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MasterBlaster

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  1. So is what your saying is you don't move your shoulders up when you breath ???? The whole point of this thread is to debate whether or not you should raise your shoulders when you take a  breath.  I feel like I am in the twilight zone.
  2. Khassera he IS raising he shoulders. It's plain as day. And yes  I've tried it and it doesn't help, I find it's just not necessary. How come nobody teaches this move ?
  3. According to Tamplin the number one rule to great singing is "diaphragmatic support". No mention here about using the shoulders to engage the support.    In  Rule 4 (2:06) - Stress Management - Ken advocates relaxing to the sound and not to clench up so basically   to not raise the shoulders is how I interpret what he is saying.       Maybe you have to be a member of the illuminati to learn this secret shoulder technique. Who knows?
  4.     Yup when it comes to breathing I like the simple approach, I really think more singers would benefit from a  "just breath and sing" philosophy without worrying so much about all the intricacies they can't really control. To me breathing is by far the easiest thing to doing in singing. I don’t worry about back support this and anchoring this because to me it’s easy – you take a breath and sing - and guess what it works, at least for me. Of course this is usually not a satisfactory breathing method for most singers because they think the the   breathing is some magical thing that will make you great singer.  I’ve never bought into the breathing obession. To me the hardest part of singing is what you do with the breath at the larynx and above (neutral larynx, proper vocal fold stretching, shaping vowels all that stuff).   FYI The question is 100% related to diaphragm breathing because vakatar asked if the breathing method he was taught (diaphragmatic breathing) was wrong. I contend it’s correct and he should not raise his shoulders when taking a breath. But that’s just me.
  5. Jens you're making things too complicated. You're talking about advanced singing techniques. A 5000 page book could be written about changing your your support for differerent styles,languages,loudnesses and dialects.  Holy crap, different support for different dialects that's beyond me. I like to sing some pop, rock and even some rap but my breathing is basically the same. Good old boring basic diaphragmatic breathing. No special breathing tricks. And yup it works.    So Jens what's your advice for  vakatar ? My advice is simple  breath from the diaphragm and try to limit your upper chest breathing for all styles of music you'll be off to a good start. 
  6. I think once in a while you do need to take a quick "refesher" breath from the chest but in general diaphragmatic breathing is your best option.   In this video here you can actually see Corelli's stomach move when he takes a breath and yes he does take a few upper chest breaths too which I believe are "refreshers" because there is not enough time to take a full breath.  How come Corelli doesn't have to raise his shoulders to release tension? Maybe Corelli is not do it right.   As far as Jussi bjorling is concerned  I think any honest experienced vocal coach would say he's not breathing in the most ideal way. And yes I am just a pee on who will never be as good as bjorling but come on how many coaches would take a new student and tell him to breath like bjorling's doing in the video. Be honest.
  7. In the video Tamplin is doing what's called "clavicular breathing" and it's generally considered the worst breathing technique. Tamplin has been singing so long that he can get away with it but as new singer you don't want to copy this bad habit. It's not the "secret" to a powerful singing voice. The answer that he gave is just BS. He doesn't want to admit that his breathing technique is not so great because this means he will sell less "How to be the greatest singer on Earth" courses.   Pick up any book on singing and the first thing they will tell you is breath from the diaphram and not from up high (clavicular). Watch any YouTube vocal coach and they will tell you the same thing. Even Tamplin with "tell you" to breath from the diaphram.   Here's a good, albeit alarmist,  article about the pitfalls of clavicular breathing: http://www.theschoolofsinging.com/clavicle-breathing-the-exact-opposite/     Check out this video of Ronnie James Dio singing in the studio. His shoulders aren't moving up when he's breathing and also there's no tension in his neck and no red tomato face. Granted he's just singing a few lines here but this is how he always looks when he sings even on the high notes that kill the rest of us.  This is an example of guy  whose technique you should emulate.    >
  8. I think it's good to come to terms with your voice type but then MOVE ON and don't get hung up about it. Spend 99% of your time worrying about training and not worrying your voice type. But knowing your voice type will influence how you train. Are you a baritone (statistically most men are in this class) then get to work on your head voice if you want to sing those high notes with ease. And if you're a bass spend even more time on head voice if you want sing high. So how do know your vocal classification ? Well to me it just common sense. Super low speaking voice is bass (eg. Philip Anselmo, Barry White), high speaking voice is tenor (eg Young Robert Plant, Young Sebastian Bach, MJ, Bruno Mars) . Everybody else is usually somewhere in between. I know this is a rather "primitive" classification method but who cares it's good enough. I've classified myself as a low baritone, which is fine by me and since I want to "sing" the high notes as opposed to "belt" the high notes I spend a lot of time on my head voice and things are going good.
