I have a voice question

[not_that_girl2]

Posted: 5/26/06 at 10:29am

Hi there! I am a very young, aspiring actor who has a very high pitch squeeky girly voice. Yes, I have lived with it sense birth and I never thought it would be a problem when I was young. But now that I am looking into a carerr in theatre I see how having an incredably annoying voice can hurt my career. All my acting coaches have told me to lower it but I just dont know how. Does anyone have any adive for me? Thanks in advance.

[Magical_Ms._Mistoffeles_72]

Posted: 5/26/06 at 12:27pm

get a good voice teacher. Listen to Kristin Chenoweth. Join the school chior. Best of luck to you

[Fredisetgo]

Posted: 5/26/06 at 12:59pm

use ur voice to your advantage... It's unique im sure : ).... so use it! Not everyone has to sound so generic

[tmm_fan]

Posted: 5/26/06 at 2:14pm

The absolute best advice I can gikve you is to find a good SLS (Speech Level Singing) teacher. Search for one here:

http://sethriggs.com/

Believe me: if you're a vocal student, SLS is like a gift from God :) It's such a simple technique, too.

[soapguy17]

Posted: 5/26/06 at 2:35pm

not that girl, first off ignore tmm_fan. Get a good voice teacher, especially if your looking for a carrer in musical theater. I haven't heard you speak, but don't lose your uniqueness completely only tone it down. There are so many talented people in the world that and its great to have something that sets you apart from everyone else.

[tmm_fan]

Posted: 5/26/06 at 2:45pm

Why do you not like me, guy? SLS has helped millinos tremendously, including Bernadette Peters, and is an awesome technique. What do you have against me?

[tmm_fan]

Posted: 5/26/06 at 2:56pm

One more thing (no offense :) ): His techniques have helped countless students and professionals; so have Brett Mannings. Tell a person that's become a great singer because of SLS that he's a bunch of BS, and you'll obviously get an earful.

SLS is singing using your natural voice, and utilizing that to get to higher octaves. It works, and I know people who have spent months, even years, in classical training, and had barely gotten anywhere, but through SLS, made awesome progress after a few lessons.

Like it or not, the method works. Most vocal students will attest to that.

[soapguy17]

Posted: 5/26/06 at 3:12pm

I'm going to end the dicussion here. We're not going to thread jack. You belive in Seth Riggs, I persoanlly think his "Improve you voice in one lesson graunteed" stuff is complete BS. He's selling a method for those who are looking for any easy way out. If you want to be a versitle performer w/ ability to vocally do any musical you want start w/ classical. It takes longer ,but it's worth it.

[tmm_fan]

Posted: 5/26/06 at 3:15pm

OK, "one" thing, and then we'll stop :)

True with anything ... if you don't practice, you'll eventually probably lose it.

The point is that SLS works, and now when students practice, they know the best techniques out there. Most classical teachers don't know how to teach mix voice properly, and with SLS, I have gone from bass to tenor quickly without any strain. Ask other SLS students; they'll say the same thing, if not something similar.

And evidently, neither Bernadette Peters nor Michael Jackson have blown out their voices lol.

[tmm_fan]

Posted: 5/26/06 at 3:17pm

OK, "one" thing, and then we'll stop :)

True with anything ... if you don't practice, you'll eventually probably lose it.

The point is that SLS works, and now when students practice, they know the best techniques out there. Most classical teachers don't know how to teach mix voice properly, and with SLS, I have gone from bass to tenor quickly without any strain. Ask other SLS students; they'll say the same thing, if not something similar.

And evidently, neither Bernadette Peters nor Michael Jackson nor Idina Menzel nor Betty Buckley nor Stevie Wonder nor etc, etc have blown out their voices lol.

[ILoveMyDictionary]

Posted: 5/26/06 at 8:22pm

definatly use it to your advantage. In this business you need something to pop out. Don't try and change it. If you just work on furthering your talent it could become kind of a trade mark. Everyone told Barbra Streisand to get a nose job, but she refused. And look what good it's gotten her.

[MattSingsAlot]

Posted: 5/27/06 at 2:35am

yeah tmm_fan you're kinda full of ****. especially beacuse bernadette takes from adrienne angel, and adrienne angel doesn't do the "improve in one lesson in a box" crap.

