Express Course in Modern Singing: Theory and Vocal Techniques

Like identity documents, the voice is personal and non-transferable. The voice is the oldest acoustic instrument in the world — and it should indeed be considered an instrument. Inherent to human beings, it has been used for speaking and making music since the beginning of time, long before the first percussion instruments appeared and began to be used.

It is also a very special instrument, more sensitive than any other to the different stimuli in its environment, both external and internal. For this reason, it requires greater care and attention than any other instrument. We only have one set of vocal cords, and we cannot simply go to a shop and buy another if they become damaged. Below are a few quick theoretical notes on vocal training for modern styles.

The voice: a little history
The human voice was defined by Plato as an impact of air that reaches the soul through the ears. The voice is the foundation of the human being's usual method of communication, through which culture is transmitted and feelings and emotions are expressed. Because it is such an everyday part of our lives, its extraordinary importance often goes unnoticed. However, due to its specific and exclusively human nature, it has been studied since the beginnings of our civilisation. The contributions made by scholars throughout the main historical periods have been reviewed, particularly from the 16th century onwards, when anatomical dissections of human larynges began to be carried out. The 17th century was an extraordinarily important period, when the work of Dodart and Perrault laid the foundations for Ferrein to begin the experimental physiology of the larynx in the following century. Special mention should also be made of Johannes Müller, whose experiments made it possible to establish theories of phonation that remain valid to this day.

Although we are about to discover some of the secrets of singing for modern styles in general — pop, rock, blues, soul, etc. — it is worth pointing out that much of the theory and many of the practical vocal exercises are equally and perfectly valid for both classical and modern singing, since the fundamental principles on which singing is based — breathing, phonation and resonance — are the same in both types of music, apart from a few minor differences. For this reason, it seems appropriate to begin with the characteristics common to both before distinguishing those that are more specific to contemporary music.

Elements that produce the voice
Respiratory system. This is where air is stored and circulated. It consists of the nose, trachea, lungs and diaphragm.
Phonatory system. This is where sound is produced as air passes through the vocal cords. It consists of the larynx and the vocal cords. The larynx contains the vocal cords and is the vibrating element of the voice.
Resonating system. This is where the sound produced acquires its characteristic timbre. It consists of the palate, the sinuses or nasal cavities and the pharynx.

Traditional voice types and classification
First of all, voices are classified according to gender: female voices — also known as treble voices — and male or lower voices. Children's voices are also considered treble voices. Secondly, voices are classified according to their tessitura or register — the range extending from the lowest to the highest note, which is usually around two octaves:

• Soprano: high female voice. Tessitura: from C4 — middle C on the piano — to C6.
• Contralto: low female voice. Tessitura: from G3 to F5.
• Tenor: high male voice. Tessitura: from B2 to G4.
• Bass: low male voice. Tessitura: from E2 to C4.

Then we have the voices known as intermediate voices:

• Mezzo-soprano: between soprano and contralto. Tessitura: from A3 to A5.
• Baritone: between tenor and bass. Tessitura: from G2 to E4.

Finally, there are also other very particular types of voice: male voices that use an unnaturally high tessitura:

• Castrati: singers who were castrated as children so that, as adults, they would retain a high tessitura capable of performing the female roles for which such voices were required.
• Countertenor, falsettist or sopranist: these singers emerged as an alternative after the Catholic Church refused to continue using castrati. They could be considered the equivalent of today's Heavy Metal and Hard Rock singers who use “falsetto” or “head voice” techniques in their songs.

  

Modern VS Classical
In classical singing, an interpreter's ability to maintain the same tonal colour and a homogeneous sound throughout a passage is considered a sign of quality.
In modern music, however, what is interesting is the ability to play with the voice, vocal versatility and the use of a wide range of colours and vocal qualities within the same song.

The relationship with the score is very different in the two worlds. In classical singing, the voice classifications mentioned above are taken into account when choosing repertoire and, generally speaking, the score is performed exactly as written. In modern styles, however, traditional voice classification is usually not taken into account, since the tessituras do not generally extend to extremely high notes. In addition, the original key of the song is often changed to make it more comfortable for the singer or to bring out the vocal colour best suited to the desired interpretation.

The tendency, therefore, is to adapt the work to the personality of the performer. Indeed, the appeal or virtuosity of modern singing generally lies in the ability to improvise notes and phrases in order to recreate a song, even taking it a long way from its original form when the performer is not the composer. It is true that performances within theatrical productions tend to adhere closely to what is written, while improvisation is generally reserved for jazz or live versions.

The importance of correct breathing
A well-developed technique for controlling inhalation and exhalation is extremely valuable for singers and highly beneficial to anyone's general health. It expands the chest, tones weakened muscles and can even correct our posture. It also cleanses the lungs, efficiently reoxygenates the blood and helps us relax when we are nervous or tense.

