This is an introduction to the theory behind bel canto breathing for those struggling with their speaking voices. It takes you through an exercise to get started!
In just six session with Debra she greatly helped me with my spasmodic dysphonia issues. I now have greater control and freedom with my voice. Not only is Debra one of the best vocal coaches I’ve had, she is highly intuitive and tuned in at a soul level. She brought to my attention ways of being that were preventing me from freely expressing. And she gave me powerful vocal exercises that help rewire my speaking muscles to talk more effortlessly. I am truly blessed by working with her and so grateful our paths crossed. I highly recommend Debra for whatever vocal challenges you have. ~Jen P., North Carolina
I think this might help with my spasmodic dysphonia since I know my breath support is off. I really appreciate any helps I can get . I've had this illness 12yrs now. Sometimes seems almost unbearable
I hope that you are doing better with the spasmodic dysphonia, I know how debilitating it can be! If I can be of assistance now, feel free to share your questions or concerns. Being better about monitoring this site!
So, typically this condition causes more of an interruption of phonation. Shakiness could occur as well, but more likely excessive air pressure. The work n this video will also help that. Reach out, if you would like to do a consultation with me. I could then do a direct diagnosis…go to debralynn.org to contact me!
Hi Debra. I had classical training in singing but my adams apple , also known as the larynx moves up and when I sing especially high notes it feels as if my throat constrict. Another thing my vibrato is fast in normal voice and in falsetto it is a more natural wave type vibrato... Can you please give me more insight on my statements and what I should do.
Hi! So lately I’ve been helping folks understand themselves as optimal, acoustic amplifiers with no need for thrust or force. In order to experience this freedom, we must neutralize completely, any upward air propulsion and reverse the concept of sound production to one of pulling into ourselves. One way to try and feel this reversal, kind of a paradigm shift for singers, is to take in a very natural breath, hold it and sing as if pinging sound off the hard palate and allowing it to spin inside the mouth - backwards, as if rolling up over the roof of the mouth. Articulate your onsets as if speaking precisely. As you hold your breath through a phrase, see if you notice a difference in your throat sensations.
As to the vibrato in falsetto and normal...each is a result of the upward thrust of air through the folds. You should notice a distinction in both, when you try the above concept...
@@DebraLynnBelCanto I thank you so much. I was trained that we should breath to the side ways but on your video you say just take a breath. So I will do that. Thank you again.
I started over with just the breathing and I am definitely going to these exercises. My vocal coaches didn't really grasp my voice and I struggled so much with high notes.
Will it help me to free my throat when I sing high? Cause I have so much tension in my throat and it hurts while I sing and after especially when I sing high. And how can I sustain airflow when I sing high ?the problem is that i use too much air in my head voice but in my chest voice everything is fine . Thank you !
Yes, it will. The tendency to push more air in the upper range is normal, however, it exacerbates the sensations we feel of constriction and tightness. If you inhale and feel the stretch back in your mouth, as you take in the air, there is a point where you can't inhale any further (this is a muscle feeling vs an air feeling). Try starting your high notes at that pull back point, keep sustaining the feeling and see if you can get a different coordination going.
@@DebraLynnBelCanto HI debra, i know it's an old comment, but i was wondering if i could get you to elaborate some more on this. Does this suggest that, before you breathe for a certain note, you're making a mental calculation for where it is, and you open the appropriate amount for said note? Or do you start with a full expansion in the back (the 'cheshire grin' as you call it), and keep that throughout all your notes, and all your range? (or maybe that's all reading too much into it, and the body just naturally adjusts accordingly after awhile?) cheers, and many thanks, jeff
Hi, Jeff. You might check out my new Point of Suspension video in the Magic of You section. The reality is that the brain will handle the exact spacial requirements of every note we sing, but we often doubt our ability as we go higher and so, we hesitate to let the inside space activate appropriately. I've begun sharing this information with a visual component I call the Magic Head. If you take any note out of context and hear it in your mind, then think it as you inhale you will feel the structural adjustment. Another way to try this is to play a low note and inhale and then, play a higher note or go up the octave and breathe for that one. You will feel the height engage! Hope this is helpful for you!
@@DebraLynnBelCanto It is! And thank you so much for taking the time to respond. Have been loving all your videos, and they've been consolidating so much that i've been unsure of. all the best, jeff
Hi, Kathleen! You could do either, but through the mouth is fine. Just remember inhale is gentle, too, so we don't create a lot of friction across the folds, as the air goes in. Yes, as weird as it sounds...keep the ribs still (it will feel like the same sensation you notice, when you hold your breath). Initially, do very short phrases, with very clear annunciation of consonants.
