Why is it hard to sing? How to learn to sing and correct voice production

In order to understand how to learn to sing and put on a voice, the simplest thing is to resort to practice. Singing technique is also important.

But there is one important point here, you need not to lose your voice due to heavy loads, be careful. For example, you can lose your voice if you sing, looking like V. Vysotsky, with a voice that is not fully formed.

People like Pugacheva and Kobzon can be called professionals in their field, they sing according to all the rules, it’s another matter that they sing.

Once you learn to sing a little, you can learn some chords and lyrics for guitar songs. And play the chords of songs by fingerpicking.

Below are a few rules to help put a vote, and will tell you how to learn to sing.

Rule one.

How to learn to sing low notes, you can master the chest singing method.

You need to exhale sharply, without using the larynx. As it passes, the air should not resonate in the larynx, but rather in the chest.

It’s difficult and it may not work out the first time. But the sound will be lower if you do not use the larynx, but resonate, as it were, with your stomach. With this technique you can learn to sing very low notes.

Now let's figure out how to learn to sing high notes when setting up your voice. The technique of splitting the ligaments will help here, that is, sing with strain like V. Vysotsky or A. Bashlachev. But this technique cannot be used if the voice is hoarse, cold or not fully formed.

You can use this technique only after a good chant (sing several songs in a loud, high-pitched voice; wine is also good for warming up the vocal cords). Splitting the ligaments can be a good way to expand the range.

Rule two.

You cannot make verbal mistakes, that is, you cannot stretch an unstressed vowel in a word.

For example, “You will never forget me.” In the word “forget” there is a stressed letter U, it can be stretched (you will forget), but the letter E cannot be stretched, even if you really want to. Before singing a song, you have to look for pitfalls in it.

Another common mistake is merging all phrases into one. Phrases need to be sung separately and filled with feelings.

There is no need to learn songs to train your memory. Sing songs with expression, using facial expressions. You need to experience everything along with the song, only then will you get a good performance.

Listen, for example, to the songs of Alexander Bashlachev, and everything will immediately become clear to you. Or you can look at pop singers (who are shown on TV), where the falseness is obvious.

Before performing a song with a guitar, it will be useful to recite the song with an expression like a poem.

Third rule.

You always have to hit the notes. This problem can only be solved by training. You need to sing a song more than once to learn how to hit the notes.

In general, when singing, you should not play the melody on an acoustic guitar; it is advisable to play with accompaniment. A 12 string guitar is best suited for accompaniment.

Here are all the basic rules, the observance of which will help you learn to sing well and develop a voice.

I think you have heard and read more than once about vocal clamping. That he exists at all. What is the reason for it, what creates an obstacle to freedom of speech? Vocal clamping appears in characteristic situations - for example, the vocalist rises up the scale, and beyond the transition threshold there is a sharp change in timbre. If you try hard to maintain the dense nature of the sound, adding volume (that is, pushing out the air), then afterburner occurs, after which the throat “sores.”

This phenomenon - the inconvenience of singing a note, some kind of “obstacle” for the voice, is also observed when approaching the threshold, because nothing arises immediately, everything grows gradually.

Another example is when you can’t reach a high note without changing the timbre. Let’s say there is a jump in the melody, you need to immediately “jump” up a fifth or a fourth... And you just can’t do it! The chords always want to become thin, and the voice at the same time wants to become falsetto. And if we don’t want this, we need an overtonal and rich sound (full voice), then a conflict arises. It happens that it is almost impossible to create sound. If you don’t force it, don’t push it with force... However, in this case the sound becomes completely different from what is needed...

What is the reason why this happens? Why can't the voice create any sounds freely? We hear that professional performers sing in a way that beginners never dreamed of! What is the secret of their freedom?

The secret to their freedom is learning. I understand what it means to say nothing. But wait a little, some veils of “secrets” will be opened, otherwise why write an article...

The first thing you need to know is an obstacle to freedom of sound, a vocal clamp is created FALSE VOCAL CORDS, and nothing more! It is this organ of our vocal apparatus that “harms” the process of phonation.

This happens because false ligaments are called upon by nature for completely different purposes; they protect Airways, they don't care about vocals or speech. And they are triggered reflexively, because air pressure has risen in the vocal (and also the respiratory!) tract. It is the false ligaments that rush to the aid of the true ones, to help them maintain the air pressure from below. In their opinion, the body was about to cough or sneeze, and not sing...

