There is a wrong perception in singing technique, one of which is “a technique reaching high tone and low tone”. Getting this technique of course not easy, its as hard as playing US Poker without budget to spent.

Ever noticed people sing when he or she tried to shoot a high note? People tend to do when he wants to aim high note is tilted his head as if the tone was in over his head, in fact rarely up to his neck veins become visible.

Although many people use these techniques, but frankly this technique is not appropriate. Why? Due to the tilted head, we are interested in vocal cords and widened so that the high tone becomes more difficult to achieve; if they could, the resulting sound was rough and the vocal cords become easily tired.

The tips are when we want to reach the high notes, try the vocal cords are not interested and widen, but instead keep your head just a little (but do not get stuck because of your vocal cords are too subjective), then shoot the tone with power.
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Have you ever had your voice lock up as you’re singing a song? Do you hear singers who sing easily through their full range and wonder what is holding your voice back? Have you ever felt your voice getting tired and scratchy after a night of singing? Most people have the same problems with singing, but don’t have the right information and training to fix them. I have developed a simple, effective technique for improving your singing that will keep your voice healthy and strong for the rest of your life. It’s the JDSMethod of Singing. more

In this vocal method, you’ll learn the secrets that allow your voice to flow freely with maximum range and power. I’ve been training singers and voice instructors for the last 18 years, and studied under some of the best teachers in the world. I’d like to share my secrets with you, to show you how you can begin improving your voice right away with these simple principles.

The Most Common Problem With Singing

Most people have the same problems with singing. You’re fine for some parts of the song, then comes the high note. You see it coming, feel nervous, leap for it, and then boom–your voice cracks. You try again, push a little harder, lunging up with hope for a good result, and it’s even worse. After a few more tries, you have less range than when you started, and the next day, you dont want to practice because your voice is scratchy and tired. What happened?

What I just described to you is called constriction, which is your body’s attempt to sing notes using the wrong muscles. When this happens, muscles around your larnynx squeeze in, and your vocal cords get tired and begin to feel scratchy and weak. The common problem that everyone has is the weak link of the vocal cord in the system of singing. With weight lifting, you push your muscles to the limit and they grow back stronger. With your vocal cords, if you push them to their limit they swell up, and don’;t resist air effectively.

Think of your as a five speed car, with some basic controls that affect the gears: gas, clutch, steering, and some signals With constriction, it’s like you’re stuck in second gear trying to get onto the freeway! When it comes time to sing to the high note, it’s essential that you’re able to change gears, and activate the small unique muscles that allow the voice to go into the very highest notes with ease and freedom. Many singers are not able to access all the gears of their vehicle, or even know that they exist.

Chest Voice and Head Voice

Put your hand on your chest and say “Wow”. Now sing “Woow” in your head voice. Notice the difference between these registers. There are three approaches to deal with the break between chest voice and head voice:

1.Pull up the chest voice

This is the most common pitfall, and the most damaging to your voice. Even ten minutes singing while you’re pushing hard at the top of your chest voice range can tire your voice and leave you feeling scratchy and hoarse.

2. Flip into falsetto

Falsetto is a state where your vocal cords have blown apart, and your voice sounds airy and “false”. It doesn’t really hurt your voice, but it sure sounds odd to you and everyone else.

3. Blend your chest voice and head voice, and sing at the Balance Point.

When you sing at the Balance Point, there is no break between the chest voice and the head voice. There are already some popular programs that teach you how to sing in your mix, mainly by Seth Riggs and Brett Manning. I know those teachers and their methods. I believe my method is unique, in that it reveals some common pitfalls that students of those methods encounter, namely tension in the jaw and tongue that prevents key muscle groups from activating.

