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Did you know that we have lots of teachers of singing who still believe that resonance and breath support are all you need to sing any kind of style? You did? Thank goodness!

Did you also know that most singing teachers do not know what vocal exercises do? Did you know that most singing teachers and singers do not know what kind of vocal exercises are simple and what kind are difficult for every single human being? Did you know that these same people don’t know that using exercises with an understanding of how they work and what effects they produce, both plus and minus, could save quarts of time and gallons of frustration? Yup.

If you are an “average” person…not overweight, not recovering from surgery or illness, not taking medication for a condition, but not doing anything in particular to be in good shape….and I asked you to lift a one pound weight 10 times, you could probably do that. If, however, you were an elderly person who had suffered a stroke and was in a wheelchair, that might make you tired, or you might not be able to do it at all, and, of course, if you were an Olympic athelete, you could lift the one pound weight 10 times without any effort at all. Every time I change the components of the task, it would have a different effect upon the person doing it, and I would have to access who the person was and what they were capable of before I knew whether or not the exercises I asked for would be appropriate. So, a 10 pound weight lifted once is different than lifting it 25 times, and a 25 pound weight lifted 5 pounds is yet again different.

Most singers have been asked to do this or that scale, triad or arpeggio in a lesson, and used this or that vowel on some musical pattern. All of us have been asked to “place the tone” somewhere, while doing some kind of “breath support”. But how many of us have ever been able to ask for and and then get a simple, reasonable answer to “What’s this exercise supposed to be doing for me and for my voice? Is there any negative result to it? When would it be counter-indicated? Can I do it too much? How do I know if I am doing it correctly? ”

Think how incredible it would be if all singers and teachers of singing had to learn what the exercises did and how to apply them uniquely to each person, in each lesson! Imagine what kind of singers we would produce and how much shorter, simpler and more satisfying the process of singing would be if we knew how to do all kinds of vocal exercises effectively!

Ever wonder why no one has figured out how vocal exercises work period? I did and do. It was something I had to know, and I delved to understand through every means possible.

If you ask me to sing a long, slow, high, loud phrase, I will have trouble, especially if I haven’t been practicing regularly and over a long period of time. If you ask me to sing fast, high, short phrases, I will have little trouble, even if I have not sung for quite some time. Is that true for everyone? Of course not. Which of these things is it that makes one set of parameters hard and the others easy. Which of these vocal behaviours would be difficult for most people? Said another way, what would be easy for the “average” person with “average” ability and “average” singing experience in terms of difficulty versus someone of “exceptional ” ability and “lengthy” experience?

An average person, as above, will find high notes difficult, breathing coordination tricky, vowel sound clarity vague, and vocal control unpredictable, no matter what way I teach those things. An exceptional person might find all these things easy to do. However, as I increase the number of vocal activities that have to be coordinated and controlled, and extend the amount of time that the control and coordination must last, then put the exercises at the extreme high or low end of the person’s pitch range, and ask for a great deal of volume continuously while singing, even the exceptional person will have trouble. Seems reasonable, no?

There is so much emphasis on breathing in singing training. You must “support the tone” no matter what. Unfortunately, so few teachers really understand what that means. It’s not surprising, then, that they don’t know much about assisting their students to improve their breathing behaviors.

Let’s start with the basic information. If you are singing a vigorous song…one that is fast, high, energetic, long, or complex, you need to take deep breaths repeatedly. Right away, you are doing something the body has no reason to do on its own. The only time the body takes really deep breaths continuously is when it has been stressed through exercise. Then, it heaves the chest up and down and pulls the vocal folds very far apart so a maximum amount of air can go into the lungs. Clearly, that won’t work in a song. Somehow one has to learn to get breaths that are just as deep while keeping the body quiet, minimizing rather than exaggerating, movement. That is a major task to accomplish and takes a while to learn and years to master.

Thankfully, people are going away from the idea that the voice must “come from the belly” or that one must “breath in or support from the diaphragm”. Science has allowed us to look at all vocal function from a place of clarity and accuracy.

You must breathe into your lungs. Your lungs are in your ribcage or chest. Keeping the ribs lifted and open is a function of “carriage” or posture. If you are standing correctly, the ribs are already expanded to their fullest before you fill the lungs with air. If the chest cannot rise further, (and as long as the pecs or shoulders don’t tense, it won’t), the movement of the air into the lungs will fill them to the bottom, where they are biggest.

