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  • Recent Posts

    • I didn't say to anchor your tongue against the soft palate. I said to anchor your vowel resonance into the middle to front of your soft palate, using the tongue to help place them there.
    • This is not how I have been taught! In you video it says you leverage your tongue against the soft pallet to place the resonance there. An example I was taught on how to fonate between nasalness and non nasalness is to go from an ung sound to an ar sound and notice that on ung the tongue totches the soft pallet and on ar it dose not. now do this exercise pinching your nose and you will see you can not do ung as all the air exits from your noise, so what I am saying is that in this exercise while your tongue is anchored against your soft pallet it produces a nasal sound
    •   Because you are still not understanding HOW to use it and benefit from it.
    • I understand that but I may as well practice getting those notes right on something I will be using in practice later like onseted valves. why practice something that you will never use or benifit from
    • Welcome Ueyheb, Click on "Guaranteed Singing Reviews" on the menu above or click "Add to cart" (below). Our coaches, our singing experts, and our members will be pleased to help you. Respectfully, Adolph
    • Welcome No6h, Click on "Guaranteed Singing Reviews" on the menu above or click "Add to cart" (below). Our coaches, our singing experts, and our members will be pleased to help you. Respectfully, Adolph
    • Wow, thanks for the feedback! Really appreciate the indepth analysis of my voice. I will definitely pick apart every tip and comment to improve myself. Regarding singing with music, it really depends on the song. Some are easier to sing a long with and I also tend to sing higher and more nasal ( and more from my soft palate) when I sing a long with music, also a little to increase volume, which make it sound a little whiny at times. Thanks again for the personalized tips!
    • I'm Noah, I'm from New Zealand, and I'm almost 15. I've been singing for about 4 years now, mostly in the 3rd octave (My voice dropped relatively early, around 12). However, I'd like to build up some confidence in my upper register (above say G4), where up until now I've resorted to yelling (small clip provided) This threshold used to be a lot lower, close to E4, but over time this has moved up. What I think I know about my voice. Based on my dad's range and tone (we both have the same range, about D2-C6) I think I am a tenor, albeit slightly lower set. My passaggio seems to be between Eb4-G4 I'd like to develop a mixed coordination of some sort so I don't have to yell when singing notes in the upper 4th octave, and also to be able to connect my falsetto to my full voice. I've been working on this for a few months now, and I've found that I am able to slide smoothly between my chest voice and falsetto on a closed "oo" or "ii" vowel. This is only going up though (I can't slide bACK from falsetto to chest w/o breaking). I have also found another voice that is connected to my chest that I can take pretty high (goes up to C#5 on a good day, which is my highest yelled note; i've managed to get it to around an f5 on some occasions), but it is veRY VERY light (also an example provided). My question is: What exercises do I need to be using, how do I use them effectively, and what is this mysterious upper voice? Thank you (excuse the whistle at the beginning, i was messing around lol) Ballad Of Mona Lisa.mp4 Head Voice?.mp4
    • The separate syllable is to associate a certain PITCH to the syllable AND to a position in the scale. Look at it this way, If you are looking at a sheet of music. and you associate the do re mi with the C scale  and then you look at a sheet of music    you will be able to sing it by sight because you know the pitches/notes  to sing
    • You have a nice, smooth voice. A bit pitchy, for sure, but singing acapella and staying in key will take time. I imagine you're more on pitch when singing with music. Am I right about this? You need to be doing things to strengthen your TA musculature to help with better vocal fold adduction and dynamics. Glottal attacks can also help with this. But you'll need guidance to do both of those things correctly. For something you can do right now, in order to help improve your resonance, pitch, and adduction, place a finger on your bottom lip and try and lift your voice up and over it as you sing. Additionally, start to hum and buzz your lips through songs as much as you can stand it. This "semi-occluded phonation" will help you built better resonant placement, better cord closure, and start pulling you out of your throat while singing.  Lastly, start doing this straw exercise a few times a day. It will help you build better balance with glottal and sub glottal pressure, better breath support, better resonance, and help you learn to relax your voice more while staying resonant.    
    • Yes, proper breath support, sob vocal mode, and a ton of other things help with vocal fatigue. Lifting resonance to the soft palate is the #1 thing I keep coming back to with the 200+ students I've taught over the years. To note, even with the vowel anchor, the larynx can still be dampened and/or soft palate lifted, to expand the resonance chamber, incorporate sob vocal mode for releasing tension in higher pitches. And as the pitch rises, and pressure moves deeper into the soft palate because of it, that vowel anchor will keep your sound color consistent, regardless of the curbing overtones that join with it. Even Classical techniques, which sing with a more open-throat or throat-centric position, lifts resonance up to the soft palate and out from there. Anchoring your vowels in the middle or front of your soft palate doesn't make it more nasal sounding, rather it is where those singing vowels will resonate the most, and brings a much more relaxed feeling to the rest of the phonation package. Edging further forward, into the hard palate, can start to cause too much edging acoustics and possibly nasality. But keeping the vowels anchored in the middle to front of the soft palate helps with what Bel Canto calls "brilliance," activates vocal twang mode, causes better glottal closure and balance, allows for more control and stability, and helps with sound color consistency across the vocal range. Forming your vowels in the throat causes a lot of unnecessary tension when singing at pitch, especially as you go higher. It limits the voice, pulls on muscle groups not needed for singing, generally keeps you from resonating with brilliance, ping, and ringing of the voice that is associated with great singing. I describe and give an example of that vowel placement in the video (which, to note, wasn't nasal when I sang with the vowel anchor). Other ways to help lift the voice away from the throat and into better resonance and brilliance is to sing up and over a finger, also called "over the pencil" in more traditional settings. Another is horizontal embouchure, which helps narrow the vowel passage and lift the voice for a much better sound and less tension. Yet another is tracking, humming and buzzing the lips, which activates vocal twang, pulls resonance up and forward, and helps keep the voice healthy and resonant. I'm sorry if you didn't understand the video. It was, admittedly, a quick answer, rather than comprehensive. I do suggest you try and work with what I suggested, including the "up and over" I just mentioned. 
    • I need help on my breath support and hitting high notes in my cover of this Aerosmith rock ballad.
      Cheers 
      Machaan
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