Your videos provide the most in-depth technical explanation in the whole constellation of singing teachers, coaches and beyond. If singing students realized this, each of your videos would count over the million each hour. This particular series, I'll have to watch multiple times to digest all the information. Thanks teacher for those awesome videos.
Dear Karyn, I’m an Australian opera singer singing full time in an opera house here in Europe for 10 years now. I have a good knowledge of all the pertinent books on vocal technique and videos on RUclips, and I have to say your video here was SPOT ON. No other resource I have ever found on this subject has matched the informative and practical presentation of your video - chapeaux! I will be using your video for both my own singing and advice for colleagues, thank you for making it :)
Your videos have developed my voice incredibly quickly. I've had a pretty in depth understanding of the workings of the muscles before, but still I couldn't find balance and relaxation despite my understanding. You've helped me to identify those muscles in my own body so accurately, and those muscles are finally starting to feel as if they're responding correctly. Thank you! Thank you so much!
Thank you for your excellent descriptions of complicated issues. Your depth of knowledge is inspiring and your explanations are very useful to me as a fellow singing teacher. You pack a huge amount into each video!
I just read your article about the Breath Support. I wanted to congratulate you for your videos as well! I am a voice teacher in Greece and I find your explanations great! You are a gifted voice teacher!
You deserve it. Have you ever thought about writing a book? And I think it's great the regular collaborations you make with other teachers and specialists in your channel. Sharing that knowledge with the general public is a great idea. Greetings from Spain!
I started writing a book (The Thinking Singer) a few years ago. 1/3 of the chapters have been professionally edited, all the illustrations have been completed by a certified medical illustrator, and the cover art - a working version of it, at least - was done by a graphic design company. But then... I started this RUclips channel a couple years ago and haven't had much time for working on the book ever since. I'm planning on returning to writing soon, as I really do want to finish and publish the book.
You are an amazing person, this is exactly what I needed. You have described so many mistakes and questions I've had about how my physiology, especially when you described the longitudinal muscles that we use to swallow, gosh so many questions I've had have been answered. Thank you so much :)
I've figured out I can control the position and shape of the pillars of fauces, with critically is the tonsils, I push them forward to get a raspy tone and pull them high and tight with the soft palate to do stuff in the soprano register. I'm a student of Lilli Lehmann's How to Sing and otherwise have figured out the functions of everything in the Larynx myself, which is something she didn't discuss. I got about 90% there on my own and she really pulled it all together. The Arytenoid Cartilage position is really critical. Because the tonsils and back of the throat were the last thing I focused on, I was able to practice for as long as I wanted without it affecting anything in my larynx and I didn't really care how it sounded. My technique is always to isolate each part of the anatomy until I can really feel how it functions, how to control it, and see how it contributes to the overall sound. My anatomy is really strange since my vocal folds just got longer as a teenager and I never developed an adam's apple and being descended from Yuchi Indians who used their soft palate as a way to change the sound of their alphabet, I have quit a bit of flexibility in that department. Trust me, you can use your tonsils as a third set of vocal folds along with the true vocal folds that are attached to the ligament and the vestibules and when you get it right, everything is so easy, effortless and versitile, anything is possible.
Karyn, your lessons are absolutely amazing. I'm a frustrated singing student, and it was your blog and videos that helped me realize I was doing practically everything wrong. Retracted tongue, lowered soft palate, closed pharynx, unstable larynx and even my jaw wasn't opening properly. I worked on it for weeks and was so frustrated until you talked about the lift, the "string pulling your body up" imagery, and singing on the gesture of inhalation. Everything just clicked! I'm making so much progress now in such a short time. Thank you so much! I do have a question though! Maybe my voice is just underdeveloped, but I can't seem to use my head voice. It seems like my cords just can't close at those pitches, and instead I get a weak, airy falsetto with a LOT of tension. It's been my frustration since day 1 that I basically have no head voice. Recently I've been able to get a small but better closure (on a small "yoo" for example, depending on the day), but it's really inconsistent. Any ideas? (Male student here by the way!)
Thanks so much for the encouraging feedback about my website and videos. I'm so glad that they have been helpful! You can try a gentle 'coo' (or 'goo') or using a puppy dog whimper on descending patterns beginning above the secondo passaggio, maybe around G4. (I demonstrate this in my Mixed Voice: Part 2 video.) You'll have to examine your breath management technique, as well. Some people have good success with using the NG. If you're driving too much with the breath, it may be more difficult for you to get adequate glottal closure. Let me know how you do with this. If you need further help, you can send me a sound file or video of your singing so that I can try to diagnose what's going on and offer you more informed guidance.
Hey Karyn! I know you're busy but I just wanted to let you know that my head voice is pretty consistent now thanks to you! The 'coo'/'goo' exercise really worked for me, and I discovered that I can't maintain connection sometimes because I don't support with my breath well enough. Still working on singing whole phrases with it and singing a better "ah" vowel (still loses connection sometimes), but it's been really exciting. You're the best!
Hi Karyn, The way you manage to present all this information in an understandable yet pleasant manner, I don't know how you do it! You must have some sort of super power. I'm having trouble inhaling quietly and from what I understand it is because I'm not able to retract the false folds. This bothers me, not only because my resonance becomes restricted, but even more so because I have to work so hard breathing. I've experienced moments when I suddenly can do it, but those moment are rare and not within my control. Though the silent laughter and the sob have some effect on the resonance, they don't help me with the inhale. Is this something you need to work on for some time to achieve or do you think there is another problem? Thank you again!
