (h e a d re g is -
...
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te r) is tw o -th ird s o f th e h ig h e r ra n g e , e ith e r m e c h a n is m c a n b e in v o lv e d fo r th e m id d le :>
th ird o f th e v o ic e .' W ith tra in in g , th e m id d le re g is te r c a n b e e x te n d e d a n d s tre n g th -

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e n e d , e s ta b lis h in g a b le n d b e tw e e n lo w a n d h ig h re g is te rs . T h is m ix p ro v id e s th e fle x -
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ib ility n e e d e d fo r s in g in g a ll s ty le s o f m u s ic .
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Som e wom en a ls o h a v e a n a d d itio n a l re g is te r a b o v e h e a d v o ic e th a t's v e ry lig h t a n d
flu ty s o u n d in g , o fte n c a lle d th e flute register. T h is is th e s o u n d th a t M a ria h C a re y m a k e s

o n h e r v e ry h ig h e s t to n e s , p a rtic u la rly in h e r e a rly re c o rd in g s .
In c la s s ic a l m u s ic , wom en m o s tly s in g in a h e a d -re g is te r-d o m in a n t sound. T h is c re -
a te s a p u re , b a la n c e d to n e th a t g iv e s th e s in g e r e n d u ra n c e , h ig h ra n g e , a n d s tro n g
p ro je c tio n w ith o u t e le c tro n ic a m p lific a tio n . V ib ra to is a p re d o m in a n t c h a ra c te ris tic of
W e s te rn E u ro p e a n c la s s ic a l s ty le s in g in g , a s w e ll.
In n o n -c la s s ic a l s in g in g , w o m e n a re lik e ly to u s e a middle-, mixed-, o r chest-register-

d o m in a n t s o u n d . A m ic ro p h o n e c a n d im in is h th e n e e d fo r v ig o ro u s p ro je c tio n of sound
fo r b a lla d s in g in g , a n d w ill a m p lify v o ic e s to p ro je c t o v e r o th e r e le c tro n ic a lly a m p lifie d
1. Vennard, William. Singing: the Mechanism and the Technique. New York: Carl Fischer, 1967; p. 238.
, s tru m e n ts , T h e d e v e Io p m e n t o f y o u r u p p e r re g is te r is im p o rta n t,
In e v e n if it is not your
p rim a ry p e rfo rm in g re g is te r.
M e n u s u a lly h a v e a s e n s e o f w h e re th e ir c h e s t re g is te r s h ifts in to falsetto, a v e ry h ig h

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o and lig h t s o u n d in g re g is te r, w h ic h is a m a n 's h ig h e s t re g is te r, M e n have head and
n
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m id d le re g is te rs a s w e ll, b u t th e y a re o fte n le s s o b v io u s fe e lin g th a n c h e s t re g is te r a n d
I I ~ fa ls e tto , If y o u 're n o t s u re w h a t fa ls e tto s o u n d s lik e , lis te n to s in g e rs A a ro n N e v ille ,
I '" S m o k e y R o b in s o n , P rin c e , a n d A I J a rre a u , T h e y , a n d m a n y o th e r s in g e rs , u s e th e ir fa l-

I I
"o s e tto re g is te r fre q u e n tly , F in d in g a lig h t h e a d -re g is te r s o u n d w ith o u t g o in g in to fa ls e tto
c
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'" c a n b e a c h a lle n g e fo r m e n , b u t it is a v e ry v a lu a b le a n d re w a rd in g s k ill th a t c a n b e u s e d
in a w id e v a rie ty o f c o n te m p o ra ry m u s ic s ty le s , T h is c a n b e s t b e a c h ie v e d w ith th e h e lp
o f a v o c a l te c h n iq u e te a c h e r w h o c a n h e lp y o u d is c o v e r a n d d e v e lo p y o u r fu ll ra n g e ,
If w o m e n c a n s e n s e h e a d re g is te r a n d c h e s t re g is te rs in th e ir v o ic e s , and m en can
s e n s e c h e s t re g is te r a n d fa ls e tto , it's a g o o d p la c e to s ta rt, F ro m th e re , w o rk to d e v e lo p

...
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y o u r m id d le re g is te r, A s tro n g m id d le re g is te r w ill g iv e y o u th e b e s t o f b o th w o rld s : s o m e
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n o f th e w a rm th o f y o u r lo w e r re g is te r, a n d th e e a s e o f y o u r u p p e r re g is te r, S u c h s k ills a re
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... b e s t le a rn e d in p riv a te v o ic e le s s o n s w h e re a te a c h e r c a n g iv e y o u im m e d ia te fe e d b a c k
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z a b o u t y o u r s in g in g a n d h e lp to c o rre c t a n y m is ta k e s b e fo re th e y b e c o m e d e trim e n ta l.
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S o m e v o ic e q u a litie s th a t m ig h t b e c o n s id e re d u n a c c e p ta b le in c la s s ic a l s in g in g can
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b e a p p re c ia te d fo r th e ir u n iq u e n e s s in p o p u la r m u s ic , V o ic e s o u n d s such a s tw a n g
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I I .,..." ' (a b rig h t,
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n a s a l to n e th a t c a n fa c ilita te
b e g in n in g s
b e ltin g ), g ro w ls (a th ro a ty
o f p h ra s e s ), a n d g lo tta l fry (a ra p id
ru m b le
s e rie s
s o m e tim e s
o f lo w -p itc h e d
p u ls e s , c re a tin g a c re a k y q u a lity ) a re u s e d to c re a te s o u n d s th a t a re m o re speech-
lik e , A lth o u g h th e s e s o u n d s w o u ld b e c o n s id e re d in a p p ro p ria te to u s e in c la s s ic a l
s in g in g , in n o n -c la s s ic a l s in g in g , th e s e s o u n d s a re u s e d to c o lo r to n e and c re a te
I I s ty le , U s e th e s e n o n -tra d itio n a l s o u n d s w ith d is c re tio n , th o u g h , a s th e y c a n tire o u t

y o u r v o c a l c o rd s ,
I
I
III
VIBRATO, VOCAL REGISTERS, AND BELTING I CHAPTER 4
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..
BELTING ..,..
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Contemporary commercial music singers often use beltingas a style of singing. Belting ..
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generally refers to the act of singing loudly with a lot of energy. It can also refer to the o
specific technique of carrying up or mixing the chest register's quality, delaying the full
release into head voice. This quality is similar to speech-level singing, which means
..'"...
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carrying a speech quality high into the singing range. Belting usually requires more u
sound projection. Both speech-level singing and belting require a high breath pressure
...
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and a clear, strong sound. This sound can be strident when performed improperly at
the highest pitch levels. ..
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Belting can be accomplished in a healthy manner with careful attention to maintaining

a resonant tone, breathing, and maintaining muscular relaxation in the neck and jaw.
However, it can lead to vocal problems such as hoarseness and even vocal nodules, .....
if it's done improperly, or in singers who aren't careful about maintaining their overall :::>
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physical health. Excessive tiredness, a lack of vital physical health, and singing too
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much-too loudly, too high, too long-can lead to vocal problems as well. ~
Remember: even if you are primarily a belter, you should be ableto sing in your head voice
..
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too. In fact, strengthening head and middle voice registers generally improves the quality
of the lower registers by introducing brighter overtones and flexibility on high notes. Think
of your head register as the mother of your entire voice.' If it is strong, it will nurture your
entire range. Even if your head voice is weak at first, it will become stronger with use.
Contemporary music singers need the same type of comprehensive training that clas-
sical singers receive. Vocal problems commonly associated with singing non-classical
music are often caused by a lack of the training that is part of every classical singer's
basic education. If non-classical singers do not obtain proper training, they are risking
their voices, and will be ill-prepared for the demands of performing this music.
Sometimes, non-classical singers are fearful that their individuality will be compro-
mised if they study vocal technique. Developing good vocal skills can benefit all types
2. Mary Barton-Saunders, Chair of the Musical Theater Department at Pennsylvania State University.
_~.·r
of singers without making their voices sound "classical." In fact, non-classical singers
can benefit from the same instruction and corrective actions used with classical sing-
ers, including paying better attention to vocal health and hygiene, watching out for
excessive tension, and maintaining a resonant tone.
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n
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~ The demands of singing require all performers to learn everything they can about their
~ voices in order to make informed decisions and choices that will not be detrimental to
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their vocal health.
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Chapter 5. Essential Vocal Care
N THE PROCESS O F W O R K IN G OUT, y o u m a y n o t ic e s o m e c h a n g e s
in y o u r v o ic e , s o v o c a l m a in t e n a n c e is a n im p o r t a n t a s p e c t o f w o r k in g o u t.
N o t e v e r y o n e r e a c t s t o m e d ic a t io n s , c a f f e in e , o r e v e n v o c a l o v e r u s e t h e s a m e
w a y . W h ile a c u p o f c o f f e e m ig h t t r ig g e r t h e jit t e r s , d r y t h r o a t , o r e x c e s s m u c u s
p r o d u c t io n in s o m e p e o p le , it m ig h t h a v e lit t le e f f e c t o n o t h e r s . Y o u h a v e t o
k n o w y o u r s e lf , y o u r lim it s , a n d y o u r t r ig g e r s f o r v o c a l p r o b le m s . Remember: it's easier to

prevent problems than to correct them once you've done damage.
MAINTAINING VOCAL HEALTH
F o r p r o f e s s io n a l v o c a lis t s , t a k in g c a r e o f y o u r v o ic e is a p r im a r y r e s p o n s ib ilit y . Y o u w ill
w a n t t o b e a b le t o s in g n o t ju s t w h e n y o u 'r e h e a lt h y a n d h a p p y , b u t t h r o u g h a d v e r s it y a s
w e ll. W h e n y o u h a v e a c o ld , lo w p h y s ic a l e n e r g y , o r s t r e s s f u l p e r f o r m in g s it u a t io n s , you
n e e d to k n o w h o w t o u s e y o u r a c q u ir e d v o c a l t e c h n iq u e to g e t th ro u g h it a ll. I t 's e v e n
b e t t e r if y o u c a n p r e v e n t p r o b le m s b y f o llo w in g s o m e b a s ic h e a t h c a r e p r in c ip le s t h a t w ill
h e lp y o u s ta y w e ll. If y o u k n o w h o w to ta k e c a re o f y o u rs e lf, y o u 'll b e a b le to p e rfo rm
b e tte r u n d e r c h a lle n g in g c irc u m s ta n c e s .
Water
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o O n e o f th e e a s ie s t w a y s to im p ro v e y o u r h e a lth is to b e s u re y o u a re d rin k in g e ig h t
n
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~ 8 -o u n c e g la s s e s o f w a te r e a c h d a y . Y o u r b o d y n e e d s w a te r to fu n c tio n w e ll. W a te r
~ flu s h e s to x in s o u t o f y o u r s y s te m a n d k e e p s th e m u c u s th in in y o u r th ro a t. T h is
.,
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c a n m a k e fo r le s s th ro a t c le a rin g a n d c o u g h in g th a t w ill tire o u t y o u r v o c a l c o rd s .
II
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W a te r a ls o h e lp s k e e p y o u r v o c a l c o rd s s u p p le . It's lik e h a v in g e n o u g h o il in y o u r c a r
c
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e n g in e . W ith lu b ric a tio n , th e p a rts o f th e e n g in e g lid e in s te a d o f g rin d . In y o u r s in g -
in g , th is m e a n s y o u r v o ic e w ill w o rk m o re e ffic ie n tly .
Y o u r e n tire b o d y n e e d s to b e h y d ra te d fo r y o u r v o c a l c o rd s to fu n c tio n s m o o th ly . D rin k
." w a te r w e ll in a d v a n c e o f y o u r v o c a l p ra c tic e a n d p e rfo rm a n c e . C a ffe in e a n d a lc o h o l

.,
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d ry o u t y o u r b o d y a n d v o ic e , c o u n te rin g th e e ffe c ts o f w a te r d rin k in g . It's s m a rt to lim it
... th e s e d ry in g s u b s ta n c e s .
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z M a n y s in g e rs fin d th a t in h a lin g s te a m c a n b e s o o th in g , e s p e c ia lly if y o u h a v e a c o ld , o r
...
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z if y o u liv e in a d ry e n v iro n m e n t. Y o u c a n c a re fu lly h e a t p la in w a te r in a p a n , a n d w h e n
..,
.,o it is h o t, p u t a to w e l o v e r y o u r h e a d to m a k e a s o rt o f a te n t, a n d in h a le th e s te a m . (B e
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v e ry c a re fu l th a t y o u d o n 't s ta n d to o c lo s e to th e h e a tin g e le m e n t!) In s te a d , you can
u s e a g a d g e t c a lle d a "p e rs o n a l s te a m in h a le r." It h a s a s m a ll re s e rv o ir fo r w a te r a n d

