Archive for July, 2009

Hardly finish your tour? Does your throat hurt after performances? Voice sounding hoarse? Those are the symptoms of an overused and abused vocal anatomy. The worst part is if you continue doing it without changing your manner of speaking and singing, it will lead to the need for a serious voice repair and not necessarily a non-surgical one. By that time, if you attempt to attain the non-surgical voice repair, it might be too late. Then you are facing a laser or a scalpel operation, which could result in scar tissue, which by itself could be more detrimental than the original damage. This could be your worst nightmare. The reason I am writing this blog is to prevent you from that possibility. The prevention is definitely far better than dealing with serious vocal damage. What does prevention entail, you may ask? Learning the proper skills for speaking and singing before you embark on any performance or that nasty tour which might leave you voiceless. I often get the phone calls and emails from the people who seem to have gotten it all – the songs, the band, the management and even the record deal and, by now, they have no voice to sing with. They are crying and pleading for help and flying to me from all over the world, thus, by that time paying double the money for the trip, hotel and, yes, of course, for the non-surgical voice repair course – provided, of course, that their voice is still saveable and curable without surgery. That I determine by speaking to them over the phone before their arrival. “It is not as easy as it sounds,” said the Toronto Star in their article about the Vocal ScienceTM method and it is true, but it is quite achievable and obviously doable. Through speech development and then special vocal exercises, the singer learns how to lift the pressure off of his or her voice and off of the vocal box. At the same time, the voice gets restructured into the set of one’s facial muscles, which will play the role of a natural amplifier/resonator. But that’s not all – those facial muscles must begin to work in full conjunction and coordination with the abdominal muscles, thus, minimizing and practically eliminating the use of the throat, larynx and vocal chords. Meanwhile, simultaneously, the vocal box has to be nurtured in order to be able to heal. Over the years I have been using very powerful natural herbs, as well as naturopathic remedies. Once the mission is accomplished, the difficulties with the voice will never occur again and that is guaranteed, provided that the singer will retain the intellectual understanding and kinesthetic feeling of what was instilled during the smart, not hard vocal sessions.


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Voice Acupuncture

Everybody knows that acupuncture is a asian medical practice that originated in China and is now very popular and practiced all around the world. This art falls into the holistic philosophy of overall health and well being. In acupuncture, fine needles are inserted at specific points to stimulate, disperse, and regulate the flow of chi, or vital energy, and restore a healthy energy balance. Similarly, the Vocal ScienceTM method finds the certain spots and channels in one’s body to activate the human voice and make it work at the fullest capacity possible. For singers this method knocks down the years of practice of increasing the volume and projection on their voices and mainly corrects the pitch and vastly increases the range. By pointing out to the singer exactly how to attack and place the sound, his whole performance becomes predominantly designed and, thus, aimed to its final destination upon design. For speakers, this method assures a proper volume, enunciation, inflection, emphasis and definite projection without any pain or strain on their vocal anatomy. In both instances, the physical body is also very involved in the equation. The certain points in the lower abdominal and upper diaphragm muscles, as well as the upper back muscles, are playing a significant role in the support of the sound and make sure that it has been delivered to those designated facial cavities and then, naturally over all, projected. In other words, the whole philosophy boils down to so to speak “re-channelling” the sound upon the use of the precise points of the human body and voice as an outcome away from the so called “natural” use, ie. screaming from the bottom of the throat and the top of the lungs, which in turn leads to an overall need for voice repair.

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