Back to the car analogy, if you’re hoping to change gears as you get onto the freeway, you’d better know how to work the clutch and the gas at the same time, and know where the gears are. In the JDSMethod, I show you how to balance your head voice and chest voice by awakening you to the control elements that allow your voice to function at it’s fullest. Did you know that hidden tension in your jaw can inhibit the small but powerful muscles that allow your voice to transition smoothly from chest voice to head voice? Did you know that a little coordination of your nose can multiply your power by three or four times? Many singers study voice for years without becoming aware of the secrets that I will share with you in this vocal method. In it, I outline the major control elements of the voice:

Vocal Cords
Larynx
Air Control
Outer Muscle
Pharynx

Are you one out of a million? Were you given such an exceptional singing voice that you’re guaranteed a place in the singing hall of fame? If you are one in a million you probably don’t need to read this article. If your one of the countless millions that are not in that category…and you love to sing…PLEASE, PLEASE read on. It will help you to change your viewpoint about the importance of your creative contribution to the world. It will help you to change your mind about bringing your desire to sing into a reality.
Most of us are passive when it comes to singing. We sit back and listen to CDs And MP3s of other singers. Listening to a great singer’s music is akin to experiencing heaven on earth. We love to listen… but… unfortunately that is all we do. We listen. Few of us actually “make” music because we don’t believe we’re worthy to do so.
We listen to music every day that is the result of the recording industries very high standards. We subconsciously “agree” to standards that only a few out of a million people can actually live up to. more
For those of us, whose talents pale in comparison to the pro’s there are no outlets for our desire to sing. We live in a “concert” society where one persons sings and thousands sit back and listen.
Some of us muster every ounce of courage in order to give ourselves permission to sing. When the day finally comes that we open our mouths in song, we discover that we are not capable of sounding like the singers we so much admire. It is a bit of a blow to the ego, our motivation slackens and before you know it we stop singing.
It seems like people have a subconscious rule in their heads when it comes to singing, unless they sound great they have no right to sing. That is why most people do not sing. The act itself has become so important to us as a society that it’s almost sacrilegious to sing just for the fun of it not caring how it sounds. We’ve been conditioned into silence.
Because of a radically different viewpoint at Healing Singing we are able to offer an extraordinarily safe environment for people to face the demons that would stop them from singing. It gives them the opportunity to stop judging and to start celebrating themselves as they are.
At Healing Singing we sing because we like to sing and that is enough reason to do it. We do it because we have the desire to do it.
We sing in our own way….with or without technical skills, standing right where we are now, with our own voice, with our own nuances, with our own strengths and weaknesses, for better or for worse… we sing! Sound radical? Sound scary? Try it.
The result of this sky like, open minded viewpoint is nothing short of miraculous. It’s a “real world” and honest approach…to see the truth exactly as it is without the need to fix it, judge it or change it.
Over the years it has been my experience that some of the most profoundly spiritual moments at Healing Singing were gifts from those who had the greatest vocal challenges. Surprising? Not really. We’re all made of the same “stardust” and that stardust is the product of soul… not the vocal chords.
Do you want to witness a miracle? Witness yourself giving what only you can give through song.
The requirement is not necessarily having a great instrument but rather having an “inner connection” to what is being communicated. That connection is something everyone can find if they want to find it. That connection is the focus of Healing Singing and when you find it you will never feel unworthy to sing again.
The purpose of Healing Singing is to foster and nurture creativity by re-connecting it to our innate spirituality. It is a venue in which individuals can see the profound effect their creativity can have on the lives of others. It offers the opportunity to experience our own creative process rather than experiencing creativity through the lives of others.
It is all about being alive. Being truly alive. Doing what it is that your heart is prompting you to do. And I assure you that if you give someone a gift that comes directly from your heart they will accept it with gratitude. So forget the rules, and the standards. Break out of the prison of silence. And then exclaim…I am alive. I am really alive. Because I sing!

