I am continuing to cover "Voice Qualities" for several weeks relating 'Sound to the Anatomy' when singing. All Singing Topics Now Fully Covered in the NEW Book at: The Singing Portal.
1. We use many combinations of the 5 pure Voice Qualities, namely Speech, Cry/Tilt, Sob/Tilt, Belt, & Falsetto, within the multitude of genres.
2. Pure Speech Quality is our neutral” position. The larynx is neither high nor low in the throat, & there is no tilting of the cartilages.
3. In Speech Quality the vocal folds sit in a horizontal position above the airflow, are closely adducted & generally thicker than for Sob/Tilt.
4. In Speech Quality the voice sounds clear and direct because we thicken up the muscle mass of the true vocal folds when in Speech Quality.
5. There is no particular emotion attached to Speech Quality, but the energy is heightened & it works best in the middle range of the voice.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I am continuing to cover "Voice Qualities" for several weeks relating 'Sound to the Anatomy' when singing.
1. The basic "Voice Qualities" I refer to in singing & which can define all genres of music are: Speech, Cry/Tilt, Sob/Tilt, Belt, & Falsetto.
2. Relative positions of the thyroid, cricoid and arytenoid cartilages & their effect upon the vocal folds create different Voice Qualities.
3. The position of the Larynx in the throat, whether high, neutral or low has great impact on the Voice Quality produced & can be controlled.
4. The most easily recognised quality is Sob/Tilt, sounding mellow & dark in timbre & of major importance in all styles of classical singing.
5. In order to create Sob/Tilt, the larynx is lowered and the thyroid is tilted, which positions the vocal folds at an angle above the airflow.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with "Voice Qualities" for several weeks relating 'Sound to the Anatomy' when singing.
1. A "Voice Quality" refers to a type of sound we can produce, & which is directly related to movements of the component parts of the larynx.
2. A "Voice Quality" is determined by the position of the larynx in the throat & how the moving parts of the larynx relate to each other.
3. A learned component, such as the native spoken language & regional accent, can also determine a "Voice Quality".
4. Before naming the Voice Qualities I refer to when training a voice, it is important to state that I do not subscribe to any 'Method'!
5. Before embarking on Voice Quality usage next week I here state my singing influences: Bel Canto, Husler, Estill & my own extensive research!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
This is Week 2 on Vowels, paying particular attention to individual Vowels.
1. a pronounced 'ah', the most common vowel which tends to pull the tongue backwards & lower into the throat, sometimes depressing the Larynx.
2. a pronounced 'ah': Small mouth opening, tongue-tip against lower teeth, awareness of hard palate in upper mouth, back of tongue more raised.
3. e pronouned 'eh': The most naturally retracted of all vowels. Tongue-tip behind lower teeth, middle blade of tongue raised & forwards.
4. i pronouned 'ee': Tongue-tip behind lower front teeth, fully relaxed lips, sides of tongue pushing into upper molars when rising in range.
5. o pronouned 'oh': Tongue-tip behind lower teeth, lower middle blade of tongue, small mouth opening, and widely stretched pharynx.
6. u pronouned 'oo': Tongue-tip behind lower teeth, raised & forward placed middle blade of tongue, keeping lips relaxed & not overly pursed.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with our usage of Vowels within singing for 2 weeks, both in the part they play & any difficulties posed by certain formation.
1. Vowels are what we sing. Whilst we can pitch a consonant, we cannot actually open up a pitched consonant into open throated singing.
2. The Vowel clearly belongs to the note or pitch. Singers need to develop the centre of the pitch together with the centre of the vowel.
3. Vowels are all initially formed & produced from the back of the tongue before individually being further shaped governed by pitch.
4. An invaluable exercise is to build song repertoire into the singing voice using only the vowels of the words within seamless legato lines.
5. It is important for singers & their teachers to build a selection of exercises into the voice which work on ALL vowels equally.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Further information & tips on troubleshooting vocal inconsistencies & difficulties during this week
1. Pitch is determined by a combination of the position of the larynx in the throat and the air pressure powered by the breath support system.
2. High notes are easier when the larynx is relatively high in the throat, the vocal fold mass is relatively thin & airflow is finely balanced.
3. Cracking on high notes usually occurs when there is too much air pressure beneath the vocal folds & the larynx is not high enough.
4. Thorough preparation in the body in advance of a high note, & realising that “high” does not mean “loud”, will resolve forcing & cracking.
5. Carrying power of a voice depends on correct balance of air pressure & use of resonators; loudness and carrying power are different issues!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Further information & tips on dealing with recognising & remedying vocal inconsistences & difficulties during this week.
