Friday, December 19, 2014
Please Have Patience For A Complete Vocal Recovery!!!
Over the years I have dealt with many vocal disorders and injuries, be it possessed by ordinary people with speech problems or by amateur or professional singers.
Almost all have had one thing in common, the absolute lack of patience with respect of their voice restoration and vocal recovery.
The minute they felt better about their voice and in general, they were ready “to run marathons”, so to speak.
Those with the speaking voice, who have not heard their normal voice for some time, could literally not stop speaking (fast and loud) the minute they regained their voice.
No matter how much and how long I have been persuading them not to start speaking too soon, too much, and too loud at all, none of them had listened.
The minute they came back home, they called all their friends and relatives and some of them even created coming home parties; and once again, some returned to yelling and screaming at their children and their spouses, which in the first place, by doing so, is what brought them to the voice strain and voice loss.
Now about singers:
Needless to say, that some singers, even during the voice restoration process, also were experiencing frustration from time to time, as right after the voice repair was complete, they still were not exactly “jumping the triple axles” right away.
It is boggling my mind, as those otherwise sensible adults do not appreciate the process which requires some time to gradually go back to the same and definitely much higher grounds!
Now, my point of view:
I personally like to watch television shows concerning the hospitals and medical care.
One of the episodes from the TV show “Saving Hope” I just watched, where the car racer was admitted in the emergency room, with very brutal injuries.
His feet were, literally, separated from his legs, his arms were broken, and in general he was in a very bad shape.
The minute he regained consciousness, after at least a twelve hour surgery, where the doctors were literally putting him back together, the very first thing he asked when he opened his eyes, “Doctor, when will I be able to race again?”
It’s understandable, but how realistic is this?
The doctors suggested that it would be at least a couple of years of recovery…
The other case from the same show, profiled a woman in her mid-thirties, who was a racehorse jockey.
She had a very bad leg injury which also required at least six months of healing and rehab, thereafter.
She was begging the orthopedic doctor to do some kind of surgery which will speed up her recovery and put her right back on a horse.
The doctor explained to her that there was one experimental option which would put her back on her feet much faster, but if unsuccessful, it may leave her paralyzed from the waist down.
What do you think she had chosen?
Take a wild guess – the experimental surgery, nonetheless.
Unfortunately, the outcome was very tragic, and she, indeed, was left paralyzed.
The question is, is it worth it to go to extreme measures in hopes of the fast recovery or, maybe, just maybe, the person should have the understanding that whichever injury took place is neither a joke, nor a fast fix.
But rather, on the contrary, it requires the absolute patience, understanding, and willingness and lovingness to go through the process to completely fix whatever has been broken, and needless to say, approach the rehabilitation with absolute caution and safety, in mind.
I’d like to note that the voice/vocal injuries are not any different, and in fact, maybe even more difficult to attend to, as the voice is a deeply hidden “internal instrument…” if you will.
Thursday, December 18, 2014
Vocally Speaking: Inner Bomb Detonation, So to Speak… How Dangerous or how Beneficial could that be?
Vocal damage hurts, but you don’t have to.
It could be devastating when the vocal injury occurs for both speakers and singers. Interestingly enough, for speakers, it appears to be even more tragic, as they absolutely unaware about that occurrence.
While overusing and abusing their voice, they have no idea that one day, it can burst on them. They continue pushing and pulling until their voice literally “pops” (by description of one of my voice repair clients) and then becomes hardly usable.
Clearly it does not happen at that moment; the, so to speak, ‘stage’ (the precedent) was pre-set for some time. They were ‘building a bomb’ in a manner of speaking, and it was only as a matter of time when the ‘bomb’ would eventually detonate. Of course, those amateur, or even professional speakers, felt and sensed the change in the delivery of their voice.
But the majority of them chose to ignore it and, sometimes, for prolonged periods of time. So they continued pushing it to the max until they could not push it anymore. The singers are evidently much more aware about the condition of their voices.
The symptoms of hoarseness, loss of tone and loss of range are much more obvious and pronounced then to people who use their voices just for speaking. Both categories, however, have that ‘vocal bomb’ set on ‘timer’, which, if not ‘detonated’ rather sooner than later, may just ‘explode’.
For speakers, it could turn to muscle tension dysphonia, or worst of all, spasmodic dysphonia which, is in a manner of speaking, resembles epilepsy. I have a term for it and I call it, colloquially, vocal epilepsy.
The voice begins to spasm involuntarily; and to treat this condition is extremely difficult, however not impossible, if it is still in the mild stage. Peculiar enough, the singers are more rarely succumbed to the dysphonia, especially the spasmodic kind.