This kind of inhalation expands the lungs down into the torso. It works best when there can be expansion forward and down in the area of the abdomen. Said another way, when the ribs expand and the lungs fill up, the diaphragm contracts, lowers and flattens out, and as it does so, it pushes the contents of the middle of the body, the viscera, out of the way. The pelvis is a bowl, and there can be some direct downward movement inside the torso, but the easiest way to get more room is to expand straight out (or forward). Consequently, we experience the feeling that we breath “in the belly”, as it is the belly that seems to expand.

Then, one has to deal with learning to exhale deliberately. A sung phrase is often longer than a spoken phrase and if the phrase has high notes at the end, or gets louder at the end, or both (typical), there is no reason why the body, left to its own devices, would do that easily. When the lungs are full, the air pressure in them is high. The beginning of a sung phrase wants to be loud in a beginning singer. When the lungs are more than half empty, the air pressure level within them drops rapidly, and the sound level (volume or intensity) would also drop off rapidly if something didn’t compensate. The belly muscles are large and strong. There are four layers of them and they move in complex ways……in, up, across, down and out. If, while maintaining a steady ribcage position, one can contact them (in any number of ways) such that they push harder and harder on the viscera, which in turn pushes up against the taut diaphragm, which pushes the bottom of the lungs to keep pushing the air out, the air pressure level will remain relatively constant and the volume will remain the same, or, in a more experienced singer, even get louder. It’s a chain reaction. We push more air out with greater efficiency as we become more skilled.

There has to be a relationship, then, between the rib cage muscles (the intercostals) and the abdominals (particularly the rectus abdominus– the one that helps us stand erect) throughout both inhalation and exhalation AND when the exhalation becomes sound, the vocal folds control the airflow, as they are the valve over the sacks of air (lungs). This is a scientific fact. THE VOCAL FOLDS CONTROL THE AIRFLOW. It is NOT the other way around, no matter how we experience singing. The truth is that when you have a sound that is neither squeezed (pressed) nor flabby (breathy) the air will go out on its own neither fast nor slow and it will be possible to contract the abdominals gradually, while keeping the ribs in a steady state, over the length of the phrase. What takes time, and skill, is to develop enough strength in the ribcage to keep the intercostals working in opposition to their natural function (to stay open as the lungs deflate…..that’s weird, but must be learned). And, if the rest of the body isn’t strong and the belly muscles don’t respond well, that will slow things down, too. Finally, there is the issue of coordinating all this while making sounds, as the sounds will vary, and therefore the airflow will vary, too, and that makes learning to control the breathing process unpredictable, and therefore, somewhat tricky.

IF all of this is mastered, while singing no less, the person will feel that the sound can easily get louder by simply pushing, lifting, or contracting the belly muscles. That is breath support. It is a very complex process but it will not, in and of itself, make someone an excellent singer (else all brass and woodwind players would automatically be great vocalists). You still have to learn to make a nice, or stronger, or better sound (call it what you will). You have to sing from the throat down, not the belly up.

Now, if that weren’t enough, the capacity of the body to breath has a lot to do with being able to feel….sensation and emotion. Breathing is your “aliveness” factor. The more you can breathe, deeply, freely and easily, the more you are vital, alive, energized and “spirited”. So, not only do singers need to learn how to breathe this way for mechanical purposes, but they must be able to do this for expressive purposes, too.

The catch here is that it is difficult to take a full, deep, free, easy breath if you are tight, restricted, or muscularly bound up in the muscles that effect the areas discussed above. Tight shoulders and upper back muscles, tight ribcage muscles (intercostals), tight belly muscles, and, inside, a tight diaphragm, will restrict the amount of muscular expansion and contaction, but the worst restriction, and the thing that makes taking a really deep breath very difficult is tension somewhere within the throat itself. And guess what? Almost everyone has some tension inside the throat, because we live in a stressful society.

The phrases we have for “caught” throat muscles are numerous: “Cat got your tongue?” “Can’t spit it out”, “All choked up”, “Got a lump in my throat”, “Tongue tied”, “Speechless”, “Couldn’t get it out”, “the words stuck in my throat”, etc. The body closes the throat when we are under attack so the energy can go to the core (flight/flight reflex generated in the limbic brain). If you are chronically stressed (do you know anyone who isn’t?), taking a full deep breath isn’t always easy. The larynx itself has to be freed up and THAT is a really tricky business. You have to have a real expert help you get out of that mess. If you don’t, you will never be able to sing really freely, you will never experience feeling deeply emotional and letting the emotion flow out through your throat as fluid, released sound, and you will never know the excitement and joy that singing in this way gives to you and to your audience. It’s worth fighting for.

