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  How to train your voice intro 03/28/2024 1:24pm (UTC)
   
 
 
A
 
How to Train your Voice Manual
 
(Part One)
 
By
 
Anthony Livingstone

Introduction
 
All training consists of sets of repeated exercises designed to build up different areas of Man such as muscle, speed, flexibility, skill, etc. Voice Training is no different. The vocal cords are elastic muscles designed to be stretched in singing. There are certain major areas that need development through training. These areas can be divided into three broad categories:
 
1.                  Voice Elasticity
2.                  Voice Flexibility
3.                  Voice Capability
 
 
Voice Elasticity
 
      Voice Elasticity consists of a set of exercises designed to stretch the vocal cords to their limit thus preserving the elasticity of the vocal cords. Most choristers do not realize that their inability to maintain the elasticity of their voice is the reason why many of them (particularly female singers), drop in their vocal ranges from Soprano to Alto.
 
      In every day singing, one does not usually sing the topmost ranges of one’s vocal range consistently and after a while it may be hard or altogether impossible to hit those high notes any longer.
 
      A good illustration is that of a sprinter who does the 100meter dash in a time of 15seconds. If he stops training and returns back to the track after a while, he may not be able to hit the 15seconds record he set for himself previously. This is because he has lost a certain amount of speed as a result of discontinuing his training program.
 
      The same is true for a singer who stops training or has not been training. He will find that he begins to lose out on the high notes of his range, so that high notes that he once used to be able to sing easily can now only be reached with difficulty or even not at all.
 
Voice Elasticity exercises takes the following forms:
 
1.      Singing the entire vocal range.
2.      Singing intervals that cover the entire vocal range.
3.      Sustaining sounds on your highest notes over a period of time that increases with practice.
4.      Developing the ‘falsetto’ voice as a means of extending the vocal range.
 
The ability to read and sing Tonic Sol-fa will be a great asset in the following studies.
Voice Elasticity exercises when done regularly will not only maintain your highest and lowest notes but can actually increase your vocal range over a period of time in much the same way as a sprinter can improve on his speed and a weightlifter can improve on his strength.
 
Always remember that the keynote is the word TRAINING. Exercises that require constant repetition are what are referred to as training. It could be driving skills that are being perfected or typing skills.
 
ALL TRAINING REQUIRES CONSTANT REPETITION
 
Voice Flexibility
 
Voice Flexibility has to do with improving on the ability of the voice to move skillfully in between sounds no matter the distance or intervals between them. It is this ability that develops the creative ability to improvise or ‘adlib’. Many singers develop their voice flexibility through listening to tapes and singing along with their favourite international singers.
 
In the instance of learning with what I call ‘Tape Mentors’ one gets to learn all the adlibs of the favourite artistes but seldom learns to understand the relationship between sounds. Such a person’s musical ability is limited and therefore his/her ability to apply voice flexibility to different kinds of music will be limited by the various kinds of adlibs and the styles of music he/she has merely memorized.
 
Voice Flexibility goes beyond adlibbing and develops the voice so that its dexterity increases. This is the ability of the voice to move lightly and easily between sounds. The difference between elasticity and flexibility is that elasticity deals with how high and low a voice can sing (or stretch), while flexibility deals with how skillfully a voice can move between sounds. That is how dexterous or flexible a voice is. Voice Flexibility exercises include the following:
 
1.      The singing of Major Arpeggios
2.      The singing of Minor Arpeggios
3.      The singing of Diminished Arpeggios
4.      The singing of at least 2 Octaves of the Major Scale
5.      The singing of at least 2 Octaves of the Minor Scale
6.      The singing of the Chromatic Scale

Chapter 1 and subsequent chapters will be posted one chapter every week beginning from next week. Feel free to use for your personal benefit.
 
 
 
 
 
 
 
 
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