“What if you could easily learn the tools to be a
BOLD communicator? - Singing or Speaking...”

Are you serious about your songwriting?

Serious about making a career with your music?

Then this class is for you!

‘It’s a thrill watching clients’ songwriting improve as you become comfortable and feel at home with your singing.’ Sally

Singing for Songwriters

Sing Like You Speak

4-Week Class

Nov 23 - Dec 14 7-8:30 pm

925 West End Ave (105 St)

wtih Sally Morgan, creator of

Morganix Method™ Sing Like You Speak

Stop struggling to sing!

Take your songwriting to the next level!

Increase range, quality and pitch!

Simple, natural solutions!

Cost: $160

Payment accepted via cash, check or

online @ www.VocalPowerTools.com

For more Info @ VocalPowerTools.com

This week I attended the Voice and Speech Trainers Association annual conference in NYC where a lifetime of work came full circle. Let me fill you in.

College at SUNY Binghamton offered me the privilege of studying Arthur Lessac’s Speech Method. Even all those years ago I loved the work of isolating, exploring and “buzzing” every sound that makes up this wonderful language called American English. It was great fun and also gave me a feeling of the power in simple speech, simple clear communication. That love of the music of speech has stayed with me all these years.

Years later, when my search for a non-classical voice teacher ended in the conclusion that if there was going to be a codified, well-structured, healthy vocal technique for the contemporary singer, I would have to write it – it was my Lessac work that become one of the key components of my method. Without realizing it at the time, I incorporated this brilliant speech technique into my singing method.

Now comes the amazing part of my story. Arthur Lessac was our keynote speaker for the VASTA conference this week. Mr. Lessac mesmerized the audience with the brilliance of his heartfelt message and the music of the speech. He did apologize for having to use notes to get through his hour-long keynote, but then, when you’re 100 years old the memory isn’t quite what it used to be! 100 years old and his voice is still powerful and resonant and a sensual experience to hear!

Mr. Lessac embraced me with a strong hug when I told him I was a SUNY Binghamton graduate. I did not have the privilege of studying with the master himself, but did study with those he had trained during his tenure at the college.

I shared the story of being totally frustrated with the ignorance of the vocal music department in the area theater voice. He shared similar stories. It was in that moment that I realized the profound effect of the Lessac Method on my life’s work as a singer and vocal trainer and creator of the Morganix Method™.

Arthur honored me by accepting a copy of my book. It has come full circle. I am grateful to this brilliant, warm, wonderful man and his passion for awakening a love of the music of speech in so many people.

Thank you, Arthur Lessac. You are a great teacher.

Every artist must also be a businessperson. You are the CEO your own business – the business of your career. The internet has not only made this easier and more accessible, but necessary.

Here’s an example of a brilliant use of the internet to build business. Ken Davenport, a recent guest on Singers Key Notes, shared with us the first-ever use of Theater 2.0.

Ken set up a purchased an already existing website, www.MyFirstTime.com that asked its’ users to tell about their “first time” stories. All the words in My First Time as from real people who shared their stories on the website. Ken then crafted their words into the show we now see.

The show, My First Time brings to life some hysterical and heartbreaking stories, real stories from real people. Now here’s the marketing genius at work. The “Virgins Get in Free” promotion Ken created for the opening received international attention from major media networks worldwide. Brilliant!

Singers, there is a lot for us to learn here. Ken does not seem to have any filter on his creativity. He is passionate about all aspects of theater and gives 150% of his energy to it. If he is bothered by negative voices inside his head, it certainly doesn’t stop him. He doesn’t go off in several directions at once to create a project, he goes deep into every aspect and develops a solid business plan, a plan of action and then follows through on those actions.

Ken Davenport is unique because he dares to be. He is wildly successful because he has put in his time learning all aspects of the biz and treats his career, however creative, as a business career.

Singers. Do you have a business plan? What are your outrageous marketing ideas? Do you have the courage to follow through on those plans? Do you at least have the courage to share your crazy ideas with a fellow singer? Challenge yourself to stretch out and brainstorm with others and see what interesting ideas pop out. Then decide which are doable – even if they are outrageous – and follow through.

