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79 Cards in this Set
- Front
- Back
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How stay in mix when the open vowel wants to pull up? |
We memorize the feeling of mix on the narrow vowel and we sneak over to the open vowel. Only open the mouth slightly to keep showing preference to the mouth as a resonator. |
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pulling up chest |
If you get too broad too soon you will lose the split resonance, half in the mouth and have in the head and fall out of your mouth. |
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If you get too broad too soon you will |
lose the split resonance, half in the mouth and have in the head and fall out of your mouth. |
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3 Qualities of Pianissimo |
1.Light squeezy edge-- ughhh ughhhh (siren) sliding down only 2. Hooty- whooooo sliding up 3. Breathy- Huhhhhhhhhh- like a whisper beavis and butt head |
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What Sounds To Replaces Words With When Practicing Song in mix? |
Nay then Mum if its slipping into falsetto still use: GUG and if that does work BUB |
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Chest Voice |
Mouth resonator: Rocky balboa. Total lack ofnasality. Pure closed cordsound |
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Chest - BUH |
First perform the PUH sound. Not high larynx. Ensures chest voice is solid. Encourages to find the resonance in the mouth |
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Chest - Vocal Fry |
the basement level below the chest. Will pull the chords together on thelowest notes of chest voice. If yous tart with poor chord closure you will fallapart or too much squeeze. |
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Chest- AAHH |
AAAH- this is the broadest sound possible. Wider vowel the more isolation of mouth and chest resonsance. More narrow the vowel ee or the most narrow OOO the more head will be activated. Place one hand on chest and one on head and sing OOOOO. Now say AAHHHHH. Feel how the mouth is isolate. |
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Chest- Hey |
Heyyy- no piano needed. Comfortable low note and say hey and slide up as if getting angry. Repeated a few times throughout the day until you have a solid chest voice |
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Chest- Yeah, Yeah, Yeah- |
yuh yuh yuh. Balloons out of the chest voice. The natural swell going from a narrow vowel to a wider vowel. EE to EHCT |
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Chest-Irish O |
as in BOAT- about= a boat. Ooooooowwwwt. |
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Chest Yeah with vibrato: |
First exercise using vibrato. Helps to thin vocal chords even more thatn the irish Oat. it will also give the sweet tone quality to chest. The tones produced in chest are broad and diverse. Every colour producing colour coordination will be used in your mix. |
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Head Voice |
Head: place hand onhead and one over the roof of the mouth. Say weeee The resonance that isnot primarily in chest but is in the nasal cavity. It is typically confusedwith falsetto. Breathy means chords are not closing. In head voice chords mustbe closed. Sound will be very clear and no excessive breathiness. |
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Head- Gee Gee Gee |
Gee Gee Gee- traditional way is the WEEE but you can flip into falsetto. Adding the GUH closes the chords making it more effortless and nlances. You can try making short stacco gee gee gees. |
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Head - Good |
Goo- to be performed just like #1. Both narrow and self focused vowels. The lateral sound E and vertical e OO prepare to sing the other vowels. The tendency when singing a broader vowel is to switch into falsetto. EEE - AAAAY- AAAAAHHH. |
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Head- Pianissimo |
PIanissimo- one of the most crucial. First start with vocal fry and slide into a small thin head voice. This will establish a more refined chord closure for greater dynamics an tremendous economy of airflow. Without a pianissimo head voice you will not be able to produce a perfect chest, head or mix voice |
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Head- Bwoop- |
Dripping water or bird. No scale needed. Practice throughout the day to extend range and open up head voice comfortably. Works well as vocal therapy. Naturally allows the voice to find itself. |
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Head- Open Vowel Head Voice- |
soft opening of EE and OO vowels. Requires very little movement of the lips. If you open too wide you might flip into falsetto. The more closed the mouth, the easier it is to maintain chord closure. This is why open vowels in head voicel distort tone quality. |
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Head Voice- Broad Vowel |
