Scott Riggs
Scott Riggs
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The Most Common Problem With Singing
Have you ever had your voice lock up as you're singing a song? Do you hear singers who sing easily through their full range and wonder what is holding your voice back? Have you ever felt your voice getting tired and scratchy after a night of singing? Most people have the same problems with singing, but don't have the right information and training to fix them. I have developed a simple, effective technique for improving your singing that will keep your voice healthy and strong for the rest of your life. It's the JDSMethod of Singing.
In this vocal method, you'll learn the secrets that allow your voice to flow freely with maximum range and power. I've been training singers and voice instructors for the last 18 years, and studied under some of the best teachers in the world. I'd like to share my secrets with you, to show you how you can begin improving your voice right away with these simple principles.
The Most Common Problem With Singing
Most people have the same problems with singing. You're fine for some parts of the song, then comes the high note. You see it coming, feel nervous, leap for it, and then boom--your voice cracks. You try again, push a little harder, lunging up with hope for a good result, and it's even worse. After a few more tries, you have less range than when you started, and the next day, you don't want to practice because your voice is scratchy and tired. What happened?
What I just described to you is called constriction, which is your body's attempt to sing notes using the wrong muscles. When this happens, muscles around your larnynx squeeze in, and your vocal cords get tired and begin to feel scratchy and weak. The common problem that everyone has is the weak link of the vocal cord in the system of singing. With weight lifting, you push your muscles to the limit and they grow back stronger. With your vocal cords, if you push them to their limit they swell up, and don';t resist air effectively.
Think of your as a five speed car, with some basic controls that affect the gears: gas, clutch, steering, and some signals With constriction, it's like you're stuck in second gear trying to get onto the freeway! When it comes time to sing to the high note, it's essential that you're able to change gears, and activate the small unique muscles that allow the voice to go into the very highest notes with ease and freedom. Many singers are not able to access all the gears of their vehicle, or even know that they exist.
Chest Voice and Head Voice
Put your hand on your chest and say "Wow". Now sing "Woow" in your head voice. Notice the difference between these registers. There are three approaches to deal with the break between chest voice and head voice:
1.Pull up the chest voice
This is the most common pitfall, and the most damaging to your voice. Even ten minutes singing while you're pushing hard at the top of your chest voice range can tire your voice and leave you feeling scratchy and hoarse.
2. Flip into falsetto
Falsetto is a state where your vocal cords have blown apart, and your voice sounds airy and "false". It doesn't really hurt your voice, but it sure sounds odd to you and everyone else.
3. Blend your chest voice and head voice, and sing at the Balance Point.
When you sing at the Balance Point, there is no break between the chest voice and the head voice. There are already some popular programs that teach you how to sing in your mix, mainly by Seth Riggs and Brett Manning. I know those teachers and their methods. I believe my method is unique, in that it reveals some common pitfalls that students of those methods encounter, namely tension in the jaw and tongue that prevents key muscle groups from activating.
Back to the car analogy, if you're hoping to change gears as you get onto the freeway, you'd better know how to work the clutch and the gas at the same time, and know where the gears are. In the JDSMethod, I show you how to balance your head voice and chest voice by awakening you to the control elements that allow your voice to function at it's fullest. Did you know that hidden tension in your jaw can inhibit the small but powerful muscles that allow your voice to transition smoothly from chest voice to head voice? Did you know that a little coordination of your nose can multiply your power by three or four times? Many singers study voice for years without becoming aware of the secrets that I will share with you in this vocal method. In it, I outline the major control elements of the voice:
Vocal Cords
Larynx
Air Control
Outer Muscle
Pharynx
In order to blend chest voice and head voice, you have to understand how these systems work and how they affect your sound. Then you need to be able to gain coordination of them with the concept that I call "The Balance Point". If you're interested in learning more about these powerful concepts, which are being presented in a new and comprehensive way, please visit my web site, www.jdsvoice.com. There you can watch more videos, read more articles, download free audio scales, and begin learning more about your voice, all for free.
About the Author
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John has been a professional Singing lessons in the San Francisco Bay Area for the last sixteen years. He studied under Seth Riggs, Lynn Wickham, and Raz Kennedy, and studied the Alexander Technique under John Baron. He began voice teaching after working as a producer and arranger for other singers in San Francisco after college. His background in sound engineering and recording has carried with him through the years, along with music directing, piano accompaniment, and performing as a Jazz vocalist.
