Learn How To Sing With The Best Singing Exercise To Fix The Break (Crack) (Pt 2) – LESSON 21

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Learn How To Sing With The Best Singing Exercise To Fix The Break (Crack) (Pt 2) – LESSON 21

:35 It’s not over once you can negotiate that break. Because a lot of people can negotiate it, but when they start to sing, they don’t take effect. When you get to that break and then hover in that area, that worst part where your vocal folds doesn’t know what to do. It’s uncomfortably high for the chest voice and too low for the head voice. So, as you’re doing the exercise, once you are able to maneuver through the break, you hover there. Ahh… right around here for me… ahh…

1:22 Because then your vocal folds, those muscles in your larynx have figured it out. And that’s the way you always want to be singing. Right at that break. And some of you out there recognize it as the mixed voice.
Ahh… and then when you know that part then you do a very difficult exercise which is the crescendo. Ahh…. Or in opera terms,

1:54 “messa di voce”.
Oops, put your finger there, so the muscle you can feel, you can feel when that muscle jerks. And so your brain can focus there. Ahh…

2:28So that’s, of course, more difficult. But that is the next step after you are able to move through the break without breaking.
It’s also the best exercise for improving your tonal accuracy because of the same thing. We are more accurate when we are singing in the mixed voice.

2:50 Through that passaggio, operatic term for break, transition zone. I know this because this is the most effect exercise for tone-deaf people.

3:04 As they do this exercise, they immediately sing better. They sing more accurately. So I know it helps to improve pitch.

3:12 Why else is this the best singing exercise? It’s because it teaches you to control your air. Because as I said that’s the problem. The break occurs when you have a sudden release of air. So to fix the break, you are learning to keep the air under control.

3:32 So after you move through that break, you still need to control the air or it will pop open again.

3:40 And this is the best singing exercise because it helps to improve the tonal quality of your voice. So I guess you might say it’s controversial depending on what you consider a nice tone. For me, it means it has sufficient amounts of chest resonances, head resonances and nasal resonances. A resonant voice. Most resonant voices are done with the mixed tone.
4:13 Chest tone. And the rockets’ red glare… Head tone. And the rockets’ red glare…
Mixed tone. And the rockets’ red glare

4:43 Why is this the best singing exercise? It’s because you can take it anywhere. You don’t need a keyboard. You can do it all the time. Ahh….

5:00 Now be sure as you’re doing these slides that you have a good onset. If you’re not sure what that is, please look at my video about the onset. There’s three types of onsets. One is called the hard onset. Ah. One is called the soft onset. Haa. And the third is called the balanced onset. Ah. If you can do a balanced onset, where there’s no tension. There’s no, it’s not a sudden sound. And there’s no excess breath. If you’re doing a balanced onset, then already, your break will start to improve. Because as I said what’s happened is a sudden release of air. And if you’re starting with a hard onset, then you’re already in a very heavy vocal fold position.

5:52 Another reason that this is the best singing exercise because this exercise once you can master it at a low volume, you can start going through the break at any volume. I would take it up a notch at a time. Ah… Ah… Ah… Ah…

6:43 So that last one, I did it in a very chesty tone. Yet there was no break. Why is that? Again, it’s not about resonances. It’s about that muscle. I’ve learned to condition that muscle so it doesn’t break regardless of the volume I’m singing at. So then, the onsets again, balanced onset is what you want to do as you’re doing these exercises. You don’t want to do a hard onset, ah. Uh, breathy onset, hah… You want to do balanced, ah…

7:20 Later on, after that muscle is under control, the onset will be less important. So now, I’m going to do one with a hard onset. Ahh… So that was a horrible tone that I would not use to sing with. But I demonstrated it to show you that it’s just about that muscle. It’s not about resonances, placement…it’s that muscle.

7:53 Now let me try it with one more. Is it important that the larynx should stay in position? From a higher position, is my voice going to break? Ahh… No break. So that means it’s not about larynx position. And that’s why the slides are the best singing exercise.

