This December, City Singers Youth Choirs was delighted, blessed, inspired and grateful to collaborate with Elkhardt-Thompson Middle School (a City of Richmond public school), Collegiate School (an independent school) , One Voice Chorus Ensemble (a community choir of singers dedicated to racial equity) and the marvelous Dr. Lisa Edwards-Burrs, Soprano, on this Christmas Spirituals: Songs of African-American Tradition concert. Here’s a sampling of our program notes:
It seems that every year about this time we hear a renewed longing for ‘peace on Earth, good will toward men’ and the Spiritual songs from African-American tradition encapsulate that longing in a way no other art form does. We invite you to read a brief history of Spirituals on page 4 of this program. There you will find explanations of the genre and its origins and discover how a work song in a cotton field sung by captive Africans made its way to the fanciest concert halls in America.
We would have loved to sing every Spiritual we could get a hold of, but alas, time limits! While one concert cannot represent the full breadth and depth of the Spiritual literature, a careful listener will hear echoes of both the hardships and joys from which each song was born, from the most energetic selections to the sweetest lullaby.
Our singers have been on a journey of discovery through these songs–a challenging, beautiful journey–all the things that come with trying to touch another’s experience. We would like to humbly acknowledge the varied opinions of African Americans regarding the performance of Spirituals. The great tree which is the Spiritual Tradition was grown from both the blood and the irrepressible spirit of the enslaved Africans who created each song. Our purpose is to celebrate and honor the enduring artistic, social and historical contribution those men and women have given to America and the world.
~ Leslie Dripps & Mara Smith, Directors, City Singers Youth Choirs
True enough this music was transmitted to us through humble channels, but its source is that of all great art everywhere—the unquenchable, divinely human longing for a perfect realization of life. It traverses every shade of emotion without spilling over in any direction. Its most tragic utterances are without pessimism, and its lightest, biggest moments have nothing to do with frivolity. In its darkest expressions there is always a hope and in its gayest measures a constant reminder.
Hall Johnson (1888-1970), Composer
A Brief History of Spirituals
The term “Spiritual” describes the songs created and sung by enslaved Africans in North America from as early as 1650. Although widely thought to have evolved gradually from group music making over the years, research now supports the idea that specific individuals (not groups) likely created most of the body of work, weaving African and European influences together into a new art form and teaching these songs to their communities. This oral transmission fostered a fluidity which allowed for variation. The first written arrangements of the Spiritual for formal concert use were performed by the Fisk Jubilee Singers in 1871. This is considered the birth of the “concert spiritual”, a formalized iteration of an oral art form, and the Fisk Jubilee Singers, through tireless dedication through much trial and hardship, brought the Spirituals to the entire world. The Spiritual songs of the enslaved Africans have woven the very fabric of most of the body of modern western music–blues, rock, gospel, jazz, pop, hip-hop–the reach and influence of the Spirituals cannot be overstated.
Spirituals have been categorized into five thematic groupings: religious spirituals, freedom spirituals, escape spirituals, shouts and hollers, and work songs. Within each of these categories is a wide and various emotional diversity, from slow and sorrowful to fiery and syncopated.
The songs presented here generally fall within the narrow confines of the concert spiritual with a bit of gospel in the mix. Also, while sorrow songs, a significant segment of the Spirituals genre, are missing in today’s concert, their echo is in every Spiritual song. H.T. Burleigh, one of the preeminent arrangers of concert Spirituals, wrote about them thus:
The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man, every man, will be free. -H.T. Burleigh (1866-1949)
W.E.B. Du Bois, in his seminal work, The Souls of Black Folk, concludes:
Sometimes [Spirituals display] a faith in life, sometimes a faith in death, sometimes assurance of boundless justice in some fair world beyond. But whichever it is, the meaning is always clear: that sometime, somewhere, men will judge men by their souls and not by their skins.
-W.E.B. Du Bois (1868-1963)
Last Updated: March 16, 2024 by testadmin
The Tailor of Gloucester
Our December 2024 concert featured a reading of The Tailor of Gloucester, Beatrix Potter’s holiday tale of magic, mischief, and mice!
You probably know Beatrix Potter’s work from The Tale of Peter Rabbit, but did you know she wrote more than 60 books? Or that thanks to her detailed watercolors and study of fungi she was widely respected in the field of mycology (mushrooms and fungus)? Or that the England’s gorgeous Lake District exists in large part due to her conservation work?
