After learning to use flexible diaphragm breathing, which is the first and most important step in singing, it is necessary to combine breathing with simple exercises using vowels. It is important to find out which vowel is the easiest to produce, as it helps to warm up faster and well with a vowel effortlessly. An effortless vowel resonates through the nasal and mask resonators. With the correct vowel, simple exercises can be customized for each singer, eventually teaching resonance across all vowels and range. For each singer, the vowel can be different.
Some singers may sing a resonant “e” vowel and build the entire voice on that vowel, although it is necessary to modify the “e” in the upper register above the passage to a rounder vowel sound as the vowel “e” becomes returns shrill in the high register of each voice category. In vocal terminology, however, it refers to the transition between registers. More space is required above the passage in the high register and below the passage in the low register and this is achieved by dropping the jaw, relaxing the larynx and creating a sensation of resonance in the upper middle and upper part of the backrest (for the very tall ones). notes) of the head. The pure vowels, which are used for the middle voice, must be modified in this area of the voice so that the sound quality matches the previous one and does not weaken.
Some singers have a resonant “u” vowel. The vowel “u”, although formed on the lips, must resonate higher than the lips: for the middle voice, in the dome or upper inner jaw. Best of all, you can take a vowel “u” above the passaggio with just a little more jaw drop, with excellent results.
Some lucky singers have a beautiful round vowel “a”, however, since the vowel “a” is usually pronounced too far back, many singers have a hard time singing this particular vowel in the middle voice, where the vowel “a” must resonate. in the mask. The mask is a term used to outline the area of the bones from the cheekbones to the furthest head. The vowel “o” uses the lips for training just like the “u”, but again, the vowel should not resonate on the lips, as the lips are too low for classical vowel placement with the exception of the low voice under the passagio where it is possible to resonate lower than the mask. In the middle and upper voice, the awareness of the inner upper jaw brings the vowel “o” to the correct resonance place. The basses usually have a vowel “o” easy.
After finding out which vowel or vowels are easiest for each singer, one does simple exercises using that vowel in conjunction with releasing air from the diaphragm. Examples of easy exercises are a three-note scale or a five-note scale, depending on the singer’s breathing. The singer should not tense up too much from lack of air and end up squeezing the muscles of the diaphragm. Finally, all the vowels need to be equalized to resonate at the nose (not at the nose, but behind) and mask the resonators for the middle voice and further back on the head resonators for the highest range above the passage.
For any genre of singing other than classical, the vowels remain at the level of forward speech. The rock, blues and jazz singer does not require the internal space that the classical singer needs to produce the limbs of the voice. For these genres, proper forward speech and breath support is sufficient. For the classical singer, only the middle voice is at the level of forward speech. After the passage, more space is required.