Basics of Voice Culture

The process of bringing the voice under control is known as voice culture. This study includes traditional and scientific methods to improve the quality of voice. 

Though voice is used for both speaking and singing, the technique of voice production for singing is more complex. Singing requires a more delicate control over the muscles. Effective control of breath, flexible speech organs, adjustments of resonators, wider range, mental perception, etc. are the features wherein the voice can be trained.

Voice production for singing consists of other features also, in which fields the voice has to be trained. They are like the shape of the mouth, effective pronunciation of the words, adjusting the voice to different tempos or speeds, controlling of volume or amplitude as the background of presentation demands, vowel pronunciation and a very important feature of developing imaginative power to improvise.

The voice has to be trained according to the style and type of singing one chooses, e.g. classical, light, folk, pop, semi-classical, etc. This is because each type of music demands a different style of voice production. The male and female built up of the voice producing organs differs. So, the training style will also differ.

The voice is the only living instrument of music. Every individual is unique, so is every voice. Though there are individual limitations differing from person to person, it is very important to note that this is the only instrument, which can be cultivated, improved and cultured, by variation of pitch, intensity and timbre (tonal quality) and all the above mentioned features. 

4 Basic Steps Of Voice Training 
1. Hearing. 
2. Control of Breath. 
3. Practice (Riyaz). 
4. Physical and Mental Fitness. 

Hearing:
Imitation is the first step towards learning. This statement applies to voice training, too. Concentrated listening is the basic requirement. By listening more and more, the brain creates and stores a mental image of the music. The notes, the tunes, the rhythm, the speed, the words, the volume, the tonal quality of the voice or instrument, etc. are stored in the brain. When we try to sing, this mental image co-ordinates with the laryngeal muscles to produce the music required. Thus, it can be easily understood that, the more we hear, the more we listen, there will be a better ability of voice production. We should listen with all the aspects of the musical form in our minds - like, tonal quality, phonetic quality, time intervals, the microtones (shrutis), expressional effects of the voice, etc. The more deeply we listen, the better quality of music we will sing. Better the mental and physical co-ordination, better will be the voice production. Though this is the first, basic fundamental and unavoidable step towards learning, we should remember that this is not the only step. It is not enough by itself.

Control Of Breath: 
This is also a very important step towards voice culture. If we can master our breath, we can easily master our voice for singing. Breath Control gives fine-ness, clarity, steadiness and confident phonation to the voice. There are 4 types of breathing: Clavicular (shoulder), Costal (chest), Diaphragmatic and Abdominal. Clavicular breathing is useful to sing very shrill notes. Costal breathing is used to sing high-pitched notes. Diaphragmatic breathing is useful for every singer. When a singer cultivates this type of breathing, unnecessary and unwanted wobbling or shaking of voice can be controlled. Abdominal breathing helps to sing the lower notes effectively. Also, this type of breathing helps a singer to reach the subtler heights of singing. 

Riyaz (Practice): 
Everyone knows - 'Practice makes man perfect'. Practice should be divided in 2 types: 
1. Trying that which we cannot sing but want to sing. 
2. Repeating that which we already know and bring it closer to perfection. 

By regular practice of singing, we give physical training to all the muscles and the voice production system on the whole. This training will vary with the type of music chosen for singing. The aspects of the voice, phonation, articulation, pitch control vary with the style of music, so will the factors to be emphasized during practice vary.

The time period that should be given for practice will again vary with the expected time period of the performance. In classical types of music where improvisation is a part of the performance, it is necessary to devote more time, even 2-3 hours at a stretch.

One important factor during practice is that we should, along with singing, hear our own singing, critically. We should listen to our own singing like a third party. This will help us to grow faster. We can thus find out our own mistakes and limitations and work over them. This rules out overconfidence. We should always remember that perfection is a word found only in the dictionary, it is an illusion. If we start thinking that our performance is perfect, then the growing, culturing and cultivating totally stops. 

Practice develops the control over the vocal cords. Practice also develops confidence in the singer, which expresses itself in the voice.

Physical and Mental Fitness: 
Singing is an activity of physical and mental movements. It is a synchronization of our physical and mental state. So, physical and mental fitness are necessary for good and happy singing. 

