you have a question about singing? Are you interested in learning more
about your voice?
to Dreamquest's FREE online singing lessons and FAQs
with Melissiah, international singing teacher,
and founder of the VoicePower method of instruction.
Pages are updated monthly - most recent question was added on the
7th December 2005.
If you have any further questions about singing after reading these
pages feel free to send me an email. Please remember that due to the
extensive emails received monthly not all questions may be answered.
MONTH'S QUESTION Q74.
My name is Blair
Stubbs and I would like to find out the right ways of exercising
my vocal cords. I have a very strong passion to become an Opera
singer, I know i have the ablility but it's better to get advice
from people that know it best, so that I will be able to strengthen
my vocal cords Better and Faster!!
B.S. Munchen, Germany
Blair, learning to sing involves the training of many muscles in the
body as well as the vocal cords. As our body is our singing instrument,
realistically, learning to sing involves coordination of some 630 muscles!
Focusing on one particular area of the body, such as the vocal cords,
means you are ignoring other essential elements of the body that are
critical to a good balanced sound, health and longevity of the vocal
apparatus. Perseverance and attention to detail, such as airflow, vocal
timbre, resonance, diction and dynamic control is of ultimate importance.
In addition to this, opera singing also involves a great deal of acting
through interpretation of a character or 'role'.
Study the lives of famous opera singers. Most of them attribute their
success to unwavering personal dedication combined with the expert training
they received from a master vocal coach.
I have been listening to a lot of arists who belt, namely Amy
Lee of Evanescence and Avril Lavigne. They seem to be hitting
very high notes in pure chest voice, higher than even the second
D above middle C.
Now, I have read and been told many times that it is very bad
to sing this high in pure chest, so I am wondering if this is
actually what they are doing. I'd like very much to be able
to sing as high as Amy Lee, with the level of ease and vocal
strength she seems to have doing so, but I don't want to be
distroying my voice in the process!
So, my questions are: when Amy is belting (not using an obvious
head voice like she does in some songs) those high notes, is
she really using chest or is it actually a mixed register? How
can I get that strong vocal sound without destroying my voice?
K.A. Edison, United States
registers are a fascinating and often controversial subject in both
teaching and scientific terms. The
term 'belting' is also rather ambiguous.
Scientifically speaking there is actually no such thing as a 'mixed'
register, although a lot of singing teachers use the term.
Some misguided teachers also believe that using 'head voice' leads to
an operatic sound.
Vocal researchers have identified
2 major types of vocal fold vibration - the heavy mechanism ('chest
voice') and light mechanism ('head voice'). By understanding the bodily
sensations produced by the different registers we can achieve is a voice
that seamlessly blends the heavy and light mechnism together to create
a powerful voice throughout the vocal range.
Most beginners display a much weaker and breathier sound when first
singing with the lighter mechanism. This is due to lack of strength
in both the vocal mechanism and the body. As we sing higher the vocal
folds stretch and thin due to the action of the cricothyroid muscles.
in the air pressure also need to be addressed. The higher the note,
the higher the frequency of vocal fold vibration which therefore requires
a greater VOLUME and PRESSURE of
air. Thus strength is required of the vocal mechanism AND the support
mechanism of the abdominal /lower back muscles. Work on two ascending
notes SLOWLY at a time, whilst keeping your larynx or voice box in the
same position for each note. The acoustic space in the back of the throat
needs to INCREASE with each ascending note. Record yourself and eventually
you'll hear that your registers will 'smooth together.'
It's important to understand that this process takes time. The great
tenor Luciano Pavarotti claims it took six years to perfect his register
im a great singer but i cant sing in front of people i get butterflies
and i want singing to become a career for me so what do i do
to kill the nerves?
Anonymous, Dunedin USA
anxiety, also known as stage fright can be caused by a variety of things.
