Hello….and Happy Spring!!!
Here is the video with demonstrations and further explanations of the exercises I introduced in my last post. Remember to warm up before trying them out. ENJOY!!!
Be on the lookout for my “UNLEASH YOUR VOICE” vocal exercise series coming very soon.
Over the past four years, I have been intentional about finding or creating exercises that are technically and stylistically appropriate to my clientele, which is comprised of mostly non-classical singers. We want to develop register balance and connection, good legato, and good projection while also addressing some of the style elements as well.
The exercise featured in this clip is a fun and effective tool to train the ear and the voice. I use it with my students to prepare them for tackling riffs and runs as well as to work on smooth register transitions. This is the first level of the exercise – Level 2 follows in an upcoming video. Try it out- you’ll have a ball!!
Earl Harville VOX- UNLEASH YOUR VOICE, UNLEASH YOUR ARTISTRY
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Happy autumn to all!! It’s been a little while since my last post. I hope all is well.
I have discussed the use of semi-occluded vocal tract exercises in several posts on this blog because of their great efficiency as warmups and cooldowns. They reduce the amount of lung pressure used to produce sound and help us find good closure of the vocal folds. We can generally access a rather large pitch range without stress or strain. They are also helpful in re-balancing the voice if it tires during a period of a lot of speaking or singing. Lip trills, tongue trills, hums, the ‘ng’, and fricative ‘v’ and ‘z’ are commonly used by singers.
Right now, there is a huge focus on the use of the straw exercise in many vocal studios around the world. Science has shown it to be an extremely effective tool in balancing the voice. I use it a lot in my own teaching. Today, I want to emphasize the exercise that I consider to be its fraternal twin- the puffy ‘oh’. They both benefit from a positive back pressure that aids in the previously mentioned vocal cord closure. I have found the latter exercise to be as efficient or maybe even more so than the straw.
Check out the video below to gain more insight and try out the exercise for yourself.
In recent months, I have been drawing my students’ attention to the merits of the rogue vowel sound ‘agh’. Early on in their training, they often perform pharyngeal sounds in an effort to establish some level of mix. For some, it has even allowed them to find elusive head voice tones as well as taking off undue pressure off of chest voice. Plus it can be fun to make such a bratty noise- even the adult students like it!!
I now want my students to realize that ‘agh’ has great value beyond the exaggerated ‘witch’s voice’. I am emphasizing the importance of the wonderful ring we get from even a normalized production of this vowel that is so important for healthy voice production, regardless of the style they sing. We are using ‘agh’ as a centering vowel to establish openness and an awareness of resonance before connecting it with another vowels. I am finding it helpful in keeping singers’ ‘ah’ vowels from becoming overly dark and the ‘oh’ from being overly rounded, especially for my classical students.
Here are the exercises that I am currently using:
- ‘Agh’ vowel with tongue extension- Students are asked to let the tongue hang out of the mouth. This heightens the sense of openness and is a great way of sneaking a tongue stretch into the exercise routine. The octave and a half pattern or octave arpeggio are the patterns I employ most often here, but an octave down arpeggio may be good if the student still pulls chest a bit. I really like for students to watch themselves in the mirror for this one to be aware of mouth shape and tongue activity.
- ‘Agh’ with tongue extension to ‘ah’ or ‘oh’- After evenness is found with the previous exercise, we then move to another open vowel. I use ‘oh’ most often. The tongue is again extended on ‘agh’, but then is allowed back into the mouth for the following vowel. The ring established on the first vowel should remain on the second. Students are moving to ‘oh’ with less tendency to go a bit nasal or to round the lips too much, allowing them to keep a more consistent tone. They tend to stay with a more pop mix approach instead of a more covered choral sound. I again use the octave and a half pattern mostly.
- ‘Agh’ without tongue extension to ‘ah’, ‘oh, or, ‘uh’- I now move to a five tone scale, which tests the waters of the mix further, since it adds more resistance to the vocal folds. I urge students to change mouth shape very little as they move from vowel to vowel.
- ‘Agh’ to close vowels- Using either an octave arpeggio or the five tone scale, ‘agh’ will now go to ‘ee’ or ‘ooo’. I save this for last because there will be a bigger adjustment in mouth shape now. Again, the hope is that the ring of the first vowel will be maintained in the second.
I have been having students to employ what Lisa Popeil refers to as ‘belter’s bite’. It’s the posture of preparing to bite into an apple. It can be very helpful with students when singing with an edgier approach like in gospel, rock, and belty musical theater.
For my more classical choir kids as well as my powerhouse pop and gospel singers, this approach has been extremely beneficial. They are finding more consistency in their mix and more aware of the sensations when singing in their middle voice.
Happy Singing- MIX RULES!!!!!
The syllables ‘wun’ and ‘woh’ are favorites of mine to help my clients find release AND connection when building the mix. I find them to be great balancers for the voice. Watch this video for more insight, demonstrations, and practice suggestions.
The ‘ng’ sound is a quite useful tool in training the singing voice. It aids in establishing a good adduction of the vocal folds while allowing the singer to experience good nasal resonance (not to be confused with nasality, which is a topic for another day). For some, exercising on this sound may also help in keeping the tongue from pulling too far back in the mouth while ascending their vocal range.
Like the lip trill and fricative warmups I covered in the preceding posts, the ‘ng’ is a semi-occluded sound. They are all created with two places of closure within the vocal tract- one being the vocal folds and the other being some combination of lips, tongue, or the roof of the mouth. There is a positive energy boost to the folds in this setup that aids in good adduction and an easy, consistent flow of air. They are also useful as cooldowns after a lot of vocal activity.
Try using the ‘ng’ sound on the various patterns I demonstrate in this new video, being mindful to keep the tip of the tongue right behind the lower front teeth as the back of the tongue raises towards the roof of the mouth. Pay attention to the buzzy sensations in the mask area- that nasal resonance is good for you.
ENJOY!!! KEEP SINGING!! 🙂
Lip trills have become an ever-present exercise in the modern voice training landscape. Like the fricative sounds I presented last time, they are semi-occluded sounds, meaning they are produced with two places of closure within the vocal tract- one being the vocal folds and the other being created by some combination of lips, tongue, or the roof of the mouth. A positive energy boost to the folds in this setup results, aiding in good adduction (cord closure)and an easy, consistent flow of air. They are also useful as cooldowns after a lot of vocal activity. What I have found, though, is that a lot of students have a hard time executing them properly and can get frustrated in the process. This video gives helpful hints to allow you to perform these lip bubbles more efficiently. You can thank me later. 🙂
Go forth and SING….SING…..SING!!!!!!