Increasing Vocal Range - Secrets For Effortless High Notes and Resonant Low Notes
As one sings higher notes there is a tendency to reach.
What reaches are the throat muscles or larynx.
Contrary motion, is the vocal jargon which is often referred to but rarely explained satisfactorily by most voice teachers.
Singers are often told to keep high in the low notes and low in the high notes.
Unfortunately the what and how is left to the singer's imagination.
In a nutshell; it is necessary to keep the "space" as the pitch increases.
What space? The laryngeal space must not rise with the pitch but actually relax down or at the very least, remain the same.
Contrarily, as one goes down in pitch it is necessary to keep the resonance high in the mask and not sympathetically to drop the resonating position with the pitch.
Due to the fact that we have sympathetic muscle action, all muscles aspire to do the same thing unless they are taught to act separately.
One commonly sees inexperienced singers actually rising up on their toes as they go up in pitch.
Everything strains upward.
Instead, grounding is necessary and relaxing all antagonistic muscles of the internal space or laryngeal space.
Relaxing the laryngeal muscles does not mean singing in that space.
Unfortunately, when inexperienced singers concentrate on relaxing their throat muscles they may also end up singing in the throat.
This is due to the lack of skill in dividing attention between relaxation of the throat muscles and resonating the sound in the head and mask.
It is the release of breath from the diaphragm that will take the sound to the resonating cavities.
Division of attention must be cultivated in order to perform two opposite tasks at the same time.
In this case, the opposite tasks are keeping the laryngeal space relaxed and open on ascension while resonating the sound high in the mask and head.
The ability to coordinate will come in time but this will require creating new and good habits rather than remaining with what is comfortable because of long habit, but incorrect.
What may take great effort and concentration at the start will eventually become second nature.
Remember that most important is cultivation of a flexible diaphragm which is used as the generator for the air flow or support system.
How to develop the flexible diaphragm and use it to generate the air flow into the resonance chambers is the key.
Although the classical singer's technique has different requirements from all other genres of singing, what all genres of singing must have in common is the use of the breath, without which, nothing is possible.
What reaches are the throat muscles or larynx.
Contrary motion, is the vocal jargon which is often referred to but rarely explained satisfactorily by most voice teachers.
Singers are often told to keep high in the low notes and low in the high notes.
Unfortunately the what and how is left to the singer's imagination.
In a nutshell; it is necessary to keep the "space" as the pitch increases.
What space? The laryngeal space must not rise with the pitch but actually relax down or at the very least, remain the same.
Contrarily, as one goes down in pitch it is necessary to keep the resonance high in the mask and not sympathetically to drop the resonating position with the pitch.
Due to the fact that we have sympathetic muscle action, all muscles aspire to do the same thing unless they are taught to act separately.
One commonly sees inexperienced singers actually rising up on their toes as they go up in pitch.
Everything strains upward.
Instead, grounding is necessary and relaxing all antagonistic muscles of the internal space or laryngeal space.
Relaxing the laryngeal muscles does not mean singing in that space.
Unfortunately, when inexperienced singers concentrate on relaxing their throat muscles they may also end up singing in the throat.
This is due to the lack of skill in dividing attention between relaxation of the throat muscles and resonating the sound in the head and mask.
It is the release of breath from the diaphragm that will take the sound to the resonating cavities.
Division of attention must be cultivated in order to perform two opposite tasks at the same time.
In this case, the opposite tasks are keeping the laryngeal space relaxed and open on ascension while resonating the sound high in the mask and head.
The ability to coordinate will come in time but this will require creating new and good habits rather than remaining with what is comfortable because of long habit, but incorrect.
What may take great effort and concentration at the start will eventually become second nature.
Remember that most important is cultivation of a flexible diaphragm which is used as the generator for the air flow or support system.
How to develop the flexible diaphragm and use it to generate the air flow into the resonance chambers is the key.
Although the classical singer's technique has different requirements from all other genres of singing, what all genres of singing must have in common is the use of the breath, without which, nothing is possible.
