Jeannie Deva has appeared on E! Entertainment and TV Guide Stations and has been endorsed by producers and engineers of Amy Winehouse, The Rolling Stones, The Cars, Aerosmith and Fleetwood Mac.

Her client list includes Grammy Award winners such as Aimee Mann and Patty Griffin, American Idol finalists, Felecia Howes of the Multi-Platinum Bone Thugs-n-Harmony, South American TV Star Ruddy Rodriguez, Singer/Actress Lynda Carter, plus leads in Broadway’s Wicked, Rent, The Lion King and Grease and backing singers for Celine Dion, Pink, Christina Aguilera, Stevie Wonder and Janet Jackson.
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Eliminating Register Break

By Jeannie Deva

Historically, the transition between what is called chest and head voice has preoccupied many singers and voice coaches alike while consuming countless hours of lessons. Often singers despair about having a "connected" head and chest voice and are resigned to using only a lower or higher register when singing. Certainly it can seem frustrating, complicated and often perplexing when there is apparently no remedy in sight.

How about a fresh approach?

What if there really was no such thing as "head" or "chest voice"? What if, for the moment, you abandon any memory of having a break or several weak transitional notes between your lower and higher registers and just consider your range to be one long expanse of notes? OK, so a few of these notes may not be as full as you'd like. Let's call them tonally challenged with the capacity to be rehabilitated. Get the idea of your voice as one long continuous expanse of notes with no sections. One thing you might find useful is to know that the higher you sing the less air your vocal folds need for their vibration. If you PUSH out air thinking you need to "hit" the note, you will over-blow the vibration and precipitate your own register break. Now, what if there were exercises you could do that would get all of these notes in perfect balance?

Here is what you need to do to eliminate register break:

1. Learn how to achieve natural breath support so that you don't have to think about breathing; yet, the air stream would automatically be the perfect amount to vibrate your vocal folds for each pitch - not more - not less.

2. This would then relieve tension in your throat, eliminating the primary cause of register break and the subsequent illusion that there are such things as head and chest voice.

3. Next you would practice certain exercises designed to make all the subtle vibrational transitions of you voice smoothly and harmoniously with each other. The Result:

No more register break
and much of your attention previously stuck on your body, now free for you to direct as you wish upon your audience and a more passionate performance! Much of my self-study course, The Contemporary Vocalist Volume One, is devoted to exploring and resolving this problem in much greater detail. Once you practice the exercises that address this, you will understand why what I have said here works. Ultimately, it takes practicing the correct exercises coached in a very specific manner so that once and for all you can move past register break and gain a full, connected range of notes with which to freely express yourself.

Wishing you success, Jeannie Deva

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