78 thoughts on “Learn How To Sing With The Best Singing Exercise To Fix The Break (Crack) (Pt 2) – LESSON 21

  1. Winter Beeds says:

    my suggestion for nxt vid is appoggio , breath pressure. spport

    1. Shimizu Voice says:

      +hamper diaper Yes, I was thinking about it. All three come under what I call “connecting the diaphragm to the voice”. Definitely coming up soon!

  2. Hi, Craig. I know this is basic but, does controlled air flow mean putting more/less pressure on the diaphragm? When you take the first breath on the onset of the slide do you need to put more /less pressure on the diaphragm to negotiate the break? Thank you.

    1. Shimizu Voice says:

      +Sandra Yamada Hi Sandra. A great question! Anytime we are trying to control air flow, the diaphragm must be activated. That means different thing to different singers. There is no pressure put onto the diaphragm. Rather the brain tells the diaphragm to contract as it does with a stomach breath. It is this same command that we must use while we are singing so that the diaphragm does not relax and cause more air to be released.
      And since the break is a sudden loss of air problem, then yes, the diaphragm must be controlled when negotiating the break.
      – Craig

  3. rexrox1337 says:

    Hello! I watched your video on How to sing with vibrato and it was great, but I’m having some trouble. I find it hard to keep a consistent vibrato on long notes, especially in my mixed voice. My vibrato starts out jerky but it seems to get better towards the end of the note. I would love it if you did a more in depth video on vibrato 🙂

    1. Shimizu Voice says:

      +rexrox1337 Thanks for your comment and request! May I ask which vibrato technique you’re using and how long you’ve been working on it?
      – Craig

    2. rexrox1337 says:

      +Shimizu Voice I’m using the “pitch change” vibrato. It sounds good but on longer notes it gets really inconsistent and jerky. I’ve been working on it for ~4-6 months.

    3. Shimizu Voice says:

      If it’s already sounding good then it must be a breath control issue since this is occurring at the ends of phrases.  If this is the case then you need to work on holding back the air during phonation. The best way is to have balanced onsets and understand how adduction works (even better is “inhalare la voce (inhaling the voice)”.
      – Craig

    4. rexrox1337 says:

      +Shimizu Voice Thank you very much for taking the time to answer my questions. I will watch your video on inhaling the voice again!

    5. Shimizu Voice says:

      You’re very welcome!  Let me know if that wasn’t the issue or if you need help holding back the air.

  4. Thank you! I also found it interesting that resonances, placement or larynx position doesn’t affect the break. Just control of the muscle. Also your full sound demonstrations help a lot. Thanks.

    1. Shimizu Voice says:

      +Sandra Yamada Thanks, Sandra!
      – Craig

    2. Noikken Noikken says:

      +Sandra Yamada Not certain about the points made but ,if anyone else wants to discover learn how to sing really good try Jaffacter Super Singer Coach(should be on google have a look ) ? Ive heard some unbelievable things about it and my m8 got great success with it.

    3. +Noikken Noikken . Thanks, but I find that that Craig’s methods are really helping me. Think I’ll stick with them.

  5. Johnny Smithy says:

    Hey Craig! For your loudest demonstration of the slides, will we be able to achieve the same “chesty tone” by practicing slides at differing volumes like you showed in the video, or is there a different technique that needs to be employed? Thank you!

    1. Shimizu Voice says:

      +Johnny Smithy Hi Johnny! As far as my experience is, no other technique need be employed. You just know the feeling of the “repaired” break and can get there at any time and any volume.
      As always, let me know if you can’t do it at louder volumes (after practicing a notch increase at a time).
      – Craig

    2. Johnny Smithy says:

      Alright, thanks Craig! Currently working on it and hopefully it goes well! Thanks again!

  6. dingoswamphead says:

    lovely arrangement, excitingly played. well done.

    1. Shimizu Voice says:

      +dingoswamphead Is this comment for this video?

