Singing, Speaking Salvation-Applied Diversity
H. Steven Sims, MD, Chicago, IL My practice is based in Chicago—a city with a rich tradition of gospel music. Thomas Dorsey, Mahalia Jackson, and the Barrett Sisters laid a foundation upon which Donald Lawrence, Heather Headley, and Smokie Norful continue to build. Covering Chicago, Detroit and, recently, Indianapolis, I have the wonderful privilege of caring for those who lead worship. I grew up in a singing family, so this is as much a mission ministry as it is a practice, and it is this specific background that can be celebrated in its application to my work today. Gospel music is home for me, so I welcome you to a wonderful world. We begin by recognizing that gospel singing was birthed from a unique, venerable, and passionate cultural experience. Certainly marquee artists at the Lyric Opera of Chicago tend to have more formal training, academic degrees in music, and their own diverse backgrounds. The less adulterated, visceral cry of the heart, however, is much more likely in a Chicago church on Sunday morning. The message and the delivery are distinctly different and our approach to these individual artists must be professional and culturally competent. All culture has its language and idioms, so this is a good place to start. I would not suggest that anyone who is unfamiliar with the vernacular begin using terms associated with gospel music with patients or clients. Feigned familiarity is seldom appreciated. It is helpful, however, to have a common understanding of how some terms are used and what ideas are often being conveyed by the usage of these terms. If a patient explains to you that he or she “blew,” “tore it up,” or “sang hard,” chances are there may be a pattern of voice overuse to address. Hearing and actually processing what the patient says is the beginning of any healthy interaction between a care provider and someone in need of care. It is equally important to remember that gospel singing is not synonymous with vocal abuse. This common misconception often drives a wedge between physician and patient. Far too many patients have come to my office primarily to feel a sense of vindication after having been told that if they wanted to take care of their voices, they should stop singing gospel music. It is, however, fair to assess the singer and what he or she knows about voice production. Here are a few sample questions you can ask: Have you ever worked with a voice coach or teacher? When did you start singing? Do you know your voice part? Do you warm up? What is your warm-up? Does your choir director talk about taking care of your voice? The answers to these questions not only help establish a rapport with the patient, but they also help you understand the singer. A person who started singing at an early age may have continued singing during puberty and developed some bad habits while his or her voice was changing. This is good information to have. A singer who does not know his or her voice part is more susceptible to singing out of their natural range and encountering vocal fatigue issues. As part of the ensuing discussion with the patient, analogies can help show connections to concepts that are more familiar. An experienced runner would never get out of bed, put on brand new running shoes, and head for the door to run a half-marathon without stretching or breaking in the running equipment. The clinician can share this idea and then point out that experienced singers often embark on a vocal half-marathon without conditioning the vocal tract muscles or rehearsing. We can then draw the parallel that in both instances, the performance is likely to be suboptimal. We can also ask about the singing environment: Does the church have a sound system? Who runs the soundboard at your church—a professional or volunteer? What is the background music? What is competing with your voice? Do you sing in an old or new building? How are the acoustics? How long is the average song? Once again, these questions help the clinician build an accurate picture of what the patient’s voice is being asked to do. The call-and-response tradition of African-American gospel music lends itself to comparatively long songs. One song can last 10 to 15 minutes with an upward modulation of the key (often two to three times) as the emotional intensity in the congregation builds. We can earnestly honor the gospel tradition by understanding that a quest for brilliance is not designed to ruin voices, but rather to underscore the tradition of a psalmist. Few could read the writings of King David and not understand the emotional weight of “as a deer pants for water, so my soul yearns for you.” These words carry such heft as to inspire exuberant singing. So, as we seek to instruct gospel singers, we create alternatives to convey the message. Hand and body gestures, enunciation, and proper phrasing can accomplish the same goals. For choir singing, the typical structure is a 1-3-5-chord triad with a relatively high tenor and taxing soprano line. The brilliance of the music is maintained by the piercing sound of men and women singing in full voice at the upward end of their vocal registers. Typically, the accompaniment includes a heavy bass presence and liberal percussion. So, a good sound person elevates the voice over the music by using a microphone and an amplifier. This is far preferable to having the singers “clench harder and sing louder,” as is sometimes the remedy suggested. Being aware of the performance environment and providing helpful suggestions can further build a rapport with the patient. Keeping gospel tradition in mind, we work with the singers to optimize their individual voices and not to transform them into bel canto artists. We try to adhere to a few simple principles: Stay focused on the goal. Praise is not performance. Don’t overcomplicate things. We should study to show ourselves approved. You don’t have to lay your voice on the altar every Sunday. Pride is an enemy. We must all know our limitations and use our own, unique gifts. Using the precepts as guides, we are more likely to be helpful, culturally appropriate, and good caregivers. Hopefully we allow worshippers to continue making a joyful noise. H. Steven Sims, MD, is director of the Chicago Institute for Voice Care, understands the vocal needs of the performing artist and professional communicator as a vocalist/lecturer himself.