Thank you for your sweet comment! When our inhale is noisy, it's because there is some sort of narrowing constriction (partial obstruction of the airflow) somewhere along the vocal tract. Sometimes it's at the level of the true vocal folds or the false folds, but it can also happen with the tongue and/or the soft palate. How is your tongue shaped when you inhale? If it's flat (lower than the AH posture), or elevated close to the soft palate, then that may be the source of the turbulent noise. Is your soft palate up and out of the way as you inhale? How is the alignment of your cervical spine (neck)? A poorly aligned neck and head reshapes the vocal tract in inoptimal ways. If you line the roof of your mouth with your tongue body (like you're wallpapering your hard palate with your tongue) and inhale through your nose, is your inhale still noisy? I have a couple videos on the topic of the efficient inhale that might help: ruclips.net/video/7KdbUwSYjdA/видео.html and ruclips.net/video/BhJx599fX28/видео.html Let me know if you need further help.
Hi Karyn. I'm really enjoying your videos. I think I have become a lazy singer either that or I have just slipped into bad habits. i didn't realise how much I didn't use my diaiphram as much as I should. Somewhere I lost the feel of it. Mainly my hi note and really low notes I just tense up and obviously the throat closes. Shoulders go up. I've been practices the breathing technique and trying to relax my upper body. I'm also not opening my mouth and tensing my jaw like I used to. Thinking about that and just push up and resonate is where I try and go now not just blast it our front ways. Still not quite there ( sorry for the terminology) It's still working progress but it's all coming back to me slowly. Singing in loud bands has made me lean towards blasting everything out. It's great to feel the buzz again. Hopefully I it will improve. Keep the videos coming.
Thanks for the comment and for sharing your experience. I have a seven-part (so far) series on breath management and also a couple videos on the topic of resonance. Maybe these might offer some helpful tips. But please let me know if there are any specific aspects of technique with which you require guidance and I'll do my best to help.
Amazing video! This subject have been on my mind lately alot. I wanted to learn throatsinging, and I accidently learned to sing higher notes. Was it because I hurt my voice and had to use breath better than used to. What ever happened, I found growing intrest for throat abilities when creating sounds.
Hi Karyn!! :) I've always followed your literature on the subject of singing on Singwise.. and I gotta say, its extremely informative :) I have a question, I hope you won't find it too silly... I noticed, while I do slides across my range, during my higher notes, my tonsils squeeze and sort of "close off the back" of the mouth. It doesn't really hinder me in accessing my registers... but I wanted to know if the 'tonsil-kiss' (i suppose this is what they call their coming together) degrades the fullness of the sound considerably.. Thanks :)
Thanks for your question (and for the kind feedback). "Tonsil kiss" - I love that!!! In general, when the the pillars on either side narrow, it cuts off some of the resonance and can distort the sound a bit. I suppose, though, that how much it interferes with the fullness of the sound depends on what your aesthetic goals are. Ideally, the pillars (both the faucial arches and the tonsils) should be retracted - stretched toward the side walls of the throat and out of the way. It's very likely that you use this narrowing (subconsciously) to help adjust your resonance and make it easier for changing registration, just as many singer's tend to engage their tongue roots in the passaggio. However, if you feel as though the narrowing is not degrading your sound - if you're making the sounds that you desire - then it might not be a problem. Most of us tend to narrow a bit in that area, and I find that it's usually just a problem for classical singers.
I'm glad, I had the singing aficionado behind Singwise help answer my doubt, cuz this tonsil-kiss was beginning to frustrate me, mostly because all the vocal pedagogy out there talks about how to always keep that part of the throat open. Its, as you mentioned, something thats helping me carry over resonance into another register. Which makes me wonder why the retraction of the pillars tends to lock my larynx (and thus impossible to hand-off the resonance over the register properly) :\ , 'cuz I surely don't swamp my tongue down while doing that. I probably have to play around with that and figure the retraction out. Thanks a lot Karyn :)
I suspect that there is some tension within the palatal tensor muscles or the tongue root or base, which might be pulling down on the arches. The base of the tongue and the (arches of the) soft palate share some common muscle attachments. If the base of your tongue is tense (even if the root is not depressing the larynx), your arches will fall and/or narrow. You might need to work on releasing those tensor muscles - practicing deep, quiet inhalation may help - and finding an independence of function between the tongue and palatal arches. I have a video on restructuring the voice in silence that might help explain this concept of retraining the vocal tract to shape itself before we worry about adding phonation into the picture.
The tongue moving back does not close the throat. The way the genioglossus works is that when the tip of the tongue moves back the base moves forward away from the back of the throat. The tongue bunches up, front moving back, base moving forward. As in the EE or EH vowels. The tip of the tongue needs to be drawn back behind the lower teeth. It cannot press up against the lower teeth and should not be forward of the front teeth.
Thanks for this! Can I ask does weight training with its accompanying neck tensing and breath holding for heavier lifts, have an adverse effect on the open throat?