    2. dingoswamphead says:

      +Shimizu Voice whoops, no it wasn’t! Sorry Craig, I mixed you up with a guitar piece.
      Thanks for the inadvertent reminder to practise your exercise this afternoon.

    3. Shimizu Voice says:

      Quite alright!  I almost embarrassed myself by saying thank you. 🙁
      – Craig

  7. Dion Isaiah says:

    Hi Shimizu. I also believe it’s about the energy from the beginning of the low note to the mix note (break) at the top. When I was practicing this before I was not putting much energy from the beginning of the note, which the air begin to slip and causes this very airy tone. Now I applied more energy and the diaphram. It worked. No slippage of air when I was going into my break! Thanks for this video. -D

    1. Shimizu Voice says:

      +Dion Isaiah Hey Dion. Yes, the breath needs to be controlled always. When air is under control, you can feel the diaphragm engaged and the higher sense of energy.
      – Craig

    1. Shimizu Voice says:

      +Camera Focuses Thanks! I hope it works for you.
      – Craig

  8. K. Jevon .D says:

    funny introduction, considerate for earphone and headphone users like me 🙂 i’m practicing the slides 🙂 thank-you for this video 🙂

    1. Shimizu Voice says:

      +Kadeem Daniels You’re welcome, Kadeem. I hope the slides help you.

  9. Hej shimizu i have question for you . I ve made some covers ok . i can put them on computer ofc they are all recored on my phone bec i don t have time to studio . And my question is do you wanna hear it and check in what postion is my voice ?

    1. Shimizu Voice says:

      +Mati D Sure, Mati. As an active commenter, I’d be happy to.
      – Craig

    2. thank you man in 2 days i will pick covers to my computer 

  10. Football Music says:

    Hey craig, I learned how to not push my voice and sing more naturally, also my vibrato has improved. But I think my sound is just so bad. You can watch my last video to hear how my voice sounds now. It’s better than pushing but it’s still a weak sound. I think I should practice my head voice and then learn to mix and have more varieties of sounds. Do you think I should do it. If I master the head voice will it benefit my full voice? And what are other benefits of learning head voice? Thanks.

    1. Football Music says:

      +Shimizu Voice And, was I singing higher than the pitch or lower?

    2. Shimizu Voice says:

      It would help a lot because if I don’t know the song I can tell how accurately you’re singing the right pitches or not.

    3. Football Music says:

      +Shimizu Voice Okay I’m going to do it right now.

    4. Football Music says:

      +Shimizu Voice You can watch it now Craig.

    5. Shimizu Voice says:

      +Football Music I watched the video. You’ll have to work on singing the right notes.  Head voice training is crucial in hearing development as it’s easier to sing accurately using the head voice instead of the chest voice for some singers. 

  11. That's What "i" Said says:

    Hi Craig. I have a “deep” question, something that’s bothered me for a long while and I’m wondering how you “see” this. It seems most (non-singing) people assume that if you’re not shouting/singing it’s “not really singing”. I’ve been training in voice for a while, but I feel like I get “dismissed” because I’m NOT belting it out like a pop star… (I’m more like Julie Andrews!) I know that’s what they “think” they hear, is all chest voice, because they just don’t know, but I find it rather annoying. Any thoughts?

    1. Shimizu Voice says:

      +That's What "i" Said Ooo, I may not be able to answer this easily. Some of what we hear is actually “real” chest voices in the upper range. It’s possible because of the wide range of vocal fold size. Certainly there is a certain length and thickness that would allow someone to belt high in their chest without killing themselves. But that would be rare. Everyone else has to learn to “mix” it up up there or they won’t be belting for long.
      Aside from this, a “legit” belt sound wouldn’t have too much head tones in it. Not head resonance, which is important, but that falsetto-like quality. If a singer uses just a hair too much head voice then most people would not consider it a true belt sound.
      And that brings me to my last point. It comes down to personal taste. Often, what I consider great belting, someone else would say they were just yelling. Other times, I can hear a mixed tone, but others would call it a great belting voice.
      I hope this helps.
      – Craig