H. Steven Sims, MD, Chicago, IL
My practice is based in Chicago—a city with a rich tradition of gospel music. Thomas Dorsey, Mahalia Jackson, and the Barrett Sisters laid a foundation upon which Donald Lawrence, Heather Headley, and Smokie Norful continue to build. Covering Chicago, Detroit and, recently, Indianapolis, I have the wonderful privilege of caring for those who lead worship. I grew up in a singing family, so this is as much a mission ministry as it is a practice, and it is this specific background that can be celebrated in its application to my work today. Gospel music is home for me, so I welcome you to a wonderful world.
We begin by recognizing that gospel singing was birthed from a unique, venerable, and passionate cultural experience. Certainly marquee artists at the Lyric Opera of Chicago tend to have more formal training, academic degrees in music, and their own diverse backgrounds.
The less adulterated, visceral cry of the heart, however, is much more likely in a Chicago church on Sunday morning. The message and the delivery are distinctly different and our approach to these individual artists must be professional and culturally competent.
All culture has its language and idioms, so this is a good place to start. I would not suggest that anyone who is unfamiliar with the vernacular begin using terms associated with gospel music with patients or clients. Feigned familiarity is seldom appreciated. It is helpful, however, to have a common understanding of how some terms are used and what ideas are often being conveyed by the usage of these terms. If a patient explains to you that he or she “blew,” “tore it up,” or “sang hard,” chances are there may be a pattern of voice overuse to address.
Hearing and actually processing what the patient says is the beginning of any healthy interaction between a care provider and someone in need of care.
It is equally important to remember that gospel singing is not synonymous with vocal abuse. This common misconception often drives a wedge between physician and patient. Far too many patients have come to my office primarily to feel a sense of vindication after having been told that if they wanted to take care of their voices, they should stop singing gospel music. It is, however, fair to assess the singer and what he or she knows about voice production. Here are a few sample questions you can ask:
- Have you ever worked with a voice coach or teacher?
- When did you start singing?
- Do you know your voice part?
- Do you warm up? What is your warm-up?
- Does your choir director talk about taking care of your voice?
The answers to these questions not only help establish a rapport with the patient, but they also help you understand the singer. A person who started singing at an early age may have continued singing during puberty and developed some bad habits while his or her voice was changing. This is good information to have. A singer who does not know his or her voice part is more susceptible to singing out of their natural range and encountering vocal fatigue issues.
As part of the ensuing discussion with the patient, analogies can help show connections to concepts that are more familiar. An experienced runner would never get out of bed, put on brand new running shoes, and head for the door to run a half-marathon without stretching or breaking in the running equipment. The clinician can share this idea and then point out that experienced singers often embark on a vocal half-marathon without conditioning the vocal tract muscles or rehearsing. We can then draw the parallel that in both instances, the performance is likely to be suboptimal.
- We can also ask about the singing environment:
- Does the church have a sound system?
- Who runs the soundboard at your church—a professional or volunteer?
- What is the background music? What is competing with your voice?
- Do you sing in an old or new building? How are the acoustics?
- How long is the average song?
Once again, these questions help the clinician build an accurate picture of what the patient’s voice is being asked to do. The call-and-response tradition of African-American gospel music lends itself to comparatively long songs. One song can last 10 to 15 minutes with an upward modulation of the key (often two to three times) as the emotional intensity in the congregation builds. We can earnestly honor the gospel tradition by understanding that a quest for brilliance is not designed to ruin voices, but rather to underscore the tradition of a psalmist. Few could read the writings of King David and not understand the emotional weight of “as a deer pants for water, so my soul yearns for you.” These words carry such heft as to inspire exuberant singing. So, as we seek to instruct gospel singers, we create alternatives to convey the message. Hand and body gestures, enunciation, and proper phrasing can accomplish the same goals.
For choir singing, the typical structure is a 1-3-5-chord triad with a relatively high tenor and taxing soprano line. The brilliance of the music is maintained by the piercing sound of men and women singing in full voice at the upward end of their vocal registers.
Typically, the accompaniment includes a heavy bass presence and liberal percussion. So, a good sound person elevates the voice over the music by using a microphone and an amplifier. This is far preferable to having the singers “clench harder and sing louder,” as is sometimes the remedy suggested. Being aware of the performance environment and providing helpful suggestions can further build a rapport with the patient.
Keeping gospel tradition in mind, we work with the singers to optimize their individual voices and not to transform them into bel canto artists. We try to adhere to a few simple principles:
- Stay focused on the goal. Praise is not performance.
- Don’t overcomplicate things.
- We should study to show ourselves approved.
- You don’t have to lay your voice on the altar every Sunday.
- Pride is an enemy.
- We must all know our limitations and use our own, unique gifts.
Using the precepts as guides, we are more likely to be helpful, culturally appropriate, and good caregivers. Hopefully we allow worshippers to continue making a joyful noise.
H. Steven Sims, MD, is director of the Chicago Institute for Voice Care, understands the vocal needs of the performing artist and professional communicator as a vocalist/lecturer himself.