Connie Castro Music Studio

Make Lessons A Priority During Periods of Heavy Vocal Use

2011-12-05T13:46:00.000-08:00

Today, I want to emphasize the importance of maintaining your lesson schedule as religiously as possible while in the midst of performance commitments. It is common for students to want to drop out of lessons when they get into a show (or whatever singing opportunity it is) & start up again when it's over. That is the WORST decision you can make for yourself, as this is the time when your vocal technique should be reviewed weekly.

Unhealthy vocal habits set in quickly (it only takes a week or two of rehearsals) in performance environments that can cause permanent damage or that can take a year or more to undo. I have witnessed this over and over, AND have experienced it myself.

Whether it is a dramatic role, a musical role, joining a rock band, a school A cappella group, or even a folk duo singing in coffeehouses...the more you use your voice, the more you need to stay on top of your technique.

A poor sound system, singing material keyed outside your range, performing material that unbalances the voice by singing only alto or only first soprano, directors who want full voice at every rehearsal, and so on....all lead to a greater likelihood of vocal abuse. Never, never, never put your voice at risk.

A few of you reading this have had a taste of this situation. Many of my students already get the 'lecture' on excessive compression and pulling up of the chest voice on a weekly basis-- simply as a result of their high school or community singing activities! These issues must be addressed constantly to maintain good technique & avoid injury.

If music is going to be a big part of your life, regular technique lessons will be necessary all along the way. Even for me...I have to go for 'checkups' regularly & sure enough, if I wait too long, there is something for me to 'undo'. No one is immune. Even my teacher developed nodules & had to increase her own schedule of lessons. It is the same situation for a professional golfer & their 'swing', or a basketball player & their 'shot' or a pianist & their technique.

For those of you who will be entering college soon, if you are planning to major in music or theater you will want to research and find a great voice teacher as a part of your college plan.

Studio Concert Sat., Dec 3rd

2011-11-29T13:01:00.000-08:00

Family and Friends are invited to attend the CCMS Fall Concert to be held this Saturday, December 3rd from 2:30-3:45pm.
The concert will feature students performing a variety of styles from pop, blues, jazz standards, country and musical theater.

Doors open at 2:15pm....1945 Mesa Road (Unity in the Rockies). See you there!

Key Signatures, Part 2...Relative Minors

2011-10-26T12:30:00.000-07:00

I was sure SOMEONE would comment about my previous Key Signature post regarding the ‘exception’ to these rules! You were all too nice to me, or else you recognized my trap and steered clear!

Although the shortcuts I outlined are correct, they can signify either the MAJOR key (i.e. C) or its Relative MINOR (i.e. Am). The Relative Minor is 3 half-steps below the Major. C=Am as they both have no sharps or flats. The Relative Minor of G is Em, as they both have one sharp (F#). The Relative Minor of F is Dm, displaying one flat (Bb).

Keeping in mind that a Bb noted at the beginning of the piece can signify either the key of F or Dm, the easiest way to determine the key of the piece is to play a few bars to determine if it is major or minor in its sound. Often, you can also look at the last measure of the piece (if it contains no modulations/key changes) as a piece will usually end on the root or tonic of the key.

This may seem a bit complicated, but it really isn’t. Just pay attention to the Major keys first, as you will likely study them first in your theory lessons anyway. Then, if the piece sounds minor as you play through it, you automatically know it is in the relative minor key, three half steps down.

Remember…without Music, life would B flat!

Identifying Key Signatures the Easy Way

2011-10-12T08:51:00.000-07:00

Here is an easy formula that lets you wow your musical friends by identifying Key Signatures instantly.

First, you must memorize 2 key signatures (so sorry):

C…no sharps or flats

F…1 flat (Bb)

For all other FLAT key signatures (reading left to right), the second to the last flat from the far right is the key you are in. For example, if there are 2 flats…Eb & then Bb (reading left to right), the key is Eb.

For all SHARP key signatures (reading left to right), look at the last sharp on the right & then raise it ½ step. That’s the key you are in. For example, if C# is the last sharp on the right, the key is D.

Remember…keep your Heart singing to invite Magic into your life!

Keep Your Voice in “Neutral”

2011-09-29T16:27:00.000-07:00

A basic technique of good, healthy singing is to keep your larynx in a neutral position regardless of whether you are singing a ‘high’ note or a ‘low’ note. Chest dominant singers frequently reach up for high notes at the top of their chest register and above (basically yelling). Head dominant singers frequently reach down when moving to lower chest notes, resulting in a hollow ‘lounge singer’ effect.

