How do I sing like a pro
Building the voice with the right singing technique - Part 5 How can I improve as a (professional) singer?
Be it as a singer in a rock band, as a jazz singer, choir singer, musical singer, singer in classical repertoires or as an actor and speaker, the voice has to meet high demands in each of these professional or semi-professional areas.
The most important thing in order to bring or keep the (professional) singing voice at the top level is to make sure to bring it into balance again and again. Many strenuous rehearsals or tours, singing with a poor sound system or a loud band, under stress and nervousness, make the voice tire more or less quickly. You notice that you are getting hotter, the power of the voice is waning, there is a lack of height or depth and you become dissatisfied. Or there is a general lack of strength at high altitudes, stamina, you feel a break in your voice or you have to start pushing your voice up or down in order to be strong enough.
The right singing technique and continuous external control bring the voice (again) into balance. Maybe you sing with too little chest voice in general. Especially in classical singing styles, little focus is placed on whether the chest voice is sufficiently involved. Chest voice is also necessary to sing classical music!
Or you have the tendency as a rock musician to bring your chest voice way too high, which can be harmful in the long run. Other crucial issues are the use of too many external muscles involved in singing or a manipulated larynx position (too high or too low).
The goal in our singing lessons is to first listen to the chest voice (too easy, too difficult) and the connection to the head voice. With a trained singer, the chest voice does not go directly into the head voice (that would be no Connection), but must be thinned out before the 1st register transition (or passagio, or bridge). The goal is to sing in the MIX from the 1st register transition. That means a mix of chest and head voices.
The higher you sing, the more head voice there is of course.
We use exercises made up of a combination of vowels and consonants that create a specific function in the vocal cords or that affect the position of the larynx, and so-called unfinished sounds. See also my blogs about “The Basics”, “Working with Vowels and Consonants” and “MIX”.
Of course, there are also stylistic differences in how high the proportion of chest voice is. A rock singer certainly needs more than a classic choir singer. This technical voice work concerns both voice exercises and working on the song.
With a singer who can “mix” well, you can then tackle further points: dynamics, vibrato, stylistic devices, expression of emotions, text interpretation, and the artistic performance.
Control from outside, i.e. from a singing teacher, as well as self-recording and listening and practicing with recordings is essential. The differences are usually easier to perceive from the outside. Or on the contrary, some things that feel extremely different and strange to you (e.g. singing with a more chest voice) cannot be heard from the outside as such a huge difference, but rather perceptible as an improvement.
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