Deep breathing is its own reward.

You cannot learn technique through songs. I know many people think you can but it simply is not so.

You can learn to play baseball by playing baseball, but it helps if you play catch from the time you are small and practice hitting and catching balls and developing your ability to run and slide outside of playing games. Just ask any Little League player “Do you ever noodle around with a bat, a ball and a mitt when you aren’t in a real game?” and see what they answer.

Dancers spend a lot of time at the barr and on the floor before they learn a combination and pianists play scales and arpeggios for hours every day, as do instrumentalists. Everyone who does any kind of skill has to learn the basics of the skill before it gets applied to a finished product. Chefs learn knife technique and how to braise, fry, simmer, and poach before they make a big meal. But SINGERS — they are different! They can learn by singing songs!

And, the harder the song, the quicker and better they will learn, right?

I cringe when I think of the times when someone would come in to a lesson with an operatic aria, having had a year of lessons as an absolute beginner, and attempt to sing this for me because the previous teacher had told her that “this would be good for you because it is so hard”. Sounds like taking castor oil….!

The skills of singing….strong, aligned posture, coordination between ribs and abs, freedom from tension, strength throughout the musculature that affects the sound as it is being produced, easy facility of articulation and pronunciation, pitch accuracy, appealing sound, precise vowels and musicianship can all be taught and learned.

Learning a song, however, isn’t going to automatically engage any of those things, as we all know there are many people, both professional and non, who sing without demonstrating any evidence of the skills just mentioned. If the songs alone were responsible, why wouldn’t everyone who has worked on songs for an extended period of time just “have good technique”? If you sing the song badly, singing it more often badly isn’t going to correct anything. If you can barely sing a simple song, how will working on one that is really difficult teach you something?

Generally, songs lag about 6 months behind exercises, in terms of level of skill. A serious student, taking lessons once a week and practicing 4 or 5 times a week, needs about two years in order to develop enough coordination and strength to be able to sing a song using those skills. And that would still be a simple song in most cases. Highly developed vocal skill that has to function at a professional level rarely takes less than 5 years, and mastery really takes 10.

Yes, along the way, learning all the things that one has to learn about how to sing songs has to be integrated into the process, but not as a substitute for developing technique. The songs ALWAYS have to be set at a level that is slightly less demanding than the person’s level of technical ability, else the student will be frustrated by her own lack of ability to execute adjustments. That means that the teacher has to know what is difficult and why. Some teachers think all vocal exercises are the same and that all vocal tasks are equal. (I shudder to think that this is so, but it true). Some songs are very difficult even for skilled singers. Teachers need to understand that, too.

If the student is struggling, it is the fault of the teacher 95% of the time. The better the teacher, the less the student flounders. If you are a singer and you are consistently failing, something is wrong. Working on the songs won’t make it better.

To anyone familiar with bodywork, the idea that emotional memory and trauma is held in the body is not new. I have done so much bodywork, healing, meditation, movement therapy, and process-oriented work, however, that I forget this is generally an unusual idea in the population at large.

I knew that I had had many experiences as a youngster that were hurtful to me. I was fortunate, in that as soon as I arrived in NYC, new friends told me “go get your body worked on” and I did. Over the past two and half decades, I have been the grateful recipient of sessions of many disciplines where I was guided to release both emotional and physical energy. The aftermath was that I always felt freer, in both ways, to go forward in my life. Often, the “mental programming” that was a residue of old experiences simply stopped after such sessions as well.

Perhaps because I had a lot to let go of, I have spent more time doing this than others. I think it has been and is an essential ingredient in getting the body to stay open, healthy and free, because “life happens” and we don’t always have time in the moment to know what is going to “cling” to us and later, get in our way. Working with someone who does medical massage is wonderful, but working with someone who views massage (or shiatsu, or acupuncture or Rolfing, etc.) as a healing modality is even better. Those that do bodywork specifically to facilitate the release of trauma, and who are trained to handle that effectively, do a tremendous service, most especially to those who use their bodies to earn a living singing.

