So, how is this voice-building business done?

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Experience has taught me that a multi-pronged attack is the best approach. I do not, therefore, rely only on scales, or even sound-making. 

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The voice is unique among musical instruments in that its structure must be established - and continually reestablished (i.e kept fit) - in addition to its being played. It is also uniquely susceptible, on a structural level, to intrusion by negative emotion. 

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That accounted for, its free-function also depends, to some extent, upon the fitness and flexibility of its foundation  - that is to say, the whole body. Did you know, for example that simply locking your knees back (a very common habit) drastically interferes with vocal quality and ease? I check my students' knees as often as a driver checks their mirrors. 

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That said, it's mostly about the registers: chest (or full) voice and falsetto. You isolate them, you strengthen them, they start co-ordinating once they're strong enough and it's presto singo over about three octaves. 

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Finally we come to artistic expression and performance and the successful integration of the above into the art of singing and/or speaking well. 

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It is likely that, in addition to the exercises we go through, I will recommend you begin a good stretching regimen, a bit of cardio and the odd massage. I am also a great admirer of the Alexander technique. None of these are necessarily mandatory, but they are all helpful, and the needs of each student vary according to their particular condition. 

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