How Does the Singing Voice Work?

How Does the Singing VOICE work?

How Does the Singing Voice Work?

The voice is like any musical instrument. It has a power source (breath), a vibrator (vocal folds or internal thyro-arytenoid), and a resonator (the vocal tract). As the breath moves up from the lungs to the trachea, it moves through the vocal folds, which is housed in the larynx. The vocal folds create the sound in the way that blowing breath between two blades of grass creates sound. As the air passes through the vocal folds, which are closing, suction is created at this narrow space, causing the vocal folds to close. Pressure builds up under the closed vocal folds, causing the vocal folds to open again. As the air passes through the narrow passage, it creates suction, which causes the air folds to close again. This cycle continues, vibrating 261 times/second for middle C. This is how your vocal folds vibrate.

The sound is created at the vocal folds, which are house in the larynx (your larynx is the bony bump on the front of your throat, often called the voice box, or Adams apple). The sound continues up into the vocal tract to the back of the throat, where it resonates, and exits at the mouth. Resonance also occurs in the nose, but only on consonants and sounds, such as the -ing in English words, or nasal French vowels. This is when the velum, or soft palate, moves down and the air passes up further into the nasal area (if you feel the roof of your mouth with your tongue, feel the hard part-- that is your hard palate-- go further where it is soft and there is no more bone-- this is your soft palate).

Know your diaphragm when breathing 08

Know your diaphragm when breathing

The diaphragm looks like an overturned bowl, whose lip is at the base of the rib cage and base continues up into the rib cage. Air flows into the lungs when the diaphragm contracts downward, giving the lungs room to expand downwards. The intercostal muscles of the ribs expand the ribs outward, creating a partial vacuum. This causes air to flow into the lungs where the air pressure is low, allowing equilibrium to be achieved. Breathing is not a matter of "sucking" in air. The ribs expand first, causing the air to flow into the lungs.

There are several different ways of breathing. Four common ways of breathing are incorrect. Chest, or clavicular, breathing is when the chest heaves up and down when breathing. Back breathing is when the most expansion occurs in the middle and lower back area. Belly breathing occurs when the lower abdominal muscles are pushed outward, allowing only the lower part of the lungs to expand. Rib breathing, although less incorrect than the others, is still faulty. Rib breathing is when the only expansion occurs at the ribs. In correct breathing, the most expansion occurs at the ribs. Expansion also occurs in the lower and middle of the back and the upper abdominal muscles. There should be no chest breathing. You may want to imagine "sipping" breath through a straw.

When the ribs collapse, the breath needed for singing is expelled. This is a natural occurrence after inhalation. In singing, however, it is important to counteract this. The key is to keep the ribs, lower abdominals, and back expanded. Try to imagine that you're still breathing in, although you're singing, and the air is trying to escape. This breath support is vital.

There is danger in the audible breath. If there is sound created on inspiration, that means that the vocal folds are partially adducted, or closed, as the air flows in. During the audible breath, the vocal folds continue vibrate upon inhalation. This means that the vocal folds are never allowed to relax, they are always in use. This puts unnecessary strain on the vocal folds, and the folds will tire.

Sometimes, there is enough of a rest in piece of music, or even a vocal exercise. This is an opportunity to breathe through the nose. Nose breathing is very helpful. The nose is designed to filter, warm, and add moisture to the incoming air. This is helpful because the intake of air through the mouth dries out the mouth and vocal folds over time.

How do I then use psychology to the advantage of singing better?

Unlike other instruments like the piano or guitar, your voice is inside you. Ironically, what's inside you is more difficult to feel than what's outside you. For what's outside you can feel with your skin, through pressing, through feeling pressure, through looking at what to press and even through hearing the sound you produce on the guitar and piano.

You noticed I mentioned "hearing". With your voice as your instrument, what you hear and you think you are producing is not actually what your audicence hears, unless you sing into a mic and hear from the monitor speakers which then again only mean 50% of what you hear is what the audience hears.

Try this - if you have not done this before try this out. Find some way to record your speaking and singing voice onto a casette tape or a MD or into your computer through a mic and then play it back. What do you notice? I'm sure you may even be freaked out at first. What you recorded and played back seems so different from what you have been hearing. Is there scientific evidence for this? The answer is yes! Your body has many resonating chambers of which includes your phraynx, cheeck bones, mask of the face, nasal and oral cavity and even your chest. The sound that your vocal chords produce will be resonated in these chambers.

(In fact, a proper way to sing loudly is to channel all the sounds into the these chambers so that you sound louder rather than only using your oral cavity) Sound travels at different speeds through solid, liquid and gas (3 states of matter and yes sound does travel through solid, that is why soundproof studio rooms have double glazed vacuum glass doors)

Therefore what you hear comes directly from yourself to your ears through the vibration of your body and skin while what others hear is transmitted through the air from the vibration coming from your body. Simply but what others hear is body >> air >> ear and what YOU hear is body >> air >> ear AND body >> ear.

I'm sure that you have realised from the previous article that you are able to control a few things in the singing mechanism, that is the lowering of the tongue, the pressurising of the area where your 2 halfs of the rib cage meet and the opening of your jaw. But how do these relate to your larynx, your diaphragm and your throat? Indirectly they do. e.g. lowering of the tongue is controlling the tongue muscle but not your larynx, yet if done correctly it helps to lower your larynx (place a finger at your adam's apple, that's the position of your larynx)

Therefore Singing IS psychological

How do I then use psychology to the advantage of singing better?

Have you experienced a time when you felt sad and spoke to your friend over the phone and your friend could tell without looking at your face. Or have your conductor or coach ever told you to smile when you sing so that you produce a bright and happy sound? Indeed how you feel translates into how you sound.

Therefore to produce a bright forward, ringing, inspiring sound means you have to smile, raise your eyebrows and your cheekbones. However, wouldn't it be weird to do such actions on stage. Yes. Therefore there must come a point after sufficient training where such techniques become second nature and internalised. Meaning you only have to smile slightly on stage without looking weird with an over exaggerated smile to produce just the same extremely bright and cheery sound. How do you do that? Here comes the psychological part. For psychology in itself is too hollow and intangible you need to do all those exaggerated smiling as mentioned previously first! Then you start to think of your body producing sound waves that emit like a rainbow from the tip of your nosebridge (this is where your sound should focus at) and flowing out with ease like a set of notes. Imagine the colour and beauty of these notes just like you are watching a cartoon with birds chirping and animations of musical notes emitting from their cute tiny beaks. This imagination translate to sending the vibration up there. Since you have no buttons to press and no internal anatomy, then this is the only way to send the sound up and out, into a heaven-like lightness and beauty. So putting into perspective what do I mean when I mentioned about not being able to feel tangibly like playing a piano and yet having to smile excessively which is obviously a very concious feelable thing. The smiling is only to aid in your imagination and feeling because the smiling in itself is so indirect. Using muscles to smile does not specially activate certain muscles in your body that move sounds upwards or change the quality of sounds as if your body is such a straight forward instruement where there is a spring, valve and string to everything. No there isn't! Its about feeling and things insides your body that happen but are hard to explain. If fact as a singer, there is not really much need to know all these. To sing a happy sound just look and think happy. =)

IN conclusion
Therefore singing is a mix of things you can feel tangibly and things that are just emotions are imaginations. Of the things that you can feel tangibly, they do not have a direct and straightforward cause and effect on your anatomy that leads to you producing that sound, rather that kind of sound is the side effect of the cause (your doing of the tangible actions like smilling excessively)

Useful Tips 08

Today I will be addressing a common problem faced by many singers. That is a sore throat. Below are some common reasons why people get a sore throat and the solution to these problems.
1. Dehydration --> This is obvious, Drink plenty of water and do not scream or shout

2. Screaming or shouting or singing excessively loudly --> there is a correct way to shout and a correct way to sing excessively loudly, and that is by engaging your diaphragm to “punch” the sound out. How do you do that? Lie down on a mat or on your bed and place your palm just below your rib cage. The bottom of your rib cage is shaped like an inverted “V”. At the vertex of this V is also the center of your diaphragm muscle and where you should exert your force when singing. To see how your diaphragm moves, just inhale and exhale gently without any tension whatsoever in the shoulders, throat or neck and feel it rise (inhalation) and fall (exhalation). This can go on to become a whole topic, I’ll thus address this another time. If your problem persist, you may want to continue reading point 3 which deals with what you need to do to your throat.

