I don't usually comment on TH-cam videos, but I just have to for this! Thank you so much for your explanations. I was searching through your videos for one specifically addressing what I consider my chief struggle in voice right now - and I think this concept of "twang" nails it on the head! I struggle with having a forward tone to my sound (efficient and clear phonation - especially with the vowel [a]). Thank you so much for breaking this down and so many other concepts.
Ms. Karyn, thank you so, so, so, so much for these videos!!! I cannot express how much I have learned from reading your articles at singwise.com and now I found that you have created videos too! I personally don't write comments often, but I had to for yours because of the wealth of knowledge you provide. I have heard from so many "vocal teachers" online and few in person who, now looking back, had no scientific or physiological knowledge as to how the voice is created. They almost always taught in very abstract ways without any whys or explanations, like "make your head vibrate," "sing as if you are yawning" or "move the breath to the back of the throat." But your teaching has cleared so many wrong abstract ideas, and I am so looking forward to learning more through your other videos!!!
This video was so helpful! Thank you for explaining twang so clearly. I always end up sounding a bit nasal when I try to do it but hopefully no longer. I'm excited to see the second video.
Wow. Karyn this honestly the most inspirational bit of singing teaching and awareness I have ever experienced. The closed-throat sort throat is solved immediately with this open throat and fun. THIS is exactly the vocal effect I could not put my finger on what it was of extraordinary voice of Eastern cinema like Pakistan's playback singer Noor Jehan [especially the later 1980s Punjabi songs for actresses to mime]. She is using this twang but also she is brightening with use of intoxicating overtones and harmonic singing that is manipulated, as you point out, around the dental and other spaces in the mouth. I am wanting to create a study of these, what I have discovered are 'studio singers' of the cinema and Eastern pop who actually seem to have little tiny voices of 'mouse that roared'[!] that is drenched in reverb and cranked loud over the orchestra mix in a really artificial way. All the singers have these tiny twang voices like India's soprano 'Goddess' Lata Mangeshkar or Turkey's wild and velvet voiced 'Arabesk' style singers like Hakan Taşıyan and Müslüm Gürses or Ebru Gündeş. And the raucous Christian Lebanon singer George Wassouf. But live their voices are tiny and thin but on tape they blow the house down??? Karyn this is so clever clever clever of you to understand these tiny details as your own original research and so helpful the way you demonstrate with such fun and professionalism. But the twang style does open the throat, as you say, without technical over-thinking.... Really this is so helpful for my research on these weird-voiced singers and my own singing trying learn to get some style like them! Thanks again! ; ) K
I actually think that there is a lack of research on Eastern and ethnic music, both technique and acoustics. I've worked with several Carnatic singers over the years, and I've had to learn everything about their technique and how to train them effectively (so that they can sing healthily but still sound authentic to their style/genre) just from listening and deduction. There needs to be more research on singing styles other than opera, musical theatre, and Western pop.
Hey Karyn, I finally know how to simplify the OE vowel! What you do, is shape the vowel of "UH" (as in "cup") with your throat, and make an "OO" (as in "boo") with your lips. The way I remember it is as though I was going to say UH+W, with the W bringing the lips forward and into a tighter circle. For most OH vowels, you can just think of "EWH" ("OH" as in "go", but with a British accent), but in the cases where an R comes right afterwards, that can be difficult to pull off. This workaround addresses that issue. When writing this vowel, I just use "UW". For a brighter sound, I lift the blade of my tongue up toward the roof of the mouth. The choice of vowel was not really the issue, though. It was the strengh of my head voice. I've been working on it every day and it's starting to get solid. In fact, this vowel is slotting right in nicely and no longer distorts unintentionally with grit.
Hooray for experimentation and detective work! I'm a big fan of both of them when it comes to finding what will ultimately work for us as individual singers.