    2. That's What "i" Said says:

      +Shimizu Voice Thanks Craig. Makes sense. I think I just have to accept my voice and not wish it was something else that I’m not capable of. I have a low “crack” point but quite a high range, so I’ll probably never sound like… Katy Perry (or most of the pop singers). I “know” I “should” choose songs that suit my voice, not try to fit in to something else. Thanks for the insight and reply. 🙂

    3. Shimizu Voice says:

      You’re welcome!  But I didn’t mean to discourage you.  If it’s something you really want, you can develop more of a belt sound safely or at least something in between.  But it will take a lot of training.  And you’ll need to find the right instructor who can train you safely.
      – Craig

    4. That's What "i" Said says:

      +Shimizu Voice Thanks a lot, Craig! I will soldier on! 😉

  12. ben333332 says:

    Hi Craig, i enjoy your videos alot ! Personally, the ‘How to sing from your diaphragm’ videos helped me a lot cause I used to have the misconception that I’m supposed to stop the stomach from moving in as I am singing. I feel alot better after realising that the stomach is in fact suppose to go in(or guided in) .

    However, i also noticed that if i were to exert to trigger my diaphragm in order to support my breathe, my stomach area is unable to move in as much as compared to when I don’t exert my diaphragm/abdominal muscles at all. Is this normal? Or is this due to me triggering lower abdominal muscles unknowningly ? Would like your advice on this ! ^_^

    1. ben333332 says:

      +Shimizu Voice Thanks for the fast reply Craig! I’ve actually watched that video on fixed sternum awhile back too and thought that my sternum was fine. However after re-watching just now, i realize my sternum does indeed go down a little when i work my way to my higher registers.

      Are the abdominal muscles that we are suppose to use the same set of muscles that we use when we try to slim ? Kinda like chest out stomach in?

      I would also like to clarify on a further question. Let’s say I hit a high chest note which is a few notes higher than my usual chest register but using wrong techniques that causes strain, tension and etc, is it true that these higher notes are actually in my workable chest range and that I just need to develop the abdominal strength and techniques to be able to hit them consistently in the future?

    2. Shimizu Voice says:

      Another great question!  I always say if you can squeak a note out, it’s possible to make it usable.  So yes, it’s possible to make it presentable eventually.  Proper stomach and diaphragm conditioning is very important.  But more important is the avoidance of any kind of strain and flat singing.  If you strain to reach the upper notes, this may ruin your entire voice.  If you fail to reach the note cleanly, this will affect your hearing.  The way most experienced teachers teach upper register belting is more emphasis on the thinning of the vocal folds and then “adding more cord” as long as there is no strain.
      – Craig

    3. ben333332 says:

      +Shimizu Voice Ahh I see, thanks for the fast reply again Craig !
      Is it then true that the abdominal muscles that we use for singing kinda like what we do when we try to look slim? Like when people tell you to tuck your stomach in and chest out(that motion and engagement of muscles) when taking some formal photos(just an example haha)

    4. Shimizu Voice says:

      Exactly!  They’re called transverse abdominis.  The “bad” abs are the rectus abdominis.  They tighten your vocal folds when used like when you do situps and count.

    5. ben333332 says:

      I see ! , thanks for the input Craig! Look forward to more vids haha !

  13. Ferdinand Baarde says:

    how are you sir Shimizu….my usual question…am I really Bass Soprano…F1 to A4…My videos covers all male and female chest voice vocal range…No vocal coach dares to answer my question..I dont know why…its just a simple..yes or no….If yes….Yes because your videos prove it……if no….No because you cannot sing in bass or in soprano…just as simple as that…but i have enough evidence to prove it., all I need is a real brave vocal coach to accept that fact…..

    1. Ashlie Davenport says:

      from what I have been taught, being a bass, tenor, mezzo, Alto, soprano etc…has more to do with the combination of your range, but also the color or tone of your voice. mezzos can often hit soprano notes. So can altos, but they don’t have the same sound.