3. Tension of the throat --> this occurs because you are trying to sing a high note, or trying to sing very loudly or just tense. If this occurs because of singing high notes, or loudly, then please refer to point 2. Now if this occurs because you are tense, then there is a way to release the tension. A tense throat is only one where the throat is shut tight and you are trying to force air in. Now one way to see if your throat (which is the back of your mouth) is open, is to stand in front of the mirror and open your mouth wide (3 fingers spacing) and see if you can see your uvula. If you don’t know what’s a uvula check dictionary.com. If you can see it dangling freely and not resting on your tongue (which means your tongue has to be raised and blocking the passage way in order for that to happen), then your throat is open. If not it isn’t. A common problem with many people including singing coaches is that we tend to equate a big open mouth with an open throat. However, if your mouth may be open at the front, but not at the back. Meaning your jaw may be wide open but the passage way is blocked, thus sound cannot flow freely and there is abrasion against your larynx (voice box) thus you get a sore throat. Now, I’ve yet to touch on how to open that throat. If you can identify when its open and when its close, then just try to relive the same experience that causes it to be open. Some experiences include, yawning, getting ready to swallow something huge, or just having trained to lower the back of your tongue at your whim and fancy. To solve the problem you have to go progressively from identifying the experience to creating it. This will take time and a conscious effort. It sounds difficult, no but its actually very easy. Think of how many times your have yawned in your life.

Professional Singing Technique 08

Speech level singing is a technique used by many professional singers. Names include Michael Jackson, Jennifer Lopez, and many many more. The concept of speech level singing is to produce your tones at speech level ie: with the ease of speaking.

It is very common for singers to use the muscles outside the larynx (voice box) to try and mould the tone. This is counter-productive as it causes a lot of tension, and as the singer climbs up their range, the voice tends to jam up. A person will never be able to use their full vocal range with these muscle coordination’s.

The end result is the larynx (voice box) is constantly constantly moving up and down, forced all over the place by these outer muscles. Not only are these muscles poor at adjusting the vocal chords effectively, they cause many a sore throat! (Try this exercise.....Sing high into your range while gently touching your adams apple. Does it move? If so, you're singing with more tension than necessary.)

Speech level singing aims to correct this problem by training the inner larynx muscles to do all the vocal chord adjustments. These muscles are far more efficient at controlling the chords. This means that the larynx can sit still, just like in speech. As the singer changes pitch, the inner larynx muscles control the tightness of the vocal chords, adjusting them to vibrate at the correct frequency.

Training the inner larynx muscles to sit still will actually regulate your breathing and resonance distribution as you sing. Strangely enough, many singing teachers work tirelessly with their students on correct breathing and resonance issues, usually without much success. The speech level singing process has a different approach....

....Speech level singing uses special exercises that dis-engage the muscles located outside the larynx. This will allow the more efficient, inner larynx muscles to do what they do best! They will control all the vocal chord adjustments AND breathing and correct resonance will happen naturally.

The exercises will cause you to send just the right amount of air to the vocal chords. And this means....

......singing is about to become a whole lot easier!

When a singing first uses the speech level singing technique, they will usually have a dramatic increase in vocal range. Let's learn a little more about what causes great vocal range...

Singing Tips Pt 2

Singning tips no. 4
Work hard at developing your mixed voice! This is one of the hardest vocal coordinations to master, although is very achievable with the correct training. This part of your voice is what ties your entire voice together.
It is the bridge between your chest and your head voice. It is also the best part of your voice to use for a commercial, popular sound. It will give your voice flexibiliy and will actually improve the other areas of your voice!
Your chest and head voice will likely improve once you master your mixed voice. This is because the mixed voice requires the most sophisticated reasonance and vocal chord coordination.
The chances are, if your mixed voice is beginning to sound really good, your vocal chords and breathing are beginning to function very efficiently, and your voice will only get better and better!
A great mixed voice is a sign of a good singer! So work on blending those registers....

Singing tips no. 5

Ok, here's an obvious one....
Warm up before doing any vigorous singing exercises! I know it's tempting to get straight into it....
Warming up your voice will increase the blood flow to your vocal chords. The muscles will then find it so much easier to operate effectively. You will be able to sing much better, with much less vocal tension.
It's so simple, yet so many singers forget to warm up.
Begin by humming nice and relaxed, in a easy range. Use simple scales, and don't try and sing too high, too early!
After humming for a few minutes, continue warming up by doing some lips rolls on a slightly harder scale. After ten minutes of this, your vocal chords should be nice and flexible, ready for some more challenging exercises!
Don't forget to warm up. Your voice will thank you for it.

Singing tips no. 6

Just as it is important to warm up before singing, you must warm down after singing. This will prevent your voice from getting tight, and it will make it easier next time you sing.
Do a gentle slide from your highest, easily reached note, down to your lowest note, and then into vocal fry (Vocal fry is the first noise you make when you wake up!
It sounds like Elma Fudd...."Hewo" in his crackly vocal fry!). If you still don't know what vocal fry is, stop the exercise when you get to your lowest note.
Do this exercise 10 to 15 times after every practise session. Keep it very relaxed... It will reinforce the progress you had made in that lesson. This is one of the most overlooked of the singing tips...
...Don't forget it!

Singing tips no. 7

Be sure not to forget singing tips no. 6!

Singing Tips Pt1

Singing tips no 1

Learn how to extend your vocal range. This is an important factor in developing a great singing voice. It will give your voice another dimension, and add an element of excitment to your singing.
Extending vocal range is done by learning how to sing in different vocal registors... different muscle coordinations. You must learn how to zip up your vocal chords as you sing higher. This leaves less of the vocal chords free to vibrate, and allows you to easily hit high notes.

Singing tips no. 2

The second important factor in increasing your vocal range, is to blend your vocal resonances. Your tone will resonate in your throat, your mouth, and your nasal cavities.
Each one of these cavities will favor different frequencies... produce a different sound. To develop beautiful tone, you must balance these vocal resonances. Once balanced, your tone will be superb.
As you move through the different areas of your voice (low, middle, and high), the reasonace will undergo changes. For example, when you are singing low notes, most of the reasonance will be felt in the throat and mouth.
As you pass up through your range, you will feel the reasonce pass behind the soft palate (the soft tissue that acts as a divider of your mouth and nasal cavity), and into your nasal cavities.
When you are singing in your highest range, most of the reasoance is felt in your head (nasal cavity).

