Vocal Articles
1. How do you teach performers to maintain optimal physical and vocal health when undergoing intensive rehearsals and performances? What are some strategies or resources that you think are most suitable during these vulnerable moments for performers?
I believe that establishing singers on firm foundations of vocal form and technique consistently over an extended period of
time is essential in helping them maintain optimal vocal health when undergoing intensive rehearsals and performances. It is vital for singers who perform often, to have diverse, targeted, regular and individually curated vocal conditioning workout plans with a seasoned voice teacher and coach. Strength training, flexibility, stretching, working in multiple vocal registers, laryngeal mobility, agility, breath pressure/quantity/flow regulation, breath support, mix registration coordination, vibrato development, resonance, vocal tract malleability, enunciation, recovery, amongst many other vocal concepts, are areas that singers need to explore regularly in order to have efficiency in vocal usage. There is no such thing as “10 golden vocal exercises” that benefit
every singer equally and everyday and every singer must be valued as a person with a unique voice and with specific vocal issues that need vocal conditioning tailored to his or her evolving vocal needs and objectives.
With regard to helping performers maintain optimal physical health, I believe that singers need to have holistic care not just for their voices, but their entire physical bodies. Healthy lifestyle habits such as having sufficient sleep (for vocal rest and repair), regular exercise, cardiological fitness, muscular development, mobility, flexibility etc coupled with a healthy whole foods diet, avoiding certain foods, beverages and habits (such as acid reflex causatory foods, alcohol, too much caffeine, smoking, recreational drugs etc) all affect the singer’s vocal life. One cannot ever really separate the vocal life from the singer’s physical, mental and emotional well being and having a holistic care plan for singers is essential. With regard to what the best strategies and resources are for singers during challenging performing seasons, my answer remains the same as what I have described above: establishing good form and technique by having access to customized voice lessons. If a singer has financial or scheduling challenges with having access to personalized voice lessons, then perhaps the institution/school/production can finance or provide availability to
voice lessons as a resource to help the singer. If this is not something that is possible for production organizers or institutions to provide, then perhaps a one-time or seasonal group vocal health workshop conducted by a seasoned voice teacher and coach is a more affordable yet helpful resource for the performers.
Next, I will also add another possible strategy, which is that show directors and producers can help singers greatly during these times by not over-emphasising performance perfection at the cost of the vocal, emotional, mental and physical well-being of singers. I have seen all too often singers and dancers experiencing vocal and physical injury because of the need to keep up with performance perfectionism. Perhaps it may be helpful to communicate to performers that it is actually more realistic and truly artistic to expect mistakes and slip ups during performances and instead teach them how to keep the show going, to keep the
phrase singing, to keep the choreography flowing. Performers are then relieved of the burden over them, and learn to navigate the performing life with a lot more joy, and therefore focus on well-being, form and technique, which will in turn keep injury away, and artistry organic.
As the great Miles Davis said, “It’s not the note you play that’s the wrong note – it’sthe note you play afterwards that makes it right or wrong.” This suggests that a mistake isn't a definitive failure; rather, it's how one responds to and recovers from the "wrong note" ordance move that truly matters. It highlights the importance of adaptation, resilience, artistry, fun (!) and finding a way to turn a performance setback into a new, positive direction. I believe performers would benefit greatly from this truth about artistry. Show directors may not agree with me but I believe in this strongly for the sake of the well-being of the performer who will be relieved of the burdens of perfectionism.
Another noteworthy strategy and resource in my opinion, is to make sure that the sound engineering for the production is managed by experts and technicians who are knowledgeable in this field. Many times, singers are being directed by directors or producers who may not necessarily possess knowledge in sound engineering, to be heard or to sing at volumes beyond what is healthy for them, simply because the microphones, monitors or sound production equipment were not tailored to help them. Singers should be rehearsing and performing with good audio equipment and never needing to strain their voices. To conclude, the best strategies and resources for singers must not be employed solely during the time of intensive and demanding performance schedules. Instead, these must be relied on consistently over the long term. The singer learns and is conditioned to greater strength, flexibility and efficiency best when stress is not a part of their vocal life. And so, I recommend long term consistency of applying good form, technique and practicing healthy vocal and lifestyle habits way before a singer is exposed to more intensive performing schedules. By the time a singer gets to perform, we want the singer to readily have freedom, ease and joy in their singing and performing life.