[tmm_fan]

Posted: 5/27/06 at 2:48am

I'm sick of you continuing to insult me and what not. Speech level singing works for thousands of people all over the world, from pre-teens all the way up to seniors, and that's all I know. You think you're such a know-it-all that when you disagree with me you call me full of ****? Well, guess what? You're not this "all-knowing-all-seeing" god. Many, many people have had awesome careers because of SLS; so you basically called them full of **** as well. I have gained an octave within the first few short lessons, and others obviously have as well. Why are you knocking something that you haven't even tried?

I am not a mean person, so let's end this debate. I "love" a good debate, but don't wanna get a bad reputation with other users on this board :)

Updated On: 5/27/06 at 02:48 AM

[MattSingsAlot]

Posted: 5/27/06 at 9:57am

All I know is that an overwhelmingly large majority of successful musical theater singers come out of conservatories, and believe me I researched and visited nearly all of the respectable ones this past year. All of their teachers teach classical technique. I went to some of the websites of these teachers and the singers they seem to be producing are all pop singers. One teacher who made herself out to be quite prestigious had a testmonial page, but the average age of her "Rave reviews" was 15 years old. If you want to be respected as an artist, learn real vocal technique.

[Sporti2005]

Posted: 5/27/06 at 1:46pm

not_that_girl --

amid the arguing back and forth that always seems to start on the student board, there is something you will learn: everyone has different opinions, and sometimes you have to figure stuff out for yourself.

basically, the best thing you can do is invest time/money in finding a voice teacher. what methodology you prefer you'll have to explore. maybe SLS will work for you, maybe classical will, maybe something else will. there isn't one "be all end all" -- there never is. personally, classical technique works for me, but i'm not about to put down anything that works for anything else.

try some stuff out -- see what works for you. it might take a little while, but getting a voice teacher will REALLY help you, i think.

best of luck
maggie

[tmm_fan]

Posted: 5/27/06 at 2:33pm

Matt, different things work for different people. For thousands, classical works wonderfully. For thousands of others, and myself, speech level singing works wonderfully. As I said, I know people who have not gotten anywher after months of classical training, but improved so much within the first day ofn speech level singing. There are some very successful speecch level singers around here that also teach. Not every coach emphasizes classical as the way to go, and your quest to always be right won't allow yourself to see that. If SLS is a bunch of crap and BS, tell that to the thousands who now have a career, either recording or in musical theatre, because of it. Sutton Foster, Gavin Creel, Bernadette Peters (trained with SLS at least in her early career), Eden Espinosa, etc are all some of the best singers on Broadway today, and they are all speech level singers. There is no "one true vocal technique."

Maggie, thanks for your post.

Updated On: 5/27/06 at 02:33 PM

[judy_in_disguise]

Posted: 5/27/06 at 3:20pm

I've been a student of SLS AND I'm a classically trained university voice major- so here's my take.

SLS is a great way to SUPPLEMENT classical training. It is a wonderful method of a more organic way of singing that really opens your larynx and preserves your vocal health which is SO IMPORTANT. SLS instructors have a great methodology of vocal pedagogy, which is so important, because a lot of teachers are great singers but untrained in proper pedagogy. I say take lessons from a variety of different teachers to begin with- because ultimately you need to go with whichever technique YOU respond to the best. You will learn something new from everyone. Eventually you will need to settle with one teacher who knows your voice inside out and can help you progress, but while you're young it is worth it to take some time and find out what works best for YOU. Singing pedagogy is so theoretical that you really need to find a teacher and a technique that you connect with.
As for your speaking voice- I too have a speaking voice that's somewhere between Megan Mullaly and Bernadette Peters. I LOVE it for roles it suits, and struggle against it for roles it doesn't suit. KEEP YOUR SPEAKING VOICE, like everyone's been telling you, but DO learn how to modify it as neccesary (i.e. if you have a role in which the director wants you to utilize a lower sustained speaking voice, you have to be able to do that comfortably). Good luck!

[BroadwayGirl107]

Posted: 5/27/06 at 3:21pm

As far as the singing technique thing, I've taken both classical lessons, and SLS, and I have to say that while SLS helped me do things classical training never would allow me to do (I'm surprised you left out people like Barbra Streisand, who has also had some SLS training, tmm), it won't get you very far unless you've really had strong classicl training. You need that as a basis no matter what. It's DEFINITELY something one might want to look into, even if only for a few classes to create a stronger, more effective mix and smooth over the bridges of one's voice. But, like I said, that's after one has had significant training.