So that our voice should be rich with harmonics, all the resonators i.e. the air cavities in our body should be clean and healthy. This includes the lung cavities, pharynx and nasal cavities, which are directly related to singing. These resonators should be free from coughs and colds, extra mucus and other infections, for a good voice production.

We experience that overwhelming emotions affect our voice controlling capacity. Negative emotions also affect the tonal quality of our voice. Negative emotions are a hindrance to the growth of voice production. Mental fitness leads to a better synchronization of the singing activities.

Regular exercise, healthy and balanced diet and regular meditation or any tension releasing exercises are a necessity for our fitness.

We see people around us who have reached considerable heights without practicing these four steps. This tends many of us to become lazy or we lose trust of this path. 
We should remember that the above steps of culturing the voice help us to reach the higher points of 'our' potential. Even if we do not follow the steps, it will not happen that we will be nowhere, but we will surely miss the highest potential of our own self. The growing of our talents will surely be affected.

Manjiree Gokhale
Thane, Maharashtra INDIA
25-Jan-2003

    From "A Dancer on Dance"

written by V.P. Dhananjayan, published by Bharata Kalanjali

Natya The Essence of Hyndhava - Dharma

We find the instinct to dance in the savages as in the cultured. When dance transcends the physical, it becomes art giving pleasure to all. Dance is a sacred art cherished and preserved in our country for more than 2000 years. Dancing in India is not merely a spontaneous emotion or idea translated into movement but a long thought out and carefully fashioned ritual that needs concentrated study and constant effort.

Mythological Significance of Dance

The ideals of India through ages have retained a remarkable continuity clearly recognising between the concept of activity, the relationship between the concept of God & Man. The Upanishads quote "DEVAM BHUTVA DEVAM YAJET' - 'become a God to worship God'. This signifies the basic idea, to identify oneself with truth, before offering prayers to God. Various methods of attaining this sanctity have been propounded in the Vedas and Upanishads and the most sanctified way of worship is Sangitha.

Gitam Vadyam Tatha Nrityam Trayam Sangitam Uchyate

Dance or Nritya is the one in which all these aspects of creation are unified, that is Geetham-the sound, Vadyam-the rhythm or time and Nrittam-the movement. Brahma says, For the welfare of the generations to come I create the fifth veda. Therefore natya is the essence of all the vedas. The knowledge of the world from Rig Veda, music from Sama Veda, expression from Yajur Veda and rasa or enjoyment from Atharvana Veda. Bharata says, There is no wisdom nor knowledge, no art, no craft, no device or action that is not to be found in Natya and in ancient India, Natyam was a synonym for dance, drama and music.

The term BHA-RA-THA

The name Bharata Natyam is actually a general term for all Indian dances but has become synonymous with the South Indian dance which was previously known as Sadir/ Chinnamelam or Dasiattam. There are a few attributes to the Bha-ra-tha.

1. That the sage Bharatha created it.

2. That the word is the Anagram from the first letters of Bhava, Raga and Tala.

3. That which banishes distress. BHARAM TARAYATI ITI BHARATHA.

4. The dance of India or Bharata Desa.

The purpose of Dance

Apart from spirituality or spiritual quality of dance there is a definite purpose in dance. The purpose is to educate the illiterates, to enlighten the literate and entertain the enlightened ones. According to gradations of the mind, Uttama (the great one ), Madhyama (ordinary) and Adhama (the lesser one), Natya generates morality and an awareness of well being. It instructs and gives motivation to achieve perfection in every action. It relaxes the mind of sick persons, distressed ones, tired souls, bereaved family members and also the Tapaswi (sages) after their meditation. Natya gives dharmopadesa (the path of righteousness) to happy ones, instructs the way to praise the worthy and also to live long. Natya sharpens the mind, increases the intellect. As such Natya gives all things needed for the well being of the people.

