Sleep 01/04/2011
 
We all know that sleep is important, but very few of us actually get the amount or quality of sleep that we need. Sleep deprivation can cause fatigue, afternoon drowsiness, clumsiness, weight loss or weight gain, and severely impairs brain and cognitive function. It limits your body's ability to heal wounds and fight infections, and increases risks for developing Type 2 diabetes, fibromyalgia, and high blood pressure.

With the pace of life ever increasing, it can be very difficult for high school and college students to find time to get enough sleep. School, sports, extra-curriculars, after-school jobs, homework, chores, family, and friends fill the modern student's life. Sometimes, there is simply not enough time in the day, even for the most organized, efficient student, to meet everyone's demands. In order to do everything expected of them, students decide to forgo sleep. But, lack of sleep can have devastating consequences.

Tired teens or grown-ups:
  • Fall asleep in class or at work.
  • Struggle to concentrate.
  • Forget important obligations.
  • Seem impatient.
  • Look tired.
  • Look stressed.
  • Show stress related behaviors that result in self-injury (like cutting and self-embedding)
When a person does not get enough sleep, their waking hours suffer. How much sleep should a high school or college student get each night? Most teenagers need 9 hours of sleep each night. This is not an average. This means that a teenager needs 9 hours of quality sleep each and every night in order to function properly. Of course, most students don't get 9 hours of sleep each night, so they start accruing a sleep debt. Sleep debts are slept off during naps, or by sleeping late on the weekends.

What makes it even harder for teens to get adequate sleep is that their circadian rhythms are out of sync with the adult world. Your circadian rhythms are your internal clock. Our circadian rhythms go through periods of adjustment in our teens and early twenties. So, although mentally exhausted, a teen's body is not ready for sleep at 10PM. Their internal clock may not kick in and tell them they're tired until 11PM or midnight. This is a problem if they have to be at school by 7 or 8AM.

Here are some suggestions to help prepare your body (and mind) for sleep, even if it's not quite ready to settle down.
  • Create quiet time in the evening by limiting the use of electronics such as cell phones/telephones, televisions, and computers. That means no phone calls, video games, movies, chatting or texting.
  • Limit caffeine use after 4PM for a good night's sleep, and absolutely no caffeine or energy drinks after dinner.
  • Beware of reading late at night. Reading a good book can be relaxing, but sometimes we get "caught" in the book and end up reading until 2AM.
  • Before you go to bed, straighten up your room, decide what to wear tomorrow, write your schedule down and make a to-do list for the next day. That will ease your mind of all those thoughts about what you have to get done the next day, making for an easier transition to sleep, and a more productive day when you wake.
  • Herbal teas such as chamomile can be soothing. Have a cup of hot tea or warm milk at least an hour before bed. That way, you don't have to get up and use the bathroom.
  • Spend some time journaling about your day. Reflect on what happened and write it down. If you process the events that happened during the day before you go to bed, your brain will be free to shut down when you decide it's time to sleep.
  • Listen to slow, quiet music. Look for CDs that are bioaccoustically tuned to slow your body rhythms down (breathing and heart rate) or develop Delta brainwave patterns. Check out: Music to Promote Sleep, The Delta Sleep System, or Sound Asleep. I also like the CD Through a Dog's Ear: Music to Calm Your Canine Companion. The music on the CD was bioaccoustically designed to calm humans, but it also works well with dogs.
  • Use guided meditations to promote sleep, or meditate quietly on your own. Check out: Sleep Solutions.
  • Practice yoga before bedtime. There are plenty of DVDs available to guide you through bedtime yoga routines. Check out: Element: AM and PM Yoga for Beginners.
  • Take melatonin to promote sleep. Melatonin is a hormone produced in your body by the pineal gland in the brain. The release of melatonin tells your body to go to sleep by increasing drowsiness and lowering your body temperature. A teenager's body releases melatonin late at night, often after you should already be asleep. Melatonin is available as an over-the-counter dietary supplement at drug and grocery stores. It is non habit-forming, completely natural, and won't leave you with a "hang-over" like other chemical sleep aids.
  • Dim the lights. Melatonin is "the hormone of darkness." As daylight fades darkness triggers your body to release melatonin. Daylight is principally blue light (460 to 480nm). It suppresses melatonin. Firelight is principally yellow light, and does not inhibit the release of melatonin. So, dim the lights or wear sunglasses that block blue light in the hours before bedtime to promote the release of melatonin.