You never know what can happen!

Ken Davenport, the young man the NY Times has dubbed ‘the P.T. Barnum of Off-Broadway, was my guest on Singers Key Notes this week. As a result, I am confident that Broadway will not only survive but thrive because we have this brilliant young man leading the way.

Ken is an innovator. He has unbridled creativity. He lives and works in the moment and uses technology to build his shows, the audience and the buzz necessary for a long-running show.

Not only is he the only producer with three shows running off-Broadway at the same time—The Awesome 80s Prom, Altar Boyz and My First Time—but they have all recouped their investment, grossing a total of $30 million worldwide. Combined, his productions have grossed more than $ 100 million worldwide and are being produced internationally in 25 countries including Germany, Mexico, France, and Korea.

Financial success Off-Broadway is a feat in itself. Financial success in a major worldwide recession is monumental. How does he do it?

First of all, he’s been in the theater all his life from childhood actor to NYU to general manager on several Broadway shows. Ken spent 10 yrs working backstage to prepare himself for the role of producer. None of this success was due to luck. It’s a lot of hard work and years of learning the ropes and a willing and relentless spirit.

Also, and this is the piece of the puzzle for our discussion today. Ken Davenport, has the creativity and the courage to use it, wrote and directed My First Time, the first-ever ‘Theatre 2.0.’ Ken set up a website, www.MyFirstTime.com and asked its’ users to tell about their “first time” stories. All the words in My First Time as from real people who shared their stories on the website. Ken then crafted their words into the show we now see.

Ken is creator, crafter, actor, director, PR guy, producer, you name it, he does it! I questioned him about playing all these rolls in his business and how he gained experience in all these areas. His answer was wise beyond his 38 years.

To paraphrase, Ken said that you’ll never be ready to take on a task until you actually do it. Will you always be successful? Maybe not. But if you don’t ever try, then you have no chance of succeeding. This does not mean that you should produce a Broadway play your first time out, but produce a high school musical, get involved, stretch your wings and learn.

Nike is right: Just do it!

Singers Key Notes, a FREE weekly show hosted by Sally Morgan, Mondays at 1 pm NY time. Special guests are top music industry songwriters, producers, voice teachers, music publishers and performers. Provides a forum for the exchange of secrets, ideas and cutting edge techniques. It’s totally free! For guest list and to sign up visit http://vocalpowertools.com/singers_key_notes.htm

July 20 – Special Guest – Peisha McPhee, Voice Teacher/mother of American Idol star Katharine McPhee

Internationally renowned singer and vocal coach approaches her art with a unique vision because she knows music from three different perspectives. First, as a world-class singer, actress and musical theater star. Secondly, as a voice teacher who has mentored and coached literally thousands of singers for two decades. And finally, as the mother of two daughters who chose careers in the performing arts — Adriana, an accomplished cabaret and theater performer, and Katharine, the American Idol superstar. This “triple threat” perspective has made Peisha one of the most sought-after and respected entertainers, vocal coaches and speakers today.

July 27 – Special Guest – Frank Ponzio, Pianist/Accompanist/Arranger

Frank Ponzio, pianist and composer, accompanist, arranger and educator, music director and one of Sally’s favorite people. We’ll be talking about that ever important, ever tricky relationship between singer and the players who back us up.

August 3 – Special Guest – Ken Davenport, the PT Barnum of Off-Broadway

Ken’s impressive Broadway and Off-Broadway production slate includes Speed the Plow, You’re Welcome America, Blithe Spirit, Altar Boyz, The Awesome 80s Prom and My First Time.

August 10 – Special Guest – Emily Bindiger, singer/songwriter/producer

Emily Bindiger is a NY singer who has performed on hundreds of recordings, including commercials, movie soundtracks, industrials and records, as well as concert stages worldwide.

