Showing posts from July, 2016

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 …

Zipped Vocal Cords

There are two methods singers use to sing high notes. One is easy, one is hard. One produces pain, the other is effortless. One is quickly maneuvered, one takes time and skill. Singers may either stretch vocal cords, or zip them, to achieve high notes.

Most singers take the easy route by stretching the vocal folds for high pitches. This approach makes very difficult the descent from high notes back down to low notes. I can always tell a singer is singing on a stretch simply by the difficulty for which they descend back down to their lowest notes.A stretch results in pain, out-of-tune singing, unnatural vibrato and an aged voice.

The zipping technique, on the other hand, easily produces high notes, and often facilitates an effortless 3-octave range. When we zip our vocal cords for higher pitches, rather than stretching them, we are left with one consistent voice (rather than two or three), zero cracking and a seamless maneuvering through the passaggio (E-F-G). We no longer must flip into…