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The Kid & The Singing Teacher

Supplemental Singing Exercises

Supplement to the Oxford Handbook of Music Education (2011) - Young Singer Chapter - Chapter authors: R. Edwin, K. Phillips, J. Williams.

Supplemental Singing Exercises by Robert Edwin for the Young Singer Chapter
Oxford University Press Handbook of Music Education
Chapter authors: K. Phillips, J. Williams, R. Edwin
(To be published in 2011)

Singing exercises for CHILDREN and TEENS

Most, if not all singing styles can employ the abdominally-supported breath management techniques described earlier in the chapter. There should be no argument from anyone about a predictable and efficient power source - no pointing to artists, classical or pop, who are the exception rather than the rule and who are used by singers as excuses for their own bad breathing habits.

The phonation source (the vocal folds), on the other hand, should employ many options. Dancers don’t train only one side of their bodies, yet many singers only use one part of their voice. Child belters are often without an upper register and children in choirs are often without a lower register. Whether that is the result of personal choice or teacher-imposed direction, voice science and modern voice pedagogy agree that using one register without the other prevents the voice from reaching its full potential. The CT and TA muscles ("head" and "chest" in traditional terminology) work in concert. One group helps the other. Therefore, voice educators should have child students isolate and integrate lower and upper register activity. For example, have them sing a one-three-one (do-mi-do) pattern in their CT head voice-dominant register by singing the phrase, "up-per voice" (one syllable per note) starting at E4 (E above middle C). The quality should be bright and speech-like. Next, have them sing the same pattern in their TA chest voice-dominant register singing the phrase, "low-er voice" starting at A3 (A below middle C). Many children will be able to carry that pattern in their belt/mix up to and even beyond C5. Again, the tone quality should be bright and conversational in nature so that it doesn’t overload the system. Finally, have them sing the phrase, "blend-ed voice" using an octave pattern starting at A3 in the lower voice and going to A4 in the upper voice. Move the exercise up in half steps. At first, some children might be limited to one register. Encourage them to use both even if it sounds like two different people singing. Achieving a higher level of coordination can be a long and winding road. Muscles take time to learn what to do. The more the muscles of singing can do, the better the results no matter what style of singing is engaged. Be patient!

The amplification source, (the throat, mouth and nose resonators), can also benefit from some "cross training" work (Edwin 2008). In classical singing, the pharynx usually widens while the larynx lowers a bit creating more resonance space. In most forms of Contemporary Commercial Singing (CCM), the throat narrows and the larynx raises a bit creating a more speech-like tonal quality.

Teachers can have their singers explore the extremes of resonance with an exercise called," The Wicked Witch Meets the Cowardly Lion." On a descending five note diatonic scale, ask the singers to sound like the wicked witch in The Wizard of Oz using a "heh, heh, heh, heh, heh" lyric. It should be a highly nasalized sound created by lowering the soft palate and narrowing the rest of the resonance space. No exercise should be done passively without emotional support, so encourage them to "get into it" with witchy finger pointing and congruent body language.

Next, ask them to find their cowardly lion voice. This time the lyric is a very woofy and heavy, "ho, ho, ho, ho, ho." The soft palate is up, the pharynx is wide, and the larynx is down. These are fun sounds not pretty sounds and they stretch the muscles as well as the mind.

Finally, tell the kids that they’ve sent their witch and their lion off for singing lessons. Ask them to sing the "heh" and "ho" lyrics again with a new, more balanced sound. The extremes brought into the middle can create a very dynamic resonance spectrum. Be sure to do the exercise in both registers.

Articulation, or diction as it is commonly called, is very style dependent. Cleanly articulated choir singing is a must for clarity of text. That same articulation approach in CCM singing, however, can often sound unnatural and stylistically inappropriate. Prepare your singers for multiple styles through another extreme exercise called, "Neat and Sloppy." Start with an up and down five note scale ( do to sol) with the phrase, "this is ver-y neat," with the descending sol to do on the word, "neat." Ask them to overstress every consonant and vowel, especially the last "t." Then, have them sing the phrase, "this is very slop-py," with no accents or stress on any vowel or consonant, especially the consonants. The exercise can then go to variations of each extreme – sort of neat and sort of sloppy. The balance in the middle is defined by the extremes on the outside. Once again, silly exercises reinforce important and powerful singing techniques that serve a multitude of singing styles.

Singing exercises just for TEENS

Training the entire voice to maximize its potential has its challenges when teaching adolescents. Pubescent boys developing their new-found masculinity might be reluctant to continue using their crico-thyroid-dominant register now that it is called false (falsetto) and is associated with "sounding like a girl." Pubescent girls, on the other hand, are often more than glad to embrace their thyro-arytenoid-dominant register because most CCM music requires it. Their and their teachers’ challenge is to counter balance that vocal fold activity with a significant amount of CT exercises.