one step further than further than the previous.The aww and Ahhh are difficult. They pull into falsetto. Do not open too wide too soon. Purpose is to maintain consistent chord closure from narrow to wide vowels. |
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Head- Building power and resonance- Goo, goo, goo. |
Build power. As volume increases, you will notice more. More chord closure, more resonance. Starting with Guh engages perfect cord closure and pushes voice into fuller head voice. Guh acts as a wall to the swimmer. Allow for a reckless sound. The lighter sound head voice. Do not pick up too much head voice to soon. Start in loud head voice and pull it as low as you can for this exercise only. |
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Head- Finding the Bridges- |
Hee- eeee- ooooo- oooooo |
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Head- Weee- Wooh- |
should be done hooty or hollow sound on weee- and narrow and doppy sound on woh. Wooooh. Wheeeee on the slide. Whoa sound in siren woo woo woo woo. Don’t try to sound like a singer. Just make sound. This will bring incredible freedom to head voice. Let jaw drop comfortably. Be natural and speech like. Don’t close your outh too much or stretch it open. |
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PHARYNGEAL-NG |
as in rungggggggg- closes off the mouth as a resonator but still engages the same coordination as chest voice. Because the chest voice can’t resonate in the mouth as it naturally does the amount of weight on the vocal chords eases up as the tone ascends up behind the soft pallet. Good vocal rehab excercise. Will bridge chest and head voice more naturally. |
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PHARYNGEAL- NG to Hmm- |
adds more colour to pharangel sound. Recruits more muscle fibre to warm up the voice to a mix coordination. This bring us closer to a full mix voice that can be used for singing. Do the NG sound while doing the hum sound. |
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PHARYNGEAL- Wide Interval Jumps- |
like a siren. No scale needed. Simly making sound. Bouncing again begins to release the muscle tension that people experience while singing in the mix. Build strength and agility in the voice. Great for strengthing in the chords for a smoother connection through the bridges. 10-20 seconds at a time. Up to 20 times a day. EVERYDAY |
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PHARYNGEAL Ons- french En- |
deep pharyngeal sound on an O vowel and doubles your resonance capability. First to use vibrato. Slight nasality that implies that you are singing with an N sound. N sound not produced by the tongue but the nasal lilt from the phayrangel resonator. Effortless sense of power. Ie. early hank williams recordings or old movies becuase they had bad mics. No breathing tone at all. Start ons sound with a slight staccato and not an ‘h’ sound. |
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PHARYNGEAL- Monkey
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Monkey OOO AAA- starts in head voice and should sound like a money with a strong staccato and not an owl with an H. also sounds like a squeeky shoe on a basketball court. Not singing but making sound. Should be repulsive and embarrasing. This exercise builds massive power in mix. Its okay if it sounds falsetto at first. It closes cords the same way a cough does.there is less weight of chest voice. Blending head and phyarangel. |
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PHARYNGEAL- Nay |
Pharyngeal 'Nay' - common in pop, rnb world. Not meant to sound pretty. Meant to give you strength and power of chest voice without the weight or strain on vocal chords. N is the acts like a hammer. The a sound is a nail. The nay sound should not be throaty or kermit the froggy. Keep a whiny, bratty sound. Do not tighten the throat. Allow the N to do the work. It is the pressure of the tongue on the roof of the mouth that produces the pharyngeal sound and builds a natural compression to close the chords. Don’t be concerned about how light sounding it is. Or how heavy sound it is. Simply let the voice have a mind of its own and do whatever is compfortable. |
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Pharyngeal 'Nee'- |
even more whiny. Has available to thin out the vocal chord swhich removes the weight from the voice as you pass throug hthe transition from chest to mix. The eee is usally over squeezed. Don’t let neee become nay. It is NEEE to NIH. slightly drop jaw as you sing higher. Faster tempo to avoid tension. |
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Pharyngeal 'Neh'- |
begins to evenly distribute the tone wuality throughought the three resonaters. Closest to a normal singing quality. Do not focus on being overly whiney. Allow the N to determine a more gentle sound. Think of this exercise as a slightly open version of the previous nee exercise. Should allow for slightly more open mouth psition so the tongue does the work and not the jaw. Although in some cases the jaw will drop loosely on each sylabyl. |
