geran89

TMV World Legacy Member
  • Content count

    49
  • Joined

  • Last visited

  • Days Won

    2

geran89 last won the day on March 14

geran89 had the most liked content!

Community Reputation

26 Neutral

About geran89

  1. great! so we could agree that this is more about breath and voice connection, and that vowel modifications and covering are mostly aesthetical concepts? what do you refer with vanilla coordination? haha, you refer to having a well supported tone, before using non-modified vowels (like a very open AH on medium volume belting, without shouting)?
  2. felipe and jens! it's nice to see you guys felipe, in regards to the last thing you said and demonstrated (at the end of the video), when you showed not modifying the vowel you went, as you mentioned, shouting the non modified AH vowel. my question is, can you not modify the vowel -as you did on that last example- but use less volume, like medium volume? or you say that using the most open vowel (the non modified one) forces you to shout? my idea is that using the non modified vowel can be done without shouting, with less -medium- volume, cause on the high range the thickest sounds are the most limited on vowels, and for this, a medium volume sound should have MORE vowels available (including the really open non-modified AH). what do you think?
  3. i dont feel i have to modify, i just use the same vowels i use for speaking, but yeah i know im over-simplifying a bit haha! i just want to give the message of thinking it more simple when thinking about vocal technique, i dont know if you remember, but when i was on this forum years ago, i liked a lot to make everything weird or over-complicated (and guys like jens or daniel formica often tried to made me see it more simple but i refused ), i was just stuck for a long time -years- so i kept thinking that there had to be something complicated that i was missing and that was the reason why i couldnt improve my technique and i was suffering a lot of pressed voice on the high range -lots of constriction-. eventually, i learned with time and practice, that things could be more simple, i was worrying way too much about a lot of things that werent the most efficient point to pay attention, cause those werent the biggest causes of my vocal problems, instead i discovered that it was just all about learning to take my speaking voice in an relaxed manner high in the range (which in my case -i have to say this cause "take your speaking voice high" sounds too easy while we know it's not so this is HOW- this was found mainly through the creaking exercise -good for connecting breath support with the voice- from SS but through personal experimentation i created a variation in which i do it on all volumes, not just quiet, and i switch between creaking and clean while going up and maintaining my speaking voice sensation and sound), avoiding at all costs doing anything weird with vowels, or different to how i speak, and that started solving every problem that i had so, for me it was just support, and i know we are all different, but i have the thought that probably those vowel modifications -like the concept of covering- arent that necessary, of course the vowels that are taught on methods like CVT for each "mode" are useful, but just as guidelines, cause rarely the problem will be caused by vowels, in comparison to a poorly coordinated breath support with the voice!, i remember any time in the past, when i had pressed voice, i tried to practice high notes and modify vowels to relieve at least a part of the "pain"/constriction, it was worse, cause it was something totally not related to my support problem, and i kept repeating the bad constricted coordination. once i fixed the support, i was able to use ANY vowel on any volume and sound color, i just extended my speaking voice. so in order to simplify and focus just on the main problem, i discard all complicated scales -or scales completely- and discard anything that could distract me from practicing and working on my breath and voice connection ONLY, i just work on everything with a high larynx -bright sound-, and i maintain the same vowel all the way down and up in the range, then i can play darkening the sound and using more vowels, and singing, but while practicing i just prefer to reduce variables to the minimum, cause mastering good breath support is already complicated enough! (this is like the advice i would give to myself in the past if i could go back hahah) i think people should know to a point the general guidelines of something like CVT modes, but 1st of all, they should train support, and master it, and know how it feels, and just and only THEN, start seeing other things and techniques, cause if you do it in other order, you COULD skip mastering your support -even thinking you did master it or that you are fairly decent at it-, and will be wandering eternally (while the vocal problem worsens cause you keep practicing and repeating a wrong coordination, embedding it into your muscle memory) searching for the cause of the problem, thinking it is on the vowels, or on the twang, or on a particular type of anchoring, or your physical strenght, or jaw tension, or deviated septum, or resonance, or formant tunning, or types of laryngeal tilt, etc... it's all ok guys, but learn to use support to take your speaking voice in any volume and vowel, up in range in a relaxed manner -relaxed on the throat as when you speak-, FIRST, then, search for other causes for eventual problems you could have, but probably, you wont have any of them haha
  4. just open the vowels for belting, the rest is fun but unnecessary
  5. i think one could conclude with this video (from the original post) that vowel modifications are important -of course-, but not in any way AS important as good connection between breathing and the voice (support/appoggio?), if your support isnt well enough for the given note or range, you will need a lot of these vowel "modifications"
  6. thats one way to see it, personally i dont like CVT teachers (this is about the way they teach, i have had several lessons with 3 of them during a couple of years and they never gave me any results, also their lessons are mostly 99,9% repeating things you already know from the book), but the CVT book is excellent, i use that, mixed with singing success techniques for extending usable range/mix (then you shape everything with CVT ). this is completely my opinion: i think the biggest fault on the CVT book and lessons (which is what i cover/patch using SS) is the way they explain and teach support, which is to me way too outdated, just focusing on the lower core and ribs and moving everything gradually wont do sh*t for you, you have to really learn how to influence your VOICE with those muscles, so the exercises have to be 100% about this connection and nothing more, like singing success's exercise of moving creaking up in the range and being able to clean it into a balanced mixed voice. CVT wont teach you this. but as i said, this is my opinion, my personal experience, we are all different, so in general we all need slightly different approaches
