A Professional Service

I just got off the phone with the parent of a prospective student who questioned why I charge for the hour I'll spend this coming week evaluating & teaching her teenage child about his/her singing voice in a first lesson.

"Because it's a professional service and an hour of my time." I said as pleasantly and as evenly as I could.

"It's an hour of our time, too!" she replied, "and we're just coming to find out whether we want to do this or not."

I'm still shaking my head and trying to calm an indignation that would very much like to stomp around the house for the next several hours.

It's the same thing as asking a restaurant to give you your first meal for free so you can decide whether you'll want to eat there again.

Or going to see a doctor, lawyer, or accountant for advice and not expecting be billed.

During a lesson I give much more of myself than just the knowledge acquired during 13 years offering private vocal instruction. (Plus 20 years of training, a university degree, a teaching credential, and ongoing performing, directing, studio experience, and professional development.)

In each lesson, I constantly work to be alert to the needs and development of each student. I want the lesson experience to meet the individual's musical needs, build their skills and confidence as a performer, while making the lesson time an enjoyable experience.

It's a delicate dance to reinforce what the student is doing well, balanced with carefully attention toward details to be adjusted, along with the tools and motivation needed to work on those adjustments during their independent practice time in the coming week.

Teaching voice and piano is something I love to do. Making music is something we, the student and I, do for the joy of it.

And it is also a professional service. I'm just glad the type of encounter I had with this particular parent is extremely rare.

A closer look at my schedule reveals that my studio IS rather full at the moment. Not an exaggeration. My session with the student this coming week--not the parent's attitude toward the value and professionalism of private music teachers--will determine whether or not I add them to my "Waiting List" or to my teaching studio's schedule.

Both joy and professionalism must be safeguarded through the thoughtful selection of those with whom one chooses to share one's time, energy, and knowledge.

(c)2009 Kay Pere ~ Effusive Muse Publishing

DICTION: "I caaaan' staaan' 'im"

An everyday occurrence in the life of a voice teacher.

The challenge of correcting substitutions and omissions, nasality.

THEORY: We Got the Beat

Scientific research with infants into our unique human ability to perceive the beat in music, called "beat induction."

Read more HERE.

FREE Manuscript Paper from MusicNotes.com

Manuscript paper, also called staff* paper, is the paper with all the lines that songwriters, composers, and arrangers use when writing out music by hand.

You can print out 14 different formats of manuscript paper for FREE at Musicnotes.com's Free Music Page (scroll all the way to the bottom of the page). Or click on the links I've included below.

The most frequently used formats for PIANO and VOICE (or solo instrument) are:

• Manuscript paper for piano + solo
  
• Manuscript paper for piano + duet

Generally useful manuscript paper:  (largest to smallest line spacing)

• Manuscript Paper - 6 Stave (Super Jumbo)
• Manuscript Paper - 8 Stave (Jumbo)
• Manuscript Paper - 10 Stave
• Manuscript Paper - 12 Stave

*DEFINITION - staff or stave: (music) the system of five horizontal lines on which the musical notes are written

Song Wishlist: Getting Started

I encourage my students to keep a running, ever growing, wishlist of songs they love and want to learn to sing. This is a list we can call upon when it's time to choose new songs to work on in lessons.

A song wishlist can be a fun tool for anyone who loves to sing, whether you're taking lessons or not.

It can be as simple as a scrap piece of paper where you might scribble down a title of a song or a singer you like, or as complicated as a prioritized database on your computer. Keep a pen and paper handy, or maybe a small notebook, and you're on your way.

The most important thing is to choose songs that are meaningful to you and fit well with your voice.

You might start by going through your collection of CDs, LPs or skimming through your iPod. Look for the songs that feel neither too high nor too low for your voice, songs you can sing without straining. You're looking for material that sparks your internal motivation.

This is a starting point. From there, just be willing to follow your curiosity.

I have a number of loose systems for keeping my own personal song wishlists.

I tend to write down ideas on what ever piece of paper is handy at the time--a title, a songwriter or artist's name I happen upon, a recording or music book I want to get. Sometimes I'll print out a webpage with ideas I might come upon in my wide the internet ramblings.

At the same time, I'm also collecting ideas for songs of my own I might want to write, but that's another thread.

All these eventually get sorted into several file folders I've made for different kinds of projects I'm working on. I also have more general folders labeled: CD wishlist, music book wishlist, etc.

Or I may happen upon a music book or recording I want on the internet. I keep an amazon.com wishlist for a time when the budget permits a purchase or someone asks me what they might get as a gift.

Some of the song wishlist ideas are things I want to learn myself, others are for building my studio music collection, things I can share with my students. Every so often I go through the material I've collected to remind myself of a new song I might like to learn, a new challenge to take on.