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Pharyngeal 'Meow'- |
no scale- takes you through multiple resonate chambers. Builds strengthin themix. Personality in the voice. Aggressiveness in your approach tosinging. Connect the voice. Phenomenal vocal therapy for a raspy voice.Natural forward qualityt o the voice. Performed slightly reckless. |
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Phyarangel: |
NG backof throat and nasal cavaties. Releases chest voice towards head voice. Is theconnecting resonator. Blends head and chest. In mid range allresonanaters will be blending together. |
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Edge control: |
shading. Letting off of head and chest without utilization of phryangel. Brassing trumpet -phyrangel Edge control: flutingwhoooty mix |
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Edge- Vocal Fry |
EDGE VOCAL FRY- used to close the chords with minimal effort. This sound does little to engage chest, head or pharyngeal but does enage the chords in the relaxe coordination necessary to mix those resonances. This focuses more on vocal cord function. Start on ughhhhh (neutral vowel). Don’t try to shape the vowel. Let gravity to drop the jaw and use no muscle in face, mouth or throat except vocal chords. This is the beginning of vocal chord vibration. All you get is the edges of the vocal chords vibrating. Be sure its a relaxed edge coordination without the pharyngeal. Vocal fry add a little more air and compression which recruits a little more muscle fibre. Will cause you to erase all breaks from the voice. |
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Edge 'Messa Di Voce'- |
the gradual swelling and diminishing of the voice to produce shape to a sound. Only dealing with diminishing of sound which is called messa voce “half voice” not dealing with full sound. That comes later. “Crying on pitch” very light cry, like a whimper. The light edgy sound doesn’t use a lot of pharyngeal yet blends head and chest voice naturally. You can feel precise chord change on the transitions. Allow for a lighter heavier tone as you sing higher. Don’t over squeeze or over compress the sound. Find an easy and light connection from chest to head and head to chest. If your tone is strong but wrong it will always be wrong. You can’t make wrong, write. you need to find the light right coordination and abandon the strong coordination. Once a light right coordination is found you can make that stronger without the bad habits. |
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Edge 'Staccato Edge Therapy |
- allows to disengage the outer muscles of the larynx. A slightexaggeration should be added to every pitch. Because You are attacking the notewith a staccato there is potential for abuse. Try and use a little vocal fry toclose the vocal chords in a very slight manner. When you sing staccato it’sokay to bring the chords together deliberately. It's just that the airflow mustgently vibrate chords that are brought already together through the ugh sound.( great example on CD) . benefits are refined chord closure. greaterstrength and power on beginning of phrases, disengaging of wrong musculature.Muscles under chin tend to pull down to reinforce the pitch making process.This is a faulty mechanism. Singing and swallowing muscles are opposed. Todisengage, practice making gentle attacks. (great example). |
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Edge 'Staccato_Slide_Stacca- |
will continue to get you a sense of release in the mix and disengaging unneeded muscles in the larynx and simultaneously connecting certain notes in your range. Ugh like a waltz but upwards and then downwards. Little vocal fry and a little whiny sound on the sustaining note (great example). Once connection is established move to a more normal sound. |
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Edge Swell |
- it is important to say in the same quality you land in. try and maintain the same amount of muscular weight throughout the scale. Additional purpose is to replace pulled up chest with pulled down mix so starting in mix increases our chance of success. |
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Extreme Closure- |
strong vocal therapy access. Like being on water and you’re holding your breath and you begin to panic. You can only hold so much longer. That little mmmmbb is a cord closure that i precise. It is not uncomfortable and is not abusive. Used to close chords that are permanently raspy or breathy. Chugging a pop bottle and gulping. Extend G (great example). Chords are vibrating very freely. The B which is more in the lips producing more chest resonance which creates deeper chord closure. Perform very seldom. |
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Edge 'Extreme Closure - |
Buh- continuation of exercise 6. BE sure to make the UGH sound a continuation of the gmmmmmbbp sound. Do not squeez. Trying to just engage chords and not abuse them. This exercise should feel very relaxed. Directs resonantes toward the lips. Has corrective function of fixing nasal vocals. |