...
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z a m a s k th a t fits o v e r y o u r n o s e a n d m o u th . W h e n th e w a te r is h e a te d , p la c e y o u r n o s e
.,""' a n d m o u th o n o r n e a r th e m a s k , a n d in h a le th e s te a m fo r te n to fifte e n m in u te s s e v e ra l
tim e s a d a y . I re c o m m e n d th a t y o u d o n 't a d d a n y th in g to th e w a te r, s u c h a s m e n th o l
m e d ic a tio n s , b e c a u s e th o s e c a n d ry y o u o u t fu rth e r. J u s t in h a lin g th e s te a m c a n s o o th e

y o u r n a s a l p a s s a g e s a n d th ro a t.
Don't Smoke
S m o k in g is b a d fo r y o u r v o ic e . W h e n y o u in h a le th e h o t c h e m ic a ls in c ig a re tte or
m a riju a n a sm oke o v e r y o u r v o c a l c o rd s (w h ic h a re lo c a te d a t th e g a te w a y to y o u r
ESSENTIAL VOCAL CARE I CHAPTER 5
....
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lungs), you dry out and irritate them . The chem icals from sm oke deposit in your z
...
..
In
lungs, m aking it harder to breathe deeply. Coughing further irritates your cords. Even
inhaling second-hand sm oke affects your health. So, don't sm oke. Quit if you have
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already started. It will be well worth the trouble, in term s of increased lungpower and o'"
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overall health. And avoid inhaling secondhand sm oke.
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Stress o
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Since our voices are closely linked with our em otions, stress can have a devastating ..
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effect on a singer's ability to perform . Instead of just trying to push through stressful
tim es, try to find effective ways to alleviate your stress. '"o...
Dealing effectively with stress m eans that we consider the whole person, not just the
voice. Physical activities including walking, swim m ing, yoga, tai chi, as well as quiet
tim e, listening to relaxation tapes, and receiving professional counseling are all effec- In
I-
tive in relieving stress and anxiety. :>
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Overall Health '"
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Your voice reflects the state of your overall health. Your m ind, body, and spirit togeth- ~
a:
er have a balanced relationship. W hen you are sick physically, or troubled em otion- ....
o
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ally, your voice will probably reflect these problem s. Balance in all areas of your life
can provide a fuller, m ore satisfying singing experience. M oderate exercise, healthy
eating, relaxation techniques such as m editation, and regular sleeping habits are a
good way to start.
DETECTING VOCAL PROBLEMS
W hen you're having problem s with your voice, it can be frustrating and upsetting. Since
we can't see our vocal cords just by looking in the m irror, we have to pay attention to
sym ptom s that m ay indicate a problem . These sym ptom s m ay be early signs of injury
or other problem s and m ust not be ignored.

SIGNS OF POSSIBLE VOCAL PROBLEMS

• loss of high range or the loss of the ability to sing softly on
high notes
• a strained, hoarse, or husky sound that persists for m ore
< than a few days
o
... • hoarseness w ithout any other sym ptom s (such as a cold)
'"
~
~
• singing or speaking requires noticeable effort
o
• increased need for breath support
'"o'" • repeated vocal fatigue or deterioration of your voice after
..
c:
... singing
• a constant feeling of excessive m ucus or a post-nasal drip
• a feeling of pain or irritation after singing

• any unusual long-term sym ptom s that affect your voice or
...o overall health

• your intuition tells you that som ething is not right w ith your
...'"
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voice
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IF YOU SUSPECT YOU HAVE A PROBLEM ...
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o C onsult a qualified laryngologistw ho specializes in treating professional singers. H e or
'"'" she w ill be able to advise you of your options for m anaging your vocal health. A laryn-
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gologist can tell you if you need m edical treatm ent, or if you can ease your sym ptom s
w ith hom e care. M ost conservatories or m usic schools can recom m end a laryngologist
n
m w ho specializes in w orking w ith singers.
'"
Singing When You're Sick
If you have to perform and you're not feeling up to par, you w ill have to m ake a judg-
m ent call. Som etim es, a slightly scratchy throat and nasal congestion w on't inhibit
singing. If this is the case, a light w arm -up w ill tell you if you should carry on. If
you sing for fifteen to tw enty m inutes and your voice clears up, your high range is
accessible, and you have enough energy to support adequately, you m ight be able
ESSENTIAL VOCAL CARE I CHAPTER 5
co
w
to perform . B e sure to drink lots of w ater to keep the m ucus in your throat thin and "...
Z
to help avoid excessive throat clearing and coughing.
your face over a source of w arm steam (as described

Inhalation of steam by placing
earlier) can help by directly

..
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co
co
m oistening the surface of your vocal cords. H ow ever, if you're an inexperienced
co
o
Q.
singer, leave this kind of judgm ent call to your teacher or a doctor. Z
...
w
Z
o
O n the other hand, a husky, pressed-sounding voice, and loss of high range that ....
w
doesn't im prove w ith a light w arm -up can signify a m ore serious condition. It's best to :z:
consult a doctor right aw ay if you have any questions about your vocal health.
...
co
..
o
A void taking pain m edicines w hen you're perform ing. Y ou can easily over-sing and
end up hurting your voice because the pain m edications interfere w ith your perception
of your vocal condition. Y ou w on't be able to feel if you're over-singing, and then you
can lose your voice com pletely. A lso, aspirin and Ibuprofen can m ake the capillaries
'"...
in your vocal cords fragile and m ore susceptible to breaking. H ard singing paired w ith :>
m edicines that stop pain and prom ote fragile capillaries is a recipe for serious vocal ..
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problem s.
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Chapter 6. Auditioning
OST S IN G E RS ARE A W A R E o f t h e c lo s e c o n n e c t io n b e tw e e n our
e m o t io n s a n d o u r a b ilit y t o s in g w e ll u n d e r c h a lle n g in g c ir c u m s t a n c e s .
I f y o u 'r e w o r k in g o u t y o u r v o ic e t o p r e p a r e f o r a n a u d it io n , h e re a re
s o m e t ip s t o h e lp y o u t h r o u g h t h is d e m a n d in g s it u a t io n .
W h e t h e r y o u 'r e n e w t o p e r f o r m in g o r h a v e a lo t o f e x p e r ie n c e , y o u 'll
p r o b a b ly h a v e t o a u d it io n f o r a g ig o r o t h e r w is e b e e v a lu a t e d b y o th e rs in t h e in d u s t r y .
If y o u a re p re p a re d f o r c r it ic is m a n d m a in t a in t h e r ig h t a t t it u d e , you can le a r n a n d g r o w
f r o m t h e p r o c e s s . Y o u m ig h t c o m e a w a y f r o m a p e r f o r m a n c e w h e r e y o u 'v e r e c e iv e d fe e d -
b a c k t h a t w a s r ig h t o n t a r g e t , a n d t h a t e v a lu a t io n c a n h e lp y o u im p r o v e y o u r s in g in g . It
is u n d e r s t a n d a b le t h a t c r it ic is m m e a n t in t h e s p ir it o f h e lp f u ln e s s c a n s u r p r is e you and
m ig h t h u r t y o u r f e e lin g s . B u t if y o u a r e p r e p a r e d m e n t a lly , t h e s e e x p e r ie n c e s can have

e x c e lle n t le a r n in g p o t e n t ia l.
""~ ------= --.-;;;;;;~ ~ ~ = = ~ :..= = = = -----------

AUDITIONING I CHAPTER 6
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T A KIN G C R I TIC ISM INS T R I D'E ....
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If you have an audition or performance experience in which you feel you have done a:
a:
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your best and you still don't receive positive feedback, consider other aspects of your o
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performance that may need improvement. Your presentation, singing skill, movement,
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and lyric delivery all can affect your audition. Also, sometimes, auditioners are looking Z
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for a specific "look" or physical type, and if you don't fit that image, you can be ruled ...
w
out. As harsh as this sort of elimination can be, it is a fact of many auditions, and per-
sistence and hard work can be the key to getting the gig you want.
..
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AUDITIONS GONE BAD
Sometimes, auditions just don't go well. Nervousness, lack of preparation, performing

a song that doesn't flatter your voice, and many other issues can affect your perfor- ....
mance. You might receive well-deserved negative feedback. Vow to be better prepared ::>
next time, and practice performing in front of others. Record yourself doing a mock ..
o
a:
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audition on videotape. You might be surprised at habitual body or hand movements
that are distracting. You might also hear mistakes in your singing that you weren't .....
~
a:
aware of. Some singers say that when they're performing, they feel as if they're using a o
>
lot of great facial expression, but when they see their recorded performance, they are
surprised to see thattheir expression is blank. Videos will give you unbiased feedback.
It isn't always fun to watch yourself, but it is one of the best ways you can improve your
performing skills.
YOU NEVER KNOW WHO'S WATCHING
Present yourself at your best every time you perform because you never know who will
see you and remember you. Even if auditioners aren't looking for someone with your
skills at that time, there is always a chance that they will remember a good, charismatic
performer and hire you in the future. Many singers get gigs because someone remem-
bers them from another performance, audition, or gig and wants to hire them at a later
d a t e . S o d o n 't l o s e h o p e i f y o u d o n 't g e t t h e g i g t h e f i r s t t i m e . It m a y le a d to s o m e th in g
b e tte r fa rth e r d o w n th e r o a d . Y o u h a v e to b e tr u e to y o u r s e lf. B e th e b e s t p e rfo rm e r you
c a n b e . D is c o v e r y o u r u n iq u e q u a litie s a n d s h o w th e m o f f ' D o n 't j u s t t r y t o i m i t a t e your
fa v o r ite s in g e r ; d is c o v e r y o u r o w n tr u e v o ic e . B e p e r s is te n t, a lw a y s p re s e n t y o u r s e lf at
< y o u r b e s t, a n d le a r n fr o m h o n e s t c r itic is m . If y o u a r e h a v in g tr o u b le h a n d lin g c r itic is m ,

o
..,
:D o r fe e l u n fa ir ly tre a te d , ta lk to s o m e o n e w h o c a n h e lp y o u p u t th in g s in to p e r s p e c tiv e .
~
K e e p in g n e g a tiv e th o u g h ts b o ttle d up in s id e o r o b s e s s in g over n e g a tiv e c o m m e n ts
~
o
is n o t p r o d u c tiv e o r h e a lth y . C o n s id e r th e s u b je c tiv e n a tu re o f a u d itio n s , and le t th e
"
'"
o e x p e r ie n c e c re a te a n o p p o r tu n ity fo r y o u to im p r o v e .
c
.....
Oft
o
"...
:I:
m
..,
o
z
...
m
"
"o
"
:D
..
"
.....
...z
m
"
-.
' .....
• W arm-ups for All Voices
• W orkout 1. Basic W orkout
• W orkout 2. Advanced W orkout
• Singing Harmony: Two- and Three-Part
Exercises
IT COMPLETE VOCAL WORKOUTS

PART II COMPLETE VOCAL WORKOUTS
FEATURES OF THE CD
These exercises provide a com plete warm -up and basic and advanced voice-building
exercises for singers. The CD contains vocal exam ples with a rhythm -section back-
<
o ground. The vocal exam ples appear on only one stereo side of the CD so that you can
...
...
:D
sing along with them , or turn them off to practice with the rhythm section tracks alone.
~ To listen and practice with the rhythm section alone, adjust the balance control on
o
your stereo to elim inate the right channel. If you transfer the CD to an M P3 player to
'""
o
practice, you can sim ply rem ove the right ear bud to hear only the instrum ents. Even
..
c:
...
if you don't have easy balance adjustm ent capabilities on your com puter, you can
still benefit from singing with the voices on the recording. The singers dem onstrate
authentic style and phrasing m odels. I feel that it is im portant for you to hear real voices
perform ing the exam ples. Singers who have worked with this CD have found the vocal
..
o
guidelines helpful, and often keep the voices sounding even when they are fam iliar
with the exercises.
...'"
'"'
...o"' At the beginning of each track, you'll hear a beginning note and a countoff, and then
z
... the exercise begins. You m ight find it helpful to follow along with the written m usic in
"'
Z the book until you becom e fam iliar with the exercise patterns, the order in which they
."
o occur in each workout, and the syllables and lyrics used for singing.
'"
:D
...'"
.....
z
If you are working on particularly challenging exercises, especially those in the
Advanced W orkout, you can go back to the start of the track to review it a few tim es
""' before m oving on.
'"
Som etim es, the exercises m ove up by half steps to new keys, and som etim es they
m odulate down, depending on what part of your voice is being exercised. You'll be
able to follow along easily listening to the instrum entals
W he . ·t· b t
. n warm ing up, I IS es
to warm up your m iddle range first then low voice followed b hi h
.. ',y Ig range warm -up.
This plan IS followed in the W arm -up for All Voices.
r ...
_______________ 1 W AR M - UPS FOR ALL V 0 ICE S
T h e B a s ic W o rk o u t w ill h e lp y o u ta k e y o u r s in g in g to th e n e x t le v e l. M u s ic a l c o n c e p ts
.....
'"
w
..
VI
s u c h a s s y n c o p a tio n , m in o r s c a le s , a n d p e n ta to n ic p a tte rn s a re p re s e n te d in ro c k , ja z z ,
r& b , a n d g o s p e l s ty le e x e rc is e s . T h e s e a re d e s ig n e d to h e lp y o u d e v e lo p y o u r ra n g e , '"
a:
fle x ib ility , a n d s u s ta in in g p o w e r. '"
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"-
:IE
w
0-
The A dvanced W o rk o u t c o n ta in s m o re c o m p le x rh y th m ic c o n c e p ts , m o re c h a lle n g in g Z
in te rv a llic le a p s , a s w e ll a s lo n g e r p h ra s e s . B e s u re to m a in ta in e n e rg e tic b re a th s u p - ...

