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BRIDGE THE REGISTERS and IMPROVE VOCAL TONE by Releasing the Tongue Root
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- čas přidán 26. 06. 2017
- In this video, I discuss a very common reflex of the tongue root that inhibits the singer's ability to skillfully and successfully navigate the passaggio and achieve smooth registration (bridging of the registers).
Managing Tongue Tension in Singing: • Managing TONGUE TENSIO...
Retraining the Tongue Root (An Imagery):
• HOW TO FREE THE VOICE ...
Retraining the Tongue Root (An Exercise):
• HOW TO FREE THE VOICE ...
Mastering The Tongue:
• HOW TO FREE THE SINGIN...
Achieving Independence of Function Between the Jaw, Tongue, and Larynx:
• HOW TO FREE THE VOICE ...
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karyn@singwise.com
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I accidentally became the singer of our band last year, and I'm so happy to have found these videos. I am learning proper vocabulary and terminology to understand and explain what I've been struggling with (new concept: blending registers). I benefit from knowing the 'how' and 'why' something is and isn't working. Between the videos and your blog, I've come across an incredible resource to make me a better singer. I am soaking it up. Thank you. I've subscribed.
Wonderful! Thank you. Please let me know if there is any way that I can help you on your singing journey.
Your videos are extremely helpful. I really love the way you connect things to the underlying physiology and lead from there to very useful tips. I cannot overstate the value of your service to those who want to improve their singing.
Thank you so much for your kind and encouraging words! I really appreciate them. And you're most welcome for the videos and information. Please let me know if I can help you reach your own singing goals in any way.
Just great!
wow! the quality of your videos has increased so much! I don't mean the camera and resolution etc, but the structure, delivery and the rest..it was very intresting 13,5 mins with some very funny bits! Thank you and very nice work!
Thanks so much for the encouraging feedback!
Great video! I was just helping someone get through their break and the jackpot exercise was relaxing the tongue root. And I've definitely heard that constricted hum in the end before but couldn't fully place it besides being a high larynx issue. If only I came across this video first!
I am a bit vague on the terminology BUT these are a great help and insight to get my karaoke voice up to scratch. Thanks again.
Thanks for the information. 🎵
Loved that, thank you!
:)
Such great advice, mouthing the words and then whispering them. It really shows you just how much movement and hyper function happens that you wouldn't notice whilst actually singing.
A "party in front of your face" - YES :D
Yes! You get it!
Your tree house is awesome!
O goshhhh... You are THE BESTTTT... MY VOICE IS IMPROVING SO MUCH... SINCE I FOLLOW YOU.. I'M DOING EXERCISES DAILY, AND MY VOICE IS WAY WAY BETTER THAN BEFORE.. YOU UNDERSTOOD WHAT OTHER TEACHERS IGNORE. why don't you answer me by Emai
I'm so sorry for missing your e-mail. I've actually been having some troubles with my inbox and some messages appear not to be getting through. I'll check again.
My tongue doesn't really depress down on the larynx however my swallowing muscles are still engaged and everything tenses
Hey great video Karyn! Thank you for making these! I want to ask you regarding SLS - what is your personal take on their advocation on narrowing vowels in the bridge?
The concept of 'narrowing' the vowels is actually a classical one that SLS has adopted. I'm not sure how SLS teaches this concept, but I do know how it's taught in classical singing. Essentially, we 'close' (also referred to as 'narrowing' and 'darkening') our vowels in order to ensure an acoustical protection ('vocal cover') of the voice. Acoustically speaking, when we narrow or close a vowel, what we're doing is allowing the second harmonic to rise above the first formant, which encourages greater physiological efficiency. Narrowing entails choosing the appropriate vowel modification/shading and resonator tract shape for the pitch and register so that this acoustical protection is ensured. (I hope this answer isn't confusing to you. To me, the concept of 'narrowing' is really the promotion of an acoustical shift/event within the passaggio. It's the opposite of 'open' singing in which the first formant is continually raised in order to prevent the second harmonic from rising above it.)
Good tips.
Thanks for watching and commenting!
i just noticed my tongue is going down while inhaling . Thankyou so much i ill work on it😊
You're welcome! I'm really glad that this lesson was helpful.
A thing that helped me with respect to this subject was to hum with the cheeks "inflated" like if you were blowing air out you know? I dont know the mechanism of it, i think that when you inflate the cheeks you use some suprahyoid muscle that helps releasing the tension..... but that's just a guess...
I'm not sure if it really works, but it helped me and I feel like sharing....
I appreciate you giving people something to at least try. :)
Thanks for sharing this tip. There are certainly a number of different approaches that we can take to deactivate this tongue root reflex. It's good to have a lot of options because singers don't all respond in the same ways to the same exercise/approaches.
Thanks for all your videos. I'm not sure if my 'register break' issues are the same or not. I'm an amateur classical singer ( mezzosoprano voice range). And where I have the cracking issue is going up into what is probably the middle or chest voice. From around A or B below Middle C. Would these exercises you describe help here too? I know it's probably something I'll have to work on for a while ... !
Are you transitioning into a head voice kind of coordination on those pitches? Some female singers will try to transition as low as that. Does it happen when both ascending and descending in pitch?
Do we keep that dilated feeling of the surprising sigh while phonating? Or can we relax it when we're about to or phonating
I want to know if I understood correctly. From watching so many videos and teachers talking about tongue tension, relieving tongue tension is about lifting the soft palate. However there are so many ways to do this. Is it correct if I just lift the back of tongue just a little bit in order to lift the palate. Have I understood it?
How do I place my tongue in high oo in falsetto? E.g. Brother by Matt corby. I can hit the note easily, but it's very breathy as well.
Excellent video!