Singing tips no. 3

The change of resonance described in tip no. 2, are defined by many vocal instructors as vocal registers.
To develop a great voice you must become intimate with each of the three main vocal registers. Here they are....
Chest voice - The voice we generally speak in. The vocal chords vibrate across their entire length, and the reasonance is primarily in the throat and mouth. Chest voice produces a thick, rich, vocal sound.

Head voice - This is the highest part of our usable range. The vocal chords are in a shortened or "zipped up" coordination, and the reasonance is primarily in the nasal or head cavity. Head voice produces a slightly hooty sound, like when you impersonate an owl "hooting"!

Mixed voice - This is a commercial sounding voice, that is higher in pitch than the chest voice. It is the voice you hear most top 40 artists using on the radio. It uses a "zipped up" chord coordination, although it gives you the same impression as singing in chest voice, with sweeter tone quality.

The resonance is split in this coordination, half in the mouth and half in the head cavity. For commercial success, learning to sing in the mixed voice is a must.

Singing Tips on Q and A

Q: Are falsetto and head voice the same thing?

A: No. Falsetto is the lightest vocal production made by the human voice. It is limited in strength, dynamics and tonal variation. Usually, there is a considerable 'jump,' 'break' or 'disconnect' between your chest (speaking) voice and your falsetto. Noted vocal coach and voice therapist Randy Buescher of Chicago defines falsetto as:

"a coordination where the outer layer of the vocal cord (mucosa, i.e. internal skin or muscular covering) is vibrating, creating sound, but without engaging the actual musculature of the cord. Also, there exists no medial compression. In other words, during the vibratory cycle, the cords never fully approximate. In head voice, the cords approximate, but the vibration of the cord moves away from the full depth of the vocal cord (chest voice) to a pattern that involves less and less depth of vocal cord as you ascend toward the top of your range. The highest notes of your range involve only the vocal ligament. However, there is no consensus among experts on the official definition of vocal registers."

Q: Should I eat before I sing or perform?

A: If you are hungry, eat. Don't stuff yourself with a 7-course meal. Just eat until you are satisfied. Always eat at least an hour before your performance to avoid what singers call a "gunky" throat. You will have the strongest temptation to clear your throat (which can be harmful) immediately after eating, but waiting an hour is usually enough time for your meal to settle.

Q: What's the proper way to clear my throat?

A: Some say that you should never clear your throat, but excess mucous inhibits free vocal cord coordination. The trick is to find a way to clear your throat without irritating it. Do a gentle "whispered cough" (without tone) and then swallow. Repeat. If this doesn't work, you need to deal with the excess mucous production. Squeeze a 1/4 of a lemon in a tall glass of water and sip over about 20 minutes. This should cut through a lot of the excess mucous. Furthermore, watch your dairy intake... especially cheese. You should never eat it on the day of a performance!

Q: I'm working on my R&B/Gospel styling, but my trills are slow and sloppy. Is there any thing I can do to speed up my trills?

A: The first thing we need to do is understand what trills are (also called licks, runs and turns). A trill is a scale sung dynamically with crisp delineation, fast vibrato and a clean attack or onset. In other words, going from one note to another without slurring or sliding, because slurring notes together gives the impression of poor vocal control.

On the other hand, you don't want to add an 'H' sound, a staccato or glottal stroke (clucking noise) to your vocal line to achieve separation between notes. This will create an artificial and artistically unpleasant sound. So how is note delineation organically achieved? First, start on an F below middle C for the men or F above middle C for the women. Now sing up to a G and then back down. Learn to go back and forth as rapidly as possible without sliding or losing note distinction until you feel a 'bounce' between notes. Use a metronome and start at sixty beats per minute and speed up one or two bpm at a time while singing eighth notes.

Speed up only as fast as you can while remaining clean in your note delineation. If you can get to 200 bpm, then you're up to speed with Mariah Carey and Brian McKnight. Now you just have to learn to put together longer patterns of notes within the scales used for the style you are singing in. These scales are cataloged in the Singing Success Program.

It's important to understand that learning is incremental with this. If you only speed up one beat a day, which is so gradual that it can hardly be felt, then in less than four months, you can be at 200 bpm.

Q: Can anyone learn how to sing?A: It always amazes me when I am asked can I learn how to sing. Yes anyone can learn how to sing. Most people are under the false belief that singers are born with the ability to sing. You either have it or you don't. Nothing could be further from the truth. With the proper singing instructions anyone can learn how to sing.

There are a few people who through trial and error happen to stumble upon the proper singing techniques. These people are referred to as natural born singers, but in reality they learned how to sing using the same techniques that can be taught to anyone. Providing you receive the proper vocal training.

Learning how to sing does not involve learning, and practicing boring scales or breathing exercises. Learning how to sing properly is a natural systematic process to building a powerful singing voice without any injury or stain. With the proper singing instructions you can learn how to sing, and should see dramatic improvements to your singing voice literally overnight.

FREE SINGING TIP(S)

10 Vocal Commandments ...That Every Singer Should Keep
I. THOU SHALT keep the vocal cords hydrated at all times: a. Consume at least 8 glasses of water a day.
b. Stay away from excessive amounts of diuretics (substances that dehydrate your body and your vocal cords). Two of the number one culprits are Alcohol and Caffeine. So…think twice before you have that second cup.
c. The real serious singer will sleep with a humidifier to make sure the vocal cords remain hydrated during sleep.

II. THOU SHALT get at least 8 hours of sleep a night. A singer's body is his/her instrument. Mistreat your instrument and it will show. Make sure to give your body and voice the proper rest it deserves.

III. THOU SHALT not smoke. Among other incredible health concerns, smoking dries out the mucous membrane lining of the nose & throat which adversely affects the voice.

IV. THOU SHALT not overuse or mistreat the voice. This would include talking over loud noises such as groups of people and loud machinery. Just like other muscles and membranes, your vocal membranes and muscles can suffer from fatigue. In other words, don't talk too much! It is also stressful to the voice to talk too quickly, so slow it down! Those people that have no choice but to tax their voices on a daily basis -- singers, professional speakers, teachers, cheerleaders, auctioneers, etc. --- need to take extra precautions to protect the voice.

V. THOU SHALT protect yourself from stress and nerve attacks prior to performances. We suggest the following to fight the gig day jitters:
a. Develop a checklist for gig preparation. It might include dry cleaning, reviewing lyrics, or getting your hair cut! (Follow these guidelines and you should be calm, cool, collected and able to give your best performance!
b. Leave a few minutes early for the gig or rehearsal so you can focus prior to the performance. (If this is a new location, be sure you have the proper directions and contact phone number ready ahead of time.)
c. Develop a habit of warming-up with an organized vocal exercise program on the way to the gig to properly prepare your voice.
d. Prepare materials to help you during an "off night" or for special circumstances - lyric books, practice CDs and Tapes.
e. Have promotional material such as business cards and flyers organized so that you can access them easily at the appropriate time. Marketing yourself as a singer is as much a part of the battle as singing and performing well in the music industry.
Remember, properly preparing yourself allows you to focus all your energy on your performance.

VI. THOU SHALT NOT eat or drink dairy or milk products before performing.Sorry, that means no chocolate or ice cream, among some other great tasting foods. These products cause the mucous membrane lining of the throat to create a great deal of mucous. In case you can't guess or don't already know, that makes it very hard to sing well.

