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Trouble Singing?... Try Vowel Emphasis

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I'm not a speech pathologist or speech therapist. I am a master of vocal mechanics specializing in singing and   super-fluent voice training for speakers.  I train good singers to become great singers and good speakers to become great speakers, (TEDx, The Voice, America's Got Talent, etc.) 

Did you know that master singers and speakers use VOWEL EMPHASIS, (navigating from vowel to vowel,) to sound amazing? It’s true.  Did you know that speakers who are sub-fluent use consonant emphasis, (placing gaps between words, halting sound and stopping airflow?) It's ok, not many people know this.

To sing beautifully learn; 1. How to breathe with intention to support your voice.  2. How to create and sustain torso pressurization for support and 3. How to create amplification by sustaining and directing vocal cord vibrations into your sinuses via the front upper teeth, creating resonance (buzzing vibration). All that remains is dealing with words in the song.  Words are assembled vowels, (voice box sounds,) and consonants, (non-voicebox sounds,) except for m,n,v and z.

Vowels make you sound musical, like friends that will never abandon you. They should be emphasized! Consonants betray the human voice at every turn and contribute to stuttering and every other vocal issue known to man, (polyps, vocal nodes, etc.) Consonant : Con = "Opposed" Sonant = "Sound." I propose that you and I were taught in school that consonants are key to to good diction. False. This is far from the truth. In fact, consonants by design oppose vocal mastery.  Any master singer will agree with this.

When a singer honors a consonant, the tendency is to communicate by navigating from consonant to consonant. Relying on consonants is horrible for speakers and even worse for singers, as consonant emphasis ensures no tone or melody will appear.  Consonants produce neck tension, are percussive, of short duration, sounding like clicks and pops that oppose human vocal production. Consonants create restriction. Restriction is the source of all vocal difficulties including locating and sustaining pitch.

When a singer honors vowels, (engaging in diaphragmatic /solar plexus muscle activity to sinus buzzing activity,) he or she creates sustained sounds which open the throat, permitting melodious, resonant tones to occur which serve vocal expression. Aaaahhhh! Delicious! Yuuum! Here is a fun example of the power of vowel emphasis. I hope that you enjoy it! When you sing a phrase, I propose breaking down the vowel elements in the following manner: :-)

1) Spell out the phrase words in conventional script: Example: SUMMER TIME!

2) Sound out each vowel sound and replace script vowel letter with an accurate phonetic approximation. Example:  SUHHH • MUHHH • TEYE-EYE-EYE  •  M!

3) Write your phrase in an unbroken style, with NO GAPS between the words: Example: SUHHH - MUHHH - TEYE-EYE-EYE - M!

4) Sing your phrase, exaggerating the vowel sounds (VOWEL EMPHASIS) as an unbroken phrase.  Notice how everything you love (resonance, melody and tone) occurs when resting on the vowel. Example: SUHHH-MUHHH-TEYE-EYE-EYE-M!

5) If you run out of air, you are not pressurizing, (conserving air as you sing.) To make your air last longer, fill your lungs completely with air and attempt to hold your breath while singing the phrase. As you create sound, air will escape. Just let it out more slowly, permitting the time to finish your phrase. Removing every silence or gap will force you to navigate from vowel to vowel to vowel, creating continuous resonance and melody.

6) Let's try it (4) times. Are you ready? Take in a breath... Here we go!




4) SUHHH-MUHHH-TEYE-EYE-EYE-M!  ...Good work! :-)
Vowels are cool, huh? What did you discover? And what was your experience like? - Guy Monroe  

http://hotmicmethod.com/ http://greatspeakertraining.com/



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  • Administrator


Great first post Guy! It's famtastic to have a well written pro in here with experience and smart things to say. 

So you work a lot with public speakers?

In regards to discussions regarding consonants and any hindrance therein, I would say that plosives, if used properly, can harness energy that is great for anchoring the larynx at the onset.

The resulting phonation is characterized by stronger engagement of the TA and vocalis, stability when passing through the 1st major formant shift, continued anchoring of said musculature in the "head voice", a potential increase in vocal fold closed quotient and in general terms, better belting. Plosives onsets are also fantastic for amplifying F1/H2, to make the voice sound boomy and sonorous.

Thougjts on plosives?


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  • 4 weeks later...
  • Administrator

Yes, its a good idea... 

Khassera, try it without stopping and staring new onsets... one one breath, one onset... shaping through the primary training vowels... hold the embouchure in a static position (horizontal) and work on throat shaping the vowels intrinsically... 

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