August 17 – David Berkman – Jazz pianist/author of Jazz Singers Guidebook

Recordings of all Singers Key Notes calls are available on my new, drum roll please, membership website, www.SingLikeYouSpeak.com This new site that is overflowing with all you need to take you singing and your music biz savvy to another level. Want to be an A-list singer? Want to get there with minimal cost and pain? Then this membership website is for you! www.SingLikeYouSpeak.com We’ll be up and running by next week!!!

I love working with singer/songwriters. As a voice teacher and a songwriter myself it’s a real thrill to guide a client to the vocal freedom that informs the songwriting process with new ideas and new choices.

Today I taught one of those totally fulfilling lessons with a fairly new client. Matt, a pseudonym, has taken a couple of classes with me and then about 4 weeks ago he took the plunge into private lessons. Then today he had one of those astounding breakthroughs.

We were working on a song he’s going to be performing in a couple days. It’s a song he wrote several years ago and has performed many times, but today, Matt heard, really heard the song for the first time. He heard his own inner voice (the lyrics he wrote) and his singing voice communicating the same message. It was an amazing moment when all the elements come together to make good music.

This time when Matt sang his song, he heard his own voice ringing clear and strong. The lyrics were released through his instrument with nothing to get in the way.

How? That’s the $64 million question.

Matt and I worked first on body alignment to unlock some of the tension in his instrument. We then did a lot with sustaining the openness of the vocal tract so his breath and sound could release forward, naturally.

You see when the body is open - free of inhibiting tension and the mind is occupied with speaking every word clearly, something magical happens. Your natural instrument begins to work all on it’s own. And when that happens, art is created.

Why is it that we can talk loud and strong but our singing is thin and tentative – almost inaudible? Who taught us that singing was not natural? Why did we believe them? Where did we learn that singing is really hard? Who told us that singing is something other than normal and natural?

Unfortunately I do not have answers to any of these questions. They are questions that have haunted me. However, I have developed a solution that undoes this destructive thinking.

I took two of my grandchildren to a high musical last, “Willy Wonka and the Chocolate Factory.” The kids were good speakers, most of them, but their singing was almost non-existent. What a shame! Their speaking voices were distinct and interesting. The singing was uniformly weak and boring.

Why? Fear. There is something terrifying about singing so that others can hear. Singing is the closest thing to full-front nudity with all your clothes on. The better the singer, the more is revealed about their heart and soul. So singing, truly great singing is quite vulnerable and intimate. Thus the fear.

We also have been taught somewhere along the way that singing is something other than natural. That to sing we must do something extra-ordinary to sing, when the truth is that singing is the most natural of all musical instruments.

Physiologically, the speaking voice and the singing voice are one instrument. You do not carry around a voice box labeled Use for Singing Only. Yet the prevailing subconscious thought is that you need to physically change something in the vocal apparatus to sing. The Morganix Methodä uses speech on musical pitch to combine the natural ease of the speaking voice with musical pitch of singing. With practice, speaking on pitch eliminates the urge to manipulate the vocal apparatus to sing, making the process simple and natural.

Let’s take a look at the possibility of utilizing the natural ease of speech as the foundation for singing. You can talk all day long without giving a thought to vocal production. It’s as natural as yawning. But sometimes you open your mouth to sing and the “Uh-oh, I can’t do this!” moment of panic sets in. By the time this unattractive flash of terror subsides, the song is over and you are still holding your breath.

You speak on pitch in normal conversation. You also speak in rhythm – sometimes smooth and legato, sometimes pointed and staccato. The musical elements of speech define your distinct voice. Pitch and rhythm specify the meaning of your words and give them life. Others recognize your speaking voice by its musical qualities.

ý Listen for the musical elements of your speech. Try matching musical pitches to a common phrase such as, “Have a nice day.” Say the phrase and try to find the notes on which you spoke by playing them on an instrument. Switch it around and play a pitch then speak on that pitch to begin your phrase. ý

As emerging research improves our understanding of the acoustics, mechanics and neurological function of the vocal apparatus, the rules of the speaking voice and singing voice blend into one. Speaking on pitch requires a crossover in the brain in order to speak (a left brain activity) on musical pitch (a right brain activity). Speaking with emotional inflection, as far as brain activity is concerned, practically is singing. Practice helps the two lobes of the brain work together habitually to produce speech on musical pitch.

