AApproach Online Vocal School

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Lesson 4 - Releasing into the upper register (Part 2)

I. Lesson Objectives

Coordination: Develop a felt sense of releasing into the upper register VS.
pushing, straining, or reaching for it.

Conditioning: Bring freedom to the throat and stability to the larynx.

II. Exercise: Pianissimo 5 Tone Scale

III. Lesson Breakdown

Intro
Most singers attempt to push their way to high notes, by using excessive
muscular force. This results is tension and strain. This coordination results
from a misunderstanding of how the voice works. So allow me to present
to you a new concept: Your voice is designed for high notes; you simply
have to allow them.

Coordination
They key is in learning the sensation of "release".

• Resist the urge to increase your volume, as you ascend the scale.
• Don't anticipate the break or transition. When we anticipate, we
attempt to make adjustments that don't need to be made. Let the
transition surprise you.
• For many vocalists, it helps to imagine singing the entire scale in a
very soft chest voice. By keeping the tone very soft, you don't hold
on to the weight that causes restriction.

Conditioning

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AApproach

This is the secret: Strengthening the voice has nothing to do with volume
(at least not initially). It's all about coordination. If you develop the
coordination to blend your voice, softly, you will ultimately develop the
strength necessary to do it loudly. As you become more accustomed to
accessing your upper range in this way, you'll find that you can add more
and more volume and intensity.

When can I move on to the next lesson?

I strongly suggest working on this lesson for at least 1 week. However,

give yourself permission to take longer, if you feel it is necessary. The key
is not merely to blend, but to blend as seamlessly as possible without
engaging the neck, jaw, and shoulder muscles.

Common Problems

Many singers simply apply far too much force to this exercise. While there
is some energy and effort required, it should be no more than a gentle
conversational speaking tone (as if talking directly into someone's ear).
Also, as is the case with many register blending exercises, vocalists tend to
anticipate the transition, thus causing their voices to flip prematurely into a
weak head voice or falsetto. Focus on keeping the pressure light but
steady, and let the transition surprise you.

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