When the body “holds” energy, it means that the area is blocked. Bodies work best when they are encouraged to move fully and freely. That encourages the breathing to be the same — free and full. This is what allows us to be alive through our senses — as we process the physical world through what we see, hear, feel, smell and taste, and to understand the emotional reactions we have to those stimuli. What we think about what we experience is also important, but it is not, as we in the West are taught to believe, the only valid catalog of information that humans can obtain. The intellect is just part of the equation of knowing that we are alive. Holding energy in the body is not something one does on purpose, and therefore it isn’t something you can simply decide not to do. In the places where energy is held, it isn’t moving, and consciousness itself can go to sleep there.

Blocked parts of the body are deadened. You don’t know that you can’t feel them. You don’t know you don’t have much sensation or awareness there……it never occurs to you. Blocked parts of the body lack more than awareness, they often lack circulation and therefore, they cannot be contacted through deliberate effort. People who do activities that work the full range of movement in all the muscle of the body (swimmers, gymnasts, professional dancers) can develop the ability to feel and move even the muscles deep within the body, along the bones. Yogis claim to be able to feel organs as well as other inner areas that are not generally “felt” by most ordinary people. There is no limit to what you can feel and experience in and through the body. This is true in the voice as well. The voice is a hologram of the body, if we can allow it to be.

Our culture deadens us through constant sitting, through bombardment of the senses and through other things that pull us away from what we truly feel, as both emotion and sensation. All of us are deadened by the painful experiences that life brings starting when we are kids, but continuing throughout life. Perhaps, if you are a librarian, that isn’t so awful (although I’m not so sure), but if you are a singer, it is a catastrophe.

Singing training which works to free the external muscles that are visible to the eye and can be touched is important, and all valid teaching begins there. Training for professionals, however, must eventually affect the deepest inner musculature of the throat, pharynx and larynx, breaking the patterns there that are habitual and which were set into place through our auditory feedback before the age of 2. Vocal training of this nature is transformational and allows the entire voice to become liberated. It is NOT about making a certain set of sounds for resonance purposes alone, regardless of how that is accomplished. It IS about discovering an entirely new set of vocal parameters, most of which cannot be imagined but emerge as completely spontaneous expressions. If there is trauma, and if it is “stored” in those muscles, in the soft tissue, in the very cells of the body itself, it is broken apart and released through the stimulation of movement and breathing. Emotional release comes with it, whether one likes it or not.

To some this may seem like superstitious nonsense, but if you have not had this kind of bodywork, and you do not understand the theories behind it (both Eastern and Western) then you have no basis upon which to judge. This is personal, subjective experiential work. It cannot be “proven” like a geometry theorem, but it is absolutely real.

Singing can be a path to spiritual growth. This takes the concept of spirituality in its broadest context. The human spirit lives through the characteristics of one’s life. Honesty, loyalty, truthfulness, courage, dedication, perseverance, patience, compassion, responsibility, humility…..these are qualities that reflect the highest and best attributes of humanity. The artistic path will put you in touch with these aspects of yourself (and their reflected negatives) if you are someone who strives to achieve the highest and best goals that are possible.

Art, just as sports, can be daunting. An artist is by definition someone who lives a creative life. The creativity comes from within the artist’s mind. The artist’s point of view about life and about life’s experiences affects everything. How are they interpreted, assimilated and reborn into the artist’s work, for as long as the artist is alive? In order to keep going, inevitably, an artist must confront the things in life that most people spend all their time avoiding. Am I any good? How do I know if what I am creating has any value? What if what I have to say is meaningless? Perhaps there are times when the artist is unable to generate money from their art (and this, of course, is very common). Should I keep going in my art when I don’t have money to pay rent or eat? Will I ever be recognized as an artist or will I wait tables at “Joe’s” forever? Why is THAT artist getting recognition when he isn’t as good as me? An artist’s life is never easy.

Even those who succeed in doing what they love creatively have issues to face. If the artist has fans, a following, makes lots of money, is famous, then they face questions like: Can I keep this up? How long will it last? How can I face the people out there who expect so much of me all the time? If I start to fail, can I give up the rewards that fame has given me without bitterness? The questions are endless.