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Mix-'Lip Rolls'- |
warmup, stretch out and coordinate voice. Notice anevenness where you can’t tell where chest ends and head begins. Thinks of it asa series of buh buh buh. Push cheeks slightly up and forward. |
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Mix Workout 'Wee'- |
Mix Workout 'Wee'- merely trying to warm up head voice to give chest something to mix with. Warming up head voice first allows for a more gradual process to warm up the muscles that produce mix. Head voice activates only the surface layers of musculature. Starting higher has more release. You want the sensation of running down hill. |
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Mix Workout 'Mum'- |
most balanced and common of all mix exercises. However, in this workout we will use it as a counterbalance against a rising larynx. Place finger on adams apple. Usually we want a neutral position. Mix can’t experience full freedom until the larynx lowers naturally. When doing mum exercise making a dopey or hooty sound like an owl or a whoofy sound. The sillier the sound and better your release. Will add more compression to the vocal chords, to bring out more presence or ping or brassy pharyng colour to the voice. While doing the exercise place your finger on adams apple and experiment with different . eventually you want to do it in a clear, speaking manner. Refer to dvd for the ‘ bending method’ |
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Mix Workout 'Go'- |
continuation of the concept of low larynx mix. But now we’ve added a more aggressive consonant to insure chord closure and resonance to what might otherwise be a muddy quality. This should give you the feeling of holding on with the G sound and letting go with the O. employ the bending method to prevent from reaching or over compressing. Gives you a deep explosive resonance. There are levels of vocal chord depth that should be eased into . you must seek ease before power. |
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Mix Workout 'Bu' As In 'Boo- |
like the go sound the Buh as in Book give the singer a lot of vocal performance because it creates vocal closer. Remember the more stoppage there is in a voice consonant that is a consonant with tone, the deeper the chord closure. However, some voices are not yet ready for deeper level of chord closure becuase the overall status of their voice is that they are weak or untrained, thats okay. Muscles just need time. Once you’ve felt the depth of tone with the Bu don’t over do it. Lean into the voice to get connected and let off as much as you can while seeking to stay connected. It is directed towards the lips yu will get a lot of presence and a chestier sounding mix. We are seeking for a low larynx position. The chords tend to lose compression as we lower the larynx. We are adding a B to maintain friendly compression while the low larynx condition encourages a sense of release. Tempo is slightly faster to encourage a feeling of letting go as you pass through the bridges. |
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Mix Workout 'No'- |
‘N’ consonant gives more release than the ‘G’ consonant becuase we are allowing more airflow through the chords. The NNNNNN sound employs the pharyngeal which automatically takes the pressure of the deep mix quality. The pharyngeal usually calls for a high larynx sound like on the NAY NAY NAY. in this exercise we’ll sneak up on the voice and confuse it a bit. The idea now is to keep a low larynx position using an O vowel while bring in the pharyngeal. This is the more balance and useable pharyngeal and low larynx sound. We are also adding vibrato to encourage release and beauty in the voice. |
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Mix Workout 'Nuh' As In 'Nudge- |
added extension of the BU exercise with aded pharyngeal a more gentle compression. It should be easier because thought he vowel is the same we are backing off of compression. Think of Nuh as good and use just enough of the NNNN sound to connect the chest to mix voice. Only open mouth vertically and not horizonatally to the keep the vowel pure. See dvd. |
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Mix Workout 'Various Vowels- |
when doing this exercise the key is to start with a narrow or closed vowel and sneak it open once you’ve snuck through the bridge. Listen to examples |
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Mix Workout 'Warm-Down On Muh- |
no scale needed. Effortless attack in the upper range and drift towards chest voice. Listen to example. You should warm down the voice. Lift all the added weight build up and leave it in a relaxe position. Do for 30 seconds, 2-3 times with a minute in between. |
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Strengthening the Bridge- |