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We use our facial muscles for both articulation and expression when we sing. Articulation is the formation of sounds and words. Singers are different from other musicians because we use words.

Let's start by mapping the muscle that move your lips. Think of  your lips from the inside. On the inside, they go all the way up to your nose, and all the way down to your chin. That's how big the muscle is that moves your lips. It's like having big clown lips, not tiny lipstick lips. When your brain maps your lip muscle all the way up to your nose, and all the way down to your chin, it's easy to purse your lips for sounds like "oo" and "oh." We need that muscle for our lips to come forward and away from our teeth, making a nice "oh" shape. Remember, good shape makes good sound.
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Next, let's map your smile muscles. Those are the muscles that run upwards from your lip to your eye. Those are our genuinely happy smile muscles, not fake happy smile muscles. When they contract, they give us puffy "chipmunk" cheeks. They work by moving your lips our of the way and making your voice "brighter." Try singing on "ah" and slowly smile. Now release the smile. Do you hear a difference in the sound? As you lift your cheeks, your sound gets brighter.

Lastly, I want to draw your attention to the muscles in your forehead. They lift your eyebrows up, and are great muscles for expression and communication. Your eyes are the most important part of your face when it comes to communication. Do an experiment. Next time you're having a conversation with someone, look in a different direction while you're talking to them. Ask them how it feels if you don't look at them while you address them. Or, better yet, have them do it to you. Next, close your eyes while you talk to them. How does that feel?

We always want the person speaking to us to look directly at us. It's unnerving when they don't. When you sing, you want the audience to believe that you are looking at them. You don't have to look them in the eye in order to do that. As long as you are looking at your eye level, you can look over the top of someone's head, or just past their ear, and they'll still feel included in the conversation.

Now, back to that muscle that lifts your eyebrows. If you use your smile muscles, your eyes can get a bit squinty and small. If you raise your eyebrows, it opens your eyes back up and makes them look big. If you're performing on a stage, no one will notice that you're lifting your eyebrows. And, lifting your eyebrows while you breathe in tricks your brain into lifting the soft palate. More on the soft palate later.
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Do you remember my rule of thumb for singing. You always need a thumb's width between your teeth while you sing. That's the minimum amount of space you need. The higher the pitch gets, the more you have to open. Sometimes extremely low pitches need more space, too.

Here are some ways in which you can practice singing and maintaining the thumb's width:
  • Simply sing with your thumb between your teeth. The words won't be clear, but you know you have enough space.
  • Hold a pencil or popsicle stick between your teeth. Make sure you hold it with your hand and don't bite down. If you use your teeth to hold it in place, it defeats the purpose of trying to release your jaw to gain space.
  • Take one hand and gently push your thumb and index (or middle) finger against your cheek, inserting it between your molars.
  • Or, take both hands and gently push you little fingers against your cheek, inserting them between your molars.
Maintaining a thumb's width is a foreign feeling for most of us. We usually carry too much tension in our jaw for the thumb's width to feel natural. Keep thinking about releasing the muscles that hold you jaw, and practice the techniques above to get used to how much space you actually need to sing. Remember, it takes mental work to release the jaw. It should not take physical, muscular work to open your mouth.
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We've all hear the term belting. It gets thrown around a lot when people talk about singing. But do you really know what it means?

Remember our discussion about head voice vs. chest voice? Chest voice uses muscles that make the vocal folds short and fat. Head voice uses muscles that make the vocal folds long and thin. Belting is a form of chest voice, but it's chest voice to the extreme. It's kind of like a square is a rectangle, but a rectangle is not a square. Belting is chest voice, but chest voice is not belting.

When a singer uses chest voice, muscles make the vocal folds short and fat. When a singer belts, they exclusively use those chest voice muscles, no matter how high they sing. They never switch into head voice. However, belting takes things one step further than just chest voice. During normal chest voice function, the vocal folds are together and apart for an equal amount of time. During belting, the singer slams the vocal folds together, holds them together, and then lets them come apart briefly before slamming them together again. The vocal folds are touching longer than they are apart.