Yes, other people who are not artists have to face these questions, too, but it seems to me easier to hide from them if you are distracted by your office job. All work is personal but creative work is particularly vulnerable in that the artist is pouring out her heart and mind for all to see. Sometimes even the very best that an artist has to offer just isn’t good enough, and that can be heartbreaking.

Those who desire to sing professionally not only have to have some kind of natural ability, but also need specific skills, whether self-developed or learned in a formal setting from outside resources, and need be willing to put those abilities and skills on display on a regular basis. In the beginning, singers aspiring to have careers have to pay for training, find places to perform, be willing to be criticized by others (sometimes publicly) and put possible career opportunities ahead of other things in life, regardless of whatever sacrifices that may entail. All of these things call for intelligence, stamina, and lots of personal strength.

Clearly, not everyone who is an artist or a professional vocalist is going to grapple with all of these issues, but those who do, and understand that they are often unavoidable struggles, have an opportunity to use these challenges as a way to become better human beings. That is spiritual growth. Returning time and again to the joy of making music, to the beauty of expressing poetry and drama, to the sensuous pleasure of making sound from one’s own body, and to sharing the depth of emotion that is the truth of all human experience, is a call to the singer. Like the Lorelei, the lure of singing pulls on the singer’s soul and says “come back home”. Having the guts to meld those lofty experiences with the harsh necessities of the real world is in itself a tremendous task.

Training which embraces the path of singing as a spiritual discipline facilitates a singer’s compassionate and courageous confrontation with him or herself. The voice becomes the teacher, the singer the student. The teacher is the map reader, the guide on the journey, the holder of the lamp. The sound of the spirit becomes the sound of the person, and the identity born by the merger of the two transcends time. It lifts up both the giver and the receiver and leaves its mark in the eternal realm that humanity has ever traveled. It is, indeed, a path, and one that is filled with the power of the spirit of life.

How do you tell someone they don’t know that they don’t know? Is there some easy way to point that out?

If you don’t have any comprehension of local custom in a foreign country, say, and you make a hand gesture that is considered obscene, and others are outraged at your behavior, but you have no clue why they are upset…….does that mean you made an innocent mistake or were you remiss in not finding out such a thing before you arrived? If no one else was involved but you, well, I suppose you faced the consequences and learned your lesson, innocent or not. If, however, someone else was with you, say a youngster, and if the young person made the same gesture that you made, albeit, innocently, but the penalty for the accidently obscene behavior was going to jail — would it be the same? Not to me.

Singers who don’t know how rock music is supposed to sound (are there such souls?) and who sing it anyway they want (look for the person named “Wing” on YouTube, but brace yourself) have to take the consequences of their actions, which could include being mocked or criticized. Teachers of singing who don’t know what rock and roll sounds like (and it is NOT all the same, by any means), or what any style of music (sometimes including good classical singing) sounds like, but profess to “teach” it, are absolutely dangerous. They don’t know that they don’t know. And if you should be the unfortunate recipient of instruction from some such idiot, woe be to you, unless YOU know. But if you did know, why would you be a student in the first place?

If you think that rock is the same as jazz or that jazz is the same as music theater (and each of these styles has very wide-ranging parameters) simply because all music that isn’t classical is “that other stuff”, why would you assume you could teach it at all, let alone well? Because you probably don’t know, because it didn’t occur to you, that the music was worthwhile in the first place.

Arggh!

Whenever I do a workshop or class out there in Singing Teacher Land I get all kinds of feedback. Sometimes people I work with come up afterwards to shake my hand and thank me for the session, sometimes attendees tell me how much they have learned. I’ve had really glowing responses that massage my ego and make me feel like Queen for a Day. Of course, I have also had no particular response (beyond some applause) from the vast majority of folks, and I have had some few really nasty responses, some of which I have written about in this blog.

Wherever I am, I expect that some of what I say will strike listeners as being good, some maybe only so-so and some of it will seem to really miss the mark. I also expect that some of my listeners will agree with me, some strongly disagree, and some have no particular opinion.

I am careful to comment on the training and the attitudes of the profession as objectively as possible, to cite my reasons for whatever criticism I offer, and to always promote respect for the music and material we have chosen to call CCM, as well as for those who choose to sing in these styles. I may respectfully disagree with other teachers about techniques, but I am careful not to malign them. What I say at seminars and in writing I would (and have) said to them, personally. I give others the same right when speaking to me.