  9. Ha ha I wish I could sing like Jackson. American Idol here I come.
  10. Relax nobody's shouting. And it's not about extreme differences. Voices are different, people have varying degrees of vocal chord mass. The approach may be the same but the results will vary based on voice type. I know I could never sound like Michael Jackson because i have a deeper voice but I'm ok with that and it shouldn't stop people from trying to sing. But I truly believe tenors (eg bruno mars) types will have it easier in the upper range than say a bass (eg. Barry White) would.
  11. The extreme difference was to emphasis a point that Physiology matters. You claim it's ALL training. Not true.
  12. It's vocal physiology AND training that will contribute to your vocal sound. Barry White will never be able to sound like Michael Jackson no matter how hard he trains. He could probably hit the high notes through training but his vocal physiology will make his notes sound heavier and fuller. Does anybody really think Bruno Mars could sound like Barry White through "training"? No way. Physiology counts it's just common sense. Could christine agulera sound like barry white ? No way. Two completely different vocal instruments (physiology).
  13. Yup ronws, 300 years later the debate rages on.. and on... and on. Just remember if it sounds good, it is good.
  14. Blake goes into more detail about the passagio at his blog. I don't get what he's talking about but maybe you'll find it helpful. http://www.rockwellblake.com/blog/2012/03/31/royal-registers/
  15. Sorry Owen but you are confused, To answer your last question, formants are basically inaudible until they have a harmonic lined up near them. So if the harmonic is not tuned to the formant, the formant isn't heard. False. In order to hear a vowel you must have at least 3 of the vowel format freqencies present in the sound otherwise it would not sound a like a vowel. EG. "Bat" must have f1 660hz, f2 1700 hz and f3 2400 hz present in the sound at any fundament pitch to make it sound like "bat". The voice works just like any other instrument except the vocal track can be adjusted (tongue,lips, larynx) to produce various formant regions. Ah has 3 specific formant region and OO (440, 1000, 2250 hz) has 3 specific formant regions. Ah sounds like ah because the when you position your tongue/lips it allows the ah formants to pass through to give you an ah sound. Same with oo, you have to put your mouth in a completely different position to allow the oo frequencies to resonant and pass through. Most other instruments have fixed formant regions giving the instrument it's unique sound. There is no Ah or OO sound on the violin for a given pitch because the formants regions are fixed. The violin has 3 to 5 main fixed resonant formant frequencies that are present in every violin note otherwise it wouldn't sound like a violin. A violin sound likes a violin at any pitch in it's range. It's important to know FORMANTS ARE NOT NECESSARILY MULTIPLES OF THE FUNDAMENTAL HARMONIC! If they were then every instrument would sound like a sign wave which sounds so plain because there are no special format regions just multiples of the harmonic. Sometimes the formants happens to fall close to a harmonic multiple but not always. If a formant happens to be a multiple of a harmonic then yes the formant will get a boost. FROM STANDFORD.EDU Formant Analysis Most acoustic instruments produce prominent formant frequencies. Formants are resonances that are characteristic of a sound. Phonemes can be characterized by 3 prominent formants or frequency regions. A particular set of formant frequencies characterize each vowel and are relatively independent of a voices pitch. Female and male voices obviously have different formant frequency ranges, however the ratio between formant frequencies is consistent across males, females, adults, and children. Some formant plots for various instruments here: https://ccrma.stanford.edu/~jmccarty/formant.htm So say you're singing a A3 at 220hz and the vowel is a kind of schwa "uh" with a F1 of around 500 hz and F2 of around 1500 hz. 500 hz will not be heard! Neither will 1500 hz! Because those frequencies do not coincide with the overtone series of a fundamental of 220hz. False. They will be heard. That's why a "uh" sounds like an uh. How else do you think an uh hits your ears. It's because it has it's own unique formants that create the uh sound. And you hear these formants because the vocal track works like a specialized frequency filter allowing only the "uh" formant frequencies to resonant and pass through to your ears.
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