Madeleine Harvey's video: How to Sing High without Strain - 2 of 3

Today, we are going to continue learning how to sing high without strain. This is part two of our three part series. So quick recap. In the first video we talked about how important it was to just sort of get ready for high notes. Learning how to aim the air. We aim the air which reduces the amount of influence from the tongue the jaw and the back of the throat. Because those are really the ones that interfere and can really pinch off that sound making it really hard to get to even have access to those that upper range. So today we're going to get a little bit more playful. We're going to change attitude a little bit towards singing high notes into something that's a little bit more playful something that's a little bit more speech like and this is gonna give you that nice accessible high note sound that is confident effortless and open. OK so if you like today's video please be sure to give it a thumbs up or click that Subscribe button below. I'd love to see you here more often. OK so we're gonna have to have two it stays all about experimentation and it's all about play the attitude of the way that we even approach higher notes needs to have that release element to it meaning we're just going to let fly we're just going to let it go the higher section of The Voice is the release of the entire mechanism and if you think of it like that it's kind of like a kite. It's like the kite flying in the wind whereas the chest voice can feel like the hands holding the kite down. So there's an element of letting go that's really active in the ability to sing really high and to do it consistently and awesomely so attitude plays a really big role in that being able to release a sound in a playful way without being too attached or too critical of the sound quality. Now as we release the air now that we have an understanding of how to aim the air we're going to release it fully meaning we're not going to judge its quality. We're just going to let the air ride or sorry Let the vibration ride the air almost like a surfer would ride a wave. OK so we're just gonna get right into this. Can you go ahead and go for big yawn, but feel and almost don't like quality open up at the top top of the nose where the nose meets the throat called the knee so pharynx good. No. Notice how the lifts go long and everything goes long. This is really where we're going to target our airflow today. We want that all that way we don't scrunch here we don't go wide. Here we go why he'd. That really allows that legs to start raising and shrillness or sneaks into the sound. So we want to keep it nice and long. Feeling the ease of it a little bit of a dome in the back. So here's our sound. We can say the word you like you like I'm talking to you. So are y consonant is what's called a lengthened consonant. And we're going to leverage that length and consonant to help pull some vibrations and over. Now this is this is for all of us who still might have intensity yo yo yo. Right. Can you hear that throat getting involved the job getting involved. We want to go to you here. So watch my town. You do. You do. It's going to help spot by lifting lifting up limiting the access that we have to the mouth and really encouraging those vibrations to go up into the nose. And then it drops in including a little bit more of that mouth. So watch again yes right up under the nose and then comes down to the goal introducing the mouth and it starts working as a whole sound system at that point. Now that's just the mechanics behind it. What we're ready to play now. So we're gonna say yes right. OK. So tilt the head down just a little bit. Yawn and say you on a side good. Experiment wherever you'd like. Now I'm gonna take it up from there. But if it's too high I want you just to play with an area of your voice that feels new to you. Yeah. You feel for that doll. We're good. We're not moving. We're not moving at all we're just releasing that air.