Week 44: Relating Sound to the Anatomy (Part 4)

Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Volume this week.
1. Generally, an increase in volume is achieved by an increase of air pressure. This thickens the true vocal folds, referred to as thick folds.
2. When we contract the abdominal muscles of the Breath Support System, air pressure increases, the energy level heightens & Volume increases.
3. When less volume is required, the air pressure is reduced causing the true vocal folds to vibrate at the very edges, which thins the folds.
4. In piano #singing, the higher notes require a relative increase in air pressure, & the muscles of the breath support system must be engaged.
5. The bel canto exercise of messa di voce, is actually the transition from thin to thick vocal folds, & back again, on one sustained pitch.

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- Ross Campbell

Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com

Week 43: Relating Sound to the Anatomy (Part 3)

Continuing my series on relating 'Sound to the Anatomy' when training & dealing with Pitch for a 2nd week this week.
1. As mentioned with Pitch last week, it has to be said that air pressure is not only related to Pitch.  It also relates to Volume.
2. Increases and decreases in the air pressure can affect both the Pitch & the Volume (loudness and softness) of sound.
3. In training the voice it is important not to allow Volume to increase as the Pitch rises, as higher notes will become difficult to produce.
4. Relating Pitch to Volume, the Larynx will not be able to move properly in the throat if the air pressure from below is too great.
5. If the air pressure is too great, the nature of the sound produced can easily become driven or over-blown. Not healthy or the best sound!

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- Ross Campbell

Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com

Week 42: Relating Sound to the Anatomy (Part 2)

Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Pitch this week.
1. Generally, the #pitch of a note relates to the anatomy in 2 ways: The position of the Larynx in the Throat & The Air Pressure in the Thorax.
2. For example, you can see the #Larynx rising in the Throat as the #pitch rises by using a siren, and lowering as the #pitch lowers.
3. 2 very general rules: 1.The Larynx is higher in the throat on high notes & lower on low notes & 2. Higher notes require greater air pressure.
4. If a singer has trouble attaining high notes, it may be that the larynx is not sufficiently high &/or there is not sufficient air pressure.
5. A discrepancy in the air pressure normally means the Breath Support System is not working hard enough. Note: The  importance of Support! 

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- Ross Campbell

Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com

Week 41: Relating Sound to the Anatomy (Part 1)

For the next few weeks I'm relating 'Sound to the Anatomy' when training, to include Pitch, Volume, Voice Qualities, Twang, Vibrato, Trill.
1. Proper training of the Singing Voice requires that the singer/teacher know the mechanisms which create sound, & understand how they function.
2. An essential of good teaching is understanding how the anatomical mechanisms function, both independently & in relation to one another.
3. An essential of good teaching is the ability to recognise, by sound alone, which of the mechanisms are working and how they are working!
4. Training the Singing Voice is effectively limited to trial and error if the teacher is not skilled in the anatomical mechanisms of the voice.
5. An analytical ear is the greatest tool a #singing teacher can possess in order to ensure the vocal health & development of a singer’s voice.

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- Ross Campbell

Professor of Singing, Royal Academy of Music, LondonDirector & Head of Singing, Musical Theatre Ireland, MTIAward winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com

Week 40: Microphone Use

Concluding my series on PREPARING for PERFORMANCE this week and dealing with Singing with a Microphone.
1. Occasionally Singers have to work with a microphone. However, the singer is dependent upon the quality of the microphone & sound system.
2. When wearing a head microphone, the singer has no control over the quality, & should always sing as if the microphone were not there.
3. When using hand-held/stand microphones, singers can achieve some control by the way they hold the microphone & the distance from the mouth.
4. Microphones have differing response levels, so it is always advisable for the singer to rehearse with the microphone prior to performance.
5. Use of any microphone must never be an excuse for poor, lazy technique. The sound system will only convey the quality of what is being sung.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 39: Performance Nerves (Part 2)

Continuing my series on PREPARING for PERFORMANCE, this is the 2nd week covering Performance Nerves.

