Singing Tips

Fairbanks Vocal Lessons

On “Open Throat” Versus “Closed Throat.”

The “open throat’ position in singing is usually thought of as calling for a high position of the soft palate, a low position of the tongue, grooved if possible, and a middle position of the larynx.

All of these positions, however, are dependent on “nasal” resonance, with its illusion of the tone being forward. This has the effect of relaxing the upward pulling muscles, making possible an enlarged, flexible throat opening, and a low flexible tongue. The middle position of the larynx reflects “nasal” resonance just as a high larynx reflects nasality, and a low larynx reflects a gutteral quality.

The open throat position, because of less constriction in the mouth and throat, allows for finer adjustments in the larynx. This is in keeping with the theory that the vowel set or shapes which are formed in the back of the mouth, to include the back of the tongue, the pharynx, and the soft palate, are reflected in singing in the shaping and tensions of the larynx, the vocal cords and the epiglottis.

A flexible “open throat” position, then, may be said to be conducive to better tone quality, greater power, finer pitch accuracy, and a more even vibrato.

The “closed throat” position, which is typical of the speaking voice, be­cause of greater constriction in the mouth and throat, prevents the finer adjustments in the larynx that would improve the singing voice in quality, pitch accuracy, power, and an even vibrato.

Problem: To establish a flexible “open throat.”

Procedure:   (use hand or large mirror to throw reflected light into the throat.)

Breathe through your nose with your mouth opened wide.

Notice that the soft palate is low and your tongue high, blocking off the mouth. Now breathe through your nose again with your mouth opened wide, and then change to mouth breathing. The palate rises and the tongue flattens or lowers.   This is the open throat position.

Sing the word “hung” with the mouth opened wide, and add a final ah sound: “hung - ah.” The ng hum lowers the palate and raises the tongue to shut off the mouth cavity. If the final ah sound is enunciated loudly, the soft palate will rise to a high position and the tongue will fall to a low position. This is also an open throat position.

Open the mouth widely and pretend to yawn. This usually results in an actual yawn. In the first part of the yawn, the throat opens wide to allow for a large inhalation of air. This is a flexible open throat position, a desirable position for singing.

In the second part of the yawn, the throat is constricted, suspending the flow of the breath. This is a constricted closed throat position, an undesir­able position for singing.  This exercise is essential to the vocal lessons in Fairbanks.

Silvana Bazzoni Vocal Coach

On Pitch Accuracy

Silvana Bazzoni, a vocal coach, agrees that intonation in singing maybe defined as the relationships of tones to each other in terms of pitch.

Good intonation is dependent primarily on a good ear. This means that a singer should be able to hear and recognize fine differences in pitch, to determine whether he is singing in tune or sharp or flat.

Good intonation is also dependent on how the dynamic processes of respiration, phonation, articulation and resonation are coordinated. This co-ordination must be translated into anormal quality, a flexible pharyngeal vowel production, a flexible articulation of the consonants, the correct reg­istration, and the correct breath support.

Good intonation is also dependent on an understanding of pitch relation­ships in major and minor keys, in rhythm and time patterns, in loudness and in the ornaments of singing. In other words, good intonation is depend­ent on good musicianship.

Problem: To sing accurately and in tune.

Procedure:   (without piano)

Sing octave arpeggios on ee, ay, ah, oh and oo, up and down, beginning first on the average pitch of the normal speaking voice, and continuing a half higher each time, and if possible the second lift.

If the first lift is delayed, the pitch will be flat; if the first lift is forced, the pitch will be sharp.   The same will be true of the second lift.

An open bell-like position or an open square position of the lips tends to facilitate the lifts.

Sing octave scales upward using numbers, 1 2345678, and then slur­ring down to 1, beginning on the average pitch of the normal speaking voice for 1 move up a half step for 1 of each new key.

Poor intonation occurs frequently where the half steps fall, between 3 and 4 and between 7 and 8 of each new key.

How can I improve my singing without singing lessons?