  7. robert lunte said: "I don't "get" why CVI and Estill offer good ideas, but then fail so miserably on what to practice and how to practice. There is this strange philosophy around, " we are only going to present information and ideas, .. but we are not going to provide for you content to train with or teach you how to apply the ideas". just talking about CVI (though i have had lessons with gillyanne kayes and have her book 'singing and the actor' so i would say i also know and like estill ), for CVI the philosophy is, "the responsability is on the student" they explain you how muscle memory works and how to use this in your favor, and give you the exercises, examples and explanations, and you have the responsability as a student to study, to know your voice (cause no 2 voices are the same or need the same exercises in the same way), to pick which ones of the scales they provide, you like the best and use those, etc... instead of a vocal program you use being a passive student that gives lots of responsability to the teacher, you are invested in finding out and in growing your voice cause you are the responsable of this. i think this type of methodology is better suit for people with lots of critical thinking, if you dont have this, it will be a bit difficult probably (if something goes wrong you are the one that has to figure out and learn why), but aside from this, it's a good method and it is far simpler than what people often say, it's just that you have to take full responsability of your instrument
  8. i knew that phrase sounded a bit controversial xd buy the book, with that you give yourself a favor (excellent book, not only with good practical, vocal technique and advice, but also with the best philosophy i have seen about learning in general and learning to sing) and support the people that made it for you
  9. "What would you best recommend to improve F#4 and B4 area, to get a sound co-ordination that is closer to M1" i will also try to answer this: forget about registers (M0 M1 M2 M3), in fact consider to never going into M2, work in feeling and hearing ALL your volumes (pianissimo/quiet to loud) in A3 the same as you speak, and on C4 the same, then on E4 the same, then on F4, G4, A4, B4, C5 etc... if there is a point in which you stop feeling you are on your speaking voice, then you are rushing too fast and need to re-work this from a lower note or range with the goal of having this speaking voice sensation and sound on all your notes. you have to really be strict with yourself on this: prefer to work only with notes that are easy and that feel & sound just as you talk (on any volume), instead of working too fast, too high, and before you gain the coordination (to do what i mentioned), cause it will not be well supported, and the higher it is it will be less and less on your control (less options for you), cause you passed a while ago (on a lower note) the point in which you have the "right coordination" (it doesnt feel as your speaking voice anymore) on your current level. the note in which you can do this could be as low as C4, or could be F4, it doesnt matter, if you work like this, it will be eventually a higher and higher note, but dont rush and dont try to fix it higher on the area in which you dont have this control yet, instead, work in bringing your speaking voice higher (in all volumes), you can play using creaking and cleanin into your speaking voice (it works on any volume you work). dont worry about registers, if you lose control or the quality changes, you are too high or must rest for a while or a day etc... your priority has to be quality instead of quantity of notes. resonances and like 10 types and subtypes or air-pressures adjust (and variables are infinite and there are yet infinite more scientific papers yet to be wroten about voice science) without you knowing it while you speak, sing, use your voice etc... i ask you to try to see it more simple, you dont need to know if it is M1 or M2 (the singer of the video you posted also doesnt need to know if it is M1 or M2, he is just using his speaking voice sensation on any sound he is making, nothing different or special for him), if you work it like i said above, you will have what you want and the complicated, more scientific stuff on your voice will be taken care without you knowing it. edit: and about the vowel modifications, just know that you should use a more open vowel when using more volume, nothing more complicated than this, but focus on what i said above
  10. "And this is why I do not think this book has any value to me!!!" that sounds a bit arrogant if you havent studied the book, of course it has value for you (name one other vocal system/method etc, that acknowledges and fixes the flageolet split problem you have currently), but it's your choice to cut those options you have (i dont win money if CVI or sadolin win money, i just like to discuss vocal technique )
  11. well that is not dark (the highest notes) at all , all high larynx. he is belting so using an open vowel makes sense, he doesnt have to modify the AH cause it is an open vowel which is really efficient for the belt (you could say it is "already" modified). also this isnt SO heavy/thick on the vocal chords, it is just a bit more volume than just singing success's mixed voice, pretty efficient. leaning for me feels just like using more volume when i talk in comparison to when i talk soft, but here it is done on a high range (still the sensation is the same), the reason why it is felt the same as speaking is because the coordination -mix- is already built (so for example you are already "holding your breath" since you are on mix), so it isnt like being trapped on falsetto and trying to raise the volume, instead, the cord closure is balanced -mixed voice- and for this, it is exactly as raising the volume when you speak. belting -as in this video- it's something kinda quick to find, IF you already have a good balanced mixed voice that feels and sounds as your speaking voice (which is the part that takes ages to have haha ).
  12. no one is endorsing pirating if you read the topic
  13. if you read my post you will see im not, i own the book and im suggesting 2 cats to buy it but i admit that the first glance that i gave to the CVT book was a used copy, then after that i was pretty sure i wanted to buy the book and thats what i did, and i dont regret, it is one of the best books (of anything) that i have bought.