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How to sing higher

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Everyone is used to the fact that only experienced, venerable singers or singers can sing high notes, and ordinary vocal lessons do not imply the development of such a skill as unnecessary. But this is fundamentally mistaken.

If your voice refers to the soprano, then for you to understand how to execute everything correctly will not be a problem. He will tell you and tell you what to do with a vocal teacher. Try to choose a good studio with professional teachers.

How to learn to sing high notes?

The teacher will show you how to sing high notes correctly and easily, but you, for your part, must strictly follow all instructions and directions. After all, if you have a sufficiently low voice, then it can be difficult for you to take a note.

Before class, always pay due attention to chanting. This is done to warm up the vocal cords so that they are not injured in the process of singing. If the chanting is carried out qualitatively, then an understanding of what to do will come quickly enough. Heated ligaments are more obedient and flexible, therefore, notes will be taken more conveniently.

If you are the owner of a quiet voice from nature, then you should not try to deliberately sing loudly forcing the sound, as there is a risk of forcing the sound and you can remain without a voice for a long time. Contact the teacher. At first, most likely, it will be difficult and difficult, but in the first stages it is difficult in any business. The main thing is not to stop halfway. In singing, regular, ongoing activities are important.

Even if you have a low voice, this does not mean that high notes are not for you. For example, jazz vocals are incredibly useful in this regard. In such classes, you will be taught how to make your voice beautiful without especially straining. Jazz style perfectly contributes to the development of vocal range and voice mobility. You will learn how to easily and quickly rebuild from a high composition to the opposite, you will be able to perform quite complex works in technical terms.

It is also worth paying attention to teaching academic vocals. This is a classic voice-over approach that is fundamental to proper singing. Having received an academically delivered voice, you can easily perform both classical and pop works. In the lessons of academic vocals, you will understand how to learn to sing high notes with an open throat so that the sound flows freely.

If you have seriously decided to learn singing, then a vocal school is exactly what you need. It’s worth finding a suitable school with good teachers and starting classes. You will be taught how to sing high notes in a chest voice and how to sing high notes as low without straining the larynx. If the vocal apparatus is strained, the sound is ugly and pinched. It is important to achieve flight, lightness of sound, this can be achieved by relaxing the vocal cords, getting rid of excessive tension.

After a good academic voice staging, you will not have difficulty before singing in a pop manner. It will be necessary to make the sound a little more open, the tutor will talk about this in more detail and show it clearly. Pop singing is a cross between academic and folk. It is more difficult to master the jazz style, for this it is necessary to attend lessons of this particular direction, since there you will have to do the hard work, developing the ligaments, and work almost like an athlete in the gym.

To help the vocalist

Head voice or how to sing high notes?
Author: Irina Ramzina
01.09.2009 17:09

Is vocal possible above the speech range of the voice?

Of course yes! Even as possible! However, in this matter most often there is "confusion and reeling" in the minds. Yes, any person has an “upper” voice above the speech range. This is falsetto. The sound of falsetto is so different from the sound of a chest voice that in its pure form falsetto is used in modern vocals only fragmentarily.

So, high notes are available only to units whose voice by nature has the necessary qualities? Thank God no, but let's take it in order ...

The speech section (segment, range) of your voice is the most familiar, convenient, native, if you want, its (voice) part. Well, since childhood, we have been using speech sounds, rarely resorting to other, higher ones. In modern songs, the largest part of the melody is written specifically for the singer's speech range. There are a lot of popular songs, the tessitory of which does not go beyond speech, although the composer finds it difficult to turn around on one octave. Many folk songs and, as their natural continuation, bard songs, as well as songs written in the style of chanson, have a speech tessitura.

More complex songs of other directions can no longer be limited to the speech range of the singer’s voice, but require him, a voice, a larger range. Modern vocalists control their voice in a range that extends higher and much higher than speech. But their vocals are not falsetto at all!

G. Leps and S. Pyekha "She is not yours" (G. Leps solo)

Pelagia "Home" (Depeche for Depeche Mode)

Compare falsetto with trained HEAD (the so-called “nadrechivoe” part of our voice) by the sound of a professional vocalist - anyway, to put an elephant next to a teapot is too big a difference. It would be a mistake to assume that a good, professional sound is a product of nature, and only a few can achieve it.

No! Just a few reach it, simply because you need to develop your voice, firstly, correctly, and secondly, it is long and difficult enough. Alas, just not everyone has the patience and determination, and, to be honest, many vocal teachers simply do not have enough knowledge.

The modern model of voice-over is quite, although not in everything, quite different from the traditional classical model used in music schools and other educational institutions.