  14. Athan Capistrano says:

    hello Mr. Craig! thanks for the awesome tips. It’s very useful especially for us who can’t afford hiring a vocal coach. I just have a question. I can do the “slide” without breaking. but it’s very soft and low volume.. I’ve been practicing this for a month now, but whenever I sing, I always end up using my chest tone when belting which ends up shouting or high larynx.. I wanted to do mixed so badly but I can’t do it with fuller tone, it’s very weak. any tips you can give?

    1. Shimizu Voice says:

      +Athan Capistrano Thanks, Athan! Glad to help those in need. Try to raise the volume of your slide a notch at a time. And practicing going through the break reeeeally slow to be sure those muscles that are causing the problem to learn how to move correctly (smooth, non-jerky movement).

  15. Hi Craig. I’ve watched all your videos today, thank you for all the insightful information, it’s helping a lot. I have rather a specific question that I was wondering if you could help with. Around the mid/top end of my chest voice (around notes C-E), the notes start to sound crackled like I’m doing vocal fry. The only way I can hit them cleanly is by volume, which just sounds like a yell. I’ve resorted to just bringing my falsetto down to these notes but it loses the feel.

    If you listen to my song (), you can hear what I mean at 1:45 and 3:00. I was wondering if you could help in anyway or give me advice on what I could do to smooth this section of my voice out? It’s before my actual ‘break’ which is around F#, so am a little lost. Thanks in advance!

    1. Shimizu Voice says:

      +Aloric Thanks for your detailed question. I’m sorry I didn’t respond earlier. This was in my potential spam folder because of your link. I’m just sending you a quick reply. Many of the videos addresses this over compressed sound problem. Are you able to the cry? Slide through the break? Adduct the vocal folds from the falsetto to the chest voice?
      Please let me know.
      – Craig

  16. אסף שלום ליבוביץ says:

    hi craig and thanks for yout videos i have learnt a lot from them and finely begin to understand how to use my voice after a long time of trying to sing and learn from all kind of teachers. i want to ask is there a some rutin exersizes that is best to do like warm ups and then more dificolt exersizes thanks for your help

    1. אסף שלום ליבוביץ says:

      +Shimizu Voice
      hi and thanks again for your answer
      i begin my exercises whith breaving exercises hanging down and breaving to the diafgram ,tring to keep the
      air and exhale for as long as i can while keaping the diafgram pushed down then humming then zees (i got some recorded exercises frome the superior singing course that i have bought beafore a year or so) then i do whith it liperal somtimes farengail ng or e,yoo as you sugested in one of your videos. then i do the slide as you taught and some dopi sound exercises than i just sing a song that i am working on and some times i record it. i tri to pay atantion for proper postsure, on set, and so on. thanks again for your help and the way you explain and sharing your knowledge
      best regards assaf

    2. Shimizu Voice says:

      Wow, Assaf!  You’ve really covered all the bases!  What you’re really after with all those techniques is to find your singing voice.  The singing voice is more relaxed and prettier than the talking voice.  That’s what the mixed voice is.  If you can switch to your mixed voice as soon as you begin your warmups, it should cut your warmup time down substantially.
      The other important part of warming up is to find the proper connection with the diaphragm right at the start.
      Also, the elimination of all throat tension is essential.
      How long does it take you do all that before you feel ready to sing?
      – Craig

    3. אסף שלום ליבוביץ says:

      it takes my betwin half an hour to 50 minots lately i begun to shorten the time because i am combining the breths whith the worm ups by puting my hands on my stomack while i am humming and watsh that diafgram in place +Shimizu Voice

    4. Shimizu Voice says:

      +אסף ליבוביץ’
      Assaf, is that a warmup or a workout?  That length of time would fall more into the workout category where the voice is actually being conditioned and strengthened. 