In addition to all this, I have a huge list of music I would like to listen to just for my own enjoyment and curiosity, things I might never sing myself but would love to hear.

The key to making any kind of wishlist is not to limit your imagination by worrying about how you'll fullfill those wishes. Finding the money to purchase recordings or printed music to help you learn the songs need not be a limiting factor. There are many ways to access these things for your own educational use and enjoyment, if you're resourceful.

As with so many creative things in the idea generation phase, when you're collecting ideas for songs to learn, simply cast a wide net and see what rises to the top.

(c)2008 ~ Effusive Muse Publishing

INTERVIEW: Eric Maisel - Ten Zen Seconds

I recently had the opportunity to interview author and creativity coach Eric Maisel, Ph.D., about his new book, Ten Zen Seconds. Here he tells us how singers can use two of the the incantations (phrases, similar to affirmations, that do a particular kind of inner work) from his book in preparation for practice and performance.

KP: I often tell the singers I teach that awareness of breathing is foundational to building a healthy, powerful, flexible voice. How might a busy singer, with limited time to prepare, incorporate Ten Zen Seconds techniques into a regular practice routine, which already includes stretches, breathing and vocal exercises, plus preparation of repertoire?

EM: The first step is always to go through the twelve incantations, slowly and mindfully, and find the one or two that feel most useful and resonant. It is very difficult, verging on impossible, to incorporate all twelve in a regular way into your life, but it isn’t hard at all to incorporate one, two, or even three.

For a singer—for all performers—incantation 6, "I embrace this moment," is a very important and powerful one, because many performers are, because of performance anxiety, actually "wanting to be elsewhere" and wishing they were elsewhere, and incantation 6 helps remind them to surrender to the fact that they are where that they are and that they might even experience the moment as joyful!—especially if they add on incantation 9, "I am open to joy," to remind themselves of that possibility.

*******************************************************
To read the complete interview focusing on Ten Zen Seconds for creative people with busy lives CLICK HERE.

To read an extended interview giving an thorough overview of Ten Zen Seconds CLICK HERE.

©2007 Kay Pere ~ Effusive Muse Publishing

Adult Beginners: Ellen Burstyn

In her memoir, "Lessons in Becoming Myself," Oscar-winning actress, Ellen Burstyn, writes about learning to sing again as an adult for her starring role as Alice in the movie Alice Doesn't Live Here Anymore.

"One of the tasks of adulthood, in my view, is to look at what has been laid down in our brains early on and decide whether we want to keep that as a part of our worldview. Certainly anything that got programmed as a limitation of our possibilities needs to be examined and consciously kept or ejected.

"For instance, I was in the glee club as a schoolgirl and was often asked to sing solos. When I was around 12, I decided I'd like to take lessons and perhaps pursue singing as a career. I told this to my mother, who said, 'Let me hear you sing.' I went to the piano in the dining room and opened the sheet music for 'If I Loved You' [from the musical, Carousel]. I played the opening chords and sang the first line. From the kitchen came my mother's voice: 'Awful!' "

"That was it. I couldn't carry a tune after that. My ear went dead."

"One of the things I wanted to accomplish in Alice was to reawaken my ability to sing. I didn't have to be great. Alice wasn't a great singer. I just wanted to be able to stay on key and deliver the song as best I could. I worked on it for months. The final recordings were a patch job of different takes of my own singing and piano playing. I did it with a lot of help and augmentation. But I did it."

Stage Presence: Renee Fleming

"Opera is famous for grand entrances made by dazzling sopranos in glorious costumes. After playing roles like Manon and Violetta, I've learned to radiate a sense of adventure and the joy of being in the moment. That's the magnetic calling card. Be yourself, comfortable in your clothes, in your skin. And be gracious . . . Be direct and give your full attention to the person you're talking to. The more interested you are in other people, the more interesting you will be to them."

~ Renee Fleming, soprano

Vocal Health: Hydration

WATER AND VOCAL HEALTH

Proper hydration is important for physical health, and especially important for singers and other professionals who rely heavily on their voices during the course of their work. Water is the primary lubricant for the vocal tract. Lubrication of the vocal folds is necessary for efficient vibration when speaking or singing.

WHAT ARE YOU MADE OF?

The primary component of the human body is water. Water is involved in transport of the body's nutrients, elimination of waste products, lubrication of moving parts, and maintenance of moisture on body surfaces that come into contact with air. Water is important for nearly all natural chemical processes within the body.

Water constitutes 65% (for women) to 72% (for men) of an average adult's body mass. According to some estimates, the human brain in nearly 85% water!

A LONG TALL DRINK OF WATER

If you are a singer or other vocal professional who uses the voice heavily, special care should be taken to keep your body and the air you breath well hydrated. Damage and wear take place at a much greater rate when the body is dehydrated.