A few writers on the subject of the singing voice have speculated that intense weight lifting can have a negative impact on the voice because it can overdevelop the extrinsic laryngeal muscles (the muscles that move the larynx, as a whole, up or down, etc.). But as far as I know, these are just guesses. I don't think an actual study has been done to determine definitively whether or not the extra bulk around the neck and shoulders interferes with vocal production. I've worked with two body builders - one was a professional - and my only observation was that they both tended to 'muscle' through their singing. I don't know if that had anything to do with the weight training itself or if muscling and overworking is just a part of their hard wiring or temperaments. I'm sorry that I can't give you a better answer than this.
singwisevocals Thanks! Is there a way to reverse the muscling through? As I think that's exactly what I am doing, and it's habitual through many years of lifting...
That's a tough one! Being aware of the habit as you're singing is certainly the first step. It would probably help to stretch and loosen up your entire body before vocalizing. Then, as you're vocalizing maintain some continuous gentle movement to prevent any muscle or muscle group from becoming rigid or overly tensed. For example, if the neck and shoulder complex is the problem area, you can slowly move your head in gentle circles and/or turn it side-to-side while you're singing. Vocalizing while lying on the floor (e.g., the Alexander Technique's semi-supine/constructive rest position) may also help retrain those muscles to 'relax' more while you're singing. Over time, you'll hopefully develop new muscle memory and reflexive patterns/habits.
Hi Karyn, Thanks for this video! I'm a male singer with some occasional issues with the false focal folds being involved in the sound, particularly as I get closer to the secondo passagio and above it into head voice (voce piena in testa). As you can image, this makes a very grating, harsh sound that I really don't want in my vocalism. Do you have any suggestions for how to remedy this issue? Naturally I am working on the feeling of inhaling the voice or of an open pharyngeal space, but it still pops up sometimes. Thanks so much!!!
Could you please provide a link for how I can book a lesson with you and your prices. I'm convinced I want you as my vocal teacher. I desperately need help and I think I'm actually damaging my voice by how I sing.
I'd be more than happy to help you protect your voice and work toward reaching your singing goals. I have several lesson options, including summer flex packages that offer lessons at a savings (compared to my regular hourly rate) and will allow for a few weeks of vacation. Here is the link to my client scheduling page. Please let me know if you have any questions (karyn@singwise.com). app.acuityscheduling.com/schedule.php?owner=14609841
It's not the depth of the inhalation that is actually my focus: It's more the quality of the inhale, which includes how we set up our throats to sing. When we release our constrictor tensions, we can draw air in more efficiently, and we simply start from a better place. As I explained in the introduction to this open throat series, I am talking specifically about a classical vocal tract set-up. So, a wide open throat isn't going to be suitable for all styles or vocal sounds.
Hmm, pre vomiting sets my support, but my throat locks up to hold the air, but if i then make a yawn i seem to open my throat and still maintain the support, is this sort of how singing should work?😂 i get a very effortless sound, but i cant sing tho, but i am rrally just researching how to make a single note at the moment, since i have done it wrong my 26 year old life😂 i will be so happy if what i am doing there is right..
I have always had a hard time controlling my vibrato but a few years ago i lost the middle section of my range and began to have a really shaky voice can you direct me to which exercises I should focus on to fix that?
I love your videos but I’m struggling with the exhale. I’m not able to exhale without actively pushing the breath out, even when I sigh it feels forced
I'm not sure if I'm understanding which aspect of tongue posture you need guidance on. The tongue tip should rest behind - make gentle contact with the backs of - the lower front teeth and there should be a curve of the tongue body that is appropriate for the vowel that you're singing. Generally, the tongue root is more forward and the tongue body's curve is a tiny bit higher during singing than during most speech because we have a need to create more space in the throat and nicer tone when singing. As for 'putting the tongue down,' I don't recommend trying to flatten the tongue inside the mouth because that tends to distort the vowel (resonance) and push the back of the tongue into the throat. I can try to make a video on tongue posture soon. (I know that I discussed it in another video, perhaps the Restructuring the Voice in Silence video. I don't remember offhand, though.) Please let me know if you have further questions, or if you can rephrase the above question so that I can do a better job of responding to it.
There is just one point I don't agree with: Nasal resonance is not equal to a nasal sound and it's not necessarily beneficial to shut the nasal cavity off the vocal tract for singing vowels. A moderate lowering of the soft palate will boost a lot of harmonics rather then dampen them. Whether shutting the soft palate or opening it is the best choice depends on the timbre you want to achieve, but keeping it shut habitually will deprive you of one dimension of your voice.
Nasal resonance and perceptible nasality are not the same thing, correct. In my response to someone else's comment, I recently explained the benefits of slight nasal port opening through the passaggio. (ruclips.net/video/GAiNk7baN_I/видео.html&lc=z23iz1oqjmftwd1diacdp430vdfcv0qtcknkdgeirtdw03c010c.1545171420231773)
In operatic singing, to achieve optimal acoustics, the larynx must be low, the tongue out of the pharynx, and the soft palate lifted. If you lower the soft palate, the pharyngeal space will be made smaller, and optimum resonance can't be achieved. Also, no air should escape through the nose. What is your definition of nasal resonance? Acoustically, the nasal cavities does not affect the sound at all.