Belting is the vocal equivalent to being a contortionist. Many people are born with amazing flexibility in their bodies, but very few can turn themselves into the human pretzel. You're either born with that ability, or you're not, and no amount of trying will turn you into the human pretzel without doing serious damage to your body. Belting is the same way. You're either born a belter, or you're not. If you try to belt when your vocal folds were not designed for that activity, you'll end up doing vocal damage.

Physical contortionists from Cirque du Soleil perform on the Today show.

Now, there's something that I refer to as the "Annie syndrome." Many young children want to be Annie, and the Annie songs were belted. Many young children can belt those songs because we're more flexible when we're young. Think of toddlers and preschoolers. Many of them can get their foot up to their mouth. However, as we age, we lose much of that flexibility. How many teenagers or adults do you know who can still suck on their toes? So, when we're young, we have the vocal flexibility to belt Annie. As we age, the larynx becomes sturdier as part of the maturation process, and we lose that flexibility. If a young singer never learns to sing with head voice, their range will shrink and it will become increasingly harder to sing in chest voice. Most of the time, those children lose the joy in singing, and end up giving it up altogether.
Case in point, how many of the children who sang the role of Annie in the original Broadway production grew up to become famous singers? How many of these names do you even recognize? Andrea McArdle, Shelly Bruce, Sarah Jessica Parker, Allison Smith, and Alyson Kirk. How about the touring companies? Kathy-Jo Kelly, Mary K. Lombardi, Theda Stemler, Louanne Sirota, Becky Snyder, Patricia Ann Patts, Marisa Morell, Kristi Coombs, Roseanne Sorrentino, Bridget Walsh, Mollie Hall, Kathleen Sisk. Shall I go on?

In the long run, it's much healthier for young children (and adults) to learn to sing with head voice. They may not sing as loudly at first, but they'll definitely sing for many more years than if they only learn to belt.
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Can you put your fingers on your jaw hinge? Are you 100% positive you know where your jaw connects to your skull? Find your ears. Now, find the ridge of bone that we refer to as the "cheek bone." Right below the cheek bone, and directly in front of your ears is where your jaw makes a joint with your skull.
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This is usually the first area that I find people have errors in their body maps. Only about 50% of people will put their fingers right in front of their ears. 25% of people will place their fingers where their back teeth end, 12.5% will place their fingers on the soft spot behind their ears, and the remaining 12.5% will indicate the right angle on the bottom of the jaw where the bone changes from horizontal to vertical.

We only have 1 jaw. We do not have jaws, plural. Remember that your top teeth are in your skull, and your bottom teeth are in your jaw. We open our mouths by lowering our bottom teeth. We do not raise our top teeth. They stay stationary. If you need to prove it to yourself, climb underneath a table. Place the top of your head against the bottom of the table top. Open you mouth. Now, crawl out from under the table and rest your chin on top of the table top. Open your mouth. See, the bottom is the only part that moves.
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The joint where our jaw meets our skull is called the temporomandibular joint, abbreviated TMJ. It is a unique joint in our body because both sides have to work simultaneously. You can move your elbow without moving your shoulder, and your shoulder without moving your elbow, but you cannot move the right jaw hinge without moving the left at the same time, in the same direction.

You may hear people talk about TMJ. "I have TMJ," or "I suffer from TMJ." Well, technically, we all have 2 TMJs. TMJ is just the fancy name for our jaw hinge. What people mean to say when they "have TMJ" is, "I have TMJ syndrome," or "I have problems or pain in my TMJ."

Here are some of the most common symptoms of TMJ problems:
  • Headaches (often mimicking migraines), earaches, and pain and pressure behind the eyes
  • A clicking or popping sound when you open or close your mouth
  • Pain brought on by yawning, opening the mouth widely or chewing
  • A jaw that "gets stuck," locked, or out of place
  • Tenderness of the jaw muscles
  • A sudden change in the way the upper and lower teeth fit together
There are 4 muscles that move your jaw. The 2 largest muscles are on the outside of your face.
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The obvious muscle is right across your cheek, but the largest muscle is actually on the side of your head. Place your fingers on your temple and move your jaw. Can you feel the muscle move? The other 2 muscles are inside, so you can't touch them. It takes the 3 largest muscles (2 on the outside and 1 on the inside) to close your mouth and keep it closed. That leaves the smallest muscle to open your mouth.