:D Listening to the CVT examples, I actually just realized today that the vowels for the different modes are not what they seemed at first. To get them right, you have to pretend that you have a British accent. Then, they suddenly make sense. Curbing has "OOW", as in "womb", "IH" as in "sit", and "UH" as in "cup". Overdrive has EH as in "bet" and UHW as in "no", but it's launched with an UH. Edge has IE as in "species", EY as in "hey", AA as in "cat", and "ou" as in "could". The inclusion of the Y in some of these helps indicate the high placement of the tongue. Curbing- OOW, IH, UH Overdrive- EH, UHW Edge: IE, EY, AA, OU CVT says that you want more of an ER sound, but that's not until you get above C5. OU eventually becomes ER, but from C4 to C5, it's distinctively OU. Once you realize that, it's much easier to sing in these modes! Mixing the vowels up between them is how you create a vocal imbalance. Practicing them the way they are intended is what fixes it. For me, OH changes to OU on C4. I was WONDERING why there was no "OU" vowel in CVT... It's disguised under the ERRRR sound of twang.
In vocal twang, is actual phonation occurring at the aryepiglottic sphincter (AES)? I appreciate your explanation on how twang is created by narrowing the AES. I’d originally assumed that twang resulted from a type of “turbulence“ in the airflow from doing this. However, I’ve since come to believe that the AES can be oscillating open and closed ...thus producing its own type of “Fry” (different from glottal fry). This can then be blended with normal phonation from the vocal folds below. To my ear, this little bit of “fry” or twang seems to be a component of a rich bright speaking voice such as Stephen Colbert’s on the “The Late Show“. I also seem to be able to isolate this “aryepiglottic fry” and produce a sound similar to the introduction of “Iron Man“ by Black Sabbath. I’d love to hear your thoughts on whether you think this is accurate and worthwhile ...or misguided! ... or somewhere in between. 😊 Thanks!
I understand the Twang gives voice a bright clear sound and power, my question is if the vocal instrument is mezzo soprano or contralto which it has its naturally dark warm tone in those voice, how can you make it brighter?
What are your thoughts on nasal resonance? As you probably know there are vocal coaches here on TH-cam who advocate a slight drop in in the soft palate to invite some resonance in the nasal cavity. The reasoning is it adds extra buzz and carrying power in the high range to take pressure off of the vocal folds. There are also many coaches who advocate for complete lift of the soft palate and complete closure of the nasal port except for the nasal consonants. Where do you stand in this debate if you don’t mind my asking?
Back in June, I attended the conference for the National Association of Teachers of Singing (NATS). Johann Sundberg spoke about nasal resonance, specifically through the passaggio. He noted that, in his current research, most male classical singers slightly lower the soft palate through the passaggio, without allowing for perceptible nasality. (Nasal tones are NOT part of professionally viable timbre in classical styles of singing.) He explained that the slight bit of nasal resonance added creates a positive interaction between the vocal tract resonances and vocal fold vibration, making it easier to cross the registers. I have a new video coming out sometime later in the week that uses the NG for helping bridge the registers and I mention this research. In any case, I think a slight bit of nasal port opening can be beneficial - and I do use a lot of training exercises based on nasal sounds, both consonants and vowels (I posted a video on nasal vowels last year) - for helping singers transition more skillfully between the registers. I do disagree, however, that nasality adds carrying power. All of the research that I've come across shows that while it does add nasal formants, it diminishes or entirely eliminates oral formants, which are louder by nature and contribute to greater fullness of the vocal sound. So what actually happens is that the tone is thinned, not strengthened. The singer feels stronger vibration in the 'mask' region, which is interpreted internally as being a louder, fuller sound, but that doesn't translate into a louder sound to the listener. Of course, the question is: How important is loudness when we're using microphones? The sound does not need to carry in the same way that an opera singer's unamplified sound does. A completely closed nasal port is more achievable in singing than in rapid speech, but linguistics research has also shown that we don't actually seal off the nasal port completely most of the time. If we completely seal off the nasal port and 'loft' the soft palate, we will tend to get a more 'classical' sound. So, personally, I don't love perceptible nasality (except for the occasional artistic effect), but do use nasal resonance frequently in voice training.
@@seanodonnell429 You're welcome. I've definitely heard some vocal coaches encourage singers to sing through their noses more and more the higher the pitches get. I don't believe that increasingly perceptible nasality is necessary for singers to benefit from slight nasal port opening through the passaggio and vocal break areas.
