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Posts all your requests and questions here!
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You can ask people to PM you for the instrumental version if it is hosted on a filesharing website.
Don't forget that we do have a few tutorials in the wiki for isolation techniques as well.
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In order to be a good pop singer, you need to have a feel for the music, which does not always adhere strictly to what is written. The singer can add riffs and breaks, longer and shorter notes, but the intention is to communicate a feeling. Therefore your communication and emotional interpretation skills must be good.
All singing requires support, and pop is no exception. A good way to connect your voice to your body is to place a finger in front of your lips, touch them, and blow firmly. You should feel the connection to your stomach muscles, and the contraction of the abdominal area.
To work on speech quality, a vocal technique commonly used in pop that is closer to speaking than singing, try saying 'uh-oh' with an edge on it. That's called starting a sound with a glottal onset, which means that the sound starts before the breath. If you say 'ho-ho' with an 'h', you can feel your breath escaping. Now say 'uh-oh' again without the 'h' and engage your abdominal muscles up a bit. The glottal onset is an important part of speech quality, which is the communicating factor in singing - it's what people recognise when we talk. Avril Lavigne and Alanis Morrisette both have terrific speech quality.
Speech quality singing becomes much harder in the higher range. To practise this, try singing 'ee', going up in thirds (ie do-me-so). The sides of the tongue should touch the insides of the top back molars. Add a glottal onset to 'ee', then say 'hee' with a big 'h', and feel the difference - the former gives a clearer speech quality.
Training your voice how to work in the higher range is essential. In order to do this safely in the pop genre, you need to practise a hard silent laugh. You should feel a sideways stretch in the larynx. This retracts and opens the false folds (which sit above the true vocal folds), removing any pressure from the true folds. This open feeling must increase as the range increases, otherwise the false folds close over the true folds (which is what happens when we swallow), and constriction occurs.
Another important vocal quality to learn for singing pop is thyroid tilt, which softens and sweetens the sound you're making, as well as helping with range. Put your hand on your larynx - the adam's apple - and say a tiny little 'miaow'. Feel how your thyroid cartilage moves forward. The vocal folds become longer and thinner, and the sound and the breath come together, so the sound is smooth. When you go higher in any pop song the thyroid cartilage should tilt, because the vocal folds need to stretch.
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Sirening is an exercise that can help your range and clean the vocal folds. To do this, put your tongue on your soft palate and sing an 'ng' (as in the word 'sing'). Keep your tongue there and sing up to the top of your vocal range and down to the bottom again, like a police siren. This warms up the voice, and makes the larynx move up for the higher pitches, down for the lower pitches and through into neutral.
Twang is another common vocal quality used in pop singing. To learn this vocal technique, imitate the cartoon 'boi-oi-oi-oing' sound a spring or diving board might make. Classic examples of twang in song include Dolly Parton's Jolene or Bob Dylan's Like a Rolling Stone.
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Technique: belting
Belting is a vocal style similar to shouting. It is commonly used in rock and pop songs such as Queen's I Want to Break Free or Whitney Houston's I Will Always Love You. But be warned - belting can cause damage if done incorrectly. It should only be practised with the guidance of an experienced teacher.
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Many pop singers switch from speech quality to belt to add emotional intensity. Belting uses the voice in the same way as speech quality but requires more energy and muscularity. Unlike other techniques, belting relies on keeping a higher larynx, taking high, shallow breaths, and using the muscles across the upper chest and back to stabilise the larynx and anchor the torso in preparation for the effort required to belt. To practise breathing for belt, place your hands on your ribcage, take a quick, high breath and feel your ribcage expand, pulling your shoulder blades down. Now call out to someone, saying 'yay'. The sound should be strong and clear, but remember it can cause high levels of tension if done improperly.