COURSE: THE ARTIST’S VOICE 03 MODULE Written by Laura Ratcliffe © Laura Ratcliffe-Thrift The Singers Club Ltd 2024 No unauthorised replication, modification or use permitted CPD provider no. 018542 Copyright reference: 10044260520s024 SCULPTING SOUND [Toolkit] FVTPT3 Student Coursebook
MODULE MUSICALITY SCULPTING SOUND Module 1: The Voice as an Instrument Module 2: Musicality You Are Here Module 3: Sculpting Sound Module 4: Colours of the Voice Module 5: Vocal Effects Module 6: Genre Spotlight Module 7: Songwriting Module 8: The Show Module 9: The Empowered Singer Module 10: The Artist’s Voice All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. 4
MODULE MUSICALITY SCULPTING SOUND SCULPTING SOUND Introduction Muscles operate in collaboration by contracting and relaxing. Similar to a tightrope walker, singers always aim for that ideal equilibrium whereby we are instructing our muscle groups to cooperate and engage correctly in pursuit of creating our sound choice, rather than conflicting with or inhibiting the sound. In module 1, we introduced the concept of shaping our sound. Over the next few pages, we will look at these areas in more detail, focussing on the jaw, lips, cheeks, tongue, pharynx, and neck areas. The multitude of exercises we curate as voice workers is usually looking at one or more of the following concepts: How we engage muscle groups Choices we have Identifying tension Testing engagement levels How muscles can impact and inform each other Our mind’s directive and instruction It is worth remembering that the exercise we practise for one muscle or area will likely also have consequential responses from other muscles. I have placed exercises under what seem to be logical anatomical headings for them in the following pages but really, they are all serving each other and impacting different spaces around the body. It is all connected. The following pages offer example exercises intended to provide a springboard for discussion and vocal exploration, so feel free to make tweaks and add any more you find! Ultimately, continue with exercises and approaches that you feel best serve you. Those that feel good and help unlock what YOU seek from YOUR voice in a safe and sustainable way. All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. 5
MODULE MUSICALITY SCULPTING SOUND Sculpting Sound: Jaw ______ ______ Masseter ___ ___ ___ ___ _____ ___ _____ ___ _____ Hyoid Bone Mandible In the context of singing, optimal jaw alignment is crucial for maintaining a clear and resonant tone. When the jaw is aligned correctly, it allows for unrestricted airflow through the vocal tract, facilitating the production of consistent, controlled sound. Both our jaw and tongue positions directly impact the behaviour of the larynx, vocal folds, and sound produced. EXERCISES: Sing a phrase while at the same time exaggerate a chewing motion, moving the jaw in both directions. Use the palm of your hand to massage the big muscle at the hinge of the jaw (called the masseter) and down the sides of your neck. Notice by doing so whether you feel some tension release before singing. Straighten the lower back. Feel strength and power run down your spine into your lower back as you sing and imagine lots of positive energy flowing from your core, leaving the jaw free to relax, open, and shape your sound. Sing ‘ma aw non non’ on 1 - 5 - 3 - 1 Place the tip of the tongue up behind your top teeth. At the same time move your jaw down in the opposite direction (chin low). Feel the stretch, and see if you can sing a few lines while in this position. Feel with your finger a small hole (opening) directly in front of the ear when opening the jaw. Try singing a couple of phrases while aiming to keep this hole/hinge gap open. While we want freedom in the jaw to frame the sound, there is also something called hyperextended jaw. If the jaw or chin is too low, it can trap other muscles and put pressure on the larynx. For those who are prone to this: Ex1. Sing a phrase with a cork lightly held between your front teeth. Ex2. Place your thumb up in the groove just behind your chin. Now, lift the apples of your cheeks and sing a scale or phrase of a song. This should encourage the sound into a slightly higher space. All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. 6
MODULE MUSICALITY SCULPTING SOUND Sculpting Sound: Lips & Cheeks Big Cheeks If you find your tone prone to feeling tight or squeezed, try this exercise: Puff out your cheeks with a small air hole and vocalise on what will feel like a v/w sound. Slide up and down on the sound aiming to keep the cheeks puffed out all the time. This can instantly relieve pressure on the neck and throat. In some cases, if the lips pull too far back and wide it can add unwanted squeeze to the tone. (often evident on an E vowel). Embouchure The lips are the last point of the vocal tract that we can manipulate to form sound and there is a multitude of different sounds and tones we may want depending, as always, on genre/style/mood etc. Try extending your lips forward or lifting the apples of your cheeks slightly to see how stretches and changes of position can affect the sound. Lowering the jaw can add depth and darkness to tone, while lifting the cheeks can add brightness! Notice how different shapes can create different tones in your voice. Always aim to remain flexible and free. Wa - Wee First, bring your lips forward (like a duck impression) Then, we’ll sing “wa wa wa wa wa, wee wee wee wee wee”, keeping the same forward lips and slightly down jaw for both The wee sound follows the shaping of the wa to avoid overly pulling back on an E vowel All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. wa wee wa wee wa wa wa wee wee wee like car 10
MODULE MUSICALITY SCULPTING SOUND Anxiety "When I first see the crowd, I melt. Then I become chill after around the second or third song" Adele Andrea Bocelli "Stage fright is my worst problem. A voice is very intimate. It's something of your own. So there's always this fear, because you feel naked. For me, there's a fear of not reaching up to expectations." Stevie Nicks "If you have stage fright, it never goes away. But I wonder; is the key to that magical performance because of the fear?" We've all been there; sweating palms, memorised words conveniently wandered off, looking around the room with furrowed brow. You've been told, "Don't be nervous" (lol) but that really hasn't worked. It's time for a different take. If we review our work so far, there is a consistent pattern emerging on the idea of pairings: push - pull, tension - release. This is all energy transference. So what is to stop us taking that idea into performance energy? All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. Dry mouth Pounding heart Shallow breaths Sweating Brain fog Need toilet Weak knees __(insert your own)____ 16
MUSICALITY MODULE SCULPTING SOUND Backing Vocals When you hear a song on the radio, very often as part of the production you will notice more than one voice. There could be a lead singer on the melody line. The melody is the main tune of the song. You might also hear backing vocals and harmonies on the production. We can learn more about how to identify different backing vocals, and how to create some of our own. This develops our use of harmony, by exploring options and parts for the voice. Listen again to your favourite song recordings and see if you can spot some backing vocals in the production. DISSONANT HARMONY CALL AND RESPONSE CONSONANT HARMONY COUNTERPOINT/ POLYPHONY OCTAVE UNISON DOUBLE TRACKING CLOSE HARMONY OOOOOHS & AAAAHHHHS All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. 20
MODULE MUSICALITY SCULPTING SOUND Backing Vocals Project Part 1 of 2) List four or more examples of different types of backing vocals and harmonies you can hear in the context of a recorded song. You can use one song or a selection of different songs. Part 2 of 2) Create an arrangement whereby you are adding at least THREE OR MORE of the backing vocal and harmony types we've studied to a song alongside the main singer on the recording. Try and consider how your arrangement builds and develops through the song using your chosen backing vocal examples. All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts of is strictly prohibited. 24
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