Thank you for your wonderful videos! I am wondering what the difference between twang, mix, and belt on high notes is. The reason I'm confused is that the exercises I have learned for belting and mix are identical to the ones you shared for twang. How do I transition from twang to belting? Are you planning on doing a video series on belting?
At some point in the near future, I will post videos about mixing and belting. Twang is the foundation for healthy and safe mixing and belting. It's a quality that we apply to our sounds, but is also part of mix and belt technique. Mix just means that we are maintaining speech-like qualities and coordination as we move up the scale. Twang prevents us from pushing too much chest weight up or pushing from out throats as we get above the point at which our second harmonic would ordinarily cross the first formant. We don't modify our vowels the same way in mix as we do in classical, for example. We can mix in both chest voice dominance and head voice dominance (coordinations). Chest mix is the foundation for a legitimate, commercially viable belt. The twang helps to keep it bright and piercing, efficient and safe. Belt just takes mix and cranks it up a notch with higher subglottal pressure and vocal fold compression levels and some other vocal tract adjustments to tune the resonance a given way. So, when you want to learn to belt, you learn twang first, then mix, then belt - in that order. Any exercise can be used for any training purpose. It's the technique that you're using that determines what you'll get out of the exercise, so you will tend to see a lot of these same exercises used for multiple purposes. I hope this clarifies matters for you!
Definitely! Most use a tiny amount of it in their sound throughout their songs to give the voice some ring and crispness and power. But it can be applied to varying degrees. And how much you you (i.e., how perceptible the twang is) really a matter of personal taste - the aesthetic that you're aiming for.
Yes, you are! In God Will (1:51 and many other sections), that's a mix. At other times, you hit more belted notes throughout entire sections of the song (e.g., 3:20 and on), which also have a heavy chest mix as their foundation.
Thank you a lot for video!! It will be great if you share you opinion with me: Does twang can help me to find my breath support? Or I should start to train a twang only after I properly understand a support? Or I should/can train this skills at the same time? I hope you'll understand my question) Thank you again anyway!
I can do you one better! I have a belting workshop coming up in April, during which I'm going to be dedicating 1.5 hours to discussing and demonstrating belting and having all the participants work through exercises, vowels, vocal tract shaping, etc.. You can check out singwise.com/workshops for more details and to register. Please let me know if you have any questions.
Yes, exactly. It's just the short 'tube' of the larynx immediately above the vocal folds. The aryepiglottis is the laryngeal outlet; the top of that epilaryngeal tube, and this is the part that acts as a sphincter. Let me know if you have further questions.
Hi Karyn. I'm a bit confused about ring or brightness in the vocal tone. There seems to be different ways of achieving it. Twang is different than ring coming from pharyngeal resonance, yes? Should they be applied at the same time?
I think the real question is, "What is 'pharyngeal' resonance?" On account of its size, the pharynx is our primary resonator, no matter what or how we're singing, and no matter how we're shaping our instruments. So this concept of 'the pharyngeal' has led to a great deal of confusion and debate. Are we talking about using the nasopharynx? Does that also mean lowering the soft palate and using a bit nasal resonance in the sound? But yes, there are different ways of achieving 'ring' in the tone. Both classical and non-classical singers employ the narrowing of the aryepiglottis in making this brightness and ring in their voices. For classical singers, the larynx is lower and the pharynx dilated, and so the vocal tract configuration creates the singer's formant - a clustering of the third, fourth, and fifth formants. For non-classical singers, the larynx is generally higher and the pharynx narrower (than that of the opera singer), and so the sound is described more as twang. Other singers of non-classical styles might also use brighter vowels without using twang (without narrowing the epilarynx). I have a few videos on the topic of resonance, and you might find that the second video on the topic gives you another option for creating ring that might appeal more to you: th-cam.com/video/atPid_sPeHo/w-d-xo.html
When I use twang i can reach F5. Great demonstration you're amazing. I've Watched the most of your videos and subbed. But I have this confusion. I have watched a real time vocal chords video about the twang and siren/open throat. The thing is, in the twang part the throat was narrow but in the siren part it was open/wide. Now I'm confused, how do I obtain openess while singing twang? Thanks.