1. NERVES can cause constriction, which can impair vocal range, volume & quality. Breath flow can also change, making long phrases difficult.
2. The solution is to change the energy from a “closing-down” form to an “opening-up” one, thus converting it into “performance energy”.
3. SOLUTION: Fully retract the false folds & anchor the walls of the pharynx. Correct Posture & Breath Support also need to be fully engaged.
4. A Singer can go a long way to make a performance more of a celebration than an ordeal by accepting that performing is a stressful experience.
5. By being in control of a solid technique NERVES can be changed into an energy which sustains the Singer or Actor in Performance.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 39: Performance Nerves (Part 1)

Continuing my series on PREPARING for PERFORMANCE, I am dealing with Performance Nerves for  the next 2 weeks.
1. Performance brings the fruit of learning & practice before an audience & is an intensive experience demanding concentration & sheer NERVE!
2. A Performance carries with it elements of stress and fear which can either undermine the performance, or lift it to a new level.
3. A Singer should accept that a performance is a stressful experience, and understand what happens to the singing voice when under stress.
4. Nervousness & Fear are strong emotions generating a lot of energy, which can easily cause constriction due to an increased flow of adrenaline.
5. NERVES can cause the Larynx to shut down! The breath flow is then restricted & the false vocal folds clamp down, causing constriction.


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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 38: Preparing For Performance (Part 3)

Continuing my series on PREPARING for PERFORMANCE this week: Rehearsing, Memorising, Preparing for Your Audience, Nerves & Microphone Use.
1. The next step in PREPARING for PERFORMANCE is attention to your Personal Appearance, particularly in Recital, Concert and Oratorio Singing.
2. If the singer feels happy with the way they look, their personal confidence will be enhanced & immediately evident to the audience.
3. For Formal Concerts, Ladies should consider coordinating their choice of gown with other performers to avoid clashes of colour or style.
4. Less formal performances allow for more conservative choice of clothing. Presentation of semi-staged shows allow for appropriate costumes.
5. Taking pride in your personal appearance for a PERFORMANCE has a positive & confident influence on performer and audience alike!

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 37: Preparing For Performance (Part 2)

Continuing my series on PREPARING for PERFORMANCE this week: Rehearsing, Memorising, Preparing for Your Audience, Nerves & Microphone Use.
1. Committing music & words to MEMORY gives singers increased ownership of the music & opens up a greater freedom of communication.
2. The foundation for MEMORISING music & song is repetition.This repetitive process shouldn't be sterile & mindless, but creative & enjoyable.
3. Learning MUSIC & WORDS take place in different parts of the brain. It becomes easier to MEMORISE if you address one of these at a time.
4. Singers find it easier to commit music to MEMORY rather than words. Treat the lyrics as text which can be recited independently of the music.
5. Once the words have been committed to MEMORY independently of the music, the process of rehearsal reconnects them with the music.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 36: Preparing For Performance (Part 1)

Covering PREPARING for PERFORMANCE over the coming weeks: Rehearsing, Memorising, Preparing for Your Audience, Nerves & Microphone Use.
1. Thorough musical preparation & rehearsal are the first steps in preparing for successful performance.
2. The French word for rehearsal is “répétition”.  Successful PERFORMANCE is the outcome of creative repetition. Regular practice is key!
3. Each time a phrase, section or entire song is repeated in rehearsal, the music is brought more and more to life and closer to performance.
4. Whether singing alone or accompanied by piano, orchestra or a band, the rehearsal process is the next step on from the musical preparation.
5. Throughout a rehearsal process, it's important to be thinking of building connection to the music & text, communication of same, & stamina.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 35: Performance (Part 5)

Concluding my series on Healthy Practices regarding PERFORMANCE this week. Further Health Issues which can affect PERFORMANCE.
1. The danger of smoking cigarettes is well known. Damage to the vocal folds caused by smoking can seriously affect the singer’s performance.
2. Long-term smoking can cause vocal folds to dry out & stiffen. A busy, smoking singer/actor could be more susceptible to developing a nodule!
3. Use of recreational drugs can have the same effect as heavy smoking on vocal folds. Beware of such use if you're a working singer/actor!
4. Some prescribed medicines have a dehydrating effect upon the vocal folds, which can make it difficult for the singer to produce their best.
5. Remember: Sirening is an excellent way of checking the condition of the vocal folds. Something isn't right if the siren has to be forced!

