Contemporary Singing Techniques Is Designed To Refocus Your Vocal

I n t ro d u c t i o n
“At each moment you choose the intentions that will shape your
experiences and those things upon which you will focus your
attention.
If you choose unconsciously, you evolve unconsciously. If you choose
consciously, you evolve consciously.” —Gary Zukav
Contemporary Singing Techniques is designed to refocus your vocal

efforts, eliminate the resistance of your present approach,
freeing your voice to sing from your diaphragm to your lips
without impedance. This enables a relaxed, open throat and a
free-flowing air stream. In fact, it ties your instrument’s compo-
nents and the mechanics of your whole voice together to work
as one. It’s the mechanical link-up and its proper usage that assure
an unobstructed operation of your instrument.
The result is relaxation as well as a consistent and controlled air

stream, enabling increased power, range, pitch, endurance and
ease of singing, with connection, in any situation or style. To
sing with connection is a matter of a constant air stream adjust-
ment, note to note, from one end of your range to the other,
leading to the development of a new sense-memory (i.e., experi-
encing a new feeling of what you need to do) note to note,
vowel to vowel, extending and relaxing your whole range until it
becomes second nature in your singing or speaking.
The following text is drawn mostly from the Contemporary Singing

Techniques CD, with additional information for further clarifica-
tion where the author felt it necessary.
c 2009 Bobrosevocal.com
xv
This book may not be reproduced in whole or part,
by any means, without expressed permission of the publisher.
WARM-UP SEGMENT 1
Introduction
For all of the figure references on the CD, see the illustrations in this text.
Note: Exercises 1- 6 can be done just about anywhere, while Exercises

7-15 require more focus and concentration, and therefore, should be
confined to a more suitable atmosphere.
Finally, the correct use of this CD will produce excellent results. You
must pay close attention to the exercises and text to execute the method
correctly. Always make sure you begin in good physical voice.
Important Note: If you feel there are any problems with your voice
prior to embarking on any vocal program, check with a vocal specialist
such as an E.N.T. or laryngologist.
Concept
The following exercises are:
1) Narrated
2) Instructed and
3) Demonstrated by students while the instructor critiques them to

uncover typical problems the student is having that often occur
with many vocalists.
Segment 1 is provided to:
1) Warm up
2) Open
3) Stretch
4) Align and
5) Direct your voice toward its optimum performance
16 Contemporary Singing Techniques

“For many reasons, trilling is a good monitor for exercises or singing
as there are no words, vowel sounds, or consonants to interrupt the
flow of air or take the ear’s attention away from the operation of
your instrument.”
Exercise #8 The Trill
Concept
Trilling the tongue or the lips by:
1. Using the tongue (see Fig. 6) or
2. Using the lips (see Fig. 7)
It’s your choice. Either one will work. I call this an infinite
consonant, which is stopping the air flow on and off using a
constant air stream. For many reasons, trilling is a good monitor
for exercises or singing as there are no words, vowel sounds, or
consonants to interrupt the flow of air stream or take the ear’s
attention away from the operation of your instrument. Your
whole singing system is now given the ability to operate with an
unimpeded, controlled air stream while giving you the
opportunity of just hearing what you’re singing: the pitch, the
placement, the resonance and air flow without interruption, just
a constant pulse that you will even out as you practice it. (Listen
to the CD).
Quick Check
Remember to 1) maintain a firm stomach as you exhale so that

your air is completely controlled (by your diaphragm) while you
2) use a partial yawn to keep your larynx down and 3) release
some air through the nasals during trilling (like a silent hum).
Remember to 4) relax your chin and facial muscles without any
contortions (monitor in a mirror). These four basics allow the
air to flow continuously through your throat, mouth and nasals.
(See Figs. 6, 7, and 8.)
Chapter Three 31
“The better you can trill a song, the better you will sing it.”
THE TONGUE TRILL
Instruction/Application
1) Position your tongue toward the front of the hard palate just
behind the gum ridge above the top teeth (not on them) where
the tongue feels relaxed.
2) To get started, you may want to use little percussive blasts of air
from the diaphragm until you can sustain the trill.
3) Use an ‘R’ sound to aid the tongue in its proper positioning off
the sides of the teeth keeping it from sticking if necessary. (See
Fig. 6 and listen to the CD.)
This may take a little time so be patient, listen to the CD and

practice, practice, practice!
Figure 6: The Tongue Trill


THE LIP TRILL
Instruction
Trill with your lips by simply 1) making a sound like a horse,

relaxing the lips and 2) initiating it with a glottal attack (see
Glossary of Terms) to get the feel and a start. 3) Listen to
Exercise 6, but use your lips (see Fig. 7). With a good air stream
and relaxed lips, try 4) sustaining the sound as you hear it on
the CD, but using the lips.
Application
(Tongue and Lip)
Using a tongue or lip trill apply:

1) A siren sound from your low- to high-range
2) A scale
a) Add a partial yawn to lower your larynx
b) Add a partial hum to open a nasal release and resonance
c) Combine the yawn and hum together with these exercises for
release and resonance
(See Fig. 6 and 7 and listen to the CD).
This may take a little time, so be patient, listen to the CD and

practice, practice, practice.
Chapter Three 33
Figure 7: The Lip Trill
Additional Applications
• When you feel you are doing the exercise well, trill a song melody all the
way through. The better you can trill a song, the better you will sing it.
Also, it will help you to warm up to that particular song. Try it and feel
the difference! (Listen to the example in Segment 2, Track 25 of
the CD.)

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I n t ro d u c t i o n

If you choose unconsciously, you evolve unconsciously. If you choose

consciously, you evolve consciously.” —Gary Zukav

Contemporary Singing Techniques is designed to refocus your vocal

The result is relaxation as well as a consistent and controlled air

The following text is drawn mostly from the Contemporary Singing

Note: Exercises 1- 6 can be done just about anywhere, while Exercises

The following exercises are:

3) Demonstrated by students while the instructor critiques them to

Segment 1 is provided to:

5) Direct your voice toward its optimum performance

16 Contemporary Singing Techniques

as there are no words, vowel sounds, or consonants to interrupt the

Exercise #8 The Trill

Trilling the tongue or the lips by:

1. Using the tongue (see Fig. 6) or

2. Using the lips (see Fig. 7)

Remember to 1) maintain a firm stomach as you exhale so that

THE TONGUE TRILL

This may take a little time so be patient, listen to the CD and

Figure 6: The Tongue Trill

32 Contemporary Singing Techniques

Trill with your lips by simply 1) making a sound like a horse,

Using a tongue or lip trill apply:

(See Fig. 6 and 7 and listen to the CD).

This may take a little time, so be patient, listen to the CD and

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