The fact that it is usually absent from early childhood - remember how
easy 'show and tell' at prep school was - prompts many questions regarding
is compelling evidence that links performance nerves to society's obsession
with competition. We only have to look at the school system to see that
constant emphasis on getting good grades causes a great deal of frustration
and anxiety for most children. With traditional schooling we are generally
not encouraged to make a team effort, or do our personal best - rather
we must become suspicious, jealous and judgemental of others if we are
to concentrate on being 'top of the class', 'winning the prize' or being
the 'best in the world'. This pervasive attitude has now infiltrated
the arts - witness the many singing competitions on TV. We might get
one 'winner' from Australian Idol but we will also get thousands of
fright can also originate from a person experiencing a traumatic or
violent experience in early life, which leads to chronic low self esteem.
These people can feel a great deal of insecurity about themselves and
their singing ability
and may view others with suspicion.
(I notice that you did not include your name on your email and
you talk about 'killing' the nerves.)
the reason for your stage fright, it can be successfully treated. After
many years of research Dreamquest has developed a product proven to
increase levels of confidence and relaxation - 'VoicePower Relaxation
for Singers'. This CD comes with a no-risk 30 day money back guarantee.
Please visit this link to download sneak preview MP3's, view product
testimonials and order your CD online.
Q71. I have been singing for a couple of years now, performing
in musical theatre shows, as well as I am the front vocalist
in a band. My current voice craft teacher teaches me techniques
in how to control my voice. Almost everytime I leave my 30 mins
classes with her my voice feels sore and tired. It feels like
I am pushed to use muscle power, rather than concentrate on
the closure of my larynx when i sing.
I regularly loose my voice when i find myself in loud surroundings
like pubs, bars, clubs etc. I think i tend to use my throat,
and the sound of my voice is sweet and light-lacks of depth.
I feel this is reflected in my singing as my teacher tells me
i lack conviction and energy in my voice when i sing. When i
try my best to take this into account in her lessons, I increase
the volume level and "push" my voice- and this is when my voice
gets tired. it gets a bit crackely when i speak, as if i have
a cough. But my teacher think when i do this is sounds great.
i dont seem to understand her excersises- they tend to tire
my throat as well...i've tried explaining to her, but she hasent
got so many helpful answers. She herself is a natural singer,
as she has told me, and other students who are- so I take it
im not. What does that actually mean, does sls say anything
about the matter?
did train sls for a year prior to my voice craft lessons. So
therefore I am confused about the different ithos' in the techniques.
Do you think not all techniques suits a voice, is it individual
for one's voice which works? I am just wondering if you have
any opinions on my subject? Any tips or advice will mean a lot
I.A Oslo Norway
ask some interesting questions. This singing advice page was not set
up with the intent to pass judgement on other teachers. Some singing
methods certainly produce much better coordinated use of the body than
others. However it's an unfortunate fact that many emails I receive
every month are from singers who complain of sore throats during performance
and unbelievably, even during their singing lessons.
There can be no doubt that the singing instrument starts at the top
of the head and ends at the soles of the feet. Singing therefore involves
the WHOLE body and good healthy singing involves precise and efficient
coordination of the complete neuro-muscular system.You mention concentrating
on the closure of the larynx during singing. Our vocal cords do need
to 'close together' to sing, but this is only one small part of the
big picture. Our vocal cords close perfectly when we hold our breath,
experience surprise, lift a heavy weight or go to the toilet. Why then
when we try to close them during singing should we experience so much
trouble? For the vocal cords to work efficiently, it is crucial, amongst
other things, that the suspensory mechanism, balance and direction of
the BREATHING ORGAN is addressed.The many varied ways that one can breathe
can exhibit a positive or negative influence not only upon our voice
but also upon the entire body and mind. In a nutshell, a person's relationship
with air represents their relationship with themselves.