Helen Beatrix Potter is one of Britain’s best known authors, but The Tailor of Gloucester may be new to you. The story tells of an aged and poor tailor, who makes his living sewing beautiful clothes for fancy customers. The story begins a few days before Christmas, and the tailor is working on an intricate vest and coat for the Mayor of Gloucester, who is getting married on Christmas Day. His whole living depends upon getting the Mayor his clothes in time! All the pieces of fabric have been cut out and are ready for sewing as the tailor leaves for the day, and the last thing the tailor needs to complete his work is a bit more cherry-colored thread (which in this story is called twist), just enough for one button-hole! But he falls ill that night, and his naughty cat, Simpkin, plays a naughty trick on him. Will the tailor finish his work in time?
Last Updated: April 26, 2023 by testadmin
The Legend of Old Befana
We presented the third installment of our LOVE THAT BOOK concert series, featuring Tomie dePaola’s The Legend of Old Befana on Saturday, Dec 3, 2022. Here are some excerpts from the program:
DIRECTORS’ NOTES A story as apt now as it was in busy 9th century Rome, today’s ancient tale of a person too busy for an adventure offers a poignant invitation to modern people of all ages: set aside that to-do list, and spend some time on joy!
The Legend of Old Befana, originally published in 1980, is one of many dePaola books centered around his favorite holiday: Christmas! Raised Roman Catholic with an Irish mother and Italian father, dePaola grew up in the rich storytelling tradition found in his family’s faith: parables, saint stories, Christmas legends, miracle tales, and more. These stories, coupled with his vibrant and accessible illustrations, he transformed into some of his best known works.
Today’s songs were selected not only for how well they fit the story, but also for their representation of historical Italian culture, language, art, and history, with the understanding that the full kaleidoscope of any culture could never be represented in only one hour.
We in City Singers Youth Choirs care about great music education, because great music does what a great story does—builds bridges between people, inspires wonder and curiosity, encourages humility and compassion.
The kids in front of you today don’t audition to be in City Singers: they simply come with a love of singing and learn the rest of it.
Recommended Materials to complement today’s concert: (we may receive donations from Amazon via these links)
Gabriella’s Song by Candace Fleming
A Venetian girl hears music all around her. A beautiful story about how music can communicate many different things to different people.
I, Vivaldi (Incredible Lives for Young Readers) by Janice Shefelman
Despite his mother’s vow for him to become a priest, young Antonio Vivaldi (one composer heard in today’s concert!) pursues his passion for music.
Food of the Italian South: Recipes for Classic, Disappearing, and Lost Dishes: A Cookbook by Katie Parla
The Worlds of Tomie dePaola: The Art and Stories of the Legendary Artist and Author by Barbara Elleman
MORE PICTURE BOOKS FROM TOMIE dePAOLA
Quiet An invitation to quieting hurry and being fully present.
The Art Lesson Tomie’s first art lessons are filled with encouragement and wisdom for budding artists of all kinds.
Christina’s Carol depicts the text of well-known Christmas carol “In the Bleak Midwinter” by Christina Rosetti (a carol performed today!)
Strega Nona When Strega Nona leaves him alone with her magic pasta pot, Big Anthony is determined to show the townspeople how it works in this classic Caldecott Honor book from Tomie dePaola.
Nana Upstairs and Nana Downstairs T Mr. dePaola’s favorite book of his own, this autobiographical tale portrays love and loss from a 4-year-old Tomie’s perspective. Re-illustrated & re-released in 2000.
4 Tips for Home Music-Making
1. Sing with each other for fun! Young children need to sing higher than most adults are comfortable. Begin with hooty owl sounds, imitate a siren or a whoop to get into that head voice! Sing high with your children to encourage pitch matching and healthy singing. We love the Boston Museum of Fine Arts Songbooks which can be found used on Amazon.
2. Use zany voices when reading aloud. From hoots or kitten meow-meow voices to deep shouty calls, the human voice possesses great dynamic range. Utilizing this full range of your reading voice is a great way to model early singing skills to children! Even, better, encourage them to join you!
3. Keep real instruments in the home. Toy instruments create a less resonant, and therefore less exciting, sound, which children are less likely to pursue through experimentation. There are many affordable options for ‘real’ instruments which will last years and years: look for Remo kids drums, metal glockenspiels by Sonor, nice-sounding ukuleles, and the ever-present free Craisgslist piano.
