Check out Brett Manning’s mouth

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Brett and his associates don’t talk much about your mouth or your soft palate, but take a look at him here. http://www.youtube.com/watch?v=Lx-BpQFbLrg

Do you see his teeth and the wide smile? I love this! This is exactly the placement for singing high notes, regardless of the style (unless you are singing opera or classical). This wide smile and lifted upper mouth allows the vowels to resonate cleanly and nicely in the head voice.

Also, note the sob (moan), and “cry” to his voice. This is essential for good vocal cord closure.

Try it! Don’t sing too loud. Just allow those high notes to blend with the low ones, and VOILA!

The belt zone

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Ladies, your belt zone is around B flat, B, high C, and high D. This is the area where we usually start pushing and tensing to make the sound more “powerful”.

One of the best things you can do as a singer is pay attention to consistency and tone of your voice. All the notes (below and above your passagio around A above middle C), should “feel” the same. They should resonate the same. You should not feel any undue strain in your throat.

What I mean by this is simply allow the sound to remain the same. Do not try and make the high notes more powerful or “more” than they need to be. They may appear breathy at first. That’s OK.

They simply need to stay connected.

Once connected, your power will come from focus that happens far below the vocal cords….deep within the body……the energy exhibited when holding back breath and creating a balanced pressure above and below the vocal cords.

Check out this head voice exercise to gain strength and power for belting.

oooo dynamic breath control exercise

Raise Your Voice by Jaime Vendera

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If you are still trying to figure out how to belt correctly, then you need to read Jaime Vendera’s book, Raise Your Voice.

This book has it all. Every little byproduct of good singing technique is in this book. His tell-all approach is inspiring and contagious. He doesn’t miss a thing.

What I really appreciate from this book is the reminder that first and foremost, a singer needs to be healthy, and remain healthy for optimum vocal performance. He goes into great detail about how to take care of your body, your voice, and your mind.

It’s an easy read and very motivating.

The author is the same guy who can shatter crystal goblets with his high-pitched screams. He appears truly humble in this book, and proudly shares the stage with many other famous and not-so-famous vocal coaches on different ideas, tips and coordinations.

I recommend every singer learning to belt or sing in any extreme manner, read this book. It is not for the amateur, and in fact, that may be the only downside of this book. It may lead the reader to believe it’s as simple and direct as he seems to indicate it is. When, in fact, belting is truly a condition where nothing is as simple as it seems……..

 

 

The interesting voice of Alanis Morissette

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Yes, there are loads of professional famous singers who sing with a high larynx. It’s their signature sound. It’s their uniqueness.

Do I recommend it? Absolutely not. It’s very limiting, tiring, and IMHO, usually not a marketable sound.

The key is the ability to sing with a larynx high (if one choses for artistic reasons, and to sing with the larynx stable and neutral if one choses). This is the case of Alanis Morrissette. I happen to think she is wildly creative and a very unique and interesting artist.

There are many important qualities that help the position of a high larynx create a manageable and non-straining sound. Optimum breath control and agility, strength and flexibility of the vocal cords are paramount.  The ability to produce oral twang and maintain strong oral resonance allows the singer to produce frequencies that appear loud and piercing to the listener.  Also, a singer needs control and ease of the jaw and tongue. This allows optimum freedom to form their speech-like voice with interesting and unique enunciation of vowels and consonants.

 

Visualizations

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One way to improve your singing technique is by thinking about images or visualizations that help to put the body into the most efficient coordination.

There are many images that can help with breath support and breathing. Try this one.

Imagine you have an open umbrella in your abdomen. The handle is located near your groin, and the collapsible part is open and engaged under your rib cage. The part under your rib cage is firm, yet flexible. It can expand and open bigger (wider) as you inhale, and go back to the regular open umbrella sensation when you exhale.

Don’t think about your breathing too much. You will simply breath when you need to breath. “Feel” how your upper abdomen, rib cage, and back muscles are engaged as you breath. If you feel uncomfortable, then don’t inhale quite as much air, or don’t imagine your umbrella so big. Start with a visualization that feels manageable, controllable, and flexible.

This is a great place to start to improve your breathing and breath support when you’re singing. Make sure you are sitting or standing properly with good posture. (Chest slighly out and head anchored back like someone is pulling on your hair).  Close your eyes and take the time to allow this sensation. Don’t force it. Allow your body to rhythmically be engaged in this way with your breath. Learn to live with it. Learn to memorize it and engage it all day long.

What do you think? Can you sing like this? Do you notice how your throat is very relaxed? It should be. You should only feel this interesting energy in the area of the image — your abdomen!

Notice how it puts prospective into how loud you can sing.. Notice the control you feel when you don’t sing loud. This is the essence of great singing….to be able to sing at a low to moderate volume with great control and intensity.

You may feel that you can’t inhale very deeply. Don’t worry about that right now. It’s now necessarily about how much air you are able to get it. It’s absolutely about how you are able to control the air that you use when you sing.

