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Cantatul nazal (pe nas) un defect de emisie vocala.

Cantatul nazal (pe nas) un defect de emisie vocala.

Daca nu este un defect fiziologic, o deviere de sept sau pur si simplu un obicei de emisie care se regaseste si in vorbire, cantatul pe nas se poate corija.

Deviatia de sept (nasul stramb) poate fi o simpla variatie a structurii normale putand sa apara in timpul dezvoltarii prenatale, in timpul nasterii sau pe masura ce nasul creste. De asemena, afectiunea poate sa apara ca urmare a unui traumatism nazal.

Nu totdeauna deviatia de sept are ca urmare defecte de vorbire sau de emisie si nu totdeauna o deviatie de sept necesita interventie chirurgicala. De cele mai multe ori cei care au septul deviat acuza greutati in respiratie pe o nara sau pe ambele.

O persoana care se naste cu o usoara deviatie de sept, se va obisnui de-alungul vietii cu sonoritatea vocii sale. Pentru un cantaret, o interventie chirurgicala la nivelul nasului poate afecta senzatiile sonore cu care s-a obisnuit deja si poate provoca o deruta in reflexele adoptate.

Daca emisia pe nas a sunetelor nu are cauze fiziologice atunci corijarea acestui defect este foarte simpla.

De multe ori, in incercarea de a trimite sunetul in rezonatorii faciali, facem apel la cantatul un pic mai nazal deoarece acesta este primul pas spre intelegerea a ceea ce inseamna trimiterea sunetului in apnee (spre sinusuri). Aceasta emisie e uneori necesara ca o etapa de trecere spre cantatul impostat.

Cantatul nazal protejeaza corzile vocale de efort si de cele mai multe ori nu este sesizat in momentul in care cantam la microfon. Cu toate acestea, daca se exagereaza in acest fel de emisie, el poate deveni un defect mai ales atunci cand devine un gest reflex necontrolat. In acest caz, vibratia produsa de corzile vocale nu se mai propaga in exterior ci ramane in zona nasului si sunetul obtinut nu are volum (se aude incet).

Cel mai simplu exercitiu pentru a scapa de acest defect este sa cantam vocalizele sau melodiile astupand narile cu mana. Ne tinem de nas si incercam sa cantam ca si cum nasul nu ar fi astupat. E bine sa memoram senzatia obtinuta iar cand dam drumul narilor, sa cantam cu acea noua senzatie ca si cum narile noastre ar fi inca astupate.

E bine sa mentionez faptul ca sonoritatea pe care noi o auzim in interior nu se aseamana deloc cu cea care se aude in exterior. Daca ne-am obisnuit cu o anumita sonoritate in momentul in care cantam nazal, atunci cand incercam sa corijam acest defect sonoritatea pe care o vom percepe va fi diferita de cea cu care ne-am obisnuit. De aceia sfatul meu este sa folosim un reportofon care sa ne ajute sa intelegem sonoritatea exterioara.

Sunt multi cantareti care aleg sa emita sunete nazale pe toata durata carierei lor (aici ma refer la cantareti de muzica pop, etc…) si acest lucru nu este considerat un defect de emisie. In ce priveste cantaretii de muzica clasica, acestia e bine sa corijeze acest defect.

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Nasal singing – a flawed sound emission.

If you suffer from a physiological condition, septal deviation or you simply have this habit of sound emission while speaking, singing through your nose can be corrected. A deviated septum (crooked nose) may be a simple deviation of the normal structure which can occur during prenatal development, during birth, as the nose grows or due to nasal trauma.

A deviated septum does not always affect speaking and does not always require surgery. Most often those who suffer from a deviated septum notice shortness of breath in one nostril or both.
If a person is born with a slight deviated septum they will ultimately get used to the sound of their voice. In the case of singers, nose surgery can affect the processing of the sound that they are already used to and can cause confusion in reflexes.

