Light and right / Strong and wrong

Posted on May 14, 2013 by Susan McAllister-Bee

If you haven’t already subscribed to the Singing Success channel, you can get to it here: https://www.youtube.com/watch?feature=player_embedded&v=Iwxsw_PoiD0#!

This is Brett Manning’s most recent video about extending chest voice.

This is such an important video for those of you trying to “belt”. The first and foremost thing you must be able to do before belting, is know that you are mixing!

If you feel a ceiling as you try to sing higher, or if you have to sing louder and push harder to reach higher notes, then you are not mixing well.

Brett talks about a wide open mouth at 1:30. This is essential for safe belting. You must be able to allow the sound to reach the front of the mouth and teeth, as well as ring freely in your head register.

Brett talks a lot about results. There are many factors to extending chest voice in your mix. Here are a few details:

1. Optimum breath control. (Engage your upper abdomen and rib cage area).

2. Keep a stable larynx. (Put a sob or moan in your coordination. This will help keep your larynx from rising).

3. Optimum cord closure. (Initiate your onset with a “cry”. This will help you with cord closure. This sensation is small and light as Brett talks about at 2:00. It is challenging to keep it “light and right”. But, that is your job! That is the exercise!)

3. Optimum thyroid tilt. (The more you “cry” at the onset of cord closure in your upper register, the more your larynx will tilt. This is essential for safe belting).

4. Oral twang. (The ability to say your words in your upper register. This is like sounding like a cartoon character).

Questions? Comments? Please leave them here!

The “ng” exercise

Posted on May 9, 2013 by Susan McAllister-Bee

Do you ever ask yourself why you do all these exercises?

Each exercise is designed to bring an awareness about a correct coordination that is essential for good singing technique. When you exercise your voice by doing the same coordination over and over again, your larynx will begin to build “muscle memory” and it will become easier over time. It is crucial, however, that you are actually doing the exercise correctly. This is no different than going to the gym to tone the muscles of your body.

One coordination is sliding through your entire range using the “ng” sound, such as in “sing.” I especially like this exercise because it draws close attention to the back of the mouth and tongue area, and the front of the face where you feel the resonance.

Start by saying “sing”. Notice when you reach the end of the word “ng”, your tongue rises to the roof of your mouth in the soft palate (the soft fleshy part at the back). You are actually closing your nasal port and stopping the sound from leaving your mouth. This allows for just head resonance.

Now try to say “sing” in your head register, and hold out the “ng”. (Notice I said say the word “sing” and don’t sing the word “sing”). Take the time to feel this. Don’t push it, and don’t strain. Allow yourself to “just be” in your head register. This may feel like falcetto. You should do all these exercises slowly and quietly. Take note of the sensations. If it is too high, take the note lower.

Can you keep your tongue up and touching the soft palate? If you feel yourself straining in the throat, start over and again “allow” the note to be in your head voice. If you are having trouble staying “connected”, then start over and do it very quietly and very “small”. Does that make it easier?

This coordination is key to building resonance and developing strength in the vocal cords near the edges, as well as stretching the cords (thyroid cartilage tilt). It also brings awareness to the back of the tongue and whether this area is causing you strain. If you can’t stay connected, then do everything in falcetto. If you do this everyday as much as you can, you will eventually gain enough strength to stay “connected” to your speech level. (Note, this may make you sound like a cartoon character).

It is very important that you use your body energy and awareness to help with this coordination. In other words, all the “effort” happens below your throat! Do it slowly and quietly, and visualize the fine edges of your vocal cords trying to stay together. Visualize your voice box tilting and stretching to allow the resonance in your face.

Note, you may try and use the wrong muscles of the throat and tongue to “help” you with the sound you are trying to create. This is called constriction. This is why you must be aware. You must take the time and “allow” this sensation. Keep a “happy” or “smile” sensation in your throat to avoid constriction. It may be something you have never fully felt before. When resonating correctly it should be free, light, forward, buzzy, maybe brassy, and SMALL. Yes, it should feel small!

Learn to love the smallness of your voice!

Questions? Comments? Please let me know.

Check out Brett Manning’s mouth

Posted on May 4, 2013 by Susan McAllister-Bee

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!

Raise Your Voice by Jaime Vendera

Posted on April 30, 2013 by Susan McAllister-Bee

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

Posted on April 22, 2013 by Susan McAllister-Bee

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

Posted on April 19, 2013 by Susan McAllister-Bee

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.

Honing your skills

Posted on March 31, 2013 by Susan McAllister-Bee

Do you ever wonder how your favorite singers on American Idol got to be so darned good? (I’m referring to the singers in the finals, of course!). How can people possibly sing like that?