If you would put a twang exercise in a warm-up session, would you do this in the middle or at the end of the session? I'm asking this because I worry about the larynx staying high. My larynx is still very disobedient. LOL
Number one! most knowledgeable vocal teacher on youtube.keep up the great work!
I agree, she is amazing!!
absolutely! her website is awesome too
yes! I had been doing voice lessons for a few years but then sitting down a few Sundays to read the website, my voice improved incredibly! I love it!
I don't usually comment on TH-cam videos, but I just have to for this! Thank you so much for your explanations. I was searching through your videos for one specifically addressing what I consider my chief struggle in voice right now - and I think this concept of "twang" nails it on the head! I struggle with having a forward tone to my sound (efficient and clear phonation - especially with the vowel [a]). Thank you so much for breaking this down and so many other concepts.
3:08 - Physiology of twang
8:03 - Twang exercises
As someone who used to sing darker and woofy/hooty/dopey, twang has really helped my brightness and mix.
Yes, twang can be a real game changer for some singers.
wow you are amazing, this video is AWESOME!!!!!!!!! I've learned so much!
This is the best explanation of twang I've ever heard!
I'm so glad it was helpful! There are a few more twang lessons that should follow this one in my playlist.
Ms. Karyn, thank you so, so, so, so much for these videos!!! I cannot express how much I have learned from reading your articles at singwise.com and now I found that you have created videos too! I personally don't write comments often, but I had to for yours because of the wealth of knowledge you provide.
I have heard from so many "vocal teachers" online and few in person who, now looking back, had no scientific or physiological knowledge as to how the voice is created. They almost always taught in very abstract ways without any whys or explanations, like "make your head vibrate," "sing as if you are yawning" or "move the breath to the back of the throat." But your teaching has cleared so many wrong abstract ideas, and I am so looking forward to learning more through your other videos!!!
+Margerine91 Thank you for your very encouraging comment!
I really appreciate that you've found this video comment worthy!
Best singing lessons I've seen on youtube, hands down. Thank you for making such quality work! My mixed voice thanks you too.
You are SO educated and gifted at explaining!!
Outstanding explanation.....So thorough and well explained.
+VIDEOHEREBOB I'm glad you liked it! :)
One of the Singers who Excellent using of Twang is SOHYANG!
Wow! This is awesome. Why haven't I seen this earlier. Thank you so much for your thorough and detailed explanation. Greatly appreciated
Thanks for watching and commenting! I appreciate it very much!
This video was so helpful! Thank you for explaining twang so clearly. I always end up sounding a bit nasal when I try to do it but hopefully no longer. I'm excited to see the second video.
+Haupiacake I'm so glad it was helpful for you!
Wow. Karyn this honestly the most inspirational bit of singing teaching and awareness I have ever experienced. The closed-throat sort throat is solved immediately with this open throat and fun. THIS is exactly the vocal effect I could not put my finger on what it was of extraordinary voice of Eastern cinema like Pakistan's playback singer Noor Jehan [especially the later 1980s Punjabi songs for actresses to mime]. She is using this twang but also she is brightening with use of intoxicating overtones and harmonic singing that is manipulated, as you point out, around the dental and other spaces in the mouth. I am wanting to create a study of these, what I have discovered are 'studio singers' of the cinema and Eastern pop who actually seem to have little tiny voices of 'mouse that roared'[!] that is drenched in reverb and cranked loud over the orchestra mix in a really artificial way. All the singers have these tiny twang voices like India's soprano 'Goddess' Lata Mangeshkar or Turkey's wild and velvet voiced 'Arabesk' style singers like Hakan Taşıyan and Müslüm Gürses or Ebru Gündeş. And the raucous Christian Lebanon singer George Wassouf. But live their voices are tiny and thin but on tape they blow the house down??? Karyn this is so clever clever clever of you to understand these tiny details as your own original research and so helpful the way you demonstrate with such fun and professionalism. But the twang style does open the throat, as you say, without technical over-thinking.... Really this is so helpful for my research on these weird-voiced singers and my own singing trying learn to get some style like them! Thanks again! ; ) K
I actually think that there is a lack of research on Eastern and ethnic music, both technique and acoustics. I've worked with several Carnatic singers over the years, and I've had to learn everything about their technique and how to train them effectively (so that they can sing healthily but still sound authentic to their style/genre) just from listening and deduction. There needs to be more research on singing styles other than opera, musical theatre, and Western pop.