@@celibidache1000 I've never heard anybody say, the nasal cavities have no effect on the sound. On the contrary, the nasal cavities are typically referred to as one of the three resonators of the vocal instrument. Physics tells me, the nasal cavities will create standing soundwaves, thus amplifying certain frequencies and damping others. That's my definition of nasal resonance. It is also my experience that nasal resonance exists and personally, for my own voice, the presence of nasal resonance is beneficial. When I started experimenting with the soft palate position, it didn't seem that way. I had unconsciously built the habit of singing with the nasal cavity fully shut and, through practice, had adjusted the other parameters, so there was a clear resonance with that setting and when I opened the nasal cavity, those resonances were compromised. I was so wrong with that. Over time, I learned to adjust especially laryngial resonances, so they work together with nasal resonance and now in comparison, the sound of a fully raised soft palate is hollow. Nasal resonance makes the mids richer and more well-rounded. I'm not suggesting to adopt a low soft palate position and agree that is something to avoid. But I'm suggesting opening it just enough, so that nasal resonance comes into play. It might not be desired for classical singing. I'm not an expert on that and anyway I have to say, I dislike the timbre of classical singing. It sounds cartoonish to me. It's things taken to the extreme, just like this trend in modern pop music. I am more interested in finding the sweet spots between those ends of the spectrum in my own voice.
@@fidrewe99 There have been scientific studies made, a blind test, where classical singers have sung to a panel of experts in operatic singing, one time as they normally do, and one time with their nasal cavities filled - and no one could hear any difference. The nasal cavities have no effect on the resonance of the voice. Moreover, acustically, resonance calls for hard surfaces. There are none in the nasal cavities, or anywhere in the head. However, if you lower your soft palate, air will escape through the nose, changing the timbre of the voice. But it has nothing to do with resonance. If your voice sounds hollow, it's because your pharyngeal space isn't optimally adjusted to amplify the most benificial formants of whatever vowel you are singing. My soft palate is always lifted when singing, and I never produce a hollow sound.
I feel like I can raise two sections of my palate, one in the back like on a yawn or Kermit voice, and one towards the middle of the roof of my mouth closer to the hard palate (I see my uvula raise when I do this second one). Should i be raising my palate in one or both places?
Don't focus too much on soft palate elevation. It can lead to over thinking and over doing. If you're getting a Kermit the Frog sound, then you're probably also retracting and lowering your tongue. The soft palate needs to be raised just enough to ensure that nasal resonance is not audible or perceptible and so that it's not trapping the resonance behind it and creating a muffled, distorted sound. If you feel the throat open when you inhale deeply in a relaxed manner through your mouth, that should provide adequate velar (soft palate) elevation. If we try to mess with our coordination too much and consciously manipulate or micromanage the individual components of the voice system, we often get more distortions.
What are you saying about not closing the glottis when you do this at 5;20? That makes no sense, cause from what I researched online, the glottis isn't something you intentionally open or close, it depends on what you're doing, breathing, swallowing, talking or singing. Are you saying you aren't going to breathe or are?
No, I don't discuss how we open or close the glottis in this video because I'm really talking about laryngeal height, release of the pharyngeal constrictor muscles, elevation of the soft palate, etc. and 'restructuring' or 'resetting' the vocal tract. I do have another video that discusses the onset of sound (beginning at the 6:37 mark), as well as the release of the tone: ruclips.net/video/q1JncWeaseA/видео.html If you're wanting to know about the specific muscles involved in vocal fold adduction and abduction, I can certainly point you to some resources. If you're simply wanting some exercises for improving these functions, the above mentioned video might start you out. If you still have questions remaining, let me know, and maybe I'll make a video that will answer them. Thanks for watching and commenting.
We can open and close the glottis at will. The exercise that I'm outlining at the 5:20 mark is about learning to release the pharyngeal constrictor muscles and keeping the infrahyoid muscles, (which lower the larynx during inhalation), activated. It's really just about retraining in silence first.
Can you make a video where you discuss the intentional movement of the glottis? I feel odd, jumping from that point to everything else you're talking about , because you didn't explain how that's done at all, do its a question met, on my paper that I'm uncomfortable with. And I can't practise what you're saying either, if I don't understand that part. Thanks.
I never finished this video. Lol. It's so complicated. There are a lot of physiological aspects I actually think you should have broken down better, instead of just naming things and moving on with the explanation. This big word does this, this big word does that, lol. It's like a course for me doing the research on my own. Anyway, I hope you can discuss these subjects separately in separate videos in the future.
Your videos provide the most in-depth technical explanation in the whole constellation of singing teachers, coaches and beyond. If singing students realized this, each of your videos would count over the million each hour. This particular series, I'll have to watch multiple times to digest all the information. Thanks teacher for those awesome videos.
Thanks so much for the kind comment! You just made my day!
Im a physician, you really know your stuff. Love your comprehesive explanations helps me understand the complexity of the subject.
Thank you so much for your encouraging comment!
Dear Karyn,
I’m an Australian opera singer singing full time in an opera house here in Europe for 10 years now. I have a good knowledge of all the pertinent books on vocal technique and videos on RUclips, and I have to say your video here was SPOT ON. No other resource I have ever found on this subject has matched the informative and practical presentation of your video - chapeaux! I will be using your video for both my own singing and advice for colleagues, thank you for making it :)
Your videos have developed my voice incredibly quickly. I've had a pretty in depth understanding of the workings of the muscles before, but still I couldn't find balance and relaxation despite my understanding. You've helped me to identify those muscles in my own body so accurately, and those muscles are finally starting to feel as if they're responding correctly. Thank you! Thank you so much!
I'm so glad to hear that this video has been helpful!