    5. אסף שלום ליבוביץ says:

      yes its the hole thing wormoup plass workout thanks best regards assaf+Shimizu Voice

  17. im surprised these tips are free. thanks a bunch!

    1. Shimizu Voice says:

      You’re welcome, Chris! But isn’t everyone giving away all their secrets? 🙂
      – Craig

  18. Ashlie Davenport says:

    do these drills also help keep the larynx lower? I’ve found that is a big thing for me.

    1. Shimizu Voice says:

      Ooo, unfortunately no. It may help to keep the larynx down but it is not necessary. I can move through the break with my larynx quite high. It’s not comfortable or a great sound, but I can do it.
      The larynx needs specific training although exercise like the cry and the yawn help a lot.
      These videos help to train the larynx:
      How To Sing: BELT Without Straining – LESSON 9,
      Singing Lesson: What is “Inhalare La Voce” or Inhaling The Voice to Sing – LESSON 1,
      Learn How To Sing By Lowering Your Larynx – LESSON 18,
      Learn How To Sing Using The Dopey Face – LESSON 18,
      How To Sing Effortlessly With The Open Throat – LESSON 21,
      As you can see, there are many ways to train the larynx and each of the above, you’ll also be developing other vocal skills.
      – Craig

    2. Ashlie Davenport says:

      +Shimizu Voice perfect! thanks! I think that’s where the majority of my tension comes from…

  19. Marek Korkusinski says:

    This is excellent. I really do appreciate your showing all the aspects of your teaching so explicitely. Typically, singing teachers will use the language of metaphors (like “sing as if there was a table tennis ball hovering above your throat”). These are OK, but only after you have understood the concept in the first place. Also, great advice to place myself exactly on the break – typically I want to be as far from there as I can, but this does not help, as I am not moving outside of my vocal comfort zones.

    1. Shimizu Voice says:

      Thanks, Marek. I was quite frustrated myself when I used to take lessons and couldn’t understand what the instructors wanted me to do. And yes, you’ve discovered the key to unlocking your voice, the magical break.
      – Craig

  20. pls why do I loose my voice so easily after signing for just 15 minutes. am a bass baritone. could it be that I strain so much? because I love singing and hitting those high notes and it’s always tough.

    1. Please do you have any exercise on your channel that can help me?

    2. If there are I’ll love to try them

    3. Shimizu Voice says:

      The main thing to do is to sing songs or scales using the falsetto as much as you can.  I have two of my favorite overall voice exercises:
      Learn How To Sing Using The Best Singing Exercise (Part 1) – LESSON 19,
      Vocal Warmup & Exercise Using Slides – LESSON 36 – Craig Shimizu Voice,

  21. Hi Craig. Thanks again for a wonderful video. I’ve learned (I think) to slide without my voice breaking. But now, I find it hard to know where the break actually is in order to perform the exercise for crescendo/diminuendo etc.

    1. Shimizu Voice says:

      jsams11 Congratulations! You are experiencing symptoms of fixing the break! That’s why you don’t know where it is. That muscle in the larynx I always refer to is becoming trained. If you want to make it stronger just pick any note in that area and crescendo.

    2. Thanks!!! I’m very happy to receive that comment!

  22. Robin Davids says:

    This is awesome definitely going to begin using this thank you craig

  23. I’ve watched every vid of Robert Lunte,..learned alot,…I’ve watched every vid of Ken tamplin,..very informative,……Watched almost all of yours,…All really great,.Some of the best breakdowns & humor while teaching of anyone,..the detail is unreal …..But this one Vid,..this one,…..Is the one ive needed to complete my training to overcome the main problem ive had,…….When you said Hover around where the voice breaks,..& thats where you want to sing,.then the exercises..soft to loud,.while in that range,…….is the single most important tip I’ve seen of ALL TIME for me,…out of every video Ive ever seen,……THANK YOU Craig,…Your the best thing I’ve ever discovered for my singing,….your the best on Youtube,…….,…….the BEST!!!!!!!!!!!!!

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