You can read about some of the techniques that serve to develop your voice and master at the initial stage of a high register in the article “How to develop a voice. lowing! ”

So, you can turn your falsetto into a good head voice, and this is not mysticism, you need to know how. Although, at first it’s better to nevertheless determine the initial “sizes” of one’s own falsetto, the field of activity, so to speak.

As already mentioned, physiologically the “upper” voice is created by a different mode of operation of the vocal folds. The folds are stretched, in comparison with their usual, speech, state. Stretching and thinning at the same time, the folds get the ability to vibrate with a greater frequency than in their natural form (a video about this process can be viewed on the page "How is a vocal sound created?").

This provides the possibility of phonation of higher sounds than in everyday speech. Of course, the process of stretching the folds occurs at a height corresponding to the transitional section of the voice, and very quickly, spasmodically. The development of such an effect cannot be eliminated by any vocal training - this, unfortunately, is the nature of the voice.

Running a little ahead, I’ll say that one of the skills of a trained vocalist is the ability to “mask” this jump, make it inaudible to the viewer, thereby ensuring a smooth connection of the speech and falsetto parts of his voice. This is difficult work and, most importantly, lengthy, but quite feasible on its own. After doing this work on your own voice, you can no longer talk about falsetto. The voice in this part of the range will acquire a balance, timbre, that is, it will become a real head voice.

About the head voice, visitors to the site ask a lot of questions. If you are interested in the details, then you can additionally read the information from the rubrics “Asked? I answer. "And" Details by letter. " You will find more extensive and accurate information about what voice registers are in the articles of the section “Basic knowledge and skills”

It is best to begin to determine the "dimensions" of one's falsetto range from the transitional section. Pay special attention - difficult transitional notes (note) will become completely easy to play if you sing them with a falsetto mode of operation of folds (falsetto).

Further, as when finding the speech section, in semitones, it is obligatory in the legato technique, we rise upward while the voice can do this without undue stress. Sooner or later, the sensations will resemble those that you experienced when you reached the transitional section - tension, resistance, inconvenience. This means that you have reached the next transitional site, separating the falsetto REGISTER voices from a higher - whistle.

Here your falsetto site ends, this is its top. And where is the bottom border, so to speak, the sole?

From the transitional note of the first transitional section (between the speech and falsetto ranges) we begin to go down in semitones, using the legato technique. Folds - in falsetto mode! A few sounds down, and the falsetto mode of the folds disappears as if by itself, just fix in the region of which, approximately, a note this is happening. Now you have the boundaries of not only your speech, but also the falsetto range.

If we compare them with each other and with the piano keyboard, the picture will look something like this:

It doesn’t matter now in which octave it will be, for men and for women, of course, it’s different, in addition, the figure shows the section of the overlay falling on the notes from Mi (E) to C (H), and your section of overlay can be in elsewhere, well, for example, from F sharp (F #) to To (C), it is important that there are notes that can be sung in the voice of any person DIFFERENT FOLDING OPERATIONS or different REGISTRIES vote.

In this particular case, the first transitional section is in notes A (A), B flat (B), C (H), it is highlighted in blue. The notes Mi (E), Fa (F), F sharp (F #), Salt (G) can be absolutely calmly sung in a speech voice, or can be falsetto!

Thus, voice registers do not Dock with each other as well Overlay each other, which gives the vocalist a lot of opportunities. Which ones? Opportunities to learn how to discreetly connect the two most important registers - speech with falsetto (or chest with head, which is the same thing), getting a voice that is uniform in timbre.

The multimedia textbook “Vocal Mechanics” tells in detail about how to do this, what exercises, how often and in what sequence to perform in detail. You understand that the scope of one Internet article, of course, is only enough for a preliminary familiarization with the topic, which I do. I invite those who are really interested and ready to work on themselves to the page of the textbook.

The section of overlapping registers and a few more notes up (how many are individually, on average, a couple of tones) are called “middle register” in vocals, which I spoke about in the article “Thoracic voice and range of speech. What common?". Now it becomes clear the importance of owning your middle voice register, because it is in this area that the chest voice passes into the head one. So, if you want to have a vocal range that extends more than one octave, you need to work with the “middle register”.

But you need to understand that the middle register is not some special kind of work of our voice folds, just the vocals call the most complex and significant part of the voice. Our folds throughout this section gradually move from working in speech mode to working in extended, falsetto mode.

Anyway, PHYSIOLOGICAL voice registers (which, I repeat, the middle register does not apply) are connected precisely by transition sections, which are kind of vocal beacons.

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