The demands of musical style have always been with us and generally lead to a discussion regarding the decline of singing. “The things which have changed are the study of the breath, of vocalization and of classical repertory, as cultivated by singers of former times….Nowadays, after maltreating the larynx for a few months, a student considers himself an artist and attempt the most difficult feats….The insufficiently trained voice, which possesses neither the flexibility nor the art of the breath supported legato, naturally quickly wears itself out….In my opinion, it is not absolutely necessary to have a big voice, nor even a pretty one: if one just acquires security of breath, purity of enunciation and legato, any voice will sound agreeable to the ear.” These observations were made in 1895 by the famous pedagogue Giovanni Lamperti. At that time, the popularity of music by Verdi and Wagner was considered the force driving performers to strain instruments either ill-suited or ill-trained to perform the demands of this music, which was new at the time!

There has always been an exchange between popular cultural taste and “serious” musical expression. Examples of this include Shubert’s Ave Maria, widely available on karaoke, has been recorded by scores of artists--- among them Leontyne Price, Renata Tebaldi, Luciano Pavarotti, Elvis Presley, The Carpenters and Stevie Wonder. Bizet’s opera Carmen has been presented as the original operatic stage work, a film, a film musical (Carmen Jones), reinvented as a stage work by Peter Brook and reinterpreted again as a Flamenco dance extravaganza. George Gershwin’s entire body of orchestrated work, including Porgy and Bess, defies categorization (is it classical, popular or just Gershwin?).

In the popular music world new trends emerge every three or four years. Hip hop, Gospel, Pop, Rock, R& B, Jazz, Blues, Country---- the vagaries of today’s popular musical taste continually challenge the expertise and imagination of the voice professional. Popular vocal style, from the classical perspective, may necessitate using the voice inefficiently. Whatever the vocal style used, the goal is the same: consistency of sound on command. How does one reconcile this in the voice studio dedicated to vocal health? One solution: give the student choices while building his or her understanding of what to do to produce the desired sound. Classical vocal exercises can be (and should be!) used. Not only is a classically grounded technique vocally healthy, it also gives the performer tools for relaxing the tensions often inherent in the production of commercial sound.

Classical exercises can be modified for the needs of singers performing in any style direction---whether rock or opera. The biggest difference generally lies in the resonance usage. Generally, the resonance may be perceived as less “open”, placement may be more frontal or throaty, the pharyngeal space will be often less expanded and less vertical. These resonance changes involve larynx position, which is in a more neutral or higher position as in speech rather than the relaxed yawn/sigh position utilized in classical singing. The vocal tract will often be more horizontal than the advocated deep vertical, high palate position used in classical production. The resulting sound will not be constructed for the balance desired for a classical sound. In order to achieve this, certain muscles will often be stressed, overused or underused to produce the desired effect. The facial muscles (ex. Frontales, Quadratus labii superioris, Caninus, Triangularis, Zygomaticus) will often be in a different alignment than that used in a classical approach. There may be some incorporation of the digastrici. Added concentration on consonant articulation will lend support to the colloquial use of language in popular song. Understanding and exercising the phonetic components of diphthongized vowels will add clarity to the delivery of text.

The teacher’s goal can be structured to provide a healthier functional alternative. This can be combined with exercises designed for functional relaxation of the muscles stressed in production of a non-classical sound. Some guidelines teachers may use include:

· Have a discussion about the desired commercial sound with the student.
Ask non-classically oriented students for input. Find out which vocal artists the student enjoys or emulates. Listen to the sounds the student wishes to incorporate into performance.

· Listen critically with your student.
Be open to current musical taste. Start a discussion about vocal health and longevity based on the sound you hear. Discuss the sound for range, quality, color, power, etc. Instruct them what they must do to produce it consistently.

· Determine how your student is using your instruction.
Deliver information in the way the student assimilates best. Primary learning modalities are kinesthetic, visual or aural. Help the student deconstruct his or her personal learning style and apply it consistently in their performance practice.

· Give your student options.
Work for optimal vocal function from a legitimate approach as well as a stylized one. Work an exercise from both perspectives.

· Give your student the facts about good vocal health.
While some singing styles sell like wildfire in the commercial marketplace, they may also be hazardous to vocal longevity. Face it, there is no such animal as healthy rock style. The real issue concerns offering a less damaging choice option. Take the time to explain risk management. Explain why hydration, vocal rest, proper vocal registration exercises and physical conditioning for stamina are requisite for optimal performance success. Give the student specific relaxation exercises to release vocal tension from less than efficient vocal production.

· Discuss the role of the microphone.
Microphones are a fact of commercial musical life. They cannot correct functional problems. A microphone projects and amplifies the sound that is coming from the singer. Be willing to schedule lesson time in a commercial studio so that the use of a commercial sound stage can be applied as technical function is explored.

Pop legends like Aretha, Sting, Elton, Dolly, Bette and Cher are terrific examples of pop artists who have sustained long careers. All of them use supported breath, especially when belting out a crowd pleasing “cover”. It is widely known that Frank Sinatra swam daily to develop and maintain breath control. A classically trained singer can also make modifications in vocal production for a commercial project. Anne Sofie von Otter’s collaborative album with Elvis Costello, For the Stars, very effectively demonstrates this. Using good judgment, the teacher can guide non-classical students to the awareness that good vocal technique is not random, it is disciplined craft. Vocal rewards will be greater power, range, control and a lessening of laryngeal pressure. “Remind yourself, on the occasions when I will have to stick my finger in your artistic eye, that I am writing about singing for money. The quickest and biggest money today--- for the trained singer as well as the beginner---is in the effective singing of popular songs.” (Henderson and Palmer)