Those kids in “Willy Wonka” could have blown the audience away by speaking on musical pitch instead of “singing” in traditional way they have been socialized and taught. There is no physical change that has to take place, but a thought process of “open the body (inhale) then think, speak through the space.” Now you are speaking on pitch.

Using the speaking voice as a foundation for singing solves many typical vocal challenges. Fully embodied speech grounds the vocalization process deep in the body where support and strength are provided. This grounding in turn creates a fatter sound wave around the fundamental pitch giving your voice a richer quality.

Give it a try! Email me with your questions and comments.

The mere thought of singing sends most brains into panic mode. Many people perform great feats of physical effort and mental gymnastics to do what they call singing. A grip of the throat, raising the chin, locking the jaw, holding breath, praying to the voice gods – and all of that occurs within a split second inhale! For some unknown reason a universal concept prevails that singing has to be something other than natural; that one has to do something extraordinary to sing. This manipulation puts you into what I call the “sing-ie” spot – controlled and totally unnatural.

The truth is that you do not use one “voice” to speak and carry around a case containing another “voice” marked: Use Only for Singing. You use the same instrument whether you are singing or speaking. Same body, same mind, same everything – unless you create a difference.

The perceived difference between the two voices originates in the thought process, which precedes sound production. Consider the split second of panic before you sing vs. the no-thought-no-judgment moment preceding speech. Each mental pattern triggers dissimilar muscular responses in the body. The respective muscular responses become habits that prepare your instrument to sing or speak.

The unadulterated thought process that produces speech, when practiced as the approach to singing, bypasses the urge to manipulate the instrument to produce “singing” and becomes a healthy habit of vocal production. Speaking on pitch, i.e. using speech as the initial impulse for matching musical pitch is supported by current research on speech, singing and brain function.

Speaking on pitch also solves a dilemma for Contemporary Music singers. You are lyric driven; you communicate with the lyrics. Yes, you sing on the vowels, but you get paid for the consonants. Consonants define vocal communication. The staccato (short and clipped) or legato (smooth and connected) of words created by consonants communicates mood, humor and a host of other emotions. And Morganix Methodäis the only method that trains consonants as a tool for forward release of breath and sound. Not even ‘Speech Level Singing’ really teaches speaking on pitch – using speech as the initial impulse to create sound.

Practicing Random Pitch Exercises – exclusive to the Morganix Method, can be very helpful to engrain the habit of using speech to begin each sound. Just as the name implies, the singer is responds by speaking on pitch to random pitches. You can play the pitches yourself, or use pre-recorded random pitches. Practicing speaking on random pitches does away with pitch fear and habituates a consistent response from the instrument. Open and speak, open and speak – regardless of the pitch. This way we eliminate the moment of panic and the manipulation of the larynx. Combine this with consonant release training by using a beginning consonant for the forward release of breath and sound.

Without interference, the vocal folds adjust to pitch by responding to a signal from the brain. Your brain hears the pitch, sends a signal to the vocal folds; the vocal folds adjust their size to the correct pitch. The tendency is to “help” the process by micromanaging the larynx. However, physically altering the vocal production system causes inaccuracy of pitch.

Random Pitch Exercises strip away the propping up of the larynx or bracing of muscles that can occur prior to creating sound. They eliminate the preconceived notion that you must physically adjust the instrument for each pitch by using unpredictable, random pitches. The result is simplicity of thought process and consistency of vocal response to pitch. Simply open on inhale and speak through the space!

Try it! You can’t loose!

