- Yes... She was forced to cancel the rest of her tour! -

You may wonder why this had occurred one more time again…?
That happened because if nothing gets changed with respect of how the artist is using his/her voice, it will inevitably reoccur again and again… unfortunately.

The very first time it happened to Adele was in the year 2012. At that time, losing her voice, she had to cancel her concerts and tour dates due to a bleeding polyp on her vocal cord. She was transported to Boston, US, to undergo a vocal surgery which was successfully completed by one of the renowned ENT specialists.

Adele was not allowed to speak for 5 months after the procedure. After that, her voice healed and returned “back to normal”, and thus she was scheduled to perform at the upcoming Grammy awards.

Right before that, she was interviewed by Anderson Cooper and during that interview, she was asked if she thought weather or not that could happen to her ever again?

Without any hesitation whatsoever, she responded “Absolutely!”
“Why is that?” The interviewer had asked.

She replied that after going on tour and to perform over 200 concerts, it would be inevitable that the voice will seize again.

At that time, I happened to be working out of London, UK. I was closely watching the news and watching Adele - now bouncing back to her performances.

While people were asking me what I was thinking about her ordeal battling with her vocal injury, I was replying that I was more then certain that it, unfortunately, will happen to her again (the second time), as nothing, per say, had really changed…

Yes, her throat was “fixed” and her “instrument” was ready to “play on” again. However, the “player” had never changed her “style of playing”, and it was only as a matter of time when that “instrument” would get “broken” again…

Her numerous fans, as well as music industry professionals, were very curious why I thought so…?
Some of them even thought that I had purely negative thoughts towards that matter…?

My response to that was as such:
“The singer always represents the ‘instrument’ and the ‘player’. By ‘playing incorrectly’ the aforementioned ‘instrument’, the ‘player’ is simply harming it.”

The worse part is that by “playing incorrectly”, the “player” (via wrong application of the voice) ruins that very voice; and even if the “instrument” (throat, larynx, vocal cords) gets fixed, the singer will continue ruining it time and time again until he/she learns the right application of their voice, and thus will finally begin to “correctly play on their instrument” using the vocal anatomy efficiently and safely, while concurrently extracting the maximum capacity from their God’s-given “instrument”.

So… the artist may have a talent (given-by God “instrument”), but what about the education and awareness of HOW to use their God’s given talent properly and with confidence; and, for that matter, learn how to rather perfect their “instrument” then to (instead) ruin it, which (sometimes), could end up at the point of no return.

The Vocal Science™ Technique, specifically designed to instil in the artist the proper application of the speaking and singing voice, by (in a manner of speaking) instilling within the artist a certain “vocal mechanism” which will allow the singer to use their voice to its fullest capacity possible and with no pain or strain on the vocal anatomy; and thus, in turn, safe and protect their voice for a lifetime!

We are talking of such components of aforementioned mechanism like:
The proper sound support via the properly-strengthened abdominal muscles (lower abdomen and upper diaphragm) Proper breathing implementation Certain structure of the sound within the facial muscles (sinus cavities) Placement of the sound into the (ready-to-except) vocal chambers And (as a result of the above) the maximum (or any desirable) projection of the sound to its aimed destination.

Utilizing that mechanism as a whole, the artist will be performing upon pre-designed schematics of the sound movement. At that point, he/she could consider themselves owning their voice and thus bringing their performance to the “Master” level; therefore avoiding any voice/vocal injuries and any other kinds of possible vocal troubles!

Isn’t the above ultimately the name of the game???
Yes, nevertheless… it is indeed good “food for thought”!

Author's Bio: 

Diana Yampolsky is the Master Vocal Coach, Studio Vocal Producer, and Non-Surgical Voice Repair Specialist at The Royans Professional Vocal School and The Royans Institute for Non-Surgical Voice Repair, in Toronto, Canada and worldwide. She is the sole creator of the Vocal Science (TM) method - Trademarked with the Government of Canada.

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If you find yourself struggling with voice/vocal performance or are in need of non-surgical voice repair, you can reach Diana Yampolsky personally via email (info@vocalscience.com) or phone, (416-857-8741)