<>
w
p o rt, a n d d o n 't p u s h y o u rs e lf b e y o n d y o u r lim its , e s p e c ia lly th e firs t fe w tim e s y o u s in g :z:
0-
th ro u g h th is w o rk o u t. C h a n g e th e s y lla b le s o r w o rd s to a fa v o ra b le v o w e l, s u c h a s "00"
'"o...
o r "a h ," u n til y o u b e c o m e fa m ilia r w ith th e n o te s a n d rh y th m ic p a tte rn s .
In h ig h - a n d lo w -v o ic e w o rk o u ts , y o u w ill a lte rn a te ly h e a r m a le a n d fe m a le v o ic e s d e m -
o n s tra te th e e x e rc is e s . N o tic e th a t a m a n 's v o ic e a lw a y s s o u n d s o n e o c ta v e lo w e r th a n
w ritte n o n th e tre b le c le f. T h is is a c o n c e p t th a t m o s t s in g e rs a d ju s t to a u to m a tic a lly , VI

0-
w ith o u t m u c h th o u g h t. If y o u a re a m a n , a n d a w o m a n is d e m o n s tra tin g th e e x e rc is e , ::>
<>
y o u s h o u ld s in g th e e x e rc is e in y o u r o w n o c ta v e (o n e o c ta v e lo w e r th a n th e w o m a n 's ""
v o ic e ). If y o u try to s in g in h e r o c ta v e , y o u w ill p ro b a b ly b e s in g in g h ig h in y o u r ra n g e ,
'"
<>
o r in fa ls e tto , a n d y o u w o n 't g a in th e b e n e fits o f lo w - to m id d le -v o ic e
a re a w o m a n , a n d a m a n is d e m o n s tra tin g
e x e rc is e s . If y o u
th e e x e rc is e , y o u s h o u ld s in g o n e o c ta v e
-...
~
a:
<>
>
h ig h e r th a n th e m a n 's v o ic e .
T h e T w o - a n d T h re e -P a rt E x e rc is e s o n th e la s t s e c tio n o f th e C D a re a fu n b o n u s to
y o u r s in g in g w o rk o u ts . B y a d ju s tin g y o u r b a la n c e c o n tro l, th e d iffe re n t v o ic e s o n th e s e
tra c k s c a n b e in d iv id u a lly e lim in a te d fo r p ra c tic e . T u rn o ff th e le ft c h a n n e l to e lim in a te
th e h ig h v o ic e . T u rn o ff th e rig h t c h a n n e l to e lim in a te th e lo w v o ic e . In th e th re e -p a rt
e x e rc is e s , th e re a re tw o tra c k s o f e a c h e x e rc is e . A g a in , tu rn o ff th e le ft c h a n n e l to
e lim in a te th e h ig h v o ic e . T u rn o ff th e rig h t c h a n n e l to e lim in a te th e lo w v o ic e . G o to th e
s e c o n d tra c k to h e a r th e tra c k w ith o u t th e m id d le v o ic e p a rt.
A fte r y o u w o rk w ith th e C D a fe w tim e s , y o u m ig h t fin d th a t th e k e y ra n g e s o f s o m e
o f th e e x e rc is e s s u it y o u r v o ic e b e tte r in a h ig h e r o r lo w e r w o rk o u t, d e p e n d in g o n th e
style o f th e e xe rcise . F o r e xa m p le , if yo u a re a te n o r o r so p ra n o , yo u m ig h t d isco ve r
th a t th e e xe rcise s in th e lo w vo ice w o rko u ts fit yo u r vo ice b e tte r. Y o u m ig h t e ve n p u t
to g e th e r a co m b in a tio n o f so m e o f th e h ig h a n d so m e o f th e lo w e xe rcise s to cre a te
yo u r o w n p e rso n a l w o rko u t. T h e ke y is to try b o th h ig h a n d lo w w o rko u ts to fin d w h a t

<
o w o rks b e st fo r yo u .
n
:D
~
::l1 A s yo u fo llo w th e C D 's vo ca l w o rko u ts, re m e m b e r th e se tip s:
,.
o
"o • W a tch yo u rse lf in a m irro r. L o o k fo r g o o d p o stu re , fa cia l e xp re ssio n , a n d sig n s o f
..
C
-4
te n sio n .
• E xp a n d a ro u n d yo u r w a ist w h e n yo u b re a th e . T h e re sh o u ld b e n o m o ve m e n t in
yo u r u p p e r ch e st. E ve n q u ick b re a th s n e e d to e xp a n d a ro u n d yo u r w a ist, n o t a t
ch e st le ve l.
." • S to p im m e d ia te ly if yo u fe e l th a t yo u 're b e co m in g tire d o r stra in in g in a n y w a y .

,.
0
• K e e p a b o ttle o f w a te r a t h a n d to h e lp sta y h yd ra te d .
-4
:r:
m
n
0
z
-4
m
Z
...
,.
0
,.
:D
.....
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,.'"
m
I
II
•
Worm-ups for A II VOices
H IS W A R M - U PRO U T I N E w ill h e lp p r e p a r e y o u r v o ic e fo r s in g in g .
It is lik e s tr e tc h in g y o u r le g s b e fo r e y o u r u n . V a r io u s v o w e l s o u n d s a r e
in tr o d u c e d , a s w e ll a s th e lip tr ill, w h ic h c a n b e v e r y e ffe c tiv e in b a la n c -
in g y o u r a ir flo w a n d b r in g in g y o u r a tte n tio n to th e b u z z in g fe e lin g a s s o c i-
a te d w ith to n e th a t is r e s o n a tin g e ffic ie n tly - w h a t s in g e r s c a ll " fo r w a r d
p la c e m e n t. "
EXERCISE 1. WARM-UP SLIDE

T h is e x e r c is e w ill h e lp y o u to w a r m u p y o u r m id d le v o ic e . L ip tr ills c o m b in e d w ith s lid in g
h e lp in d u c e la r y n g e a l fr e e d o m , a n d h e lp g e n tly s tr e tc h y o u r s in g in g m u s c le s .
<
o
..
n
...
A lip tr ill is a lo o s e b u b b lin g s o u n d m a d e w ith th e lip s . Im ita te th e s o u n d o f a m o to r -
b o a t b y b lo w in g o u t a ir , le ttin g y o u r lip s b u b b le , fir s t w ith n o v o c a l s o u n d , th e n a d d in g

:a:
o
,.
:< l v o ic e .
o
c
.... L ip tr ills r e q u ir e a lo o s e ja w a n d s te a d y a ir p r e s s u r e . If y o u h a v e tr o u b le d o in g lip tr ills ,
II>
p e r fo r m th is e x e r c is e b y r o llin g o r tr illin g y o u r to n g u e in s te a d .
S in g fiv e tim e s m o d u la tin g u p b y h a lf s te p s .
..o
:< l Range
....
:r:
'"
n
o J = 92
z
.... Ab Ab/G F- Eb Eb/G
'"
'"
"
o
'& I 'I . & ~ t ~_Jt
..
:< l
I. Brrr (lip thrill) brrr brrr --------
..
:< l 2.00
3. Ee _
_ 00
ee
00
ee ---------
_
...
II>
z
4. Brrr
S. Ee _
brrr brrr --------
ee ee -------
n
'"
:< l
Ab Ab/G F- ob Ab
l& I I I I & ~ t ~
t t :~
~.
Brrr brrr brrr
00 00 00
Ee ee ee
Brrr brrr brrr
Ee ee ee
- ,
WARM-UPS FOR ALL VOICES
....
"z...
EXERCISE 2. DESCENDING FIFTH SLIDE ..
T h is e x e rc is e w ill h e lp y o u to w a rm u p y o u r m id d le a n d lo w e r voice. S lid in g h e lp s fre e u p ..
>-
your voice b y g e n tly s tre tc h in g th e m u s c le s b e fo re y o u s in g . T o s lid e , m a k e a s ire n s o u n d

..
a:
o
"-
s ta rtin g in y o u r m id d le ra n g e , a n d g lid e d o w n w ith o u t s to p p in g o n in d iv id u a l p itc h e s .
.....
:IE
z
o
S in g th is e x e rc is e s ix tim e s , m o d u la tin g d o w n b y h a lf s te p s e a c h tim e . A lte rn a te th e
..
u
s y lla b le s "w e e " a n d "z o o " u n til th e e n d . z

...
..
TIPS ..
o
• T h e p o s itio n o f y o u r th ro a t ju s t b e fo re y o u y a w n h e lp s y o u
o p e n u p fo r fre e r s in g in g . Im a g in e th a t o p e n fe e lin g a s y o u
s lid e .
• B e c a re fu l to tu n e th e d e s c e n d in g m in o r th ird in th e la s t .....
tw o b a rs . K e e p y o u r b re a th s u p p o rt active to a v o id fla ttin g :>
th e p itc h .
....
o
o
~
~
a:
u
Range o
s ......... >
J = 88
F- F -lE b Db C 7(b 13) F-
'~I'h~tt>s
__
~>s-J « iji - -= J= J j~ . ~E gjJ
w ee __ w ee _
1. W ee __
2. Z oo __ zoo __ zoo _
w ee __ w ee _
3. W ee __
4. Z oo __ zoo __ zoo _
w ee __ w ee _
5. W ee __
zoo __ zoo _
6. Z oo __
EXERCISE 3. DESCENDING fIFTH RUN

T h is e x e rc is e w ill h e lp d e v e lo p fle x ib ility n e e d e d to e x e c u te th e q u ic k m o v in g s c a le , a n d th e
d e s c e n d in g p a tte rn h e lp s e s ta b lis h re la x e d p ro d u c tio n a s y o u g ra d u a lly in c re a s e ra n g e .
<
o
n
:D S in g in g o n "N e e , n a y , n o h , n o o " w ill h e lp y o u fin d y o u r b e s t to n e p la c e m e n t. U s e th e "N " to
,..
in c re a s e y o u r a w a re n e s s o f re s o n a tin g to n e . Y o u s h o u ld fe e l a s lig h t b u z z in y o u r c h e e k s o r
~
o
n o s e o n th is v o ic e d c o n s o n a n t. If y o u p re fe r, s u b s titu te "M " o n s u b s e q u e n t m o d u la tio n s .
'""
o
c
... S in g th is e x e rc is e s ix tim e s , m o d u la tin g u p b y a h a lf s te p e a c h tim e .
'"
TIPS
• W o rk fo r c le a n b u t s m o o th a rtic u la tio n o f th e d e s c e n d in g -
fifth p a tte rn . S in g th e p a tte rn w ith o u t s e p a ra tin g th e in d i-
v id u a l p itc h e s . (A v o id "N e e -h e e -h e e -h e e -h e e .")

