Join Arden’s free virtual studio to get member-only tips, tools and singing insights

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BRAVO

I’m so excited to have you!

Studio Members get motivational emails every once in a while, first dibs on scholarship seats to singing workshops and master-classes and other studio member-only resources I don’t offer anywhere else.

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Join Arden’s free virtual studio to get member-only tips, tools and singing insights

IMG_9257-Edit

BRAVO

I’m so excited to have you!

Studio Members get motivational emails every once in a while, first dibs on scholarship seats to singing workshops and master-classes and other studio member-only resources I don’t offer anywhere else.

Please enter your name.
Please enter a valid email address.
Something went wrong. Please check your entries and try again.
Singing Tips, Singing Technique, Sing Better, Become A Better Singer, Improve My Singing, Technique for Singers, Sound Better Singing, Vocal Technique, Take My Singing To The Next Level, Advice For Singers, Expand Your Singing Range, How To Sing Higher, how to sing in head voice, head voice tips, classical singing, pop singing, improve my head voice, arden kaywin, voice teacher los angeles, vocal coach los angeles, voice lessons los angeles, head voice for pop

Classical Singing vs. Pop Singing – Head Voice

I’ve got a question for you. .  .  . How do you feel about singing in your head voice? Is it no biggie? Or do you cringe at the mere thought of it? Or somewhere in between? If you’re a classical singer: You probably luuuuuuuuuuv singing in your head voice. After all, it’s the warm fuzzy place you call home ninety percent of the time. It’s your happy place – UNTIL – someone asks you to sing a contemporary pop type song (think cousin Ida who will just die unless you sing Whitney Houston’s “I Will Always Love You” at her wedding) and then you panic! You think: How do I sing those notes in a healthy way without shoving my chest voice up too high? If I use my head voice I’ll sound like an opera singer trying to sing pop which is the worst. (Sigh – maybe I’ll be mysteriously sick for the wedding) How do I sing in head voice for pop music? If you’re a pop singer: You probably have more of a love-hate relationship with singing in your head voice.  Using head voice for pop music seems to bring up all kinds of anxiety and confusion. Maybe you’ve even gone so far

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My Secret Weapon Is Now YOUR Secret Weapon!

Ever wonder if there’s one thing you could do to always sing well? Kind of like a secret weapon that would give you power & reliability every single time. Well, I happen to believe there actually is such a concept to sing well.  And once you know it, it globally changes what your body does to make sound when you sing. I know your curious. . . . I call it a secret weapon because of the dramatic effect it has on eliminating strain and creating stability and reliability in your voice. So no matter what genre you sing or what level singer you are, your chances of maximizing your technique to sing well go WAAAAAY up when you understand this key concept. So what is it???? Drum roll please. . . . . OPPOSITION Yup. . . . That might sound totally esoteric to you, but I’m goin’ SUPER fundamental with this one. The concept of Opposition is a game changer. TRUST ME. And you know me, I’m in this for the long haul with you. While I enjoy giving you tips and tricks to sound better singing in the short term – my ultimate goal is to set you

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Come To An Online Group Coaching Class With Me

Introducing my Live Group Online Vocal Coaching Classes!! Here’s how I feel right now:   I feel 12 cups of coffee, double rainbow, pile-of-puppies excited. And I hope you do too, because if you’ve been wanting to coach with me one-on-one but your budget has been a little tight, here’s a way we can work together: My Live Group Online Vocal Coaching Class You get to learn my secret sauce right from the source so you can avoid the mistakes and habits even smart singers make. Are you PUMPED?!?!?! I’ve been leveraging these techniques for a long time, but have never shared them in this kind of online group format. Which is crazy, I know!! But technology now makes it so easy for me to give you individualized attention in a group setting in this online vocal coaching class. You’ll leave each class with some clear, actionable tools for your vocal technique that will help move you closer to singing with your full potential. If you’ve already registered, you’re SO on it! I’ll see you in class. If you haven’t registered. . . .what are you waiting for??? I will be holding these classes regularly so join my free Virtual Voice Studio HERE to get notified about

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Learn How To “Sing On The Gesture Of Inhalation”

My voice teacher in grad school would always say that unlike instrumentalists, singers are not able to objectively look at our instrument. So the development of our imagination is crucial to how we “play” it.    If your goal is to play your instrument to it’s potential, then opening your imagination to conceive of your singing technique in new and different ways is essential.    Today I’ve got a new image for you that will stabilize your breath support.    If you are a singer who has ever struggled to get through a long phrase. . . . If you are a singer who has ever experienced tension and strain as pitch rises. . . . If you are a singer who has ever struggled with stamina. . . .   This one’s for you!! You just need some better tools to stabilize your breath support. I bring you this image courtesy of two of the great vocalists of the last century. Thomas Hampson, one of the great baritone voices of the last 50yrs, and Richard Miller, a vocal pedagogy pioneer, voice teacher (at my alma mater) and author of the seminal book on singing technique “The Structure Of Singing”.    Both Hampson and

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What we all do that is the absolute definition of insane. . . .