Now, here's where we run into a problem. The 2 large muscles on the outside collect tension. They get tight when we're stressed, angry, upset, overtired, sad, or just having a bad day. When they get tight, they send the message to close your mouth and keep it closed. But don't we want to open our mouths for singing? Remember that vibration doesn't travel well through solid surfaces, so we need to get out lips and teeth out of the way to let the sound out. But how can one tiny muscle fight to open your mouth when 2 very large muscles are telling it to close? It can't.

In order to open our mouths, we need to release tension. How do you do that? by consciously making an effort to let go. You'll need to do a body scan at regular intervals during the day (maybe every time you change classes in school). Ask yourself, "Have a collected tension in my face and jaw?" The answer will always be, "Yes." We subconsciously collect tension. Now, tell yourself, "I deserve to be tension free," and make a conscious decision to release.

When we fully release the tension that is holding our jaw closed, gravity pulls it open. You don't need a muscle to open your jaw! Gravity does all the work for you. So, I want you to be lazy. Let gravity pull your jaw open. You should have that "just woken up from a deep sleep" look. That's what I call the "Village Idiot." You should feel slack-jawed. This village idiot look is what happens when we get rid of tension and let our mouths hang open. It's also the feeling we want when we sing - no tension, and no work.

Now, this leads me to my rule of thumb for singing. You always need a thumb's width (the width of your thumb at the first knuckle) between your teeth when you sing. So, turn your thumb to face the side, find your village idiot look, and slide your thumb between your teeth. If you've successfully gotten rid of tension, this should feel easy. If it feels really wide, you need to work on releasing more tension. The thumb's width is the minimum amount your mouth should be open when you sing. At times, you may need more space, but you should never have less.

So, welcome to the village idiot school of singing, and always remember the rule of thumb.

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You may have heard the terms head voice and chest voice before. Head voice and chest voice are different registers in the human voice. The different registers are created by using different muscles to manipulate the vocal folds.

Our vocal folds are in the shape of a V. We have muscles that open and close the V. When it is open, we breathe, when it closes and we breathe out, we make sound. But we also have muscles that change the length of the vocal folds. When we make them short and fat, we produce chest voice. When we make them long and thin, we produce head voice.
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When the vocal folds are short and fat (chest voice) we can sing low pitches. Just think about the strings on a piano, or a guitar. The strings that make the lower pitches are fatter than the ones that make the higher pitches. That's because lower pitch equals slower vibration. The faster the vibration, the higher the pitch. In chest voice, the short and fat vocal folds produce a very rich, full sound because a lot of surface area is touching. When we sing in head voice, the long and thin vocal folds produce a more delicate, floaty sound.

Now, what happens if you try to make those short and fat vocal folds go faster so that you can sing higher. Well, for most of us, it's like running into a brick wall. You're going to reach a point where you don't have any more energy to make them go faster, and CRACK! the voice stops, or your body switches into head voice. That's a defense mechanism against committing vocal suicide. But, there's nothing that says that long and thin vocal folds can't vibrate slower. Not only does your head voice allow you to sing a lot higher than your chest voice, it also can allow you to sing low. It's a lot more versatile than chest voice.

Let's find your chest voice and head voice. Put your hand on your chest and pretend you're a very large man. In the deepest voice you can, say "Hey, yo!" Feel any buzz in your chest? That's chest voice. Now, pretend you're a large dog, and bark. Feel it again in your chest? Next, you can put your fingers on your nose or cheek bones. Howl like a wolf. Hoot like an owl. Bark like a little dog. Can you feel any buzz in your head? That's head voice.

Many people don't know how to find their head voice until they have voice lessons. That's why untrained singers can always sing low, but not many can sing high. It's important to exercise your head voice in your vocal lessons so that those muscles become just as strong as your chest voice muscles. Don't worry, your chest voice will not disappear, even if you only sing in head voice. We use our chest voice when we speak, so it gets plenty of exercise.

For a while, your head voice may be softer in volume than your chest voice. This is normal for beginning singers. Once you strengthen those muscles, your head voice has the potential to be just as loud as your chest voice. Opera singers use head voice. Are opera singers quiet? In the long run, only using head voice is the healthier option. You will benefit in the long-term if you learn to use your head voice.

Marin Mazzie: "I Hate Men" from Kiss Me, Kate by Cole Porter

Marin Mazzie sings in chest voice until the end of the verse when she switches into head voice. Can you hear the difference?

