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I've always thought that the popularity of gargling is largely due to the fact that so many people seem to relish doing it. Whether it's the noise or the spitting I'm not sure, but gargling has always struck me as being a rather macho, grown-up thing to do l I remember being told as a child that I wouldn't be able to do it until I was bigger, as it required a degree of skill that only adults could acquire. There is no scientific evidence that gargling is good for your voice. After all, the liquid can only go as far as your tonsils and not come into contact with your larynx- if it did, you would choke, because it would pass through your vocal cords and into your windpipe. What's more, gargling can actually irritate your voice because it involves hard compression of your throat muscles; it's similar to clearing your throat or coughing. If you really must gargle because you feel it helps you, do it as quietly and gently as you can.
The herb Echinacea purpurea is used as a tonic for winter-time ailments, and many singers swear by it, believing that it boosts the immune system and makes them less susceptible to coughs and colds. The trouble is, there simply isn't enough independent research that proves its efficacy. If there had been, word would have got round, we'd all be using it. One reason why Echinacea has so many devotees may be that it is often taken either as drops diluted in water, or as a tea, and there is plenty of evidence that water is good for cough and cold symptoms.
There is nothing like a chicken vindaloo to clear a muzzy head, but the effects are largely psychological. Chillis contain a compound called capsaicin, which has long been known as a gastric irritant and contributes to acid reflux, thus wreaking havoc with your voice. It also irritates the mucous membranes of the throat. Some people do get addicted to chillis and feel they can't live without them at every mealtime; I have known patients who would rather live with a voice problem than have to give up chillis.
Singers can get obsessed by whether they have too much mucus, or the wrong kind. The common perception is that mucus should be dried up, but in fact it's the last thing it should be. Mucus is meant to be a watery flow, and this is important for a normal voice because it lubricates your vocal chords as they move and helps to protect them against injury. The more watery it is, the more you won't notice it as your voice will be comfortable to use. If your mucus does feel thicker, it's a good idea to drink more water, have steam inhalations, and avoid throat clearing. I've known vocal nodules to have improved dramatically simply by avoiding coughing to get mucus out of the way.
Unless you've had major laryngeal surgery, there's no evidence that prolonged voice rest works. Even if you have, you shouldn't need to rest your voice for more than five days. Voice ret has all sorts of meanings to singers. To some it means only whispering, but this will not help a tired voice or protect your vocal chords; quite the opposite. I see many patients who end up feeling more tired, more dry and with more laryngeal tension because they have over-protected their voices. Some singers feel that they are under pressure to perform at all time, including offstage when thy want to be quiet. It can be helpful to make time to unwind generally, such as curling up with a book or having a luxurious candlelit bath.
Yes, if you're dry from dehydration you need to drink more. However, dryness can be caused by a number of factors. One is stage fright and other forms of anxiety, which can often be helped by psychotherapy, hypnotherapy, or simply by being better prepared for your performance. Another reason is respiratory problems such as allergies and difficulties with nasal breathing. Breathing through your nose is important for warming and humidifying inhaled air, and filtering out irritants such as dust and pollen to help protect your larynx and airway. If your throat is irritated, it often feels dry. Air travel is also dehydrating, and some forms of medication can cause a dry mouth or throat as well.
Whenever I recommend to singers that they use steam inhalations, they almost always ask me whether they should put menthol in the water. In fact, it's the water vapour itself that counts, and not what you put in et. This belief is not helped by a constant barrage of advertising for menthol-based remedies. The cooling 'effect' of menthol are not real; it stimulates your receptors in a similar mechanism to that which makes chillis feel hot, and makes your brain think you are breathing better. In fact, many laryngologists recommend avoiding menthol as it has irritating effects. If you have been sucking menthol sweets, use honey and lemon warm water instead; there is even research evidence that this is preferable to other treatments.
Making noises in the shower is one thing, but operatic outpourings are another. We were born with the equipment to sing, which I guess makes it natural to a certain extent, but many types of singing surely cannot be described as instinctive or spontaneous. Babies make a range of sounds which could be described as singing, but in our culture it has become an art that makes great demands on the performer and for most people requires the training of an athlete. Singing soprano, for example, is a hyperfunctional activity, meaning that you work a lot of muscles in one direction, at the top. In order to sing well, you need to have everything relaxed to start with and be able to find a neutral habitual position for your larynx. Singers can get into vocal trouble if, having worked muscles hard in a particular direction, they then can't let go to recover a more relaxed posture afterwards. The problem is that being tense can become a habit so that it feels normal. Only with a knowledgeable teacher or therapist can you identify the tension and learn to do something about it.
This is a popular myth which needs to be buried: it's not wise to overuse your singing muscles at the top. Weightlifters don't practice by carrying heavy objects above their heads all the time, and ballet dancers are not expected to stand on their toes every minute of the day.
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Reigate & Redhill Choral Society is affiliated to Making Music: The National Federation of Music
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