VII. THOU SHALT keep thyself healthy and virus free. We suggest eating right, exercising regularly (don't forget that cardiovascular work to improve your breathing!), and taking a quality vitamin supplement each and every day! Remember, a singer's body is his/her instrument! A finely tuned and maintained instrument will perform at a much higher level than an instrument that has been neglected.

VIII. THOU SHALT never sing without properly warming up. If you were running in a marathon, would you begin without stretching your legs? Of course not. Doing this would risk reduced performance and possible cramping that would take you completely out of the race. The muscles and membranes associated with the voice would appreciate the same courtesy. Just like those hamstrings, your voice will reward you for taking the time to properly warm up before strenuous use.

IX. THOU SHALT SMILE.Smiling not only helps with tone placement of the singing voice, it also improves your attitude! Try it! It really works. It's infectious too!

X. THOU SHALT enjoy life and celebrate every accomplishment no matter how small they may seem. Sing for fun, sing because you love it, sing because you can. Share your voice with the world and enjoy your journey as you learn not just to sing, but to sing with impact!

Six Steps to Reaching your Singing Potential

When a beginner - or even an intermediate vocalist – attends their first professional voice lesson, one of their main concerns is usually “the assessment”.

The vocal coach’s job #1 is to determine what the vocalist is doing well, what they need to do to improve, how to help them achieve their goals, and of course, the student wants to know “how long until I’m good?”
“That depends” I usually say, upon how much they practice, and what are their goals. Results are guaranteed, but of course a student who, for example, plays bass in a punk band and would like to sing his/her own compositions may reach their goals more swiftly than a gentleman who would like to sing his favorite female diva’s passionate love songs. They will be working on differing technical requirements.

Music is a beautiful thing – its purpose is to share emotions, and convey thoughts and ideas. If one is singing from the heart, especially if the song is good, it is rather difficult to go wrong. The mistake I would warn against is just singing out of your caliber pending further improvement. Strain all you like at practice, but when in public stick to your comfort range.

We can all easily name five rich and famous singing stars that are very successful, but not at all accomplished technically. Why? We love to listen to a good story teller, and a good song.
So that said, if you’d like to reach the full limits of your own potential, (and why not?) there are six basic talents of music to work upon: Pitch, dynamics, melody, timing, tonality, and authenticity.

Pitch = hitting notes with accuracy
Dynamics = adjusting the volume levels in the music for texture and expression
Melody = flowing from one note to another skillfully and gracefully
Timing = one must be in “in the pocket” grooving with the rhythm of the music
Tonality = the quality and the timbre of the sound you’re creating
Authenticity = the thoughts should be clear, your emotion authentic
To be a complete singer, one requires a complete program.

My words of advice regarding potential:
- Beware of vocal coaches who don’t want to work with you unless you’re already pretty good.

Afraid of a challenge are we?
- The difficult parts are only difficult because you’re not good at them yet.
- “Talent” is an illusion. Practice a lot (correctly!!!) and you will be “talented” too!

What is Speech Level Singing?

What is Speech Level Singing?

Basically, if the larynx stays down and the vocal cords stay together from the very bottom of the vocal range to the very top everything is fine. This also applies to all vowel and consonant combinations through out any phrase. If at any point the larynx jumps up or down or the tone becomes breathy then there is something wrong with the vocal process.

The larynx is the big bump in the middle of the neck just below the chin. This houses the vocal cords and controls the process of swallowing. When the larynx moves up, the muscles around the cords act as a sphinchter and closes so as to prevent swallowing down the wind pipe and into the lungs. This is a very important process when you need to swallow, but it is a very poor process when you are trying to sing. If you place your hand on your larynx and yawn, you will find that you can bring your larynx down as well. This is a good way to learn what it feels like to have the larynx stay down. The end goal here is to be able to keep the larynx from moving down as well as up. It should stay completely still as you ascend and descend.

The vocal cords, also known as vocal folds, are a pair of soft tissue cords that are joined at the front of the larynx and extend back. When they close, the back end of the cords come together (connect), and the flow of air is temporarily stopped. When the pressure of air from the diaphram overcomes the pressure of the muscles holding the cords together, they are blown apart and sound is made when they close again due to the resonation created. Then once again the air pressure overcomes the muscle pressure and the process begins again. If a singer is singing an A above middle C, this process happens 440 times every second.The pitch A above middle C vibrates 440 times per second. That is very fast and it is somewhat difficult to see this process happen even if you can see down the singer throat. Since the invention of the strobescopy it has become easier to view the vocal cord resonation process. If the vocal cords begin to come apart, the tone becomes breathy and the muscles around the outside of the larynxbegin to tense. This becomes what is called a constricted phonation and is quite harmful for the voice.

This is a very brief and condensed version of what happens when you sing, there is obviously a lot more going on. But, to give you an idea of what is correct, take these two ideas and while you are singing, monitor them. See if you can keep your larynx still and your cords together. You will probably find that there is a certain area of your voice that is easy for you to accomplish this, and certain points of your voice that are more difficult. These harder areas are called bridges, The key to Speech Level Singing is in understanding the bridges and the mix. Bridges in the voice are passage areas from one part of our vocal range to another. In Italian, they're called passagi-or maybe you've heard the term passagio. These passage areas are a result of vocal cord adjustments that must take place in order for us to sing high and low in our range. These vocal cord adjustments produce resonance shifts in our body.

Our first shift in resonance, or our first bridge, is our most crucial, because this is where our outer muscles are most likely to enter the picture. If they do, they tighten around the larynx in an effort to stretch the cords for the desired pitch.

What is Vibrato?

What is vibrato? How do I create it and control it? Does it involve my stomach or throat?
Vibrato can be a tricky thing. In fact, throughout the scientific industry there is still somewhat a dispute over exactly what vibrato is and why it exists.

However, let's discuss what we do know.
a) Vibrato is the natural or forced fluctuation of a tone.
b) Breathing muscles seem to be responsible for vibrato creation.

It is possible to forcefully create a vibrato using your diaphragm muscles, it is also possible to manipulate other parts of the voice organ to force vibrato creation. However, we recommend vibrato be created with much less effort.

We support the following position about vibrato:
A free and focused tone will naturally possess a minor fluctuation in pitch which will serve to warm or intensify the sound. That doesn't mean that one should not learn how to manually control and use vibrato at will, but simply that its natural development is of primary importance to a singer's training.

So how do you get that free and focused tone that leads to natural vibrato without actually concentrating on vibrato specifically? You learn the facts about singing and master some basic skills directly associated with vibrato creation. Two basic skills which deserve your attention are:

1) Breathing properly for singing
2) Supporting the tone with the diaphragm

Nine times out of ten we are able to solve all vibrato problems (and many other fundamental singing challenges) with concentrating on these basic skills. It makes sense since these skills are part of the very foundation of voice production. Once these development steps are taken and you understand how easy it is to make everything work together, you will surprise yourself one day during rehearsal by accidentally creating a tone beautifully enhanced with natural vibrato.

A Simple Guide of Tone Placement

TONE PLACEMENT Taking the abstract idea of tone placement and replacing it with specific instructions for improvement and understanding.

