|
1
|
In
The Beginning |
This
exercise helps to develop a relaxed, full and low in-breath. If we
can acquire a manner of inhalation that creates minimum tension
then our singing (which lives on the exhalation) stands the best
chance of following suit. |
2
|
The
Sigh |
We
keep all that we have worked on in exercise 1
and add to it a natural un-forced exhalation. We aim to complete a
full deep breath cycle with the minimum amount of work and/or
tension. |
3
|
The
Sigh with a Squeeze
|
If
we just rely on a natural out-breath with no support we won't be
able to sustain notes or produce much of a sound, so we must learn
to pressurise the air with the abdominal muscles but we want to do
this with minimum tension. We don't want the work that is being
done with the support muscles transferring itself to the throat
and larynx. When we've squeezed the abdominal muscles to
pressurise the air it's important that we're able to let go as
soon as possible. We don't want to be storing tension. |
4
|
Starting
to Sing |
Again
we keep all the above but add to it a vocalisation on the
out-breath. We prove to ourselves that we can start to sing on the
natural un-forced out-breath that we have established in exercise 2
above. Still minimum work, minimum tension. We are careful to
remember this feeling of freedom and ease because we want to take
it with us in all our singing. |
5
|
Adding
Another Thing |
You
get the idea by now? We gently add things to our simple relaxed
breath, trying to maintain the ease as we build up. In this
exercise we have three separate onsets that again employ the
abdominal support muscles, only this time we vocalise on the air
flow. We remember that as soon as we've used them we let go and
revert to our state of relaxation. If you find it difficult to let
go of the work/tension then you need to tarry awhile on this one. |
6
|
One
Thing More |
You've
worked on exercise 5
and you can let go after squeezing the support muscles with
separate onsets. We want to practice and monitor our flexibility
of support. In this exercise we create accents in a sustained note
being careful to let go of the work in between accents and noting
whether there is a tendency to constrict in the throat to 'help
the accents along', if there is we have to let go. |
7
|
The
Mobile Tongue |
The
tongue is a big muscle connected to the area of the larynx. This
one frees up the tongue and gives it its independence. |
8
|
The
Dropping Jaw |
More
space, more resonance, more volume for free!! Loosen your jaw
here. |
9
|
Grinning
and Pouting |
One
for the cheek and face muscles. (Don't do this one while folks are
watching) |
10
|
The
Open Throat |
A
lovely exercise to encourage you to let go in the pharynx, put a
bit more air through and enjoy huge, easy, rich, ringing vowels. |
11
|
A
Lip and Tongue Thing |
Monitor
your support. Can you keep a lip or tongue trill consistent as you
traverse your vocal range? |
12
|
Down
to the Bottom |
Got
weak low notes? Do you pull your head down trying to get those low
Eb's? Maybe you feel like you're strangling yourself? Not good.
Sort it out nice and gently. |
13
|
Up
to the Top |
Not
a shouter but a gentle exercise to ease through in to head voice
or falsetto. How easily can you sing the upper notes of your
*middle register is the name of the game (*see FAQs about
registers) |
14
|
Humming
and Buzzing |
Resonance
= free volume, tone and projection. Free because it saves the laryngologist's
bills that pop up when you try to do it the other
way. Not entirely free 'cause you have to buy the CD and put some
practice in first... small price. |
15
|
Fooling
Around |
That's
enough tough stuff, here's one of the backing tracks to
improvise/ad-lib on. |