... • P u t th e in itia l c o n s o n a n t o n th e p itc h . B e c a re fu l th a t th e
'"..
d e s c e n d in g p a tte rn is s u p p o rte d w ith a d e q u a te b re a th
n
o e n e rg y s o th e p itc h d o e s n 't fla t.
z
.....
z
...
e
'"
:D Range ~ ;/.-
...'"
...'"z
..
'"
J = 144
C B~
'"
~ t~ t ~t ~t ~
~
Nee _ Nay _ Noh _ Noo _
- ,
WARM-UPS FOR All VOICES
.....
'"...
z
EXERCISE 4. POP/ROCK SLIDE
..
'"
T h is e x e rc is e w ill h e lp y o u to b le n d re g is te rs b y s lid in g b e tw e e n n o te s . C o n tin u e th e '"'"
g e n tle s tre tc h in g o f y o u r v o c a l c o rd s b y s in g in g lig h tly a n d b e in g c a re fu l to e n e rg iz e '"...
o
y o u r b re a th s u p p o rt. :E
...
I-
Z
o
W o rk to b le n d y o u r re g is te rs in th is e x e rc is e b y s lid in g b e tw e e n n o te s th a t a re s te p w is e . u
...
T h is re q u ire s m o re v o c a l c o n tro l th a n th e p re v io u s s lid e s , b e c a u s e y o u a re c o n n e c t- Z
I-
in g n o te s o f th e s c a le , b u t b rie fly s to p p in g o n e a c h to n e . O n th e a s c e n d in g p a rt o f th e
s c a le , k e e p a s te a d y flo w o f a ir to a s s is t w ith th e u p w a rd s lid e .

'"o...
E x p e rim e n t w ith o th e r v o w e l s o u n d s s u c h a s "n e e ," "y a h ," o r lip trills , to e q u a liz e a ll
v o w e ls o n th is p a tte rn . T ry to s in g a ll v o w e ls fre e ly .
'"
I-
S in g th is e x e rc is e s ix tim e s , a s c e n d in g b y h a lf s te p s . :::>
o
'"o
TIPS '"
~
• T ry to s in g e a c h 4 -b a r p h ra s e in o n e b re a th . ...
• S in g th e la s t n o te o f th e 8 -b a r p a tte rn s h o rt, a llo w in g y o u
'"o
u
>
to b re a th e a s th e k e y m o d u la te s .
• M in im iz e v ib ra to , k e e p in g a n e v e n , s te a d y to n e .
Range 2
2 •
2
~ .7
J = 120
G- Eb Bbsus4 F
~ ~ I't J § J j §i
r ~
Noo
Eb Bb F
G-
~q J }:;J J pJ r W :~
Noo
EXERCISE 5. DESCENDING ARPEGGIOS

(SWING)
W arm up your m iddle and low er registers and further develop harm onic aw areness by
< singing m ajor descending arpeggios w ith changing harm onies. S ing each descending
o
n
note w ith a slight jazz-style scoop, as dem onstrated on the recording.
...
:D
,...
o
C hange initial consonants to experim ent w ith different onsets of the tone. Try "W ," "M ,"
o and "Y " to increase your aw areness of resonating tone. A re som e consonants easier
..
c
'"
to start a tone on than others? N otice w hich consonants and vow els flow m ore easily,
and try to m ake all of them equally free.
S ing this exercise five tim es, descending by half steps .
...
....
o TIPS
• S ing this exercise in a sw ing style w ith a slight scoop at the
'"
m
start of each pitch, as dem onstrated on the recording.
n
..
o
z
m
Z
• Tune your voice to the changing harm onies by carefully
listening and thinking w hile you sing.
.."
o • K eep breath support active, to avoid flat intonation.
.....
:D • Take a relaxed breath, but don't overfill betw een phrases.
'"...
z
..
"m
- 'l".....
WARM-UPS FOR All VOICES
.....
'"...
® Range
z
..
'"
'"
a:
Swing J = 138
'"o
<>.
z
C A~ ......
_~ ~~rt-= ..~~ z
o
...
Nee _ Nay _ ...:z:
...
FMaj9 BI>Maj7(#1l)
'"..
o
~-=~~W~~~
Noh _ Noo _
'"...
::>
o
Nay _
Nee _
""o'"
~
FMaj9 FMaj7/G C
~
~~ ~~~W-= ~~:~ ...o

a:
>
Noh _ Noo _
EXERCISE 6. OCTAVE SLIDES

Finish warming up your middle-to-high range with slides, to blend registers. Using
slides can help you access and warm up your high range because you won't be focused
< on sustaining the high note. You should just slide up, touch on the note, and slide back
.....
o
n
down .
:E
o
,., Many singers find this exercise successful on "00" vowels or lip trills. "00" helps lift
;0:
o your soft palate for easier access to your upper register. Also, singers tend to use a
c
... more consistent airflow when singing lip trills, instead of worrying about the pitches or
'" tone quality. When you focus on breath rather than tone quality, you often can sing the
high notes in your range more easily.
At the end of this exercise, the highest notes might be out of range for low voices.
Continue with the modulations only as high as you feel comfortable. You can skip ahead
... to the next workout when you've reached your limit.
'"
m
n
0
Sing this exercise five times, ascending by half steps.
...
Z
'"... TIPS
..
,.,
0
,., • Keep your voice light, to ascend smoothly to the highest

... notes.
...'"z • Imagine that your voice glides on a steady stream of
., breath.
I ,.,
m
• Imagine the tone vibrating on your teeth, for forward

II placement.
I ' • Use no vibrato on slides, keeping the tone even and

steady.
- ,
WARM-UPS FOR ALL VOICES
.......
.....
z
......
Range
>-
o
J =92 ...
...
'~t
:IE
F G- A- B~
l-
Z
o
u
1. Bm (lip thrill) bm bm bm ...:c

2.00
3. Brrr
00
bm
00
bm
00
bm ..
l-
4.00
5. Bm __
00
bm
00
bm
00
brrr
..
o
A- G- F
~. $ill
Bm bm brrr
00
bm
00
..
l-
....
00 00 ::>
Bm brrr bm brrr o
00 00 00 00
Bm bm brrr bm o
~
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u
o
>
workout 1. Basic workout
H E B A S IC W ORKOUT is a n e s s e n tia l v o ic e -b u ild in g w o rk o u t. Y o u w ill
s in g b a s ic s c a le s a n d p a tte rn s to b u ild s k ills . B e fo re y o u s ta rt th e B a s ic
W o rk o u t, w a rm u p w ith tra c k s 2-7, s tre tc h y o u r b o d y to re le a s e te n s io n ,
a n d a lig n y o u r b o d y w ith g o o d p o s tu re .
F o r th e s e e x e rc is e s , lo w voices s h o u ld u s e C D tra c k s 8 --1 4 ; h ig h voices

s h o u ld u s e C D tra c k s 22-28.
WORKOUT 1 BASIC WORKOUT
.....
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EXERCISE 7. ROCK STEPS
'"
..
>-
W ork to develop flexibility for singing fast-m oving
syllable.
notes and riffs on one continuous
..
co
o
...
......
lE
Sing each 8-bar phrase in one breath, if possible. If you can't m ake it through on one z
o
breath, breathe after the dotted half note in bar 4. u
...z
...
Sing this exercise five tim es, m odulating up diatonically. ..
..
o
TIPS
• For the final m odulation, m ake up your own syllables or
repeat previous syllables that feel and sound best in your
voice.
'"...
• Use energetic breath support, and don't pulse air on each =o
m oving note. Your air should flow in a steady stream . ....
o
~
-
co
u
o
8 n >
V) 22
HI G H
Rock J = 138
C D- E- FIG
~. ~~. ~ffl=@~.~J¥ij~.~~
1. Ee
-
2.00 _
3. Ee _
4.00 _
5. Ee _
CMaj7 FIG C
-¥d. ~. ~. ~ :~
- ----
EXERCISE 8. ROCK SYNCOPATION

D e v e lo p c o o r d in a t io n a n d a s t r o n g r h y t h m ic c o n c e p t b y s in g in g s y n c o p a t e d rh y th m s in
a r o c k s t y le . S y n c o p a t e d rh y th m s a c c e n t a n o f f b e a t . T r y t o s in g t h e s e rh y th m s w it h o u t
<
o r u s h in g .
n
:D
~
F o c u s o n y o u r b re a th s u p p o rt, k e e p in g g e n t le f ir m n e s s in y o u r a b d o m in a I s . D o n 't p u s h
:eo
,. y o u r a b s to o h a rd . S ta y o p e n in y o u r r ib s .
"oc:
.... S in g t h is e x e r c is e f iv e t im e s , m o v in g u p b y h a lf s t e p s .
'"
TIPS
• T a k e a r e la x e d , q u ie t b r e a t h in t h e b e g in n in g o f th e e x e r-
..o c is e , a n d a t t h e b e g in n in g o f b a r 4 . D o n 't g a s p o r t ig h t e n
,. u p y o u r t h r o a t f o r t h e q u ic k b re a th s .
.... • T r y d if f e r e n t s y lla b le c o m b in a t io n s , s u c h a s d o c -y a h and

'"'
m
w a y - o h . Y o u c a n a ls o m a k e u p y o u r o w n s c a t s y lla b le
p h ra s e s . B e c r e a t iv e ' ( A v o id " s c o o b y d o o b y d o o , " a s it 's a
ja z z c llc h e . )
...
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z
Range
",.
m
Fast Rock J = 144

F- Db
I It G
'~ I 'j , ~ J ~ ~ II ~~
Dah bah dah _ bah dah Dah bah _ dah Dah bah
Bb- F-
~
~ 11-=
! I,~~~~:a=t\3~~~~~
~ ~ I' ~ ~ m ~ .~ t ~ : ~
Dah bah dah _ bah dah
.....
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EXERCISE 9. MINOR OCTAVE SCALE on
..
>-
Develop flexibility and extend your range singing on a minor scale pattern. Sing legato,
using continuous, gentle air pressure. Be sure not to pulse on each individual note.
..
a:
o
""
...
:E
~
For ease in initiating tone, try usinga voiced consonant at the beginning of each phrase. z
o
This will help you keep the tone vibrant and ringing. Try "N," "W," "M," "Y," or "L." u
...:c
~
Sing this exercise six times, modulating up by half steps. ..
..
o
TIPS
• Breathe with a relaxed throat, being careful not to gasp.
• Keep your chest comfortably high and your ribs open as
you sing. Don't collapse as you use your air supply.
...a:
u
o
>
Range •
Rock J = 132
A- A~G
l!
<
o
n
:D
~
:co Ee
:D
'"oc
...
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, A-/D CMaj7
...
0
:D
...
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n
~.
0
z
... t A-/D E- CIF G A-
"'
z
"
.====================~
0
:D
:D
:D ah
-<
...
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I I ..,
z
"'
:D
II
".to..
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24
Range ...
Z
.."
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Rock J = 132
o
'""
C- C-/B~
"-
l&I'I.t .....
:IE
z
-- - o
....
Nee _ ...
..
:I:
"..
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nay _
C-/F E~Maj7
'&1'1. ..
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::>
o
- -
noo _ o
~
C-/F G- E~/A~ B~ C- ~
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, &1'1. >
nah _
EXERCISE 10. LATIN LONG TONES

W o rk to e x te n d y o u r b re a th c o n tro l to s in g th e lo n g p h ra s e s in th is e x e rc is e . Deep
b re a th s e x p a n d in g a ro u n d y o u r w a is t p a ire d w ith c o n s is te n t o p e n in g o f y o u r rib s w ill

<
o g iv e y o u b e tte r c o n tro l o v e r lo n g p h ra s e s .
n
:D
...
~ U s e th e in itia l c o n s o n a n t to p la c e th e to n e fo rw a rd in y o u r m o u th . Try to fe e l a b u z z o n
o
:D y o u r lip s a n d n o s e o n th e "M ." T h is w ill h e lp e s ta b lis h fo rw a rd p la c e m e n t to m a k e a
""
o
c
re s o n a n t, c le a r to n e th a t d o e s n 't w a s te y o u r b re a th .
...
'"
S in g th is e x e rc is e fiv e tim e s , m o d u la tin g u p d ia to n ic a lly .
TIPS
• C h e c k y o u r b o d y a lig n m e n t, a n d b e s u re y o u r c h e s t
d o e s n 't c o lla p s e , e s p e c ia lly a s th e e x e rc is e re a c h e s th e
h ig h e r p itc h le v e ls .
n
• C h a lle n g e y o u rs e lf b y a d d in g a c o n tro lle d c re s c e n d o and
o
z d e c re s c e n d o w ith in e a c h 4 -b a r p h ra s e .
...
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:II:
"
o
:D
:D
:D
-<
...
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z
...
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:D
LOW '".....
11
u Range ...
Z
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>-
L atin J = 92
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'~I
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G M aj7 F I3 G M aj7 A b M aj7 (# 1 I)
.....
z
o --1 o ~~. ~ggj z

o
M ah m eh m ee m oh m oo _
.....
:z:
I. 112. ...
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B b7 E b M aj7 A b 7 (# II) A b 7 (# II) G M aj7 o
o~o~~~. ~t : ~ ~ '- 'o