ugh ugh ugh- staccato and sharp sounding. The purpose of this exercise is to establish presense through refined chord closure on every note throughout the bridges. Every note is fought in a race of supremacy by either head voice or chest voice. The letting off of every note and the closeness of the intervals in the scale force the voice to get smart and find an incremental muscle exchange from the muscles that produce chest, mix and finally head. |
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Gentle Connection Part 1- |
whooooooo- utilizes the most vulnerable vowel patterns and tone qualities that a singer could engage while facing the bridge. The bridging process on this exercise doesn’t engage the edge or pharyngeal. This is called the ‘hooty’ tone quality. Lean against the hoot. Allows more air flow which brings greater freedom while encouraging connecting from chest to head voice. Also called shading in classical but not always shading from chest to head. Make a hollow sound like blowing into a coke bottle. The who when blowing into a bottle should be mimicked with the voice. This will give you sense of savvy refinement when singing light. Done with low larynx and the vowel should stay very narrow at first. |
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Gentle Connection Part 2- |
same as first one by HWEEEEE instead of whooo. Traditionally used by forgetting exercise. This exercise is one of the most valuable exercises brett has ever encountered. Listen to example of pop bottle sound. Make a gorgeous E vowel while passing through the bridge. The beauty of the hoot is that the voice begins to expand in fullness without the feeling of added muscle. Example of adding more power to high notes. Singing a hooty WHHO through EEE lips. |
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Multiple Bridge- MOM MOM MOM MOM MOM |
- every landing pitch stops in the middle of a transition. Allows the opportunity to trust a higher resonance and a thinner chord or panic and hold onto a thicker in order to push through the bridge. |
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Bridge Mixed Octave-two octave scale on a hum- hmmmmmmb- |
the beauty of this scale is that now you can feel the bridges and the accompanying resonance. The rapid change of this exercise allows your chords to adapt quickly and resonance to shift from one place in your head to another very rapidly. Trust the voice to find a coordination on its own. Place your finger under your chin to keep the larynx muscles from being engaged. |
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‘The Light Mix’ - |
To find what is called light mix or head mix we need to first find the head voice and then add quality, particularly the pharyngeal . notice how the gooo and guh are in head voice but the mmmmmng adds more presence to the voice creating a mix. It doesn’t use any edge. Mostly used for pop and theatre. The light mix is essential for finding balance between headvoice and the hard mix. In the fllowing scale that we start above the bridge and dip down/ this is to pull the light mix down so that on the way back up you have more to lean into. This is to feel added presence without using any additional force. Demo starts out as Pure head then to pharyngeal sounding head light mix |
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The Hard Mix- |
Go Go Go Go Go Go- This should be done with care! It is an aggressive exercise. Really hold onto the NNNNGUH sound. Nnnngo go go. Used to recreate more muscle fibre and take you into a sound that you’d rarely ever use. The better place to sing in is the middle mix. You need to have a light and hard mix to to balance or your sound. Keep the larynx low. The pulling up of chest voice demands a high larynx but not all high larynx exercises pull up chest. It is much easier to pull up with a high larynx which is evident but a spreading out of the vowel and a preference towards the mouth as a resonator. |
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The MIddle or Balanced Mix- |
NEHT NEHT NEHT- the mix in this exercse where neither chest nor head are dominant. Rather the blend as is even and speech like as you can find. The edge and pharyngeal sound in the NNNNN consonant. The transitional form of the EHHH sound which is between EEE and AHHH provides a softness to the sound. What we are striving for is a feeling of holding and letting go at the same time. This is something great singers struggle for all in balancing their voices of their lives! Try to emulate that pure even lend of chest and head resonance. |
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Textured Mix- |
VVVVVVVVV- VUH VUH VUH- we are after what some consider an impossible coordination. A breathy airy textures mix It is so illusive because when youa re trying to get into mix your chords want to add compression. When doing the VVV sound it is important that you feel the same compression as when you are on the MMMMM sound. The VVV sound will gauge your air flow so you have less squeeze and a cool commercial sound texture. The VVV sound can be less or more airy depending on how tight the lips are. (great example). The more FFF sound you put in the VVV the more airy. Once your chords are closed do this scale on VUH VUH VUH. be sure to keep the tone the same on the UH as you would on the VVVVV. If you get a scratchy feeling it means that you are getting too much air. Go back to the Hard Mix to establish chord closure. |
