Hey everybody I'm Jason Cutrone and this is your free vocal tip of the week so today I want to give you a free tip that I recently stumbled upon Jesse and I were doing some things together and I've loved it it has been one of my favorite really finds of the past a little bit so um I'm a baritone I'm sure many of your baritones Altos kind of sit in that middle register of the voice and just the rich meaty I like to say the best part of the voice but that's just my little personal take and we all long to be the tenors Sopranos right where we can just float on top with ease and beauty so from time to time because I do sing from the spirit tone placement the sound can get a little sunk back a little darkened up so what I want to try to do as I approach songs that need to really stretch me into more of my tenor range being a true I guess second tenor dramatic tenor um so what I may need to do at times is lift the voice a bit into that placement where it needs to be so this little technique that we were doing not long ago has really just been so so cool I know you're going to love it and and basically here's what we do so we have the lip roll hopefully you've mastered those by now but we're going to use the lip roll to kind of get us into the placement elevated above where we need to be just a bit and get the voice projected more forward so an example would be like so we go placements up there right getting and then I'm going to gradually go into a meow sound so lift it up to the top use the front of the meow the M to gradually start to sit into the meow but not let it drop back down to where it may naturally want to go so use that elevated positioning Oh keep it lifted let's go up into more of an upper register where this really comes into effect here how high it's getting right sit into that M relax into the meow and keep it floating elevated here how forward how light that sound sits in that upper resonance of my voice it's no longer mmmm no it's not sunken back like it may tend to do I get it up there not relying on those rich baritone sounds sinking down but lifting the voice where I want it to be so that I can float easily nicely beautifully projected forward with the sound try that little tip out see if you can get.
hi there welcome to another video with bohemian vocal studio my name is Keegan and I'm here to help you build a powerful singing voice in this video we're going to look at connecting chest voice and head voice through the often overlooked vocal chord coordination of middle voice or singing in a mix now there's two main chord configurations that no doubt you've heard of chest voice and head voice now you've bet if you've been working on your voice for a while you've likely strengthened one or both registers but they're still not connecting or at least not consistently we can think of chest voice as full-length vocal cords if you want to sing at a higher pitch in the chest coordination then you need to add pressure to make your cords vibrate faster faster speed equals higher pitch now if my chords can't vibrate fast enough in the chest voice configuration or they can't handle the amount of pressure that's been thrown at them they flip up into head voice now we can think of head voice as bullies it vocal cords right down to a very small aperture that requires very little air pressure but it lacks the depth and warmth of chest voice most guys at least inadvertently avoid building their middle voice for this reason if something's weak don't avoid it strengthen it the secret to connecting your chest voice with your high range your head voice is by way of middle or mixed voice mixed voice is a partial zipping of your own quotes between the chest and head writer stuff that allows you to sing with one connected and rich singing voice the same depth and warmth as just voice but without the need for so much pressure and tension you'll also be creating frequencies better frequencies which ping in the right resonance chamber so that your voice will be louder and more full with very little effort your pressure or compression and cord closure should adjust in a sliding scale throughout your ranch not in a disproportionate way we don't want a roaring and unbalanced chest voice and a super laptop we want a full rich natural singing voice throughout our whole singing range so rather than trying to sing in chest voice we should be singing towards middle voice at all times I like to think of it as rather than singing in any one single vocal register at any time I'm always going towards another register if you're singing in chest and sending high in chest by increasing a pressure rather than releasing naturally your vocal cord coordination will be locked and you'll never hit your mix or sing in the middle voice my approach to this is releasing from the chest voice coordination so full-length vocal cords have my first break around about a B when I go towards the first valve position all of you are Val if you're looking at this from a classical perspective now I'm not releasing in the head voice we don't want to go into a weak breathy head voice early we want to release our chord coordination from chest voice into the middle voice we want to extend and strengthen our middle when someone says sing higher in chest voice what they're actually saying is sing in middle voice rather than head voice don't let your vocal cords as if right up fully just sit them up a little bit so you get the depth and weight of chest voice without the tension and locked coordination of actual chest voice the marble of middle voice and semi mix is that you can sing the same pitch with very chord length or zipping and very pressure this is why it's referred to as the Bell register this is the chord coordination that you can also build from not on a chest voice but middle voice how do we actually singing it was what if you've been trying to pull up chest voice really high for a really long time and now you fortunately for you it's an easy one to break my favorite way and go to technique with students who are pulling up their chest is projection again if you're looking at this from a classical perspective this kind of goes hand in hand with inhale olive watcher inhale the voicer and heavier voice so when I get to my first break the point where I hit the first bow position the about you're going to imagine that the sound is no longer coming out of your mouth but it's coming from a speaker which is located in the opposite corner of the room where you're currently in so from big ah can you know how I don't push I'm not increasing volume it's a full rich sound but it's not chest voice it's as if the sound is going in instead of out figuratively inhaling the voice now try the same technique and sing high into your vocal range using the next vowel position same thing [Music] isn't that a thousand times easier than what you've been trying to do don't pull up your chest voice simply release into your mix voice and strengthen your middle don't avoid it by singing high in chest or releasing into head too early if you've enjoyed this video and it's benefited your voice please feel free to hit the subscribe button there's also a link to my studio in the description down below where you can book a session with me personally and you can also sign up for cool webinars which I have hold.