This is the most helpful advice I have ever seen on RUclips. Great job!
Thank you! I'm so glad it was helpful!
I am learning so much from you!
Thank you for your excellent descriptions of complicated issues. Your depth of knowledge is inspiring and your explanations are very useful to me as a fellow singing teacher. You pack a huge amount into each video!
Thanks Karen! I'm benefitting from the videos.... from years ago too.
I just read your article about the Breath Support. I wanted to congratulate you for your videos as well!
I am a voice teacher in Greece and I find your explanations great! You are a gifted voice teacher!
I love how you explain the concepts, in such a detailed way. Thank you for such a professional job, I can tell you love teaching.
Thank you so much for leaving such a sweet and encouraging comment!
You deserve it. Have you ever thought about writing a book?
And I think it's great the regular collaborations you make with other teachers and specialists in your channel. Sharing that knowledge with the general public is a great idea. Greetings from Spain!
I started writing a book (The Thinking Singer) a few years ago. 1/3 of the chapters have been professionally edited, all the illustrations have been completed by a certified medical illustrator, and the cover art - a working version of it, at least - was done by a graphic design company. But then... I started this RUclips channel a couple years ago and haven't had much time for working on the book ever since. I'm planning on returning to writing soon, as I really do want to finish and publish the book.
A very promising title. I'd love to buy it when it's published. Please keep us informed!
First timer here, thank you!
You are an amazing person, this is exactly what I needed. You have described so many mistakes and questions I've had about how my physiology, especially when you described the longitudinal muscles that we use to swallow, gosh so many questions I've had have been answered. Thank you so much :)
This is a great informative video. Please keep them coming. 👍
I've figured out I can control the position and shape of the pillars of fauces, with critically is the tonsils, I push them forward to get a raspy tone and pull them high and tight with the soft palate to do stuff in the soprano register. I'm a student of Lilli Lehmann's How to Sing and otherwise have figured out the functions of everything in the Larynx myself, which is something she didn't discuss. I got about 90% there on my own and she really pulled it all together. The Arytenoid Cartilage position is really critical. Because the tonsils and back of the throat were the last thing I focused on, I was able to practice for as long as I wanted without it affecting anything in my larynx and I didn't really care how it sounded. My technique is always to isolate each part of the anatomy until I can really feel how it functions, how to control it, and see how it contributes to the overall sound. My anatomy is really strange since my vocal folds just got longer as a teenager and I never developed an adam's apple and being descended from Yuchi Indians who used their soft palate as a way to change the sound of their alphabet, I have quit a bit of flexibility in that department. Trust me, you can use your tonsils as a third set of vocal folds along with the true vocal folds that are attached to the ligament and the vestibules and when you get it right, everything is so easy, effortless and versitile, anything is possible.
Karyn, your lessons are absolutely amazing. I'm a frustrated singing student, and it was your blog and videos that helped me realize I was doing practically everything wrong. Retracted tongue, lowered soft palate, closed pharynx, unstable larynx and even my jaw wasn't opening properly. I worked on it for weeks and was so frustrated until you talked about the lift, the "string pulling your body up" imagery, and singing on the gesture of inhalation. Everything just clicked! I'm making so much progress now in such a short time. Thank you so much!
I do have a question though! Maybe my voice is just underdeveloped, but I can't seem to use my head voice. It seems like my cords just can't close at those pitches, and instead I get a weak, airy falsetto with a LOT of tension. It's been my frustration since day 1 that I basically have no head voice. Recently I've been able to get a small but better closure (on a small "yoo" for example, depending on the day), but it's really inconsistent. Any ideas? (Male student here by the way!)
Thanks so much for the encouraging feedback about my website and videos. I'm so glad that they have been helpful! You can try a gentle 'coo' (or 'goo') or using a puppy dog whimper on descending patterns beginning above the secondo passaggio, maybe around G4. (I demonstrate this in my Mixed Voice: Part 2 video.) You'll have to examine your breath management technique, as well. Some people have good success with using the NG. If you're driving too much with the breath, it may be more difficult for you to get adequate glottal closure. Let me know how you do with this. If you need further help, you can send me a sound file or video of your singing so that I can try to diagnose what's going on and offer you more informed guidance.
Hey Karyn! I know you're busy but I just wanted to let you know that my head voice is pretty consistent now thanks to you! The 'coo'/'goo' exercise really worked for me, and I discovered that I can't maintain connection sometimes because I don't support with my breath well enough. Still working on singing whole phrases with it and singing a better "ah" vowel (still loses connection sometimes), but it's been really exciting. You're the best!
Thank you so much singwise for all your help, i've been watching your videos and taking notes on everything!
I have just recenty found your videos and you have helped me so much!! I am dealing with constriction of the throat and will work on these exercises!
This reminds me of my linguistics class in college.
Hi Karyn, The way you manage to present all this information in an understandable yet pleasant manner, I don't know how you do it! You must have some sort of super power. I'm having trouble inhaling quietly and from what I understand it is because I'm not able to retract the false folds. This bothers me, not only because my resonance becomes restricted, but even more so because I have to work so hard breathing. I've experienced moments when I suddenly can do it, but those moment are rare and not within my control. Though the silent laughter and the sob have some effect on the resonance, they don't help me with the inhale. Is this something you need to work on for some time to achieve or do you think there is another problem? Thank you again!
