Application And Technique For The Hybrid Singer - Plural Publishing

Prefacehy brid sing er(n). Refers to the vocal athlete who is highly skilled performing in multiple vocal styles possessing a solid vocaltechnique that is responsive, adaptable, andagile in order to meet demands of current andever-evolving vocal music industry genres.Voice teachers today are often expected to be skilled inteaching and cultivating multiple vocal styles encompassing classical to pop, musical theater, and more. Yet,many vocal pedagogy training programs do not fullyprepare the voice pedagogue to teach multiple vocalstyles despite the continued growing need for competent contemporary commercial music (CCM) voiceteachers. We conceptualized this book to help bridgea gap in the vocal pedagogy world by compiling a collection of CCM voice exercises for voice teachers ofall levels to use as a resource in their studios/practices.Designed to dovetail with its companion singing science, pedagogy, and vocal health textbook, The VocalAthlete, Second Edition (LeBorgne & Rosenberg, 2021),this book con tains over 70 CCM voice exercises fromsome of the most well-respected and sought-after CCMvoice experts internationally. Contributors’ backgroundsand ex periences draw from a variety of arenas fromperformance psychology and physical therapy to prestigious voice teachers and speech pathologists/singingvoice specialists.How to Use This BookThe exercises presented in this book represent numerous techniques shared by the contributors. We havedivided the book into two primary sections. Section Iencompasses exercises for the mind and body including mental focus, breathing, alignment and jaw/tonguerelaxation exercises. Section II focuses on technicalvocal work including vocal warm-up and cool-down,registration, and style-specific exercises. Readers willnote that some exercises are applicable in multiplechapters. Although several of the exercises containedare similar to singing voice rehabilitation techniques,the intent of the exercises included in this book is forthe vocally healthy singer, and none of the exercisesshould cause vocal strain or discomfort. Further, if asinger or teacher notes onset of new voice difficultiessuch as voice fatigue, change in quality, or loss of rangein the absence of an obvious illness, he or she shouldseek laryngeal examination from a laryngologist.In the vocal pedagogy arena, most vocal exercises stem from experiences, personal training, andinput from multiple teachers, and many of the exercises are modifications and adaptations from formervoice teachers or other methods. The exercises inthis book come from voice teachers and speech pathologists/clinical singing voice specialists from variedback grounds and settings.Although some exercises included in this workbook may seem similar, each contributor brings his or her own unique perspective totheir exercise. As with all vocal pedagogy techniques,none of the exercises included have been rigorouslyscientifically studied for efficacy, but they have provento be effective empirically through years of experience of the pedagogues who have used them. It is thepresent authors’ belief that there are many ways to approach the same vocal problem or issue. However, avocal exercise is only effective if the teacher has firmlyestablished the intent and purpose of that exercise fora given student’s vocal needs/development/growthand modifies in the moment as needed. It is at thislevel of understanding that vocal pedagogy becomesan art form in addition to a science. Several of the exercises include either photographs, or audio clips tohelp augment understanding of how to execute thatexercise. Readers are encouraged to continue to explore these exercises beyond what is written on thepage or provided as an online resource.We have takencare to relate exercises back to the textbook when applicable to provide the reader with a broader framework for reference and consideration. With a broadercontext and understanding, teachers are encouragedxiii

xivTHE VOCAL ATHLETE: APPLICATION AND TECHNIQUE FOR THE HYBRID SINGERto play, experiment, modify, and adapt exercises andtechniques to suit the specific needs of their studentwith the physiological knowledge of intended vocaloutcome. Additionally, if the exercise ultimately doesnot yield the intended outcome, it is incumbent uponthe teacher to reassess and modify in order to suit thespecific needs of the student, for it is the process thatis important not a specific exercise.This workbook comes with video and audio filesaccessible on a companion website. Look for the iconthroughout the book indicating there are multi wwwme dia files available for an exercise. See inside frontcover of the book for the website address and youraccess code.We are endlessly grateful for the contributions ofthese voice pedagogues, speech pathologists/singingvoice specialists, performance psychologists, physicaltherapists, vocal coaches, and body movement specialists to this book, for without their commitment toCCM pedagogy and willingness to share some of theirtechniques and methods, this book would not have become a reality.