Correct breathing uses the lower part of the lungs, allowing the breath to be deeper and longer-lasting while making maximum use of our lung capacity — something chest breathing does not achieve. With diaphragmatic inhalation, the muscles and ribs expand, the diaphragm flattens and is pushed downwards, and the abdominal muscles are pressed down and out, producing an overall outward expansion of the body. Diaphragmatic inhalation is often confused with abdominal breathing, but the latter causes the abdomen to swell rather than producing a general expansion of the back and chest, so its positive effects are more limited. During exhalation, the abdominal muscles and diaphragm quickly return to their original positions and the rib cage contracts back to its original position, forcing the air out.

Knowing how to breathe correctly is just as important as knowing how to maintain air pressure in order to sustain long notes and give them the necessary power. This is achieved by keeping the diaphragm lowered through air pressure.

Placement = phonation + resonance
In classical singing, the vibrations of the sound produced by the vocal cords are directed towards the “back” of the head. This is a “head” resonance that is felt around the crown of the head.

In modern singing, sound and air are directed towards the nose and mouth so that the sound is amplified by the resonators — the cavities — of the face. This is known as “nasal” or upper resonance.

Achieving good placement is essential in order to avoid “singing from the throat”, which occurs when the throat contracts around the vocal cords — incorrect phonation. Singing from the throat is the first thing any singer must learn to avoid, as it causes the most common vocal problems: nodules, polyps, loss of voice, etc. The vocal cords need sufficient space to contract on high notes and expand on low notes, and this can only be achieved by keeping the larynx relaxed.

Let us now concentrate on the final type of resonance, which is particularly relevant to modern styles. Upper or nasal resonance plays a very important role in the voice, even though our main amplifier is lower resonance — the space in the throat and mouth — which is responsible for around three quarters of our sound. As mentioned above, upper resonance provides a different quality or “colour” from that produced by the throat and mouth. It creates a brighter sound with greater projection and a distinctive tone or timbre. This type of placement is typical of Black voices and modern styles such as rock, pop and blues.

Applying Eastern principles to vocal training
Another interesting aspect of placement is its relationship with Eastern philosophies and medicine. At first glance, these connections may not seem obvious, as they deal with rather abstract concepts. However, knowing that our state of mind and personal circumstances have an immediate effect on our voice, we should not overlook them. This very non-Western way of understanding the human body can help us improve our vocal placement in a completely natural and intuitive way if we approach and apply it from a practical standpoint, free from religious doctrine.

According to Eastern philosophy, the human body is pure energy. Each person has a kind of “aura” surrounding them, which may be larger or smaller depending on the number of energy centres they have activated. These centres are known as chakras. A chakra — which means “wheel” in Sanskrit — is an energy centre that normally cannot be perceived but which controls the functioning of the parts of the physical body under its influence. There are seven main chakras corresponding to acupuncture points. Each is associated with one of the endocrine glands within the human body. These centres consist of successive layers of energy vibrating at increasingly higher frequencies and are connected by an energy channel running along the entire spinal column.

Five of the seven chakras coincide with strategic points used in singing. The first is located at the top of the head, around the crown, exactly the point towards which vibrations are directed in classical singing. The second lies between the eyebrows, a key point in upper resonance known as the “third eye”. The third and fourth correspond to the vocal cords and the heart respectively — lower resonance — while the fifth is located above the navel at the level of the diaphragm, where we maintain breath support. Chakra theory holds that when we are distressed or nervous, these centres close and cease to function, transforming positive energy into negative energy. Understanding these points can be very helpful for interpretation and “feeling” in modern singing.

A complete and practical exercise
There is a placement exercise based on a Buddhist mantra which, in my opinion, is one of the most complete exercises available for working on upper resonance: “Om mani padme hum”. It refers to “the lotus flower”, or the Buddhist conception of the soul. Mantras are phrases repeated ad infinitum on a single note, based on the nasal sounds “m” and “n”, and are used in almost every religion. In typical Western singing lessons, vocal exercises using the syllables “ma, me, mi, mo, mu” serve exactly the same purpose.

The vibrations produced by this nasal sound connect with the energies and frequencies of our body, creating a massaging effect on our muscles and internal organs. This is not magic, but rather the physics of sound — the transmission of vibrations through solid bodies. This is important because 90% of singing is based on relaxation. Through this placement exercise, the brain unconsciously assimilates this way of singing, in which breathing is correct — relaxed and diaphragmatic — and resonance is optimal.

Conclusion
A short article such as this cannot possibly cover a subject as broad as the study of singing, let alone all its different aspects. For this reason, I recommend taking a look at one of the leading books on the subject: ¿Llegaré a esa nota? Técnica vocal de los grandes del Hard Rock by Luis Blanco. In it, various singers who have sold millions of records worldwide speak in the first person about their professional technique and their work. Singing is not only a form of musical expression; it is also a way of life and can be extremely healthy when practised correctly. From here, the road is a long one, so all that remains is to start walking… or rather: start singing!