This past Christmas break I was working on music for a faculty voice recital, scheduled for January 20, 2011.  As I practiced, I noticed that something was just NOT right with my voice.  Singing classically, I was fine, if sounding slightly tired.  The problem came when I was trying to sing a slightly higher Broadway belt sound (D4-E4).  My voice was making extra noise and just wouldn’t phonate properly.  I knew that I felt I was working too hard, and my self-diagnosis was muscle tension dysphonia (in other words, using too much muscle and “overblowing” the cords).

So, on January 13, 2011, I went to an ENT to have my cords looked at.   I was shocked when the doctor told me that I had small bilateral pre-nodules on the leading edge of the vocal folds.  I have always had “cords of steel” and been able to pretty much sing through anything.  This diagnosis of pre-nodules really made me re-think how I was approaching my voice.

What are pre-nodules? Here’s the layman’s version: the vocal folds are covered with the same skin as the outer layer of the skin on the outside of your body (squamous epithelium). Nodules are similar to calluses that form from repetitive motion.  If, when you notice that a callus is forming, you change your behavior, the callus can go away pretty quickly.  This is similar to the situation of pre-nodules on the vocal folds: it’s what is the beginning of the formation of a callus, but the skin has not yet hardened. Because I knew my voice and knew that what was going on was NOT just because I was exhausted, I got myself to the doctor quickly.  

What causes nodules? Nodules are most often a vocal disorder of vocal misuse.  But, in any voice disorder, there are generally a confluence of factors that contribute to the diagnosed disorder.  In my case, I had many factors that contributed: 1) On top of my private studio teaching and my regular performance schedule, I began teaching in a university setting in September 2010 (including 13 private students and class voice) which drastically increased my voice use, 2) in December my daughters became ill, & I ended up with very little sleep for 2+ weeks while continuing the crazy schedule that is a singer’s life in the Christmas season, 3) because I am able to be loud, I was speaking too loudly at home to my daughters, 4)  I was singing in the Turandot chorus, which for mezzo-soprano is on the upper end of the tessitura (it hangs D5-F5), 5) I was working learning how to belt while my voice was tired, not the style in which I’m most highly trained, 6) I had an undiagnosed case of Laryngo-Pharyngeal Reflux Disease (LPRD).  All of these factors combined to create what I had felt was just a “tired voice,” but ultimately resulted in something that COULD have been very drastic.

How are pre-nodules diagnosed? Read more…

Read More » Comments (4)

Posted in Performing, Practicing, Product Reviews, Teaching Tips

The other day I received a call from a parent asking to discuss his daughters progress in her band she is enrolled in. I run a small music school called the Brooklyn Music Factory and a cornerstone of our program is the bi weekly band rehearsals. Kids can sign up for different styles of music like the all Motown band, Atlantic Ave. Soul Review or the New Wave synth group, Club Keyboard. The kids love the chance to practice and eventually perform and for the band leaders (teachers) it is wonderful to dive head first into one genre or songwriter. What the phone call from this father made me realize is that it is not as easily apparent to those observing the actual musical value of a band program. Sure, they see that their child is having fun, in fact, tons of fun, but as this parent pointed out, “sometimes if a kid is having too much fun, how can they really be learning anything?” This entry is dedicated to how to respond to parents effectively and what I see to be the value of the group learning environment that can be both tons of fun and extremely educational.

Read more…

Read More » Comments Off (0)

Posted in Composing & Arranging, Music History & Facts, Performing, Practicing, Teaching Tips

It was at the age of seven, when I came to the United Kingdom, that I first encountered the Associated Board of the Royal Schools of Music (ABRSM) music examination system.  “What grade are you?” the other children would ask when I told them that I played the piano.  It was not a question I had encountered in the United States, and I didn’t know what to tell them. However, soon enough, my new piano teacher decided that it was time for me to take one of these examinations, and I began to learn all about the system. Read more…

Read More » Comments (7)

Posted in Music Theory, Performing, Product Reviews, Teaching Tips

In four weeks my studio will hold the first concert of the year. As well as memorising & polishing repertoire and refreshing concert etiquette, my students are currently in the midst of preparing program notes. This is a particularly difficult task for students, and I believe that it is vital that students are able to articulate their thoughts about music elegantly and intelligently, using appropriate musical language.