address your thoughts of different teaching techniques suiting different
voices, I believe that a thorough understanding of the scientific concepts
of voice production is essential for the teacher. Good singing however
is an art and what is more useful for the student in many instances
is the teacher's use of imagery or metaphors to convey technique to
the students. Unbelievably, this practice continues to be criticized
by ignorant teachers. Metaphors permeate our lives - they
are found in dreams, fairy tales, parables from the Bible, Shakespearean
drama, pop songs and in everyday speech. Metaphors are also an
integral part of Tai Chi and martial arts training. Mountains
of research (beginning with the great hypnotherapist Erickson) have
demonstrated beyond reasonable doubt, that the use of metaphors is a
powerful key to unlocking the potential of the unconscious mind thus
accelerating the learning process.
As far as teaching methods go, VoicePower™ is unique. It is a
method of instruction based on compelling scientific evidence which
takes the ENTIRE singing instrument into account, whilst addressing
INDIVIDUAL learning preferences through Balanced Integrated Learning™.
Most importantly, VoicePower is also system of personal coaching where
students learn to replace limiting beliefs with strategies to achieve
hope I've shed some light on your questions. I'd now like you to ask
yourself why you are paying someone to give you a sore throat. Would
you like your singing to be easy and pain free? Please call the Singer's
Help Line and I'll show you how.
For further reading, Maestro David Jones presents some thought provoking
opinions and actual case studies in his article on Speech
Level Singing Training
I'm seventeen and i have been singing to Mariah Carey for about
four years now and i was wondering if you could give me any
advice or technique on how to get her range and i dont mean
range as in high and low i mean the range that she is so famous
for that seems to blow people away. Thanks
very high range you are talking about is called the whistle register.
One of the first popular singers to employ the use of whistle register
was Yma Sumac. (If you really want to be blown away have a listen to
her 'Voice of the Xtabay'
An Aztec princess,Yma Sumac claimed the birds of the Amazon rainforest
taught her how to sing!
found that the whistle register can be produced firstly by imitating
a cat or kitten's meow. However there are some considerations to be
taken if you wish to start using this register. The first is that continued
use of the whistle register can lead to voice problems due to the extreme
tensions it places on the laryngeal muscles. Some singers who learn
to access the whistle register also find that it can abruptly appear
in the upper vocal range without warning.
Q69. My Voice Teacher is telling me I'm a Dramatic Soprano because
I'm loud, but my Choir Teacher is saying I'm a cross between
Lyric and Coloratura, what am I at 14? And do Coloraturas naturally
do the rapid stuff or do they have to be taught?
B.T Dorset USA
because you are loud doesn't necessarily mean you are a dramatic soprano.
There are also loud lyric sopranos. The dramatic soprano voice is rare
and is characterised by a 'metallic' or more strident tone. Usually
there is more vibrato than with the lyric or spinto voices. Dramatic
voices generally develop later in life - it is exceptionally rare to
find a teenager with a dramatic voice. If you are a coloratura, your
voice will generally be a lot lighter in tone. You will probably find
that your voice is fairly flexible, but you will have to work at the
'rapid stuff' if you wish to master the coloratura repertoire. The dramatic
coloratura voice (eg
combines both qualities of strident tone with flexibility.
Remember that your voice is still very much in the developmental stage
due to your age. Also there are voices that are difficult to categorize
- Maria Callas could alter her sound at will and could sing pretty much
Q68. Hello. I came across your email address on the internet.
I am a 24 year old male. I sing in a band and have recently
been getting headaches from singing. This has been happening
the past few months but never happened before. why might this
be happening? is this common? they tend to last for about 10
to 15 minutes once i stop singing.
Milwaukee, United States
from singing can sometimes result from a slight raise in blood pressure.