1. If a student of singing has difficulty recognising differences in pitch, then aural training to correct this has to be the first step.
2. In order to correct poor tuning, make sure that the larynx is moving freely in the throat & that the breath support system is energised.
3. A Bleat is a fast, unpleasant vibrato which is produced when the singer attempts to control the airflow with the True Vocal Folds.
4. Bleat occurs when Vocal Folds adduct too tightly. Airflow in singing should be controlled by the breath support system, not by the larynx!
5. Singers must learn to control gear changes by controlling the relative thickness of vocal folds & the position of the larynx in the throat.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with recognising & remedying vocal inconsistences & difficulties this week. An experienced diagnostic ear is essential in teaching.
1. Muscular action controls the breath support system, movement of the larynx, engages the resonators & alters the shape of the pharynx & mouth.
2. If muscles are working properly, the voice will emerge as desired, but imbalanced muscular actions will adversely affect the emerging sound.
3. Collapsed Posture is a misalignment of the spine. When present, the breath support system & anchoring systems for the larynx won't work well.
4. The Larynx cannot function properly if the back of the neck is collapsed & the jaw is protruding. Alignment of the spine is crucial here.
5. Tone deafness is a very rare condition. Singing in tune is a function of correct breath support & position of the larynx in the throat.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with Resonance this week. The tone of a note, whether bright, dark, sweet or harsh, rounded or thin is created by the Resonators.
1. The Resonators are: Pharynx divided into 3 parts, Mouth, Nose & Head Sinuses, Upper Chest & Aryepiglottic Sphincter which is your Twanger!
2. The initial sound made by the vocal folds is no more than a quack, but it is the Resonators which convert this pitched quack into singing.
3. Our main & most important Resonator is our Pharynx (Throat) divided into Laryngo-pharynx, Oro-pharynx & Naso-pharynx. The Mouth is secondary.
4. By raising & lowering the Larynx we lengthen or shorten the Pharynx which affects the Vocal Tone in a similar way to Woodwind Instruments.
5. Singing demands control of the resonators to produce the tone required, whether beautiful or not! Well informed exercises are a MUST! Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with conclusions covering my entire series of recognising & remedying vocal inconsistences & difficulties this week.
1. Recognising and remedying vocal difficulties depends on your knowledge & understanding of the essential anatomy of singing.
2. If you are a Teacher of Singing or Spoken Voice, then it is essential to develop a diagnostic ear supported by vocal physiological knowledge.
3. No Singing Teacher can hope to solve all vocal problems in one go. Even simple ones take time to sort out. There are no quick fixes!
4. A vocal difficulty is often the result of years of bad habit & may be a combination of more than one issue. Healthy Singing requires effort!
5. Remember: Retraining the muscle memory into new habits takes time. Singers & their teachers need to work together to resolve bad habits.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with the problems caused by incorrect positioning of the Tongue this week.
1. The Tongue is a large organ and comprises several muscle groups. Numerous problems occur because of it's sheer size & strength.
2. Because of its size, the Tongue can interfere with the rise and fall of the Larynx, and even block the Pharynx so that the sound is muffled.
3. If the Tongue sits too far back in the mouth & down in the throat, the Larynx has trouble rising & high notes will be difficult to access.
4. An habitual back position of the Tongue may be the result of the native language or of the regional accent of the singer.
5. Singers should be made aware of problems posed by regional accents & learn to control the position of the tongue to create easier singing.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with the problem of Tension in the Root of the Tongue this week, often referred to as Tongue Root Tension.
1. Muscles can lose the ability to relax, and so they remain contracted, which can interfere with the work of other muscles around them.
2. Tension in the root of the tongue can occur because there are several muscle groups at work, & sometimes they may be working in opposition.
3. Tongue Root Tension can be eased by stretching the tongue. Poke it out to its full length & then release it. The Tongue now feels stretched.
4. Tongue Twisters such as “red lorry, yellow lolly”, and tongue trills on an “rrr” are also useful in releasing Tongue Root Tension.
5. Advanced Exercise: Stretch the Tongue Tip backwards & upwards towards the Soft Palate, & sing a rising scale on 'HL, HL, HL, HL.....'
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with the common problem of Jaw Tension this week.
1. When muscles in the jaw are persistently contracted and tense, the jaw will appear stiff and articulation will be restricted.
2. If Jaw Tension is present there'll probably also be tension in the root of the tongue, neck & shoulders. Various exercises will alleviate.