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 34: Performance (Part 4)

Continuing my series on Healthy Practices regarding PERFORMANCE this week. Health Issues which can affect PERFORMANCE!
1. The singing voice is so easily affected by atmospheric changes such as temperature, diet, poor health & a number of other factors.
2. Expert vocal training & regular technical maintenance help the singer to overcome adverse effects when PERFORMANCE conditions are not ideal.
3. Always best to avoid situations which may put the voice under strain: Smokey Rooms, Loud Environments, or where Allergic Responses may occur.
4. Singers may have an allergic response to perfume/cologne/aftershave. Be considerate of other singers with your use of this in Performance.
5. Alcohol dehydrates the vocal folds & can impair the way they function. It is best to avoid drinking alcohol on Performance days!
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 33: Performance (Part 3)

Continuing my series: Healthy Practices regarding PERFORMANCE over the next few weeks. Warming Down & Recovery this Week #singing
1. Muscles should be warmed up before intensive use.  Similarly, they should be warmed down after intensive use.
2. Warming Down helps muscles to return to their normal length and condition. The muscles associated with singing must therefore be Warmed Down.
3. Singers should never experience discomfort through Singing. However it's important to realise that ALL muscles tire & need to recover.
4. The Vocal Folds themselves are muscular and similarly need a period of recovery after intense use, along with the muscles of breath support.
5. Gentle exercises such as the siren, sliding through the entire range, help the Vocal Folds & the muscles of the Vocal Tract to recover.


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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 32: Performance (Part 2)

Continuing my series: Healthy Practices regarding PERFORMANCE over the next few weeks. Stamina & the Importance of Rest this Week.
1. In athletes, Stamina develops by having a period of Rest after an intensive workout. Vocal Stamina is built in exactly the same way!
2. Muscles are used vigorously in a training or practice session, but the actual strength is built up in the recovery period which follows.
3. Constantly working muscles without allowing them to rest weakens them! Singers should do a vocal workout daily interspersed with Rest.
4. Warming up too vigorously, or constantly practising that worrying high note will not necessarily help the performance. Pace the practice.
5. When engaged in a series of night-after-night performances, Singers should go to bed instead of a party! Rest is vital between Performances.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 31: Performance

Covering Healthy Practices regarding PERFORMANCE over the next few weeks: Building Stamina, Importance of Rest, Warming Down, Health Issues.
1. Performances vary in their demands on the singer. For example: Delivering a folk song is far less energetic than singing an operatic aria!
2. Folk to Opera: The necessary years of technical training, building of vocal stamina & repertoire to performance standard is vastly different.
3. Daily practice routines are vital in maintaining the stamina levels sufficient to meet the demands of a performance practice.
4. Singers must build the strength to sustain whatever demands a performance may require during the rehearsal period as well as daily practice.
5. Musical Theatre Singers when performing 8-12 shows per week soon deteriorate if operating without a solid technique & daily maintenance.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 30: Individual Vowels

This is Week 2 on Vowels, paying particular attention to individual Vowels.
1. a pronounced 'ah', the most common vowel which tends to pull the tongue backwards & lower into the throat, sometimes depressing the Larynx.
2. a pronounced 'ah': Small mouth opening, tongue-tip against lower teeth, awareness of hard palate in upper mouth, back of tongue more raised.
3. e pronouned 'eh': The most naturally retracted of all vowels. Tongue-tip behind lower teeth, middle blade of tongue raised & forwards.
4. i pronouned 'ee': Tongue-tip behind lower front teeth, fully relaxed lips, sides of tongue pushing into upper molars when rising in range.
5. o pronouned 'oh': Tongue-tip behind lower teeth, lower middle blade of tongue, small mouth opening, and widely stretched pharynx.
6. u pronouned 'oo': Tongue-tip behind lower teeth, raised & forward placed middle blade of tongue, keeping lips relaxed & not overly pursed.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 28: Vowel Usage (Part 1)