More specifically however, headaches usually result from excessive tension
in the muscles of the back of the neck. The head/neck relationship is
critical to singing as it is to many other activities. Many people believe
they have perfect posture or muscle coordination, but sensory appreciation
- the sixth sense - is usually underdeveloped due to preoccupation with
the five external senses. It is only after a course in Alexander technique,
that most individuals experience the freedom that results in the correct
use of the body. Alexander technique is used by the world's top athletes,
actors and musicians to gain optimal use of the body.
you are unable to find a VoicePower teacher or Alexander Technique teacher
in your local area, try practising your vocal exercises and songs with
two full length mirrors. Adjust the mirrors so you can see yourself
side on while you are singing. You'll be able to see if you're compressing
your head backwards - even when you breath in - or creating tension
in your neck, shoulders and jaw while you sing. Usually tension in these
areas means you need to develop more breath support voice with your
hi i was wondering if i could still sing as well as other people
even if i had my tonsils taken out. in other words if i had
my tonsils taken out, would that affect my singing ability so
that i wouldnt be able to sing high anymore or anything like
The Palatine tonsils at the back of the throat are located a fair distance
from the larynx or voicebox. In my opinion I've never found tonsil removal
to affect singing ability in either myself or my students. Theoretically,
removing the tonsils actually makes more space in the back of the throat
which could result in more resonance of the singing voice. I don't know
of any studies that have compared the singing voice before and after
tonsillectomy. However I do recall reading a news article where Josh
Groban reported he sung better after tonsil removal.
If you are at all worried about your voice in any way please seek advice
from an ear, nose and throat (ENT) doctor.
I am a 16 year old female and have been singing my entire life.
I have sang in bands, and at restaurants and hotels, and many
black tie functions. However, over the last three years I was
terribly bullied at school for my singing, and I grew very depressed.
I was referred to a psychiatrist and given medication, and in
the end I had to move schools to stop the panic attacks. My
new school is very musical, and I have begun singing lessons,
although I am learning to sing classical - which I find quite
hard. The thing that I'm worried about is that I have not sang
for a while and so am out of practise. Singing is my whole life
and I dream of being successful. I also got a 50% scholarship
at my new school through my singing to stay for sixth form,
so they obviously think I'm good.
However, I have no confidence anymore and suffer from stage
fright. I feel that I've lost my voice forever. It feels quite
tight and dry, and constantly needs clearing. I'm terribly worried
that inavertably the bullies have destroyed any chance of achieveing
my dream of becoming a singer. I understand that you're very
busy, but please take the time to reply to this email - I would
be forever greatful.
It's an unfortunate fact of life that bullies exist everywhere, not just
at school. There are corporate bullies who attempt to destroy smaller
competitors, bullies in the workplace, and even bullies in the music industry.
Bullies usually suffer from feelings of inadequacy, insecurity and greed
which lead them to take out their frustrations on more talented individuals.
Many schoolyard bullies progress to become big game hunters, criminals
and general no-hopers.
The best advice I can give comes from Anthony Robbins - "STEP UP!"
Bullies pretend that they're big and scary but in most cases they're as
insignificant as the dirt beneath your shoes. There's no way bullies can
destroy your life unless you want to be the victim.
As for your confidence, I suggest taking a course of lessons in the Alexander
technique, and perhaps even some lessons in a martial art such as Wing
Chun Kung Fu. I realise you're on a music scholarship, but you're also
very young. Teenage
years are for having fun, developing social skills and expanding your
friendship with supportive individuals. You don't need to dream of becoming
a singer as you already are a singer and you already are successful!
Since i was very little i have wanted to sing! i go to singing
lessons and i practise regually. my question for you is how
can i hit the high notes with out going into my head voice?
your help will be much appreciated!!! thanks.
driving around in a beautiful Rolls Royce car. Now imagine that you could
only use first gear to drive anywhere. It would be pretty bad wouldn't
it? But this is equivalent to a singer who only wants to use chest voice.
The larynx or voice box is designed perfectly - like the gear box on a
car - to allow us to sing within a range of two, three or even four octaves.
