Transcript for:
تمرین صدا برای قدرت و انعطاف پذیری

We're gonna explain things today in terms of strength and flexibility. So, some of you have a really nice strong sound in the in the bottom part of your voice, but as you go higher, you get stuck. And then maybe you maybe you're here today because you want mix to help you find more freedom in your voice. Others of you, you have a lot of freedom. You can sing up high, but you're lacking a little bit of that exciting sound that you hear maybe belters use on stage. Okay? And so, you're here today to get more strength. mixing, if we're looking at it from a technical standpoint, is the combination of strength and flexibility. Let's do one scale to warm up. Let's start with a long scale, the Rosini scale that sounds like this. That'll help us cover a wide range. Okay? So, I want you to pick an SOVT filter. That could be a lip roll, that could be a tongue trill, it could be a trumpet sound, it could be one of our vocal consonants. So like mz vv whatever you want, okay? But I want you to use something that helps you create relaxation and balance and helps you use a smooth stream of air and even volume as you sing so that you can increase your range and sing all the way up and down uh with evenness and balance. Okay, so we're going to start in the bottom with the lowest voices. If this is a little too low, then just wait a few scales and then join in. If it gets too high, cuz I got to cover all the ranges, we got to get way up high. If it gets too high, please fall out and don't strain your voice. Okay? So, stand up nice and tall. Get a good breath. And let's try warming up on this scale. Here we go together. 1 2 3 [Applause] [Music] 4. I'm giving you all the options. [Music] M. Use whatever works best for you. But remember, sing with a smooth stream of air up and down. Don't push harder as you sing higher. Keep the volume even and try to feel the weight come off the top as you ascend. That's [Music] [Applause] [Music] it. We're up above high C now for the highest voices. Remember, don't strain for it. Everybody sing at your own level, but also challenge your technique and start to grow your voice each day. See how far you can sing without strain. Here's high C. Good. Get a good breath. That's the way. Good. Feel all your vocal registers. Chest voice on the bottom, head voice on the top, and moving through middle in both directions. Feel those register changes, those register shifts, and blend them together. You got it. You're doing great. Good. That should have woken up your voice a little bit. Got your breath working. Let's do one for chest voice. Okay. We're going to come to the low voice as our foundation for strength today. And I want you to sing a little bit in the chest voice. In order to do that, we're going to try to isolate some sound in the mouth. So, I want you to use a B consonant that's going to attack right on your lips. Everybody say bbb. Good. Good. And we want to keep it bouncy, but we also want to feel a nice strength come into that part of the voice, an efficient strength. Okay? So, use kind of a call quality, nothing too loud, a nice medium volume and feel like you can get a a sure attack with that BC consonant. Now, you really need to pay attention as I coach this exercise because feminine and masculine voices have different ranges for the chest voice. So, when I say feminine voices fall out, that means that's time for you to stop so we don't take this too high. And then masculine voices, you'll go a little bit further. And everybody start at the low note that they feel comfortable with. So this one sounds like this. We're going to start in the bottom. And I'm going to try to sing in my pure chest [Music] voice. Make sure you don't feel that crawling up into your nose. And get Okay, we're going to get to nasal resonance later, but this is pure mouth resonance for chest voice. Okay, here we go everybody. Get a nice breath. Medium. Nice and confident. 1 2 3. Bounce the [Music] BB. Try to get a solid attack so it doesn't feel breathy or weak. and use the bounce to break up vocal weight so it also isn't too heavy. Good. Two more for feminine voices. Here we go. Feminine voices. That's the last one. That's the ceiling. Masculine voices keep coming. [Music] PP one more. Good. So, when you're working your chest voice, you want to come up to your first bridge, the transitional area that occurs between your chest voice and your middle voice. In general, for feminine voices, that's going to be a B flat B. And you want to take this exercise up to that area. but don't push through it. Okay? And with masculine voices, that's going to be at E FF sharp. Again, take this up to where you feel comfortable, but don't strain your voice through it. We don't want to encourage that. Okay? Encourage the chest voice, but not any kind of strain as you pass through that bridge. All right. Let's hit another resonance area. Let's get up into our head voice. Okay? Today, we're going to sing with we or f or gee. Okay? So, I want you to use the the narrow e vowel so that you can sing confidently and easily up in your head register. And then I want you to pick the consonant that helps you have the most success. Okay? So, the balanced way to sing it is with a W. And that sounds like this. I'd be coming in we we and I'm awakening that head register. Okay? If that comes out loose for you and you're getting then you've got to work for a little bit more chord closure. So that would mean that a G might serve you better and you'd get and that G is going to help bring the chords together. Okay? If your voice feels stuck and you're working too hard up there, then use for a little extra air and then that's going to give you more release we Okay, but the important thing is that you pick whatever works best for you. Everybody's in a different place. Okay, so here we go. we G or F and we're going to come from the head voice. For feminine voices, we're going to start on soprano G up here. So again, we're starting with feminine voices and then as we descend, masculine voices, I'll call you in to join. Okay? So here we go. Get a good breath and let's try singing this high head voice. One 