~
M ah m eh m ee m oh m oo __
...'"
:>
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~ Range _ ....... '"'"
25 o
I H ~
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L atin J = 92 ...
o
B b M aj7 A b 13 B b M aj7 B M aj7 (# II) >
'I J
M ah
J
m eh m ee
~ II
m oh m o o----
J" ----
I.
fl·
112.
§
B 7 (# II) B 7 (# 1 1 ) B b M aj7
J~"~__
~ @ ~~t
. :II~_"
~II
M ah m eh m ee m oh m oo ___
"
EXERCISE 11. GOSPEL SWING

T h is e x e r c is e w ill h e lp y o u d e v e lo p a g o o d r h y t h m ic concept f o r s in g in g s w in g e ig h t h
n o t e s a n d m in o r a r p e g g io s w it h b a s ic s c a t s y lla b le s . M a k e s u r e t h a t t h e s e c o n d n o t e in
< t h e e ig h t h - n o t e p a ir o c c u r s o n t h e la s t t h ir d o f t h e b e a t . T h e a r p e g g io s o u t lin e a m in o r
o
n
:D c h o rd a n d a r e e a s ily t u n e d w it h c a r e f u l lis t e n in g .
~
~
o
S in g t h is e x e r c is e t h r e e t im e s , m o d u la t in g u p b y w h o le s t e p s .
'":0:
o
c
...
III
TIPS
• D o n 't r u s h t h e s w in g e ig h t h n o t e s . K e e p t h e m lo o s e a n d
r e la x e d .
• U s e t h e s c a t s y lla b le s in t h e e x a m p le , m a k in g s u re th a t
y o u d o n 't o v e r - p r o n o u n c e . T h e s y lla b le s s h o u ld sound
r e la x e d .
n
o
z
I ...
'"
z
"o
'"
:D
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III
"'"
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WORKOUT 1 [ BASIC WORKOUT
ow '"~
w
12 Range Z
v ...
II'
>-
A nne Peckham
..'"
co
G ospel J = 132 o
Q.
0-7 G7 0-7 Z
~ '2 § J~ =~'1~ J
D w ee __
~~m
: ~-'~~~.
=~J
bah doo ya doo yah O w ee_~
~'1 ~
bah doo 'n
w
t-
Z
o
u
w
:c
t-
G7 C7 C #7 0-7 G7
..
eo
o
~ '~ J~ ~ J
~1§~~1,1 ~_.
~
day 000 w ee ah dah bah dah w ay ow
J. 112
II'
t-
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000 w ee ah dah bah dah dow dow

..
o
co
o
~
-..
u
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>
~ 3- A nne Peckham
G ospel J = 132 <JJ =J h
G-7 C7 G-7
.~., ~<r~'f~§ : ~If ~_·~tfg·'

~r~'1~~~
D w ee __ bah doo ya doo yah D w ee __ bah doo 'n
day _ 000 w ee ah dah bah dah w ay ow
J. 112.
G-7 C7 F7 F#7 C7
,& ~
a.
dah dow
-' :~.
dow
-'
000 w ee ah dah bah
EXERCISE 12. JAZZ SWING SCALE

C ontinue to explore a sw ing eighth-note feel in this exercise w ith scat syllable articula-
tion. Y ou w ill also be w orking on range extension. W ork to increase breath control in
< order to sing the first eight bars in one breath. A dd breaths at bars 4 and 12, if you
o
n
can't sing this in tw o long 8-bar phrases yet.
'"~
~
o
S ing this exercise six tim es, m odulating up by half steps.
'"'"o
..
c
...
• K eep the articulation
TIPS
of the scat syllables forw ard in your
m outh, at the tip of your tongue. A rticulate lightly in a
relaxed m a n nero
..
0
• Lighten up your voice as you ascend, for ease on the
highest notes.
...'"
'"
m
I
0
...z
m
Z
"
0
'"
'"
.....'"...
z
'"
m
'"
______________ W _ O _ R _ K _ O _ U _ T _ l _ 1B A S le w 0 R K 0 UT
a:
......
13
v J Range ....
z
>-
a:
a:
a:
o
Jazz Swing J = 144 "-
$'ij'j7 ...
:IE
A -7 B -7
...
z
o
u
Dot
...
dah bah d o t, doo ya d o o - 'n d o t, Dot dah bah d o t,
...
:z :
'¢~ CMaj7
doo ya doo 'n d o t,

D7/F#
Dot dah bah d o t,

E-
doo ya d o o - 'n d o t,
a:
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...
D7/F# G G D7/F#
~ ~ g ,- .....
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000 y a d o o b a h d o o - 'n dah Dot dah bah dot doo ya d o o -' n d o t, o
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E- D7/F# CMaj7 o
~l#Ej ~~-~--
~
~
a:
u
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Dot dah bah dot doo ya doo - 'n dot dot dah bah dot >
07 G
doo ya doo - 'n dot Dot doo ya doo - 'n dah

EXERCISE 12. JAZZ SWING SCALE

C o n tin u e to e x p lo re a s w in g e ig h th -n o te fe e l in th is e x e rc is e w ith s c a t s y lla b le a rtic u la -
tio n . Y o u w ill a ls o b e w o rk in g o n ra n g e e x te n s io n . W o rk to in c re a s e b re a th c o n tro l in

< o rd e r to s in g th e firs t e ig h t b a rs in o n e b re a th . A d d b re a th s a t b a rs 4 a n d 1 2 , if y o u
o
...
:D c a n 't s in g th is in tw o lo n g 8 -b a r p h ra s e s y e t.
~
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o
S in g th is e x e rc is e s ix tim e s , m o d u la tin g u p b y h a lf s te p s .
'"'"o
..
c
...
• K e e p th e a rtic u la tio n
TIPS
o f th e s c a t s y lla b le s fo rw a rd in y o u r
m o u th , a t th e tip o f y o u r to n g u e . A rtic u la te lig h tly in a
re la x e d m a n n e r.
• L ig h te n u p y o u r v o ic e a s y o u a s c e n d , fo r e a s e o n th e
...
o
h ig h e s t n o te s .
...'"
:z:
m
...o
z
...
m
:II:
"0
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.....
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z
n
m
'"
- \ '"
WORKOUT 1 I BASIC WORKOUT
a:
...
13 Range "...z
v /I
....
a:
a:
a:
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Jazz Swing J = 144 "-
z
G~7 ~ ~ ...
'#!I====~= I-
z
1~
Dot dah bah dot, doo ya doo - '0 dot, 001 dah bah dot,
o
u
...
:I:
-,#~
I-
CMaj7 D7/F# E- a:
o
...
doo ya doo '0 dot, Dot dah bah dot, doo ya doo - '0 dot,
~~t_
D7/F#
Doo ya doo bah doo- '0

G
dah
G
Dot dah bah dot

D7/F#
doo ya doo- '0 dot,

..
I-
::>
o
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~
...
a:
u
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Dot dah bah dot doo ya doo - '0 dot dot dah bah dot >
D7 G
doo ya doo - '0 dot 001 doo ya doo - '0 dah

COMPLETE VOCAL WORKOUTS
PART II
Range
.r~g:~~
< Jazz Swing = 144
o
n
...
:D
:Ii
..
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;0:
Dot dab bah dot, dOD ya doo - 'n dot, Dot dah bah dot,
o
c
...
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doo ya doo 'n dot, Dot dah bah dot, dOD ya doo - 'n dot,
G7(B C C G7(B
...o
..... '~~'§t~ ya doo bah doo- 'n dah Dot dah bah dot doo ya doo- 'n dot,
..
000
:z:
n
A- G7(B FMaj7
o
.....
z
:II:
~=t?~~~~
Dot dah bah dot doo ya dOD- 'n dot dot dah bah dot
"o..
.....
:D
...'"z
....
"
doo ya doo - 'n dot Dot dOD ya doo - 'n dah
- ,
..'"
"
EXERCISE 13. LATIN VOCALISE
..
z
...
>
This exercise w ill help develop agility and flexibility w ith dynam ic contrast. Sing this
'"
a:
exercise w ith a light, dancing feel. U se any syllable or com bination of syllables that you
...'"o
like. O r better yet, create your ow n lyrics.
..
'"
I-
Z
o
C oordinate breaths as m arked in m usic. D on't skip breath m arks. You m ight end up
straining, or becom e out of breath in the m iddle of a phrase. ..
v
:z:
I-
U se varied dynam ics that follow the shape of the m elody (softer on low er notes, louder ..
'"o
on higher notes), building to m ezzo-forte in the bridge of the song.
The etude is perform ed tw ice on the C D : once w ith the vocal, then the second tim e
featuring just the instrum entals, to give you a chance to try the piece w ithout the lead
vocal line.
..
I-
~
..
o
TIPS '"
o
~
• Sing w ith straight eighth notes throughout. ~
a:
v
• Eighth-note runs should flow evenly w ithout pulsing air out o
>
on each note (not "nah-ha-ha-ha-ha").
• Try singing on "00" as heard on track 14 or "ah" as on

track 28.
• W atch out for the accidental in bar 24.

PART II
LOW
~ » Range ~ / .« ~
..
7
Latin V o c a lis e J = 160 A nne Peckham
<
~ C oro
o
...
:D
~
~
~
o
:D
A- 0
"
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c ''--~' J
....
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---------
. C oro
."
o
------
:D
....
...
:z :
...
o
z 0 0 _
...
....
:0:
"
o lI D F M a j7 (# 11) C /E
:D
:D
:D
... ~ ~
~ '
J
0 0 _
'"...
.,
z
...
:D
F M a j7 (# 11)
t '"
c
..
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oro, "...
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mp '"'"
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..
a.
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00 _
1. 112.
Ab sb C
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o
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-
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>
PART II
r-. Range
28
HI H
Latin Vocalise J = 160 Anne Peckham
'~i'l.
~ Eb Bb/D
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o
..,
:D
e- ~ 00
g _
~
o
:D
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:D
...
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t :J, c- B b -lAb Eb7
.., ~~I.~~·?~~
o
z
...... 00 _
z
...
o [ill AbMaj7(#1l) Eb/G
:D
:D
...
:D , ~II
..
...z
I~
00 _
...
Cl
:D
00 _
AbMaj7(# 11)
, I. Eb/G
~ I. '
00 _
00_
- ,
....
'~I'!,
[g Eb Bb/D
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z
...
..
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mp '"
a:
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'~lll'~.~
o
c- Bb
..
Q,
z
t-
Z
----- ~
00 _
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..
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'~I'!,~~. ~~.
Ab 0-7
00
C-7
_
:z:
t-
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I. 112.
F- Bb7 B Db Eb
,~!'I.~§'~~.~S§. ~:~~. "

00 _ ..
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t-
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a:
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>
workout 2. Advanced workout
O R S IN G E R S looking for m ore challenging range and flexibility exercises,
the A dvanced W orkout w ill broaden your skills. If you are beginning your
w orkout here, be sure to stretch your body, take a couple of deep diaphrag-
m atic breaths to anchor your breathing, w arm up your voice w ith the W arm -
up for A ll V oices, then follow along w ith the next set of exercises. If you
have already sung the B asic W orkout and are continuing w ith the A dvanced
W orkout, be sure you don't over do it, especially if you haven't been singing regularly. If
any exercise feels out of your range, stop, and be sure you're not pushing.
T his vocal w orkout requires m ore stam ina, range, and stylistic acum en. T ry to create a
free, relaxed sound. W ork to m aintain energetic support so that your voice doesn't tire.
Y our energy should com e from the center of your body, not from your throat. M aintain a
loose jaw and neutral posture, and have Iun'
WORKOUT 2 ADVANCED WORKOUT
'"
....
u
z
EXERCISE 14. ROCK VOCALISE ...
"'
>-
This exercise w ill help you develop agility singing fast pentatonic patterns in a rock
'"
a:
style. P entatonic patterns are used in m any styles of contem porary m usic, including '"
o
Q.
r& b and rock. This exercise can also help you develop a basic vocabulary for im provis- Z
....
ing or em bellishing m elodies. W ork for clean, accurate note articulation.
....
z
o
...
....
S ing this exercise three tim es, m odulating each tim e up by a half step. :z:
....
TIPS '"o...
• K eep a clear tone w ith no added rock-style grit to the
sound.
• S ing the "H 's" lightly so that you don't blow out too m uch
air.
"'
....
• S light diaphragm atic accents w ill give the line kick, but :::>
o
don't punch too m uch w ith the breath. B ring your atten-
tion to m aintaining steady breath support.