I don't usually sing, but the other day I was singing outloud and I thought no one was around when someone was! They recored my without me knowing and say I'm such a good singer. I don't actually know if I am, because I never sing. I would like to get into singing though. How can I improve my singing without taking lessons?

"How can I improve my singing without taking lessons?"

Well, turn to me for advice! I did exactly this! I turned to books! Read those by professionals who wrote books, if you can stand them without dozing off. They are especially benificial in figuring how your voice works, what to do and what not to do. Of course, when seeking knowledge from books, it's good to know a few good helpful singers

pm me if you need more info.

Voice Lessons In Alabama

On Breath Control

Voice Lessons in Alabama and anywhere teach that a singer is said to have good breath control: 1. when he can inhale or exhale any volume of air up to his maximum capacity, slowly or quickly; 2. when he can sing with economy of breath; 3. when he can sing without attracting attention to his breathing either on inhalation or exhalation; 4. when he has control of a flexible breath support for loud and soft singing, and for different ranges of the voice; and 5. when he can sing long phrases or florid passages on one breath.

These are the results of good breath control. The question is how can one learn to control the breath to get these results. Ultimate breath control is dependent first on learning how to inhale and exhale any volume of air up to one’s maximum capacity, slowly or quickly. It is not enough to say “just breathe naturally,” since most individuals are shallow breathers and must be taught to breathe deeply. Natural breathing cannot be expected to meet the demands of long phrases, or of loud and soft singing in different regis­ters of the voice. Although a singer uses comparatively little breath when singing correctly, deep breathing sets up a potential breath support in it­self which makes for an easier pharyngeal control.

In singing, the exhalation of the breath can be controlled in two ways: either by a holding of the breath under pressure by a contraction of the ab­dominal muscles called the abdominal press, or by the vocal cords acting as a valve to release the pressure flow of the breath.

The first, an abdominal breath control, is a matter of increasing or de­creasing the pressure flow of the breath by the strength of the abdominal press. The second, a laryngeal breath control, is dependent on a flexible pharyngeal control of the vowel sounds, which releases the pressure flow of the breath in terms of a singing diction. Both actions must be balanced one against the other, but with the laryngeal control in command.

Problems: To be able to inhale and to exhale any volume of air up to one’s maximum capacity,  slowly or quickly. To establish a flexible pharyngeal control of the breath flow.

Procedure: Inhale a complete breath slowly through the mouth, beginning with a high abdominal expansion, then adding an intercostal expansion until you have reached the limit of your capacity. Exhale slowly through the mouth until you have exhaled the maximum amount possible.

Repeat this procedure several times until you are aware of the maximum amount of air that you can inhale and exhale. This is called your vital cap­acity. If troubled with dizziness from unaccustomed deep breathing, change the tempo of your breathing to a quick inhalation, and a slow controlled exhalation. To avoid noisy inhalation, open your mouth wider, and relax your tongue, or breathe through both nose and mouth. Inhale quickly through the nose and mouth, then hold the breath under pressure by a glottal stop; then sing in short staccato tones on one pitch:   Hey   Hey   Hey   Hey   Hey

Repeat this procedure several times on various pitches to establish the proper balance between breath flow and enunciation of the vowel sounds.

Sing a sustained “Hey” on one pitch and hold as long as possible. Do not pull in mid-section as the breath is used, but allow it to sink in grad­ually while still maintaining the abdominal press. This action helps hold the vocal cords in approximation, making possible a flexible pharyngeal con­trol of the breath.

Singing Lessons In Ohio

Exhalation - Breath Support

Explanation:  The most important muscles of exhalation are the abdominal and inter­costal muscles. Through the contraction of the abdominal muscles an ab­dominal pressure, called the abdominal press, is established. The strength of this pressure can be consciously or unconsciously controlled. By means of the abdominal press, the abdominal contents (viscera) which were forced downward and outward through the contraction of the diaphragm downward and outward, are now forced upward and backward into their normal positions.