Question? Thoughts? Please leave it below.

What is the difference between head voice and falcetto? Does it matter?

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In my opinion, it’s all relative, really.

Here is my definition of falcetto: The condition of the vocal folds whereby the glottis is large and a lot of air is passing through.

Here is my definition of head voice: The condition of the vocal folds whereby the glottis is small(er), and the folds are able to withstand more breath pressure.

Let me explain.

With my own voice, I basically consider my falcetto to be a light head voice. This is the condition where I am allowing more air to pass through on a high pitch.

With some singers, this condition happens when they reach a certain pitch whereby the vocal folds cannot withstand the amount of breath being released. Basically, they blow apart.

In other singers, this condition happens as they gradually get higher and higher in pitch. There may not be an actual sensation of flip, but rather a breathiness that comes with singing high notes.

Ideally we want to have good vocal cord closure on our high notes without over-compression (squeezing).  Singing in your falcetto (or your head voice, whatever you decide to call it), is an important element to becoming a better singer.

 

The big mouth

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So why do all your American Idol favorites sing with huge mouths?

Answer: Because the big mouth is directly related to the freedom associated with making sounds found in contemporary styles such as rock, pop, gospel, jazz, musical theatre, country, and even opera!

The ability to get great cord closure (to sing high notes with thin and stretched cords), and resonate in the oropharynx (back of the throat and out through the mouth), is what we are talking about here. This means the soft palate is high enough (which it needs to be), and the jaw and tongue are relaxed enough (which they need to be), and the throat is open enough (which it needs to be), to allow the sound to project off the uvula and soft palate area. This creates great oral resonance (oral twang). With the right amount of breath support, this sensation is very freeing and very BUZZY. You will feel the buzzy vibrations on your upper teeth, the hard palate, in the nose, and even out the top of your head! But be careful. Make sure you are not just making head resonance. It needs to come out the front of your mouth! This is mixed voice (middle voice) in high gear, and the safest way to belt out your notes! This is what gives great singers the illusion that they are singing in the chest voice, when in fact, they are mixing like crazy (split resonance).

This is not easy to do, and it’s not as simple as described above. The actual critical playing card is your ability to control and manage your breathing.

Give it try. What do you think? Allow the voice to come out the mouth with the freedom of resonance in the head. Stick three fingers between your teeth to keep your jaw and tongue from gripping. I know it’s hard to form the consonants in your words…so just sing the vowels. If you can perfect this to a sound you like, you are well on your way!

Get that sound out of the back of your throat

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I know how it feels. I know you want to control it. I know it’s uncomfortable.

But, if you want to take your singing to the next level, you need to be willing to let it go.

That’s right, let go. Stop relying on the inside of your throat, tongue and jaw area to help you control your sound, and let the sound go. I know it’s breathy. That’s OK. Experience it. Let’ go of it and start in the correct places to get control of it.

Control start deep down….way down. When you breath in, visualize your entire belly and groin area expanding to allow your breath to go low and deep. Allow your abdomen to rhythmically expand and relax with the timing of your breathing.

Be sure to allow your body to maintain that bouyancy sensation of your ribs and abdomen slightly expanding as you breath in, and slightly returning as you exhale. But, don’t let this spongy, bouyancy feeling of breathing in your body leave you. You can control it. You can go about your daily chores and activities with this sensation all day long. It may be uncomfortable. It may feel like you are expanding your rib cage and your back, and your upper belly in an unusual way. Learn to welcome it, learn to engage it, learn to live with it. You are re-learning how to breath like you did when you were born….diaphragmatic breathing.

Next, is learning how to take in a quick, small sip of air that will accompany your breath support when you go to sing. Notice I said small. At this point, that’s all you really need to sing your phrases. However, if you need a little more, your body will tell you. Typically it’s not the amount of air you take in that matters right now, it’s how you are taking it in, and how well your body is controlling it. It’s the quick, rhythmic intake that sets you up for that first onset of making great sound happen.

Spend some time getting to know your breath. Your singing will thank you for it. It may not feel exactly like mentioned above, but if you allow yourself to get in touch with your own breath, amazing things can happen!

Habits

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We all have them. Some good. Some bad. But we have them.

Knowing them is key. Getting balanced and aligned with good singing technique will surely draw attention to your habits.

If your teacher is good, she will set you up with exercises that will counter your bad habits, and work the muscles that will set you on the path … slowly … one coordination at a time.

This is hard to do with self-taught programs. How do you know if you are doing a coordination correct? How do you know if your habit isn’t stopping you from proper alignment and balance.

That’s why you need a teacher to guide you. A good teacher. A teacher who is on the same page as you are.

Never under-estimate the value of a proper guidance and feedback. All the self-teach singing methods in the world will never replace a good teacher. Get on the right track first with a solid foundation. This is the quickest and most direct way to better singing.