2 3. Good. [Applause] That's the way. [Applause] [Music] [Applause] [Music] [Applause] Good. Go for a clear sound. One that's not breathy or weak, but one that's not strained. Good. Masculine voices. Join now. We we we we we we [Music] We we we we we we We we we we we we we [Music] Good. Getting that head voice a little bit of a warm up and a sing. Everybody feeling the difference, okay, between these resonance sensations. Chest voice, more mouth dominant, and then head voice with with a lot more head resonance. You feeling that? Okay. Now, we've got one more spot that we need to warm up, and that's our middle voice. And in order to do that, we want to feel more resonance in what's called the fingial cavity. The fingial cavity feels like resonance on the bridge of your nose. And inwardly, if you're paying attention, you may experience resonant sensations on the back wall of your throat. The quickest way we can get there is with the NG warm-up. So, say and get stuck on the NG. And you're going to feel that that moves resonance through the nasal cavity. There it is. Okay. So, today we're going to do a three-step process. First, we're going to sing on NG. Then, we're going to sing with a vowel. And we're going to sing like your French. say quason. So we're going to use some French nasality, some nasal resonance and then we're going to move that to a pure balanced sound on O. Okay. So basically I'm starting with with nasality to really experience nasal resonance and then I'm balancing it back out to a balanced sound. Listen to how that sounds. Okay. So I'm going to do an NG first and I'm going to [Music] sing. Not pushing too hard but feeling all the resonance flow through the nasal cavity. Try that real quick. 2 3 4. Good. Now, step two, I'm going to go. Still a lot of nasality in there. And I feel that note has some fullness, but also a good release. Everybody try and right. You'll also hear this sound called twang. Okay. So, if you go down to Nashville and you're singing some country music, that's twang. Okay. And then we want to go to the pure sound. [Music] O try that. Good. So allow those consonant combinations to guide you. Okay. Pure nas pure nasality, 50% nasality, and then a finish sound. So let's all get it. Make sure you get a good breath. Again, we're coming from the low range. Sing where you're comfortable. Okay. So back to back, we're going to go [Music] M Oh. [Music] Oh. And m [Music] Oh. Oh. Oh. M. [Music] O oh, you got it. N G O and pure O. Good. [Music] Good. [Music] Oh, excellent. Oh, and O. Oh. Do you see how that gives you a nice ring in your voice? and it makes your voice feel free. So, it's giving you strength in a higher resonance, but also gives you freedom so it doesn't feel like you're pulling your chest voice higher for that power. Okay? You want to establish your middle voice. Most singers are building their middle voice. And so, it's important that you have an exercise that starts to establish something between your chest voice and your head voice register. So, now that we've hit all those spots, let's talk a little bit about what is mix because I know this can be a very hot topic and it's been hotly debated and discussed and can be a little bit confusing for the singer. Okay. So, what I want to offer you today is that mix is not just one thing. It's not just one place in your voice. It's actually a range of muscle coordination. Okay? And in order to make it a little bit more simple for you, I'm going to discuss it as a two-part event. And the first part is the resonance event that we just warmed up. What does that mean? Well, we've got these different registers in our voice that you've probably heard about. We have our chest voice, our head voice, and our middle voice. And then we have transitional bridges between them. If you want to have a successful mix, each place needs to be familiar and in shape for your voice. A lot of you have come to singing. You love it, but maybe you haven't trained specifically. And so, you're singing with what you know, and you kind of start to think that that's your limit. And what happens is we start with singing with what we know best. And we sort of ignore the parts that feel unfamiliar that we don't know. And then we overemphasize one part of our voice. It's kind of like if I was some kind of gym trainer and you guys all came to the gym today and we came in and you did your favorite exercises, but the ones you don't like that don't feel good, like your abs or your legs, you skip those. Okay? And what ends up happening is those muscles never get in shape. That's the same thing with building your mix. Okay? If you're always singing in your favorite part of your voice that works well, but you ignore or neglect the other parts, if you don't do exercises that strengthen up the weak spots in your voice, you're never going to achieve a balance. So, actually moving forward in voice is about vulnerability, finding a person that can guide you and that you trust and working on your weaknesses, not just emphasizing your strengths. By all means, I want every one of you to sing for joy. So have a group of a group of songs that work well that you can sing when you just want to sing for music, but then also have a dedicated practice that's moving you forward and building you up as a singer. So each day when you come to your practice, you've got to do some exercises for chest voice, some exercises for head voice, some exercises for the middle voice, and some exercises for the bridges between them so that you can sing smoothly through. Also be aware that as you move through different registers, the sensation of singing changes. And a lot of times when singers aren't aware of that very helpful fact, they think they're doing something wrong. So your chest voice and your middle voice and your head voice don't feel the same to you. But if you train, they can sound the same to your audience. So when you're listening to some of your very favorite singers and they sound like they have one voice, they actually have a very balanced three places or more that they can sing in and they're able to flow through them in an even way. And that's the mark of a good