Pillar 2: Resonance

Our job as a singer or a speaker is to create a never-ending stream of resonance that carries the message of the text. The question is, what kind of resonance should we create? How do we do so easily? How do we know our voice is beautiful? How do we know that the sound we produce is our true, authentic voice? How do we vary the tone without sounding fake? Many vocalists study for years but the longer they study, the more strained, fake, and unwieldy they sound.

When we are at one with the natural laws that impact the body, when we breathe and create resonance "with nature", we will produce our unique, beautiful, and authentic voice easily. If we violate or go against nature, we will pay the price -- every time, without exception.

The study of resonance includes the production of two aspects of tone production: 1) forward focus, or a feeling of "buzziness" in the voice, historically called "singing in the mask"; and 2) backspace, or warmth and richness. Another way to think of this is focus is the production of higher overtones, and backspace is the production of lower ones. We strive always for a balanced tone, what the old Italian masters called "chiaroscura." The third aspect of the study of resonance is what we could call "the speech-sing connection." We should always speak as if we are singing, and we should sing as if we are speaking. We must be able to go seamlessly from speech into singing and vice-versa with no change in tone quality. Singers find this extremely difficult at first, as speech and singing are processed in different areas of the brain.

This all may sound very sensible, but vocalists are generally awash at sea. Very few have been solidly grounded in the creation of a focussed, forward, linear tone, which gives stability and power to the voice, utter clarity of diction, and complete ease with utmost breath efficiency. This aspect of technique, like the breathing, is counterintuitive to the singer. Together, these two aspects of technique (proper breathing and focus) create a wall of sound, easily produced, but usually quite shrill sounding to the singer themself (not to the listener)! Our ears lie to us and encourage us to produce a sound not nearly so lean, encouraging us to push and shove and impose.

Once a singer understands how to create a focussed tone with numerous vowels, they then have to learn how to connect that focus from note to note. This is the art of sustaining, accomplished with the most efficient use of the breath. A sustained, legato line means that the singer sings a line, not just notes!

As one learns to breathe and support with nature and not against it, as one learns to sing "in the mask" and abandons pushing, as one learns to produce their speaking voice and their singing voice with the same seamless technique, the singer experiences the body let go. One sings while one is utterly relaxed. You will stay present with yourself, never abandoning yourself to fear or trying too hard or harsh, unrelenting self-criticism. In this present-moment state of calmness and ecstacy and release, the "backspace" or warmth of the voice naturally emerges. It occurs as a free benefit, and cannot be forcibly created. Your true authentic voice has revealed itself, and it is always beautiful.