Danielformica

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About Danielformica

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  1. Sls mixed voice is not really the mixed voice used in classical singing. The difference being listen to Bocelli who does use the sls type of mixed voice compared to Pavarotti, Raimondi, Aragall, these singers used mixed voice and strengthened it as a register within itself. The difference in classical singing between men and women are women don't really use their raw chest voice and sing high notes much more in their head voice, men sing their high notes in mixed voice. mixed voice is applied to classical singing just listen to guys like I mentioned and you will hear it
  2. not if you open through the mixed voice. You don't want to open so much it flails you open within the mixed sound from the vowels before
  3. it works over here thats weird well no biggie
  4. Did someone work the exercises with you or you by yourself its crazy hard to understand without a coach walking you through and teaching you the exercises.
  5. i will let rockwell blake tell you why you should not keep closing its very simple. watch how heavy and distorted it gets if you take it too far. he calls it dark timbre i call it covering tomatoes tomatoes;) https://youtu.be/2oZ2AcaPb7o
  6. It would be lower for basses and baritones. Baritones just a half step. But the thing is if you cover this too high your gonna eventually end up with problems. This has been my personal experience and also I didn't create this it was put to motion years ago by Berton coffin. He systematically and scientifically broke this stuff down and made it easy for singers to follow. I would like to add also this is for training and voice building like finely tuning an engine to race(sing).Singing pop and rock is gonna be a little different but training this way I learned and teach will make that stuff much easier. It's a longer more difficult road but a much more solid almost unshakable technique. I know a lot of singers/teachers that if they just took this difficult road years ago wouldn't just be figuring it out today
  7. Actually it's e4 to G4 is how I was taught the g# starts to open and then so on
  8. Who are these "masters"? You can't just blurt that and not elaborate.lol and who is this classical coach too?
  9. I'd like to point out when I talk about covering it's only an area of basically 4 notes the passagio after the passagio you start to open through the covered mixed voice so it still has a collected feeling but opens wider each not from Ab to high c c#.
  10. No need to concentrate on cord closure unless there is a physical problem like paresis. If you speak clear you sing clear. The problem is when you sing higher the cords closure gets more difficult if you don't have correct support
  11. Baritones and tenors both have the high notes. Baritones sound way better on the high notes because of the nice bottom they have to their voices.
  12. It can be confusing in the application. So after the exercising is done (doing it classically) some try and sing rock the same way which is very hard to do that's why you don't hear opera singers doing rock and vice versa however I just look at it like keeping the vowels more like speech and bingo way easier to sing journey Bon Jovi all that stuff
  13. The technique is the same just more refined and deeper resonance. Much harder to hit a high Bb in true belcanto mixed voice than rock/mix voice because of the demands on the sound for classical. I studied and still study classical technique which makes rock singing a walk in the park.
  14. You don't want to jump or push the diaphragm upward you want to slow its movement upward. That's what support is. You want to breath in and hold that position as long as is comfortable when it starts pushing in you lean out(appoggio) You need to learn to cover and learn mixed voice to get through the f4 and you want to start a few notes earlier.
  15. Singing quietly higher in the range requires a "feeling" of more support. A tension in the body so the voice gets freed