I'm dealing with our usage of Vowels within singing for 2 weeks, both in the part they play & any difficulties posed by certain formation.
1. Vowels are what we sing. Whilst we can pitch a consonant, we cannot actually open up a pitched consonant into an open throated singing.
2. The Vowel clearly belongs to the note or pitch. Singers need to develop the centre of the pitch together with the centre of the vowel.
3. Vowels are all initially formed & produced from the back of the tongue before individually being further shaped governed by pitch.
4. An invaluable exercise is to build song repertoire into the singing voice using only the vowels of the words within seamless legato lines.
5. It is important for singers & their teachers to build a selection of exercises into the voice which work on ALL vowels equally.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 27: Food & Drink

I'm dealing with Misconceptions which exist within the singing & voice world concerning the effects of food/drink on our voices this week.
1. Instructions to abstain from milk, wine, cold water, coffee, tea, vinegar, pineapple juice, cayenne pepper, etc... are mere old wives tales!
2. Anatomically, nothing we eat or drink can touch our true or false vocal folds; they are totally protected by the epiglottis when swallowing!
3. When swallowing, the epiglottis covers the larynx so no food & drink can enter our larynx or windpipe below; we would choke if it did so!
4. Steam is the only thing which can touch our vocal folds. Therefore, Manuka Honey CANNOT coat our vocal folds. STOP believing that it can!
5. Essential in maintaining a healthy voice: Own & understand a superb technique, warm up properly daily & stop believing old wives tales!


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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations availablewww.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 26: Yawning

I'm dealing with Misconceptions which continue to exist within the teaching fraternity of #singing & #voice this week concerning YAWNING!
1. Misconception: The physical sensation of a yawn does NOT prepare you to sing with an open throat! The tongue pulls back, clogging the throat.
2. The physical sensation of a yawn not only pulls the tongue back, but down the throat, so depressing the larynx & causing some constriction.
3. Preparing to sing with a yawn sensation inhibits access to your higher register by pulling the tongue back & holding the Larynx down!
4. If the Tongue sits too far back in the mouth & down in the throat, the Larynx has trouble rising & high notes will be difficult to access.
5. The BEST prep for retracted false folds & open throat is 'laughing' silently with a loose jaw & tongue-tip behind lower teeth, not YAWNING!

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 25: Conclusions of Recognising & Remedying

I'm dealing with conclusions covering my entire series of recognising & remedying vocal inconsistences & difficulties this week.
1. Recognising and remedying vocal difficulties depends on your knowledge & understanding of the essential anatomy of singing.
2. If you are a Teacher of Singing or Spoken Voice, then it is essential to develop a diagnostic ear supported by vocal physiological knowledge.
3. No Singing Teacher can hope to solve all vocal problems in one go.  Even simple ones take time to sort out.  There are no quick fixes!
4. A vocal difficulty is often the result of years of bad habit & may be a combination of more than one issue. Healthy Singing requires effort!
5. Remember: Retraining the muscle memory into new habits takes time. Singers & their teachers need to work together to resolve bad habits.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 24: Tongue Position

Dealing with the  problems caused by incorrect positioning of the Tongue this week
1. The Tongue is a large organ and comprises several muscle groups. Numerous problems occur because of it's sheer size & strength.
2. Because of its size, the Tongue can interfere with the rise and fall of the Larynx, and even block the Pharynx so that the sound is muffled.
3. If the Tongue sits too far back in the mouth & down in the throat, the Larynx has trouble rising & high notes will be difficult to access.
4. An habitual back position of the Tongue may be the result of the native language or of the regional accent of the singer language accent.
5. Singers should be made aware of problems posed by regional accents & learn to control the position of the tongue to create easier singing.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 23: Tongue Root Tension

Dealing with the  problem of  Tension in the Root of the Tongue this week, often referred to as Tongue Root Tension.
1. Muscles can lose the ability to relax, and so they remain contracted, which can interfere with the work of other muscles around them.
2. Tension in the root of the tongue can occur because there are several muscle groups at work, & sometimes they may be working in opposition.
3. Tongue Root Tension can be eased by stretching the tongue. Poke it out to its full length & then release it. The Tongue now feels stretched.
4. Tongue Twisters such as “red lorry, yellow lolly”, and tongue trills on an “rrr” are also useful in releasing Tongue Root Tension.
5. Advanced Exercise: Stretch the Tongue Tip backwards & upwards towards the Soft Palate, & sing a rising scale on 'HL, HL, HL, HL.....'
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 22: Jaw Tension