AcknowledgmentsWe are grateful for each of our contributing authorsfor sharing their expertise and wisdom with our readers of this workbook. Your unique contributions haveallowed us to compile a book providing the hybridsinger and CCM vocal pedagogue a resource manualof exercises to consider. Thank you all!—Marci Daniels Rosenberg & Wendy D. LeBorgnexv

ContributorsThomas Arduini, BA, MS, CAS EducationAdministrationRetired Choral Director Yorktown High SchoolMusic Department CoordinatorYorktown, New YorkChapter 8Marya Spring Cordes, MFAAssistant Professor in Acting/MusicalTheaterDepartment of Theater Dance and MotionPicturesFounding Acting and Alexander TechniqueTMInstructorMusical Theatre/Acting Preparatory ProgramWright State UniversityDayton, OhioFounding Artistic Director of The Puzzle:A Festival of New YorkNew York, New YorkChapter 2Tracy Bourne, PhD, Dip. Dram. Arts (Acting),B.Mus (Voice), M.Mus (Performance)Singing Teacher and PerformerBallarat, AustraliaChapter 4Thomas Francis Burke, III, MS, CCC-SLPSpeech PathologistVoice TeacherCorporate ConsultantBrooklyn, New YorkChapter 5James CurtisSpeech Language PathologistVoice and Swallowing Center—OtolaryngologyUniversity of California San Francisco MedicalCenterSan Francisco, CaliforniaChapter 7Joanna Cazden, MFA, MA, CCC-SLPVoice and Speech TherapistCedars-Sinai Medical CenterLos Angeles, CaliforniaChapter 1J. Austin Collum, MA, CCC-SLPClinical Voice PathologistThe Center for Voice Care and SwallowingDisordersThe Ear, Nose,Throat, and Plastic Surgery AssociatesOrlando, FloridaChapter 5Starr Cookman, MA, CCC-SLPVoice and Speech PathologistAssistant ProfessorUniversity of Connecticut Voice and Speech ClinicFarmington, ConnecticutChapter 7Benjamin Czarnota, BM, MMAssistant ProfessorCoordinator of Musical theatre Voice StudyUniversity of the ArtsPhiladelphia, PennsylvaniaChapter 8Marci Daniels Rosenberg, BM, MS, CCC-SLPSpeech-Language PathologistVoice and Singing Specialist, Vocal HealthCenterDepartment of Otolaryngology—Laryngology,Rhinology, and General Otolaryngology andSpeech-Language PathologyMichigan Medicine, University of MichiganAnn Arbor, MichiganChapters 1, 5, and 6xvii

xviiiTHE VOCAL ATHLETE: APPLICATION AND TECHNIQUE FOR THE HYBRID SINGERJennifer DeRosa, BFA, MS EdAssociate Voice TeacherTom Burke StudioHicksville, New YorkChapter 8Erin N. Donahue, BM, MA, CCC-SLPVoice PathologistSinging Voice SpecialistBlaine Block Institute for Voice Analysis andRehabilitationProfessional Voice Center of Greater CincinnatiCincinnati, OhioChapter 3Emily Dunn, MS, CCC-SLPClinical Voice PathologyThe Center for Voice Care and SwallowingDisordersThe Ear, Nose,Throat, and Plastic Surgery AssociatesOrlando, FloridaChapter 5Matthew Edwards, DMAAssociate Professor of Voice and Voice PedagogyCoordinator of Musical Theatre and VoiceArtistic Director of The New CCM (ContemporaryCommercial Music)Voice Pedagogy InstituteShenandoah ConservatoryShenandoah UniversityWinchester, VirginiaChapter 8Naz .comBroadway VeteranAEA/SAG/AFTRAAnn Arbor, MichiganChapter 8Joan Ellison, BM (Voice Performance),Masters of Music in TeachingTeacher of Popular VoiceCleveland Institute of MusicVisiting Guest ArtistCleveland Play HouseCase Western Reserve UniversityLecturer in VoiceBaldwin Wallace ConservatoryCleveland, OhioChapter 8Barbara Fox DeMaio, MM, DMAAssociate Professor of VoiceUniversity of Central OklahomaExecutive Director, Painted Sky OperaEdmond, OklahomaChapters 3 and 8Jeffrey Evans Ramsey, BMAssociate ProfessorBerklee College of MusicBoston, MassachusettsChapter 8Walt Fritz, PTPrincipal, Foundations in Myofascial ReleaseSeminarsFoundations in Myofascial Release Seminar forNeck, Voice, and Swallowing DisordersRochester, New YorkChapter 4Marcelle GauvinAssociate Professor of MusicBerklee College of MusicBoston, MassachusettsFacultyCCM Vocal Pedagogy InstituteWinchester, VirginiaChapter 8