If the nasal sound emission has no physiological causes, correcting this defect becomes very easy. Often, in an attempt to send the sound through the facial resonators, we appeal to a little more nasal singing because it is the first step toward understanding what it means sending sound to the apnea (sinuses). This emission is sometimes necessary as a phase transition to singing.

Head singing protects the vocal cords and the effort is more than often not noticed when singing on the microphone. However, if you exaggerate this kind of emission, it may become a flaw, especially if it becomes a reflex control. In this case, the vibration produced by the vocal cords no longer propagates outward but remains in the nose and diminishes the sound volume (we sing quieter).

The easiest exercise to get rid of this flaw is to sing songs while holding our noses. The technique requires us to hold our nose and try to sing like we always do. It’s a good idea to memorize the feeling obtained while holding our nose and try to reproduce it while we do not hold our nose.

It is important to mention that the sounds that we hear bear no resemblance to the ones that are heard outside. If we have become accustomed to a certain tonality when using our head voice, we will perceive a different sound to that which we are accustomed to after correcting this flaw. That is why my advice to you is to use a tape recorder to help understand and get used to your own singing voice.

There are many singers who choose nasal singing throughout their career (I mostly refer to pop singers) and this is not considered a defective emission in their case. However, in the case of classical music singers, it is considered a flaw and should be corrected.

Schimbarea vocala la baieti

Schimbarea vocala la baieti

Schimbarea vocala este un episod foarte important in viata unui tanar care doreste sa imbratiseze cariera de cantaret. De multe ori aceasta schimbare este privita cu frica deoarece nu se stie niciodata cum va suna vocea dupa schimbare, daca va mai avea aceleasi calitati, aceiasi flexibilitate.

Ce este schimbarea vocala ?

Schimbarea vocala este un proces care presupune schimbari la nivel fiziologic in perioada pubertatii ce atrage dupa sine schimbarea tonalitatii vocii. Incepe la varsta de 12 ani si poate sa dureze de la cateva luni la cativa ani. Laringele incepe sa se ingroase, marul lui Adam iese din ce in ce mai mult in evidenta, oasele fetei incep sa creasca si in final vocea coboara cu o octava. In perioada pubertatii, unii tineri distoneaza (au dificultati in stapanirea vocii), iar vocea cantata este aproape imposibila. Pot trece in cursul rostirii unei fraze de la sunete joase la sunete foarte inalte, uneori cu pauze de afonie, adica pur si simplu fara voce.

Recomandarea este Pauza Vocala !

Este bine ca in aceasta perioada sa se faca o pauza vocala indelungata. Cei care iau in calcul continuarea unei cariere de cantaret ar fi bine ca in acest rastimp sa se ocupe cu studiul unui instrument. Acest lucru ii va ridica pe o treapta superioara in categoria muzicienilor.

De ce este necesara pauza vocala?

Incapacitatea de a controla emisia sunetului poate duce la confuzii si, din dorinta de a gasi solutii, tanarul este tentat sa forteze laringele. Fortarea laringelui poate atrage dupa sine complicatii si o dezvoltare nefireasca a reflexelor de emisie vocala.

Cat timp e bine sa se faca pauza vocala ?

Ideal ar fi ca studiul aprofundat al cantului sa inceapa de la varsta de 18 ani. La aceasta varsta corzile vocale sunt pe deplin formate si se poate incepe antrenamentul vocal total. Este totusi posibil ca un tanar de 16 ani sa fie déjà format si apt pentru concursuri gen  Vocea Romaniei, X Factor sau Romanii au talent care promoveaza voci tinere sau chiar foarte tinere. Totusi, exista o profilaxie a vocii – care urmareste starea indelungata de sanatate a corzilor vocale, prelungirea carierei vocale – care ne indeamna sa tinem cont de faptul ca corzile vocale nu sunt formate pe deplin pana la varsta de 18 ani.

Ce se intampla daca nu se face pauza vocala ?