Thank you for your sweet comment! When our inhale is noisy, it's because there is some sort of narrowing constriction (partial obstruction of the airflow) somewhere along the vocal tract. Sometimes it's at the level of the true vocal folds or the false folds, but it can also happen with the tongue and/or the soft palate. How is your tongue shaped when you inhale? If it's flat (lower than the AH posture), or elevated close to the soft palate, then that may be the source of the turbulent noise. Is your soft palate up and out of the way as you inhale? How is the alignment of your cervical spine (neck)? A poorly aligned neck and head reshapes the vocal tract in inoptimal ways. If you line the roof of your mouth with your tongue body (like you're wallpapering your hard palate with your tongue) and inhale through your nose, is your inhale still noisy? I have a couple videos on the topic of the efficient inhale that might help: ruclips.net/video/7KdbUwSYjdA/видео.html and ruclips.net/video/BhJx599fX28/видео.html Let me know if you need further help.
Hi Karyn. I'm really enjoying your videos. I think I have become a lazy singer either that or I have just slipped into bad habits. i didn't realise how much I didn't use my diaiphram as much as I should. Somewhere I lost the feel of it. Mainly my hi note and really low notes I just tense up and obviously the throat closes. Shoulders go up. I've been practices the breathing technique and trying to relax my upper body. I'm also not opening my mouth and tensing my jaw like I used to. Thinking about that and just push up and resonate is where I try and go now not just blast it our front ways. Still not quite there ( sorry for the terminology) It's still working progress but it's all coming back to me slowly. Singing in loud bands has made me lean towards blasting everything out. It's great to feel the buzz again. Hopefully I it will improve. Keep the videos coming.
Thanks for the comment and for sharing your experience. I have a seven-part (so far) series on breath management and also a couple videos on the topic of resonance. Maybe these might offer some helpful tips. But please let me know if there are any specific aspects of technique with which you require guidance and I'll do my best to help.
Amazing video! This subject have been on my mind lately alot.
I wanted to learn throatsinging, and I accidently learned to sing higher notes.
Was it because I hurt my voice and had to use breath better than used to.
What ever happened, I found growing intrest for throat abilities when creating sounds.
Thanks so much Karyn!
You're very welcome!
Hi Karyn!! :)
I've always followed your literature on the subject of singing on Singwise.. and I gotta say, its extremely informative :)
I have a question, I hope you won't find it too silly... I noticed, while I do slides across my range, during my higher notes, my tonsils squeeze and sort of "close off the back" of the mouth. It doesn't really hinder me in accessing my registers... but I wanted to know if the 'tonsil-kiss' (i suppose this is what they call their coming together) degrades the fullness of the sound considerably.. Thanks :)
Thanks for your question (and for the kind feedback). "Tonsil kiss" - I love that!!! In general, when the the pillars on either side narrow, it cuts off some of the resonance and can distort the sound a bit. I suppose, though, that how much it interferes with the fullness of the sound depends on what your aesthetic goals are. Ideally, the pillars (both the faucial arches and the tonsils) should be retracted - stretched toward the side walls of the throat and out of the way. It's very likely that you use this narrowing (subconsciously) to help adjust your resonance and make it easier for changing registration, just as many singer's tend to engage their tongue roots in the passaggio. However, if you feel as though the narrowing is not degrading your sound - if you're making the sounds that you desire - then it might not be a problem. Most of us tend to narrow a bit in that area, and I find that it's usually just a problem for classical singers.
I'm glad, I had the singing aficionado behind Singwise help answer my doubt, cuz this tonsil-kiss was beginning to frustrate me, mostly because all the vocal pedagogy out there talks about how to always keep that part of the throat open. Its, as you mentioned, something thats helping me carry over resonance into another register.
Which makes me wonder why the retraction of the pillars tends to lock my larynx (and thus impossible to hand-off the resonance over the register properly) :\ , 'cuz I surely don't swamp my tongue down while doing that. I probably have to play around with that and figure the retraction out.
Thanks a lot Karyn :)
I suspect that there is some tension within the palatal tensor muscles or the tongue root or base, which might be pulling down on the arches. The base of the tongue and the (arches of the) soft palate share some common muscle attachments. If the base of your tongue is tense (even if the root is not depressing the larynx), your arches will fall and/or narrow. You might need to work on releasing those tensor muscles - practicing deep, quiet inhalation may help - and finding an independence of function between the tongue and palatal arches. I have a video on restructuring the voice in silence that might help explain this concept of retraining the vocal tract to shape itself before we worry about adding phonation into the picture.
The tongue moving back does not close the throat. The way the genioglossus works is that when the tip of the tongue moves back the base moves forward away from the back of the throat. The tongue bunches up, front moving back, base moving forward. As in the EE or EH vowels. The tip of the tongue needs to be drawn back behind the lower teeth. It cannot press up against the lower teeth and should not be forward of the front teeth.
Thanks for this! Can I ask does weight training with its accompanying neck tensing and breath holding for heavier lifts, have an adverse effect on the open throat?