To keep your voice in “Neutral”, where it is stable & maintaining a speech-level position regardless of what note you are going for, can be done by thinking in OPPOSITES. Instead of thinking UP and DOWN, think Near and Far. Low, chesty notes will then feel close to your lips and higher notes will feel further out in front of you…like a trombone operates!

Keep your chin level or slightly downward towards the floor (the back of your neck will then stay long), & bend your knees very slightly as you move from a lower pitch to a higher pitch. Your body cannot process reaching up and sinking down at the same time! GO DOWN TO HIGH NOTES.

For low notes, instead of lowering your larynx and allowing the sound to vibrate/resonate in your throat and chest, focus your attention on feeling the sound on your LIPS! LIPPY LOW NOTES.

Keep your Heart singing and you will invite Magic into your life!

Avoid Over-singing & Vocal Fatigue

2011-09-22T20:07:00.000-07:00

For many singers, vocal demands increase greatly during the school year as school, church and community music/drama programs ramp up their rehearsal and performance schedules. Often singers are 'out of shape' if they did not sing regularly in the off-season, and rehearsal schedules frequently do not allow for adequate vocal warm-up before working with the material.

Choral and ensemble singing can pose unique challenges for singers when they are surrounded by many voices and have difficulty hearing themselves adequately. A common reaction is to simply sing LOUDER. Strong singers may also be encouraged to 'carry' their section to lead the less experienced singers, resulting in them singing LOUDER to make up for all the timid or "pitchy" voices around them.

If a singer lacks the technical knowledge, conditioning and good vocal care practices to correctly support their voice under these conditions, they are headed into VOCAL ABUSE territory. Hoarseness, huskiness, sore throat, throat 'tickle', coughing, throat clearing and even pain are all common symptoms of over-singing.

I think every 'serious' singer experiences these symptoms at some point in their music career. I always hope for them that it will be early on and quickly addressed! Learn the lesson & never forget it.

So, if you notice any of these symptoms, stop doing what you are doing because it is hurting you and your body is trying to get your attention. If you are in the middle of choir rehearsal and you do not feel you can stop completely, my suggestion is to dial it WAY down to "Light and Easy". BUT if you are experiencing PAIN--- your best course of action is to lip-sync for the remainder of rehearsal and go quietly home as quickly as possible. Hydrate and initiate vocal rest until the next morning.

If your are in a small ensemble rehearsal, you must stop and tell your Director what is happening. If one member is experiencing symptoms of over-singing and fatigue, it is very likely others are as well--be the brave one who speaks up. Your Director might have all of you hydrate, take a short break, do several repetitions of trill patterns or descending ng's (or whatever exercises they prefer to address swelling & fatigue). Get through it as best as you can and then go home, hydrate & initiate vocal rest until the next morning.

If you are still symptomatic the next morning, avoid speaking and singing that day as well. If the problem persists more than two days, OR returns at another rehearsal, OR if you are experiencing pain at any time, see your voice teacher as soon as possible. Do not dismiss these symptoms or try to 'sing through' them. It is a serious issue that could result in long-term damage if not addressed and promptly corrected.

Remember, regardless of your age, YOU are truly the only person who can feel what is going in in your body. Therefore, you are the one who must take responsibility for your singing, your vocal health and the results of your choices. You can trust that your body will always guide you true, so LISTEN.

Choose well.

Stop "Performing" and Master Sharing

2011-08-15T16:49:00.000-07:00

Fall marks a return to school, auditions, choirs starting up after summer vacation, more gigs and opportunities to sing. As a consequence, students often ask me what they can do to improve their performing skills.

I tell them to stop "performing" and to start SHARING good stories (that happen to be shaped in the form of songs) with their audiences.

Even the word "performance" suggests a lack of genuineness in its Webster definition of "representing a character". Have you ever heard someone sing a song flawlessly & yet it did not stir your heart? People then say, "That was nice." and move on. A wise singer will choose songs they can relate to emotionally & share those feelings with their listeners. They can even make mistakes in the song, but odds are, the audience will still love it...and you, for being real! (Think about the many icons in the music business whose singing skills are quite elementary, and yet they are beloved and famous.)

So, master the art of sharing your songs authentically from your heart, and your music will SHINE for everyone in the room.

Music can change the world because it can change people. Bono, U2