Tot ceea ce un cantaret reuseste sa faca inainte de maturizarea vocala va fi supus schimbarii. Nimic nu este stabil de la o zi la alta, culoarea vocii se schimba, volumul vocii se schimba si repertoriul abordat va fi greu de reluat dupa maturizarea vocala. Pericolul de a dobandi reflexe gresite este foarte mare.

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Male voice change

Voice change is an important step in the life of a young man, if he decides to pursue a musical career. many a times thi change is looked at with fear, because one can never guess what the voice will sound like after it changes, if it will have the same features, the same flexibility.

What is the voice change ?

The voice change is a process which implies physiological changes during puberty and which also brings a change in the voice colour and tone. It begins around the age of 12 and it can last from a few months to a few years. The larynx will thicken, Adam’s apple will start to become more obvious, the face bones will begin to develop and finally the voice will descend by one octave. During puberty, some young men will sing off-key (they have difficulties in controlling the voice),  and it can be impossible to sing. They can go, in a phrase, from low sounds to high sounds, sometimes with moments of aphonia, meaning there is simply no voice.

I recommend vocal rest !

It is best that during this period men take a long vocal break. Those who are considering a vocal career should rather during this time study an instrument. This exercise will give them an advantage to other singers.

Why is vocal rest necessary?

The inability to control the sound emission an lead to confusion and, while trying to find solutions, the young man might be tempted to force the larynx. Forcing the larynx can lead to complications and an unnatural development of vocal emission reflexes.

How long should  a vocal break be ?

Ideally, a thorough vocal study should begin around the age of 18. At his age, the vocal chords are completely developed and a young man can begin full vocal practice. It is however possible that a young man at the age of 16 has already matured vocally and is ready for vocal contests such as X Factor, The Voice and so on, which promote young and very young talents. Still one should take care of one’s voice – in order to preserve the health of the vocal chords and a long vocal career – and we should keep in mind that the vocal chords are not fully developed before the age of 18.

What happens if you don’t take a vocal break ?

Everything a singer is able to perform before the voice matures is prone to change. Everything can change from one day to another, the voice colour will change, the volume of the voice and the repertoire will be difficult to tackle after the voice matures. There is a high risk in acquiring unappropriate vocal reflexes.

Vocea de piept, o provocare pentru vocile feminine.

 

Vocea de piept este vocea pe care o folosim in vorbire. Este numită “voce de piept”, deoarece se produce o vibrație în zona de sus a cavității pieptului.

In general, vocile feminine folosesc vocea de piept pentru atingerea notelor joase. Foarte multe melodii pop se situeaza intr-un registru ce permite folosirea vocii de piept aproape pe intreaga melodie. Cu toate acestea, majoritatea vocilor feminine intampina greutati in momentul in care doresc sa atinga notele inalte. De cele mai multe ori, sunetele inalte rezulta gatuite, stranse, fortate, neplacute si provoaca durere de gat.

O alta solutie este trecerea brusca la vocea de cap, o voce cu mult mai putin volum si o culoare diferita de cea de piept.

Iata-ne deci in fata unei dileme care ne limiteaza serios in alegerea repertoriului, cu atat mai mult cu cat suntem inconjurati de cantarete care reusesc sa rezolve aceasta dilema.

Care este, deci, secretul pe care il detin atat de multe cantarete iar noi pur si simplu nu il putem descifra ?

Secretul este ca acestea folosesc o voce mixata intre vocea de piept si vocea de cap. Rezultatul este ca avem impresia ca ele canta pe piept si ca trec cu foarte mare usurinta spre zona sunetelor acute, fara sa se simta vreo schimbare timbrala a vocii.

Cum se obtine acest mixaj ?