Say these syllables with slightly exaggerated mouth movements:
"EE - EH - AH - OH - OO. "

Now do it again, but this time imagine that there is an "X" that moves in your mouth. The first syllable, "EE" finds its central balance point at the very front of your mouth and teeth. That "X" then moves in a line to the back of your mouth so that the "OO" position has an "X" that rests in the very back.

Stating the concept in this fashion gives us FIVE different mouth positions or placements that we can use and discuss easily.

Say them again. "EE, EH, AH, OH, OO"

Now the ideal position for most singing is the "Ah" position, or the central "X". In addition, you will want to think about what I call, "Apple Ah". This means your "ah" should be placed and stated as if you were about to bite into a nice medium-sized apple. Say it several times practicing the position, "ah" "ah" "ah".

"Apple Ah" works better because of how the cheekbones become involved in the action. Without the apple idea, many students believe they are in the "Ah" position when they are actually more in the "Oh" position. Don't allow yourself to fall in this trap! Really visualize the apple.
To further emphasize the position/placement idea, say the word "moon."

Generally speaking, most people place it in the back "OO" position. That means, if I had to put an "X" at the center place of where that word sits in my mouth, it would be the very back. If it doesn't fall there naturally, try to place it there. Say it again, "moon."

Now work your way back to "Apple Ah."

Say, "EE, EH, AH". Again. "EE, EH, AH."

Now say the word "moon" again, but in that wonderful "Apple Ah" position. See the difference? Once you understand this concept you can easily apply it to any phrase you are singing. Now let's make sure you understand WHY we want to do this and why it is so important.

Singing in the "Oh" or "Oo" position leads to vocal fatigue or hoarseness. This position simply makes your vocal cords and what many of us call your voice organ (meaning all of the muscles, membranes, cartilages, everything involved with voice production, etc.) work too hard. This position also leads to a hooty or covered sound. Some young singers like to use this placement because it makes them sound older. Unfortunately, it also sets them up for vocal problems and frustrating moments as an adult singer.

Singing in the "EE" or "EH" position leads to a very bright, nasal and cutting sound that lacks good tone. It can also cause mouth and facial tension. So we want to use these positions to our advantage when needed, but we do not want to sing with this placement most of the time.

Singing in the "Apple Ah" position is healthy and promotes balanced use of the oral cavity. Learn to raise your soft palate (like you have the big side of an egg in the back of your mouth, or like what happens when you yawn) while you sing in the "Apple Ah" position and you will get a nice balanced sound. Be careful. Many people try the analogy of the egg and find their placement falls back to the "Oh" position. Just practice, after a few practice sessions with consistent repetition and you will surprise yourself at how easy it is.

Remember that everything in singing is about balance. If you have a good foundation of vocal mechanics, which includes tone placement as described above, you can learn to utilize other placements for stylistic effects. To clarify, if you can stay in the "Ah" position as your "default" position and just bounce to the other identified placements (EE, EH, OH, OO) for stylistic effects when needed, you will not suffer the fatigue and hoarseness associated with vocal abuse.

Finally, if you have good breath control and support, are singing in the "Apple Ah" position but still do not like the sound of your voice, your issue lies with how you are creating RESONANCE and utilizing your resonating devices. And that .... is another lesson

The Chest Register

The chest register is the speaking vocal range of a singer, for example, in baritones, notes below the E above middle C (C4, C1 in European notation). It is the major bulk of most male voices; however, in female voices, falsetto voices are also utilized in most cases for screaming (especially in female children who often hit whistle register when they scream). It is called the chest register because the pitch resonates throughout the chest cavity.

In commercial pop music, most rock, indie rock metal, and a lot of general pop music, belting is used to sing higher notes than are present in the average vocal range. These higher than average notes are hit using the chest register, albeit with careful studying on how to use minimum muscle effort to avoid damaging the vocal cords. Belting is often used to create large intervals and money notes. This type of singing is largely shunned in women in bel canto and Speech Level Singing, however it is taught, although to a lesser extent than fully possible in men in both methods due to the difference of male voices. To learn the full belting method, other schools of singing methodology generally must be sought out

The chest register is one of three registers in the bel canto Italian opera singing method, and the largely commercial (usually used with RnB singers) 'speech level singing' method, where it is used along with head register, and the passagio middle area.

The chest voice is the register typically used in everyday speech. The first recorded mention of this register was around the 13th century, when it was distinguished from the throat and the head voice (pectoris, guttoris, capitis -- at this time it is likely head voice referred to the falsetto register, see falsetto article) by the writers Johannes de Garlandia and Jerome of Moravia.

Vocal fold, scheme

Glottal cycle, chest voice
The speaking voice is named as "the chest voice" in the Speech Level Singing method. It is so called because it can produce the sensation of the sound coming from the upper chest. This is because lower frequency sounds have longer wavelengths, and resonate mostly in the larger cavity of the chest. A person uses the chest voice when singing in the majority of his or her lower range.

It was discovered via stroboscope that during ordinary phonation, or speaking in a man the vocal folds contact with each other completely during each vibration closing the gap between them fully, if just for a small length of time. This closure cuts off the escaping air. When the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates an oval shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement a certain number of times a second creates a pitched note. This is how the chest voice is created.
The tonal qualities of the chest voice are usually described as being rich or full, but can also be belted or forced to make it sound powerful by shouting or screaming.

Use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.

The Head Register

The head register is a vocal technique used in singing to describe the resonance of singing something feeling to the singer as if it is occurring in their head. It's mentioned in the Speech Level Singing method used in some singing. According to an early 20th century book written by David Clippinger, all voices have a head register, whether bass or soprano.
In Clippinger's 1917 book, it is stated that male and females switch registers at the same absolute pitches. Clippinger also states that at about E flat or E above middle C the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches the alto or soprano passes from the chest to the middle register. According to Clippinger there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches.
The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E4 in all voices, including the bass, but Martin states in the coloratura soprano it is more likely to occur at F4.
A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher, Richard Miller; states that in the "tenore lyrico" the higher part of the singing voice above the secondo passaggio at G4 extending upwards is referred to as "full voice in head," or voce piena in testa, effectively stating the head register begins at G4 in the "tenore lyrico," not at E4.According to Singing For Dummies, the bass changes from chest voice into middle voice around A3 or Ab3 below Middle C and changes into his head voice around D4 or C#4 above Middle C.
According to Martin, in the head register that is above the chest register some of the bottom end leaves the voice, but it's still a voice capable of much power.
According to Clippinger, often explanations for the physiological mechanisms behind the head voice alter from voice teacher to voice teacher. This is because, according to Clippinger: "In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument".

What is Voice Projection?

Voice projection is the strength of speaking or singing whereby the voice is used loudly and clearly. It is a technique which can be employed to demand respect and attention, such as when a teacher is talking to the class, or simply to be heard clearly, as an actor in a theatre.

Breath technique is essential for proper voice projection. Whereas in normal talking one may use air from the top of the lungs, a properly projected voice uses air properly flowing from the expansion of the diaphragm. In good vocal technique, well-balanced respiration is especially important to maintaining vocal projection. The goal is to isolate and relax the muscles controlling the vocal folds, so that they are unimpaired by tension. The external intercostal muscles are used only to enlarge the chest cavity, whilst the counterplay between the diaphragm and abdominal muscles is trained to control airflow.

Stance is also important, and it is recommended to stand up straight with your feet shoulder width apart and your upstage foot (right foot if right handed etc) slightly forward. This improves your balance and your breathing.

