Chapter
Summary: Every voice is different but we can narrow the human voice in general
down to 4 main registers. The lowest is usually called vocal fry, the second is
sometimes called chest/normal voice, which is like your speaking voice. The
third one, which we mostly use for singing, can be classified as the falsetto
or head voice. The last is the flute/whistle voice, which is a register mostly
high singing sopranos use. The difference between individuals is that the place
of register adjustment is unique. You always want to keep a low larynx when you
switch into any of these registers, which could fee like a yawn that is relaxed
and without unnecessary tension. On the extreme sides of the spectrum, you want
to keep an almost breathy sound when you enter into register one and a very
light “head voice above the head voice” when you enter into register 4. The
main point is to pay attention to your voice. If it doesn’t feel very good than
your probably doing something wrong. Everything you learn in singing, just like
everything else, takes time. Remember the more time you spend on each of the
parts of the voice, slowly improving, the less likely you are to develop
something that you might end up regretting.
Key
Concepts: We are inviting our voice to participate. We aren’t forcing anything.
If the sound is horrible, reluctantly we have to realize that’s how most skill
begins, horribly. If we practice smartly all the areas of the voice we will be
less likely to hurt ourselves.
Making
Connections: It can be really difficult for me to relax my voice when I enter
different registers of my voice just because I have been conditioned to clench.
I need to find a way to trick my body into just letting the sound go instead of
forcing it out of habit.
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