Hello my name is Jeff this is a beginner baritone range voice lesson singing lesson five vowel sounds continuous singing we're gonna start a very comfortable range for you baritones I'm going to show you here which is comfortable for me start with E a and aa we have to sustain the vowel sounds and try to align them or get them to go seamlessly from one to the next first again and you can begin here now we're going to shift the vowels over in the sequence and do a and oh this one oh and ooh sounds like this typically the challenge with ooh is to keep it forward so it mashes if you find that it's going too far back you'll hear a noticeable change in you now technically that takes care of all five of the vowels however oftentimes the transition from a to AA can be somewhat challenging and going from auto oh if you've had issues going from a to R can be even more so so want to do here so you can practice that a to O transition those vowels tend to inform and there you go thank you in advance for subscribing if you've got questions drop them in the comment section and I will get back to you just as soon as I can if you want to think about a lesson or a consultation you can click on the link and come to my website and we can take care of that but always thank you very much for watching take really good care of your voices enjoy singing and hopefully we'll see you again bye.
my least favorite topic or subject in our singing is definitely the soft palate and open throat there is a lot less mystery to all this stuff than most people make out there isn't some secret thing you need to do special thing you need to do and you know slam your throat open on something to to sing things so when I've had people come to me as saying they've been told to do this massive god-awful you on like the biggest you all- the issue with is that with that is that your nose is actually open and the soft palate is orbit you actually need to block off the soft palate when it's lifted so lifted soft palate means you know it's blocked off so that whole yawn thing doesn't do anything it doesn't help anything it's just making you strain the same thing with the open throw thing I've had other people say they've been told to put their fingers up into the soft palate or you know pull their tongue down with their fingers or a spoon or something that's crazy it doesn't do anything it's not functional at all if you look at an opera singer you can quite often see their tongue up against the roof of their mouth or close to the roof of their mouth when they're singing and that's what a lot of these techniques based on so why do we need to slam the tongue down it doesn't do anything so the way that I teach this to people is your tongue soft palate if you move your jaw forward and down a little bit we're not certain doing some crazy really open strain thing that's really uncomfortable to do it's just a little bit so forward and down and then we're gonna relax these muscles here by the years perhaps these muscles and you're actually gonna feel like the nose is blocked off when you do that so forward down relax the battle's eduardo's is locked yeah that that is the soft palate lifted so then when I'm singing something learn a dark room beyond the reach of gods belies the wound and shattered remains of a little bitch read the vows can quite easily and comfortably go up into into the soft palate and then we can go through the vocal tract shape that you know we've talked about previously so stop opening the soft palate stop doing the crazy opening the throat thing you either doing it correct or you're not it should be gentle and it should be relaxed and there should be space but it shouldn't be really open so you can test this so an open soft palate is when you're doing M and n it does open and close like when you're singing and you're doing various consonant sounds so an M mm-hmm so it's open so the air can go into my nose and then when I do an R ah it's actually blocked off there's no air ah it doesn't change the tone of my voice that's how I'm able to get up into the vocal tract and modify my vowels correctly and also sing into you know the middle and mix voice register however you guys are going about this stuff that's how I'm able to transition between head voice and chest voice especially with my voice type as well is that middle register and if the soft palate super open you're not going to get there this is largely where people's brakes come from as well in some cases so they're going ah like that that's a soft. For more singing lessons please visit the how to sing by category page.