And just as you could never reach 100km per hour in first gear in the
Rolls Royce, you could also never reach top C using chest voice.
the huge number of 'singing competitions' now on TV, it's easy to recognize
singers that have learned incorrect vocal technique. As they sing higher
their voices sound more and more strained. Then when they finally flip
registers, their high notes are weak and breathy. In many cases their
high notes are non existant. In one instance I even recall a contestant
developing singers' nodules.
When the voice is trained with the larynx in a low or yawning position,
and the breath is not forced, then the vocal registers will take care
of themselves. This is healthy singing. The two opposing sets of muscles
that control pitch are the Arytenoids and the Cricothyroids. On low
notes 'chest voice' the arytenoids are more active, while higher notes
'head voice' rely more on cricothyroid activity. When you reach the
'register break' or passagio these muscles engage in a 'tug of war'.
smooth out the passaggio try vocalising on the 'u' vowel as in the word
'put'. You'll find it very difficult to know when the register change
has occurred. It will usually take some time to smooth out the register
change completely. Which brings me to my next point. There are no registers
in the singing voice when it is correctly produced. Listen to a really
good singer. Their 'gear' or register changes will be impossible to
notice, just as the gear changes in that Rolls Royce.
have a really really important audition for Eponine in Les Miserables.
I have to sing On My Own and it is really hard to 'make the
song my own.' By this I mean, sing the song in my own style.
I know that this is a really hard thing to do, and i would really
appreciate it if you could help me. What else is there I can
do to the song besides rhythmic changes and contrasts in emotions?
I have to make all the words interesting filled with emotions
and attitude. Secondly, I am also having difficulty with presenting
the song. I do not know what to do with my hands and my face.
Please help me asap. Many Thanks.
overwhelmed by the number of singers who come to me, who've been told
to stand still by their previous singing teachers. Some have even been
told to stand as if their arms are glued to their side. Of course when
these singers start performing on stage they look like they want to
join the armed forces rather than be an entertainer!
lessons integrate movement, emotions and characterisation as these elements
of stage craft usually take as long to develop as vocal ability. Firstly
start moving around when you sing, even when you sing your exercises.
Try finding what movement helps to make the sound flow. Eventually you'll
start to feel that the movement is actually helping create the sound
in your body. You can also imagine that the sound is coming from your
hands. Experiment with singing your exercises and songs using different
emotions and notice what body language and facial expression is needed
to convey the emotion. In regards to the song, what is your character
trying to portray? What is the purpose of her communication? How young/old/poor/rich/beautiful/talented/fortunate
in front of a mirror and you'll begin to discover your destiny as a
natural and exciting performer.
Dear Melissiah (I think I would even call you Messiah after
finding your site and this great FAQ). I'm 19, male. I know
nothing about singing (tones, range, keys, etc.) never sung
before until this summer with friends for fun, but somehow,
we started taking it seriously (we are separated by thousands
of miles but we're managing: thank God for the Internet). I,
as you might suppose am going to be the singer in... Progressive
Death/Black Metal. Yes I am perfectly aware of all the damages
that might occur. But during the songs I am not always going
to sing raspy and harsh voices, so I hope I'll keep damages
to a minimum. Which brings me to this: what should I do if I
want (I have to anyway) to start from scratch. I mean, how do
I know what kind of voice I have, what type of training should
I follow, etc. When I sing clear voices (as opposite to growling
which I'm good at and improving), I really can't go high. I
don't know if it has any relevance, but I can make myself heard
at a great distance (is that what you call projection?) when
shouting (clearly). And one last thing, I've found a book on
the Internet that claims that it covers the voice in its entirety
for singing purposes and can help anyone wanting to learn or
improve his voice whatever the singing style (including growels).
And if you don't answer this mail, I still thank you very much
for all the support you're giving to the singing community.
