The voice is a remarkably complex instrument and certainly requires some education to understand its proper usage. My name is John Sun and I have distilled from a number of voice teachers and singers the best teaching method for producing the tone quality one should have when learning to sing.

My technique is called Voice Connection Technique.

It is a combination of the Speech Level Singing Technique, proper physical form, optimal breathing methodology and my own research and personal experiences over the years when learning about the natural voice. It’s a technique that’s suitable for everyone, all music styles, all types of voices, and all ages.

I have spent many years in California training with The Jodi Sellards School of Voice, learning the Speech Level Singing Technique utilized by some of the world's most talented vocal recording artists. Michael Jackson, Stevie Wonder, Janet Jackson, Bryan Adams, Michael Bolton, Al Jarreau, Madonna, Prince, Lionel Ritchie, Tina Turner, J. Lo, Marvin Gaye, Ray Charles, As Yet, All-4-One, Red Hot Chili Peppers, David Tao, A-Mei, Mavis Fan, Tension, Harlem Yu, Coco Lee, Bjack, Elva, and Sun Yen Z have all studied voice with this technique. My students include Chiang Mei-Chi, Will Pan, and Joseph Zheng…

At the start of training, focus will be on correcting bad singing habits such as tightening of the throat or switching into a breathy tone production when singing high notes, shallow breathing, singing off pitch and incorrect voice register usage. We will at the same time develop good habits and the student will have greater command of his/her voice immediately. Singing and speaking become effortless and free. Tone will possess harmonic qualities. Articulation will become clear and natural. We will then build upon these good habits and lengthen your voice range, easily sustain any note, gain the power to project the voice, sing for hours without fatigue, posses the vocal agility to execute clean riffs, and gain the freedom to concentrate on expressing the emotions in a song.

In other words, I will help you create a healthy foundation for your voice.

Every individual has different vocal capabilities. Lessons based on the Voice Connection Technique will create special exercises tailored to meet the needs of each person. I believe that this is the best procedure for mastering a free voice.

Basic Courses
Tuning
When an instrument is out of tune, the music will not sound as it should. If not properly tuned, the voice is the same. In order to sing well, proper tuning of the voice is essential. During the singing process, everyone encounters what are called “passage areas” in the voice. These are areas where the voice is most likely to experience problems. They are the gateways connecting one voice register to the next. These voice registers are defined as: 1. The Chest Voice Register, 2. The Middle Voice Register and 3. The Head Voice Register. It is in these areas that singers have the most difficulty because resonance activity and airflow are trying to create a smooth interaction with the singing muscles. The goal of the tuning course, therefore, is to be able to execute smooth transitions between these passage areas. This can be accomplished by allowing the vocal cords to close properly by themselves, by correctly utilizing resonance space, and by eliminating unnecessary strain on the body. Ultimately, finding the optimum balance between airflow and vocal cord tension is the aim. Tuning, therefore, is the means to producing a natural singing voice by creating the best singing condition for each individual.

Tone
Sudden changes in tone quality, a muffled tone, or a gradual straining of the tone as one sings into their range are all signs of an imbalanced voice. This imbalance is caused when airflow and tension of the vocal cords fail to work efficiently together. Vocal cord tension is created from vocal cords resisting airflow before it is released. An imbalanced voice prevents one's ability to keep a steady and easily-produced tone. All that is needed to produce a good tone is for the airflow to overpower the vocal cords just enough so that they vibrate. When more than the required amount of air is used, natural body reflexes will then recruit external muscles to help withstand this excess. Once external muscles are involved with tone production, the tone will be unnatural and undesirable. In contrast, using the vocal muscles too strongly will create a strained sound. Once the voice is tuned properly, tone inconsistencies will be avoided and the singer will have a voice range with every register evenly connected. A connected voice will have a stabilized larynx and a stabilized resonance system. Once in this state, the tone produced will have an even top, middle, and bottom harmonic quality, wherever it is in the singer's range.

Understanding Pitch
When a person sings off pitch, it is assumed that the problem is a singer's lack of recognition of the correct pitch. In reality, however, this problem is usually the result of an improperly tuned voice, or poor breathing habits. Once the coordination of air, muscles, and resonance is established, pitch will improve dramatically. Strengthening of the vocal cords and their surrounding muscles also plays an important role in singing on pitch and this will be addressed after tuning has been achieved.

Breathing Techniques
Breathing techniques are often overlooked as the culprits of a poor singing voice. Correct breathing is not only necessary, but crucial in order to sing well. The breath needs to begin low in the torso area, and the diaphragm must be utilized also to regulate the output. Proper voice technique tends to resolve poor breathing habits, but they can still be a singer's biggest obstacle. In such cases, proper breathing methods will be explored in depth with the student.

Fundamentals
Correct physical form (body position) and speech level positions are the fundamentals of proper technique. Introduction of these topics will begin immediately. Other topics such as the voice anatomy, tone creation, or vocal cord movement will be elaborated upon during the course of training.

Vocal Health
Many people have wonderful voices. However, not many know how to maintain the quality of their instrument. Singers often wonder why their voices are not up to par before a performance. Essentially, the body is an instrument. Proper treatment such as hydration, adequate rest, and a low mucus diet allows the voice to function to its fullest potential. Physical and mental well-being is as necessary for giving a good performance as they are for performing any physical activity. Proper attention to diet by avoiding foods which would negatively affect the voice, and adapting to an overall healthy lifestyle are all part of the process of becoming a true vocalist.