Kathryn Grayson: "I Hate Men" from Kiss Me, Kate by Cole Porter

Kathryn Grayson sings the first phrase in chest voice, then switches into head voice. Can you hear the difference?
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When you think of your nose, you think of just the exterior. No one ever stops to think about the interior of the nasal cavity. Your nasal cavity - the open space behind your nose - extends up behind your eyes and all the way to the back of your throat (all the way back to the sphenoidal sinus). It's that huge! That's why you can blow your nose forever when you get sick, with no end in sight.

In addition to the nasal cavity, we also have other areas of open space in our heads. They are called sinuses. Of course, all of these sinuses are located behind the bones in the front of your face, so we can't see them or touch them. We have the maxillary sinus behind our cheeks. As you can see, it's tall and wide, and very deep. We also have sinuses behind the bone in our foreheads above our eyes. If those frontal sinuses get clogged, you get a sinus headache. When we are healthy, all of these sinuses including the nasal cavity should be filled with air.
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When we sing, we send air from our lungs through our vocal folds. The air is now vibrating. We want that vibrating air to travel up and out our mouths. If it travels through your nasal cavity and out your nose, we refer to that as nasal singing. In this culture, we don't like nasal singing very much.

When I speak or sing, I need to get the vibration that my vocal folds made to your ears so that you can hear me. Now, there's no way the air from my mouth could reach your ears in a large theater. But, lucky for us, vibration is contagious.  When the vibrating air comes out of my mouth and reaches the air in the room, it makes the air in the room vibrate as well. It's the air in the room that reaches your ears so that you can hear me. Vibration does not travel very well through solid surfaces. You know that because if you plucked a guitar string, and then put your hand over it, the string would stop vibrating. So, if there were a wall between us, you wouldn't hear me very well, or maybe not at all.

The vibration travels in this same way through your sinuses. As you sing or speak, the air in your mouth is vibrating. That vibration travels through the thin layer of bone that is your hard palate, and finds more air in your nasal cavity. Now, the air in your nose is vibrating, too, and you feel buzz. Then, there's just a thin layer of bone between your nasal cavity and those sinuses in your cheeks. The vibration travels into your cheeks, and you feel buzz. The vibration can even travel into the frontal sinuses in your forehead!

If the buzz goes forward in your face, then there's only a thin layer of bone on the exterior of your face before the vibration reaches the air in the room. Now, I don't have to rely solely on the air from my lungs to make the air in the room vibrate. The buzz in my sinuses also helps to make the air in the room vibrate. And, you know that the bigger the sounding board, the louder the instrument. A 12-foot concert grand piano makes so much more sound than a little upright. If I can make the surface of my face buzz, it will make me a little louder.

Now, remember that vibration doesn't travel well through solid surfaces? Well, tensed muscles are harder than released muscles. Flex the muscles in your upper arm. They're harder when they're flexed than when they're released. So, when we have tense muscles in our body, it prevents the buzz from spreading. We have to learn to release our muscles and sing with freedom so that the buzz can spread. All the technique that you learn with your teacher helps you to sing with freedom. As you master more technique, you may feel more buzz.

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The Hard Palate 09/28/2010
 
Touch the roof of your mouth with your tongue. It's hard, isn't it? That's because it's made of bone. You can see it in the illustration below, which shows the interior of the skull.
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The roof of your mouth is called the hard palate. Some of you may know the word palate from having braces and palate expanders.

Let's continue our experiment in buzz which we started in An Introduction to Buzz: A Singing Experiment. Take your thumb or index finger and touch your hard palate right behind your top teeth. Sing the exercise on [ah] and imagine that your voice is traveling forward to where your finger is, and even outside of your mouth.
Can you feel buzz on the hard palate where your finger is? That's forward buzz. We have 3 dimensions in our face. You may have already experienced the other two. You may have noticed that the buzz moves from side to side; sometimes it's in your nose, and sometimes it's in your cheeks. You may also have noticed that if can move up and down; sometimes it's at the bottom of your nose and in your lips, and sometimes it's in the bridge of your nose and in your forehead. The buzz can also move forward and back; sometimes it's at the hard palate and even outside of your mouth, and sometimes it's in the back of your mouth and in your throat.