Benefits

Morganix Method will help you sing as simply and naturally as you speak and achieve:

1. An open, clear, communicative instrument flexible enough to sing any style and play any character without vocal strain
2. A seamless voice with no breaks or need to shift gears from one vocal range to another
3. Freedom of expression realized through consonant release
4. A consistent and trustworthy response from your instrument
5. Musical singing
6. An intimate connection with your audience

Here are my answers to recently asked questions on www.TheModernVocalist.com (a terrific website!) about posture and pitch.

How is it that the posture isn’t naturally good?
Why is it we don’t hear ourselves accurately?
Why don’t we automatically express our feeling lyrically and musically?

To address the first question about good posture being natural. It is! Let’s go back in time to the beginning of your life.

Infants and young children have perfect, erect posture that allows the voice to function naturally with no muscular tension. None of the bad postural habits and tensions have taken up residence in a young child’s body.

Perfect alignment leaves the child’s instrument relaxed and open and therefore, free to produce sound with ease. The baby’s vocalization is instinctive. The baby is hungry, his brain responds with “take a breath and yell.” The absence of vocal strain testifies to a naturally functioning instrument.

You go off to school then enter peer pressure and fear of judgment, which can begin to collapse the vocal instrument, a.k.a., your body alignment. A bit of slump in the posture appears. Then the teenage years bring the cool slouch and mumbling. The tension of everyday life continues to increase as you mature, causing the posture to implode even more.

As your instrument collapses, you have to work harder and harder to produce sound. Because the breath path is now crooked or crimped, it requires more physical effort to get the breath and sound to move through. This is why most people develop bad muscle memory.

Good posture is natural. Life’s challenges will collapse our naturally straight alignment unless we pay attention to keeping the heart high and open and the chin level to the floor.

To address the second question: Why don’t I hear myself accurately?

The answer is that you do hear yourself accurately; you just don’t hear yourself as others do. You hear yourself from the inside through bone and muscle. Others hear your sound through the eardrums and the vibratory resonance of your voice.

It is a skill you must develop to listen internally in a world where we are spoon-fed every sound bite and image. That is why I always begin lessons with a meditative breathing exercise http://vocalpowertools.com/educators-voice-teachers-lessons.htm to open and relax the body and switch your focus from exterior chaos to interior calm.

I would also suggest that it’s the music you are not listening to accurately. Usually this is because negative self-talk clogs our heads as soon as we begin to make a sound. If you are listening to “You can’t do this!” then you can’t hear that gorgeous A flat 7 chord. Surrender to the music and you will find your pitch to be true.

Why don’t we automatically express our feeling lyrically and musically?

We express the feeling that is most forward in our minds. If your thought is, “Oh, my God! My ex is here!” then that’s the feeling you will express. Do you know why you begin to sing? What ‘happens’ the moment before you begin that propels you into the song? You need to know so your mind is in the proper mode to express your feelings.

Another tactic is speaking on pitch. You talk all day long without thinking about how your feelings will be expressed. That is because your body is responding naturally to the command to communicate. Pitch inflects in response to your emotional expression.

You speak on pitch in normal conversation. You also speak in rhythm – sometimes smooth and legato, sometimes pointed and staccato. The musical elements of speech define your distinct voice. Pitch and rhythm specify the meaning of your words and give them life. Others recognize your speaking voice by its musical qualities.

Using the speaking voice as a foundation for singing solves many typical vocal challenges. Fully embodied speech grounds the vocalization process deep in the body where support and strength are provided. This grounding in turn creates a fatter sound wave around the fundamental pitch giving your voice a richer quality.

Speaking on pitch allows your vocal instrument to respond naturally to the music. Give it a try!

You will find more in depth answers to these and other questions in my book, Morganix Method™: Sing Like You Speak found on my website, www.VocalPowerTools.com

Are you determined to become the next American Idol? Good for you! Anything is possible when you believe in yourself.

This is the second in a series on the making of an American Idol. In this series of blogs I’m going to walk you through the process I am using to prepare a student of mine to audition on the east coast this summer for American Idol. We’ll first take a look at the basic ingredients needed to become a star.

In Part 1 of this series, we talked about singing ability and how it may or may not be a deciding factor in an audition. In Part 2 we’re going to take a look at stage fright.