3. Muscles release when stretched. To ease tension, turn the head to the left, then back to the centre, then to the right & back to the centre.
4. Exercise: Place the lower teeth on the upper lip, make an “fff” sound & pull the jaw down vigorously, sucking in rather than exhaling.
5. The muscles being exercised by yesterday's action work in opposition to the muscles which clench the jaw. Balance is therefore restored. Visit us at our official website: Daily Singing Tips
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
Dealing with the issues of Nasality this week, which is neither correct nor incorrect; a matter of choice.
1.
2.
3.
4. Singing Teachers should be conversant with the Tensor & Levator Palatini muscles of the Soft Palate & know exercises which strengthen them!
5.
Ross CampbellProfessor of Singing, Royal Academy of Music, LondonManaging Director & Head of Singing & Music, Musical Theatre UK, LondonMTI Award Winning Author for ABRSM Songbooks 1 - 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreuk.com
Dealing with the serious problem of Constriction of the False Vocal Folds this week.
1. The sound of Constriction is when the voice sounds squeezed and unpleasantly rough. The air is not flowing easily across the vocal folds.
2. The rasping sound of Constriction indicates that the FALSE vocal folds are unhealthily interfering with the action of the TRUE folds.
3. Major Constriction is easily recognised by us when singing higher pitches: A burning prickle in the larynx causing us to cough & eyes water!.
4. Singers need to ensure that the air flow is being properly controlled by the breath support system and not by tension at the larynx.
5.Any tension within the larynx will usually be caused by the action of the false vocal folds. These may be retracted by silent laughing.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
Dealing with some issues and underlying causes of Breathy Sound this week.
1. Breathy sound arises because too much air is escaping, usually because the vocal folds are not coming together properly.
2.
3. Exercises in adduction of the vocal folds help to overcome the problem of Breathy Sound. Sirening is an excellent tool for this purpose.
4. Gentle glottal onsets on a variety of vowels & pitches in the middle range of the voice strengthen the muscles which adduct the Vocal Folds.
5. Persistent breathiness in a singer may indicate a more serious problem at vocal fold level & should be referred to a medical practitioner.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
Dealing with some issues which could cause the inability to sustain long phrases this week, namely short breath.
1. The main reason for short breath is releasing too much air when singing, either through incorrect breath support &/or weak adduction of VF's.
2. If the breath support system isn't functioning correctly & vocal folds are not closing properly, air is wasted & longer phrases not possible.
3. FACT: Adults cannot increase their lung capacity by exercising or by any other means. Singers have to manage & SUPPORT their airflow!
4. Asthma & Heart Conditions can mean oxygen uptake is not as efficient. Singers will want to breath more frequently in such cases.
5.We should not be using any more air for Singing than Speaking! Sustained spoken exercises are very useful in developing breath management.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with issues of gaining vocal volume against air pressure this week, together with issues of projecting the voice.
1. The volume of a voice is produced by the combination of controlled air pressure and relative thickness of the true vocal folds.
2. When a singer starts to drive air across the true vocal folds in order to be louder, there is a danger of traumatising the larynx.
3. The strength of muscles within the throat must be built up steadily over a period of time in order to withstand sustained high air pressure.
4. The muscles of the throat will become weak when constantly forced to overwork with forced air pressure & rising physical tension.
5. Adding twang resonance is excellent in assisting with vocal projection, but be advised, volume and carrying power are different issues.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with Misconceptions which exist within the singing & voice world concerning the effects of food/drink on our voices this week.
1. Instructions to abstain from milk, wine, cold water, coffee, tea, vinegar, pineapple juice, cayenne pepper, etc... are mere old wives tales!
2. Anatomically, nothing we eat or drink can touch our true or false vocal folds; they are totally protected by the epiglottis when swallowing!
3. When swallowing, the epiglottis covers the larynx so no food & drink can enter our larynx or windpipe below; we would choke if it did so!
4. Steam is the only thing which can touch our vocal folds. Therefore, Manuka Honey CANNOT coat our vocal folds. STOP believing that it can!
5. Essential in maintaining a healthy voice: Own & understand a superb technique, warm up properly daily & stop believing old wives tales!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with Misconceptions which continue to exist within the teaching fraternity of singing & voice this week concerning YAWNING!
1. Misconception: The physical sensation of a yawn does NOT prepare you to sing with an open throat! The tongue pulls back, clogging the throat.
2. The physical sensation of a yawn not only pulls the tongue back, but down the throat, so depressing the larynx & causing some constriction.
