How To Sing In 7 Steps

Jennylyn's technique is ideal for classical, pop, jazz and musical theater vocalists with a passion for healthy singing. Her technique produces unmatched vocal health, beauty and stylistic flexibility in the voice. The fundamentals are as follows:
Low To High Notes. First we master low notes, then middle, then high. By first singing low pitches, singers are able to engage the entirety of the vocal folds in a relaxed manner. The larynx remains in the ideal low position on lower pitches. We speak in lower tones. It is the logical place to start.
Natural Breathing. We need about as much air to sing, as we do to speak a phrase. Just a handful of air does the trick. Take in too much air, and we feel we are suffocating. If too much air unnaturally escapes through the vocal folds, we have lost all breath control completely. Breathing for singing should be as effortless as breathing for speaking – only more supported.
Relaxed Face/Mouth. Tongue, jaw and lip tension are all too common for sin…

Head Resonance For Singers

Head Resonance. All of the structure above the folds, including the throat, nose, and mouth, resonate when we sing. Head resonance, or ringing vibrations in the head, provide an alternative to the damaging belting style of singing that is so prevalent today. Learning to feel head resonance frees the singer in so many ways, and allows her to go by feeling, rather than hearing (which is a much more reliable). Head resonance is the key to producing volume without yelling.

Low Larynx Singing

The larynx (or voice box) sits on top of the windpipe. It contains two vocal folds that open during breathing, and then close during voice production. The idea is to keep the larynx in a naturally, comfortably low position while singing, particularly on high notes.
Ideally, singers achieve a “yawning position” – which means that the larynx is being pulled down flexibly by both the muscles attached in the front and in the back. When we yawn, we are relaxed and usually, sleepy. When we sing, we want to approach pitches with the same relaxed, low feeling.
When we sing high, we should think low. Thinking low really does help to keep the larynx stable. In addition, proper breath support helps to stabilize a rising larynx. But because low-larynx singing doesn't come easy for the majority of singers, a student must reorient the muscles through consistent repetition of helpful vocal exercises, performed correctly.
A voice teacher must guide the student in turning OFF the wrong muscles and …