Vocal training for dancers.

Without getting into the technical aspects of vocal ranges, your voice probably falls somewhere in the baritone (men) or mezzo-soprano (women) ranges.

Training depends largely on your aspirations. If you are still intent on devoting most of your energies to dance and only occasionally auditioning for a singing part, you may not need the services of a coach. One thing that virtually all nonsingers have in common, regardless of ambition, is the bad habit of imitation. It is the teacher's job to rid you of this vocal fault and help your natural timbre sing.

When choosing an instructor, remember a few basic facts: Whether an instructor has a preference for Broadway style or classic bel canto, each has his or her own technique to impart to students; and what teachers hear during a student's session is vitally important. Therefore, look for teachers with sharp ears, and, while they instruct you in technique, be sure that they also show you how to sing using your entire body. Be aware, too, that each teacher may have a pet theory on which parts of the vocal apparatus produce optimal sounds.

While most singers agree that breath control is the basis of all good singing, some also emphasize the use of the soft palate. The idea is to learn to raise the soft palate when singing. Other teachers stress physical placement--using the diaphragm correctly to propel air and with it, the voice. Others believe that mental imagery helps in placement technique.

Ultimately, all good instruction serves this twofold purpose: to build a voice properly and to expand the range. This in turn forms a basis for the student to learn a variety of useful styles--classical, jazz, pop, rock, or show tunes. For specialty work, such as singing for commercials, however, it is best to stick with one style and excel at it. Commercial producers frown on too much versatility because they have very specific needs.

Just as a performer must guard against bodily strains and sprains, so too must the voice be protected. If someone asks you to "belt" at an audition, be cautions. You may feel reasonably confident in doing so, but that doesn't mean that you should imitate Ethel Merman. Damage to your vocal cords and larynx may occur if they're not trained for belting.

And finally, you might do well to have your throat examined periodically for nodes, if you think you are pushing your voice. These tiny, non-malignant growths are caused when the vocal cords are rubbed raw against each other, a result of faulty vocal production or pushing beyond one's endurance. Surgery is not required except in extreme cases, and rest will usually allow the cords to heal.

Proper training and practice can unlock talents that are sometimes just below the surface.

Consult Backstage, a weekly newspaper, for names of voice teachers. Ask whom they have taught. Better yet, ask a singer you admire with whom they have studied and, of course, a nearby college music department or conservatory will have teachers who can advise you.

In New York City:

Manhattan School of Music [phone]

Mannes College of Music [phone]

The Juilliard School [phone]