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Singing mum, huh and nay on the scales

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Hi there, I am having trouble figuring out how to blend chest and head voice while practicing mum, huh and nay on the scales. Does anyone have any advice or techniques that helped them? Any advice is appreciated.

 

Also, do I continue practicing notes that are comfortable for me and eventually it will get higher or should I keep pushing to go higher?

 

Thanks!

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Concentrate on keeping your air flow consistent and keeping the volume consistent let the voice turn registrations naturally don't push or hold to stay in chest because you want that sound ideal. Let it go where it wants.

hope that helps

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Excellent answer.  

I came across this exercise recently called the Caruso scale.

It's a bit challenging but it might help you to feel and begin to get a sense of narrowing through your passaggio.....the vowel sequence acts as a tapering tool to let you feel the narrowing on the way up and the opening up on way down.

Remember though.......just one of many 

 

 

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Hey. Can you do lip rolls? Do a quiet lip roll on a scale blending from chest to head, and then try the 'mums', 'huhs' and 'nays' in the same way as you do the lip roll. Make sure it's at the same intensity. If you can't blend from chest to head. Start as quiet as possible and then build on from there. That's what I did anyway. You can even do a lip roll and let go of the lip roll into a vowel. Another thing that helped me is adding a bit (too much at times) of 'vocal fry' / 'cord closure' to seal up the folds, which also seems to keep the larynx stable instead of pulling up. Members...please correct me if anything I have said is incorrect. I'm no expert! 

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Tell us one song you are practicing with. Maybe you are already blending? I've been trying to do mum and looks difficult to do in pure chest. You can put your hand on your chest to see the difference for when something is more there. More head you notice it in the upper part of your mouth and/or the area of the nose.

(I am new to trying to understand these concepts, but that's why I can see the concepts can be more complicated than the singing itself :D )

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Rosa, you don't want to remain in pure chest on the exercises you mentioned.  You want to transition to your head tones.

    This is one of the main points that I missed. It seems that this little fact was supposed to be instinct or something do to the nature of the exrcises. Whether it be Mums, Nays, or something like this Caruso exercise.

   If you haven't yet, Read Felipes thread on the "Ultimate secret to high notes". Allowing the sound to move the way he demonstrates is a big help. I thought these exercises were to keep you in full voice and treated them that way, and they did nothing for me. They are meant to strengthen the transition from "Chest" to "Head" not to stretch "Chest Voice". 

   Classical singers refer to the Passaggio as "The Turn of The Voice". I like that phrase better than "Transition from chest to head". It adds a different meaning to what needs to happen.

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Concentrate on keeping your air flow consistent and keeping the volume consistent let the voice turn registrations naturally don't push or hold to stay in chest because you want that sound ideal. Let it go where it wants.

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Allowing the chest resonance to transition into head resonance can be psychologically challenging as well because you are letting go of the security of the chest resonance, the voice you are most familiar with. You will likely feel and experience sensations you aren't psychologically comfortable with (in the beginning).

For example, when you shift into head tones, you may very well get the sensation of the folds wanting to come apart on you, or that you can't hold on to your adduction, and that your emptying out of air too fast.  You might even experience the sensation of inhaling the tone!

These are some of the sensations I have experienced and you need to know they are normal, yet disconcerting.  You might not believe a connection can be held as you move through your passaggio notes, but you have to persevere....it takes time to develop this.

 

 

 

 

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Wait.. The ultimate goal is to not actually change registers going up in the scale.. Maybe when you're learning but in most music you're singing you're not leaving m1. I feel like that's an important distinction to make so that no one gets confused like I did and start singing m2 above the passagio.

You want to sing in m1 in such a way that it sounds similar to m2.. (depending on the style).

   Regardless of the actual register you still need to transition the resonance. This is the sticking point for most people.

 Once you get that resonance transition working that coordination gets stronger. you can apply more closure as needed. Until this transition happens you get stuck at one of the Passaggio points.

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You can shift resonance with any vocal fold adduction level you want m1, m2....it's all one voice.  When you choose to maintain m1, it's a tougher road to drive.

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Not all the time!  Some songs don't go into m2.  You have to get a point where m1 or m2 is your choice.

I personally don't even think of this mode stuff.  

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Tristan, you're very likely discounting one of the most important elements to a great voice. You really should reconsider doing some breath work.  It will help you in more ways.....ways you can't know beforehand. (I Hope that last sentence made sense..lol.)

 

 

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Thanks, everyone! I'm blown away by the amount of talent in this entire forum. I appreciate all of your suggestions/encouragements and take them all to heart.

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