Becci Kaznowski Vocal Tuition

Why I don't talk about the soft palate in my teaching room ...

1. You can't feel it, so it is very hard to get students to directly influence it.
2. You need the soft palate to be flexible, not rigid in one place - yes even for classical singing/opera.
3. The larynx & palate are neurologically linked. It is much easier to influence the soft palate through encouraging the larynx to do what it needs to do instead.

Has the direction of "lift your soft palate" left you feeling frustrated in your singing lessons? Let me know in the comments 👇🏻

Ever been told you are using too much weight higher up in your range but you have no idea how to tell when you are doing it or how to fix it? This is my quick fix/check for whether the sound needs to be thinned out that little bit more.

If you can't staccato the sound then it is too heavy. This exercise will help you find how thin that sound needs to be to feel easy and free.

Did you give it a go? Did it help? let me know in the comments 👇🏻

✨CANCELLATION AVAILABILITY✨

I have had a couple of cancellations this Thursday. If you would like to book in a one-off singing lesson with me or consultation then get on touch via email: [email protected] or DM.

🕧 3:30pm & 5:30pm
⌛ Hour sessions
📍Norwich
💰£45.00

It is physically*impossible* to use any form of chest voice above B4/C5. That means if you are trying to engage chest voice in your high belt (like in defying gravity for example) you are making things very difficult for yourself.

You can still belt using head voice. So, don't be afraid of a thinner edge sensation when you are working on belt above B4/C5. To get the sound quality you are looking for you need to instead work on vocal fold adduction, the right vowels, and an appropriate acoustic set up.

Is the idea of chest voice being needed for all belting getting in the way of your high belt?

3 reasons why I don't teach "vocal placement" in my teaching room ...

Everyone feels the sensation of their sound differently. Teachers who teach students how things should feel based on their own experiences are creating a huge barrier for a big proportion of the people they teach in my opinion.

Placement should only be discussed in the teaching room with a student-led approach. If the student feels things a certain way and voices this then use that to your advantage but otherwise, leave the idea of placement well alone!

Time to rebrand the terms "Healthy" or "Safe" singing. It's just fear mongering. Let's normalise talking about "sustainable" singing instead and stop shaming singers for having imperfect technique.

My three main culprits when it comes to overly nasalised sound particularly when working on twang.

It's always easier to diagnose in the room as every singer is different, so it is important you find a trusted pair of ears to help you troubleshoot your specific issues.

Demonstrating the two different types of twang here. There is a fine line between the two, so finding a trusted pair of ears that can help you find the right one to achieve your goals is really important.

Can you hear the difference? Leave me your questions in the comments 👇🏻