What I DON’T appreciate, however, is being attacked for telling the truth about the state of the industry, about its standards, about its criteria, and about the way that singers are trained to deal with the real demands made upon their voices in CCM styles when I am at a conference or school. It isn’t, wasn’t and never will be up to me, as one individual, to set music industry standards, to change them, to make them what I would like them to be or to protest what they are. It IS up to me to know what professional expectations are in regard to skill, talent and opportunity at the present moment, in this country, and in other countries whenever possible. That’s what I get paid for knowing and that is what people rely upon me to communicate. If I couldn’t or didn’t do that effectively, professionals in the music industry wouldn’t work with me — they would run away!

When I encounter a situation in which the singing training doesn’t align with CCM industry standards for singers, and I know that those singers are paying a lot of money for training which they believe will help them get work, I feel a moral obligation to speak out. Money may be wasted and time may be lost. More money can be generated but more time can’t. Hopes may be dashed and hearts could be broken and there is no remedy for that.

Of course, there is always margin for error. Perhaps what I say isn’t error-proof. I understand that. But it can’t be way off, again, because the professional singers who trust me to help them would know, and they would leave the studio if I was asking them to make sounds that had no relevance to their career goals. They have enough life experience of their own to know what the standards they work under are, and even though we may not ever get to do a “Vulcan Mind Meld”, we can tell by association that our ideas of what those standards are seem to be in agreement.

It’s one thing to know that you are choosing to study singing with someone who isn’t interested in music industry standards, and that you are learning for the sake of learning. That’s a personal decision, and if it is truly an informed one, it is valid. If you are studying without knowing that this situation is occurring, or worse, studying with someone who isn’t even aware that the industry you wish to enter has standards, let alone what they are, then that is a disaster. This is where I am most likely to speak up and this is where I am most likely to get clobbered. I have revealed that the Emperor is bare and the Emperor gets really angry. Not embarrassed, not chagrined, not distressed, no. The Emperor is ANGRY and is happy to blame me for my PERSONAL opinion. The situation becomes my fault. I am the whistle blower and I am the problem. YIKES!

It’s not a nice experience. I do not like it. At all.

Will I stop?

Now, really, don’t you know that answer?

There is an unacknowledged war going on in the world of singing teachers. There are two groups, subdivided into two more groups.

In the first divide, there are those who teach classical singing technique and repertoire and those who do not. Of those that do, there are those that also teach other styles including music theater, jazz, pop, rock, etc. In THAT group there are those who teach CCM styles who have some kind of experience and perhaps also some training and those who teach the same styles that have neither, or almost none of either. Some of them use different techniques for each style. Then there are classical teachers teaching CCM singers who use the exact same approach (exercises and songs) with them that they use with their classical students. In that case, it is up to the student to find some way to adapt what is being taught to what gets used.

Classical training that is based upon function, whether or not the teacher realizes that, can help vocal ability. It can help develop physical coordination and strength over the breathing apparatus, it can help strengthen pitch orientation and musical acuity in general, it can give a voice more consistency and resonance, it can help articulation. It cannot help someone who wants to learn to sing like a rock singer learn to make an appropriate sound unless the person singing is close to that sound in the first place, in which case it might make it better.

How can I make such a statement? All of my own training was classical and I always sang everything and still do. My classical training did not (and does not) help in any way whatsoever when I perform anything that requires a belt sound. I taught myself to do that and what I discovered had absolutely no relationship to what I did in my voice lessons where I sang classical repertoire. I can attest to the FACT that my students who want to belt, to learn to sing rock music and to wail away might be helped by developing head register, but that is NOT a skill that resides in the private domain of classical singing….lots of styles use head register and its resultant effects.

The CCM teachers who know what they are doing are still much in the minority, but that won’t be for long. More and more teachers are realizing that CCM styles have their own parameters and that attention must be paid. More schools are starting Music Theater programs every year because they make lots of money, and someone has to teach those courses. Sooner or later the ones that don’t know what they are doing are going to be discovered for the frauds that they are. Won’t be too quick for me.

It has come to my attention that many teachers of singing spend their entire careers at a college or teaching in a junior or senior high school. Some of these teachers do not have a “private practice” outside of their school jobs. This makes for a strange relationship to singing and singers.

People of all ages can sing. Even really little children can carry a tune and age is no factor for others. We just saw Barbara Cook at Avery Fisher Hall sing with the NY Philharmonic for her 80th birthday and she sounded young, clear, and absolutely wonderful.