Thank you so much! Your teaching has done wonders for me. I feel like I'm actually learning and improving myself.
I'm so glad I could help you along you singing journey, even if only in some small way!
Thank you for this clear and simple explanation, it helped me a lot and pushed me to explore a part of my voice still unknown.
outstanding. Thank you for such an easy and excellent way of explaining this!!!!
Thanks for leaving your wonderful comment!
This is what I have been looking for,thank u😘😘😘
Hey Karyn, I finally know how to simplify the OE vowel! What you do, is shape the vowel of "UH" (as in "cup") with your throat, and make an "OO" (as in "boo") with your lips. The way I remember it is as though I was going to say UH+W, with the W bringing the lips forward and into a tighter circle. For most OH vowels, you can just think of "EWH" ("OH" as in "go", but with a British accent), but in the cases where an R comes right afterwards, that can be difficult to pull off. This workaround addresses that issue.
When writing this vowel, I just use "UW". For a brighter sound, I lift the blade of my tongue up toward the roof of the mouth.
The choice of vowel was not really the issue, though. It was the strengh of my head voice. I've been working on it every day and it's starting to get solid. In fact, this vowel is slotting right in nicely and no longer distorts unintentionally with grit.
Hooray for experimentation and detective work! I'm a big fan of both of them when it comes to finding what will ultimately work for us as individual singers.
:D
Listening to the CVT examples, I actually just realized today that the vowels for the different modes are not what they seemed at first. To get them right, you have to pretend that you have a British accent. Then, they suddenly make sense. Curbing has "OOW", as in "womb", "IH" as in "sit", and "UH" as in "cup". Overdrive has EH as in "bet" and UHW as in "no", but it's launched with an UH. Edge has IE as in "species", EY as in "hey", AA as in "cat", and "ou" as in "could". The inclusion of the Y in some of these helps indicate the high placement of the tongue.
Curbing- OOW, IH, UH
Overdrive- EH, UHW
Edge: IE, EY, AA, OU
CVT says that you want more of an ER sound, but that's not until you get above C5. OU eventually becomes ER, but from C4 to C5, it's distinctively OU.
Once you realize that, it's much easier to sing in these modes! Mixing the vowels up between them is how you create a vocal imbalance. Practicing them the way they are intended is what fixes it.
For me, OH changes to OU on C4. I was WONDERING why there was no "OU" vowel in CVT... It's disguised under the ERRRR sound of twang.
Always like your videos!!!
fantastic vid
Thank you!
In vocal twang, is actual phonation occurring at the aryepiglottic sphincter (AES)? I appreciate your explanation on how twang is created by narrowing the AES. I’d originally assumed that twang resulted from a type of “turbulence“ in the airflow from doing this. However, I’ve since come to believe that the AES can be oscillating open and closed ...thus producing its own type of “Fry” (different from glottal fry). This can then be blended with normal phonation from the vocal folds below. To my ear, this little bit of “fry” or twang seems to be a component of a rich bright speaking voice such as Stephen Colbert’s on the “The Late Show“. I also seem to be able to isolate this “aryepiglottic fry” and produce a sound similar to the introduction of “Iron Man“ by Black Sabbath. I’d love to hear your thoughts on whether you think this is accurate and worthwhile ...or misguided! ... or somewhere in between. 😊 Thanks!
I love you! Excellent info. and exercises. Thank-you so much!
You're most welcome! I really hope these exercises help.
Super as always Brava
thank Karyn, very great!