4. Be aware of voice-consciousness. Singing is a learned skill, not a born talent, so the popular view that ‘a person is either a singer or is not a singer’ is neither helpful nor accurate. We encourage adults never to speak ill of their voices in front of children, even if they aren’t the most comfortable singers, and use “skill” instead of “talent” when talking of musical ability. We are all learning to sing at various levels.
Last Updated: May 26, 2022 by testadmin
Come to My Garden
Excerpt from our 5/14/2022 concert notes:
If our theme today looks familiar, it’s because it is: “Come to My Garden” was the 2020 City Singers Spring Session theme, which for obvious reasons was never performed. How happy we are to present this music today, and how relevant the theme; while effects of the pandemic seem to be waning, uncertainty persists in this wild world, and yearning for the sanctuary a garden embodies is something each of us can understand.
Singing together this season has breathed new life into all of us here in City Singers: the resilience, positive spirit, and love that each of our young people bring to rehearsal every week is consistently amazing.
Last Updated: March 8, 2022 by testadmin
All-of-a-Kind Family Hanukkah
Excerpt from our 12/4/2021 concert program: We are excited to share with you one of our favorite story books, All-of-a-Kind-Family Hanukkah, and the music we’ve paired with it. The story is set in New York City around the year 1900, on the first night of Chanukah.
Did you notice that throughout this program, ‘Hanukkah’ is not always spelled the same? The Oxford English Dictionary lists 24 different spellings of the holiday, and there’s a good reason: the Hebrew language doesn’t use English letters, so people had to figure out what English letters best represent the Hebrew letter sounds so we can pronounce it.
This is called transliteration, and different ways to spell ‘Chanukah’… or ‘Hanukkah’… are used today in English, although they are all pronounced the same. For more, see “How Do You Spell Channukkah?” by the LeeVees on Cantor Sarah’s playlist!
Inside this program are coloring pages of three historic stained glass windows found here in this sanctuary. Can you find each one? You are welcome to copy the colors found in the originals, or come up with your own! Coloring pencils and extra pages are available at the entrance.
Today’s instruments include piano, clarinet, accordion, solo voices and choir voices. If you look carefully at the accordion, can you see that a piano keyboard is a part of it?
Look at the two big menorahs on either side of the stage. How many candles are on each? If you counted 7, you are correct! It is only the special Hanukkah menorah which has 9 candles, 8 to represent the 8 miraculous nights of oil, and one to light them with, the shamash, or helper, candle.
In our story it is the first night of Hanukkah, but tonight is actually the last night of Hanukkah. In our story, Gertie gets to light the first candle, but tonight you get to see all candles lit at the end of the concert!
Voices are a big part of our music, and you’ll hear two kinds today: solo voice and choir. We have two soloists, each with very different voices, but both are categorized as soprano, which is the highest adult voice. Our choral voices are made up of kids like you, who love to sing! These kids meet once a week to learn music and how to sing in the strongest and healthiest way.
If you love music and love to sing, you can be a part of City Singers! Learn how to join us here.
Last Updated: December 5, 2022 by admin
To toot or not to toot? Stuff we’re proud of…
A note from Leslie Dripps, CSYC Executive & Artistic Director
When the going gets tough, (and if you run a non-profit, you know that it can) sometimes one stops everything and thinks “WHY AM I DOING THIS CAN’T SOMEBODY ELSE DO IT I WANT TO TAKE A NAP!” ..and then I take a breath.
In that breath I remember the reason I work for this particular organization, and not anyone else, is that we do a fabulous job in a way that sets us apart from other groups in our area. Dare I say that? Well, we’ve worked hard at these things, and we are proud of them!
“What,” they ask with baited breath, “sets you apart?” (Narrator: They did not ask that.)
Well, since I am not only a choir director, but also a choir mom, the stuff that sets City Singers apart is the stuff that I value the most when it comes to the activities my own children do. (All three are City Singers!)