I just one thing to talk: show more pratical exercises. You theory is excellent too, but we need more pratical.
Definitely! Thanks for the feedback. (Incidentally, for singers with tongue root tension, the inhaling and exhaling and humming ARE exercises.)
singwisevocals what about speech level, do you have any video or idea for that?
I have an exercise that I call 'speak singing' in which we speak the words of the vocal phrase, but on pitch. We don't try to sound sing-songy, and we remove any stylistic elements. It helps our instruments to coordinate more effectively and dynamically when we're not trying to 'sing.' (czcams.com/video/b-3884KRrQQ/video.html beginning at 5:25 and czcams.com/video/gqUL22b7OMs/video.html starting at 1:18). I'm not sure if this is what you're looking for. If not, please let me know and I'll consider making a video on the topic that you're inquiring about.
singwisevocals thank you im gonna watch this.
You're welcome.
Hello Karyn, thank you for this video, and all the others. This is a lot of work for you. May I ask you something : is there a video where you explain why the larynx rises as we sing higher notes in chest voice (until we move to head voice then it falls back down again) ? Why does the larynx rise in the first place, do you know ?
I have mentioned in a couple videos that, when bringing chest voice (M1) above the juncture of the first formant of the vowel and second harmonic of the sung pitch, the larynx starts to rise. (The pharynx also starts to narrow, and especially in women, the jaw starts to lower.) This raises the first formant so that the second harmonic doesn't rise above it. It essentially keeps us locked into the same resonance (which is a yell resonance coupling) as we move higher in pitch. If we don't let the larynx rise, and, instead, stabilize the vocal tract, the second harmonic will rise above the first formant, which will change our resonance into more of a classical mix (still M1) or head voice (M2). I know this is a lot of science, but I hope it helps. I have a video that explains formants and harmonics, as well as an introduction to vowel modification and formant tuning and an interview with Ken Bozeman that talks more about acoustics. I can include links, if you like.
Hello Karyn, I am very amazed by the speed and energy that you put into responding !! And I am amazed by the detail of your response. I will need some time to try and understand it, starting with the videos that you just mentioned. Thank you for proposing adding the links, but I think I should be able to find them, I shall tell you if not. In any case I will come back to you on this !!, promise, even if it's in a month. Until then, have a very good mid-January time !
You're very welcome. Let me know how else I can assist you.
Hello Karyn,
Sorry for responding so late. I have watched your other videos on the subject, including the one where you interview Ken Bozeman. That video was really inspiring to me, his ideas of under- and overvowels, and his Epsilon. It seems to me there is no need to wait until you climb into higher notes to put yourself into an “Epsilon- or undervowel-configuration”, you can do it right away, and then indeed my larynx does not rise as I move into higher notes. I still don’t understand why the larynx rises in the “overvowel-configuration”. I did read your explanation on us raising the first formant so that it stays above the second harmonic, but I am not done with the subject. In any case, many thanks for your response 4 months ago, and for your work in general !
I was told years ago to keep the tongue flat at the back, this feels like pushing down. Is that different to what you are saying NOT to do?
Interesting video thanks. Not sure I have this problem, I don't really break into falsetto though I have a 'bump' in and around f4 to G4, where the consistency of the sound and volume changes, in a bad way. Just keep chipping away at it I guess.
That area of the range is the most challenging for EVERYONE! I remember reading in Pavarotti's book, My World, that it took him ten years to truly master his passaggio. So yes, keep chipping away at it, and be patient. I'm hoping to record a video on that transition area and how to smooth it out soon. I keep getting requests for it.
Thanks! I'm sure that would be a video people would appreciate.
I wrote this in your formants and harmonics video:
I think you should show diagrams to illustrate these parts of the body . It's hard to retain all this physiological info. I thank you for taking the time to do , but when you explain complex, scientific stuff , you need to always have in mind to break it down as simply as possible.
That's why I put the diagram near the beginning (starting at 1:42) when I talked about the anatomical connection between the tongue, hyoid bone, and larynx. In this video, I really only talk about these three parts of the body. I'm not sure that I understand how else I can help you visualize the basic anatomy and physiology. Please let me know if there is something more specific that I can do.
You didn't of that in the formants video
I had to leave in the first minute and half of that video , out if confusion and frustration.
You're so sweet. ☺
Awww. Thank you for your sweet comment.
singwisevocals I'm just telling the truth. I love your cheeks when you smile and talk. when it comes to your humor, it is interesting to watch and listen to you.
Btw. This is very good tips for us singer's
Thank you, good job. :)
:)
Ooo spiders ♥
Do you give skype lessons?
I do teach online lessons (via Zoom)! Is there anything that you'd like to know about them? (You may e-mail me at karyn@singwise.com or find out more at app.acuityscheduling.com/schedule.php?owner=14609841)
Please add more exercise. .to make sound perfect. .waiting
Thank you for using imagery that includes people of color.
Oh no, not spiders!!! :/
I don't like spiders. I had a traumatic experience with one once. Suffice it to say that it was rather large... and had visible muscles!
I am arachnophobic but I can't find any therapy for it because whenever I Google arachnophobia, loads of spider pictures pop up and I can't deal :/
Sorry to have fed into your fears through this video!
Just a suggestion:
1. This is your description of the problem: "narrowing, tensing and downward movement of the tounge root as the voice moves above speech inflection range". lol .seriously...do you talk like tihis to your students??
Most people have no clue whatsoever what you just said. Instead, show us an example of the problem you see so commonly in your students. Record their voice and tell us what is wrong. That will help a lot.
Thanks for the feedback.
Like all your videos, theories after theories. Nothing practical and non of exercises are provided.
Yi Tao, This teacher provides a plethora of useful information and exercises. Check out her website and her other videos. Don't sit back waiting to be spoon fed.