M.L Lancaster University UK
you really want to learn singing, it's best to learn one-on-one with
a teacher. If you really can't afford a teacher, have you thought about
trying a set of instructional CDs? I've come across what I consider
some good teaching products on the internet - the "Singing Success
Program" by Bret Manning
and for opera singers there's "An Introductory Lesson with David
Dreamquest will also be releasing a set of training CDs later in the
year so stay tuned.
what kind of voice you have is a bit like exploring a thousand roomed
palace full of treasures and monsters. The quest takes time, patience
and courage. Eventually
you'll discover that you can sing higher and you won't need to shout
to project your voice. (I like to think of projecting as directing your
voice inwards and finding all the resonators in your body.) Good luck
on your journey.
I'm a 19 year old girl and I sing country music. I have done
for most of my life and I find that I have extensive trouble
with continuous singing. It doesn't create vocal strain or a
hoarse voice but I cough mid song. I do not smoke or drink or
do anything that I can attribute such a cough to. It is basically
a clearing of the throat as opposed to a hacking cough that
usually smokers get. I also have a lump in my throat which my
doctor reassures me is just my tonsils but I'm concerned that
perhaps this could be part of my problem. I know you aren't
a doctor but you've probably encountered situations such as
mine before and I'm curious to know what your opinion is concerning
my problem. Thankyou.
taught several singers in the past with enlarged tonsils and I've noticed
that they also have a throat clearing problem. It may have something
to do with the immune system working overtime and producing more mucus.
Your problem may also be related to airborne particles and allergens
such as pet hair, pet saliva (on the hair shed by pets), pollen, car
fumes, dust mites and even wool or angora sweaters. Sometimes simple
things like replacing feather pillows with latex or foam can make an
enormous difference to the quality of breathing. As you come from Perth,
which has a relatively dry climate, it might also help to leave a few
bowls of water around the house to increase humidity.
interesting and thought provoking concept of health and immune function
can be found in the book "Eat Right For Your Type."
Just a question 4 melissah. ive just started singing lessons
a couple months ago and so am not too sure as to wat to expect.
the tutors method involves getting us to bring in music 4 to
a song and getting us to sing along to it 4 the half hour duration
of the lesson. is this method adequate or should i perhaps look
4 a new teacher.
Working only on a song is fine if you're already a good singer, but
a good teacher or coach will train you with specific exercises designed
to improve certain areas of your voice eg range, vocal tone, evenness,
breath control, vibrato, etc.
you'd like to look for a new teacher then you may want to leave your
details on this site http://www.musicteachersearch.com
Hi, I'm a 13 year-old
girl who has never had singing lessons. I sang in a local choir
for two months (I had to quit because of expense), and have
been in my school's choir for two years. I am about to start
taking lessons from my choir teacher, who was previously an
opera singer and has been in a few broadway plays. Recently,
she told me that I sing "nasally". From my research on the internet,
everyone uses their nasal cavaties to sing, right? I am under
the impression that singing "nasally" is always bad. I don't
consider myself a great singer, but I know I'm not bad, either.
How can I tell if I'm singing too nasally? Thanx.
Sierra Vista USA
does use their nasal cavities to sing, but a nasally voice results when
the tongue is too high in the mouth or the soft palate too low. A
good singing teacher shouldn't just tell you that you sing nasally -
she or he should also give you guidance to fix it!
remove the nasal tone practice singing open vowels like 'Ah' or 'Oh'
like you are yawning or pretending that your mouth is a big vacuum cleaner!
Shine a torch into the back of your mouth when you're practising these
vowels and you'll see the difference between a beautiful tone and a
nasal one. If you can't see into the back of your mouth it also means
your jaw needs to be relaxed and dropped a bit more. On the other hand
singing nasally isn't always bad. Many RnB singers use a more nasal
tone than pop or rock singers, as do native singers from France, India,
Asia and the Middle East.
On your site, you have a question asking at what age it is advisable
to begin singing. You say "as young as six". Just so you know,
singing lessons before the age of 14 are practically useless--
your voice is still changing. Plus, your vocal chords are too
immature and easily damaged before the age of 14. It may be
sooner for some, but the average age is 13-15. I have verified
this fact with several vocal teachers, and did not begin my
own training until I was 15.