Range Extension
Most people are capable of a far wider voice range than they know. Most men, for example, sing only within their low voice registers, while most women sing only within their high voice registers. By doing this, they never discover the capabilities of their other voice registers. It is crucial to learn about the capacity of one's range and how to fully utilize it. As described earlier, every person possesses The Chest Voice, (the lowest voice register), The Head voice, (the highest voice register) and The Middle Voice, (the voice register that is in between the Chest Voice and Head Voice). There is also the Super Head Voice, the highest voice register possible. Learning to utilize all of these registers will greatly increase the singer's range. The tuning course will teach the external muscles to relax and will improve one's ability to sing lower notes. The singing muscles will also be strengthened and coordinated, enabling one's ability to sing higher notes.

Note Sustaining
The vocal cords and their surrounding muscles need to work together efficiently with airflow so that note sustaining can begin to be realized. Upon achieving this ability, proper allocation of resonance to its designated areas needs to be established. When singing in the lowest part of a range, resonance belongs in the area below the mouth. When singing in the upper part of the range, resonance is in the head cavity. When singing in the middle part of the range, resonance is in the area between the mouth and the head cavity. Proper allocation of resonance also requires a certain vibrating length of vocal cords. The higher the note is, the shorter the vibrating part of the vocal cords. When all of the above-mentioned factors are learned, the ability to sustain a note will be effortless.

Articulation
Clear articulation of words is very difficult if tension is created on the larynx by external neck muscles. Tension in one area of the voice system will cause tension in another. This creates a domino affect that results in a tone that's difficult to produce, preventing the singer from articulating words clearly and naturally. Muscles in both the larynx and neck must do only the job for which they are each responsible. The laryngeal muscles are used for singing, while the neck muscles are used to help with articulation. There must be no interference between these two muscle sets. The result of proper training, therefore, will be clearer articulation and better singing.

Intermediate Courses
Intensity
Voices that are unable to increase in intensity typically have a problem with vocal coordination. Non-singing muscles can interfere with tone production causing the voice to “jam up” and sound unnatural. Thus, the ability to increase intensity or sing with a relaxed and natural tone cannot be realized. To correct this condition, we first need to focus on the areas in the voice where inadequate muscular adjustment and resonance activities make it difficult to maintain a balance between airflow and vocal cord adjustments. These areas are called Passage areas”. Another possible cause of powerless singing is weak vocal cords. Voice intensity and power will increase only by enabling the vocal cords to withhold more air pressure before vibrating, and not by increasing the airflow. Strong vocal cords, therefore, are very necessary in the process of producing a more intense and powerful sound.

Vocal Endurance
Bad voice techniques usually mean strain, hoarseness, and an inability to sing for prolonged periods of time. Vocal endurance is concerned with using the proper voice techniques as well as the stamina of the vocal cords and laryngeal muscles. Tuning the voice will be the first priority. This is done to ensure that only the vocal cords and their surrounding muscles are being used, thus eliminating the use of wrong muscles during the singing process. Next, it will be necessary to strengthen the singing muscles, making them more resilient and able to endure long hours of singing. (This will allow the singer to stop singing not because of hoarseness or discomfort in the neck, but because the intention was to stop.)

Vibrato
Many artists have beautiful voices, but their vibratos are uncontrolled. Among these vibratos is a, “e-size-fits-a”al pe which, regardless of the style of music or tempo, always has the same speed. Other vibratos can carry the pitch away from the original note. Vibrato is associated with being a skilled vocalist, and while many like to consider themselves as such, they neglect the development of a controlled vibrato. Vibrato is controlled by both the diaphragm and the larynx. It flows naturally from a sustained note. Therefore, before vibrato training, the ability to sustain a note needs to be developed. Vibrato speed is dependent upon the tempo and style of the song. Thus, a
Speed adjustable vibrato is an essential ingredient in the skilled singer.

Advanced Course
Emotions
The ability to sing expressively is an essential component of a singer’s performance repertoire. Frequent pauses to correct poor voice techniques are a major distraction and often prevent singers from conveying to the audience their intended emotions. Once vocal coordination is achieved, it enables complete concentration on emotional expression and empowers the singer to focus fully on giving a quality performance.

Vocal Riffs
This skill is essential in many musical genres of the contemporary world. The pursuit of this skill is very demanding and many singers are on the right path, but fail to grasp it fully. A certain riff phrase may not always be suitable for the many different types and tempos of music, and its misuse can sound repetitive and amateur. Riffs require great vocal agility. One must master the positioning of the vocal muscles to such an extent that each riff note is able to be locked into its own defined position in relation to the specific notes in the riff phrase. As well, the singer needs to be relaxed enough for these pitch changes to take place. Once all this is attained, fast and clean riffs can be executed. Before training for riffs, the skill of note sustaining, as discussed earlier, must also be mastered to a point of stability. Executing clean riffs on a “wobbly” sustain is achievable but meaningless task, as the resulting sound is usually unpleasant to the listener.