singer. So don't be embarrassed if something feels new or different or vulnerable. That just means you're strengthening up a weak part of your voice and you're moving yourself forward. So part one of mixing is resonance. And that means that you've got to make sure that all of your resonance is accessible to you and that you can flow through these different places in your voice. The second part of the event though is what we're going to move to next. And that's vocal cord closure. So the second thing is that it's a vocal cord event. And you guys have all experienced this. We're going to explain things today in terms of strength and flexibility. So, some of you have a really nice strong sound in the bottom part of your voice, but as you go higher, you get stuck. Maybe you're here today because you want mix to help you find more freedom in your voice. Others of you, you have a lot of freedom. You can sing up high, but you're lacking a little bit of that exciting sound that you hear maybe belters use on stage. Okay? And so, you're here today to get more strength. mixing, if we're looking at it from a technical standpoint, is the combination of strength and flexibility. In your voice, you have two muscles that we have to teach how to cooperate. We have what's called the TA muscle. That stands for thyroaritenoid, but you can just think TA, and that is your strength feature. That's the muscle that closes your vocal cords for strength. Everybody take your hands real quick and pretend like these are your little vocal cords. Yay. Okay. So if if we press them together really hard, [Music] say that's your TA muscle squeezing really tight. Okay? Then if we go for balance, say oh. Right? And then if we go even lighter and loose, say, okay, those are all variations of activity from the TA muscle. So it can it can squeeze nice and tight. It can be balanced like speech or it can be loose and breathy. And we've got to learn how to activate that muscle and teach it to provide variations of muscle coordination for us. Okay, that's your TA muscle. That's where you get your strength from. Now, on the outside, we have what's called the CT muscle. CT stands for crycoyroid. That's your release feature, your flexibility feature. That muscle is trying to stretch your chords back to front like a rubber band. And it's trying, the higher we sing, the more the chords need to lengthen and thin out. So if you're up in your high head voice, those are much thinner vocal cords than when you're in your low chest voice. Hey, those are short thick chords. And that muscle is responsible for lengthening and thinning the chords. So what really is mix? Well, you could think of it as a long strong coordination. And what that means is the CT muscle has stretched your vocal cords long, but then your TA muscle is closing them so that they don't sound breathy and weak. And that's what most of you are experiencing. If you can get up into your high voice, maybe it sounds a little too light and airy or you're trying to sing with strength first and you can't even get up there. So, this is why it's so important for you to really understand what mixing is. You've got to learn the flexibility to allow your chords to stretch front to back, but never disconnect into a breathy, weak sound. Okay? So, we have to teach these muscles to cooperate. How do we do it, Kurt? Well, I'm going to give you an exercise. Okay? So for the TA muscle, we're going to use hard consonants. Everybody say GG and feel that activate the TA and close up those vocal cords. Okay? And then we're going to follow that up with a release feature for the CT muscle. So we're going to use a hoodie u vowel. Say goo. See how that gives you a lot of release. Now you put those together and we get strength with flexibility. go. So, this prevents me from getting up here and going like and disconnecting. If I get I'm teaching those muscles to coordinate and then eventually that's and I can get much more balance long and strong. You hearing the difference? So, this is the training. Okay, let's come from the bottom and I want you to bounce and feel that G lightly kick so that you keep activating the TA muscle, but then follow it up with that hoodie u vowel for release of the CT muscle. And let's teach those guys to dance. Okay, so here we go from the bottom and we're going to sing like [Music] this. Follow me. 2 3 4 g. Use that G consonant and feel your chords come together. And then follow up with that hoodie oo and feel the weight come off. Here we go into your mix register. Leave chest voice behind and let those chords thin out and learn to connect them in this new thin coordination. [Music] Good. Now, for most feminine voices, that's a high G. That's high enough. If you want to keep going, you can, but don't strain. Masculine voices, we need to go a little higher. 2 3 4 G. [Music] Excellent. High C. Do you notice that I'm not getting louder and singing harder, but I'm I'm using an even volume as I go up. Okay, let's see what happens. Now, we're going to uh go through that ascent one more time. And I want you to try to add a little spin and see if you can sustain the pitch. So, we're going to [Music] go 2 3 4. There you go. Let it sing. Now, maybe you're getting [Music] this. You're pushing too fast and the air is moving too quick. So, you got to use those G's a little bit longer. Okay. Let's say you're getting this. You're too tight. So you got to use the bounce and the rhythm of the scale to try to find more [Music] freedom. It's all about balance, strength with flexibility. Okay, back in 2 3 [Music] 4. Use that kick and then release into the vowel. New muscle coordination. It might feel vulnerable, but that's [Music] progress. Excellent. coo. [Music] [Music] One more. Okay, if you're not getting all the way up, that's totally fine. Took me years to get up there. Okay, you'll get there, too, if you keep practicing. Now, these are the basics of mix. And if you want more of that, please go check out the YouTube channel. We've got like six videos on how to mix, and you can find all kinds of exercises and review some of these concepts. Interested in more voice training? Visit us at wolfstudiosnyc.com.