'"'"
o
~
...
a:
...o
>
PART II
LOW
15 Range
v
A nne Peckham
< Rock J = 100

o
n
c- F7 C- , F7
:D
~
~
'~llllt~. ~~~~~§
o ~~~
,. Hey __ hey __ hey __ hey __ hey, Hey ---
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o
c c- F7 C- F7 A~ B~
....
C /O
l ~ ' \~> >d ' ===' ,- 3 - - - , F =
~- ~~~
'--" '--' '--' ~
hey _ hey _ hey _ hey _ hey, D ah bah dah D ah bah dah dah
{j}
'~IIII~. '~
Last Time to Coda
A~ B~ A~ F-
....
..'" dah bah dah bah dah, Hey _ hey hey _
n
o
_~~II~I,
..
z
{j}
..
....
Z
G sus 07 A~ 07 C-
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,. ~:~~~~~~& ~
:D
..,,.
'- - - - '
oh Hey __ hey hey _ oh
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C /O
.",..
co
,-
w
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..
Z
29
..
co
A nne Peckham '"co

o
R ock J = 100 Q.
:IE
F- B~7 F- B~7 w
I-
4&1'1,&1 .' ~ Z
o
...
w
H ey __ hey __ hey __ hey __ hey, H ey _ :I:
I-
F- B~7 F- B~7 D~ E~ co
..
o
4&I'I'&~~' ~~. ~
hey _ hey_hey _ hey_ hey, D ah bah dah D ah bah dah dah
O~
L a s t T im e to C o d a - $ -
E~ D~ B~-
..
I-
:::>
o
~4&~""&~~~~' ~~~~ "c o

o
dah bah dah bah dah, H ey __ hey hey _ ~
~
C sus C7 -$ -0 ~ C7 F- '"...
o
>
~ :~i ~ I!~
~ f - ~ I '~ f - ~ ~ ~ ~ ~ ~ ~ ~ : : c : : : : E 3 ~ ~ ~ ~
II :~ b= = = = n.
oh H ey __ hey hey _ oh
PART II
EXERCISE 15. LATIN OCTAVE SKIPS

This syncopated Latin style requires quick air intake. This exercise will help you develop
coordination for quick breaths, as well as note accuracy for singing various intervals.
<
o
.....
n
Sing this exercise three times, modulating up by half steps .
~
..
o TIPS
"o • Work to keep your tone quality even and blended.
....
c:
• Take quick breaths every two bars, keeping a relaxed
throat. The breaths should be quiet, and the inhalation
action should quickly expand at your waist.
• Put the consonant "M" exactly on the target pitch, with no
scooping, to ensure accuracy.
L 0 WI' '"
w
16
v Range "...
Z
..
'"
Latin J = 138
A nne and R ic k Peckham '"
a:
'~!It Legato Bp Ep/G Bp(F '"...

o
"w...
t§~~~,--"
~~~ ~
Z
o
M ah m ay m ee _ rn o h M ah _ m ay m ee L , m oh_ v
'~!I~ » r ~ ~ ~
w
Bp(F F Bp Bp ...
:z :
'"...
o
'- ' '- - "

M ah m ay m ee _ m oh M ah _ m ay _ m ee M ah m ay m ee _ m oh M ah ,
Ep Bp/D Ep/G Bp Ep(F Bb
l~ ! :,J ¥ f ~
_ m ay m ee_ m oh , M ah m ay m ee _ m oh
$ !i4
M ah _ m ay _
» r~ m ee
PART II
Range
A nne and R ic k Peckham
Latin J = 138
Legato C F /A C /O
<
o
n
:D
~
~ ~ s := ¥ ¥ d E ,- - - ,,~ ~ ~ ~ §
m ay m ee _ m oh M ah _ m ay m ee - m oh -
M ah
..
=o=
C /O G C
C
'"
o
c
..
....
l~ ~
M ah m ay m ee _ m oh M ah _ m ay _ m ee
~
M ah m ay m ee _ m oh M ah
F C /E F /A C F /O C
[
...
..
0
....
'·N~
_ m ay m ee _ m oh , M ah m ay m ee _ m oh M ah _ m ay _ m ee
:~
'"
II m
n
0
z
....
m
Z
"
..
0
.....
:D
.....
z
..'"
m
...'"
:"
EXERCISE
MONDAY")
16. JAZZ WALTZ (UMAYBE ON ....
...IE
'"
a:
T h is e x e rc is e w ill h e lp d e v e lo p n o te a c c u ra c y a n d ra n g e w ith a s c e n d in g a rp e g g io p a t- '"o..
te rn s . T h e ly ric s in te n tio n a lly in c lu d e m a n y v o ic e d c o n s o n a n ts s u c h a s "M ,"
"w ." T h e s e c o n s o n a n ts h e lp y o u fe e l y o u r v o ic e re s o n a te in y o u r "m a s k "

"N ," a n d
(c h e e k s ,
..
"...
:IE
o
n o s e , fo re h e a d , te e th , a n d th e fro n t o f y o u r m o u th ). ...
...
S in g th e e n tire p ie c e tw o tim e s th ro u g h a s w ritte n .
..'"
'"o
Yo
TIPS
• L ig h tly a rtic u la te th e ly ric s , k e e p in g th e c o n s o n a n ts o n th e
ti p o f y o u r to n g u e .
• B e c a re fu l to s in g th e p ic k u p n o te s to e a c h p h ra s e a c c u - ....
ra te ly . T h e te m p o m o v e s fa s t, a n d y o u h a v e to th in k a h e a d
"
o
th e firs t fe w tim e s y o u s in g th is to s in g th e p ic k u p s in tu n e . "
• T h e e tu d e is p e rfo rm e d tw ic e o n th e C D : o n c e w ith th e
'"
o
v o c a l, th e n th e s e c o n d tim e fe a tu rin g ju s t th e in s tru m e n -
ta ls , to g iv e y o u a c h a n c e to try th e p ie c e w ith o u t th e le a d
-...
~
a:
o
>
v o c a l lin e .
PART II
17
v
Anne and Rick Peckham

Jazz Waltz J = 183
M A ~I B~I E
<
o
n
:Il
~~. ~ ~ . ~ ~ ~ ~ . ~ '~ ~ '
~
m ay - be on T ues
~ M ay - be on M an d a y , ---
o
D F I- A C I-7
'"""
o
<:
.....
4~## J. < E~·~~~,. ~§'> @ ~. ~
day, _
day, _ m aybe on W ednes
~-ru~~
B E7 A F7 E b /F
~ l~ ~ . ~.
:--------' _
~~. W J ~l=:l
n o t.: - - - - - - - - ' W ill you on
m ay be
F /A C-/G F
M an
~.
day,
---
JJ ~
w ill
J
you
i=IF'
on T ues
Eb G- Bb 0-7
day, _ w ill you on W ednes day,
c- F7 Bb G b7 E /G b
~'~I!~r'
~J~~.~~.~~~.
w e ll, w hy n O I? _
~~ #2 :~
e - ver on
day, _
ne ver on T ues
D I-7
t§. - ~.
ne - ver on W ednes day, _
th a n k s
'""'..
z
Range ...
H
..
'"
Jazz Waltz J = 183
A n n e a n d R ic k P e c k h a m '"
a:
FIG C G/B D-/A G

'""-
o
z
~. §"= §~ ' ~~. ..
"'
z
o
M ay - be on M on day. _ m ay - be on T ues u
.,
"'
F A- C E-7
..
~4~ J--~pJ~.
day, _
~ i~ - ' ~ij~'> F:f~'
day. _
'"...
o
m ay - be on W ednes
C A b7 Gb/Ab
m ay - be W ill you on
..
'"
::>
D~ A~/C E b -/B b Ab o
~'~~I'I.~f$r ~'oo=&=f
~ § ~ . - -~F~,
""
'"o
~
M an day. _ w ill you on T ues ~
a:
u
Gb B b- Db F -7
o
~4~~\~~~r'-
~F:f~'~'~~' ~W'==ij~i.
~
>
day. _ w ill you on W ednes day, _
Eb- A ~7 Db A7 G/A
~'~~I'I.~~~r~J
~~.~~.~~~. ~~
w e ll. w hy n o t? _ Ne - ver on
D A/C# E-/B A
M an day. _ ne - ver on T ues
G B- D F # -7
day, _ ne - ver on W e c ln e s day, _
I. 112.
E- A7 D FIG D
tM· ~.~~.-------~~.
th a n k s a
lo t. _
~~.
M ay - be on
EXERCISE 17. R&B POP/PENTATONIC (HWAIT

FOR ME")
T h is e x e rc is e w ill h e lp y o u d e v e lo p a g ility a n d a s tro n g rh y th m ic c o n c e p t s in g in g p e n -
<
o ta to n ic p a tte rn s .
...
..
:D
N o tic e th a t y o u e n te r o n b e a t 2 in b a rs 1 , 5 , 9 , e tc . a n d th a t y o u e n te r o n th e "a n d "

:IE
o
'"..
o f th e b e a t, o r th e u p b e a t, in b a rs 3 , 4 , 7 , 8 , e tc . C o u n t a s y o u s u s ta in th e firs t lo n g
o n o te in b a rs 1 a n d 2 . (If y o u lo s e c o u n t, it w ill b e d iffic u lt to m a k e th e n e x t e n tra n c e
..
c
... c o r r e c tly )
S in g th is e x e rc is e tw ic e th ro u g h , a s w ritte n .
TIPS
...o
• W a tc h fo r th e s y n c o p a te d e n tra n c e s in th e s e c o n d h a lf o f
...'"
:0: e a c h 4 -b a r p h ra s e .
"'
...o • B a la n c e y o u r v o ic e s o a ll n o te s b le n d a n d m a tc h in c o lo r .
z • S in g a t a s lo w e r te m p o to s tu d y , a n d s p e e d u p to te m p o a s
...
"' y o u le a rn th e p a tte rn s .
z
...o
'"
:D
...'"
.....
..z
"'
'"
WORKOUT 2 AOVANCED WORKOUT
'"...
18 Range '":IE
M
\::!)
..
\II
R&B J =92
Anne P eckham '"'"
'"
o
,-/n '-/~ ,-/n ~

C- 07 0- C- 07 O- C l.
J J ) ) .....
:IE
:IE
~'~~!'l.t~t
~J_~~_~
_ ij~ .~ ~ ~ ~ I
o
...
...
W a il _ fo r m e w a it i, fo r m e
..
%
c- 07 0- '"o...
,,~ J t n'- /~
i'~~'\~ ~ ~ ~ ~ ~ h ~ ~ ~ .
~ '1 ~ L _j _
00 _ 'til _ _ I com e back_
..
\II
::>
..
o
'"o
~
...
'til I com e back hey __ H o ld _ o n lo n g -e r _
...'"o
>
H o ld o n lo n g - e r yeah __
1.
c- D7 O- C- 07 O-
J )~n'-/~ J ),-,n~
i!'*~I'l.t~r~.-'~§.~t '1 ~ I
We _ c a n m a k e it _ _ We can make it
112. rit.
c-
J
~ ~ I.I. 'I ~ § ~ :~ t
00 _ 00 _
(
W ORKOUTS
PART II COMPLETE VOCAL
r.
32
H I G H
A nne Peckham
<
o
n
R&B
E~-
J
J =92
F7
) ,-,n B
L
.-
,- ,0
E~- F7
)
'- '
n B~-
v
:D
...
~ '~ I.:!~ ~t & tJ. ::J ~ ~~. ~ ~ ~ I
..
o
W a it _ fo r m e w a it ; f o r m e
"
o
c: E~-
..
...
,-,0 j
'~ '!'N ' i ~~~I t

't iI _ I com e back_
00 _
...
..
o
...
"
m
n
o
z
... hey __
m 't i l I c o m e back H o ld _ on lo n g -e r _
"
"
..
o
..
:D
-<
.....
..
z
..
m H o ld o n lo n g - e r yeah __
W e can m ake it
rit.
00 _
..
'"...
z
...
EXERCISE 18. R&B PENTATONIC PATTERN
(UHEY YAH") '"
>-
'"
a:
...o'"
T h is e x e r c is e w ill h e lp y o u d e v e lo p a g ility s in g in g p e n ta to n ic p a tte r n s . E a c h 2 -b a r
p h r a s e s h o u ld
m a x im u m
b e p e r fo r m e d in o n e b r e a th . K e e p y o u r r ib s o p e n a s y o u s in g to g a in
c o n tr o l, e s p e c ia lly o n th e a s c e n d in g lin e s .
..
z
...
z
o
...
...
S in g th is e x e r c is e tw o tim e s th r o u g h .
..
:z:
TIPS ..
'"o
• If n e c e s s a r y , w o r k o n th is e x e r c is e a t a s lo w e r te m p o , to
e n s u r e a c c u r a c y . A s y o u b e c o m e s tr o n g e r , b u ild u p to th e
te m p o o n th e r e c o r d in g .
• C r e s c e n d o o n a s c e n d in g lin e s ; d e c r e s c e n d o on descend-
in g lin e s .
..
'"
:>
..
o
'"o
~
~
a:
...
o
>
PART II
19
v JJ Range

R&B J = 112
CIA D/A
CIA D/A CIA
<
o
... ). PI) I). PvP) PI
"
~
:IE
o
~~I
'""o Hey yah Hey yah ---
..
<:
...
CIA
) ~ ~
CIA D/A CIA CIA D/A

). P~P ) PI) I). P,--,P ) P I
~
I
~
~
~.-----~( g --
00
00 _
....
" :i. .• "z...
3~ H Range ! b..-72/ ..
Anne and Rick Peckham ..
>-
R&D J = 112 ..
a:
o
Eb/C Eb/C F/C ...
). .....
z
z
o
..
u
:z:
...
....
o
Eb/C Eb/C F/C Eb/c
) I ). PvP ) PI) ~ ~ I
~'~I'I.~_~~~
~ ~
Hey __ yah __ Hey __ yah __

.....
::>
o
""..
Eb/C F/C Eb/C Eb/C F/C o
~
). P~P) PI) ~ ~ I ). P,-,P) P I ...
a:
~'~~II!!r~~-
~I~-~~·Cif· ~
u
o
>
00 _
Eb/C Eb/C F/C Eb/C
) ~ ~ I). P,-)) PI) ~ -

,JI!~~~~I ~~
00 _
PART II
ROCK PENTATONIC ARPEGGIO

EXERCISE 19.
(U B A H , BAH , BAH")
I n t h is e x e r c is e , d e v e lo p a c c u r a t e , f a s t a r t ic u la t io n o n a p e n t a t o n ic p a tte rn in r o c k s t y le .
< T h is w ill h e lp y o u e x t e n d y o u r r a n g e a n d im p r o v e y o u r a c c u r a c y . E ach p e n t a t o n ic s c a le

o
... p a tte rn re p e a ts in f a s t e r r h y t h m ic u n it s , b e g in n in g w it h t h e s c a le s u n g in h a lf n o t e s a n d
..
:D
e n d in g w it h t h e p a t t e r n in e ig h t h n o t e s . S in g e a c h p h ra s e in o n e b re a th .
:Ii
I
o
I '""
o S in g t h is e x e r c is e f iv e t im e s , m o d u la t in g u p b y w h o le s te p s .
c:
....
"' TIPS
• A r t ic u la t e th e c o n s o n a n t "8 " lig h t ly , w it h o u t p re s s u re ,
e s p e c ia lly in f a s t e ig h t h - n o t e a r p e g g io s a t th e h ig h e s t p it c h
le v e ls .
• E x t e n d t h e v o w e l f o r le g a t o s in g in g .
...
o
z
....
m
Z
"o
'"
:D
'"...
..."z'
.-
m
'"
...
WORKOUT 2 AOVANCED WORKOUT
r
20
..,.
..'"...
V) Range ...
z
'"
>-
Anne and Rick Peckham '"
a:
J = 120
'"
o
C o.
G #- F #sus E B /D # ...
:E
I-
l# b # t Z
g ...
~
J
o
J ~ J J l% J
w
B ah bah bah bah bah bah bah bah :z :
I-
C #- G # -/8 G #-
'"...
-
o
l# b J1 g - J
~ J J
bah B ah bah bah bah
# F # /A # F# E D #7
l# # '# j J '"
I-
J J ~
:::>
o
bah bah bah bah bah
""
# G #- F #sus E B /D #
'"
o
~
~
l # # '# a:
...
o
B ah bah bah bah bah bah b a ll bah bah bah bah bah bah bah bah bah >
C #- B /D # E (F 7 su s)
l # # # '~ ~ ~ ~ : ~
bah bah bah bah bah bah bah bah bah
PART II
{r- Range
34
H I G H
A nne and R ic k Peckham
J = 120
< A b
E b /G
C>
c- B bsus
.. ltJ j
n
:D
~
J ij J
bah
W bah
J
bah
~
bah bah
C>
B ah bah bah
:D
"
C>
c -fE b C-
C F-
ij cl
l
....
'"
J
J
B ah bah bah bah
bah
G 7
B b A b
B b /D
.. J ~J J ij -
C>
~
:D
bah bah bah bah
bah
..
....
,
:z:
c- B b sus A b E b /G
n
C>
..
Z
....
z B ah bah bah bah bah bah bah bah bah bah bah bah bah bah bah bah
"
C>
:D
F- E b /G A b (A 7 su s)
:D
:D
0(
~-~:~
'"...
..'"
z
bah bah bah bah bah bah bah bah bah
:D
w
'"
"...
:IE
EXERCISE 20. JAZZ BALLAD ETUDE <II
>-
This jazz ballad vocal studywill help you develop a relaxed, free tone and efficient breath
'"
a:
management. Sing with smooth, connected movement between notes throughout. '"o
"-
:IE
w
Sing this exercise two times through. ...

:IE
o
....
TIPS w
.=..
• Dynamics increase gradually, peaking in bar 10, then
gradually decrescendo from bar 10 to the end.
'"o...
• Change vowels or create lyrics of your own.
...
<II
:>
o
'"'"o
~
~
a:
....
o
>
PART II
Range ~~ =... ! ~ ?~ ~~j

/
~ ?.
A n n e a n d R ic k P e c k h a m
< Jazz Ballad J = 84
'~I'Ii.fiilJ
o C- A ~ M a j7 (# 1 1 ) C- A ~ M a j7
.....
"
I
~ _ _ _ _ ....~ ij~.~ j O~ O ~ e~ = :£- =i.2F j 5~ l
Ay_
II ..
o
>0:
00 00 _
o
C- A ~ M a j7
c: B M a j7 (# II)
...
III
O ~ /G ~
Ay _ Ah _
O ~ /G ~ B M a j7 (# II)
B ~ 13 C- A ~ M a j7
~~~I'lIf5f~'~t ~ :;:= .- - ..
Ah _
of! "44lJ
Ay _
t
00_
"
o
z
... I.
1 1 2 " , ---------
'~I'h~
'"
:II: 0" G 7 ( ~1 3 ) 0" G 7 (~ 9 ) C -9 Fine
~
....
o
~. ~. M~:~II
..
-<
t
O o_~
III
...
.,
z
..
'"
l
'".." '
3"
5
Range z
...
HI G H
....
O Il
A n n e a n d R ic k P e c k h a m
'"
J =
'"...
o
J a z z B a lla d 84
,.
D -- B b M a j7 ( # I I ) D- B b M a j7 ________
"'..
L@~II @ § ~
Z
l& t~ o ~ ~ ~ . o
u
00 ========-- 00 _ A y_
..
"':c
...'"
E b /A b C # M a j7 ( # I I ) D -- B b M a j7 Bb/G o
-
&& 0
@ ). ij@1I --- ~ t ~o> ~I
Ay Ah
C 13 D- B b M a j7 E b /A b C # M a j7 ( # II)
..
O Il
@j m
:>
~
t ~. 0 __ t @ o
:0 :
Ah Ay 00_ '"
o
~
J. 112.
..
~
u
o
EO A 7 (b 1 3 ) E· A 7 (b 9 ) D --9 Fine >
=1& ~ ~ t ~ ~ .: S .; g o F " '~ · ~ ~ ~ ~