8:05
I understand the Twang gives voice a bright clear sound and power, my question is if the vocal instrument is mezzo soprano or contralto which it has its naturally dark warm tone in those voice, how can you make it brighter?
Great video Karen!!
Thank you!
What are your thoughts on nasal resonance? As you probably know there are vocal coaches here on TH-cam who advocate a slight drop in in the soft palate to invite some resonance in the nasal cavity. The reasoning is it adds extra buzz and carrying power in the high range to take pressure off of the vocal folds. There are also many coaches who advocate for complete lift of the soft palate and complete closure of the nasal port except for the nasal consonants. Where do you stand in this debate if you don’t mind my asking?
Back in June, I attended the conference for the National Association of Teachers of Singing (NATS). Johann Sundberg spoke about nasal resonance, specifically through the passaggio. He noted that, in his current research, most male classical singers slightly lower the soft palate through the passaggio, without allowing for perceptible nasality. (Nasal tones are NOT part of professionally viable timbre in classical styles of singing.) He explained that the slight bit of nasal resonance added creates a positive interaction between the vocal tract resonances and vocal fold vibration, making it easier to cross the registers. I have a new video coming out sometime later in the week that uses the NG for helping bridge the registers and I mention this research. In any case, I think a slight bit of nasal port opening can be beneficial - and I do use a lot of training exercises based on nasal sounds, both consonants and vowels (I posted a video on nasal vowels last year) - for helping singers transition more skillfully between the registers. I do disagree, however, that nasality adds carrying power. All of the research that I've come across shows that while it does add nasal formants, it diminishes or entirely eliminates oral formants, which are louder by nature and contribute to greater fullness of the vocal sound. So what actually happens is that the tone is thinned, not strengthened. The singer feels stronger vibration in the 'mask' region, which is interpreted internally as being a louder, fuller sound, but that doesn't translate into a louder sound to the listener. Of course, the question is: How important is loudness when we're using microphones? The sound does not need to carry in the same way that an opera singer's unamplified sound does. A completely closed nasal port is more achievable in singing than in rapid speech, but linguistics research has also shown that we don't actually seal off the nasal port completely most of the time. If we completely seal off the nasal port and 'loft' the soft palate, we will tend to get a more 'classical' sound. So, personally, I don't love perceptible nasality (except for the occasional artistic effect), but do use nasal resonance frequently in voice training.
Thank you for the info! This is very interesting! It’s one of those things that I’ve heard conflicting advice about.
@@seanodonnell429 You're welcome. I've definitely heard some vocal coaches encourage singers to sing through their noses more and more the higher the pitches get. I don't believe that increasingly perceptible nasality is necessary for singers to benefit from slight nasal port opening through the passaggio and vocal break areas.
🙏❤️❤️❤️🙏
Excellent video Karyn
Thank you!
Thank you for your wonderful videos! I am wondering what the difference between twang, mix, and belt on high notes is. The reason I'm confused is that the exercises I have learned for belting and mix are identical to the ones you shared for twang. How do I transition from twang to belting? Are you planning on doing a video series on belting?
At some point in the near future, I will post videos about mixing and belting. Twang is the foundation for healthy and safe mixing and belting. It's a quality that we apply to our sounds, but is also part of mix and belt technique. Mix just means that we are maintaining speech-like qualities and coordination as we move up the scale. Twang prevents us from pushing too much chest weight up or pushing from out throats as we get above the point at which our second harmonic would ordinarily cross the first formant. We don't modify our vowels the same way in mix as we do in classical, for example. We can mix in both chest voice dominance and head voice dominance (coordinations). Chest mix is the foundation for a legitimate, commercially viable belt. The twang helps to keep it bright and piercing, efficient and safe. Belt just takes mix and cranks it up a notch with higher subglottal pressure and vocal fold compression levels and some other vocal tract adjustments to tune the resonance a given way. So, when you want to learn to belt, you learn twang first, then mix, then belt - in that order. Any exercise can be used for any training purpose. It's the technique that you're using that determines what you'll get out of the exercise, so you will tend to see a lot of these same exercises used for multiple purposes. I hope this clarifies matters for you!