2. From your experience over the years, what are the most common complications that
most singers/performers face during peak performance and rehearsal periods?
Injury, vocal fatigue, temporary or permanent hoarseness, unintentional stylizations/”normalizations” of less than optimal vocal technique (such as wrong “rasping”), vocal misuse, vocal overuse, vocal disorders (chronic or acute laryngitis, polyps and nodules
being the most common), the loss of joy in artistry, the loss of creativity, spontaneity and organic production that is so essential especially in the art form of singing. Once again, if we really want to care for the singer, we cannot prize making a perfect sound in performance,above making a joyful noise. Over the long run, the singer’s sense of self identity and self worth is detrimentally affected.
3. How do you think performers should manage these issues?
Performers would benefit greatly from a long term coach-client relationship with a seasoned, grace-filled and encouraging voice teacher and coach who can curate a specific vocal conditioning program for them that is unique to a singer’s needs, issues, health and goals. Singers would also benefit from a time of self reflection where they get to ask themselves what they’re in this for.
Examples of self reflection questions include:
Am I doing this in the first place because I simply enjoy singing?
Has this intensity in my performing life robbed me of this joy that I first had in singing?
Will I still be happy singing even if I did not "succeed" in this performance or this audition?
Do I identify myself only with my voice?
Can I still enjoy life, and art even if I did not perform “successfully”?
What is success anyway when it comes to performing?
Is it to get the applause, the recognition, the approval?
If yes, would these be sustainable for the long term?
How do these compare with my need to have VOCAL JOY?
Can I be more than satisfied with my vocal life just to make a joyful noise because sound
making essentially makes me feel alive?
4. Do you think that physical health and mental health is linked ?
Yes they absolutely are. A lot of the mental states we experience as human beings, whether joy, sorrow, pain or pleasure, are influenced by biological, hormonal, chemical and neural processes in the body which are in turn psychosomatically produced as responses to stimuli present in our environment or life experiences. Stress or a sense of demand in the
performer’s life does have physiological consequences that play out in the body physically and eventually manifest as visible or felt symptoms. Other effects of said stress also include the decline of self empowerment and a moving away from strategic focusing on craft-related considerations such as form and technique to prevent injury and detrimental consequences on physical health.
5. Do you think that students often disregard their wellbeing when stressed ?
Yes, that tendency is common. However it must be admitted that stress can be very all consuming and causatory of a kind of burdensome self-occupation and perfectionism for the performer. It is hard to direct one’s awareness or focus onto one’s well-being when one is afflicted by stress. And so, encouragement, community, collaboration and support from their voice coach, peers, mentors and the rest of the artistic/production team is vital in helping performers care for their well-being.
6. Do you think that a kit, providing a large variety of resources and tools (vocal syrup,
tea leaf mixture, stretching band, small notes pouch, snack pouch, and more) would help
mitigate the issues that student performers face?
Not quite - only because the items mentioned in this list do not directly affect one’s voice in any positive or beneficial way. A “care kit” like this one mentioned would however help a performer feel valued.
Perhaps alternative items to consider as components of this kit could include :
a bottle of non-medicated nasal spray/saline (eg sterimar) for daily nasal and
therefore vocal hygiene which would help keep throat and respiratory related
infections at bay
“encouragement” cards where words of inspiration and motivation can help to
empower the singer
or perhaps even a daily vocal health checklist such as this:
I drank 8-10 cups of water
I took 3 vocal “naps” today
I kept my speaking voice “on the breath” (on my exhale)
I noticed my nasal resonance and used it to my advantage (‘mhmm!”)
I warmed up and did soft stretching for my voice pre show.