Here are three elements which set City Singers Youth Choirs apart:
1. CSYC is the only Richmond area community youth choir led by faculty with degrees in voice and voice education. (I look forward to the day when we aren’t alone here). Our training and experience is in teaching the young voice and developing our singers through the lens of singing in ways that best serve the singers. This distinction is important—college degrees in instruments other than voice are not designed to prepare for teaching the youth voice. We highly value the science, research, and best practices in voice pedagogy, and maintain the most current knowledge in the field to apply in our choirs. We know vocal anatomy, and the anatomical and biological elements significant in the pubescent voice change. We highly value our positive reputations in the music education community, and CSYC is recommended by area choir teachers. Read faculty bios here: www.citysingerschoir.org/faculty
2. We respect our singers and their voices. Unfortunately, this sets us apart. Questionable (and by this I mean ‘abusive’) management practices are very common in the youth arts world, and are often excused as a mark of “quality”, which we find appalling on the most fundamental level. We never, ever yell, and never have, for more than 20 years. We prioritize singer health (mental, emotional, and physical) and design our rehearsals and performances to support this health. Singers are proud of the high quality we accomplish together, and that pride inspires more dedicated and diligent practicing and better music. Knowing how youth voices develop is crucial to this approach, and our vocal pedagogy and philosophy, superior in their own right, contribute to joyful and productive rehearsals.
3. City Singers is a stable organization. This may not sound exciting, but it totally is. We have a robust strategic plan, which guides our program and governance decisions, an annual transparent funding strategy, and have never in our history operated in the red or had a deficit. Our volunteer Board of Directors is made up of community members who value our mission: leaders in Richmond’s business sectors and music education sectors.
So, there you go. I could go on and on about the quality of our musicianship and repertoire, but these three matter to me as a mom. Our quality flows out of these. Won’t you join us?
Posted: August 14, 2018 by admin
Music for Most of Us (Episode 2)
Beyond Appreciation: Building Family Music Literacy at Home
If you, like me, are on a homeschooling adventure, you have probably encountered music appreciation elements in various curricula. These tend to include music from the Western classical tradition, listening activities, instrument families and identification, historical periods, tie-ins with visual art and even some creative movement. You have also probably encountered a wide variety of private lesson methods: from the Suzuki method, to the Russian piano school, and everything in between.
As a college trained music educator, having earned a teaching license for grades k-12 vocal music and worked in the field for almost twenty years, I can tell you that all these things are good and fine. Well, you ask, what’s missing? Glad you asked.
In short, Music Appreciation isn’t literacy, and in all fairness, it doesn’t really claim to be. Music literacy involves comfort with music-making and creation, and is a pretty straightforward series of skills that can be learned.
I present to you four simple touchstones that indicate beginning progress toward the fundamentals of music literacy, and they are easy to learn at home, and appropriate to start with ages 4 and up (some 2-3 year olds may be inclined as well, if older siblings are doing it, or if they LOVE singing, or are geniuses.) I recommend singing these exercises together during read-aloud time, memory work, or any other time everyone is snuggled on the couch.
1. Sing a major scale
Do, Re, Mi, Fa, Sol, La, Ti, Do, Do, Ti, La, Sol, Fa, Mi, Re, Do
2. Sing a major scale + this pattern:
Do Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
Do____Sol____Do Mi Sol Mi Do__Fa Fa Sol Sol Do
Follow @citysingerschoir on Instagram for this video!
3. Sing three different major scales+pattern, beginning each scale on a randomly selected pitch.
Follow @citysingerschoir on Instagram for this video!
4. Improvise using the pentatonic scale (black notes on the piano keyboard: Do, Re, Mi, Sol, La)
Follow @citysingerschoir on Instagram for this video!
You may notice at this point that these activities are not usually presented in music appreciation courses, or sometimes even private lessons. We tend to get very performance-centric when we study music, and this can result in ignoring the most basic skills in favor of getting ready for the concert. This is a pity, because with these skills, music becomes fathomable, creatable, and our own.
So, go practice! I plan to continue this series throughout this year. Stay tuned for Part 2: If Your Mama Plays Accordion
Be well, and sing on!
Leslie Dripps
Last Updated: July 15, 2021 by admin
Christmas Spirituals: Songs of African-American Tradition
It seems that every year about this time we hear a renewed longing for ‘peace on Earth, good will toward men’ and the Spiritual songs from African-American tradition encapsulate that longing in a way no other art form does. We invite you to read a brief history of Spirituals on page 4 of this program. There you will find explanations of the genre and its origins and discover how a work song in a cotton field sung by captive Africans made its way to the fanciest concert halls in America.
