Hi, Singers! Meet Aaron Anastasi from HowtoSing.com and he’s got some great tips on how to improve your singing. Check out his philosophy and techniques:
Let’s start with eliminating nasality and really talk about the process of nasal singing. That nasal various kinds of ahh, that ambiance, what it does is it squashes the resonance, that kind of full, large-hearted, resonating ambiance that wishes to. It kind of squashes that down.
It has an bothering tone that you don’t really like in the first place and don’t really require but it also kills the resonance so you don’t have that full various kinds of powerful hubbub as well. So how do we get rid of it? Where does it come from? The nasal ambiance mainly comes from the soft palate. Now the soft palate, if you take your tongue and you’re feeling the roof of your cheek, that’s the hard palette right there.
If you follow it back, back to there where it gets kind of like softer there, that’s your soft palate. So the soft palate is the nasal ambiance. What happens is that that soft palate is devalued. It’s lowering excessively.See if you can find it first of all and I require you to find it. Try a yawn. Notice what the soft palette does when you do a yawn.
It creates direction up and actually your throat kind of opens up too and your larynx lowers. The yawn is a great way to various kinds of release when you need to sing. I symbolize some opera singers but you don’t want to necessarily sing like that but you want that kind of motion with the soft palate that’s up a little.
You require your throat neat and vast and then your larynx “must’ve been” pretty steady. Your larynx tends to raise up for the higher observes but you want to keep that comparatively steady. So during that motion, you kind of appear the soft palate and what it does, how it creates up. So let me talk a bit more about now when it’s down, what it does is like the N-G sound, that consonant when you do a anthem if you’re singing the word anthem or any N-G sound. You can’t because it impedes the air from moving out your cheek. So all the air comes out of your snout and so you’re getting these sorts of nasal ambiance. So when you’re doing N-G, that’s different than the soft palate but anytime your tongue, the back of your tongue or the tip of your tongue points up to do a consonant, you want to get right back up where it’s supposed to be behind the teeth.
That’s where you’re seeing in nasality. So the N-G consonant is something that you need to do and the snout has that nasal hubbub. It has a function. I mean you do want air coming out of your nose when you’re singing but mainly you require it coming out of your cheek. Your sinus hole, your nasal hole, it is a resonator but it’s more of a kind of a secondary resonator and it’s a resonator when you’re in your psyche voice.
I won’t get into head or chest voice but mainly you require the air came to see you of your cheek and so when it’s mostly moving out of your nose, that’s when the nasal sound goes. Try this with me. This is an exercise to kind of get you to seem what it feels like to raise and lower your soft palate. Plug your snout and you’re going to get that kind of a nasal hubbub, right? Now realize what you have to do.
Just do like an E or something. So you’re going, Eeehhh. Try to get the nasal out of your articulate. Watch what you have to do, Eeehhh. Notice I got the nasal sound out of my articulate without unplugging my nose. What I did is I conjured my soft palate so, Eeehhh. Try it a couple of times and you will kind of figure out how to raise up that soft palate. Now, you don’t want your soft palate caused too high because if it’s too high, “you’ll begin to sound like Jimmy Stewart or Kermit the Frog. You don’t want it up there but if it’s lower, you start to definitely sounds like Lois from Family Guy or something.
So you don’t want it too low. You don’t want it too high. There is a balance of where you require it. Hazards are that if you’re having this nasal sound, then it’s typically too low and you need to raise it slightly. But again if you heighten it too much, it starts get kind of weird-sounding. If it’s too low, that’s where the nasality comes from. So I want to give you training exercises real quick to seeing how to loosen up the sinuses and loosens up kind of the masked field right there and get a feel for that kind of nasal hubbub and it will help you when you are singing to kind of avoid that kind of sound.
I call it the utilization. It’s just on any proportion, I will really do a one, two, three, four, five, four, three, two, one. So like brassy various kinds of tones, it loosens and helps you into your higher straddle. You can continue as you descend.
That’s how to eliminate nasality. You don’t want your soft palate up too high. You don’t want it too low. You require it kind of somewhere in the middle. If you want to know more, check out my videos on How to sing high-pitched observes more readily but how to sing high-pitched tones easily without the strain which is really the goal.
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