A few writers on the subject of the singing voice have speculated that intense weight lifting can have a negative impact on the voice because it can overdevelop the extrinsic laryngeal muscles (the muscles that move the larynx, as a whole, up or down, etc.). But as far as I know, these are just guesses. I don't think an actual study has been done to determine definitively whether or not the extra bulk around the neck and shoulders interferes with vocal production. I've worked with two body builders - one was a professional - and my only observation was that they both tended to 'muscle' through their singing. I don't know if that had anything to do with the weight training itself or if muscling and overworking is just a part of their hard wiring or temperaments. I'm sorry that I can't give you a better answer than this.
singwisevocals Thanks! Is there a way to reverse the muscling through? As I think that's exactly what I am doing, and it's habitual through many years of lifting...
That's a tough one! Being aware of the habit as you're singing is certainly the first step. It would probably help to stretch and loosen up your entire body before vocalizing. Then, as you're vocalizing maintain some continuous gentle movement to prevent any muscle or muscle group from becoming rigid or overly tensed. For example, if the neck and shoulder complex is the problem area, you can slowly move your head in gentle circles and/or turn it side-to-side while you're singing. Vocalizing while lying on the floor (e.g., the Alexander Technique's semi-supine/constructive rest position) may also help retrain those muscles to 'relax' more while you're singing. Over time, you'll hopefully develop new muscle memory and reflexive patterns/habits.
That was great, thank you!!
Hi Karyn,
Thanks for this video! I'm a male singer with some occasional issues with the false focal folds being involved in the sound, particularly as I get closer to the secondo passagio and above it into head voice (voce piena in testa). As you can image, this makes a very grating, harsh sound that I really don't want in my vocalism. Do you have any suggestions for how to remedy this issue? Naturally I am working on the feeling of inhaling the voice or of an open pharyngeal space, but it still pops up sometimes. Thanks so much!!!
Could you please provide a link for how I can book a lesson with you and your prices. I'm convinced I want you as my vocal teacher. I desperately need help and I think I'm actually damaging my voice by how I sing.
I'd be more than happy to help you protect your voice and work toward reaching your singing goals. I have several lesson options, including summer flex packages that offer lessons at a savings (compared to my regular hourly rate) and will allow for a few weeks of vacation. Here is the link to my client scheduling page. Please let me know if you have any questions (karyn@singwise.com). app.acuityscheduling.com/schedule.php?owner=14609841
Karyn, Has it discovered what muscles are responsible for abduction of vestibular folds?
Karyn, are you an advocate of using a deep, open inhale before every sung line we sing?
It's not the depth of the inhalation that is actually my focus: It's more the quality of the inhale, which includes how we set up our throats to sing. When we release our constrictor tensions, we can draw air in more efficiently, and we simply start from a better place. As I explained in the introduction to this open throat series, I am talking specifically about a classical vocal tract set-up. So, a wide open throat isn't going to be suitable for all styles or vocal sounds.
is there anyway you could include a text with all the videos very informative
I didn't see your comment until now! What do you mean my text? Transcripts?
Doesn't the pre vomit posture, or other ones you mentioned also retract the false folds? What opens up when you feel that openess? Thanks!
Hmm, pre vomiting sets my support, but my throat locks up to hold the air, but if i then make a yawn i seem to open my throat and still maintain the support, is this sort of how singing should work?😂 i get a very effortless sound, but i cant sing tho, but i am rrally just researching how to make a single note at the moment, since i have done it wrong my 26 year old life😂 i will be so happy if what i am doing there is right..
I have always had a hard time controlling my vibrato but a few years ago i lost the middle section of my range and began to have a really shaky voice can you direct me to which exercises I should focus on to fix that?
4:48 9:53 11:43 15:33
I love your videos but I’m struggling with the exhale. I’m not able to exhale without actively pushing the breath out, even when I sigh it feels forced
Why are you trying to exhale? No need to!
Hello! If I don't get independent function between larynx and tongue root, can It cause saliva building up and need for swallowing due to tensions?
Karyn, make any videos with exercises. How put my tongue down. I tried and nothing.
I'm not sure if I'm understanding which aspect of tongue posture you need guidance on. The tongue tip should rest behind - make gentle contact with the backs of - the lower front teeth and there should be a curve of the tongue body that is appropriate for the vowel that you're singing. Generally, the tongue root is more forward and the tongue body's curve is a tiny bit higher during singing than during most speech because we have a need to create more space in the throat and nicer tone when singing. As for 'putting the tongue down,' I don't recommend trying to flatten the tongue inside the mouth because that tends to distort the vowel (resonance) and push the back of the tongue into the throat. I can try to make a video on tongue posture soon. (I know that I discussed it in another video, perhaps the Restructuring the Voice in Silence video. I don't remember offhand, though.) Please let me know if you have further questions, or if you can rephrase the above question so that I can do a better job of responding to it.
Karyn, i will try more. And i'll be waiting for your video. Thank you for your answer.
When the air is coming out, what should the abdomen feel like? Should my abdomen ever be hard while I’m singing?
There is just one point I don't agree with: Nasal resonance is not equal to a nasal sound and it's not necessarily beneficial to shut the nasal cavity off the vocal tract for singing vowels. A moderate lowering of the soft palate will boost a lot of harmonics rather then dampen them. Whether shutting the soft palate or opening it is the best choice depends on the timbre you want to achieve, but keeping it shut habitually will deprive you of one dimension of your voice.
