Hi guys I'm Madeline Harvey and thank you so much for hanging out with me today. Today in our play together I'm going to show you a very effective extremely simple exercise that you can do at home to smooth your transitions and reduce that pesky break. So if you like these video please be sure to give it a thumbs up or click that Subscribe button below. I would love to see you here more often so we can pretty much pinpoint that the voice changes for one major reason and that is a reluctance to change. Now there are two components that we have to manage as we work with blending registration. One is airflow and the other one is Cord strength or cord tension. Now when we speak of airflow we're talking specifically about the relationship between the mouth and the nose how we blend or manage the air pressure between the two is going to give us a nice consistent sound. So we've got to be able to concentrate our airflow from one into the other and then back down and then the second one core tension is we want to be able to manage a heavyweight blending ever so lightly into a lighter weight. Now let's experience that together. Go ahead and place your hands right here on your neck. Now I just want you to demonstrate a very lazy very lazy low energy chest voice sound like this uh can you hear how there's a little weight in that. Now you try. Mr. together. Good. Now what's happening is the courts are contracting becoming thicker and as they do it naturally includes a little bit more muscle fiber. So that's why it sounds the way that it does. So if we were to go to a higher note we'd hear that it's it's a little thin there because the courts stretch and as they do it naturally includes a little bit of a more refined muscle fiber. So everything just thins out a little bit. So what we want to do is we want to be able to address both the airflow and the core tension in one exercise and we want to have a simple way that we can apply it every day. So we're going to do what's called a physical cue now a physical cue. We've all seen them because we've all seen artists going to like using their hands to sort of pinpoint the accuracy of like a run trill or riff or any other rhythmic style with their voice and the voice does respond to this a lot sort of follows along with sort of where they're pointing as they're coming down. So we're gonna use a very similar physical cue. We're going to put our hand out in front of us like we're accepting change. This is going to demonstrate that lazy chest voice coordination that it feels stable. And then as we go higher we're going to slowly turn our hand over to really gauge the subtleties of what that feels like as we go from one to the other. So we're going to turn the hand over and that will be our higher note that we will land on and then we'll come back down. So we're just gonna do a siren and we're gonna use this. We're gonna use our hand to gauge the subtleties of that sensation as we manage that change. So together we'll go. Now I want you to concentrate on feeling just that it changes and that it's OK to change. So if you spot any wobbles or breaks right now just isolate them and use your hand to sort of stay with that sensation. So let's put this in an exercise shall we. OK. Oh that should everything a little bit. OK. So I'm going to start us off right here on a flap. So we're going to feel that sensation. Now can you hear how it's changing the entire time the entire time. And I'm letting my my hand demonstrate that change right away. So let's see if you can hear. You hear that the good. Very good. Now let's try it together. Same one. Can you feel how you're managing that air flow and you're feeling that subtle changing happening here. Go go let's take it back down. Go go. Now I observed a tiny little wobble in my voice. So as you're working you want to just do that again. So I'm going to just do that again. Go. In a way wind. Go. Go go. FC Is not that noble. Go go. Uh. Excellent excellent now you want to move slow with this because it is important. It's more important now that you feel that everything is allowed to change before you worry about strengthening and before you worry about straightening out those transitions. You first want to do that work of making that allowance that every kid everything can make an adjustment. It's how you manage the movement that makes it accessible adaptable flexible multiple shape of all changeable all that you want to almost imagine that your tone is a circle it's equal in all size and it can move in any direction. Right. Very flexible in that way. So the more that you just use little circles of sounds little mini sirens and you use that physical cue the more you can manage that change and the entire mechanism your entire voice is strengthened as a result.

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