SINGING LESSONS IN HONG KONG | VOIZE SINGING ACADEMY
VOIZE Centre of Contemporary Singing is the leading training centre for singers, specialized in voice development and vocal performances. VOIZE is one of the top singing centres in the region that uses Mix Voice Technique (MVT), a scientific-based and student centered teaching method to help our students achieve real results. Under the direction of well sought-after international vocal consultant - Jeffrey Choi, VOIZE provides students with a professional world class singing lesson and training experience.
We provide a straight-forward, yet supportive coaching environment for passionate singers and speakers to truly focus on developing their voice and artistry.
We offer a range of private singing lessons, professional singing courses and singing teacher training programs to meet each of your specific needs.
VOIZE Centre of Contemporary Singing where Artists are nurtured and Stars are born.
We provide a straight-forward, yet supportive coaching environment for passionate singers and speakers to truly focus on developing their voice and artistry.
We offer a range of private singing lessons, professional singing courses and singing teacher training programs to meet each of your specific needs.
VOIZE Centre of Contemporary Singing where Artists are nurtured and Stars are born.
OUR TEAM
SINGING INSTRUCTORS & VOCAL CONSULTANTS
WHY CHOOSE VOIZE?
Are you fed up with the traditional voice training you have, where breathing and diaphragm are the only believed solution to all your problems?
Are you confused by the ambiguous instructions and excessive use of imagery that traditional vocal tutors used to teach, and annoyed with yourself because you are not progressing week after week?
Do your teachers understand how the voice works and how does a particular tone is produced in relation with your vocal cords? or do they only focus on the resulting sound without understanding how to get there?
Does your teacher ask you to sing from your diaphragm, when your voice is actually produced at the vocal cords in your throat?
Does your voice turn very airy and weak as you go higher? Yet, the solutions given are all ineffective and incorrect, such as: you need more air, use your diaphragm, push harder, belt higher and increase the volume or “yell” if necessary.
Our highly trained instructors will use contemporary powerful proven techniques to help you in achieving a marketable voice, yet without compromising the longevity of your vocal cords. No more ambiguous directions and use of “imagery”.
Are you confused by the ambiguous instructions and excessive use of imagery that traditional vocal tutors used to teach, and annoyed with yourself because you are not progressing week after week?
Do your teachers understand how the voice works and how does a particular tone is produced in relation with your vocal cords? or do they only focus on the resulting sound without understanding how to get there?
Does your teacher ask you to sing from your diaphragm, when your voice is actually produced at the vocal cords in your throat?
Does your voice turn very airy and weak as you go higher? Yet, the solutions given are all ineffective and incorrect, such as: you need more air, use your diaphragm, push harder, belt higher and increase the volume or “yell” if necessary.
Our highly trained instructors will use contemporary powerful proven techniques to help you in achieving a marketable voice, yet without compromising the longevity of your vocal cords. No more ambiguous directions and use of “imagery”.
Why we are unique, what makes us so different from other singing centres out there?
We specialized in teaching the “MIX” voice.
There are points in the vocal range when the muscular mechanism which operates the vocal cords changes while the resonance sensations in the body shift. This is where most people experience a break, or a sudden shift in vocal quality. The biggest and most prominent break point for most people is the first bridge, which is the transition from chest voice into the head voice. The first step in beginning to smooth out this transition is understanding that at this first bridge a mixing must occur. The singer must find a place that is not pure falsetto, and not pure chest voice. We call this the middle voice or the “MIX”.
The larynx must stay down in a relaxed speech-level posture, and the vocal folds must maintain a balance between cord adduction (closure) and air flow.
In the chest voice, the vocal folds are stretching longer in order to rise in pitch, much like when a guitarist uses a tuning peg to raise the pitch on the string of a guitar. As the singer rises up to the top of their chest voice, they have three different options, only one of which is desirable.
1.They can continue to stretch the vocal folds beyond what is healthy, which causes too large of a vibrating mass, resulting in the rising of the larynx and the sound to "splat" or "spread" out of the mouth. The resulting sound is strained. It feels strained as well.
2.They can let go of most of the adduction of the vocal folds in order to sing on a smaller vibrating mass using only the outer edges of the cords. This is called falsetto. It sounds very airy with no carrying power and usually is accompanied by a very obvious break. Falsetto cannot blend with the rest of the voice.
3.They can keep the cords stretched, and keep the adduction muscles active thus bringing the folds gently together, while at the same time thinning the folds. This can be likened to a guitarist fretting up the fret board, or more specifically; There is a gradual elimination of the vibrating mass.
The third option is the only desirable option for the singer to move from chest voice into the mix. The thinning of cords condition results in an ability for the singer to stay at a relaxed speech level posture using a comfortable balance of cord closure and air flow. There is also an accompanying response of a "split resonance." Some resonance continues to come out of the mouth as in chest voice, but some resonance begins to travel up behind the soft palate into the head.
Finding the mix is important for singers of all styles. Over time the mix can be built into a very solid and full sound. The mix is versatile. It can be used to sound like an extension of the chest voice (i.e. a belt), or like a downward extension of the head voice. Either way, the mix offers an amazing opportunity for the singer to move through their voice with no apparent breaks of any kind.
There are points in the vocal range when the muscular mechanism which operates the vocal cords changes while the resonance sensations in the body shift. This is where most people experience a break, or a sudden shift in vocal quality. The biggest and most prominent break point for most people is the first bridge, which is the transition from chest voice into the head voice. The first step in beginning to smooth out this transition is understanding that at this first bridge a mixing must occur. The singer must find a place that is not pure falsetto, and not pure chest voice. We call this the middle voice or the “MIX”.
The larynx must stay down in a relaxed speech-level posture, and the vocal folds must maintain a balance between cord adduction (closure) and air flow.
In the chest voice, the vocal folds are stretching longer in order to rise in pitch, much like when a guitarist uses a tuning peg to raise the pitch on the string of a guitar. As the singer rises up to the top of their chest voice, they have three different options, only one of which is desirable.
1.They can continue to stretch the vocal folds beyond what is healthy, which causes too large of a vibrating mass, resulting in the rising of the larynx and the sound to "splat" or "spread" out of the mouth. The resulting sound is strained. It feels strained as well.
2.They can let go of most of the adduction of the vocal folds in order to sing on a smaller vibrating mass using only the outer edges of the cords. This is called falsetto. It sounds very airy with no carrying power and usually is accompanied by a very obvious break. Falsetto cannot blend with the rest of the voice.
3.They can keep the cords stretched, and keep the adduction muscles active thus bringing the folds gently together, while at the same time thinning the folds. This can be likened to a guitarist fretting up the fret board, or more specifically; There is a gradual elimination of the vibrating mass.
The third option is the only desirable option for the singer to move from chest voice into the mix. The thinning of cords condition results in an ability for the singer to stay at a relaxed speech level posture using a comfortable balance of cord closure and air flow. There is also an accompanying response of a "split resonance." Some resonance continues to come out of the mouth as in chest voice, but some resonance begins to travel up behind the soft palate into the head.
Finding the mix is important for singers of all styles. Over time the mix can be built into a very solid and full sound. The mix is versatile. It can be used to sound like an extension of the chest voice (i.e. a belt), or like a downward extension of the head voice. Either way, the mix offers an amazing opportunity for the singer to move through their voice with no apparent breaks of any kind.