My top five hints for writing effective program notes are: Read more…

Read More » Comments Off (0)

Posted in Music History & Facts, Music News, Music Theory, Performing, Teaching Tips

Nearly 20 years ago, a grateful student gave me Ernst Bacon’s book Notes on the Piano.  I don’t teach or perform piano, but she assured me it was worth reading anyway.

She was right.  It’s an amazingly thought-provoking book for musicians and music teachers.  Ernst Bacon (1898-1990) was an American composer and pianist.  Below, I have selected a number of quotes that might be of interest to you.  There is more discussion of each in the book, and also many more topics and ideas.  I heartily recommend the book itself.   Here’s a link to getting a used copy via Amazon.

The book begins with the author’s suggestion that the book is “to be nibbled” – opened and read here and there and anywhere.  Here are some snippets allowing you to do just that.
Read more…

Read More » Comments (2)

Posted in Performing, Practicing, Teaching Tips

LA MÚSICA QUE HABLÓ EN HONOR DEL HERMANO TERÁN.I’ve just come back from Vancouver, where I spent the last of hearing and marking exams for RCM Examinations, also known as the National Music Certificate Program in the US. While in Vancouver, I had the pleasure of hearing a wide variety of musicians of all ages and ability levels. As an examiner, there’s nothing like hearing a finely prepared and executed exam, and I’m always glad to reward a fine performance with a high mark. If you’re a student, feeling confident and excelling in an exam situation is perhaps less about talent and more about preparation, the right kind of work done ahead of time, and regular practice.

If you’ve got an exam coming up and you want to do better than you did last time, here are some things to take into consideration if you want to be even more prepared next time around:

Read more…

Read More » Comments (2)

Posted in Performing, Practicing, Teaching Tips

Photo: Chris Willis

Do you give your students stickers when they perform well?  How about certificates? Candy? How many parents do you know who reward their children financially for doing their chores, or give them a bicycle/iPod/Xbox when they do well in an exam? It’s very tempting to provide inducements (bribes?) when children balk at doing their music practice or study. Yet, what if you were to discover that far from these rewards being an incentive, they are actually demotivating? Read more…

Read More » Comments (3)

Posted in Performing, Practicing, Teaching Tips

Nicole Murphy

Annual Concert Guide

January 25th, 2011 by

How do your students learn the art of performing? While I do address this topic in their lessons, the majority of my students learn the art of performing through observation and attendance at concerts.  When I started teaching I was surprised at the small number of my students who attended live performances. Upon investigation I discovered that many parents who didn’t have musical training had very little knowledge about our local music scene. A large number of them couldn’t name our State’s orchestra or name a performance venue in our city! Read more…

Read More » Comments Off (0)

Posted in Performing, Studio Management, Teaching Tips

My private vocal studio is comprised mostly of high school students.  I have regular studio classes, for which I hire various pianists.  The main goal of this is help students learn BEFORE college the fine art of working with a pianist.  This is vitally important, I think, when teaching music (especially voice, as the voice is rarely presented alone).

I also hire pianists to play for the two annual NATS (National Association of Teachers of Singing) competitions that we have each year here in Arizona.  I try to contact pianists well in advance.  When I contact each pianist, I spell out projected dates, amount of pay, and what the projected repertoire is.  I keep in contact with the pianist, and ask if it’s okay whenever there is a schedule change, BEFORE I confirm it with the students.

Most importantly, I found over the years that I got incredibly nervous when it came to paying the pianist.  After enough times running after students to make sure they had paid, I decided to use MTH’s Read more…

Read More » Comments (2)

Posted in Financial Business, Performing, Studio Management, Teaching Tips, Using Music Teacher's Helper

Photo: Alessandra Cimatti

In this week’s post on Christmas music, I am focusing on 20th and 21st century additions to the repertoire. Many modern composers have been inspired by the heritage I touched upon last week– European sacred choral music from the medieval period onwards.

Kenneth Leighton, an English composer and pianist (1929–1988) was influenced in particular by Vaughan Williams, who was in turn influenced by his field research into traditional British folk melody. Leighton’s setting of the Coventry Carol has become his most famous work. Written in 1948, it is a setting of a text whose earliest known version dates from 1534. Using a modally influenced melody and luscious close harmonies, it is an instantly appealing work. A soaring soprano solo aptly evokes the vulnerability of the child Jesus, and contrasts dramatically with the full-choir verse describing Herod’s rage at the news of his birth. This outstanding version is by Polyphony, conducted by Stephen Layton.

Read more…

Read More » Comments (2)

Posted in Music History & Facts, Performing