ContributorsMarina Gilman, MM, MA, CCC-SLP GuildCertified Feldenkrais PractitionerEmory Voice CenterDepartment of Otolaryngology—Head and NeckSurgery Voice Movement IntegrationEmory UniversityAtlanta, GeorgiaChapter 2Billy Gollner, BA, BMus, MA, CLATeacher of SingingThe Urdang AcademyLondon, United KingdomChapter 7Renee O. Gottliebson, PhD, CCC-SLPClinical Assistant ProfessorDepartment of Speech Pathology and AudiologyMiami UniversityOxford, OhioChapter 5Kathryn Green, DMAProfessor Voice and Voice PedagogyDirector of Voice Pedagogy Graduate ProgramsDirector of CCM Vocal Pedagogy InstituteShenandoah UniversityWinchester, VirginiaChapter 7David Harris, DMACo-Founder/Director of VoiceScience WorksMusic Director of First Congregational Church ofLos AngelesComposer/Singer/ConductorLos Angeles, CaliforniaChapter 7Caroline Helton, DMAAssociate Professor of Music (Voice)School of Music,Theatre, and DanceUniversity of MichiganAnn Arbor, MichiganChapters 2 and 5Bari Hoffman Ruddy, PhD, CCC-SLPAssociate ProfessorDepartment of Communication Sciences andDisordersUniversity of Central FloridaOrlando, FloridaDirector,The Voice Care CenterThe Ear, Nose, Throat, and Plastic SurgeryAssociatesWinter Park, FloridaChapters 3, 5, and 7Kelly M. Holst, DMAAssociate Professor of Music (Voice)Wanda L. Bass School of MusicOklahoma City UniversityOklahoma City, OklahomaChapter 7Laurel IreneSoprano and Co-Founder/Director ofVoiceScienceWorksLos Angeles, CaliforniaChapter 7Maria Cristina A. Jackson-Menaldi, PhDSpeaking and Singing Voice SpecialistCo-Founder, Lakeshore Professional VoiceCenterLakeshore Ear, Nose, and Throat Center, PCAdjunct, Full Professor, School of MedicineDepartment of OtolaryngologyWayne State UniversityDetroit, MichiganChapter 4Aaron M. Johnson, MM, PhD, CCC-SLPNew York University Voice CenterAssistant ProfessorDepartment of Otolaryngology—Head and NeckSurgeryNew York University School of MedicineNew York, New YorkChapter 7xix

xxTHE VOCAL ATHLETE: APPLICATION AND TECHNIQUE FOR THE HYBRID SINGERJoan Lader, MAVoice Therapist,Teacher, Singing Voice SpecialistThe New StudioNew York UniversityNYSTA, NATS, NYSHLHA, Voice FoundationNew York, New YorkChapter 8Jonelyn Langenstein, MM, MS, CCC-SLPSpeech-Language Pathologist Singing VoiceSpecialistEmory Voice Center, Department of OtolaryngologyAtlanta, GeorgiaChapter 6Wendy D. LeBorgne, PhD, CCC-SLPVoice Pathologist, Singing Voice SpecialistDirector, Blaine Block Institute for Voice Analysisand RehabilitationDirector,The Professional Voice Center of GreaterCincinnatiAdjunct ProfessorCincinnati College Conservatory of MusicCincinnati, OhioChapters 3 and 8Patricia M. Linhart, BM, MMEducator Associate Professor of Musical TheatreVoiceCollege Conservatory of MusicUniversity of CincinnatiCincinnati, OhioChapter 8Adam Lloyd, MM, MA, CCC-SLPVoice Pathologist and Singing SpecialistThe Voice Care CenterThe Ear, Nose,Throat, and Plastic Surgery AssociatesAdjunct Professor of VoiceRollins CollegeWinter Park, FloridaChapters 3 and 7Jeannette L. LoVetri, NYSTA/NATS, AATS, SVW TMDirector, The Voice WorkshopNew York, New YorkArtist-in-Residence, Baldwin Wallace UniversityBerea, OhioLoVetri Institute for Somatic Voicework Member, American Academy of Teachers ofSingingMember, The Voice Foundation, Advisory Boardand Young Student Research AwardPast President, The New York Singing Teachers’AssociationChapter 7Sarah Maines, DMAVoice InstructorSinging Voice SpecialistThe MAINESTUDIOPortland, OregonChapters 2 and 7Robert MarksPrivate Vocal CoachNew York, New YorkChapter 8Katherine McConville, MA, CCC-SLPSpeech-Language PathologistDepartment of Speech-Language PathologyMichigan MedicineChapter 6Edrie Means Weekly, BME, MMCo-Founder of CCM Vocal Pedagogy InstituteAssociate Professor of Voice and Voice PedagogyMusical Theatre and CCM Styles SpecialistAdvisory Board,The Voice FoundationAdvisory Board, National Musical TheatreCompetition, NATSShenandoah ConservatoryWinchester, VirginiaChapter 4