[tmm_fan]

Posted: 5/27/06 at 4:30pm

That's actually what I've been at least trying to imply. SLS is a basis, and a great way to strengthen the throat, which it has done for me immensly.

It also depends on how you wanna sing as well. I mean take Gavin Creel. Great singing voice, and definitely one that could have come from just sls training. Hugh Jackman trained by classical, I believe (could be wrong), but he could have easily found his singing voice with sls.

It really just depends on what one wants to do. Neither technique is necesssarily "better," per say, when looking at the "entire" picture.

And yeah, Barbra Streisand ... can't believe I forgot one of the greatest female singers of our time :)

Updated On: 5/27/06 at 04:30 PM

[triplethreat]

Posted: 5/28/06 at 12:13am

i wish i really knew how to help you with it, but i think just everyday in your regular talking voice, make it deeper and i think that will help with your singing and i dont really think it will hurt you on broadway

[My Fair Lady]

Posted: 5/28/06 at 11:54am

I apologize for sounding kinda stupid....what's SLS? I've been taking voice lessons for almost 3 years and I don't really know what kind of training I'm receiving, only that I've improved a lot under it.

[Dancinblondie]

Posted: 5/28/06 at 1:10pm

I've been raised with classical training which has basically gotten my voice where it is today. About a year ago I began ALSO studying SLS, and it's proven to help me alot with the type of singing it teaches. I don't choose between the two though

[tmm_fan]

Posted: 5/29/06 at 12:24pm

My Fair Lady, this is a copy of Judys answer from above, which I totally agree with; so instead of reitorating what she says, I just copied it (hpe she doesn't mind :) ):

I've been a student of SLS AND I'm a classically trained university voice major- so here's my take.

SLS is a great way to SUPPLEMENT classical training. It is a wonderful method of a more organic way of singing that really opens your larynx and preserves your vocal health which is SO IMPORTANT. SLS instructors have a great methodology of vocal pedagogy, which is so important, because a lot of teachers are great singers but untrained in proper pedagogy. I say take lessons from a variety of different teachers to begin with- because ultimately you need to go with whichever technique YOU respond to the best. You will learn something new from everyone. Eventually you will need to settle with one teacher who knows your voice inside out and can help you progress, but while you're young it is worth it to take some time and find out what works best for YOU. Singing pedagogy is so theoretical that you really need to find a teacher and a technique that you connect with.
As for your speaking voice- I too have a speaking voice that's somewhere between Megan Mullaly and Bernadette Peters. I LOVE it for roles it suits, and struggle against it for roles it doesn't suit. KEEP YOUR SPEAKING VOICE, like everyone's been telling you, but DO learn how to modify it as neccesary (i.e. if you have a role in which the director wants you to utilize a lower sustained speaking voice, you have to be able to do that comfortably). Good luck!

[tmm_fan]

Posted: 6/6/06 at 7:21pm

I know that this is a "semi"-old topic, but this is such an awesome e-mail I recieved that I just had to share it. This is the latest e-mail from Brett Manning, and is perfect for anybody wishing to become a greater singer, and I know that some students on here could use this advice:

I told you that you'd be hearing more from Morgan Cryar. This
week he's got something that you'll find very useful and practical.

Ladies and Gentelmen, Mr. Morgan Cryar...


The Art of Re-inventing Yourself

I want to ask you a very provocative question:
"Have you ever thought about re-inventing yourself, as
a singer?"

I don't mean growing a mustache, or changing your
clothing style, or switching from pop to opera or from
opera to pop. I'm talking more about simply kicking
the sides out of the boxes you find yourself confined
to, as a singer.

"What boxes?" you say.

I'll tell you what boxes.

First of all, if you have limited yourself, you may not
even know it.

You've certainly heard the much over-used phrase "think
outside the box," haven't you? The reason for this
saying is that to GET outside a particular box, you
really must THINK your way out first!

So let me ask you a few questions to shake you up and
get you to think:

1) How long has it been since you learned a song that
was out of your comfort zone, style-wise? (Like a pop
singer learning a country ballad, just for fun or to
adapt as a pop song.)

One of the strangest, most controversial, but
successful moves in Ray Charles' career was when he
"went country." It made everyone in the record company
very nervous, but it also made them very rich! That
was what people called a "re-invention."

2) How long has it been since you re-arranged a
familiar song so that it was LESS like the version
everyone has heard on the radio?

One of stage production expert Tom Jackson's favorite
things to do when he's putting together someone's live
show is to make them break a very familiar song down
and perform it in a totally unfamiliar way on stage.

