7 Dimensions Of Singing – Richard Fink

Projecting frequencies within the vocal-instrument should not be confused with “belting,” a term often used to describe the intentional use of the chest register beyond its inherent threshold. Projection is when the resonant space of the vocal tract is in tune with the vibration of the folds, resulting in a natural amplification of sound. Although projection is an essential skill for classical singers who must carry their voice over an orchestra without the aid of a microphone, it can be extremely beneficial to non-classical singers as well.

Country, pop, gospel, rock, r&b, jazz and metal genres all call for different tonal behaviors, but any opportunity to sing dynamically with minimal effort can truly pay off in the long run. Especially when intending to perform with imbalanced characteristics. NOTE: If you chose to sing out-of-balance, be sure to maintain your instrument (stay healthy) and surround your moments of intentional imbalance (whether a single note or an entire set of songs) with as much positive behavior as possible to perform at a consistent level.

A common imbalance that frustrates many singers is having a “nasal” sounding voice. There are two types of nasality. First, is hyper-nasal, which is when too much air passes through the nasal cavities, resulting in a thin and brittle sound. Second, is hypo-nasal, which is when no air enters the nasal cavities, resulting in a darker, stuffy-nose, kind of sound. The soft palate, located in the upper rear of the mouth (separating the oropharynx from the nasopharynx), is mainly responsible for this air allowance.

Typically, singers only want a trace of air resonating in the nasal cavities to add some brilliance in frequency, without over powering the overall sound. However, a touch of nasality has proven to benefit some voices and personalities in every genre. Idina Menzel (whose credits include Elphaba in Wicked and Elsa in Frozen) is a great example of this. Despite the criticism she receives for having a semi-nasally timbre, it’s played a significant role in her being able to stand out and be identifiable from other skilled Broadway singers.

No matter what your goals are, maintaining a consistent quality of sound in the vocal gym is vital for long-term development. This rule applies to most exercises, regardless of the laryngeal position. Listen for changes when warming-up or vocalizing in general. If you catch the color of your voice change unexpectedly, suddenly or gradually, the muscles above your larynx may have interfered in an attempt to assist with other dimensions.

Edited by Andrew Phan Designed by Richard Fink IV Illustrated by Rebecca King at Renegade Chihuahua © 2016 Richard Fink IV All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means; electronic, mechanical, photocopy, recording or otherwise, without the written permission of the copyright owner.

e-Book First Edition Published by THROGA LLC PO Box 562 Bergen, NY 14416 USA www.THROGA.com ISBN: 978-0-692-77175-4 To my students; past, present and future: You are collectively my greatest teacher. I am both humbled and honored to have experienced your voices in their most vulnerable states. I hope each and every one of you continues to develop and share your incredible instrument for the world to hear. Acknowledgments Thank you to the following people; Alysia, Ada and Aurora for believing in me and continuing to endure countless late nights and early mornings of my working to pursue my passion; Andrew Phan for your guidance, insight and unrelenting honesty, in which this book would not have been possible otherwise; Mark Baxter for continuously inspiring me to become the best teacher I can be and for always encouraging me to sing through both the good and the bad; Susan and Richard for setting the bar high enough to teach me the value in fighting for what I believe in; Johnny Cummings for helping me to forge a career in music and singing over the past 20+ years of collaborating on countless projects; Kathy White and Barb Galiford for making me feel like a singer long before anyone else took notice, and for planting the seeds of joy in teaching others; Tony Gross for helping to navigate me through the music industry throughout the years; George Collichio for giving an eager young man his first shot at teaching; Theodis Anderson for believing in my success at every turn; Gary White for always going above and beyond by putting your clients ahead of yourself; Certified Teachers for beating THROGA’s proverbial drum in an effort to help others reveal their gift as singers; Jim Bostock for your expertise and support of THROGA’s mission; Kemo Bunguric & JMC Academy for welcoming me with open arms into a new community of singers and opportunity; Sarah Thiele for your encouragement and inspiration during THROGA’s early developmental stages; Gretchen Roth for proofreading my work; Chris Haitz for always fueling me to take the next leap forward; and finally, Ted Neeley, for illuminating a path to inspire and bring hope to others through singing, storytelling and above all, compassion.

Foreword Are you curious? That’s great! Because an inquisitive mind is a wonderful way to approach the brilliance of “The Seven Dimensions of Singing.”

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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• Title: –
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• ISBN: 9780692771754
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• Language: English (en)

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