How To Sing In 7 Steps

Jennylyn's technique is ideal for classical, pop, jazz and musical theater vocalists with a passion for healthy singing. Her technique produces unmatched vocal health, beauty and stylistic flexibility in the voice. The fundamentals are as follows:

Low To High Notes. First we master low notes, then middle, then high. By first singing low pitches, singers are able to engage the entirety of the vocal folds in a relaxed manner. The larynx remains in the ideal low position on lower pitches. We speak in lower tones. It is the logical place to start.

Natural Breathing. We need about as much air to sing, as we do to speak a phrase. Just a handful of air does the trick. Take in too much air, and we feel we are suffocating. If too much air unnaturally escapes through the vocal folds, we have lost all breath control completely. Breathing for singing should be as effortless as breathing for speaking – only more supported.

Relaxed Face/Mouth. Tongue, jaw and lip tension are all too common for singers. Ideally, a singer has a completely relaxed face and mouth. A bit of drooling during vocal warmups is actually a good sign! Singers should be able to smile, frown, cry and laugh while singing. Every word, every vowel, every consonant – should be sung naturally. Learning to relax the wrong muscles, and to engage the right ones, is the key.

Buzzing Vocal Cords. Place your hand on your adam’s apple and speak a few phrases. You will notice a buzzing – much like a swarm of honey bees. This buzzing feeling/sound is created by vocal fold vibration. The more effortless and strong the buzz, the more powerful the voice. Buzzing is the opposite of belting, though it produces a similar power. Buzz should be felt on every note, from the bottom to the top of the singer’s range.

Zipped Vocal Cords. The zipping technique easily produces a 3-octave range. When we zip our vocal cords for higher pitches, rather than stretching them, we are left with one consistent voice (rather than two or three), zero cracking and a seamless maneuvering through the passaggio. We no longer must flip into the powerless falsetto for high pitches. When zipping, chords “thin out” as you sing higher. It’s much like fretting the guitar string. The frequency of the note equals the pitch of the note. Zipping causes the folds to vibrate faster because there is a shorter amount left vibrating. The shorter your vocal cords are, the higher the note you can hit. Most often, singers mistakenly stretch the vocal folds to obtain high pitches – resulting in pain, out-of-tune singing and a prematurely aged voice.

Comfortably Low Larynx. The larynx (or voice box) sits on top of the windpipe. It contains two vocal folds that open during breathing and close during voice production. Ideally, singers achieve a “yawning position” – which means that the larynx is being pulled down flexibly by both the muscles attached in the front and in the back. Low-larynx singing allows us to gain control of our voice, creating a rich, deep tone.

Head Resonance. All of the structure above the folds, including the throat, nose, and mouth, resonate when we sing. Head resonance, or ringing vibrations in the head, provide an alternative to the damaging belting style of singing that is so prevalent today. Learning to feel head resonance frees the singer in so many ways, and allows her to go by feeling, rather than hearing (which is a much more reliable). Head resonance is the key to producing volume without yelling.

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