After all, after repeated coughing or sneezing, you often get the feeling that your throat is “tearing.” It is precisely this that occurs when you repeatedly try to sing, forcing it, which causes a clamp!

The same thing happens when you hold your breath. Think for yourself - in the calm flow of life we ​​don’t hold our breath, there’s no need. If we detain you, then you are about to dive, find yourself in a harmful atmosphere, and so on. Naturally, the false ligaments work, closing the entrance to the lungs, only now closing it from the external atmosphere.

There are some vocal exercises that need to be performed with a preliminary breath-hold. Be sure that the false ligaments close at this moment! Even though we don't feel it. Therefore, such exercises do not need to be placed at the forefront of vocal study, they are used, but it is also necessary to understand the extent of their application.

Let's proceed from the logic of the process - since the reason for vocal clamping is the spontaneous, reflexive activation of false ligaments, and there is no other reason for it (which has been established by science), then we need to somehow be able to control this particular “detail” of the vocal tract, without allowing false ligaments to work “out of habit”, that is, unconsciously, automatically...

It would seem that the problem is insoluble... Well, in fact, how can you stop your leg from twitching if the doctor lightly hits you under the knee with a hammer? Anyone who has been to see a neurologist at least once in their life will understand me perfectly))) It turns out that it is possible. Regarding false ligaments, I don’t know about the knee...

Effect EXTENSIONS false connectives (and this is exactly what we need when singing) is caused by... laughter! Surprisingly, this is a fact that was established by scientists who studied the work of human organs during singing, talking, and various manifestations of the function of creating sound by our body.

In fairness, it must be said that not only laughter causes the “desire” of false connections not to interfere with the work of true ones. Such manifestations of emotions include crying (but in no case hysterical or sobbing). A certain degree of tearfulness, I will say, which is not difficult for an ordinary person to recreate in his voice, isn’t it?

After all, if you say something with tearful intonations in your voice, like “just a little more and I’ll cry,” then in this very character of the sound the role of false connectives is absent, they will not “turn on”! And if you transfer such intonations to higher sounds, then it will be easier to sing them, since even there, on high ones, false ligaments will not interfere with the work of true ones.

Everything would be fine, but the tearfulness in the voice, called vocality cry (crying), also leads to the effect of some lowering of the larynx. And in modern vocals it is necessary to release the larynx, since in general it is an important organ, but even more important ones are located inside it.

And the effect of “spreading apart” false ligaments during cry is still not as pronounced as with another action - inducing “artificial” internal laughter.

I think those who study various information, including that found on Internet resources, have more than once encountered the concept of “singing on a smile.” This concept is interpreted on most sites rather superficially, hence there is a lot of criticism of this concept on the sites of others belonging to apologists of classical vocal technique.

Well, in fact, singing all the time with your lips parted in a smile is somehow stupid - not every text can be sung with a smile. You wouldn’t sing some kind of mourning song or a song whose lyrics clearly do not imply an “easy attitude” while constantly smiling? That's right, this is not necessary.

As usual, “singing while smiling” is a product of teachers’ lack of “corrosiveness” into the essence of things happening in the body. NOT A SMILE needed by a vocalist AND LAUGHTER, and a real one, which forces the cervicoclavicular-mastoid muscle to work, thanks to which the false ligaments open.

Of course, I understand that “laughing” on stage is not singing, it is a completely different manifestation of the emotion of fun. However, without invoking such an emotion (during the learning process), it is impossible to train the skill of managing false connections. But later, after training, you can trigger the reaction of the desired muscle, either silently or with a tearful expression on your face.

It's like learning to play an instrument, be it a guitar or a piano. At the beginning, the fingers do not want to obey their owner at all, they go in the wrong direction, they become overexerted and tired, they wander around in search of the required position... After training, they seem to “stop obeying” the brain, and the pianist, even after a long break, can play a complex Bach passage, wondering: "Oh wow! Fingers remember!

In the same way, internal reactions TRAINED vocalist REMEMBER(like fingers) what they need to do to prevent vocal clamping. This - MUSCLE MEMORY, which is the real foundation of good vocals.

In this video, the acronym FGS is false vocal cords (or false).

All that remains is to realize and think through how to learn to “laugh inside” so that, regardless of facial expression, you create the necessary configuration of the internal vocal organs, what is the “laughing position.” And not at all “singing on a smile”, which has long become some kind of wart, an outgrowth on the correct understanding of the role of the emotion of laughter in teaching false cords to obey consciousness and not reflex.