In primul rand e bine sa avem curiozitatea de a explora vocea noastra de cap, acea voce care apare de regula dupa nota re din prima octava. E bine sa ne dezvoltam capacitatea de a trimite sunetele in rezonator, in spatele nasului, chiard daca la inceput rezulta o voce nazala si « ca la opera ». Aceasta incursiune vocala ne va deschide alte orizonturi avand posibilitatea sa exploram intreaga capacitate a vocii noastre, uneori surprinzandu-ne chiar si pe noi. Iata cateva explicatii practice :

https://www.youtube.com/watch?v=YOgUOkzukvM

Dupa ce am reusit sa avem o oarecare dexteritate in emiterea sunetelor cu vocea de cap, reusita care vine dupa cateva saptamani de exercitii, putem sa incercam mixarea vocii de cap cu vocea de piept.

Este important sa incercam sa emitem sunete din registrul grav cu voce de cap, chiar daca nu avem aproape deloc volum. Apoi, in acelasi registru grav, sa incercam sa emitem sunetele ca si cum am incerca sa vorbim in soapta, o soapta puternica, avand grija sa nu fortam muschii gatului. Senzatia este ca sunetul este pe pozitia vocii de cap dar are si vibratie de piept, daca punem mana pe piept putem constata acest lucru simtind vibratiile pieptului. Sa nu uitam senzatia de soapta !

Iata un exemplu bun de voce mixata mai ales in registrul de jos :

Britney Spears

https://www.youtube.com/watch?v=C-u5WLJ9Yk4

Vocea ei nu este pozitionata total pe rezonanta de piept la fel ca si in exemplul cu Withney Houston.

Acesta este secretul, vocea mixata, care ne pacaleste uneori si avem impresia ca unele cantarete reusesc sa duca vocea de piept foarte sus. Acest lucru nu e adevarat deoarece fiziologic este imposibil.

Este important sa nu ne autolimitam la o sonoritate a vocii noastre cu care ne-am obisnuit ci sa fim deschise la orice schimbare care ne ajuta sa rezolvam anumite pasaje. Deasemenea e important sa nu cautam sa imitam vocea altei cantarete deoarece s-ar putea sa intelegem gresit modul ei de a canta iar incercarea de a imita sonoritatea acesteia sa fie nepotrivita pentru noi.

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The chest voice is the voice we use when we speak. It is called “the chest voice” because it causes a vibration in the upper cavity of the chest.

Generally, female voices use the chest voice in order to sing the lower notes. Many pop songs are written in a lower register which allows for almost the entire song to be sung in a chest voice. However, many female voices find it difficult to reach the higher notes. Often, high notes will sound tight, forced, unpleasant and will cause throat pain.

Another solution is the sudden shift to the head voice, a voice of much less volume and a different colour from the chest voice.

So we are now facing a serious dilemma which limits us in choosing a repertoire, especially if we are surrounded by singers who surpassed this issue.

So, what is the secret that many singers know while we are left in the dark?

The secret lies in the fact that they use a mixed voice of both head and chest voice. The result is that we are under the impression that they sing with their chest voice and that they go very easily towards high pitched sounds, without showing a change in the voice colour.

How do we mix these two voices?

Firstly, it is best that we have the curiosity of exploring our head voice, it is the voice that usually appears after the D o the first octave. It’s would be best if we can develop the capacity of sending the notes to the resonator, behind he nose, although in the beginning it will sound very nasal an “opera-like”. This vocal exercise will open new horizons giving us the possibility to fully explore our voices, sometimes surprising ourselves. Here are some practical explanations:

https://www.youtube.com/watch?v=YOgUOkzukvM

After we managed to get some proficiency in emitting sounds using our head voice, a success we can obtain in a few weeks practice, we can try mixing the chest voice and the head voice.

It is very important that we emit sounds in a low register, even though we ave almost o volume. Then, in the same register, try to sing the notes as if whispering, a strong whisper, making sure we don’t force the throat muscles. The sensation we get is that the sound is on the head voice, but it also has a chest vibration, if we place our hand on our chest we will be able to feel these vibrations. Do not forget the whispering sensation!