ContributorsJoan Melton, PhD, ADVSEmeritus Professor, TheatreCalifornia State University FullertonFullerton, CaliforniaProgram DirectorOnce Voice Centre for Integrative StudiesNew York, New YorkChapter 3Jeremy Ryan Mossman, BM, MM, EstillCertified Master TeacherAssistant ProfessorCarthage CollegeMilwaukee, WisconsinChapter 1Jennifer C. Muckala, MA, CCC-SLPSpeech-Language Pathologist, Voice Specialist,Clinical FacultyDepartment of OtolaryngologyVanderbilt Voice CenterNashville,TennesseeChapter 5Beverly A. Patton, BM, MA, DMAAssociate ProfessorMusical Theatre Singing SpecialistPenn State University School of TheatreMusical DirectorPenn State University Opera Theatre, Penn StateUniversity School of MusicUniversity Park, PennsylvaniaChapters 5 and 7Brian E. Petty, MA, MA, CCC-SLPSpeech-Language Pathologist Singing VoiceSpecialistThe Emory Voice CenterAtlanta, GeorgiaChapters 6 and 7Lisa Popeil, MFAVoice TeacherVocal Coach Voiceworks Sherman Oaks, CaliforniaChapter 7Suzan PostelSomatic Bodywork for Singers, Certified PilatesInstructorFounder,The Body SingsSMGuest Faculty, LoVetri Institute at Baldwin WallaceConservatoryBerea, OhioProfessional VocalistBroadway Veteran singer and dancerChapters 2 and 3Kari Ragan, DMA, Singing Voice Specialist (SVS)Artist in Residence, Voice, Voice PedagogySchool of Music, University of WashingtonUniversity of Washington, Department ofOtolaryngology Affilitation, SVSSeattle, WashingtonChapter 5Edward Reisert, BM, MSChoral DirectorFox Lane High SchoolBedford Central School DistrictBedford, New YorkChapter 8Amelia A. Rollings, BM, BME, MM, PhDAssistant Professor of Musical Theatre VoiceDepartment of Theatre and DanceWestern Kentucky UniversityBowling Green, KentuckyChapter 6xxi

xxiiTHE VOCAL ATHLETE: APPLICATION AND TECHNIQUE FOR THE HYBRID SINGERMichelle Rosen, MMAdjunct InstructorNYU Tisch School of DramaNew York, New YorkSenior FacultyLoVetri Institute for Somatic Voicework at Baldwin Wallace UniversitySenior FacultyBrooklyn Youth ChorusPrivate voice studioChapter 7Stephanie Samaras, MMPrivate Vocal InstructorAssistant ProfessorGraduate CenterCity University of New YorkNew York, New YorkAdjunct ProfessorMontclair State UniversityMontclair, New JerseyChapter 6Sheri SandersVoice TeacherVocal CoachBrooklyn, New YorkAudition cuts on http://www.music notes.comhttp://www.Rock-the-audition.comChapter 8Mary Saunders Barton, MARetired Professor of VoiceFormer Head of Voice and Graduate VoicePedagogy for Musical TheatrePenn State UniversityUniversity Park, PennsylvaniaChapters 6 and 7Sarah L. Schneider, MS, CCC-SLPSpeech Language Pathology DirectorUCSF Voice and Swallowing CenterDepartment of Otolaryngology—Head and NeckSurgeryUniversity of California San FranciscoSan Francisco, CaliforniaChapters 2 and 7Martin L. Spencer, MA, CCC-SLPSpeech PathologistSinging Voice SpecialistThe Voice Center at Ohio ENTColumbus, OhioChapters 1 and 7Norman Spivey, BM, MM, DMAProfessor of Voice and Voice PedagogyPenn State UniversityState College, PennsylvaniaChapters 5, 7, and 8Robert C. Sussuma, MMus, GCFPhttp://www.robertsussuma.comNew York, New YorkChapters 1 and 2Miriam van Mersbergen, PhD, CCC-SLPAssistant ProfessorNorthern Illinois UniversityDeKalb, IllinoisChapter 4Jill Vonderhaar Nader, PTPhysical TherapistPrehab Pilates & Physical Therapy, LLCCincinnati, OhioChapter 2