You know about stage fright. Sweaty palms, nausea, uncontrollable shaking of limbs, butterflies in the tummy and on and on. You probably know exactly how you will feel when it hits you. Basically, stage fright is adrenaline running wild through your mind and body causing all the symptoms mentioned above.

One of my favorite sayings that I quote in my book on vocal technique is this: “The brain starts to work the moment you are born and never stops until you stand up to speak [sing] in public.” –anonymous

Below are 10 tips to help you overcome your stage fright and to give a great performance. Take and make them a part of your mind and body – a part of your performance.

#1 Bodacious Body Alignment: Look confident, feel confident!

Begin by stretching your spine down from the tailbone and up from the top of the spine, which is at the same height as the top of your ears. Release and soften your back muscles and triceps (back of the arm). You will feel the core muscles taking over the job of holding your body open and erect. Think superhero: strong and confident. Lift the collarbone keeping the chin level to the ground.

Looking confident will make you feel confident.

#2 Dispel the Myths

Do not picture your audience naked. They won’t appreciate it and you might not either. It does not help you to put your audience at a disadvantage to your position as performer. Include them, talk to them, share your story. They want you to be successful – they are rooting for you! Give your audience what they came to experience – you.

#3 Use It!

Stage fright is an over abundance of adrenaline running wild through your brain and body. Trying to suppress it will only make it more insistent on taking over. Accept the adrenaline rush. Welcome it to your body and brain. This will diffuse its’ power.

#4 Be Prepared

Ben Franklin wrote, “It takes about three weeks to prepare a good extemporaneous speech.” Wise man, our Ben. Be over-prepared with your music and a healthy voice. Practice as though the person who makes you the most nervous is in the room. Practice welcoming that person and accepting their presence.

#5 Practice Every Chance You Get

Get out there and sing at every opportunity. The more you perform, the less nervous you will be when the real audition comes.

#6 Establish a Pre-performance Routine

Maybe you’ve seen the baseball player who has an elaborate ritual of gestures that he makes every time before he swings the bat. That is a pre-performance ritual that keeps him focused on his performance. Find something that calms you and focuses your energy and thoughts. Try tapping a complex rhythm, send roots out of the soles of your feet into the ground, count your breaths, etc. Remember that the audience is cheering for you to be great!

#7 Move!

It is tempting to remain physically very still to keep the adrenaline rush from getting the upper hand before you hit the stage. However, that is like trying to contain a basket of frisky puppies – they have to work out their energy! Same with your stage fright. Figure out where in your body the energy is causing tension and wiggle it until you feel silly and can laugh. Now you are ready to perform!

#8 Keep Your Sense of Humor

Anyone who has performed a lot knows that anything and everything that can go wrong, will. We’ve all seen a president of the US vomit while speaking, performers trip and fall off the stage, “wardrobe malfunction” and the list goes on. Keep your sense of humor alive and well for those mishaps and enjoy the surprise. Acknowledge it when something goes wrong. Make a joke and continue with your performance. It makes you more human, more accessible to the audience and makes for a great story to tell later on.

#9 Breathe: Nature’s Valium

Never, ever take drugs or alcohol thinking that you will be calmer! You won’t. Instead, breathe. Follow your breath as it flows in and out of your body. Feel it open up your airways and bring calm to tense places in your body and mind. Go to www.VocalPowerTools.com products page to get Meditative Breathing Exercises.

#10 Listen!

Stage fright originates with those negative voices inside your head. “The audience will think I’m a no talent hack.” “No one wants to hear this!” “I’m going to sound terrible and look foolish.” The voices inside your head are ancient history and they are not the truth. They are your fear talking. Instead, make a choice to listen to “breathing in I calm, breathing out I smile” “I am prepared and I’m going to have fun” and other positive messages that you can develop for yourself and practice.

** Always remember that the performance is not about you! It is about your audience – their comfort, their pleasure, their entertainment. Focus on them at all times and have fun! **