Try to induce “inner laughter” in yourself, for example, by playing the game “Who will laugh first?” And at that moment when, through an effort of will, you leave a serious expression on your face, and everything inside is already “laughing,” try to record your feelings in order to evoke them later.

If you manage to evoke them, then your muscle memory has remembered what happened, and now, having recreated this internal “position” of the organs that arose when you wanted to laugh, you will be able to sing much more easily those notes that were previously given to you only forcefully or not given at all .

Well, for more advanced exercises, come to the EVT Method training. The knowledge and skills acquired there will help you cope with vocal tension using modern technologies vocal training. Although I warn you right away that you will need to work a lot, because learning to perform tricks is far from easy...

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High notes can be challenging for beginning vocalists, especially those who did not sing in a choir as a child. You can learn to sing them correctly at any age. Learning will go faster if you school years the vocalist already had singing experience.

Many performers begin to be afraid to hit high notes for various reasons, but in fact, with the help of special exercises, you can learn to hit them correctly and beautifully. A few simple exercises will help you learn to sing high in the upper part of your range without additional sound amplifiers or reverb. But first you need to figure out what is stopping you from singing easily and beautifully and staying on top in difficult head tessitura.

Why are high notes difficult to sing even for a soprano?

There can be many reasons for difficulty singing in the high range. The vocalist begins to become afraid of them due to both physical and psychological factors. At the same time, his voice can really sound ugly at the top notes. Here are some of the most common reasons why they are difficult to sing:

1. Chanting within a fifth with a jump upward from prima. You need to sing a completed fifth up and down, and then jump to the same interval and return to the note again.
2. Sing descending chants from fifth to prime. This way you can smooth out the problem area of ​​the range and overcome your fear of higher notes.
3. Chants within an octave with multiple repetitions of the top sound. You can even stop at it and sing it for as long as possible. The main thing is to avoid guttural sounds. You can make crescendos and diminuendos on it to learn how to control your voice in high tessitura.
4. When you sing high notes, notice which part of your body begins to vibrate a little. If you sing high notes, the nose and eye area will vibrate. With a sharp irregular sound there is no sensation of vibration.
5. Achieve a soft, beautiful sound that flows smoothly across the entire range. Then it will become easier for you to sing it and enjoy the beautiful sound of your voice.

Singing is one of the most beautiful and impressive ways of human creative expression. Singing in the full sense of the word is accessible only to the human species. The chirping of birds and the howling of wolves do not count. Why does beautiful singing have such a charming effect on the human brain? First of all, we are influenced by the rhythm of the sound, overtones and strength of the voice. And only then do we begin to listen to the words of the song, since they are secondary.

The ability to sing depends on many factors - hearing, voice, musical education, working on your vocal abilities. Sometimes we can have perfect pitch and sense of rhythm, but have weak vocal abilities. It also happens, on the contrary, that despite an excellent, rich and rich voice, a person has absolutely no ear for music. Is it possible to learn to sing on your own? How to sing if you have no voice? Let's try to find out as much information as possible on these issues.

Training the sound of the voice in unison is very useful for developing hearing. Unison is a way of sounding in which sounds of different origins are produced at the same vocal pitch.

To practice singing in unison we will use the following exercises.

1. “Into the white light, like a pretty penny” (most often this technique is called “Finger to the sky”). This exercise is quite simple in theory, but difficult to implement. This strange name due to the specifics of the exercise. We choose a source of constant noise for ourselves. You can take a quietly humming refrigerator or system unit, and try to make the sounds “o-o-o-o-o-o”, “y-y-y-y-y”, “a-a-a-a-a”, get into the same key and pitch with him. This may not be achieved the first time, but it must be achieved.


2. "Master key" ("Carpet bombing"). The principle of this exercise is approximately the same as the previous one. Only, standing next to the source of noise, instead of monophonic sounds, we begin to imitate various household and technological noises (the screech of a saw, the noise of an engine, the whine of turbines, etc.). Our task, as in the first case, is to achieve resonance in the sound.

To develop your ear for music, perform these exercises regularly and you will achieve significant success.

Next, important point, is the ability to listen to your voice. We hear it a little differently than those around us. This is due to the fact that sound resonates from the vaults of the skull, and we perceive it in a distorted form. When our voice sounds from the outside (recorded), it seems unnatural and alien to us. This should not interfere with our work on the voice.

Another significant nuance is the ability to breathe correctly. While singing, correct breathing forms half of all success. We must inhale sharply through the nose and exhale smoothly, slowly through the mouth, making sounds of the required tonality.

