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How to learn to sing softly

Listening to world-famous singers, many are surprised: the performers so subtly convey the quiet nuances of the vocal composition that even the quietest words can easily be heard on the last row in the hall. These singers are singing into the microphone, so they are so audible, some vocal lovers think, but in fact it is not, and you can easily and quickly learn to sing quietly if you do some exercises. At first, it seemed to me that way too, until at a concert of classical music in DK I heard one singer who had several victories at vocal competitions. When she sang, her voice flowed surprisingly softly and quietly, although the girl sang Gurilev’s classic romance.

It was unusual to listen, especially to those who had been engaged in academic singing for many years and got used to a rich and loud sound, but the secret of the singer’s success soon became clear. She simply masterfully mastered the vocal nuances, clearly pronounced the words, and her voice really flowed like a stream. It turns out that in academic vocals you can sing subtly and filigree, without imitating opera singers with a forced manner of performance. The ability to master quiet nuances is a sign of professionalism of a singer of any style and direction. It allows you to play with your own voice, making the work interesting and expressive.

That is why a vocalist of any direction simply needs to sing softly and subtly. And gradually, the technique of filigree performance can be mastered if you regularly do exercises, work out the nuances and sing correctly. A LITTLE THEORY Singing in quiet nuances is achieved with firm breathing support and getting into the resonators. They contribute to the audibility of voices in any audience. The position of quiet singing should be close so that the timbre is enriched with beautiful overtones and can be heard even in the distant row of the auditorium. This technique is used by actors in theatrical plays.

When words need to be whispered, they take a low diaphragmatic breath and form a sound as close to the front teeth as possible. In this case, the clarity of pronunciation of words is very important. The quieter the sound, the clearer the words. In the construction of quiet nuances, the height of the formation of sound is of great importance. It’s easiest to sing softly low and medium notes, and harder to sing high notes. Many vocalists are accustomed to picking high notes loudly and beautifully, but at the same time they cannot sing quiet sounds at the same pitch. You can learn this if you take high notes not with an open and loud sound, but with a quiet falsetto. It is formed due to the head resonator on a strong respiratory support. Without it, only bundles to quietly sing high notes will not work.

Singing in quiet nuances can be very expressive if you make the most of the most convenient resonator for the selected pitch. High notes need to be taken with a thin falsetto, without straining the larynx and ligaments, low ones – with a chest sound, a sign of which is vibration in the chest area. Middle notes also sound quiet due to the chest resonator, which seamlessly connects to higher registers. So, for the correct formation of a quiet sound, you must comply with the conditions: Strong respiratory support (no constricted ligaments). Clear articulation without clamps and proper diction. Close formation of sound. Maximum use of resonators. HOW TO LEARN TO KEEP A SILENT QUIET – QUIET NUANCES To begin with, you just need to sing in a convenient tessitur a certain phrase of medium volume.

If you get into the resonators correctly, it will sound easy and free. Now try to sing it very quietly, keeping a vocal position. Do you hear yourself now or not? Ask a friend to sit in the far corner of the room and try to quietly sing a phrase or line from a song without a microphone. Were the words clearly heard? Did your voice disappear during quiet singing? If you lose your voice when you sing quiet notes in a high tessitura, this is the first sign of incorrect formation of sound on the ligaments. For such artists, the voice sounds very loud and shrill at high notes or disappears completely. In such cases, it is worth taking high notes with falsetto so that the sound can be easily controlled. You can use the usual vocal exercises, only to sing them in different nuances. For example, one chanting link is sung loudly, the other is at medium height, the third is quiet. You can use vocal exercises with a gradual ascent to an octave and a tripling of the upper sound that you need to take with falsetto.

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