Acting in Plays, Singing/Lip Trills
I've asked you a couple of questions on here over the years, and have always appreciated your advice.
I wanted to ask for your view on lip trills as a method of warming up. A couple of the vocal teachers I have come across recommend doing them on 5 and 9 note scales and octave and octave and a half arpeggios at the start of the warm up before moving on to more traditional exercises on the traditional italian vowels. What's your take on these exercises? Do you think lip trills serve a useful purpose in the early part of the warm up?
Hi, Stuart --
Thank you for another great question.
I was very fortunate to have coached with a number of long-term professional classical singers. None of them ever mentioned lip trills in relationship to their own vocal training, nor was it ever suggested as a useful adjunct to my vocal workout. So, lip trills were never a component of what I did as a professional singer and are not in my vocal workout today. Consequently, it's not a part of what I do as a vocal coach to inform, strengthen or maintain a client’s overall range and technique.
From my university days as an acting major in the Theatre Arts department, I recall a few backstage group warm-ups -- essentially pep rallies -- that included lip trills, “me-may-maw-mo-moo”, sirens, and “bumble-bee-hee”. But since I was simultaneously training for opera -- which involved daily vocal workouts that were far more complex and effective -- I knew that these other elementary vocalisms had little to do with my own performance-readiness. But I also understood that my fellow classmates were not receiving the kind of advanced vocal training I was and thus, may have found these exercises helpful and perhaps relaxing.
Eventually, every performer learns what works best for them. Including their diet.
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