Like doing a power-pop song quietly sitting on a stool
with an acoustic guitar.

Another question...

3) If you don't write songs, have you ever tried?
(This is my FIRST advice to any singer who wants to be
taken seriously in the music field.)

If you are limited to doing "other people's songs" can
you ever be thought of as anything more than just a
"wanna-be" singer? AT LEAST write one song and perform
it along with the songs you do now.

It may be the most original "you" that the audience gets
to see.

4) If you have allowed fear to keep you from singing
for others, WHY? Do you think you might catch some
awful disease from being on stage?

For some, the first re-invention is to admit that you
want to sing in the first place. Or more common,
people who sing but can't get past the fear of being
heard by anyone. Come out of the closet!

5) Do you really think of yourself as too old? too
young? too unattractive? (check out Bob Dylan!) too
uncool? (check out any "writer's night" in Nashville!)

I'll never forget seeing a female writer who played us
her song that had been recently recorded by a VERY
famous country singer. The writer was frumpy-dressed
and reminded me of a female Austin Powers! But she
didn't care. She sang her song proudly, knowing that
next week she'd be going to the bank with fat royalty
checks!

Ok, enough questions for now.

Let's look at what you might DO to help yourself
venture "out of the box."


Unleash Yourself

First, dare to move your limits outward, vocally. I
personally found myself wading into completely new
territory once I had taken the limits off my vocal
range.

Thanks to Brett Manning's techniques, I kept adding
notes to my range until I had the ability to sing ANY
SONG I wanted to sing.

As a writer, I have to say that this changed
EVERYTHING! I could sit down and write a song and when
I got to the chorus, I could just soar up into the
stratosphere without any concern over whether I would
be able to do the song live. If I could hear it in my
head, I could sing it!

There were many years, as a recording artist, that I'd
be in the studio, and I'd sing a song that took me to
"the edge" of my range. In a studio situation, I could
try it over and over, phrase-by-phrase until I got it.
The song sounding perfect. BUT...

If it was REALLY difficult, I might never venture to
sing the song live. There are songs on my CDs that I
NEVER sang again after the day I recorded them!

That's all changed now. I can sing any song, and most
of the time, in many different keys!

So, adding extra notes to your range can give you
choices. Lot's of choices. Then you can easily
experiment with re-invention (without injury).


Force Yourself

Another thing to try is to force yourself to learn a
new song every month. And make these songs outside
your area of expertise and comfort.

This will require you to actually listen to some music
outside your present preferred tastes. I'll never
forget when Brett got me to listen to some of the old
master opera tenors!

I must admit that in my old way of thinking, I would
have dismissed them NOT BECAUSE I DIDN'T LIKE THEM, BUT
BECAUSE I COULD'T DO WHAT THEY COULD DO!

I was like the fox in Aesop's fable that said "Well, I
didn't want those grapes anyway. They were probably
sour!"

When you think about getting past your mental limits
(kicking the sides out of the box), you should be
prepared for some "ego destruction." It will be
painful at first.

Only the brave try new things.

If you are familiar with the Biblical "parable of the
talents" you will remember that the unfaithful servant
buried his talent and said "because I was afraid."

But the master in the story didn't accept that excuse.
He redefined that servant's "fear" and instead called
it "laziness" and "wickedness." As a result, he had
what little he'd been given...taken away.


Trick Yourself

I heard of an painting artist who had his wife hide his
favorite oil paints for a month. He was forced to
paint with what was left--his least favorite colors.

It was a strange discipline, but it got him out of the
rut he felt his was in (or the "box").

You may want to try this: "pretend" to get amnesia and
only do brand new songs for a month. Imagine that you
are a rare voice among voices, but that you are a blank
slate and can express your beautiful talent with any
song you can learn, but it must be one you learn anew.

You can also "trick yourself" by changing chords or
instrumentaion on some of your familiar songs.

I have a strange sense of humor. So many times my "jokes"
are nothing more than me going around the house singing
a pop song in extreme country style. Or singing an R&B
song in an extreme classical style. It keeps my family
laughing and me from cementing myself into another box.

Well, I hope you will try something new this week. Please take
my word that it won't cause any medical emergencies!

Remember, a caterpillar never gets to be a butterfly
unless he dares enter an unfamiliar region called the
"cacoon." But just look at the results!

Blessings,
Morgan Cryar

Updated On: 6/6/06 at 07:21 PM