Dealing with the common problem of Jaw Tension this week.
1. When muscles in the jaw are persistently contracted and tense, the jaw will appear stiff and articulation will be restricted.
2. If Jaw Tension is present there'll probably also be tension in the root of the tongue, neck & shoulders. Various exercises will alleviate.
3. Muscles release when stretched. To ease tension, turn the head to the left, then back to the centre, then to the right & back to the centre.
4. Exercise: Place the lower teeth on the upper lip, make an “fff” sound & pull the jaw down vigorously, sucking in rather than exhaling.
5. The muscles being exercised by yesterday's action work in opposition to the muscles which clench the jaw. Balance is therefore restored. :-)

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 21: Issues of Nasality

Dealing with the issues of Nasality this week, which is neither correct nor incorrect; a matter of choice.
1. Nasality is the sound produced when the voice resonates predominantly in the nose. This is not always desirable, as it muffles the tone.
2. Constant nasality arises from the inappropriate use of nasal resonators due to the muscles of the soft palate not functioning correctly.
3. Nasality is caused when the back of the Soft Palate is drooping down. The resonance is then diverted from the mouth to the nasal cavities.
4. Singing Teachers should be conversant with the Tensor & Levator Palatini muscles of the Soft Palate & know exercises which strengthen them!
5. Nasality is not always incorrect! Nasality is often required in defining a character, such as a Panto Witch, or a Bronx New Yorker acting.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 20: False Vocal Folds

Dealing with the serious problem of Constriction of the False Vocal Folds this week.
1. The sound of Constriction is when the voice sounds squeezed and unpleasantly rough. The air is not flowing easily across the vocal folds.
2. The rasping sound of Constriction indicates that the FALSE vocal folds are unhealthily interfering with the action of the TRUE folds.
3. Major Constriction is easily recognised by us when singing higher pitches: A burning prickle in the larynx causing us to cough & eyes water!
4. Singers need to ensure that the air flow is being properly controlled by the breath support system and not by tension at the larynx.
5. Any tension within the larynx will usually be caused by the action of the false vocal folds. These may be retracted by silent laughing.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 19: Breathy Sound

Dealing with some issues  and underlying causes  of Breathy Sound this week. 
1. Breathy sound arises because too much air is escaping, usually because the vocal folds are not coming together properly.
2. Girls at puberty may go through a vocally breathy stage.The laryngeal cartilage systems grow faster than the muscles which move them.
3. Exercises in adduction of the vocal folds help to overcome the problem of Breathy Sound. Sirening is an excellent tool for this purpose.
4. Gentle glottal onsets on a variety of vowels & pitches in the middle range of the voice strengthen the muscles which adduct the Vocal Folds.
5. Persistent breathiness in a singer may indicate a more serious problem at vocal fold level & should be referred to a medical practitioner.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 18: Sustaining Long Phrases

Dealing with some issues  which could cause the inability to sustain long phrases this week, namely short breath.
1. The main reason for short breath is releasing too much air when singing, either through incorrect breath support &/or weak adduction of VF's.
2. If the breath support system isn't functioning correctly & vocal folds are not closing properly, air is wasted & longer phrases not possible.
3. FACT: Adults cannot increase their lung capacity by exercising or by any other means. Singers have to manage & SUPPORT their airflow!
4. Asthma & Heart Conditions can mean oxygen uptake is not as efficient. Singers will want to breath more frequently in such cases.
5. We should not be using any more air for Singing than Speaking! Sustained spoken exercises are very useful in developing breath management.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 17: Vocal Volume & Air Pressure

Dealing with issues of gaining vocal volume against air pressure this week, together with issues of projecting the voice.
1. The volume of a voice is produced by the combination of controlled air pressure and relative thickness of the true vocal folds.
2. When a singer starts to drive air across the true vocal folds in order to be louder, there is a danger of traumatising the larynx.
3. The strength of muscles within the throat must be built up steadily over a period of time in order to withstand sustained high air pressure.
4. The muscles of the throat will become weak when constantly forced to overwork with forced air pressure & rising physical tension.
5. Adding twang resonance is excellent in assisting with vocal projection, but be advised, volume and carrying power are different issues.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 16: Troubleshooting Vocal Inconsistencies

