The feeling of singing well really changes depending on what your 'focus' is - whether you're focusing on the soft palate, the tongue, the folds, the muscular balance between the TA and CT muscles, the diaphragm.

Ultimately, it can be quite subjective exactly what it 'feels like' to sing well.

But you're really talking about resonance when you ask "when singing where should you feel it?", right?

That amazing buzz, the bright but beautiful tone ringing in your head.

Should it be in your mouth? The throat? The back of the head? The front?

Well, the answer is a little more complicated than just saying you should feel your voice 'forward' at the front of the face - commonly referred to as 'mask' placement, as though your singing through a masquerade mask sitting over your eyes, right at the bridge of your nose almost like your voice is in FRONT of your face, not behind your face.

But then there's your vowel overtone ringing in the pharynx, the 'depth' to your tone, the 'structure' of your vowel and resonance.

Not just a bright, sharp buzz - but the rich depth we all enjoy in a great singing voice.

Let's break it down a bit by discussing how the voice really functions at a deeper level.

Now, your voice doesn't really come out of your throat, at least not in the way you think.

Sure, your voice is generated by vocal fold vibration, but this doesn't really create the tone of your voice - it simply creates a harmonic, like the strings of an acoustic guitar.

The real 'body' of your tone is again just like an acoustic guitar - the overtone ringing within the body of the instrument.

Strings = harmonic buzz

Soundhole = rich overtone

The same goes for singing - your vocal folds create a harmonic (actually, around a dozen different harmonics), and this vibrating harmonic then rings as an 'overtone' within the vocal tract to create your tone and structure of your voice.

Clear as mud?

The key here is actually to separate the harmonic that creates your forward placement and singer's formant from the harmonic that rings in the vocal tract as your vowel and tone structure.

This is what people have been trying to get you to do with bright, forward sounds like NAY and NYAH - and also what other coaches get you to do by modifying your vowel (structure) by altering the shape and size of your vocal tract to 'ping' your resonance in different ways for different vowels and registers.

The key here is realising that these overtones really aren't mutually exclusive - you sing BOTH bright and forward and rich and deep in the back at the same time to create a powerful, effortless and beautiful vocal tone.

I suggest watching this vowel modification training video to learn how it's done; How To Modify Your Vowels

Hit that link above like your voice depends on it; because the health of your voice really does.