1.Why do I get tired when I sing?

This probably the most common question that I get from people interested in singing lessons. Getting tired when you sing is a clear indication of some imbalances in the muscles involved in singing. Let’s use the image of a crying baby as an example – as all new parents know, a baby can cry forever, without getting tired or vocally fatigued, not having taken a single singing lesson! If you observe a crying baby, you will witness absolute perfection in breath control! A baby’s breathing pattern will be as natural as can be, as it has not yet learned any bad habits. The ribs expand optimally without any tension.

The vocal folds adduct optimally with ideal focus, making a “squeak” which makes the sound carry far, without excess adduction, nor looseness which would result in a breathy sound.

We come back to the idea of “vocal efficiency”, where each component of the singing apparatus in perfectly in balance. In my teaching experience, the most common inefficiency is in the breathing, as most people have become programmed in to shallow, high breaths. I will almost always start working on a fuller breath with most of the singers coming to my studio for singing lessons. A proper breath will solve 70% of the problems we have as singers, including fatiguing.

Another important factor is improper vocal fold adduction, which can cause tiredness. This is tied to the breath in as much as when we breath properly, we experience what is called the tracheal pull/tug or cricoid tug which is the visual movement of the trachea that occurs when we inhale. This places the trachea in a more ideal position for correct vocal fold posture – here we come back to the importance of a proper inhalation!

We must learn to approximate the vocal folds optimally, which means letting go of any false proprioception of having to squeeze the vocal folds together to make a sound. Equally important is to avoid loose vocal fold adduction, causing tiredness as too much air passes through the glottis.

If we lack in acoustic space, i.e. open throat, raised soft palate, released jaw, we may also feel tired, as we are not able to produce the correct resonance on any given note.

In conclusion, to avoid fatiguing when we sing, we need to make sure that there is muscular balance and proper function throughout our singing body, which is an absolute fundamental in my singing lessons.

2. Why does my voice sound weak?

Another common question, and in essence, it again comes down to muscular imbalances – dysfunctional breathing, inappropriate vocal fold position, and incorrect or lack of resonance space. However, another component may be at play, as I have discovered over the years when giving singing lessons, and that is a person’s perception of their own voice, and sometimes even a skewed perception of themselves.

When someone starts to develop muscular balance in their singing, we often find that the voice becomes more present, and yes, louder. I say that’s when we become more efficient in our voice production. However, this can be a challenge to some clients, as they find it hard to identify with this new sound, this new them! I ask them if they are willing to take space and be heard, as this is something they may need to work on – being heard, loud and clear!

3. Why can’t I sing high notes?

When we think of classical singing, and opera singing in particular, we think of those high notes, right?! The thrill of those high notes is palpable, and as we develop our singing technique, we feel incredible when we can sing them! But if you struggle to sing high notes, remember that they will come when you, once again, find that muscular balance and muscular coordination.

High notes are more challenging, as they lay outside of our normal human experience – it’s simply not “normal” to sing that high, just as it is not normal to do 20 pirouettes on the tip of your toes, like a ballerina! This is when technique is paramount! The coordination is even more crucial when singing high notes, as they are more extreme, and therefore require more strength. But most important to remember is that here we need patience! We need to carefully but firmly build that muscular coordination; otherwise, high notes will sound and feel just like a scream.

High notes aren’t necessarily something you have or don’t have, it’s a matter of learning how to sing them! Granted, some voices sit naturally lower, and they may never be comfortable with the high Cs, but in my teaching experience, most singers can access those high notes (often when they find themselves in the zone, were they just experience and don’t try so hard), but the repertoire we chose may not always have the extreme tessitura.

4.
How long does it take to learn how to sing?

How long is a piece of string? This is impossible to tell, and most singers would say that it takes all their lives, and that you’re always learning – I can confirm that this is true!

When someone comes in to the studio for the very first time for their consultation singing lesson I observe and watch, perhaps more than I take onboard what they are actually saying. I listen to how they use their speaking voice, what their body language might tell, etc.

Someone who has a little dysfunction in their speaking voice may find that it takes a bit longer to build muscular function in their singing – remember, the way we use our voice in everyday talking is the way we “practice” and reinforce muscular balances or imbalances. Interestingly, I’ve found with many clients that their speaking voice improves greatly after some time, and they actually have more presence in their day- to -day life because of this.

If you can find time to practice at home, you will become a better singer faster, this is obvious. Some clients make incredible improvements within months, while some need longer. The most successful clients are the ones who are committed to their practising, yet are able to look at their progress (or lack thereof) in a detached way, without getting overwrought. Patience is the name of the game!