To that end, vocalizations in both registers can confront the gender/cultural issues straight on. For example, if a voice-changed "manboy" still has an upper register that is functional, ask him to sing on a single note, let’s say A4, the phrase, "the CT is a muscle and I am not a girl." If nothing comes out but air or if he tries to sing in a TA-dominant voice, plan B would be a simple "hoo" like an owl, a male one, of course. Activating or reactivating the CT muscle is critical to keeping the voice in balance and in shape (Brown 1990). A reluctant "womangirl" who views the lower register as "sounding like a boy" can do a similar exercise singing, "the TA is a muscle and I am not a boy," on the one note A3 using the aforementioned TA.


RESEARCH AND PEDAGOGICAL OPINION ARTICLES, BOOKS AND VIDEOS RELEVANT TO YOUNG SINGERS

Research Articles:

Aaron, J. (1993). Using vocal coordination instruction to help the inaccurate singer. Update: Applications
of Research in Music Education, 11(2), 8-13.

Adler, A.(1999). A survey of teacher practices in working with male singers before and during the voice change.
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American Academy of Teachers of Singing (2002). Teaching children to sing: A Statement by the American
Academy of Teachers of Singing. Retrieved from http://www.amaericanacademyofteachers.org.

Atterbury, B. W., & Silcox, L. (1993a). The effect of piano accompaniment on kindergartners' developmental.
singing ability Journal of Research in Music Education, 41(1), 40-47.

Atterbury, B. W. & Silcox, L. (1993b). A comparison of home musical environment and musical aptitude
in kindergarten students. Update: Applications of Research in Music Education, 11(2), 18-21.

Barlow, C. A., & Howard, D. (2002). Voice source changes of child and adolescent subjects undergoing singing
training - a preliminary study. Logopedics Phoniatrics Vocology, 27, 66-73.

Barlow, C. A., & Howard, D. (2005). Electrolarygographically derived voice source changes of child and
adolescent singers. Logopedics Phoniatrics Vocology, 30 (3-4), 147-157.

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Laryngology, 92, 462-468.

Boardman, E. L. (1964). An investigation of the effect of preschool training on the development of vocal accuracy
in young children (Doctoral dissertation, University of Illinois). Dissertation Abstracts, 25, 1245.

Bonet, M., & Casan, P. (1994). Evaluation of dysphonia in a children's choir. Folia Phoniatrica, 46, 27-34.

Böhme, G., & Stuchlick, G. (1995). Voice profiles and standard voice profile of untrained children. Journal of Voice,
9(3), 304-307.

Chinn, B. J. (1997). Vocal self-identification, singing style, and singing range in relationship to a measure of cultural
mistrust in African-American adolescent females. Journal of Research in Music Education, 45(4), 636-649.

Cooksey, J. M. & Welch, G. F. (1998). Adolescence, singing development and national curricula design.
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Cooper, N. A. (1995). Children's singing accuracy as a function of grade level, gender, and individual versus
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Demorest, S. M. (2001a). Pitch-matching performance of junior high boys: A comparison of perception and
production. Bulletin of the Council for Research in Music Education, 151, 63-70.

Daugherty, J., & Hedden, D. (2006). Audition procedures for community-based children's choirs. Bulletin of the
Council for Research in Music Education, 167, 33-45.

Demorest, S. M. & Clements, A. (2007). Factors influencing the pitch-matching of junior high boys. Journal of
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Dickey, M. R. (1992). A review of research on modeling in music teaching and learning. Bulletin of the Council
for Research in Music Education, 113, 27-40.

Durrant, C. (2000). Making choral rehearsal seductive: implication for practice and choral education. Research
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Edwin, R. (2009). Auditioning 101. Journal of Singing, 66 (2), 181-182.

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Edwin, R. (2002). Children are singing. Perspectives on Voice and Voice Disorders, 12 (2), 11-14.

Edwin, R. (2008). Cross training for the voice. Journal of Singing, 65 (1), 73-76.

Edwin, R. (1989). Influences and choices: a story. The NATS Journal, 45 (5), 28.

Edwin, R. (1992). Kids are singers, too. The NATS Journal, 50 (2), 51-52.

Edwin, R. (1990). Out of the mouths of babes. The NATS Journal, 46 (3), 38.

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Edwin, R. (2004). The singing teacher as advocate. Journal of Singing, 61 (1), 79-81.

Edwin, R. (1997). The three ages of voice: the singing teacher as vocal parent. Journal of Voice, 11 (2), 135-137.

Edwin, R. (2001). Vocal exercises for children of all ages. Journal of Singing, 57 (4), 49-51.

Edwin, R. (1995). Vocal parenting. The NATS Journal, 51 (3), 53-56.

Edwin, R. (1995). Voice, how do we abuse thee…? Journal of Singing, 52 (1), 65-66.

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Videos and DVDs:

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Phillips, K. H. (1994). Teaching kids to sing: The video series (levels 1-6). New York: Schirmer Books/Cengage. Video

Rao, D. (1988). The children's choir with Doreen Rao and the Glen Ellyn Children's Choir. Lawton, OK: ACDA. Video