Here is a good example of a mixed voice especially in the lower register:

Britney Spears

https://www.youtube.com/watch?v=C-u5WLJ9Yk4

Her voice is not totally in her chest resonator as in the Whitney Houston example.

This is the secret, a mixed voice, which sometimes tricks us and we get the impression that some singes can go very high on their chest voice. This is not true because it is practically impossible.

It is very important that we don’t limit ourselves and our voices to a range we are used to but to be open to any change that might help us resolve some parts in a song. Also, it is important not to imitate the voice of another singer because we might not comprehend her way of singing and the attempt to imitate her might be inappropriate for us.

 

Cum sa iti alegi profesorul de canto ?

Iata ca de multe ori dorinta de a invata sa cantam corect ne impinge de la spate fara discernamant. Avem impresia ca orice persoana angajata intr-o institutie pe post de profesor de canto,  trebuie sa aibe calitatile necesare unui pedagog, sa posede o tehnica de cant foarte buna si sa aibe experienta necesara. De multe ori trec mari perioade de timp pana sa ne dam seama ca alegerea facuta nu a fost cea mai reusita.

Exista o legatura foarte stransa care ia nastere intre profesor si student iar studentul este tentat sa-si incredinteze nu numai vocea dar si formarea caracterului in mainile maestrului sau.

Exista diferite tipare psihologice in care se inscriu profesorii si, fara sa insist asupra lor, voi da cateva exemple mai des intalnite.

profesorul exigent este cel care face studentul sa se simta prost daca nu reuseste sa execute ceea ce i se cere. De multe ori e posesiv si agresiv si asteapta ca studentul sa adopte total parerile si principiile sale. Se potriveste cu persoanele care dau randament cand lucreaza sub presiune.

– profesorul distant este cel care nu are timp de discutii cu caracter personal si se rezuma strict la profesie. Acesta nu va lupta niciodata pentru studentii sai, ii va lasa sa se zbata singuri in fata piedicilor. Se potriveste cu persoanele timide sau introvertite. Pozitiv este faptul ca studentul invata destul de repede sa nu se bazeze decat pe propria persoana.

profesorul prietenos care se apropie sufleteste de student si cauta sa fie un fel de exemplu de viata pentru el. De multe ori acesta asculta confesiunile studentului si cauta sa il sfatuiasca. Se formeaza o legatura personala foarte stransa. Se potriveste cu cei care cauta mai mult decat un profesor, cauta un mentor pe care sa il admire si sa il pretuiasca.

Dar dincolo de aceste tipologii, studentul e bine sa tina cont si de alti factori in momentul in care isi alege profesorul.

Iata cateva principii care ne pot ghida :

profesorul da dovada de rabdare in explicatii. Este important ca sa intelegem exact ceea ce ne explica si sa nu avem senzatia ca trebuie sa raspundem ca am inteles doar fiindca acesta isi pierde rabdarea. Intr-o ora de canto e deajuns sa intelegem pe deplin un singur aspect si este suficient !

profesorul de canto nu cere studentului lucruri bizare cum ar fi sa cante cu capul dat pe spate sau sa stea in pozitii nefiresti, sa supuna corpul la un travaliu fizic intutil, indiferent de ce explicatii elaborate ofera. Nimic nu trebuie sa fie nefiresc in cantat !

profesorul nu impune studentului sa il imite in modul de a canta. Studentul, in general, nu are o voce dezvoltata la nivelul profesorului si incercarea de a il imita il poate duce la o emisie vocala inproprie cu varsta sau cu calitatile sale momentane.

profesorul se ocupa de student cu toata atentia pe parcursul unei ore/sedinte de canto fara sa fie distras de convorbiri telefonice sau discutii cu terte persoane.

profesorul de canto se ocupa de un singur student odata. Este o conditie esentiala deoarece este aproape imposibil ca profesorul sa obtina eficienta maxima daca studentii canta in cor.

profesorul nu impune genul muzical. Desigur, putem accepta sfaturi competente in cazul in care vocea noastra nu se potriveste unui anumit gen muzical. Dar daca ne place muzica jazz si profesorul ne « forteaza » sa cantam muzica populara, ar fi bine sa cerem si o a doua parere.