+singwisevocals Thank you, just what I was looking for.
You're welcome.
+singwisevocals Unless your singing the Archie Bunker theme song. 😂
+singwisevocals Unless your singing the Archie Bunker theme song. 😂
are most pop singers using some amount of twang most of the time? how often do you use it?
Definitely! Most use a tiny amount of it in their sound throughout their songs to give the voice some ring and crispness and power. But it can be applied to varying degrees. And how much you you (i.e., how perceptible the twang is) really a matter of personal taste - the aesthetic that you're aiming for.
is twang related to vowel modification?
hi my name is marie I have two songs on youtube iwont know if iam singing in mixed voice belt
Yes, you are! In God Will (1:51 and many other sections), that's a mix. At other times, you hit more belted notes throughout entire sections of the song (e.g., 3:20 and on), which also have a heavy chest mix as their foundation.
Thank you a lot for video!! It will be great if you share you opinion with me:
Does twang can help me to find my breath support? Or I should start to train a twang only after I properly understand a support? Or I should/can train this skills at the same time? I hope you'll understand my question) Thank you again anyway!
Can you please dedicate a video to belting?
I can do you one better! I have a belting workshop coming up in April, during which I'm going to be dedicating 1.5 hours to discussing and demonstrating belting and having all the participants work through exercises, vowels, vocal tract shaping, etc.. You can check out singwise.com/workshops for more details and to register. Please let me know if you have any questions.
The "epilaryngeal tube" or what do you call it?
Yes, exactly. It's just the short 'tube' of the larynx immediately above the vocal folds. The aryepiglottis is the laryngeal outlet; the top of that epilaryngeal tube, and this is the part that acts as a sphincter. Let me know if you have further questions.
singwisevocals Thank you! You're doing great work. Love your videos.
Thanks so much!
How are you doing? Haven't been uploading. Hope you are well.
Hi Karyn. I'm a bit confused about ring or brightness in the vocal tone. There seems to be different ways of achieving it. Twang is different than ring coming from pharyngeal resonance, yes? Should they be applied at the same time?
I think the real question is, "What is 'pharyngeal' resonance?" On account of its size, the pharynx is our primary resonator, no matter what or how we're singing, and no matter how we're shaping our instruments. So this concept of 'the pharyngeal' has led to a great deal of confusion and debate. Are we talking about using the nasopharynx? Does that also mean lowering the soft palate and using a bit nasal resonance in the sound? But yes, there are different ways of achieving 'ring' in the tone. Both classical and non-classical singers employ the narrowing of the aryepiglottis in making this brightness and ring in their voices. For classical singers, the larynx is lower and the pharynx dilated, and so the vocal tract configuration creates the singer's formant - a clustering of the third, fourth, and fifth formants. For non-classical singers, the larynx is generally higher and the pharynx narrower (than that of the opera singer), and so the sound is described more as twang. Other singers of non-classical styles might also use brighter vowels without using twang (without narrowing the epilarynx). I have a few videos on the topic of resonance, and you might find that the second video on the topic gives you another option for creating ring that might appeal more to you: th-cam.com/video/atPid_sPeHo/w-d-xo.html
When I use twang i can reach F5. Great demonstration you're amazing. I've Watched the most of your videos and subbed. But I have this confusion. I have watched a real time vocal chords video about the twang and siren/open throat. The thing is, in the twang part the throat was narrow but in the siren part it was open/wide. Now I'm confused, how do I obtain openess while singing twang? Thanks.
If you would put a twang exercise in a warm-up session, would you do this in the middle or at the end of the session? I'm asking this because I worry about the larynx staying high. My larynx is still very disobedient. LOL
How should my tongue and soft palatte position
My larynx rises when I make the sounds in the exercise. Is this fine?
But what is twang exactly?
8 minute ;)
???
Just thanking the minute eight was wonderful :), you're awesome tnxs!
Ahhh! I see. I'm glad you enjoyed it.
miau, miau, miau, miaaaaaaaaaaaaaaaaaaaaaauuuuuuuuuu