Singing Tips

Voice & Vocal Damage: Singing Tips : Lip Bubble Vocal Exercises

Part 2 - Learn about the lip bubble vocal technique to protect your voice & avoid vocal cord damage in this singing lesson on video.

Duration : 0:0:59

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Intermediate Singing Tips : The Belting Vocal Technique

There are different types of vocal techniques that can be part of every voice. This video clip will address the belting technique and give you tips on it and how it can be used.

Duration : 0:1:20

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Advanced Singing Tips : High Notes in Belt Voice

Singing high notes using a belt voice is very different than other voices. Learn some tips from this vocal expert on how to stretch your throat and hit those high notes in this free video clip.

Duration : 0:1:23

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Beginning Singing Tips : Opening the Throat For Singing

When singing it is important to have an open throat to allow air to pass freely. Learn some great tips on how to maintain an open throat while you sing from this vocal expert in this free video clip.

Duration : 0:1:17

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Voice & Vocal Damage: Singing Tips : Lip Bubble Technique to Protect Your Voice

Part 1 - Learn about the lip bubble vocal technique to protect your voice & avoid vocal cord damage in this singing lesson on video.

Duration : 0:0:56

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Beginning Singing Tips : Vocal Chord Warm Ups

It is important to warm up your vocal chords before you sing to prevent injury. Learn some vocal warm up exercise tips from this vocal expert in this free video clip.

Duration : 0:1:28

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Good Singing Tips

Whereas a “good musical ear” is generally recognized as a natural gift, a “good vocal ear” is a development of this natural talent. It is dependent first on a knowledge and appreciation of what good singing is; second, on actual experience in singing, both in study and performance; and third, on a gift for analysis based on cause and result. The last requires not only a knowledge of the vocal mechanism, but also an appreciation of the problems involved to get it to function properly.

In order to make critical judgments, a teacher of singing must be able to distinguish between different qualities and their bases. He should be able to recognize and solve problems in diction, in range, in breath support, and in breath control.

A technique useful to the teacher in his critical analyses is “creative” listening. This approach is dependent on the ability of the teacher to re­create in his own vocal mechanism the same physical reactions set up by the performer in his singing. This is a form of empathy or imitation. If the teacher is successful in his imitation, it should help him get the “feel” of what the student is doing, correctly as well as incorrectly.

Once the teacher has analyzed, through deduction, what he considers to be the error in production, his work becomes a matter of induction. This involves the changing of one or more of the processes - resonation, arti­culation, registration, or respiration - to obtain a more desirable co-or­dination. It does not hold that an error in the production of one process upsets the correct or possibly correct production of the other processes.

The teacher must be constantly on the alert to know what the student is thinking, consciously or unconsciously, so that a correction can be made of any idea that is holding up the student’s progress. For example, in the de­velopment of range, he maybe trying to keep the vowel sound from modifying, or the quality from changing, or the so-called placement of the tone from changing. He may expect perfection in the beginning, when he is learning a new way of singing, which takes time to establish. He may be trying to pre­vent what he thinks is nasality, when actually his natural quality is basically in “nasal” resonance. He may be too precise in his diction, thereby setting up too much constriction in the oral cavity. He maybe holding back his breath support because he believes that he is forcing his voice. He may be trying to keep every tone forward in one place in order to keep his throat relaxed.

Singing Lessons & Voice Training : Chin Muscle Strength: Singing Tips

Part 2 - Learn how chin muscle strength can help you sing with proper vocal technique in this singing lesson on video.

Duration : 0:1:17

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Free Singing Tips

Man is a psycho-physiological being endowed with the potential power to think, to speak, and to act. Correlated with his power to think is the ability to reflect through expressive movements, inner patterns of perception and feeling. In other words, what the individual thinks, or is led to think, results in certain body movements and actions. This might be termed the power of mind over body action. The advocates of several schools of singing follow this theory as the basis of their teaching.

Singing is a psycho-physiological-acoustical phenomenon, a result of the motor co-ordination of the dynamic processes of respiration, phonation, articulation, and resonation. What is conceived in the mind in terms of qual­ity, pitch, duration, and loudness is produced by the co-ordinated action of the dynamic processes. Judgment on how successful this co-ordination has been is dependent first on the “vocal ear” of the teacher, who must train the “vocal ear” of the student, so that he knows what to listen for.

A listener’s judgment on how well an individual sings is dependent on what he hears, and how he reacts to this sympathetically. The average listen­er is not concerned with the mechanics of vocal production. What impresses him is whether what he hears pleases him and sounds effortless. His reaction to good singing should be that the singer is singing in a free and relaxed way.

Critical judgments on how well an individual sings are dependent on more than whether the singing is pleasant or unpleasant. Critical judgments should be based not only on a “good ear” for music, but also on a “good vocal ear”. A “good ear is generally thought to be a talent with which we are born, and tests have been devised to determine an individuals talent or musi­cal aptitude. These tests involve pitch discrimination, musical memory, time values, loudness or intensity, rhythm patterns, and quality or timbre. A low score cannot be accepted as conclusive evidence that an individual does not have a “good ear” and is lacking in musical aptitude. The tests can, however, show a decided deficiency, particularly in pitch discrimination. It was Seashore’s opinion that once an individual’s pitch discrimination was aroused, there could be no further development in this ability.

Voice & Vocal Damage: Singing Tips : Balancing the Voice: Singing Tips

Part 1 - Get singing tips on balancing your voice & avoiding vocal cord damage from bad technique in this singing lesson on video.

Duration : 0:1:5

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