Notice that closed vowels involve closure of the mouth space either through lip rounding (boot, book) or through activation of the tongue into a little arch (see, sit).⁣⁣
⁣⁣
For the medium vowels, the lips are a little less rounded (potato) and the tongue is less arched (potato, met) or fairly neutral (about).⁣⁣
⁣⁣
And for the open vowels, lip rounding is even less (or), and the tongue is pretty much at rest in the bottom of the jaw (alligator, father, other).⁣⁣
⁣
See why they’re called open vowels? There’s literally less going on in the mouth and around the lips!⁣⁣
⁣⁣
Now that you’ve tried this out, let me give you a handy principle to keep in mind: ⁣⁣
⁣⁣
A property of singing is that high notes require a taller mouth than low ones. As singers ascend in range, we drop our jaws and lift the yawn space (soft palate) behind our upper molars to create more vertical space.⁣⁣
⁣⁣
And that’s why the open vowels can be sung on high notes more easily & beautifully while also being better understood by the audience!⁣⁣
⁣
⁣Let's take this a littler further. 
Diphthongs are single syllables that combine two vowel sounds (di = two, phthong = sound). ⁣⁣⁣They are super common in English. 
⁣⁣
Try this: ⁣⁣Slowly speak the diphthongs and identify which components are open, medium, and closed.⁣⁣
Which diphthongs will be more successful on a high note? Let me know in the comments! ⁣

1. Regularly seek out composers & works that are new to you. 
2. Introduce a fellow performer, teacher, or ensemble director to one of your favorite composers.
3. Share a recording by a composer you appreciate with a friend. Invite a friend to accompany you to a concert or to tune into a livestream with you that features music by composers you like. 
4. Stream and purchase our albums. Like and review them on streaming platforms. Share on social media with a comment about why you like our music. 
5. Purchase & perform our existing music. 
6. If you teach, seek out & include music by living composers to use in your studio/class. 
7. Don't make illegal copies of our music. If your budget is too tight, reach out to us and ask for an accommodation. Most composers I know will be happy to work with you. 
8. Performers are often quite skilled at communicating with audiences about the pieces they perform. Your program note or verbal introduction to our music makes a big difference! Share what you say about our music and how you introduced our music to audiences with us. 
9. Record your performances (even just on your phone) and share with composers so we can use recordings on our websites & social media.
10. Perform new works multiple times, take them to festivals & conferences, take our works on tour with you to share them with wider audiences of music fans and fellow performers & ensembles.
11. Let us know about performances of our pieces in advance so we can promote them on our websites & social media channels, share them with our email lists, and add them to our CVs. (Composers are regularly asked to submit CVs listing our works & performances when applying for calls for scores, festivals, grants, etc.).
12. Send us programs from each performance as PDFs or JPGs so we can submit performances for royalties from our Performing Rights Organizations (ASCAP, BMI, etc.).
13. Tell us the things you appreciate in our work. Be specific. Most of the composers I know are pretty darn hard on themselves and have had imposter syndrome and perfectionism moments. 
14. Offer to write a composer a testimonial about what you loved about playing their piece, working with them, what the audience reaction was, etc. 
15. If you see something in a score (especially for a premiere or a piece with very few performances) that might pose an obstacle for future performances such as an unplayable passage or confusing notation, reach out and ask if the composer would be open to some constructive feedback. (ASK and get a YES  before offering that feedback).
16. After a performance (especially a premiere), offer to send the composer pictures of your part with any bowings, tonguings, etc., that you added that a future performer might find useful.
17. If you teach, encourage your students to compose! Include some short composition projects as part of the lessons. Too few music students get to be composers themselves. The more people who get to try composing out, the more appreciation and love for this artform will spread.
18. If you're a studio teacher, partner with a composer (or several composers) to write pieces for your students. Composers with music that makes it into the teaching repertoire are the ones who will continue to be programmed.
19. Share information with the composers you know about repertoire lists, professional organizations, and other places that studio or ensemble teachers are talking about, sharing, and discovering repertoire. No composer starts out as an expert in every single instrument or ensemble's convention for looking up and assigning rep. 
20. Commission composers, partner with us to help find funds for such projects.
21. If you're longing to commission a composer but feel unsure about how to begin or worried you don't have enough money...just start the conversation. You don't have to have all the details figured out in advance--talk to us and let's discover what's possible together. Sometimes the budgeting doesn't come together for a project, but so often with many creative folks putting their heads together, funding can be found. ​

What did I miss? Get in touch and let me know YOUR favorite ways are to support living composers.