Dance is also considered to be a Yagna (sacrifice). The effect of conducting a dance performance is shared by the audience, the sponsor and the dancer. It is said, any auspicious occasion like child birth, marriage, rituals, festivals and celebrations must either begin with a dance performance or conclude with it. It has the effect of performing a hundred yagnas.

 https://youtu.be/ZUj15DBsYtE?si=BhkvTq4WXaUSV3ku

Mayadariw https://www.facebook.com/share/p/17fix2hNkU/

  Music--such words as this make me sing limitless, 

madhya  

but we have --mandra, taara sapthak as well-what for?

and then we also exceed to athi mandra, ati thaara sapthak -----not for nothing 

then we have one drone, shruthi box or thanpura ---mono tone ,as a back ground --is it monotony? Definitely not 

and then we have raagas------how many?

and we have nava rasas , and ragas to convey the rightly each rasa 

and moods vary seasonal
and with the movement of day into night 

where is the limit for music 

om the pranav naad fills the universe , unending continuum 

and music makes one to dance in exhilaration, 
makes one to move into melancholy tears rolling

where is it excess

if it does not do its intended purpose, by limiting itself, then where is the creativity in music where is the joy of nonchalance?

i am dwelling on the topic, -is it excess

can you put a limit?

if you stop me , you will miss me 
and my music, though i continue to flow nonstop at every opportunity 

so limiting is humiliating oneself, i am a bit harsh, 

no limit is my theme 
going to extremes is my sport

  I wish every youngster must spend a little time with simple 

da ra da ra

and see how the creativity opens new worlds with little changes

da dir da ra, 

dir dir da ra,

da dir dir dir da ra da ra da ,

da ra da ra dir dir da ra 

and see in that, the process of ''one'' becoming many

unity of one sound om becoming the duality om om, and trinity om om om, 

becoming variety om om om om om .......endless

shadaj sa becoming deergha sa,,,,,,,,,,,,,,,,,,,,,,,,,,

and and how the sound gets modulated from one swar to another, and from one sapthak to another 

like how a point becomes a straight line

how a point moves jigjag, curved, sinusoidal wave, and some times vanishing, some times repeating 

like dha dhin dhin da changing as tir kit dhin dha, and the importance of ''sam '' and ''tihayee;;, ''thali ''khali''

and thus raise their vision from sthoola to sukshma, from dull routine to sharp and intricate penetration

and see he possibility , prospect of oneself becoming a great artist, a great of life 

by seeing how his being unites and vibrates with the sound of raag and thal, 

the implication of learning music are profound

  Om …..aum

అ a

……….. is just opening the mouth, breaking the silence, original unmanifest silence starting to manifest

ఉ u

……...is bending

ఓ o

……...is making into ring

ఓ oo

……...is cylindrical shaping

ఔ au

……...is blowing into balloon. spherical shape

When combined with dhathu ..m ..

It is becoming a spherical shape,…….ie,  a perfect beauty, poornam……so it is a great full sound……..rather the greatest full sound ……..pleasing, shraavya, sonorous, good, beneficial, auspicious, and further flowing into infinite swaras and ragas,

  The role of music in promoting core values in today’s changing environment 

The following article was published as part of a University Grants Commission Seminar. ..by Padmini Rao

Change is the only constant in the world today. We see and experience it aroundus all the time. It is an all- embracing term and covers various aspects, such as the physical changes occurring around us in our environment; for example, the phenomenon of global warming. Technological advances have led to several changes in our basic lifestyle. The means of communication, transport, and day to day living have all shown a steady upward growth. Even in the work place, the dynamics have changed on account of several factors. Opportunities, career options, social perceptions have all contributed to making the workplace dynamics very different today.

The social fabric of our society is, by a natural consequence, changing, evolving and metamorphosing constantly. This is reflected in our value systems, our priorities, and perceptions of not only ourselves but also of those around us, within a social frame work.

So, how does Music impact, mould, and in some ways direct these changes? To seek the answers to these questions, we would have to look at our Music on different levels, namely the literal and the metaphorical.

A. The literal level- Here we consider the various factors contained in the musical idiom.

1. The poetry or the ‘sahitya’ of our compositions. Poetry is when an emotion has found its thought and the thought has found words. The poetry in our music, thus gives a shape to our thoughts. Thoughts are what mould us, our thinking, our actions and responses. When we relate to the beauty of nature, feeling the tranquility of a sunset or experiencing the romance of a moonlit night, it fills the heart with joy and happiness. A happy thought is like a seed that sows positivity for all to reap.

2. The interplay of melody and rhythm is one of the most perfect examples of a harmonious relationship. Each has its own identity, but when they come together, a third unique and exciting dimension comes into play, enriching the components by its mere existence. It is not too difficult to extrapolate this imagery and symbolism into the inter-personal relationships that everyone in society has at various levels in the different spheres of their life.