In classifying a voice, it is essential to consider particularly
1. The range.
2. The timbre (quality).
3. Vocal temperament.
In determining the range, care must be taken to keep it within easy limits ; in other words, consider only so much of the scale as is taken naturally, without straining. In cases where the voice has not been forced out of natural shape, this is a comparatively simple matter. more
A cut glass cup, under the friction of the fingers, will give out tone, yet by rubbing it very hard the sound ceases altogether, from which we conclude that the strongest sound obtainable is due to just sufficient friction to secure ample vibration of the crystal, without preventing the freedom of vibration. It is necessary, then, that the crystal vibrate freely under the friction. That liberty of vibration of its tonal walls is the essential condition to the production of maximum and most beautiful tone (Bonnier) .
This is a point having distinct application to vocal study.
The Range is the quantity of notes the voice can reach comfortably and musically. From low to high the tones increase in rapidity of vibration. The more rapid the rate of vibration, the higher the pitch. The rapid vibrations beyond certain limits give out no sound susceptible to human ears. The number of vibrations in musical sounds ranges from forty to four thou-sand a second.
Blaserna gives the following limits of vibration in a human voice :
Normal Exceptional
Bass C — 82 D 293 B (Contra) 61 — F 348
Baritone F — 87 F# 370 D 73—G 392
Tenor B — 109 A 435 G 98—C# 544
Contralto E — 164 F 696 C 110 — A 870
M. Sopr. F — 174 A 870 E 164—B 876
Soprano A— 218C 1044 G 196—E 1305
and more
The Timbre or Quality.–The variation in the timbre of two voices, of the same range may necessitate classifying them differently.
What Is “Timbre?” Musical sounds are not simple, but compound each note consists of a fundamental set of vibrations which determine the pitch, and of a number of superadded vibrations which indicate the “timbre” or “quality” (Helmholtz).
Take, for example, different instruments Fundamental “A” is the same on all of them, but the superadded sounds are different and those are the ones that give timbre or quality to the tone.
The timbre of a voice, being part of one’s organic constitution, cannot be changed.
This does not mean that a harsh, hard voice, made so by faulty method, may not be greatly improved in tonal effects by careful analysis and teaching. But as the timbre and quality of a voice is at bottom a part of the individual’s natural make-up, it is obvious that no other can be substituted, however much it may be attempted or desired. But the best that is in a voice can be secured, with the result that one at times. is tempted to believe that nature’s gifts really have been improved upon. The real fact of the matter is, of course, that the faulty conditions which have hitherto prevented proper results are removed, and the natural beauties of the voice shine forth. Timbre, like the individuality of which it is but a part, may be distorted and suppressed. By proper methods it may also be restored and expressed.
Vocal Temperament. Not of the least importance in the classification of the voice is “vocal temperament.”
Just as there are no two living persons possessing exactly the same character, there are no two singers of like musical or vocal temperament. One singer will grasp mentally and vocally with ease what may be extremely difficult for another. Such combinations constitute what, for want of a better description, may be called “vocal temperament.”
As an illustration of what happens when vocal temperament is disregarded, imagine “La Donna e mobile” sung an octave lower by a heavy bass, or a heavy mezzo-soprano aria from “Samson and Delilah” sung by a light soprano.
The general character of a person is a tremendous factor in his or her vocal temperament, all of which also indicates what a complex thing is individuality in singing, and how impossible and fatal it is to endeavor to develop any two voices by exactly the same processes.
Proceeding from low to high, the voices are classified as follows:
MALE VOICES
Basses, divided into three classes :
Profondo (deep, noble, contra), in which the greatest sonority obtains in the low range.
Cantante (bass-baritone) , showing better sonority in the high range.
Buffo, usually a poor voice, suitable for comedy only.
Baritones, divided into two classes:
Dramatic (very similar to basso cantante). Lyric, or Verdi’s type.
Tenors, divided into three classes:
Dramatic, or very strong.
Semi-dramatic (Lirico spinto).
Lyric, or light.
FEMALE VOICES
Contralto, having a marked baritonal character. (None of this extreme type is on the stage at present.)
Alto or Mezzo-Soprano, the link between contralto and soprano voices.
Dramatic Soprano, one who indicates the greatest sonority and strength in the high range.
Lyric Soprano, lacking the strength of a dramatic voice. (This voice could be called the product of modern music.)
Coloratura Soprano, a virtuoso voice. (This should be placed in a class by itself.)