![]() Han said there was “so much great, original, exclusive journalism here at The Sun", but the site "needed to be producing a lot more" original video. “But what I think is somewhat different from some of the other people that we traditionally competed that you can't necessarily tell if there's a strategy behind the stuff that they're posting they’re just posting because they feel like they need to be posting to that platform… to reach a certain amount of people.” So I think that they all realise that it's an important platform for them to be on. He told Press Gazette: “When I look at all our competitors, they all have Youtube channels, and they all upload content. He joined the red-top from Buzzfeed, and before that worked for Monocle magazine and CNN. Phil Han, The Sun’s director of video, does not have a classic tabloid background. Why should news outlets bother with Youtube? Press Gazette has spoken to each about their Youtube success, and found that despite their differences, there are patterns to be found in their work as to what makes a Youtube news effort effective. Moving from head voice to chest voice can be extra tricky although the body wants to relax, make sure to keep supporting your voice as it descends.Among them were The New York Times (4.1 million subscribers), The Sun (3.1 million), The Guardian (2.6 million) and Vox (10.7 million).Īll but one of those (Vox) is associated with a legacy newspaper, but each has dedicated video staff working on content that will predominantly be consumed on Youtube. Practice intervals: Once you’ve mastered scales, practice intervals with more space between notes to feel out the transition up and back down.Practice scales: Sing scales that take you across resonances, slowly but surely, until you can no longer tell which is which-meaning you’re accessing the mixed voice.Feel your abdominal muscles stiffen when you’re using your chest voice, and keep them flexed as you enter your head voice. Try increasing the sensation of flex in the lower support without interruption as you rise in pitch. Support your voice: Support the top of your chest voice through steady breathing. ![]() Both voices are created by the vocal cords, meaning they’re just different resonances-not different registers. Think seamless: The passage should actually be a smooth, painless transition that uses your mixed voice.Here are some more tips for switching from chest voice to head voice: ![]() In the following video, you will learn the most important first step toward eliminating instability when changing from chest to head voice, how to nail the high parts of songs with large interval leaps, and a progression of three vocal exercises to help create stability in changing from chest voice to head voice-and back-smoothly: Now that we’re in the right energy, we need to gain awareness of the inefficiencies in our technique that are sabotaging the continuity we want so badly. Adjusting our language makes us better equipped to embody the energy we want. If our goal is to transition from chest voice to head voice smoothly, then we want to use a word that helps us cultivate an energy of continuity, fluidity and consistency as we move from one register to the next. And don’t let its classical origins throw you even if you’re a musical theater singer, a pop singer, or a jazz singer, the term “passaggio” and the energy behind it can serve you no matter the genre. This term connotes a sense of moving through rather than one of interruption. The classical tradition calls the transition between registers the passaggio, which translates to “passage” in Italian. So let’s make sure the language we use to talk to ourselves around changing registers is productive. When we conceive of our voice with a break in it, we build in an expectation of interruption and instability that we then create and perpetuate. If we use the term “break,” that’s exactly the experience we set up for ourselves: a literal chasm between the two different parts of our voice. The words we use to talk about our voices are important, and using something negative like this is a surefire way to not only induce fear, but possibly set you up for failure. I hate the term “the break.” I don’t use it, and I encourage you to toss it out, too. Many singers and voice teachers call the transition between chest and head voice “the break” because that’s exactly how it sounds and feels for many: like a fissure in your mechanism preventing you from moving fluidly from one register to another. Here are some insights from Arden Kaywin: Demystify the break The middle voice can be tricky to negotiate without good tools. ![]() ![]() The ability to transition from chest voice to head voice smoothly is a source of insecurity for many singers. ![]()
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