We would have loved to sing every Spiritual we could get a hold of, but alas, time limits! While one concert cannot represent the full breadth and depth of the Spiritual literature, a careful listener will hear echoes of both the hardships and joys from which each song was born, from the most energetic selections to the sweetest lullaby.
Our singers have been on a journey of discovery through these songs–a challenging, beautiful journey–all the things that come with trying to touch another’s experience. We would like to humbly acknowledge the varied opinions of African Americans regarding the performance of Spirituals. The great tree which is the Spiritual Tradition was grown from both the blood and the irrepressible spirit of the enslaved Africans who created each song. Our purpose is to celebrate and honor the enduring artistic, social and historical contribution those men and women have given to America and the world.
~ Leslie Dripps & Mara Smith, Directors, City Singers Youth Choirs
True enough this music was transmitted to us through humble channels, but its source is that of all great art everywhere—the unquenchable, divinely human longing for a perfect realization of life. It traverses every shade of emotion without spilling over in any direction. Its most tragic utterances are without pessimism, and its lightest, biggest moments have nothing to do with frivolity. In its darkest expressions there is always a hope and in its gayest measures a constant reminder.
Hall Johnson (1888-1970), Composer
A Brief History of Spirituals
The term “Spiritual” describes the songs created and sung by enslaved Africans in North America from as early as 1650. Although widely thought to have evolved gradually from group music making over the years, research now supports the idea that specific individuals (not groups) likely created most of the body of work, weaving African and European influences together into a new art form and teaching these songs to their communities. This oral transmission fostered a fluidity which allowed for variation. The first written arrangements of the Spiritual for formal concert use were performed by the Fisk Jubilee Singers in 1871. This is considered the birth of the “concert spiritual”, a formalized iteration of an oral art form, and the Fisk Jubilee Singers, through tireless dedication through much trial and hardship, brought the Spirituals to the entire world. The Spiritual songs of the enslaved Africans have woven the very fabric of most of the body of modern western music–blues, rock, gospel, jazz, pop, hip-hop–the reach and influence of the Spirituals cannot be overstated.
Spirituals have been categorized into five thematic groupings: religious spirituals, freedom spirituals, escape spirituals, shouts and hollers, and work songs. Within each of these categories is a wide and various emotional diversity, from slow and sorrowful to fiery and syncopated.
The songs presented here generally fall within the narrow confines of the concert spiritual with a bit of gospel in the mix. Also, while sorrow songs, a significant segment of the Spirituals genre, are missing in today’s concert, their echo is in every Spiritual song. H.T. Burleigh, one of the preeminent arrangers of concert Spirituals, wrote about them thus:
The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man, every man, will be free. -H.T. Burleigh (1866-1949)
W.E.B. Du Bois, in his seminal work, The Souls of Black Folk, concludes:
Sometimes [Spirituals display] a faith in life, sometimes a faith in death, sometimes assurance of boundless justice in some fair world beyond. But whichever it is, the meaning is always clear: that sometime, somewhere, men will judge men by their souls and not by their skins.
-W.E.B. Du Bois (1868-1963)
Posted: October 2, 2017 by testadmin
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Posted: September 30, 2016 by admin
Music for Most of Us (Episode 1)
Music Lessons? 5 Tips to Get You Started
1. When should we start private lessons? Your child is older than age 6. (Please note: private voice should not begin before 8th grade—more on this later.) Private piano, violin and ukulele lessons are often dependent upon reading or pre-reading skills (like tracking left to right and top to bottom and counting) A reading five can manage with the right teacher and teaching method, but the risk is high that a child who starts too young will be frustrated easily. For children 6 and under, the most essential experience for future musicality is making music with family.
2. Which instrument should we choose? While piano is foundational to all other instruments, it may be helpful to consider what instruments are played in your family. Like language, music is absorbed environmentally by children, so if Mom plays the violin, it may be best to start there. Starting from scratch? Consider a double ukulele lesson with Daddy learning along side Junior. Have a young star singer? A children’s choir is one of the best places for young singers to develop.
3. Which teacher should we choose? With hundreds of private music teachers in the Richmond area, it may seem daunting to narrow it down, but ask around! Fellow parents know what they like about certain teachers and what didn’t work with previous ones. Your child’s school music educator is likely familiar with the teaching styles of many local instructors, and, knowing your child, can recommend a few good matches.
