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kendricks blog on SS forum

Other exercises that are good for gentle vocal cord compression are
"buh" and "gug" and "dud" and "mum" and "nuh" (in descending order of compressio
n),
so first work on the "buh" until it's easy, then move down the list.
Every next sound encourages less compression so eventually you can do "nuh" wit
h the same ease as "buh".
what is light and right about
You could have pharyngeal without sounding nasal. However, in order to be nasal,
you must use the pharyngeal.
Singer's Advantage by Seth Riggs
SS coaches in the past have encouraged SLS singers to do exercises without actua
lly think they were singing. Jesse Nemitz and Shelby Rollins both do this, and J
esse even talked about multitasking while doing vocal exercises, because if you
think about it too much, you might be too focused on making things happen rather
than allow it.
CD #5 introduces the No, No exercise, the Nuuh, Nuuh , and the vibrato.
I can attest that the vibrato exercise here works like a charm.
Previously, I couldn t sing vibrato but now I am starting to
have one at an oscillation of about 4 per second.
SINGING SUCCESS DVD AND WORKBOOK
Besides the main CD, you also get a Singing Success DVD containing several video
s. These videos include a visual introduction from Brett Manning. He also teache
s a little bit of the science behind singing. You also get a series of video voc
al tips, where 4 coaches from the Brett Manning studio explain to you about vari
ous additional techniques to use.
The Singing Success DVD also contains some older videos. I think these are from
an older version of the Singing Success program, because it looks like they were
ripped from VHS videos. These 12 videos show Brett practicing with several of h
is top students. Some of the lessons you can learn here include thickening the l
ighter sound, hard mix and whistle register, and getting rid of outer tension.
To help you process all this information, Brett gives you a Singing Success Work
book PDF that explains the vocal terminology if you prefer text. You can also se
e pictures about proper singing posture, and general tips to maintain your vocal
health.
http://www.4shared.com/folder/Z7eQ5VS3/Singing_Success_DVD.html
No, you won't. In fact, a low larynx while testing new exercises is a
of approaching them. Have you heard of progressions? These are scales
e to get the voice used to singing in difficult phrases or words. Use
le with the top note as the highest note in your song, and do it with
open and easy, like "mum".

great way
you can us
a long sca
something

After that, once you establish closure and speed, switch to something more diffi
cult but closer to what you'll actually be singing. In your case, the next scale
should be "maw" on an octave scale to mimic the "all" part. Once that's done, m
ove to a dual long scale, first on "maw" then on "aw". This will take away the c

ompression that the "m" gives you and puts you on an open vowel. Then you're rea
dy to switch for "call".
he low larynx will pull on the digastrics, causing excess tension. If you diseng
age the digastrics, then the larynx won't pull on them as much and you can have
a low larynx on higher portions of your mix without the strain. The other part i
s that you can extend the low larynx up until your 2nd bridge in mix comfortably
before many will have to get into the digastrics to go higher, so you don't nee
d to seriously consider disengaging them until you hit the 2nd bridge.

Just doing the mum-mum-mum exercise and was wondering. Should i just switch over
into head voice or should i try to stay a little bit in order for my mix to dev
elop?? -->
Switch the moment it enters your first bridge. In CD4, you can try to stay in mi
x until the second bridge. For the first lesson, transition as soon as possible.
The objective is to build connection and even compression before anything. Othe
rwise, mix wouldn't even have something to stand on.
The lower you sing, the higher it needs to be. The higher you sing, the lower i
t needs to be. Only once you establish balance and coordination can it be anywhe
re it wants to be
Once you blend the two through shading (without pharyngeal) then you can add pha
ryngeal, using exercises like "nay" and the "ng" sound
You also have a zeroth bridge. That's the one below your first bridge, and while
it doesn't have anything cool, it is the lowest limit to how low your head voic
e can travel down beneath your first bridge, the same way how your fourth bridge
is the highest you can take a mixed head voice before it has to go pure into wh
istle.
Bridges are gears in your voice, like gears in a car. When the car feels tension
, you can shift gears to go faster, same thing with the voice. In order to go hi
gher, you have to let go of tension and thin out the cords, except it's so much
harder to do than to say.
Air should be going through your lips, not your nose. If it's going through your
nose, you're doing it wrong. Hold your nose shut and slide up and down, then ke
ep that feeling and run the lip rolls again.

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