~
~~ ~~
00 _ 00 _
1'1
I
Singing Harmony:
•
Two- and Three-Part Exercises
h e n y o u firs t p ra c tic e th e s e e x e rc is e s , b e g in b y lis te n in g to th e
d e m o n s tra tio n tra c k w ith a ll v o ic e s , to g e t a fe e l fo r th e s ty le . T h e n
w o rk w ith th e tra c k s b y o m ittin g e a c h v o ic e .
In th e tw o -p a rt e x e rc is e s , th e to p v o ic e is in th e le ft c h a n n e l, and
th e b o tto m v o ic e is in th e rig h t c h a n n e l. P la y th e tra c k w ith b o th
v o ic e s fe a tu re d to le a rn e ith e r p a rt y o u lik e . T h e n u s e y o u r b a la n c e c o n tro l to e lim in a te
th e p a rt y o u h a v e le a rn e d , a n d s in g a lo n g in h a rm o n y w ith th e o th e r p a rt. F o r e x a m p le , if
y o u c h o o s e to s in g th e to p p a rt in tra c k 3 6 , y o u c a n s in g a lo n g w ith b o th v o ic e s u n til y o u
fe e l s e c u re w ith th e n o te s a n d rh y th m s . T h e n u s e y o u r b a la n c e c o n tro l to e lim in a te th e
p a rt y o u h a v e le a rn e d , to s e e if y o u c a n s in g y o u r p a rt in h a rm o n y w ith th e o th e r v o ic e .
C h a lle n g e y o u rs e lf to try to s in g e a c h o f th e d iffe re n t p a rts , o n e a fte r th e o th e r.
T o s e p a ra te th e th re e v o ic e s fo r in d iv id u a l s tu d y in th e th re e -p a rt e x e rc is e s , th e re a re tw o
tra c k s o f e a c h e x e rc is e . In th e firs t tra c k o f th e e x e rc is e , th e to p v o ic e is in th e le ft c h a n -
n e l, th e b o tto m v o ic e is in th e rig h t c h a n n e l, a n d th e m id d le v o ic e is in b o th . T o e lim in a te

i q
""
I '
SINGING HARMONY: TWO- AND THREE-PART EXERCISES
....
th e to p v o ic e , a d ju s t y o u r b a la n c e to th e r ig h t. T o e lim in a te th e b o tto m v o ic e , a d ju s t
.....
z
VI
y o u r b a la n c e to th e le ft. T o h e a r th e to p a n d b o tto m w ith o u t th e m id d le v o ic e , g o to th e
n e x t tr a c k . L e a r n o n e p a r t, th e n w o r k to m a in ta in y o u r v o c a l lin e w ith th e o th e r v o ic e s . ..
>-
P r a c tic e s in g in g in tu n e , a n d d e v e lo p b a s ic s k ills fo r s in g in g b a c k g r o u n d h a r m o n ie s . o
..
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COM PLETE VOCAL W ORKOUTS
PART II
E X E R C IS E 22. T W O -P A R T R & B /P O P C~G O T TO
B E L IE V E " )
Develop your vocal skills tuning in thirds with another voice. The articulation of quick
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COM PLETE VOCAL W ORKOUTS
PART II
E X E R C IS E 24. T H R E E -P A R T C O U N T R Y /R O C K
(H L E T ME TR Y ")
T h is th re e -p a rt e x e rc is e h a s s e v e ra l s y n c o p a te d rh y th m s . W o rk to a c c e n t th e o ffb e a t
rh y th m s to b rin g th e m o u t. T h e v o ic e s s in g in c lo s e h a rm o n y w ith u n ifo rm rh y th m ic
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m o v e m e n t in a ll p a rts . S y n c h ro n iz e y o u r e n tra n c e s a n d cutoffs w ith th e o th e r v o ic e s
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• U s e th e b a la n c e c o n tro l to is o la te th e to p a n d b o tto m v o ic e s o n tra c k
3 9 . U s e tra c k 4 0 to h e a r th e e x e rc is e w ith o u t th e m id d le v o ic e .
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PART II I COMPLETE VOCAL WORKOUTS
EXERCISE 25. THREE-PART ROCK «((HEY