The following exercises will be useful to you to practice breathing.

1. While the candle is burning. The essence of this exercise is to fill your lungs with air to the maximum and gradually exhale it, causing the candle flame, located at a distance of thirty centimeters, to deviate to the side without hesitation. In this case, the light should not fade.


2. Stronger than steel. Lie on the floor and place a stack of several books on your stomach to create pressure on the diaphragm area. Lie like this for about a third of an hour and breathe calmly. This type of training allows you to strengthen your diaphragm and improve your vocal performance.

Also, correct articulation – clear pronunciation of speech sounds – is extremely important for singing. There are also special exercises for the development of the articulatory apparatus.

1. Open your mouth wider and hold it in this position for about 5 seconds, mentally pronouncing the sound “A”. This exercise has a strengthening effect on the ligaments and joints of the jaw. This action is repeated several times.


2. To strengthen the cheek muscles, inflate one or the other cheek. Next, pull them in at the same time.


3. We should also devote a lot of time to developing our tongue. This can be done by pronouncing tongue twisters. Moreover, this should be done at the fastest possible pace.

What to do if you don't have good vocal skills?

The first thing to do is to put a voice. For this, there are also a lot of special exercises that professional vocalists use.

• We place our feet shoulder-width apart. The body is relaxed. We begin to smoothly lean forward, stretching our arms forward and touching the floor with them. When bending over, we smoothly draw air through our nose, and when straightening up, we also smoothly exhale it. This exercise is indispensable for raising the voice and strengthening the diaphragm.


• We make movements hugging ourselves by the shoulders without crossing your arms. At the girth we take a sharp breath through our nose. Next, we spread our arms wide with a sharp exhalation. Correct and regular performance of such exercises will help you strengthen all organs involved in sound production.


• Chants. We pronounce the sounds “I”, “U”, “O”, “E” in a wide variety of tones and timbres. This allows us to stretch and warm up the vocal cords before singing, giving them softness and elasticity.


• Eights. This exercise involves repeating the following action ten to fifteen times: we draw air into our lungs “as hard as we can” and pronounce, trying not to exhale, the numbers from one to eight. This exercise is great for strengthening your voice and strengthening your singing apparatus.

Learn to sing beautifully

1. Correct breathing technique. When performing songs, it is important to keep the mouth properly open in the so-called “yawn.” The most difficult thing about this is that your jaw must move in order to articulate normally. Therefore, we do the following exercise: open our mouth all the way, as if yawning, move our chin to the sides, close our mouth.


2. Diaphragmatic breathing. In everyday life, we weakly use the diaphragm when breathing. Usually women actively breathe with its help. Men breathe with the help chest. Therefore, to develop beautiful singing skills, men should develop their diaphragmatic muscles. breathing techniques. To do this, when inhaling, we “inflate” the stomach, and during exhalation, we “deflate” it. There is practically no movement of the chest.


3. Learning to listen to our voice. You will have to get used to perceiving him as he really is. The microphone and audio recording program included will help you with this. Microsoft Windows. Over time, you will learn to hear it correctly and objectively control timbre and tonality.


4. Sing vowel sounds, using the accompaniment of a synthesizer or piano, varying the timbre and pitch of the sounds produced, trying to get into the key of the sounds of the instrument keys.


5. When you have warmed up your ligaments well and practiced the key, try to start singing. Choose your favorite song, which you can reproduce without any difficulty. First, try singing along with your idol. If you notice that you are hitting the notes much more often than before, you can try your hand at karaoke. If you score enough points, you can practice singing to the backing track.


6. An extremely important component of beautiful singing is emotional coloring and getting into character. The singer simply must be a bit of an actor so that his vocals make the most powerful impression on the viewer. Think about audio clips. All famous performers shoot unusual videos for their songs that briefly play out the content of the song. This allows you to make a whole story out of the song, a reality that you can live while listening to the composition. When you yourself deeply feel the emotions that permeate the song you perform, they involuntarily fill your vocals with magical charm and make an amazing impression on the listener. Live your song!


7. Choreography. Try to simultaneously engage in choreography while developing your vocals. Imagine a singer, whose voice is beautiful, standing like an idol on stage, hunched over and stiff. This will greatly blur the impression of the performance. If you do not plan to make a living solely by selling your own audio recordings, but want to fill stadiums with thousands of people, you should work on your flexibility and behavior on stage. Unlike singing, which can be practiced at any age, it is best to start at early childhood. This is due age characteristics. In your youth, your ligaments and joints are much better suited to perform choreographed movements. But if you decide to start an artistic career in adulthood, it is important to master at least the basics of plastic movements and movements around the stage.