R. Wyckoff, USA
lessons before the age of fourteen are certainly not "practically
useless"! Just ask Michael
Aled Jones (boy soprano now operatic baritone), Tina Arena and Mariah
am well aware that the vocal cords are immature and still developing,
along with the rest of the body. However should we also stop children
from playing, dancing and doing sport because the body is still developing
and easily damaged? Of
great majority of young children love to sing, and VoicePower lessons
for young children are far less serious and formatted than singing lessons
designed for adults. Children's VoicePower lessons involve fun and educational
voice/speech exercises, nursery rhymes, acting, movement, percussion
and improvisation. And it's the children who love performing the most
at the Dreamquest Talent Shows!
Based on a growing body of research,
music education at an early age conveys four great benefits - success
in society, success in school, success in developing intelligence and
success in life. Further info is available at the Music Education Facts
and Figures site http://www.menc.org/information/advocate/facts.html
I've been a professional singer for 12 years performing solo
on average 4 nights a week for 3 1/2 hrs per night. I've always
had a strong falsetto when doing Bee Gees, or female vocal songs
in a parody. It has been deteriorating over the past few months
and now can hardly get any falsetto at all. I saw a specialist
and he said there were no problems with my vocal strings. My
falsetto is a big part of my show and I'm wondering what to
do? I thought it was from overwork and just got back from 3
weeks holiday. During that time I was trying to do easy practice
to get it back. It hasn't. I'm having to push more air through
to get the notes and can't perform a whole song like that. The
only other thing I could think of is that a smaller PA I bought
is making me push harder cos' I can't hear certain frequencies
as well. Is falsetto the 1st part of your range to go? Do singing
teachers know enough about falsetto for men? I'm 37. Do your
vocal strings thicken as you get older? My range is Bass Baritone
or lyrical baritone. Having to sing rock and pop with this vocal
range has always been difficult. I've also lost about 3 tones
from my chest voice. Can you give me some advice? Thanks
B.G. Leichhardt, Australia
believe the answer to your problem could be either one or a combination
of three things. Firstly, even though you have been singing for many
years, you don't mention voice lessons. It is very easy for faults to
creep into vocal technique, even with accomplished singers. These little
faults then multiply to such an extent that they may cause major vocal
problems or even disorders such as vocal nodes or oedema.
Just as top sports people work with coaches, it is important that working
vocalists receive some sort of coaching - even if it's only once a month.
I say this because many of my voice rehabilitation clients were working
vocalists with heavy schedules before their voices deteriorated. All
of them were either untrained or hadn't had lessons in years. In this
instance their vocal problems were troublesome to eliminate due to ingrained
The second reason your voice could have deteriorated may relate to your
new PA. The eminent French ear, nose and throat specialist Dr Alfred
Tomatis, proved that "The voice contains only what the ear hears."
Therefore if certain frequencies are missing from what you hear when
you perform, especially the higher overtones, your voice will immediately
deteriorate. Tomatis also discovered that "If the lost frequencies
are restored to the hearing they will automatically be restored to the
voice." If singing through a better PA doesn't restore your voice,
then your problem may relate to a deterioration of hearing. (Ringing
in the ears after a gig is a sign that hearing is being damaged.) Faulty
hearing and tinnitus may be remedied with sound therapy.
Hormones could also be the third reason behind your voice deterioration.
As men age, production of testosterone decreases, which usually results
in the voice losing both power and depth. (Vocal cords are receptor
sites for sex hormones in both men and women.) Androgen deficiency in
men and andropause (male menopause) may be determined by a series of
blood tests. Your doctor could then advise on appropriate HRT if needed.
Further information is available from this link http://www.antiaging.com/cyberhealth/CyberHealth_11.htm