YA H")
In th is e x e r c is e , w o r k o n c lo s e h a r m o n y a n d tu n in g . T h e v o ic e p a r ts r e q u ir e fle x i
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• U s e tr a c k 4 1 to h e a r th e e x a m p le w ith a ll th r e e v o ic e s .
U s e th e b a la n c e c o n tr o l to e lim in a te th e to p o r b o tto m
v o ic e s . U s e tr a c k 4 2 to h e a r th e e x e r c is e w ith th e m id d le
v o ic e e lim in a te d .
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PART II
E X E R C IS E 26. T H R E E -P A R T BLUES (U S IN G
FOR YOUR S U P P E R ")
D e v e lo p s k ill s in g in g s w in g e ig h t h n o te s o n a 1 2 -b a r b lu e s e x e r c is e . T h e re a re s o m e
t r ic k y c lo s e h a r m o n ie s b e t w e e n t h e t o p a n d m id d le p a rts . B e s u r e t o le t t h e in t e n d e d
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e x p r e s s iv e d y n a m ic s in b a r s 9 a n d 1 0 . T h is a d d s m u s ic a lit y and s t y le to th e e x e r c is e .
T h is e x e r c is e is p e r f o r m e d t w o t im e s t h r o u g h o n e a c h tra c k .
TIP
• A c c e n t th e s y n c o p a te d rh y th m s a t b a rs 3 , 6 , a n d 9 .
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Sing for your Slip - per now_
What Next?
H A N K Y O U fo r re a d in g a n d s in g in g Vocal Workouts for the Contemporary

Singer. I h o p e th a t th e s e te c h n iq u e s a n d e x e rc is e s le a d y o u to s tro n g e r,
h e a lth ie r, a n d m o re m u s ic a l s in g in g .
If y o u w o u ld lik e to le a rn m o re a b o u t v o c a l te c h n iq u e , y o u m ig h t fin d th e
in fo rm a tio n in m y o th e r b o o k , The Contemporary Singer (B e rk le e P re s s ,

2 0 0 0 ), to b e h e lp fu l in le a rn in g a b o u t th e p h y s io lo g y o f th e v o ic e a n d h o w It re la te s to
s in g in g te c h n iq u e .
T o h e lp a d v a n c e y o u r b a s ic m u s ic ia n s h ip s k ills , y o u m ig h t a ls o b e n e fit fro m s tu d y o f a n
in s tru m e n t s u c h a s g u ita r o r p ia n o . P la y in g a n in s tru m e n t c a n h e lp y o u d e v e lo p c o n fi-
d e n c e to le a rn a n d s in g s o n g s o n y o u r o w n . It a ls o c a n h e lp fu e l y o u r c re a tiv e in s tin c ts
a n d m ig h t d e v e lo p y o u r in te re s t in w ritin g o rig in a l s o n g s .
L o o k fo r o p p o rtu n itie s to n e tw o rk w ith o th e r m u s ic ia n s , a s th is w ill c re a te p e rfo rm a n c e
o p p o rtu n itie s . B e fle x ib le a n d b e re s o u rc e fu l.
,
-~~---
WHAT NEXT?
Have a performance goal. A recording session or any kind of scheduled performance

..'"..
z
...
will give you a goal to work toward. Many communities have arts councils, theater
groups, coffeehouses, and places of worship where musical performances are regu-
..'"
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larly scheduled. Also, look for advertisements for open mic or karaoke sessions to
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further your performance skills. Z
z
o
The Amazing Slow Downerand Transkribeare computer programs that have the capa- ...
..
bility of changing the tempo of songs without altering the pitch. They also can alter
the pitch without changing the tempo of songs. You can use these programs to study
..
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fast riffs and solos of great singers. These programs provide a way for vocalists to learn '"..
o
directly from masterful performances. (Note that the farther you get from the original
recording either in tempo or pitch, the more warbled the sound gets.) You also can slow
down tempos on the workout CD of this book to study the more difficult exercises, or
even change the keys to a more comfortable pitch. They also provide an easy means
of looping material. Small sections from one to two bars can be repeated on a loop for
..
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more intensive study.
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~
For more information sources and updates, please check out my W eb site ~
a:
www.annepeckham.com . You also can find educational materials and resources at ...o
www.berkleemusic.com. >
I hope that you have found this book to be useful, and I wish you the best of luck in
your musical endeavors.
About the Author
NNE PECKHAM is a s in g e r , v o ic e te a c h e r, and a u th o r. A p ro fe s s o r
in t h e V o ic e D e p a rtm e n t a t B e r k le e C o lle g e o f M u s ic , h e r w o rk as a
te a c h e r and h e r p u b lic a t io n s have in f lu e n c e d p o p u la r s in g in g peda-
g o g y w o r ld w id e . H e r a p p ro a c h e m b ra c e s t h e f o u n d a t io n s of good vocal
t e c h n iq u e , w h ile b u ild in g s in g e r s ' s k ills in ja z z , p o p , a n d r o c k m u s ic .
A t B e r k le e , s h e c o n t r ib u t e s t o t h e v o ic e p r o g r a m in m a n y w ays. I n a d d it io n t o t e a c h in g
p r iv a t e v o ic e le s s o n s , s h e c o n t in u e s t o d e v e lo p c u r r ic u la r m a t e r ia ls fo r Elements of Vocal
Technique, a r e q u ir e d c o u rs e f o r a ll o f B e r k le e 's 600+ v o ic e s tu d e n ts . H e r w o rk a t th e
c o lle g e , in c lu d in g B e r k le e 's M u s ic a l T h e a te r W o rk s h o p and th e B e r k le e C o n c e rt C h o ir ,
h a s h e lp e d e n r ic h t h e m u s ic a l e x p e r ie n c e o f h u n d re d s o f s tu d e n ts o v e r t h e y e a r s . A lu m n i
o f A n n e 's c la s s e s a n d le s s o n s in c lu d e S u s a n T e d e s c h i, J u lia n a H a t f ie ld , and m a n y o th e r
p r o f e s s io n a ls in t h e m u s ic in d u s t r y .
Vocal Workouts for the Contemporary Singer is A n n e 's fo u rth p u b lic a t io n w it h B e r k le e
P r e s s . I t is t h e c o m p a n io n to The Contemporary Singer, a b o o k /C D s e t t h a t w a s r e c e n t ly

ABOUT THE AUTHOR
'"
w
re le a s e d in a J a p a n e s e tra n s la tio n . S h e is a ls o a u th o ro f Singer's Handbookin th e B e rk le e "...

Z
In the Pocket s e rie s a n d Vocal Technique: Developing Your Voice for Performance, an '"
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in s tru c tio n a l D V D re le a s e d in 2 0 0 4 .
'"
a:
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Q.
A m em ber o f th e N a tio n a l A s s o c ia tio n o f T e a c h e rs o f S in g in g , A n n e s e rv e d a s v ic e Z
w
p re s id e n t o n th e B o s to n c h a p te r's b o a rd o f d ire c to rs . S h e h a s tra v e le d e x te n s iv e ly a s I-

Z
o
a c lin ic ia n a n d a d ju d ic a to r fo r s o n g a n d c h o ra l fe s tiv a ls in N o rth A m e ric a a n d E u ro p e . u
w
H e r m a s te r c la s s e s a n d v o c a l p e d a g o g y s e m in a rs fo r s tu d e n ts a n d te a c h e rs fo c u s o n :z:
I-
a p p ro a c h e s to ro c k , ja z z , p o p , a n d r& b m u s ic .
...'"
o
Anne s a n g w ith th e T a n g le w o o d F e s tiv a l C h o ru s fo r fo u r y e a rs , p e rfo rm in g o n tw o
re c o rd in g s
S u lliv a n
c o m p a n ie s ,
w ith th e B o s to n P o p s , in c lu d in g a fe a tu re d s o lo in th e ir te le v is e d G ilb e rt a n d
p re s e n ta tio n , w h ic h a ire d o n P B S . S h e h a s p e rfo rm e d w ith re g io n a l th e a te r
h a s w o rk e d a s a p ro fe s s io n a l s o lo is t w ith a re a c h u rc h c h o irs , a n d p e rfo rm s

I
'"
I-
fre q u e n tly in re c ita l a n d c a b a re t v e n u e s . :::>
o
'"'"
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~
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>
College Credit Online Certificate
Programs And Courses Now Ava Hable From
Berklee Imusic.
ex
com
~ ... 01
tm
Areas of Study Include:
o Production
o Theory, Harmony, & Ear Training
o Songwriting
o Arranging
o Music Business
o Guitar
U.S. $24.95
ISBN 0-87639-047-5
o 1
1I11I1111111111111111111
HL50448044 9 780876390474

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D e a n o f C o n tin u in g E d u c a tio n : D e b b ie C a v a lie r

D ire c to r o f B u s in e s s A ffa irs : R o b e rt G re e n

M a rk e tin g M a n a g e r, B e rk le e m u s ic : B a rry K e liy

P ro d u c tio n M a n a g e r: Shawn G irs b e rg e r

M a rk e tin g M a n a g e r, B e rk ie e P re s s : J e n n ife r D 'A n g o ra

S p e c ia l th a n k s to A p ril T h o m a s , M eghan C . J o y c e , C h a n d ra C o g b u rn , a n d C h ris B ilto n fo r e d ito ria l and

lib ra ry o f C o n g re s s C a ta lo g ln g -In -P u b llc a tlo n D a ta

1. S in g in g -In s tru c tio n a n d s tu d y . I. T itle .

N o p a rt o f th is p u b lic a tio n m a y b e re p ro d u c e d in a n y fo rm o r b y a n y m e a n s w ith o u t th e p rio r w ritte n p e rm is s io n o f th e P u b lis h e r.

P rin te d in th e U n ite d S ta te s o f A m e ric a b y V ic k s L Ith o g ra p h ic a n d P rin tin g C o " In c .

D , ... ,." ......

Chapter 1. Getting Ready to Sing 3

Listening to Your Body....... . 5

PART II. COMPLETE VOCAL WORKOUTS 47

Warm-ups for All Voices 51

Workout 1. Basic Workout 60

Workout 2. Advanced Workout 78

Singing Harmony: Two- and Three-Part Exercises 100

What Next? 114

About the Author 116

3 E xercise 2. D escending F ifth S lide

6 E xercise 5. D escending A rpeggios (S w ing)

B asic W orkout for Low V oices, T racks 8-14

z 12 E xercise 11. G ospel S w ing

17 E xercise 16. Jazz W altz ("M aybe on M onday")

18 E xercise 17. R & B P op P entatonic ("W ait for M e")

19 E xercise 18. R & B P entatonic P attern ("H ey Y ah")

20 E xercise 19. R ock P entatonic A rpeggio ("B ah, B ah, B ah")

B asic W orkout for H igh V oices, T racks 22-28

23 E xercise 8. R ock S yncopation

24 E xercise 9. M inor O ctave S cale

25 E xercise 10. Latin Long T ones

26 E xercise 11. G ospel S w ing

27 E xercise 12. Jazz S W ing S cale

28 E xercise 13. Latin V ocalise

A d va n ce d W o rko u t fo r H ig h V o ice s, T ra cks 29-35

34 E xe rcise 1 9 . R o ck P e n ta to n ic A rp e g g io ("B a h , B a h , B a h ")

43 E xe rcise 2 6 . T h re e -P a rt B lu e s ("S in g fo r Y o u r S u p p e r"): A ll

44 E xe rcise 2 6 . T h re e -P a rt B lu e s ("S in g fo r Y o u r S u p p e r"): M id d le

SPEC IA L THAN KS TO A d ria n a B a lic , D e b b ie C a v a lie r, J o n a th a n F e is t, P e te r

K o n trim a s , S u s a n G e d u tis L in d s a y , M a tt M a rv u g lio , R ic k P e c k h a m , L is a T h o rs o n , and

P a u l P a m p in e lla (F iv e O 'C lo c k S h a d o w : w w w .fo c s .c o m ;

H IS B O O K IS F O R S IN G E R S w ho are interested in contem porary,

non-classical singing styles. It is a look at breath support, tone pro-

duction, and voice strengthening, plus m aterial for m ore experienced

singers w ho w ant to continue to develop their voices. B y follow ing the

agility, sound, and overall expressive pow er.

a g ility , s ta m in a , a n d o th e r a s p e c ts o f y o u r in s tr u m e n t. E ach vocal e x e r c is e is w r it-

< te n o u t s o y o u c a n fo llo w a lo n g w ith th e m u s ic a s y o u s in g . Y o u c a n is o la te s p e c ific

Tim ings >

Cool Down: 5 m in u te s (T ra c k s 2 a n d 3 , '"o...

Suggested Vocal W orkout Routines

C om plete B asic Vocal W orkout (32 m inutes)

C om plete A dvanced W orkout (29 m inutes)

A dvanced Extended Vocal W orkout (44 m inutes)

W a rm -u p s + B a s ic V o c a l W o rk o u t + A dvanced V o c a l W o rk o u t + Cool Down =

Part Singing Vocal W orkout (40 m inutes)

A dvanced Extended Vocal W orkout w ith Parts Exercises (52 m inutes)

HEALTHY SINGING RANGES

"o" p u s h in g . W o rk to m a k e th e s e tra n s itio n s a s s m o o th as

• The Four P's

• Vibrato, Vocal Registers, and Belting