In singing voice projection is often equated with resonance, the concentrated pressure through which one produces a focused sound. True resonance will produce the greatest amount of projection available to a voice by utilizing all the key resonators found in the vocal cavity. As the sound being produced and these resonators find the same overtones, the sound will begin to spin as it reaches the ideal singer’s formant at about 2800 Hz. The size, shape, and hardness of the resonators all factor into the production of these overtones and ultimately determine the projective capacities of the voice.

What is Vocal registration ? Pt3

From highest register to lowest register :-
Whistle
Falsetto
Modal
Vocal fry

Vocal fry register
The vocal fry register is the lowest vocal register and is produced through a loose glottal closure which will permit air to bubble through with a popping or rattling sound of a very low frequency. The chief use of vocal fry in singing is to obtain pitches of very low frequency which are not available in modal voice. This register may be used therapeutically to improve the lower part of the modal register. This register is not used that often in singing but male quartet pieces, male Russian choral pieces, and certain styles of folk music for both men and women have been known to do so.

Modal voice register
The modal voice is the usual register for speaking and singing, and the vast majority of both are done in this register. As pitch rises in this register, the vocal folds are lengthened, tension increases, and their edges become thinner. A well-trained singer or speaker can phonate two octaves or more in the modal register with consistent production, beauty of tone, dynamic variety, and vocal freedom. This is possible only if the singer or speaker avoids static laryngeal adjustments and allows the progression from the bottom to the top of the register to be a carefully graduated continuum of readjustments.

Falsetto register
The falsetto register lies above the modal voice register and overlaps the modal register by approximately one octave. The characteristic sound of falsetto is inherently breathy and flute-like with few overtones present. Both men and women can phonate in the falsetto register[1] The essential difference between the modal and falsetto registers lies in the amount and type of vocal cord involvement. The falsetto voice is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part, and the main body of the fold is more or less relaxed. In contrast, the modal voice involves the whole vocal cord with the glottis opening at the bottom first and then at the top. The falsetto voice is also more limited in dynamic variation and tone quality than the modal voice.

Whistle register
The whistle register is the highest register of the human voice. The whistle register is so called because the timbre of the notes that are produced from this register are similar to that of a whistle or the upper notes of a flute, whereas the modal register tends to have a warmer, less shrill timbre. Women of all voice types can use the whistle register. With proper vocal training, it is possible for most women to develop this part of the voice but some women are unable to do so. Children can also phonate in the whistle register and men can as well in very rare instances

What is Vocal registration ? Pt2

Vocal registration
From highest register to lowest register
Whistle
Falsetto
Modal
Vocal fry

The number of vocal registers
Indiscriminate use of the word register has led to much confusion and controversy about the number of registers in the human voice within vocal pedagogical circles. This controversy does not exist within speech pathology as speech pathologists view vocal registers from a purely physiological standpoint that is concerned with laryngeal function. Various writers concerned with the art of singing state that there are from one to seven registers present. The diversity of opinion in this area is quite wide and there is no one consensus or point of view. Many vocal pedagogists partially blame this confusion on the incorrect use of the terms "chest register" and "head register". These professionals argue that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the chest or head. The vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the term "chest voice" and "head voice" over the term register. Many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the multiplicity of registers which some vocal pedagogists advocate. For the purposes of this article, resonance problems are relegated to their own area since their usage here is controversial and without an overall supporting consensus.For more information on resonance see Vocal resonation.
Vocal registers arise from different vibratory patterns produced by the vocal cords. Research by speech pathologists and vocal pedagogists has revelaed that the vocal cords are capable of producing at least four distinct vibratory forms, although all persons cannot produce all of them. The first of these vibratory forms in known as natural or normal voice; another name for it-modal voice- which is currently highly used among both speech pathology and vocal pedagogy publications. In this usage, modal refers to the natural disposition or manner of action of the vocal cords. The other three vibratory forms are known as vocal fry, falsetto, and whistle. Each of these four registers has its own vibratory pattern, its own pitch area (although there is some overlapping), and its own characteristic sound. Arranged by the pitch areas covered, vocal fry is the lowest register, modal voice is next, then falsetto, and finally the whistle register.
The confusion which exists concerning what a register is, and how many registers there are, is due in part to what takes place in the modal register when a person sings from the lowest pitches of that register to the highest pitches. The frequency of vibration of the vocal folds is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases. In other words, all three of these factors are in a state of flux in the transition from the lowest to the highest tones.
If a singer holds any of these factors constant and interferes with their progressive state of change, his laryngeal function tends to become static and eventually breaks occur, with obvious changes of tone quality. These break are often identified as register boundaries or as transition areas between registers. Many pedagogists disagree with this distinction of boundaries blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place. This difference of opinion has effected the different views on vocal registration.

What is Vocal registration ? Pt1

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.[1] The term register can be somewhat confusing at it encompasses several aspects of the human voice. The term register can be used to refer to any of the following[2]:
A particular part of the vocal range such as the upper, middle, or lower registers.
A resonance area such as chest voice or head voice.
A phonatory process
A certain vocal timbre
A region of the voice which is defined or delimited by vocal breaks.
Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. This view is also adopted by many vocal pedagogists.


Vocal registration
From highest register to lowest register :-
Vocal fry
Modal
Falsetto
Whistle

Basic Breathing 101 for Singers & Vocalists

INTRODUCTION
Breathing properly for singing is the most important foundation technique. Each and every tone we create is carried on the airflow of our breath. The more control you have over the air flow, the more control you will have over your singing tone.

Imagine a kite flying high in the air. When the airflow is consistent, the kite will fly smoothly and steadily on top of the air current. When the airflow is inconsistent the kite will bob and dive with no rhyme or reason. Your singing tone is much like that kite. If you provide a strong steady airflow, your vocal tone will have the opportunity to ride strongly and smoothly to our ears. But if your airflow is uncontrolled and inconsistent your voice will break and waiver.

The purpose of this narration is to teach you to breathe properly. The purpose of the breathing exercise below is to increase your breathing capacity and control.

Before beginning this breathing exercise variation, please note that bringing more oxygen into your body than accustomed can sometimes result in lightheadedness or dizziness. Please take care to stand close to something that offers support should you need to steady yourself. Conferring with a physician is recommended before beginning any exercise routine.

BREATHING
To breathe properly for singing, you must breathe low into the bottom portion of the lungs, engaging the diaphragm. Your rib cage and back will expand. Your shoulders and upper chest will remain still and will not rise.
Try it yourself: Inhale deeply and exhale completely. Again inhale and exhale.

Now try it again, only this time inhale for four counts, hold your breath for four counts, exhale over four counts and then wait four counts before inhaling again. Let’s do three complete sets of that counting exercise. Remember to inhale deeply and properly for singing.

Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 Again.
Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 Last Time.
Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 4.

This basic exercise is an easy one you can do every day. Plain fact, the more you exercise your breathing, the more control you will have over your voice. With a little time and practice you will be a master of breathing control. As you make progress, challenge yourself to increase the breathing count to 8, 12, 16 and more. For best results mix and match the numbers. The size of singing phrase is never the same, so practicing all different airflow situations is ideal. Breathing correctly needs to be a habit, meaning you need to do it correctly without thinking about it. So in the beginning you really want to concentrate on the proper technique.