The diaphragm which was in a state of contraction on inhalation,  re­laxes on exhalation and gradually returns to its normal position.  It is aided in this return by the pressure exerted on the viscera from below, and by an inter-thoracic suction caused by the release of the breath.   The diaphragm must be considered to be a passive, not an active factor in exhalation.

The intercostal muscles which contracted on inhalation, thereby raising and expanding the rib-cage outward and upward, relax on exhalation, al­lowing the rib-cage to return to its normal position. This return can be consciously or unconsciously delayed, but not controlled completely. If there has been any expansion of the rib-cage on inhalation, then there will be some lowering on exhalation.

How much this rib action enters into the overall process of breath sup­port is difficult to analyze. Breath support, a variable pressure flow of the breath, would seem to be definitely the function of the abdominal muscles. The result of the reduction in the dimensions of the thoracic cavity - length, width and depth, is an increase in the pressure flow of the breath. The breath becomes a form of compressed air, which possesses an inherent force of its own. This is the basis of breath support. When correlated with the action of the vocal cords through vowel production, the result is voice. The pres­sure flow of the breath may be said to be a variable pressure, depending on the support necessary to vibrate the vocal cords, for different degrees of loudness or intensity, and for different ranges of the voice.  This is especially evident during the singing lessons in Ohio.

The pressure flow of the breath not only vibrates the vocal cords, but it should also assist in approximating them and holding them in approxima­tion.

Problem: To establish a variable pressure flow of the breath by means of the abdominal press.

Procedure:  The following are indirect techniques through the aid of imagery. Place palm of one hand on mid-section below breastbone and above waistline. Clear your throat. Grunt. Cry, Squeal. Call “hey.” Notice that the mid-section below the breastbone bulges on making these sounds.

Now call “hey,” and sustain the sound ey on one pitch by maintaining the pressure flow of the breath. Caution: do not hold mid-section rigid. Do not pull in midsection, but allow it to sink in gradually as the breath is used.

Sing arpeggios up and down the scale, starting on the average pitch of your normal speaking voice. Increase the pressure flow of the breath by a stronger abdominal press as you sing up the scale, and decrease the pres­sure flow of the breath by a weaker abdominal press as you descend the scale.

The following are physical devices which can be used while singing to establish a variable pressure flow of the breath through an induced abdominal press: cupping the hands and pulling, pushing against a wall; or lifting on one end of a piano. None of these should be carried to an extreme. To avoid doing so it is highly desirable that they be practiced only under the direction of the teacher.

What do they teach you in singing lessons?

My music teacher recommended taking singing lessons to become better at my talent. What do they teach you? What age is appropriate?
Is it worth the price that it gives?

Many thanks!

I started singing lessons when I was 6!!!
They always do warm ups like singing scales and when I was younger I had to do idiotic toung twisters.
I think its deffinetly worth the price. But make sure you get a good teacher. You can do exams very quickly in singing because unlike instruments you don't do scales. I have done 5 exams in 4 years!

Voice Lessons NJ

Inhalation - Where to Breathe for Singing

Explanation:  Different types of breathing are: clavicular, or high chest; intercostal, or rib; high abdominal, or diaphragmatic; low abdominal; and dorsal, or back.

A combination of intercostal and high abdominal breathing has been gen­erally accepted as the most efficient type for deep breathing, which is essen­tial to good singing.

The most important muscle of inhalation is the diaphragm. The most important muscles of exhalation are the abdominal and intercostal muscles. In normal vegetative breathing, that is, breathing necessary to maintain life, the rate of inhalation and exhalation is rhythmical, the time for each being about the same. In active forced breathing as in singing and speaking, the time of inhalation is much faster, with a slow, controlled exhalation.

Due to its sustained nature, singing requires a larger intake of breath. Since most individuals are shallow breathers, they must be taught how to breathe deeply, and then learn by actual singing experience how much air to take and how to control it.

