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.