  A little bit of business first: TOMORROW (Thurs 1/31) I will be LIVE ON FACEBOOK at 11am PST / 2pm EST / 7pm GMT for the very first time!  Click HERE to watch live or view the saved video later.  Episode 1 Topic: The #1 thing that will up-level your understanding of breath support for singing.    This is the MOST fundamental and FIRST thing I teach all of the singers who come to work with me privately, regardless if they’re an advanced singer or relatively new to technique. In my opinion, it’s the foundation that all other good singing technique is built on and I’ve got a whole new perspective on it for you LIVE TOMORROW.    If you’ve been coasting along with the same understanding of support for a while, wondering if there’s another layer of ease and consistency in your singing, I hope you will watch.   Now, enough business. Getting back to my subject for today. . . . . . My favorite mindfulness teacher posted something on his Instagram a few days ago that I really want to share with you.   I always say that when you change your thinking, you change your singing – and this post really made me

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Demystifying Breath Support

Lately I’ve been noticing just how much confusion and frustration singers have around breath support and breathing for singing.     Singers can get SO down on themselves when they don’t feel their breath is beneath them. Do you relate?   You’re tired of the fear of not making it to the end of the phrase. You wonder why your high notes feel strained. You’re frustrated when you don’t consistently sing the way you want to. You start blaming yourself that it’s all your fault you don’t really have what it takes. You start wondering if you are talented enough to be on this path.     The Inner Critic runs riot when, in reality. . . . . it’s not your fault!   It ALL comes down to breath support.  And you just haven’t been given the right tools to unlock the foundation of your support yet.    In my 20 years of helping singers and being a professional singer myself, I’ve discovered this:   The key to unlocking the foundation of good singing starts with getting under the hood to understand a few simple concepts about the physiology of breath support and sound. It’s a step that SO often gets skipped.   But that stops today!!   Now

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Why You Have Tension & Strain When You Sing (and other reasons high notes are hard)

The Holy Grail for singers is the ability to sing without strain and tension throughout the entire expanse of your range while finding a free, powerful, resonant and vulnerable sound. Simple right???? I’m rolling my eyes right now – you probably are too. I feel you. I mean, if singing like that were simple, you’d be doing it by now. You would never strain going for high notes, you would never tense up at the end of a long phrase, you’d never feel anxious about what sound was going to come out – it would be amazing! The thing is, there’s a really good reason you’re frustrated, and guess what? It’s not your fault. Odds are, nobody ever told you about The Negative Feedback Loop Of Tension! I was reminded of The Negative Feedback Loop Of Tension recently when I got this message from a member of my virtual voice studio named Frankie. He writes:  “Just found your Chanel and I am hooked so far. I do need help with one thing. I have so much strain and tension and it will not go. I have watched hundreds of videos, honestly if not near thousands. When I push more and

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Tools For Healthy Belting

Do you ever get confused and frustrated by all the conflicting information out there around the idea of healthy belting? Some voice teachers shun the fact that there is even such a thing as healthy belting and they steer singers away from belting entirely. Others teach a technique that doesn’t address the tensions that inefficient belting creates, and unknowingly lead their singers down a dangerous path towards possible vocal injury. I recently heard from a member of my virtual voice studio named Donna asking these very questions. She writes: There is so much information nowadays about singing technique and I am very passionate about it. The thing is, I read a lot of books about vocal technique and met a lot of teachers in order to improve my knowledge (and singing of course) and let’s just say the information gathered was sometimes so confusing and tension friendly. So thank you for sharing your wisdom with everyone! I have a question about those really high belting notes for females (d-d#-e-f): do you have some pieces of advice in order to help one access those notes in a powerful way (with that edge quality)? Is it enough to think about lower support

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How To Transition From Chest Voice To Head Voice Smoothly

Does switching back and forth from chest voice to head voice give you anxiety? Want to know how to transition from chest voice to head voice smoothly and reliably EVERY SINGLE TIME?  If your answer is “Yes!”read on . . . . First off, you are totally not alone. The ability to transition from chest voice to head voice smoothly is the source of SO much insecurity for so many singers. And second, I don’t blame you! The middle voice can be a tricky part of the voice to negotiate and downright scary without good tools. Today I have some insights that will help. Many singers and voice teachers call this part of the voice “the break” because that’s exactly how it sounds and feels to so many of you. . . . like a fissure in your mechanism preventing you from moving fluidly from one register to another. And boy can it feel scary. . . . . like trying to cross the Grand Canyon without a bridge! Personally, I hate the term “the break”. I don’t use it to describe this part of the voice and I encourage you to toss it out too. You see, the words

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A Tip To Find Effortless Singing

It’s so awkward being at a show and watching a singer work really, really hard. You see their neck veins pop out, their breaths are gasping and labored as they push and squeeze the phrases out. They have no idea how to sing without strain and it’s exhausting to watch. Have you seen a singer like this? Nothing is worse. Well, I take that back. . . .there is something worse. . . . . BEING that singer who’s pushing, squeezing and otherwise working  waaaaaay too hard. Not only does it alienate your audience, it just doesn’t feel good to sing that way. The truth is, your body wants to sing without strain. If singing doesn’t feel good, that’s your body telling you that you’re not doing it right.  With efficient technique, singing feels effortless. It doesn’t feel like work. In fact, it hardly feels like anything at all . . . . except really, really great! If it feels like a whole lot of work, your body is signaling that you haven’t quite found the sweet spot of efficiency yet. But have no fear! Finding the sweet spot of efficiency is not as elusive as it sounds. One of