I spent 5 minutes today using my head voice and flageolet registers
I cooled down my voice post show
My voice feels_________________________ today
My voice sounds_________________________today
I will try this tomorrow:_____________________
(this checklist is adapted from Weill Cornell Medicine: Sean Parker Institute for the Voice)
Genevieve Toh
Singer, songwriter, artist, actress, voice technician/teacher/coach, speech coach
Founder of Genevieve Toh Singing & Vocal Coaching
I believe that establishing singers on firm foundations of vocal form and technique consistently over an extended period of
time is essential in helping them maintain optimal vocal health when undergoing intensive rehearsals and performances. It is vital for singers who perform often, to have diverse, targeted, regular and individually curated vocal conditioning workout plans with a seasoned voice teacher and coach. Strength training, flexibility, stretching, working in multiple vocal registers, laryngeal mobility, agility, breath pressure/quantity/flow regulation, breath support, mix registration coordination, vibrato development, resonance, vocal tract malleability, enunciation, recovery, amongst many other vocal concepts, are areas that singers need to explore regularly in order to have efficiency in vocal usage. There is no such thing as “10 golden vocal exercises” that benefit
every singer equally and everyday and every singer must be valued as a person with a unique voice and with specific vocal issues that need vocal conditioning tailored to his or her evolving vocal needs and objectives.
With regard to helping performers maintain optimal physical health, I believe that singers need to have holistic care not just for their voices, but their entire physical bodies. Healthy lifestyle habits such as having sufficient sleep (for vocal rest and repair), regular exercise, cardiological fitness, muscular development, mobility, flexibility etc coupled with a healthy whole foods diet, avoiding certain foods, beverages and habits (such as acid reflex causatory foods, alcohol, too much caffeine, smoking, recreational drugs etc) all affect the singer’s vocal life. One cannot ever really separate the vocal life from the singer’s physical, mental and emotional well being and having a holistic care plan for singers is essential. With regard to what the best strategies and resources are for singers during challenging performing seasons, my answer remains the same as what I have described above: establishing good form and technique by having access to customized voice lessons. If a singer has financial or scheduling challenges with having access to personalized voice lessons, then perhaps the institution/school/production can finance or provide availability to
voice lessons as a resource to help the singer. If this is not something that is possible for production organizers or institutions to provide, then perhaps a one-time or seasonal group vocal health workshop conducted by a seasoned voice teacher and coach is a more affordable yet helpful resource for the performers.
Next, I will also add another possible strategy, which is that show directors and producers can help singers greatly during these times by not over-emphasising performance perfection at the cost of the vocal, emotional, mental and physical well-being of singers. I have seen all too often singers and dancers experiencing vocal and physical injury because of the need to keep up with performance perfectionism. Perhaps it may be helpful to communicate to performers that it is actually more realistic and truly artistic to expect mistakes and slip ups during performances and instead teach them how to keep the show going, to keep the
phrase singing, to keep the choreography flowing. Performers are then relieved of the burden over them, and learn to navigate the performing life with a lot more joy, and therefore focus on well-being, form and technique, which will in turn keep injury away, and artistry organic.
As the great Miles Davis said, “It’s not the note you play that’s the wrong note – it’sthe note you play afterwards that makes it right or wrong.” This suggests that a mistake isn't a definitive failure; rather, it's how one responds to and recovers from the "wrong note" ordance move that truly matters. It highlights the importance of adaptation, resilience, artistry, fun (!) and finding a way to turn a performance setback into a new, positive direction. I believe performers would benefit greatly from this truth about artistry. Show directors may not agree with me but I believe in this strongly for the sake of the well-being of the performer who will be relieved of the burdens of perfectionism.
Another noteworthy strategy and resource in my opinion, is to make sure that the sound engineering for the production is managed by experts and technicians who are knowledgeable in this field. Many times, singers are being directed by directors or producers who may not necessarily possess knowledge in sound engineering, to be heard or to sing at volumes beyond what is healthy for them, simply because the microphones, monitors or sound production equipment were not tailored to help them. Singers should be rehearsing and performing with good audio equipment and never needing to strain their voices. To conclude, the best strategies and resources for singers must not be employed solely during the time of intensive and demanding performance schedules. Instead, these must be relied on consistently over the long term. The singer learns and is conditioned to greater strength, flexibility and efficiency best when stress is not a part of their vocal life. And so, I recommend long term consistency of applying good form, technique and practicing healthy vocal and lifestyle habits way before a singer is exposed to more intensive performing schedules. By the time a singer gets to perform, we want the singer to readily have freedom, ease and joy in their singing and performing life.