4. Ask for a trial period. This is often overlooked as a great step toward making the right match, so don’t be afraid to ask to book a month of lessons before committing to a particular teacher. A great music teacher knows how important it is for teacher and student to be compatible.
5. Create Goals. Draft three achievable goals with your child and present them to your teacher at the start of your trial period. He or she will gain valuable insight into what your family wants out of lessons, and will be able to fill out the goals for you with their expert musical knowledge. Make sure these goals are achievable! An achievable goal is not, for example: “We want to see if she has what it takes to Make It!” Put dreams of stardom on hold for a minute and concentrate on how learning music will benefit your child this year. He will learn that hard work improves outcomes. She will learn that ‘not getting’ something right away doesn’t mean she’ll never get it. He will learn that he has the power to create something beautiful. Achievable short term goals could include: playing ‘happy birthday” for so and so’s special day, playing a holiday song for grandma’s visit, auditioning for a school group. Long term goals include preparing for college auditions (it takes years!), learning to read music competently, fostering a deeper appreciation for the musical arts, becoming a well-informed audience member. Keep your goals in an accessible place, and reevaluate often with your child and teacher.
Now, sit back, enjoy the music and crack the whip! Whoops—“How to Practice” is another article entirely….
Posted: November 27, 2015 by admin
Your instrument is your body!
Your instrument is…your entire body!
A singer’s instrument is the entire body. Even how your toes point can ultimately affect what you sound like! It’s important to know how it all works together, and how to keep the body humming along, so you can keep…well…humming along!
Fran Coleman (D.M.A., Board Member, Capitol Opera Richmond, Deputy Director, Classical Revolution RVA, Adjunct Professor, John Tyler Community College, Longwood University, Owner/Teacher, Songbird’s Studio–so she KNOWS what she’s talking about) recently presented on Vocal Health and Hygiene at our SongTalks program in September.
Here are Fran’s top ways to keep your voice (and body) healthy:
Voice Health Tip #1. HYDRATE, HYDRATE, HYDRATE
Dehydration (not enough water in your body) occurs externally and internally.
External dehydration may come from breathing dry air, breathing with an open mouth, smoking, and certain drying oral medications like antihistamines. To help allergies without dehydrating, try nasal steroid sprays (prescription and over-the-counter versions now available!)
Your vocal folds can be re-hydrated by inhaling steam (i.e. hot shower, facial steamer, hot-water vaporizer).
Internal dehydration comes from too much caffeine, alcohol, drying drugs, or sweating without
fluid replacement. Internal re-hydration is probably best achieved by drinking lots of water.
How much water should you drink per day? Divide your body weight in hal
f! This is the MINIMUM number of ounces you should be drinking per day.
Voice Health Tip #2. AVOID EXCESSIVE VOCAL STRAIN
Throat Clearing/Coughing When a person clears his throat or coughs, the vocal folds violently crash together, which can cause inflammation, which causes loss of singing and speaking range or a husky-sounding voice. Untreated inflammation can cause serious long-term vocal damage.
Clearing your throat or coughing is usually due to excessive mucous. (The stuff just got real, folks.) Mucous will drain from sinuses down the back of the throat, irritating the vocal folds and causing a cough.
-To reduce mucous and therefore coughing, treat allergies or infection promptly by following advice from your doctor.
-To prevent mucous and therefore coughing, use a nasal irrigation system regularly, especially during dry weather, cold weather, flu season, allergy season. One such system is NeilMed sinus irrigator, available at drug stores everywhere.
Shouting in excess causes severe vocal strain. Avoid shouting, and absolutely avoid screaming.
Vocal Health Tip #3. STAY RESTED
If your body is tired, your vocal cords are tired, too! Get a good night’s sleep, regularly.
Vocal Health Tip #4. EAT WELL & EXERCISE!
As singers we are vocal athletes. We must train our bodies the same way.
Avoid:
● Sugar
● Fatty foods
● Preservatives
● Dairy (2 hours before performance)
Eat:
● Fruits
● Vegetables
● Whole grains
Build:
● Cardiovascular strength, which creates pulmonary and muscular stamina
Vocal Health Tip #6. DO NOT SING SICK!!!
Refrain from singing if you have:
● an infection, virus, or fever
● Laryngitis
○ When we are hoarse, our cords are swollen. Singing on swollen cords is like
running on a sprained ankle – IT’S NO GOOD!