Well, let me tell you one of the secrets that is not really a secret! These singers are singing every day: sometimes for hours and hours. Many of these singers have been practising their singing skills since they were a child.

Now refer to your singing history. How long have you been singing? How are you going to add more hours of singing to your bank.

One of the best ways to get more practice each week is to join a choir, a band, or sing karaoke regularly. It sure is a lot more fun working on your skills when you are actually “performing”. The more you sing, the more you become aware of the control you can have over your breath control and larynx (your voice box in your throat).

Singing everyday will always move you forward. As long as you are focused on correct technique, you will continually see improvement in your voice.

Rock singing and Twang

Posted on March 16, 2013 by Susan McAllister-Bee

This is a match made in heaven.

If you have twang in your speaking voice, hooray for you! Check for this: Can you imitate cartoon or comedy characters in your high/mixed voice? (This cannot be breathy). It should be loud and whiney with a brassy, bright sound. Can you make a nasty, witchy sound, or nyae-ae-ae like a horse (make it usually whiney). Now, check yourself. Did this happen effortlessly in your mixed voice, or are you trying really hard and getting stuck in your chest voice? Trying too hard will only get you in trouble. You must practise this the correct way and build from there. This is the nay-nay-nay exercises in SLS.

Twang is a great quality to have for any genre of singing. It means you have a tilted cartilage and are able to narrow your Aryepiglottic Sphincter. I know, it’s a big word….but it’s important! The physiology is very complex within the larynx. Just know that the ability to narrow the AES is key to “the illusion of power” in rock singing.

Twang is easier to produce in higher frequencies than it is in lower frequencies. The sensation of making twang originates high up in the back of the throat. Rock singers who can twang usually have no issues with bridging or “mixing”. Just think Steven Tyler, Ken Tamplin, Jamie Vendera or Robert Lunte; these singers all have great twang.

How did they get such great twang?

1. Great breath control.
2. Great bridging.
3. Great cord closure.
3. Optimum effort in all the correct places.
4. No fear.

Questions? Comments? I look forward to you leaving them here.

Thick folds are the hardest to bridge….

Posted on March 14, 2013 by Susan McAllister-Bee

If you have thick vocal cords, you are both blessed and cursed. Let me explain.

Thick folds create big sounds. Sounds like Adele, Rhianna, Serena Ryder, Whitney. It’s a bit of a different story for the male voice, but for ladies, the thick sound is all over the radio. (Compare thick to the sound of thin cords of Brittany Spears).

The downside is thick folds can be more difficult to bridge, especially in the untrained singer. If you have been singing throughout your entire range for years, then hallelujah, you are probably working it well.

Thick folds are a result of many different factors. It can be generic: You know, the girls in grade school with the “man-voice”. It can be caused from years of allergies, or coughing, speech habits, or years of over-singing in bands. It isn’t good or bad, it just is.

Questions, comments? Leave them here. Thanks.

More on rock singing…..

Posted on March 12, 2013 by Susan McAllister-Bee

My last post told you of the set-up in the voice box that is ideal for singing rock music. So what differentiates a good rock singer from being just-OK?

The answer is control! Most amateurs are squeezing out their sound in an attempt to sound “big”. When a singer is in control of all the fine details of the sounds he is making, the listener will be engulfed by how “large” the sound is when the “effort” is in the correct place.

Thyroid Tilting

The ability to tilt the thyroid cartilage will give the listener the illusion of “chest voice power”. Tilting will help the singer to bridge to their head voice with pharyngeal and mouth resonance. To achieve ideal conditions and optimum resonance in the head voice, the cords need to stretch (lengthen) and thin.

The puppy dog whimper is a good indicator (if you are doing it correctly) as to whether you are tilting well. The cords must stay together as you practise! Too much air will blow the cords apart too much. You should feel this “whimper-like cry” behind your upper teeth or behind the nose. Some describe it as starting at the back of the throat and carrying through the head voice area. Pay attention to making it as buzzy and light as you can. This means you are working the inner edges of the cords. The ability to do this without flipping (cords blowing apart) above your first passagio is very difficult. Master the delicateness of this and you will see your control improve instantly. (Alter your volume to find the balance where you can maintain this sound). Start small and light and achieve control of the detail).

To help keep your cords thin, add a “cry” to the onset of your sound. This moves the larynx up slightly, so be careful to know that you are tilting as well. The “whimper” and the “cry” in your head voice will set you up nicely for thyroid tilt and cord thinning.

Do you have any questions? Please let me know. More later on another very important component of the voice when singing rock……TWANG!!