In incheiere doresc sa subliniez faptul ca de la fiecare profesor putem invata cate ceva care sa ne fie folositor dar aceasta presupune sa avem deja o oarecare experienta.

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Many times the desire to learn how to properly sing pushes us from behind with no ability to discern. We are under the impression that any person holding the position of a vocal teacher in an educational institution must also have the qualities of a good educator, must master an impeccable singing technique and must have the proper experience. Often, it takes a while before we realize whether our choice of  a vocal coach was a good one or not.

There is a strong connection between the teacher and the student and the student is tempted to entrust not only his/her voice but also the shaping of his/her character to the master.

There are different psychological patterns which can describe a teacher and, without insisting upon them, I shall list a few frequent examples:

– The exigent teacher is the one who makes the student feel stupid if he/she cannot execute what is being asked of them. Often, this teacher is possessive and aggressive and expects that the student to completely embrace his principles and opinions. It is a good match for the persons who work best under pressure.

– The distant teacher is the one who has no time to talk to the student, sticking strictly to professional topics. This teacher will never fight for his students and he will let them struggle by themselves. It is a good match for the introverts and the shy. A good thing about him is that the student learns quickly never to rely on anybody other than him/herself.

– The friendly teacher is the one who tries to make a connection with the student and he tries to be a role model for the student. Often he listens to the student’s confessions and tries to advise him/her. There is a very strong bond. It’s a good match especially for those who search for more than a teacher, a mentor to look up to and to admire.

But beyond these descriptions, it is best that the student takes into account other factors when he/she chooses a teacher. 

Here are some principles we can use for guidance:

the teacher must be patient in his explanations. It is very important that we understand thoroughly what he is explaining to us and not be under the sensation that we must act like we understood only because the teacher is loosing his patience. During one lesson it is enough that we understand just one aspect, that should be sufficient!

the teacher does not require strange hings from the student’s part such as singing with his/her head tilted backwards or standing in unnatural positions, to put the body under unnecessary physical stress, regardless of what elaborate explications the teacher might give. Nothing should be unnatural about singing!

the teacher does not make the student imitate his style of singing. Generally, the student does not have a voice that is developed to the same level as the teacher’s, so the attempt to imitate him might lead him/her to an improper vocal emission, inappropriate to his/her age and vocal qualities.

the teacher focuses on the student with all his attention during class without letting himself be distracted by phone calls or discussions with other persons. 

– the teacher focuses on only one student at a time. It is an essential condition because it is almost impossible the the teacher obtain maximum efficiency if his students all sing at once. 

– the teacher does not enforce a certain musical genre. Certainly, we can accept reasonable advice if our voice is not suitable for a certain musical genre. But if we like jazz and our teacher “makes” us sing folk music, it is best that we seek a second opinion.

In closing, I wish to stress the fact that we can learn something useful from every teacher, but this requires that we already have some experience.

Cand este bine sa incepem orele de canto?

Cand este bine sa incepem orele de canto?

Corzile vocale ajung la maturitate in jurul varstei de 18 ani atat la barbati cat si la femei. Aceasta este varsta la care este bine sa incepem studiul cantului.

Dezvoltarea deplina a corzilor vocale este o conditie esentiala deoarece orele de canto presupun dezvoltarea maxima a capacitatii vocale, a volumului si a ambitusului.

Si inainte de varsta de 18 ani, copii si adolescentii canta in coruri ale scolii, in formatii muzicale speciale pentru tineri, in coruri bisericesti, etc…dar lucrarile abordate sunt de regula compuse in asa fel incat sa nu forteze vocile tinere, sau cel putin asa ar fi bine! Este bine sa se faca vocalize de incalzire a vocii inainte de orice repetitie concert sau concurs.

