SR2: Semivowels allow you to work through the transition between modal and subharmonics. Use vocal fry to approximate and focus the sound.
Note: Sound and spectrograph does not line up completely so I added in when the notes start with my amazing “Photoshop” skills.
Here is the video demonstrating the exercise:
Semivowels (also known as liquid consonants) – your best friend when learning transitions between modal and subharmonics. No, you cannot completely change the nature of subharmonics (strong 2nd and 3rd harmonic), but you can maintain your upper harmonics (singer’s formant) and minimize the “shift” between modal and subharmonics. In this exercise, I use the “y” semivowel.
Sing using the “ya” syllable (modify as needed) on two eighth notes for each category (fry, subharmonics, and modal) starting on F2 and then move down until Bb1. You can start higher or lower as needed.
I prefer using a “y” when working on my transition. This is primarily because the “y” keeps your tongue from becoming rigid and flat (click here to read about The Dangers of the Flat or Retracted Tongue by Maestro David Jones). It also, if done correctly, raises the soft palette, allowing you to focus on proper alignment and sound production. Another thing that semivowels provide is a distraction. Semivowels “warp” the initial sound (as seen on the spectrograph at the beginning of each articulation) which allows you to move safely from modal to subharmonic. The vocal fry at the beginning allows you to approximate and focus on the upper harmonics of your voice (as well, the vocal fry keeps me from forcing a flat tongue or a low larynx).
As I am singing more, I notice that the most efficient place for me to transition is between C2 and D2 for an “ah” type vowel. A good rule of thumb is to transition a few notes above your lowest modal note. There are instances, depending on the time of day, vocal health, and other factors where I have to transition as high as E2. Using this exercise can give you an idea of where the best point of transition is for your voice.
Looking for a variation? Try this exercise where you sing Do-So-Mi-Do starting on F2. Transitions between subharmonics and modal are as needed and there is no fry:
Enjoy!