They are more susceptible to the growth on their vocal cords and throat. They very often acquire vocal cord lesions, vocal cord and throat cysts, polyps and nodules and of course the acid reflux.
The latter is caused by the singer’s voice to be drawn in the lower than normal position; and thus it easily meets the gastric acid, which begins to burn the one’s vocal cords, and sometimes quite severely. All of those conditions for speakers and singers must be addressed as soon as noticed.
Remember, the bomb on timer is ticking.
And the longer you wait to “detonate” it, the more probable, when it finally explodes, the voice condition might become beyond repair – Surgical or Non-Surgical.
However, the process of, so to speak, “detonation”, could be quite detrimental.
The surgical interference may leave scar tissue, just like in the case of Julie Andrews, who was never able to regain her singing career and who, for a while, after the surgery, also had difficulties even with speech for some time.
Not to mention Joan Rivers who just lost her life during a vocal operation. The Non-Surgical endeavor is also very tasking, as it involves a lot of effort on both ends – The recipient and the voice specialist.
There are a lot of emotions – (frustrations and happiness) present during the Non-Surgical process.
I said many times that the voice is the identification and a reflection of the state of one’s being. Naturally, all the feelings like fear, frustration and overall depression, come on the surface during the restoration of the person’s voice.
So, while holistically approaching it, the voice specialist, like myself, has to take all of those feelings into consideration, and act accordingly and with absolute confidence.
In fact, my recent US Voice Repair client said that my confidence in what I am doing is clearly unbeatable, and that helped him a great deal.
Therefore, as I also said many times before, the approach should be completely holistic, without which, the success of Non-Surgical voice restoration is virtually impossible and could be, the least to say harmful, if approached otherwise.
Wednesday, December 17, 2014
Vocal “Junkie”, in the manner of speaking... Addicted to the sound of your voice? How Dangerous could that be?
The Non-Surgical Voice Repair has been my forte for well over 3 decades.
I’ve worked with both - regular people with speaking voiceproblems, ‘wannabes’ and, of course, professional singers. This blog is mostly about the professional singers who have done nothing but sang and performed most of their lives.
Understandably, the voice is their prime ‘instrument’ and, nevertheless, those artists’ livelihoods would very well depend on it. When, down the road, their voices would experience natural wear and tear, they would become alarmed and rightfully so.
Usually, it starts in the later stage of their professional lives, as their voice cannot withstand the same workability and sound pressure as it could in their younger years.
Not to mention that most of those artists are just simply talented, but they never had an exposure to the right vocal technique which would save and protect their voice for life.
So before they know, the symptoms of overworked voice begin to surface. Some of them are coming with per-nodule conditions or already with full-blown polyps or nodules on their vocal cords.
For many years, deep inside, they knew that something had dramatically changed with respect to their vocal performance. They realized it, but it usually takes some time to admit it, even to themselves.
As they go along, the condition keeps persisting and then they begin their internet search for a vocal cure. Some of them, out of desperation, jumping straight onto the operating table in hopes that when they will come out of the O.R., they will be as good as new and will sing as good as before and better.
The others are looking for a ‘magic pill’ and the conventional vocal instruction, not realizing that to deal with any vocal problem is a big task and it definitely requires a highly qualified voice specialist. It also requires them to be in cooperation with the instruction and treatment.
The majority of people are naturally very frustrated, extremely scared and totally obsessed with the sound of their voice. My recent US client, through the process of his per-nodule treatment, was literally coming on and off what I call a ‘vocal orgasm’.
When we have overcome his vocal injury and started the actual vocal instruction, not only was he flying off the handle from the excitement, but continuously kept listening to his own voice, forgetting that the next segment of the song was coming.
When I pointed it out, he said to me:
“But Diana, I am addicted; it is like a drug to me. I guess I am a vocal Junkie, as I am completely addicted to my voice now. I never herd my voice sounding this way for many years!”
With these words, he knelled down and touched my feet. That gesture suggests a great respect and admiration for a Teacher, Mentor or a Guru. I first had learned that from my former voice repair client, who came to me from India many years ago
He too did the same gesture to my enormous surprise then, and after I recovered from the shock of the unknown, he gave me the full blown explanation of that ritual.
Needless to say, to teach “an old dog new tricks” is not very easy.
We all know that bad habits die hard.
Due to that process, I have to free the artist from any ‘addictions’ he/she may possess:
- Misalignment of the physical body
- Poor connection between mental clarity and motor skills
- “Dropped down the floor” jaw
- Stuck out (as a pregnant ballerina), stomach (lol)
- Fears and insecurities of accepting the new modality of the certain proper vocal and overall behavior
- Elimination of what I call “vocal narcissism” behavior (me, myself and I, and…my voice)