We'll talk about why you feel buzz in your face next time.
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Start by humming the following exercise.
Do you feel anything when you hum? A lot of singers feel vibration - I'll call it buzz- in an area called the "mask of the face." Imagine you put on big swimming goggles, the kind that cover your nose, too. That's the mask of the face. It goes from your eyebrows to your upper lip. Did you feel anything in the mask of the face when you hummed?

Lets try it again. This time, place your fingers on the bridge of your nose, right where your glasses would sit. Hum the exercise again, and imagine that your voice travels right to your fingertips.
Did you feel anything with your fingers when you hummed? Let's try one more time. This time, place your fingers right on your cheek bones underneath your eyes. Hum the exercise again, and imagine that your voice travels right to your fingertips.
Feel anything with your fingers? That's buzz. Where you feel it and how strongly you feel it is a very individual thing. You may feel it in your nose, or you may feel it in your cheeks, or it may be in both places. Repeat this exercise on several days to get a sense of what is normal for you when you hum.

We're going to repeat this exercise again. (Are you tired of this exercise yet?) You may place your fingers on your face if that helps you to feel buzz. Sing on the sound [ah]. Does it buzz when you sing? Where does it buzz? Does it buzz more or less than when you hum?

Repeat it again, this time singing on the sound [oo]. The sound [oo] for singing is different than [oo] for talking. When we speak, we have an [ew] sound, "Ew, I have to take out the garbage." When we sing, we want to use the Italian version of this sound. Place your fingers on either side of your lips and squeeze them together to make a "kissy face." When you remove your fingers, your lips should make a nice round shape - a little o. This is "oo, a present for me!" Remember, good shape with our lips makes good sound. Sing the exercise again on this Italian [oo]. Does it buzz? Where does it buzz? How does the intensity compare to humming or [ah]?

Repeat the exercise again using the sounds [ee], [eh], [oh]. Do they buzz? Where do they buzz? How does each sound compare in intensity? Keep track of what vowel sound buzzes most, or what sound doesn't buzz at all. This is normal for you right now. As you learn more about singing technique, the buzz may change. If it does, it is a good indicator of the progress you are making. The buzz may change a little from day to day, so make sure you repeat the experiment on multiple days to learn what is normal for you.
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In my second year of teaching, I had a student who had difficulty in her first lessons feeling any vibration in her face. She was 11 years old, just starting 6th grade. I asked her to place her fingers on the bridge of her nose, and we repeated the humming exercise. She still couldn't feel anything, so I asked her to place her fingers on her cheek bones right underneath her eyes. We repeated the humming again, and still nothing.

This is unusual. Usually people feel vibration when they place their hands on the face. Your fingers provide you with an extra tactile sensation, so that you feel the vibration in your fingers as well as your face. But maybe this girl wasn't placing her fingers properly, or using the right amount of pressure. I asked her if she could feel her cheek bones with her fingers.

She said, "No."

"They're right underneath your eye. Feel the soft spot underneath your eye. That's your eye socket. Trace it with your finger. From the bridge of your nose, it follows your eyebrow around and underneath your eye, and then back up to the bridge of your nose. Now, can you feel the bone right underneath your eye?"

"No."

This went on for some time, with me trying to verbally guide her because I didn't want to go grabbing her face. Finally, she confided in me. "Well... I don't have any bones in my face," she said.

I was floored. If I had been prepared, I would have asked, "What is your face made out of then?" But instead, I preceded to tell her that everyone had bones in their face, and we looked at the picture of a skull, and I had her trace the eye socket, and the jaw.
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When I told her dad what she had told me, he was stunned too. He said that she was studying anatomy in her science class. She should know that she had bones in her face. In any event, it was almost Halloween, and there were skeletons all over the place. You'd think that it was pretty obvious that we all had bones in our faces.

This is the funny thing about body mapping. In your brain, you can be the only person in the world who doesn't have bones in your face. You're special. But the really amazing thing is how this girl's belief - she didn't have any bones in her face - changed her perception of singing.

I'll never know if she finally accepted that she has bones in her face. She never came to another lesson. I guess she was angry that I insisted she had bones in her face. I wish that I had asked her what she thought her face was made out of. On the other hand, I did learn that no matter how obvious I think something is, it never hurts to restate it. And, I make sure that every new student I see knows that they have bones in their face.
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