BONUS TIP: Are you sure you’re breathing right? If you are uncertain of yourself see if this little experiment helps. Sit in a chair and while keeping your back straight, lean over and put your elbows on your knees. Take a deep breath. Feel your back and rib cage expand? Now sit up and work to duplicate the feeling, only the expansion should be a ring around your entire body.

Identifying the Fab Four of Singing Voices

The four singing voice types are soprano, mezzo, tenor, and bass. Even though these names sound like characters in a mob movie, they're nothing to be afraid of. Under each voice type heading, you discover specific traits about each voice type: the range, register transitions, voice tone, and any subdivisions of that voice type, as well as the names of a few famous singers to help you put a sound with the voice type.

Highest range of the dames: Soprano
The soprano has the highest range of the female voice types. The following aspects are characteristic of her voice type:
Range: Often Middle C to High C although some sopranos can vocalize way beyond High C and much lower than Middle C.A soprano is expected to have a High C and many sopranos can sing up to the G or A above High C. Choral directors or musical directors listen for the singer's comfort zone when determining if the singer is a soprano. Although a mezzo can reach some of these higher notes, a soprano is capable of singing high notes more frequently than a mezzo.

Register transitions: Because not all sopranos are the same, the register transitions don't occur on just one note. The transitions usually occur as the soprano shifts out of chest voice around the E-flat just above Middle C and into her head voice around F-sharp (fifth line on top of the staff) in the octave above Middle C.

Strength: A soprano's strength is a strong head voice.
Voice tone: The soprano voice is usually bright and ringing.
Weakness: Sopranos have a harder time projecting in middle voice.
Subdivisions: High, higher, highest — okay, that's not exactly technically accurate, but most other voice types have subdivisions that fill in the gaps.
Common Performance Roles: The soprano is usually the lead in the show, such as Ariel in The Little Mermaid, Marian the Librarian in The Music Man, and Mimi in La Bohème.
Naming Names: Famous sopranos you may know include Dolly Parton, Julie Andrews, Sara Brightman, Maria Callas, and Olivia Newton John.

How low can she go: Mezzo
The difference between a mezzo (mezzo is the abbreviated term for mezzo-soprano) and a soprano is often tessitura.(Tessitura refers to where most of the notes lie in a song — the notes that a voice feels most comfortable singing.) Many mezzos can sing as high as a soprano, but they can't stay as high as a soprano. For example, some roles in operatic literature require the mezzo to sing as high as the soprano lead, but the mezzo doesn't have to remain that high as long as a soprano does — thank goodness — because the mezzo comfort zone is usually different than the soprano; mezzos prefer to live in their middle voices. On the other hand, a soprano hates to live in her middle voice all day, preferring to sing high notes and soar above the orchestra.

To further confuse you, many sopranos sing mezzo repertoire. How dare they! That's not fair, but it's a fact. As in other aspects of life, after the soprano becomes famous, she sings repertoire that she enjoys and that may be music written for somebody else, such as mezzos. So just because a soprano sings a song doesn't mean it's a soprano song. You have to look at the details, such as range of the song, and decide if that range fits your voice.

Range: The mezzo range is usually G below Middle C to a High B or High C. Many mezzos vocalize as high as a soprano but can't handle the repetition of the upper notes.
Register: The register transitions for the mezzo usually occur at E or F (first space) just above Middle C and the E or F (fifth line) one octave above that.
Strength: Mezzos have a strong middle voice.
Voice tone: The mezzo voice is usually darker or deeper than her soprano counterpart.
Weakness: A mezzo's head voice is often her weakness.
Subdivisions: One subdivision of mezzo is contralto. Less common than mezzos, contraltos can usually sing from F below Middle C to about an F (fifth line) below High C. A contralto can vocalize or sing higher and has an even darker, richer color and is more at home in the lower part of her voice. Sometimes singers darken their voices intentionally to make themselves sound like contraltos. The contralto may take her chest voice dominated sound up to a G (second line) above Middle C and shift into head voice around the D (fourth line) an octave above Middle C. Examples of contraltos include Marian Anderson and Maureen Forrester.
Common Performance Roles: The mezzo is often the mother, witch, or the sleazy girl in town. Her roles include such fun ones as Miss Hannigan in Annie, Mrs. Pots in Beauty and The Beast, Carmen in the opera Carmen, and Aunt Eller in Oklahoma!
Naming Names: Famous mezzos you may know include Marilyn Horne, K.D. Lang, Lorrie Morgan, Patsy Cline, and Karen Carpenter.

Highest range of the dudes: Tenor
Thanks to the Three Tenors, The Irish Tenors, and even Three Mo' Tenors, you probably have a good idea of what a tenor sounds like.
Range: The tenor range is about two octaves with many singing a little lower than C (second space in bass clef) and a little higher than the male High C (third space treble clef).
Register: The tenor voice doesn't make a huge transition from his lower voice to his middle voice. His transition into his middle voice occurs around Middle C (or the E just above Middle C) and then a transition into head voice around F-sharp or G above Middle C.
Strength: The tenor's strength is his head voice.
Voice tone: The tenor voice is usually bright and ringing.
Weakness: His weakness is often his lower voice.
Subdivisions: In the musical-theater world, a subdivision of the tenor, called the bari/tenor, reigns. This voice type is someone with the power to project in the middle voice and the higher ringing money notes of the tenor. The other voice type that you frequently hear of in the opera world is the countertenor — a male singer who sounds like a female. This voice type sings in the same range as the mezzo (sometimes soprano) and sounds similar. When you've heard the countertenor singing enough, you can distinguish him from a mezzo. Until then, just enjoy the unique quality that these gentlemen bring to the singing world.
Common Performance Roles: The tenor is almost always the lead, winning the girl at the end of the show. Examples include Rodolfo in La Bohème, Don José in Carmen, Tony in West Side Story, Billy in Chicago, and Rolf in The Sound of Music.
Naming Names: Famous tenors you may know include Luciano Pavarotti, Placido Domingo, and José Carreras, whom you may recognize as the Three Tenors, as well as John Denver, Enrico Caruso, Daniel Rodriguez (the Singing Cop), Elton John, and Stevie Wonder.

He's so low: Bass
Bass is the lowest of the voice types. The bass is the guy that sings all the cool low notes in the barbershop quartet.
Range: His range is usually F (below the bass clef staff) to E (first line treble clef) but can be as wide as E-flat to F.
Register transitions: The bass changes from chest voice into middle voice around A or A-flat just below Middle C and changes into head voice around D or D-flat just above Middle C.
Strength: His low voice is his strength.
Voice tone: His voice is the deepest, darkest, and heaviest of the male voices.
Weakness: His high voice is his weakness.
Subdivisions: Filling in the middle between tenor and bass is the baritone. The baritone can usually sing from an A (first space bass clef) or F (first space treble clef) below the male High C. The bass-baritone has some height of the baritone and some depth of the bass and his range is usually A-flat (first space bass clef) to F (first space treble clef) and sometimes as high as G below the male High C. The baritone's register transitions usually occur at the A or B just below Middle C and the D or E above Middle C.
Common Performance Roles: The bass or baritone is often the villain, father, or older man. Examples include Ramfis in Aïda, the Mikado in The Mikado, and Jud Fry in Oklahoma! Some exceptions to this villain image are King Arthur in Camelot, Porgy in Porgy and Bess, and the Toreador in Carmen.
Naming Names: Famous basses you may know include Samuel Ramey, James Morris, José Van Dam, Tennessee Ernie Ford, and Barry White.