Ceea ce vreau eu sa subliniez aici este faptul ca orele de canto pe care le fac cei sub 18 ani este bine sa se rezume doar la exercitii de respiratie, de intonatie si impostatie, exercitii usoare care sa nu treaca peste o octava. Altfel, suprasolicitarea corzilor vocale in perioada in care acestea nu sunt dezvoltate pe deplin, pot dauna grav sanatatii vocale ale tanarului.

In zilele noastre asistam la o moda de a lasa copii forarte tineri sa cante cu voci care par mature. Acestia interpreteaza chiar arii de opera iar executia lor nefireasca este rareori corecta din punct de vedere al emisiei vocale. Nimeni nu contesta faptul ca acestia sunt copii foarte dotati si faptul ca pot canta astfel, ne impresioneaza. Dar, pentru profilaxia vocii, acest lucru este daunator. Acesti copii risca sa ajunga la maturitate cu voci ragusite si obosite. Noi, cei maturi aflati in preajma lor, ar fi bine sa ii sfatuim sa nu faca aceste excese! Noi suntem raspunzatori pentru sanatatea lor vocala!

Imaginati-va un copil de noua sau zece ani care merge la sala de culturism si ridica greutati atata vreme cat osatura si musculatura lui nu sunt dezvoltate pe deplin. Fac aceasta analogie cu orele de canto la care poate fi supus un copil in mod eronat.

In ce priveste varsta maxima la care am putea incepe orele de canto, iata ca aici se pune problema ce urmarim cu acasta. Pentru a incepe o cariera de cantaret este nevoie de cativa ani de studiu. Nu exista o reteta general valabila pentru toti si nu spun ca nu exista exceptii in privinta aceasta dar, ca sa dau cu presupusul, dupa varsta de 35 de ani este deja destul de tarziu pentru a aspira la o cariera in acest sens.

Daca orele de canto sunt doar pentru propria placere si satisfactie atunci eu as spune ca nu exista limita de varsta.

Orice limitare este de fapt o autolimitare !

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When is it a good moment to start vocal training?

The vocal chords reach maturity at approximately 18 years of age, or both men and women. This would be an appropriate age to start vocal training. 

The complete development of the vocal chords is an essential prerequisite because vocal training implies a full development of the vocal capacity, of volume and vocal range.

Even before the age of 18, children and adolescents sing in choir at school, in teen bands, in church choir etc., but the pieces chosen are composed in such manner to suit their voices and not force them, or at least they should! It is best that  before any rehearsal, concert or competition, singers have a session of vocal warm up exercises.

My point is that vocal training designed for people under the age of 18 should stick to exercises of breathing, of tone and pitch, easy exercises which should not exceed an octave. Otherwise, the overstressing of the vocal chords during the time when they are not fully developed can damage the vocal health of a young person.

Nowadays we are witnessing a trend in letting very young children sing in mature voices. They perform airs from various operas, and their unnatural execution is seldom correct from a vocal emission point of view. No one is denying the fact that these are extremely talented children and the fact that they can sing those pieces is impressive. But, in order to prevent the damaging of the voice, it should be regarded as harmful. These children risk, when reaching maturity, a hoarse and tired voice.  The adults guiding them should advise them not to make such mistakes! We are responsible for their vocal health!

Imagine a child of 9 or 10 years old, who starts body building and lifts weights as long as its bone and muscle structure is not fully developed. I am making this comparison in order to make a point by not putting a child through unnecessary vocal training.

As far as the maximum age at which we can begin vocal training, this is a topic I wish to develop. In order to start a career as a professional singer, you need a few years of study. There is no general recipe, valid for all, and I am implying that there are no exceptions, but, if I were to guess, after the age of 35 it can be quite late to aspire at a musical career.

If the vocal training is solely for one’s pleasure and satisfaction, then I would say there are no age limits.

Any limitation is in fact self-limitation!