3. The aesthetics of the Raaga: When different emotional states come together, the aesthetic flavor of the raaga comes through and makes the experience enjoyable. The unfolding of a raaga is like that of a flower blooming-a thing of infinite beauty. The mental state evoked, lingers on long after the music has stopped - leaving the listener in a state of ‘Aanand’ or deep joy.

B. The metaphorical level:

1. Within the society: We see that the ideas conveyed through Music, at the literal level, are embodied in- Beauty in the poetry, Harmony in the interplay of Svara and Laya, and Happiness and Joy in the aesthetics of a Raaga and its expression. These ideas or concepts have a universal appeal and they transcend the limitations of boundaries, borders, religion and race. This promotes and fosters peace, and understanding which can go a long way to strengthen global ties.

2. Within the family: Music, especially our Classical Music tradition, has an intrinsic element of ‘timelessness’. Some changes have happened, for example, the different way concerts are structured today. Many artistes are featured in one evening, thus leading to shorter recitals. However, the core musical content has stayed relatively unchanged. The intrinsic nature of our Music is such that, it rises above Time and Change. It is eternal. The literature of the compositions carry their own cultural ethos. The raagas still adhere to the time theory, evoking a bygone era of natural illumination, reflected as sunlight in the ‘raaga’. When this music is enjoyed by the family as a whole, there is a sense of bonding. Everyone is able to relate to it as, it cuts across the generation gap. Such bonding is undoubtedly a very healthy environment for children to grow and bloom. Communication between different generations becomes easier as the doors of understanding open up.

In conclusion, I would like to say, that, through all the changes happening in and around us, the one reassuring constant is the presence of Music. It cleanses the mind and soul and uplifts the spirits. It is the universal language of Mankind, enabling people to reach out, connect and communicate with each other. This shared happiness has and will continue to guide and steer us towards peace and harmony in the world.

  "Beauty of these swaras are that each of them are residing the tones of Animals. Since Naadam itself is Brahmah, each swara is also a Deity. Each of these deities are expressing themselves in each of these swaras. That is each of the deities is residing inside these swaras in Sublime state. Hence each of them has their own Beejaksharams.

 SapthaSwaras BeejAnimalAnimal 

1Sa Shadjam Ohm

PeoockMayil

2Ri Rishabam Am Ox Rishabam

3Ga Gandharam Saam Sheep, Goat Ajam / ajaha 

4Ma Madhyamam Maam Crane Krouncha bird

5Pa Panchamam Im Cuckoo, Nightingale Which sings in the Springs Vasantha Kaalathil / padum Kogilam

6Da Dhaivatham Gloum Horse Ashwam

7Ni Nishadam Hraam Eliphant Gajam"

"Quote

''If you could hear the changing frequencies present at the first awakening of the dawn, in the dynamics of midday, or in the deep silence of midnight, you would be hearing the frequencies of Gandharva Veda music. These sublime melodies neutralize stress and disharmony in the environment, and gently restore biological rhythms by attuning the physiology to the cycles of nature that underlie each hour of the day and each season of the year.

The knowledge of when to play each melody is based on three-hour periods called Praharas which correspond to the changing frequencies of nature throughout the day.

 

"Thousands of years ago in India, the land of the Veda, Rishis or seers capable of cognizing the rhythms and melodies of nature sang and played these beautiful melodies at the appropriate times of the day and night to bring peace and harmony to their land and perfect health to all their people."

"''Geetham, Vadyam, tatha Nrithyam thrayam Sangeethamuchyathe''.

Combination of geetham (song), vadyam (instrument), nrithyam (dance) form sangeeth

sangeeth is the trio gaayan vaadan naachan"

"''nature resonates by a perfect combination of the three ‘since music is an integral part of nature, and the saptha swaras are from the sounds of creatures ''the reverberations across the world sometimes soothing sometimes violent. ''----a play in nava rasa anubhoothi''Symbolic manifestations are in Laasya and Tandava dances of Lord Shiva'',----- mudras ."

"To sing in unison with nature's musicConforming to Vedic philosophy"

  Geetham. Vadyam. Nruthyam. Thrayam. Sangeethamuchyathe

 https://youtu.be/6eMbQUaEijI?feature=shared

Folk poem Suvvi baa Sangayya

 https://www.facebook.com/share/19oktZbmkY/