Deep breathing is not a matter of raising the chest cage, or pushing out the back ribs, or protruding the lower abdomen. As it is followed in any voice lessons in NJ, deep breathing is accomp­lished by increasing the size of the thoracic or chest cavity at its base. This is brought about by the downward descent of the diaphragm and the upward and outward movement of the ribs, thereby increasing the capacity of the thoracic cavity in three dimensions, length, width and depth. Any increase in size is immediately filled by the expansion of the lungs, which are highly elastic.   By this action a vacuum is created which draws in the outside air.

Problem: To establish deep breathing through intercostal-high abdominal action.

Procedure:  Pant as after running, fast at first, gradually slowing down the panting, and increasing the length of the inhalation.

Observe that on inhalation the mid-section comes out. This is due to the downward and forward action of the diaphragm, which forces the abdom­inal contents downward and outward. This is high-abdominal or diaphragmatic breathing.

To establish intercostal breathing, place palms of hands on floating ribs (last or bottom ribs) in each side of body. Press in and blow out. Now in­hale quickly, allowing ribs to expand as much as possible.

To combine intercostal breathing with high abdominal breathing, place palms of hands on bottom ribs, allowing fingers to extend over on high ab­dominal region. Press in on ribs and on high abdomen and blow out. Now inhale slowly and completely, allowing mid-section below the breastbone and above the waistline to expand all around the body.

Mouth breathing is suggested as the most efficient type of inhalation for these reasons: 1. a lot of breath can be taken quickly; 2. with his mouth open the singer is ready to sing; 3. an open mouth position is conducive to an open throat position, and to open tone production. Noisy breathing can be eliminated by inhaling through the nose and mouth together.

Intercostal high-abdominal breathing allows for greater freedom from constriction in the muscles of the neck and in movements of the larynx, and greater freedom in the movements of the articulators.

Rock Vocal Exercises

On Agility

Agility in singing maybe defined as the ability to sing unusual variations in pitch, tempo, and loudness. Agility is dependent on pharyngeal flexibility, based on an open tone or an open vowel production in terms of normal or “bell” quality, sung mezzo-forte. Agility adapts itself more easily to a conversational or parlante type of diction. The oratorical or aria style is too heavy or cumbersome, the soft voice uses too much breath, which is necessary to sustain long and florid phrases.

In florid singing and in the execution of the ornaments of singing - the appoggiatura (long grace note), the acciaccatura (short grace note), the mordent, the turn, the trill, and the portamento, all of which are tests of agility - the singer must have the right balance of pharyngeal speech and normal quality.

Problem: To establish pharyngeal flexibility in normal or bell quality.

Procedure:  Vocalize open vowel sounds or open vowel sounds that can be sung in normal quality, preferably open ay, oh, and ah, on five tone and octave scales, arpeggios with and without turn, and octave portamentoes. Sing portamentoes on one sound, for example ay, up and down; or on two sounds, carrying ay up an octave and changing to oil, and carry oh down an octave and changing to ah. Maintain an open position of the lips and the mouth with­out strain.   Keep the jaw loose.

Avoid the use of the tense ee vowel sound or the closed oo vowel sound in the beginning, since these sounds in their closed positions are not con­ducive to pharyngeal flexibility.

On Dynamic Control - Loud and Soft Singing

Explanation:  Flexibility may be defined as the state or quality of being flexible. This means that the muscles involved in the production of vowel sounds can be tensed and relaxed easily.

In singing, the production of vowel sounds should be the result of flexible vowel shapes or sets in the pharynx. Loud and soft singing, then, is depen­dent on an easy rise and fall of the vowel tensions in the pharynx, which are reflected in an easy rise and fall of vowel tensions in the larynx and vocal cords.

In other words, the vocal mechanism responds as a unit in loud and soft singing.

In soft singing there is less vowel tension or emphasis than in loud sing­ing. How well the singer can control these tensions which result in singing loudly or singing softly is dependent on his pharyngeal flexibility.