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Nasal To Denasal- |
Nasal To Denasal- ENNNNNNG to AWWWW- this is harding than whistling andhumming at the same time. Most people have difficult time getting in and out ofthe nasal sound at time. (Great example). Think NAHHH which gives you the ENNNSsound. Think BAWW which give syou the AUGH sound. You shoudl be able to switchrapidly.( example) The difference is a lowering of the soft palate like the NGto get into the nasal and a soft lifting othe pallett as in CAW CAW CAW CAW toget out of the Nasal sound. This exercise will give your voice more flexibilityin your tone and give you more style choice and keep the singer listening.Learn subtlety. Later int he program we will show you how to use more or lessnasal in a song. Experiment with how extreme or subtle you can be with nasal.No scale needed. |
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'High, Middle, Low MIX- |
AAAAAng, UHHHHHHH, OHHHHH |
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High Larynx |
ANNNNNNN- now we’re back to a slightly raisedlarynx with the AAAANN, medium with uhhh and ohhh with LOW. neutral is thehealthiest and easiest but it doesn't mean you shouldn’t ever sing with a .place the finger on the adams apple and say ANNGGGGG (siren). Absence ofpharyngeal will pull up chest voice. |
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Neutral Larynx |
Find neutral larynx on AWWWW by sayingHUH, huh huh huh (laugh). Keep finger on larynx as you as ughhhh/awwwww(siren). Larynx shouldn’t move. This is how to find your normal unaffectedsound. |
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Low Larynx |
When doing the OHHHHH keep your fingeron your adam’s apple at all times. Whisper in a child's voice (high larynx)whisper in a man's voice (low larynx). Inhale with each of these attitudes andmy larynx will go to the position that is desired |
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Light Edge Swelling Up and Down Getting Louder Each Time- no scale. |
You can do this throughout the day. Purpose is to make every note you sing evenin tone, in volume, quality and even connection in transitions. This principlewill normalize the mix. By giving it the same attention and status or chest ashead. Seeing the voice evenly like piano keys we are saying to see the voicefrom left to right instead of high and low. Easier and harder. LISTEN. Dodo this take a normal breath and hold back air gently with the chords. Unghungh ungh. Now slowly slide up from your lowest comfortable note to yourhighest comfortable note. Make everything as evenly as possible. Only giveas much pressure as the weakest note in your range. Allow time to bring aswelling to the voice. |
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Normalizing 'Nah'- |
NAH NAH NAH-start in mix, work up to head down to chest and back to mix. This makes mixyour starting and ending point instead of the goal. |
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Normalizing 'Nuh'- |
running for a full out mix. The stutter on the time it forces us torepeatedly find the mix. You have to stay in the same coordination you land in.pull mix down instead of chest up. Very advanced. |
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Normalizing 'Muffled Oh'- |
this exercise balances compression in a way that makes it hard to fail.Keep the lips tight and blow a thing stream of air our while say OH. thetighter the lis the poofier the cheeks. Don’t keep the lips too tight. Allowenough air flow that you can feel it air blowing against your hand. Before youdo it on a scale get use to blow from chest to head (siren). You will feeladded compression going through the bridge which is supported by the pressingout of the abdominal wall. You can find your mix using this on your moststubborn days. |
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Normalizing Chromatic Scale |
on Mum mum mum- The object of the xercise is to createeven pressure fromm top to bottom and also develop a truly connected mix. Whendoing this exercise we are simply trying to hide the effect that there are anyvoice changes. Think of this exercise not as singing but say MUH on pitch. |
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. Normalizing 'LipRolls'- |
no scaled needed- don’t sing to top or bottom of range. Justcomfortable and easy. As you do this slowly, get a little louder each time butbe patient. Keep your larynx comfortably low. Do this exercise gently for 1minute to warmup. |
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Normalizing 'Curled Tongue- |