3. Preparing to sing with a yawn sensation inhibits access to your higher register by pulling the tongue back & holding the Larynx down!
4. If the Tongue sits too far back in the mouth & down in the throat, the Larynx has trouble rising & high notes will be difficult to access.
5. The BEST prep for retracted false folds & open throat is 'laughing' silently with a loose jaw & tongue-tip behind lower teeth, not YAWNING!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
More advice for Warming-up a Voice this week. Every Vocal Exercise you do should be directly transferable into your Singing Repertoire.
1. Musical Theatre Singers: Your Vocal Warm-up should contain exercises which develop/practice ALL voice qualities to be used in the repertoire.
2. Develop exercises which exclusively exercise ALL vowels; they are what we Sing & belong to the notes we are Singing! They should be equal!
3. Settle your comfortable Optimum Speech Pitch by experimenting with the rise & fall of the Larynx whilst speaking at different Pitches.
4. Your Speech Core should be constant in Singing. This should resonate across your clavicles/collarbones & has nothing to do with Pitch!
5. Adding Twang Resonance to many exercises aids negotiating the middle transition. It also thins the sound if you've a tendency to drive!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Tips this week deal with the important aspects of Warming-up a Voice. An actual reason for doing an exercise should always be understood!
1. A warm-up routine should be viewed as a ‘wake-up’ call for the muscles that are used in singing, preparing the muscular systems for work.
2. First: Silently Laugh for 10 seconds, maintaining a loose jaw & tongue to build Retraction of False Vocal Folds, counteracting Constriction.
3. Second: Use well informed physical exercises to isolate & build the muscles of BREATHING & SUPPORT, as well as the neck Sternocleidomastoids.
4. Third: Use well informed silent & vocal exercises which isolate & exercise the rise, fall & tilts of the Larynx, & include Sirening
5. Continue with well informed vocal exercises building Range, evenness of Tone, Transition weaknesses, & varied Voice Qualities re Repertoire.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with the benefits of 'Sirening' & how to 'Siren' correctly this week. I hear too much poor quality, counter-productive 'Sirening'.
1. Sirening: Place your tongue tip forwards & high at back off the Larynx, form an 'NG' & slide downwards & upwards throughout range QUIETLY!
2. Sirening MUST NOT be driven with too much air-pressure. Keep the volume as small & even as possible. Larynx needs to tilt thru the transition.
3. Sirening equalises the Tension of the True Vocal Folds. Regular exercising of your Siren can extend both the upper & lower range.
4. Sirening shows us the Natural Rise & Fall of the Larynx & indicates the state/condition of the True Vocal Folds on a daily basis.
5. Sirening is an effective, gentle warm-up exercise for the Vocal Folds. Contrary to opinion, it is NOT sufficient as a complete vocal warm-up.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
Dealing with the Myth & HUGE confusion concerning Head & Chest Voices this week. This is misleading/misguided nonsense from Teachers!
1. For years, many Teachers have confused their students by referring to Head & Chest as 'Voices', creating lasting problems for many Singers.
2. We do NOT have a Head Voice & a Chest Voice! We have ONE Voice & it's called a Larynx, together with a resonating system.
3. What ALL Singers & their Teachers should be referring to is Head RESONANCE & Chest RESONANCE! And we need to maintain a balance of both.
4. I hear too many female voices which are in 'bits'! Most commonly a stronger lower range disappearing into thin & airy above the transition!
5. STOP talking Head & Chest VOICES & use well-informed exercises to blend the resonances throughout the voice to create ONE balanced Voice!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Tips this week will ask the Questions which ALL professional & student Singers & Actors should be asking themselves & their teachers.
1. Do you have a low, lazy/weak soft palate producing Nasal resonance? Should only be used for character choices! Simple exercises correct this.
2. Have you corrected your Jaw Tension? Upper & lower jaw tension act as a barrier to much better, balanced resonance & increased upper range.
3. Do you have effective exercises to release your Tongue-Root Tension, which can seriously depress your Larynx & block your upper range?
4. Do you have effective exercises to improve the elasticity, rise & fall of your Larynx, as well as complete control over your Thyroid tilt?
5. Do you know the diffence between the Muscles of Breathing & Support? Are you in full control of a releasing diaphragm, whilst Singing?
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Ross CampbellProfessor of Singing, Royal Academy of Music, LondonManaging Director & Head of Singing & Music, Musical Theatre UK, LondonMTI Award Winning Author for ABRSM Songbooks 1 - 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreuk.comwww.rosscampbelluk.blogspot.com