2. From your experience over the years, what are the most common complications that
most singers/performers face during peak performance and rehearsal periods?
Injury, vocal fatigue, temporary or permanent hoarseness, unintentional stylizations/”normalizations” of less than optimal vocal technique (such as wrong “rasping”), vocal misuse, vocal overuse, vocal disorders (chronic or acute laryngitis, polyps and nodules
being the most common), the loss of joy in artistry, the loss of creativity, spontaneity and organic production that is so essential especially in the art form of singing. Once again, if we really want to care for the singer, we cannot prize making a perfect sound in performance,above making a joyful noise. Over the long run, the singer’s sense of self identity and self worth is detrimentally affected.
3. How do you think performers should manage these issues?
Performers would benefit greatly from a long term coach-client relationship with a seasoned, grace-filled and encouraging voice teacher and coach who can curate a specific vocal conditioning program for them that is unique to a singer’s needs, issues, health and goals. Singers would also benefit from a time of self reflection where they get to ask themselves what they’re in this for.
Examples of self reflection questions include:
Am I doing this in the first place because I simply enjoy singing?
Has this intensity in my performing life robbed me of this joy that I first had in singing?
Will I still be happy singing even if I did not "succeed" in this performance or this audition?
Do I identify myself only with my voice?
Can I still enjoy life, and art even if I did not perform “successfully”?
What is success anyway when it comes to performing?
Is it to get the applause, the recognition, the approval?
If yes, would these be sustainable for the long term?
How do these compare with my need to have VOCAL JOY?
Can I be more than satisfied with my vocal life just to make a joyful noise because sound
making essentially makes me feel alive?
4. Do you think that physical health and mental health is linked ?
Yes they absolutely are. A lot of the mental states we experience as human beings, whether joy, sorrow, pain or pleasure, are influenced by biological, hormonal, chemical and neural processes in the body which are in turn psychosomatically produced as responses to stimuli present in our environment or life experiences. Stress or a sense of demand in the
performer’s life does have physiological consequences that play out in the body physically and eventually manifest as visible or felt symptoms. Other effects of said stress also include the decline of self empowerment and a moving away from strategic focusing on craft-related considerations such as form and technique to prevent injury and detrimental consequences on physical health.
5. Do you think that students often disregard their wellbeing when stressed ?
Yes, that tendency is common. However it must be admitted that stress can be very all consuming and causatory of a kind of burdensome self-occupation and perfectionism for the performer. It is hard to direct one’s awareness or focus onto one’s well-being when one is afflicted by stress. And so, encouragement, community, collaboration and support from their voice coach, peers, mentors and the rest of the artistic/production team is vital in helping performers care for their well-being.
6. Do you think that a kit, providing a large variety of resources and tools (vocal syrup,
tea leaf mixture, stretching band, small notes pouch, snack pouch, and more) would help
mitigate the issues that student performers face?
Not quite - only because the items mentioned in this list do not directly affect one’s voice in any positive or beneficial way. A “care kit” like this one mentioned would however help a performer feel valued.
Perhaps alternative items to consider as components of this kit could include :
a bottle of non-medicated nasal spray/saline (eg sterimar) for daily nasal and
therefore vocal hygiene which would help keep throat and respiratory related
infections at bay
“encouragement” cards where words of inspiration and motivation can help to
empower the singer
or perhaps even a daily vocal health checklist such as this:
I drank 8-10 cups of water
I took 3 vocal “naps” today
I kept my speaking voice “on the breath” (on my exhale)
I noticed my nasal resonance and used it to my advantage (‘mhmm!”)
I warmed up and did soft stretching for my voice pre show.
I spent 5 minutes today using my head voice and flageolet registers
I cooled down my voice post show
My voice feels_________________________ today
My voice sounds_________________________today
I will try this tomorrow:_____________________
(this checklist is adapted from Weill Cornell Medicine: Sean Parker Institute for the Voice)
Genevieve Toh
Singer, songwriter, artist, actress, voice technician/teacher/coach, speech coach
Founder of Genevieve Toh Singing & Vocal Coaching