This pharyngeal control must necessarily be supported by flexible or variable pressure flow of the breath. In soft singing less pressure is needed than in loud singing. More breath is used in soft singing due to the decreased resistance of the vocal cords.

Problem: To develop a dynamic control of the singing voice through the de­velopment of pharyngeal flexibility.

Procedure:  Whisper the sentence:   “Tell her the day.”

Repeat the same sentence, but bring the whisper into a soft, audible tone. This is caused by the vocal cords being brought into approximation by vowel tension, thereby resisting the pressure flow of the breath, and may be called pianissimo voicing.

Now raise the intensity of the words to the same level that you use in ordinary conversation: “Tell her the day.” This may be called mezzo-forte voice. This should bring your speaking voice quality into focus in a fairly resonant tone, depending on your speech habits or vocal proficiency. The vowel tensions here must offer greater resistance.

Now raise the intensity of the tone into what may be called aloud voice, approaching the old-fashioned oratorical loudness: “Tell her the day.” This may be called the forte voice. To hold the vowel sounds against the greater pressure flow of the breath, it is necessary to exert a greater pharyngeal vowel tension.  This exercise may actually aid the development of the voice in any rock vocal exercises.

I want to take singing lessons but should I learn to play an instrument first?

I am very definitely thinking of getting private singing lessons, more than anything I would love to learn to sing.

I think I’ve heard some people say that playing an instrument is required or is something a lot of singers do. Is this true, if it is I am more than willing to learn piano or any other instrument.

Please let me know.
Thank you.

As a classically trained musician, I would recommend beginning with voice lessons. You’ll learn the basics of music theory and how to read music and develop your voice there. Once you know the basics, it’s easier to learn an instrument like piano or guitar.

It’s not a requirement to play an instrument if you want to learn to sing.

4 Part Vocal Harmony Training Aids

What are Transition Notes - Covering, or Closing Points of the Vowel Sounds.

The vocal range of a singer, beginning with the average pitch of his normal speaking voice, follows a pattern of a low voice of an octave, a middle voice of a fourth or a fifth, and a high voice of a third or a fourth. This makes a singing range of approximately two octaves, depending on the vocal talent of the singer.

The transition note to the middle voice, called the first lift, is approxi­mately the same pitch for all vowel sounds, and marks the middle of the singer’s range.

The transition note to the high voice, called the second lift, marks the beginning of the high voice mechanism. By transition note is meant the pitch where some change in the resonance quality or in the vowel sound must be made to extend the singing range an additional third or fourth or more.  All of these are also included in any 4 Part Vocal Harmony Training Aids.

The process of changing the resonance quality or modifying the vowel sound has been called “covering” or “closing.” These terms would seem to be interchangeable, since both depend on a stronger mouth resonance. However the term “covering” would seem to be more applicable to both the middle and high range when the resonance quality sounds too “open” or metallic. The term “closing” would seem to be more applicable to the high range, where actually the high voice mechanism is comparatively a closed mechanism, only the anterior parts of the vocal cords being in a state of vibration while the posterior parts are held or dampened.

In most cases the closing process is a variable, depending on the vowel sung, on whether it is an open or closed vowel, on how loudly it is sung, and on what vowel sound or consonant precedes or follows it. Any one of these can change the pattern of a fourth or a fifth, which may be said to be an average pitch of where the vowel sounds should close, rather than a hard and fast rule of all changing at the same pitch or transition note.

Although the closing process is a variable one, the closing points of the vowel sounds, when sung mezzo-forte and singly, tend to follow this pattern: the more closed the mouth opening the sooner the vowel sounds close. This means that ee and oo tend to close first, then ay and oh, and finally ah.

The following chart shows approximate closing points of the vowel sounds or transition notes for high and low voices:

In the final analysis the singer should learn how to control the closing of the vowel sounds, either consciously or unconsciously, and he should be able to judge by how the tone sounds whether a good transition has been made. A vowel that is closed too soon usually sounds “hooty” or muffled; a vowel that is closed too late sounds too “yelly”or open until the transition is made.