Nasal resonance and perceptible nasality are not the same thing, correct. In my response to someone else's comment, I recently explained the benefits of slight nasal port opening through the passaggio. (ruclips.net/video/GAiNk7baN_I/видео.html&lc=z23iz1oqjmftwd1diacdp430vdfcv0qtcknkdgeirtdw03c010c.1545171420231773)
In operatic singing, to achieve optimal acoustics, the larynx must be low, the tongue out of the pharynx, and the soft palate lifted. If you lower the soft palate, the pharyngeal space will be made smaller, and optimum resonance can't be achieved. Also, no air should escape through the nose.
What is your definition of nasal resonance? Acoustically, the nasal cavities does not affect the sound at all.
@@celibidache1000 I've never heard anybody say, the nasal cavities have no effect on the sound. On the contrary, the nasal cavities are typically referred to as one of the three resonators of the vocal instrument. Physics tells me, the nasal cavities will create standing soundwaves, thus amplifying certain frequencies and damping others. That's my definition of nasal resonance.
It is also my experience that nasal resonance exists and personally, for my own voice, the presence of nasal resonance is beneficial. When I started experimenting with the soft palate position, it didn't seem that way. I had unconsciously built the habit of singing with the nasal cavity fully shut and, through practice, had adjusted the other parameters, so there was a clear resonance with that setting and when I opened the nasal cavity, those resonances were compromised. I was so wrong with that. Over time, I learned to adjust especially laryngial resonances, so they work together with nasal resonance and now in comparison, the sound of a fully raised soft palate is hollow. Nasal resonance makes the mids richer and more well-rounded.
I'm not suggesting to adopt a low soft palate position and agree that is something to avoid. But I'm suggesting opening it just enough, so that nasal resonance comes into play. It might not be desired for classical singing. I'm not an expert on that and anyway I have to say, I dislike the timbre of classical singing. It sounds cartoonish to me. It's things taken to the extreme, just like this trend in modern pop music. I am more interested in finding the sweet spots between those ends of the spectrum in my own voice.
@@fidrewe99 There have been scientific studies made, a blind test, where classical singers have sung to a panel of experts in operatic singing, one time as they normally do, and one time with their nasal cavities filled - and no one could hear any difference. The nasal cavities have no effect on the resonance of the voice. Moreover, acustically, resonance calls for hard surfaces. There are none in the nasal cavities, or anywhere in the head.
However, if you lower your soft palate, air will escape through the nose, changing the timbre of the voice. But it has nothing to do with resonance.
If your voice sounds hollow, it's because your pharyngeal space isn't optimally adjusted to amplify the most benificial formants of whatever vowel you are singing. My soft palate is always lifted when singing, and I never produce a hollow sound.
@@fidrewe99 and please tell me whick singers you think sing with the cartoonish sound you explained.
I feel like I can raise two sections of my palate, one in the back like on a yawn or Kermit voice, and one towards the middle of the roof of my mouth closer to the hard palate (I see my uvula raise when I do this second one). Should i be raising my palate in one or both places?
Don't focus too much on soft palate elevation. It can lead to over thinking and over doing. If you're getting a Kermit the Frog sound, then you're probably also retracting and lowering your tongue. The soft palate needs to be raised just enough to ensure that nasal resonance is not audible or perceptible and so that it's not trapping the resonance behind it and creating a muffled, distorted sound. If you feel the throat open when you inhale deeply in a relaxed manner through your mouth, that should provide adequate velar (soft palate) elevation. If we try to mess with our coordination too much and consciously manipulate or micromanage the individual components of the voice system, we often get more distortions.
Okay this makes sense! I do often feel like I over exaggerate the lift and it is detrimental to a natural relaxed sound
You didn't actually say how we close or open the glottis. I did a search online that was unfruitful. Can you please explain, or does it matter!
What are you saying about not closing the glottis when you do this at 5;20? That makes no sense, cause from what I researched online, the glottis isn't something you intentionally open or close, it depends on what you're doing, breathing, swallowing, talking or singing. Are you saying you aren't going to breathe or are?
No, I don't discuss how we open or close the glottis in this video because I'm really talking about laryngeal height, release of the pharyngeal constrictor muscles, elevation of the soft palate, etc. and 'restructuring' or 'resetting' the vocal tract. I do have another video that discusses the onset of sound (beginning at the 6:37 mark), as well as the release of the tone: ruclips.net/video/q1JncWeaseA/видео.html
If you're wanting to know about the specific muscles involved in vocal fold adduction and abduction, I can certainly point you to some resources. If you're simply wanting some exercises for improving these functions, the above mentioned video might start you out. If you still have questions remaining, let me know, and maybe I'll make a video that will answer them. Thanks for watching and commenting.
We can open and close the glottis at will. The exercise that I'm outlining at the 5:20 mark is about learning to release the pharyngeal constrictor muscles and keeping the infrahyoid muscles, (which lower the larynx during inhalation), activated. It's really just about retraining in silence first.
Thanks for getting back so quickly !
Can you make a video where you discuss the intentional movement of the glottis? I feel odd, jumping from that point to everything else you're talking about , because you didn't explain how that's done at all, do its a question met, on my paper that I'm uncomfortable with. And I can't practise what you're saying either, if I don't understand that part. Thanks.
10:39 without context = terrifying
I never finished this video. Lol. It's so complicated. There are a lot of physiological aspects I actually think you should have broken down better, instead of just naming things and moving on with the explanation. This big word does this, this big word does that, lol. It's like a course for me doing the research on my own. Anyway, I hope you can discuss these subjects separately in separate videos in the future.
You're so cute!
talked fives minutes me cut you off.....