Further information & tips on troubleshooting vocal inconsistencies & difficulties during this week.
1. Pitch is determined by a combination of the position of the larynx in the throat and the air pressure powered by the breath support system.
2. High notes are easier when the larynx is relatively high in the throat, the vocal fold mass is relatively thin & airflow is finely balanced.
3. Cracking on high notes usually occurs when there is too much air pressure beneath the vocal folds & the larynx is not high enough.
4. Thorough preparation in the body in advance of a high note, & realising that “high” does not mean “loud”, will resolve forcing & cracking.
5. Carrying power of a voice depends on correct balance of air pressure & use of resonators; loudness and carrying power are different issues!
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 15: Recognising & Remedying

Further information & tips on dealing with recognising & remedying vocal inconsistences & difficulties during this week.
1. If a student of singing has difficulty recognising differences in pitch, then aural training to correct this has to be the first step.
2. In order to correct poor tuning, make sure that the larynx is moving freely in the throat & that the breath support system is energised.
3. A Bleat is a fast, unpleasant vibrato which is produced when the singer attempts to control the airflow with the True Vocal Folds
4. Bleat occurs when Vocal Folds adduct too tightly. Airflow in singing should be controlled by the breath support system, not by the larynx!
5. Singers must learn to control gear changes by controlling the relative thickness of vocal folds & the position of the larynx in the throat.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 14: Vocal Inconsistences & Difficulties

Dealing with recognising & remedying vocal inconsistences & difficulties this week. An experienced diagnostic ear is essential in teaching
1. Muscular action controls the breath support system, movement of the larynx, engages the resonators & alters the shape of the pharynx & mouth.
2. If muscles are working properly, the voice will emerge as desired, but imbalanced muscular actions will adversely affect the emerging sound.
3. Collapsed Posture is a misalignment of the spine. When present, the breath support system & anchoring systems for the larynx won't work well.
4. The Larynx cannot function properly if the back of the neck is collapsed & the jaw is protruding. Alignment of the spine is crucial here.
5. Tone deafness is a very rare condition. Singing in tune is a function of correct breath support & position of the larynx in the throat.

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 13: Resonance

Dealing with Resonance this week. The tone of a note, whether bright, dark, sweet or harsh, rounded or thin is created by the Resonators.
1. The Resonators are: Pharynx divided into 3 parts, Mouth, Nose & Head Sinuses, Upper Chest &  Aryepiglottic Sphincter which is your Twanger!
2. The initial sound made by the vocal folds is no more than a quack, but it is the Resonators which convert this pitched quack into singing.
3. Our main & most important Resonator is our Pharynx (Throat) divided into Laryngo-pharynx, Oro-pharynx & Naso-pharynx. The Mouth is secondary.
4. By raising & lowering the Larynx we lengthen or shorten the Pharynx which affects the Vocal Tone in a similar way to Woodwind Instruments.
5. Singing demands control of the resonators to produce the tone required, whether beautiful or not! Well informed exercises are a MUST!

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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com

Week 12: The Myth of Head & Chest Voices

Dealing with the Myth & HUGE confusion concerning Head & Chest Voices this week. This is misleading/misguided nonsense from Teachers!   
1. For years, many Teachers have confused their students by referring to Head & Chest as 'Voices', creating lasting problems for many Singers.
2. We do NOT have a Head Voice & a Chest Voice! We have ONE Voice & it's called a Larynx, together with a resonating system.
3. What ALL Singers & their Teachers should be referring to is Head RESONANCE & Chest RESONANCE! And we need to maintain a balance of both.
4. I hear too many female voices which are in 'bits'! Most commonly a stronger lower range disappearing into thin & airy above the transition! 
5. STOP talking Head & Chest VOICES & use well-informed exercises to blend the resonances throughout the voice to create ONE balanced Voice!


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- Ross Campbell
Professor of Singing, Royal Academy of Music, London
Director & Head of Singing, Musical Theatre Ireland, MTI
Award winning Author for ABRSM Songbooks 1 – 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreireland.ie
www.rosscampbelluk.blogspot.com