How to Sing in HEAD VOICE (Lesson 2): 2 EXERCISES for Retaining Authentic Resonating Space
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- Опубликовано: 4 сен 2024
- In this second lesson on how to sing in head voice, I talk about the need for retaining the authentic resonating space within the vocal tract as we ascend in pitch. I offer an exercise for helping to achieve this space and another for retaining the 'ring' in the voice.
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By the way you are the best Karyn! no offense for those reminders, i watched your all video its just when Im in a hurry I must save time aha!
i am a chronic asthmatic and learning with a teacher in Australia. still struggle with breath support. long to learn classical singing. thank you for your videos. very helpful.
a video on whoop timbre might be cool since you and Ken Bozeman discussed it. And yes, we will be wanting a live demonstration lol
Great video once again, Karyn! Your videos and website have taught me so much and have helped me tremendously. Thank you for all that you do!
You're welcome. And thank you for your encouraging feedback.
I found you're videos really helpful 😁 tysm for these amazing videos. Keep posting! ❤️
If I could make a request! There are a lot of videos on head voice, but I struggle most with my chest voice, particularly accessing that speech sound (my speaking voice is super vocal fry-y) and warming up the sound so it doesn't sound lifeless.
Chest voice and singing low notes (with clarity, good resonance balance, and carrying power) would be a great video topic. I'll record it in the New Year. Thanks for the suggestion.
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Oh Gosh you are the best...!! When I do exercises for head voice it sounds so breathy... I cannot do anything.. I dunno what to do.. I feel so frustrated. What should I do? And also, I sent you emails as you asked me to do, but no response 😢, I hope I didn't say anything wrong. Hugs and thank you
thank you for sharing all these information.. can i ask a favor if you don't mind pls... would you u pls share your hard copy for that piano piece used for all of the vocal exercises.. hehe thank u very much in advance
How much focus should you put on resonance, and how do you know when your head voice is developed? If my chest voice doesn't sound good should I work on that more?
Hi Karyn! I just watched your video on nasality and I had a quick question for you. Can nasality/nasal resonance be used for only certain characters songs? For example I've been working on Part Of Your World and it seems like Jodi Benson sings with a lot of nasality, so the only way I can match the youthful tone of Ariel is by doing that as well. Is it okay to do that for certain characters like Disney princesses, or should I try to achieve that bright sound another way?
6:00 - 6:17 shouldn't we focus on having as bright of a sound as we can produce? of course without strain and not as exaggerated as your headvoice demonstration.
I try to create an operatic headvoice sound using the yawning sensation at the back of the throat to create a bigger sound which helps grow headvoice, keep in mind I only do this in practice, i would love to hear your thoughts on this.
Hi Karyn and thank you very much for your videos, it is very helpful for me. I have a question : As you said, a singer, whatever his style music, needs to work on the separate register. But If the flageolet register is very limited (even if we don't sing in flageolet) does it limites the head voice ? Does we need to have a good flageolet to have a good and flexible and higher head voice ? I am interested in Classique Music but I used first, to sing jazz and musicals. I have a natural mixed voice and a very easy belting and low notes. I am probably a mezzo. But now I work specially on my head voice, pure head voice, so I try to start it sooner, and not to put a mixed voice inside the medium - high register but it's not so easy for me. I feel that I need something very "light and airy" for my voice to go higher, and that's why I am talking to you about the flageolet...I will contact you for a lesson ;)). Thank you for your answer. Best Regards.
It might work in me
You say the male passagio is e4-g4 but I find that above g3 I get into this falsetto sound. How can I expand the higher parts of my chest voice?
I'm really referring to the secondo passaggio. Some males do move into M2 at or around their primo passaggio. Are you lower voiced (e.g., a bass)? If so, your lower passaggio might be closer to A3 or Ab3. It's also possible that what you're experiencing at G3 is an acoustical, rather than laryngeal, shift, which is common around that pitch. In any case, learning to acoustically close off your vowels - something that Ken Bozeman and I discussed in my last video - can make it easier to stay in M1 higher without feeling strain. Of course, learning to extend your 'call' or 'yell' (acoustically open singing) is another approach. In another video, I share a Melissa Cross exercise (the three rainbows) that might help you grow this M1 range gradually over time: ruclips.net/video/r5nvxSakTYQ/видео.html
Karyn allow me to make a general observation with an eye to classical singing yet applicable to all singing. We tend to speak all day on our lower register then give little attention to exercising the muscles that tilt and stretch the vocal folds for higher notes. Pure low volume head voice slides upward and downwards are effectively the weight lifting that we would engage in if we were about to undertake a strenuous gardening task. It's easy because it's soft yet exercises the muscles. Similarly when we get to the very top of this sliding registration out tongues must take up the formation that tunes the mouth space to the higher frequency. That formation is generally a softly pointed tongue against the teeth and a low hollow middle tongue with the back raised. I'd suggest doing this on and off over three days and see how easy iy is to access your upper register. Reg.
Mmmm I'm not qualified to comment, but I'm currently training trying to improve this section. Maybe Karen can correct me if I'm wrong, but I'm finding there is no "raising chest voice", you need to find your mix and bring in head voice sooner. I feel like I'm starting to achieve this especially when exaggerating the "crying" sound or coordination in this range, making sure to keep the volume even (not getting louder) with no increased effort like you would think raising chest voice should do.... SHRUG
I think you're more qualified to respond than you know! I always encourage evenness in terms of loudness as we approach and move through the passaggio. This prevents the instrument from either getting 'locked' in chest voice or 'disconnecting' and 'flipping' abruptly, and helps us find a balance of tensions so that we can create a seamless transition between the registers. In Cornelius Reid’s article ‘Vocal Mechanics and the Cultivation of Listening Skills, ' he writes of the ultimate goal of unifying ‘chest’ and ‘falsetto’ qualities, because the mixing together of these two qualities indicates proportional amounts of tension distributed between the two tensor mechanisms of the vocal folds (cricothyroids and arytenoids), relative to pitch, intensity, and vowel. This blending of tonal qualities, Reid states, is traceable to register balance and freedom of constrictor tensions (p.21). Cry and sob are really useful for getting the instrument to transition into M2 without losing the balance of tensions at the glottal level. Well done!
Are those high pitch notes still M1? At least in a males? It's not a breathy falsetto, and still connected. I though M1 is the "connected" voice.
what did you say at the end? We could get into a "hook" timbre?
The only karen i like🥳