8. Always try sing in front of the mirror to control articulation and gestures.


9. Try to learn speak fluently in front of a large audience. A huge crowd watching you intently can shock even the most strong-willed person. Try speaking at different kinds of seminars and conferences. This will strengthen your self-control and liberate you.

In order to learn to sing, you must follow the recommendations:

• Love singing, strive for development and self-improvement, the most wonderful vocal abilities can be developed into even more beautiful ones, rising to unattainable heights.


• Do not hurry. Your patience is the guarantee of future success. Nothing happens “at once”. Sometimes it takes a lot of effort, time and effort to experience minimal progress. But this will be your success and achievement.


• Take care of the health of your throat and vocal cords, wrap yourself in warm scarves in winter, and do not abuse ice cream, alcohol and tobacco.


• Make it a rule to conduct regular “chants”. They will help keep your ligaments in good shape.


• Get more active in sports. This will help improve your respiratory system, keep the working volume of the lungs at an acceptable level.


• Always think about singing. This will create the right mood for the whole body and will have a beneficial effect on your vocal training.


• Constantly study the latest vocal training techniques, read advice from professional teachers, look for something fresh that suits you.

The most important thing in the process of learning to sing is:

• Believe in yourself;


• clear goal setting;


• drawing up a long-term development plan and strictly following it;


• daily and persistent training;


• the ability to overcome difficulties, doubts and criticism from others.

Dare - courage and perseverance are sometimes more important than the most developed talent!

(10 tips for high notes)

Very informative tips will be stored here, you can read more about many of them in other sections oh oh . And so we went:

1. 1. . Just don't think about the heavy note and that's it, sing it as if it were a middle note, sing it in the middle register of your voice;
2. Think about taking a deep breath during the onset of phonation, the onset of sound. And make this feeling, imagine while singing that you are not exhaling, but rather inhaling, singing as if into yourself, and not out of yourself;
3. Don't reach for the note, do not raise your larynx, remain in a calm position. It’s impossible to sing a high note beautifully, but it’s tight, so calm and only calm;
4. Imagine, in a split second before hitting a high note, that you seem to be suddenly squatting on springy legs, give yourself this feeling, you can really sit down sharply , but without forgetting about the support;
5. Jump before you take it high notes and when playing, for example, it helps me a lot when I want to play up to 2 octaves, but today, somehow it doesn’t work out. The point is not even to jump or sit down, the benefit of these exercises, as Maestro Barra said, is to distract the attention of the singer, the body is capable of a huge range, people interfere with themselves. You just need to suddenly be distracted;
6. Make a sharp push with your diaphragm forward, at the moment the sound begins, this will relieve you of excessive subglottic air pressure on the ligaments. The sharp push should be strong enough; for an experienced singer this is not a problem at all;
7. Press the note well. I already wrote about all this in the section, imagine that you have been constipated for a week and you need to do your own things, which are not so easy to accomplish. In general, push well when hitting a high note, pay attention that the support is only in the abdomen thanks to the work of the diaphragm, so that the tension is not transferred to your throat, but be careful not to shit yourself;
8. Hands up , this also helps inexperienced singers to sing higher, they should be relaxed, not squeezing their shoulders, raised no higher than their face, if they are loose, they will most likely be bent at the elbows;
9. but only, everything else, open singing is considered incorrect, non-resonator singing pinches the larynx, which makes the sound poor, weak in dynamics and incapable of development;
10. While singing, imagine that you are having sex. Vocals should be fun when something doesn’t work out, this activity turns into hard labor and disgust occurs for the once favorite activity on a deep psychological level. Top notes should be sweet, tasty, passionate, exciting, and not frightened, constrained, clamped and like the first time. Remember the best sexual experience of your life and hold this image throughout the singing of a heavy phrase. During the highest climactic note in the song, imagine that you are experiencing an orgasm, this image will relax you, make you very open, remove the shackles from the larynx, and give you a feeling of flight in the upper register.

Don’t rush to say that I am vulgar or something like that, the fact is that singing directly depends on the human ability to feel and love. Singing and sex are very similar processes on a psychological level, both based on the ability to love. Many outstanding singers of the world knew this secret, they knew that there is no such thing that would reveal a person to the world more than love!

So let's fight, friends!