ContributorsBarbara J. Walker, PhDPerformance PsychologistCenter for Human PerformanceCincinnati, OhioChapter 1Catherine A. Walker, BM, MM, Estill CertifiedMaster TrainerAssociate Professor of Musical TheatreSchool of Music,Theatre, and DanceUniversity of MichiganMusic Director, Vocal Coach, ClinicianFounder-Explore the Voice, LLCExplorethevoice.comAnn Arbor, MichiganChapter 4Ann Evans WatsonAssistant Professor of Musical TheatreSchool of Music,Theatre, and DanceUniversity of MichiganAEA, MTEA, NATS, PAVA, VASTAAnn Arbor, MichiganChapter 7Chris York, BS in (Choral) MusEdAdjunct ProfessorMusical Theatre DepartmentPace UniversityChris York Voice StudioNew York, New YorkChapter 8xxiii

SECTION IPreparing the Singer’sMind and Bodyreorganizing the vocal tract. Joanna Cazden’s exercisealso promotes self-discovery of the voice, but with aunique intention. Her exercise encourages creationof a dialogue with your voice to explore feelings andemotions about your vocal history with the intentionof moving past vocal negativity and frustration, allowing the singer to move toward a healthier vocal viewpoint. This type of exercise can be useful for singerswho currently have or are having vocal issues or injury,as it gives the singer a method to verbalize and expressfears and emotions associated with singing, while facilitating a process of reestablishing a level of trust withthe vocal instrument. Jeremy Mossman’s vocal explora tion exercise provides an enjoyable arena for a singerto explore various qualities of vocal sounds outsideof the context of singing. This exercise has usefulnessfrom a cross-training perspective allowing for the exploration of a variety of vocal colors and nuances thatcan be drawn upon for performance. Martin Spencerintroduces several variations of a mental focus andbreathing exercise including a group mental focusexercise to connect and synchronize multiple peoplethrough movement and breath. He encourages this exercise as a means to unify and optimize the ensembledynamic. Finally, the Scale of Vocal Effort (SoVE) rating scale described by Marci Rosenberg is designed toheighten the singer’s awareness of the level of baseline perceived vocal effort expended for various vocal tasks. The intention of this exercise is to increaseawareness of vocal effort and establish a consistentinternal scale allowing the singer to self-monitor forsubtle changes in vocal effort. Given the variety ofsettings and environments the vocal athlete performsIntroduction and OverviewGiven the physical demands of many ContemporaryCommercial Music (CCM) styles, this section includesexercises that help provide the foundation for efficient performance. The exercises included in this section address the singer (mentally and physically) as awhole. We have included exercises to promote mentalfocus and centering as well as for posture, alignment,and breathing. Additionally, stretch and relaxation exercises for jaw and tongue are provided in this section.Chapter 1: Exercisesfor Mental FocusChapter 1 begins with a variety of exercises designedto promote mental focus and centering. Dr. BarbaraWalker (performance psychologist) provides a guidedmeditation to center the breath and clear the mind.This exercise can be useful to increase mental focusand reduce performance anxiety, allowing the performer to reduce apprehension and feel mentallyprepared for performance. Robert Sussuma takes thereader through a voice scan exercise in order to increase the singer’s awareness and kinesthetic feedbackof his or her instrument prior to active voice use orperformance. This exercise may be useful for singerswho are kinesthetically “blocked” with reduced awareness of what they are sensing and experiencing whensinging. He also presents a Feldenkrais-based lesson on1

2THE VOCAL ATHLETE: APPLICATION AND TECHNIQUE FOR THE HYBRID SINGERin, this is a useful tool for singers to internally gaugepossible vocal issues before they become problematicover a longer period of time.Chapter 2: PhysicalStretches and AlignmentAs singing is a task involving the entire body, Chapter 2 includes a collection of exercises designed tostretch, release, and align the body. This chapter beginswith Sarah Schneider’s exercise using body movementto draw attention away from areas of tension, creating a “constructive distraction” in order to free vocalsound. Marya Cordes has provided an Alexander-basedstretch, movement, and

a gap in the vocal pedagogy world by compiling a col-lection of CCM voice exercises for voice teachers of all levels to use as a resource in their studios/practices. Designed to dovetail with its companion singing sci-ence, pedagogy, and vocal health textbook, The Vocal Athlete, Second Edition (LeBorgne & Rosenberg, 2021),