"Own" the Song you Sing, You will own the listener.

"Own" the Song you Sing, You will own the listeners.
Once you understand the mechanics of singing, the fun part really begins. The color and character you add to your singing tone and vocal performance can be as unique as your fingerprint.
Don't be afraid to experiment to find your comfort zone. Some people truly enjoy singing karaoke or singing with a cover band - all the while working to sound like the popular artist that made the song famous. There is nothing wrong with this, but it is also not a rule you must follow. Don't be afraid to share your own sound, your own style.
One thing is true, singing someone else's message is rarely the way to a standing ovation. Sing your own message with sincere intent. "Own the song" you are singing, whether it is similar to what has been known before or very different. Make it yours. You tell the audience what their perception of the performance should be...only you. Only you gives someone permission to make you feel inferior as you sing. So sing proudly, no matter what your level of expertise or experience. Singi it as if you are selling the song to the listener, if they buy it, you succeed!

Above all else, enjoy your voice and others will too.

Develop Your Singing Tone

One of the most common complaints heard from training singers is dissatisfaction with their singing tone. Many of these frustrated individuals believe that people are either born to sing well or they are not – and then resign themselves to sounding a certain way the rest of their lives. Fortunately for all of us, this is a misconception.
Very few people are “born” with great singing ability. Most of us have to practice regularly and work to improve our skills…just like most athletes. This is where the art of productive practice and understanding factual singing concepts can really make a difference. Today our focus is on vocal tone and resonance – how to control it, change it and own it.
How is your vocal tone? Rich, warm, thin, weak, powerful? And, is it different on any given day? This occurs because everything affects everything – from the air we breathe to how much sleep we get. One way to combat this arbitrariness is to learn to increase and decrease the amount of resonating space being used at any given time. This can be as simple as dropping your jaw to add additional space, or focusing your tone through the nasal cavity to take advantage of that resonating space.
Learning to change the focus and direction of a vocal tone at will does require practice, but if you understand what you are trying to accomplish during that practice time your development will occur more quickly. Remember that a very important portion of your personal sound is developed by how much you choose to open and close those resonating spaces. The trick is to learn which spaces you can control, and how to control them. Of course, in order to make the most of resonance you must be building upon a good foundation of proper airflow, tone creation and diaphragm support.
Vocal instruments are unique in that they can easily change the size and shape of resonating spaces at will. You wouldn’t be so lucky if you were designed as a rigid tuba or trumpet! A tuba uses the large provided spaces to create a rich, warm, low sounding tone. The trumpet has smaller spaces to work with and produces an edgy, more brilliant sound. A tuba will never sound like a trumpet; the trumpet will never sound like a tuba. This is not the case for voices! By understanding these concepts we can train our voices to sound like both the tuba and the trumpet.
Very simply put, here is how the concepts fit together: To make sounds warmer, increase the amount of space inside your instrument (raise the soft palate, drop your jaw, etc.). To make sounds more brilliant, increase your airflow and direct the tone through smaller resonating cavities (nasal and/or sinus cavities), also taking advantage of hard surfaces like your teeth and hard palate (roof of mouth).
While experimenting with this idea, be very careful to monitor your “placement.” Tonal placement should always stay centered, not swallowed (hooty sound) or pushed too far forward (nasal sound). Adjusting the cavity spaces and resulting resonance should be built on top of good tone placement and not the other way around.
So remember, don’t be just a tuba or a trumpet when you can be both by learning to properly adjust your resonating spaces.

How to overcome Stage Fright? Pt5

Questionable Methods That Sometimes Work
Mention your nervousness : I've seen many a performer say "Gosh, I'm nervous" early in a show, then proceed to do a killer set that leaves the audience impressed with both their chops and their willingness to be vulnerable. Sometimes if you tell the truth your nervousness disappears. This is very risky, since you may come off as unprofessional. Your audience doesn't want to be nervous with you. I'd try it only with a very sympathetic audience, and only if you know that you can deliver the goods afterwards.
Pharmaceuticals: Oh boy, this is a controversial subject. Heavy use of alcohol, pot, et al will mess with your judgement and dexterity (though you may think that you sound fantastic), and also will dry out and trash your vocal cords. Virtually no one advocates their use. However, there is one drug that appears to help nerves: beta blockers. Beta blockers interfere with the body's adrenaline response and can greatly reduce the usual stage fright responses like rapid heartbeat and shortness of breath. I've consulted three doctors who agree that beta blockers are safe if not overused. One is an excellent guitarist/doctor who swears by them. If used daily, however, your heart rate might slow to ten beats per minute! Absolutely don't use them without consulting your doctor. I've tried them a few times and discovered that they alleviated the fluttery feeling before the show, but along with it I lost my post-performance high. My singing and playing ability didn't seem to be affected, but during two different shows I forgot words to songs, a rarity for me. I'd vote for trying natural methods first.
There's a reason for performance anxiety; you care about doing a good job. Blasé performers don't get stage fright. Luciano Pavarotti has said that if he ever stopped being nervous before a performance he'd know he'd lost his passion and would quit performing. So the next time stage fright appears, consider yourself a passionate person, try some of these techniques and channel that nervous energy into a transcendent performance.

How to overcome Stage Fright? Pt4

During the Performance
A couple of times I've had zero stage fright until the second I walked on stage. Obviously I couldn't ask the audience to hold on while I did some yoga to relax. Here's what can help if nerves persist on stage:
Refashioning eye contact: You probably already know the importance of maintaining eye contact with the audience. But, if nerves have made you anxious, making eye contact with someone can freak you out. Instead, try looking at people's hairlines or foreheads. To the audience it looks like you're maintaining eye contact, but it can feel less threatening to you.
Movement: The more I've performed the more I've gotten into moving my hips while I'm playing and singing. It's not that I'm trying to look sexier (though that's not a bad thing on stage); it's that I've found it relaxes me and keeps me breathing deeply. If it works for you, develop a performing style that incorporates a bit of movement. You don't need elaborate choreographed routines; a gentle sway can do the trick. If nerves freeze you as you walk on stage, force yourself to move a bit with your first song. Very soon it will stop feeling forced and you'll relax.
Think of nerves as gasoline: Onstage you can't stop to try relaxation techniques. Now is the time to think of nerves as an energy source. If you can channel it into your performance you'll really see some sparks fly. Here's where to send it:
Get back to the meaning of the song! What were you feeling when you wrote or first heard your song that made it special? What story, mood, and/or character is it about? If it sounds like I'm trying to make a method actor out of you, well, yeah. Do your homework in advance-find out while practising what hooks you deeper into the song. It might be by creating a movie in your mind that accompanies the song, remembering where you were when you first heard or wrote the song, or focussing on the lyrics. If you write your songs you might think this is easy, but have you ever played a song about being heartbroken and realized that you wrote it two years before and now can't remember the heartbreaker's name? I have. You have to re-create your mood from two years ago, dive into the character that was you. Whether you're singing or playing, if you are distracted by nerves ask yourself: "What am I communicating here?" Get back to the meaning. I saw Ray Charles on tv last year singing "Georgia" for the forty-millionth time. He sang it as if the song were brand new, completely full of fresh feeling. If you can remember only one hint after reading this, this is the one to retain: Find the soul of the song while performing and nerves magically disappear. Not to mention your performance will be much richer.