out of the mouth in an OH/oooo vowel sound although it might feel likeit has OOOO in it. Because the tongue is pulled out of th emouth the muscles atth eroot of the tongue are not allowed to contract which causes resistance tothe change over from one muscle coordination to the next from chest to mix andmix to head. Not a deep pharyngeal or edge exercise. This brings us back to thehooty sound with the added feature of a curled tongue to asstant the hoot andfree up even more musculation normalizing the mix. To do this stick the tongueout and curl it like a waterslide. Don’t pull the tongue back as you gohigher but instead push it out. |
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Woh Sound- |
Woh Woh WOh on octacve scale. The word woh presses the singerthrough the transition like a figure 8 or hour glass because the singer isnarrowing the vowel from OOO to OH to OOO. WOH= OOOOOOOO OHHHHHHHHHOOOOOOOO Everytime i thin outthe vowel I’m projecting from pulling up chest voice just so long as I’ve gotmy larynx down and my edges are strong enough to keep me from disconnecting.The process is amazing because it self guiding. Again we are sneaking up on thevoice by warming it up slowly. The voice responds beautifully to this warm upbecause you are not recruiting too much muscle fibre too soon ( which will tearup the voice over time). Because singing involves muscles understanding warmup, workout and warm down are crucial to health and longevity of the voice. |
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Yay Yay Yay- |
Yay yay yay- EEEUUUUAAAAEHHHHStarts in the mix ona hooty EE and blooms into a fairly full mix on AAAAYYYY or EHHHHH. Can berepeated throughout the day. It is truly an exercise to build fullness andfreedom into the voice. Repeat |
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Hooty OOOO on a long scale- |
We already seen this on a short five tone scale. Now we are doing thison a long scale to feel a squeezeless, edgeless vocal pathwary from thechest to blend/mix to the head. Keep a low larynx through the bridges andbeyond. Purpose: essential to developing purity and an uncluttered tonequality. |
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OO to OH to AH(OO to UYH and UYH (OOOGH) to UH) Octave Sustained with Vibrato- |
oneof the most important exercise in the whole program. Also on cd 7 of singingsuccess. Now it is placed in a sequence of scales where the voice is left alittle more vulnerable. Now we have a more refined development of the voice.When doing this exercise, realize that you are singing the UHHH as an open OOO.the key is to think about OOOO on every vowel change which will hold you in theheadier and easier quality of the narrow vowel. If you get too broad too soonyou will lose the split resonance, half in the mouth and have in the head andfall out of your mouth. This is what we call pulling up chest. The only cure isstaying in mix. How stay in mix when the open vowel wants to pull up? Wememorize the feeling of mix on the narrow vowel and we sneak over to the openvowel. Only open the mouth slightly to keep showing preference to the mouth asa resonantor. |
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Hooty EEEEE on a long scale- |
We also made this sound earlier int heprogram. Long scale ensures less squeeze through th emix. Be sure to drop thejaw as you sing higher, but the goal should be to drop the jaw vertically, notopen the jaw horizontally. Make sure you allow the voice to move towards headvoice as you go higher. (not like miss piggy). Drop the jaw just enough to keepthe sound ballooning into it’s natural fullness. |
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EE to IH to EH- sustained with vibrato- |
sneaking thevowel open to not lose the mix. Keep the larynx comfortably low or “neutral”.Try to think of the EH as just an open EE. |
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EE to AYE (A) to AA (cat)- |
be careful but not too careful. This exercise runs the greatest risk ofpulling up chest voice which can become a bad habit and keep you from singingin your mix. Sneak the mouth open more and more until the chords know to stayin the same configuration on the AA as the EEE. the larynx can’t changeposition between the vowels. The neutral and low larynx positions aresafeguards against pulling up chest voice. Watch how open your vowels come.Your goal should be balance. |
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Glottal stop |
is a type of consonantal sound used in many spoken languages, produced by obstructing airflow in the vocal tract or, more precisely, the glottis. Its manner of articulation is occlusive, which means it is produced by obstructing airflow in the vocal tract. Since the consonant is also oral, with no nasal outlet, the airflow is blocked entirely, and the consonant is a stop. Its phonation is voiceless, which means it is produced without vibration of the vocal cords; necessarily so, because the vocal cords are held tightly together, preventing vibration. It is an oral consonant, which means air is allowed to escape through the mouth only.Because the sound is not produced with airflow over the tongue, the central–lateral dichotomy does not apply. The airstream mechanism is pulmonic, which means it is articulated by pushing air solely with the lungs and diaphragm, as in most sounds. |