People of all levels of ability are interested in or desire to find a way to sing. Some just want to sing in the local community or church choir, others who are professional actors or dancers find that they are suddenly expected to sing in a production although they don’t have any background as singers.

I have worked with people of all levels of ability from practically none to world famous artists, with those from musical families who sang from their earliest years to those who began singing in their later years with no background at all and learned to sing successfully. I have worked with people with absolutely gorgeous voices and those with voices that are plain and simple, and people with all manner of vocal injuries or illnesses, physical impairments, and emotional issues.

Teaching only young people who enter music programs, one assumes, being able to at least match pitch is certainly a good thing to do but it is a finite way to deal with education. Teaching only college students who have to audition to get into a school in the first place also creates an environment that is limited. Those who do not teach any other population might never have to confront any of the people I just mentioned. But confronting those people is an enormous opportunity to learn.

Those who are in the “ivory tower” of an educational organization may formulate the very incorrect and skewed opinion that the world reflects the school environment when frequently the school environment has nothing whatsoever to do with the real world. Those who do not venture out into the world to see and hear all that is out there in singer-land cannot possibly know how the world is changing (ever so fast and always), what is current and why. Those who teach something in the same way, over and over, with no changes in approach for decades, cannot understand why new and different skills and approaches are necessary even in those who do a good job with what knowledge they already possess.

I wonder if this is why, when CCM teaching is demonstrated to these people, they are so against what they are presented. Do they realize that the teaching reflects the real world, what is happening now or are they completely ignorant that there even is a world……..other than the one in their campus studio.

Did you know that the American Speech and Hearing Association (ASHA) decided years ago to take away a singing teacher’s legal right to use the words “rehabilitate” in relationship to singing training? That’s right. Unless you are a licensed speech language pathologist (SLP) you may not use the word “rehabilitate” in regard to your work with singers, and if you do, you can be sued by ASHA for practicing SLP without a license. How could this have happened?

NATS and ASHA had a meeting years ago with each group sending representatives and came up with this agreement. This is in spite of the fact that speech language pathology students get very little voice training as a part of a bachelors degree program and have to go out of their way to receive extra training in voice. An experienced, educated singing teacher, who has dealt with voice-related issues for years, even decades, is not considered able to deal with an injured voice in a rehabilitative manner, but a graduate of a four year college program, straight out of school, is? Something wrong there, I would say.

Further, when this “referendum” was passed, I doubt that the issue was presented to the NATS membership for a vote. I haven’t inquired, so this may not be correct. Since I have been an active member of NATS since 1980, and I don’t remember hearing about this, I suspect it went by very quietly, in any case. It seemed to me that is was a done deal before I ever heard that it was being considered.

AND, Speech Language Pathology is only about 50 years old as a formal profession. Before that, the only people who could help someone with a voice related issue were singing teachers, whose profession goes back to at least Manuel Garcia the elder, in the early 1800s, and perhaps before that.

The problem here is, of course, that SLPs were willing to organize themselves and their training into codified levels, and have clear expectations about what is required of those who apply for licensure. Singing teachers have steadfastly refused to agree on even the most basic qualifications for singing teachers, and this has allowed the sister discipline to outdistance and usurp singing teaching in many areas, not so much because SLPs know more about how to deal with voice issues (quite the contrary) but because they stepped up to the plate and held themselves accountable at least to each other.

If, in fact, we are to stand for healthy singing of any style, and if we who teach CCM are already able to agree on some components of what we hear and teach (which is a part of my method, Somatic Voicework(sm) — consistent and accurate use of terminology and evaluation of aural output), why can’t that become part of a profession-wide expectation? There are other criteria that can be established through research and, coupled with teaching competency, can be combined into a useful professional structure for testing and evaluation. Licensing may not be the first step in such a process, but it could emerge as basic qualifications were clarified over time.

If we do not do this, or something like it, we have laid down in the road and allowed the SLPs to ride over us with nary a quibble. We have allowed them to steal our words and make them forbidden to us and we have allowed their profession to be taken seriously as a science while ours is still locked in mystery-land.

If you belong to a NATS Chapter, or to an International Chapter of Teachers of Singing, please bring this topic up for discussion at your next meeting. Be prepared, however, for the shoes that will be thrown in your direction.