Here are a few guidelines:*

• Drink 7-10 8 oz. glasses of water daily (assuming normal kidney function)
• Room temperature water is preferable.
• Drinking cold water before singing may slow the responsiveness of the muscles of the throat.
• Avoid caffeine and alcohol, which can contribute to dehydration.
• Decaf and herbal teas can be beneficial to the voice, by providing warmth, hydration, and humidity without the drying effects of caffeinated drinks. Throat Coat tea is especially good for singers.
• If you chose not to give up caffeinated and alcoholic beverages, offset losses due to their diuretic effects by refilling the cup, mug, glass or container with water and drinking it all.
• Avoid dairy products, which can increase mucous production
• Minimize salty and sugary foods and beverages, which can contribute to dehydration
• Avoid carbonated beverages, which can lead to acid reflux.

Twelve 8 oz. bottles of water are shown in the photo above. If you drink water from plastic bottles, please, recycle!

A BREATH OF FRESH AIR
Indoor Humidity

• Healthy indoor humidity is 40-60%.
• Body moisture is lost though breathing in low humidity climates, i.e., air conditioned or heated rooms (routinely 10-20% moisture), cars, buses, airplanes, etc.
• Use a humidifier in dry weather, or year round if you live in a dry climate.
• Humidity is measured by a hygrometer. Basic indoor hygrometers are available for $20-40 from many online retailers.
• Maintaining healthy indoor humidity also reduces the presence of allergens such as dust mites, mold and mildew. Even someone without allergies may experience vocal fold irritation if these are present in their living environment.
• Keep your humidifier clean to avoid spreading mold and mildew into the air.

General

• Avoid singing with a dry throat.
• Inhale through your nose rather than your mouth. The nose warms and moistens the air before is passes over your vocal folds.
• Don't smoke
• Avoid smoky environments
• Wash your hands frequently to avoid becoming ill

WHEN YOU'RE ILL

• Increased hydration to aid in healing
• Thin mucus by increasing your water intake
• If you have a cold, use a humidifier if the climate is dry
• Avoid heavy voice use if your throat is inflamed or sore
• Get sufficient rest
• Rest your voice when it is tired

MEDICATIONS AND VOCAL HYDRATION
Some prescriptions and over the counter medications can lead to dehydration.

• Antihistamines and decongestants can contribute to dehydration of the vocal folds.
• Some pain relievers, such as Anacin and Excedrin, contain caffeine, which can lead to dehydration. Read labels carefully.
• Diuretics increase urine production. It is necessary to offset this loss by increasing water intake.
• If necessary, thick mucus can be thinned by using expectorants such as Robitussin.

See NCVS Prescribed Medications and Their Effects on Voice and Speech to determine whether the medication you take may have an adverse effect on your vocal system.

LEARN MORE:
Water in the Body
Wikipedia - Body Water

*[NOTE: The contents of this site are not meant to be interpreted as medical advice. Consult your doctor if you plan to make significant changes to your daily health routine.]

©2007 Kay Pere ~ Effusive Muse Publishing

Why Sing - Students' Reasons

These are actual reasons given by people who contact me about taking voice lessons:

• I love to sing and sing all the time
• I want to learn to sing better
• I love to be on stage
• I want to expand my range
• I want to learn better breath support
• My voice cracks when I go for high notes
• I want to audition for shows (school, community theater, Broadway, opera)
• I’ve got an audition coming up and want help getting ready
• I lose my voice after our shows. What am I doing wrong?
• I write songs and I want to be comfortable enough with my voice to be able to perform them for an audience
• I want to be able to sing with more feeling and meaning
• I want to learn to read music
• I've been told I have a good voice and should take lessons
• I've been told I'm singing wrong and should take lessons
• I was told I was tone deaf as a child but I really want to sing. Do you think I can learn? (99.99% of the time the answer is "Yes!")
• I have something important to say though my music, but don't know how to start
• I've been told nobody can't understand the words I'm singing. Can you help? (Yes!)
• I’ve never sung but I’ve always wondered if I could
• I'm getting married and I want to be able to sing a special song at the reception
• My husband knows I like to sing, so he bought me this gift certificate for a month of lessons
• I've been going through some tough times lately and wanted to do something for myself
• I want to be able to sing lullabys to my grandsons
• They really like me at the karaoke bar
• I want to be famous
• I was flipping through the new phonebook and saw your ad
• I was watching American Idol and thought, I can do that. I just wanted to find out if I really can.
• I've been taking guitar lessons and want to be able to sing while I play
• I’ve always wanted to join the church choir/community choir but I’m shy about my voice
• I got a part in a show and I want extra coaching
• I’m in a band and we’re getting ready to record our next CD
• I want to be an really excellent singer and performer
• Learning to sing is on my list of “100 Things to Do Before I Die”

©2007 Kay Pere ~ Effusive Muse Publishing