Jaime, fellow journeymen,

Guess everyone will know I'm new from the subject line. I've purchased both RYV and RYVAdv and read through them from cover to cover. I have also started on the basic exercises. In the past, I have done Singing Success (though I didn't really follow it through).

Anyways, so here's the query. Throughout the RYV manuals, one thing is kept in focus (in addition to support), and that is the larynx should not rise up. When I do my exercises, or I try a song, I've noticed something interesting. Around G3, my larynx really seems to start rising if I retain my full voice. At A3, I'm not really feeling constricted in full voice, but the larynx is high. If I switch to my head voice, the larynx immediately drops, but obviously the tone is now completely different. I know chest/head/falsetto aren't supposed to be taken as limitations, but I can't explain it any other way.

So, am I correct interpreting that when I do any exercise at A3, it should be done in my head voice? And as I do the transition tone and siren, this will become stronger/louder?

My confusion can probably be explained through an example like 'nothing else matters'. Most of the song is in a comfortable range for me (sounds even better if I add some vocal fry on top). But the chorus after the bridge is sung an octave higher (unless I'm wrong). Today, I can belt it out in full voice. Please note, I don't feel like it's hurting, just feels like I'm close to my upper range and my larynx is real high. However, I do get the tonality of James' voice.

Or, I can avoid the belting and practice RYV until I can sing that pitch with a louder/fuller head voice (and I also have to learn to add grit in that voice). The only problem is that intuitively it doesn't seem like I will regain that tonality I got from the belting.

Bottom line is that this query impacts my way of exercising too, especially on upward slides. It's kinda like changing gears, as mentioned in the book. There is a range that can be done in the lower gear, but the larynx rises. Or you can switch to a higher gear and compromise on volume and tonality.

Ameet, as far as my approach goes, your thinking all wrong. For one, the larynx can move slightly up and down. Two, thinking the 'head voice" is some lighter tone is incorrect. Head voice is a place, the high voice, whether your singing in falsetto, full voice, or a mixture of the two. Slow the exercises down as you slide and transcend and allow the voice to grow stronger over a period of time:) Then you won't be thinking, "whoops, I need to change my sound into this head voice thingy" because your voice will already be in that "head voice" area on high notes, because head voice is high voice, above the break;)

I have a similar issue. I seem to have to force a full voice tone starting at the same note, and it is never smooth...How do I gain notes in full voice because TT isn't getting me there. Also, would it be okay if I were to hold a bullfrog larynx position while doing exercises so that the larynx rising would bring it back to its normal position?

Jaime,

Thank you for the response. I get what you are saying, but perhaps I wasn't clear with my query. Let's say there is a song with a powerful vocal passage that is centered around C4. I am able to sing it at the desired tonality, but I know that notes that pass G4 will hurt (I get a squeezing sensation). Now if I choose to sing the passage with the lighter tone, then I'm able to go way past G4 with ease. I don't feel any limitation, just that now the whole thing sounds 'thin' and lacking substance. Please note that by lighter I don't mean 'airy', I just mean light.

As I see it these are two very distinct modes of singing on my part (full voice and light voice). You are saying that ultimately I will reach a stage where I won't have to worry about 'how' and it will just sound powerful all through.

But when I am practicing songs right now, if a song takes me to C4, what voice should I use? The full voice or the light voice? When it comes to falsetto slides, the answer is clear in your book. But for actual singing (say classic rock songs), it isn't real fun practising these in a light voice.

Ameet

maybe the problem is you try to pull chest?
Did you read the RYV section where Jaime talks about vocal folds zipping (which is equivalent to thyroid tilt / mixed voice...)?
A way to control this "zipping" is to add a little "crying" sound when approching the break (E4).

Good idea seventhson! I'll try that as well. Best of luck to you as well Ameet.

Good reply. ALSO, do NOT the Bullfrog position! It will lead to strain

If doing a Bullfrog while vocalizing would lead to strain, then how can I keep my larynx stable? I've been doing bullfrogs for around a week now, more than fifty a day. Thank you for calling that out though Jaime.

Try waiting until, you are doing 500 a day for at least a month, then you won't need to ask this question;) A week isn't enough time. It's like saying, 'I've been doing sit-ups for a week and I still don't have six-pack abs.' So, keep working;)

The main reason I asked that question is because I ended up straining at around G5. I might stair step in the meantime.

Start doing them, just like Jaime said - you haven't done enough to build the muscles to lower the larynx. Ideally you need to learn to fully control it so you can raise it, lower it, etc..

I can literally drop mine down so low it seems to disappear into my chest.

After, however many years Jaime has had me doing these? probably since 2004, maybe? It's been a long time. I still do them on a daily basis.

Also, make sure that you do the vocal stress relief, otherwise - you are only hurting yourself. You want o make sure t5hat you remove all the tension in your neck and throat. It makes a MAJOR difference.

Tim

You got it a bit wrong. Head voice doesn't mean weak voice. It's just a place of resonance not a description of timbre.

And to be honest if you do everything correctly the voice will naturally tend to transition to head voice as you ascend. Without any sudden change in tone.
When done correctly head voice feels like an effortless extension of your chest voice.

Stick to the transcending tone and the sirens Jaime describes. The first one is very beneficial as you start on a light falsetto note and then you thicken it. The falsetto helps you to free your throat from any constrictions and promotes correct placement and open throat.

Of course when you start out the feeling of a FULL head voice is completely alien. It's easy to get trapped in a loud but "heady" and light head voice.

In my opinion I wouldn't give much attention to the larynx itself. I'd focus more on your desired tone and the feelings at your throat. The larynx will then automatically find the right place.