MDEW

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MDEW last won the day on March 15

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  1. Singing is hard to write about, especially when it is about tone. I do not really hear anything wrong with the tone, but then again it all depends on what style of music is behind the singing. In these examples you are singing word for word with distinct stops between each word, like each word is a separate note. In some styles that is good but with others it is bad. Think of singing in terms of phrasing. There is not a hard stop between words but a continuous flow, unless of course if the song calls for that. The voice is another instrument. When you are playing a lead on the guitar do you stop each note before you play another? or are you playing four or five notes in succession with some of the notes sustaining? At the same time you are also expressing an emotion with your voice. Using dynamics to express the feeling. When you are happy and expressing love for someone do you yell at them like you are mad? Not if you want them to return the feeling. You use a soft tone when expressing love and a Harsh tone when expressing Pain or anger. Phrasing can be thought about like that also. Slow and melodic for expressing love and quick and blunt for anger or pain. These are just guides to give you a different way of thinking about singing.
  2. Sometimes, you have to consciously DO something to learn the feeling, sound and coordination. This thought of "do not do anything" is misleading also. Any adjustment in sound or delivery is "Doing Something". But, I do agree that "Allowing" or "Directing" something to happen is a better idea. I was working on a song that I have been singing for years. For some reason I always had trouble singing a simple melodic Walk up on the word "OLD" a transition from a G chord to an A chord. The notes D4 C#4 D4 E4. The E4 is meant to be sustained with vibrato. Usually it would feel weak, too tinny sounding, too shouty or just lose compression and I would have to cut it short. For my voice the solution was to sing the entire song with a small mouth, A smirk of sorts. The trouble phrase was no trouble at all. As far as breath support, vowel modification, volume adjustment nothing else changed. The small mouth in itself changed the consequence of all of those things.
  3. It is true that people do not like thinking about the mechanics of singing. Science may not be able to explain or prove EXACTLY what is going on. And it gets in the way when practicing and training to sing. BUT the physiology changes between "Modes", Vowels, Pitch and intensity. Certain things still need to happen physically for things to work. An UH vowel has a downward pressure on the larynx (A kind of anchoring effect for the Larynx) Thins out the vocal chords a little (puts an elongated pull on the vocal cords) and also puts a lifting pressure on the soft palate. Not to mention that the air flow AFTER the vocal folds is redirected towards the back of the throat. All of this takes effect whether you feel it or not. Why even give a crap about this? It may give an idea about WHY vowel modification works.
  4. Thanks Geran. I understand NOT wanting to concentrate on a any certain aspect of singing(Vowel, placement, tone) when learning how to maintain a solid pitch. All of that can and usually does lead to problems or hinders progress. We tend to over compensate. For myself the speaking voice is the problem. This could be for most of us also. Finding the correct balance/placement on the speaking voice to "maintain" consistency while adjusting or moving through pitches. Just as in the original video here, establish the correct coordination and support connection with a soft Falsetto OO and then bring in or engage the support and "Speaking" quality. Balanced at the beginning Before putting the pitch on the move beyond the breaking point (Passaggio).
  5. You still remember when you started ? Did you have problems at F4 and above? Do you really think that ALL you had to do at that point was open the vowels to belt? After you can do these things they get easier and it seems that all you are doing is opening the vowels, But others things are taking place. You just do not feel them anymore. They become automatic. Part of the process.
  6. This can be compared to an exercise that "FourPillars" has. Robert leads step by step in the actions. Establish pitch and placement, . Engage support and anchoring, dampen the larynx. In Roberts exercise you start with a hum, switch to ME, engage support, Dampen the larynx, switch EH, Keep everything in place while sliding up a fifth. The difference in this exercise is that he establishes the pitch and placement with OO and gradually dampens the larynx and engages support while he is switching the vowel to Ah. The larynx IS dampened here, Anchoring is engaged. This is not just your regular speaking voice/coordination.
  7. You are a much better singer than I am. The best thing I can tell you is to sing Bruce Dickinson songs. Start out with something that is in your range. Compare the difference in Steve Perry's voice in a lower range to Bruce's voice. Play around with matching the character of Bruce's voice in an easy range for you. Once you find that Character in a lower range start practicing slides while keeping that coordination.
  8. Exactly. The main point that most people miss is that when you can ALREADY make a solid nice sound on the passagio area, lets say F# 4 to A4. you are not going to have a problem. The problem that beginners have is that the TONE of F#4 to A4 sucks. It is not that they cannot produce the note in some fashion or another. In this example the singer is starting on a C#4 IN FALSETTO and increasing vocal fold closure(Finding a balance in an area that is common to both Chest and Falsetto resonance. In Effect as Geran said "FINDING THE MIX". Once FOUND it is easier to maintain it. He does not have to deal with consonants and is already using a vowel that is stable in CHEST and HEAD resonances. In the video the coach says that there is a Loudness limit that changes the production of the tone to a YELL this is the sound that requires a modification. The SINGER already has the strength, ability and proper coordination to keep the tone. Beginning singers are still trying to find this.
  9. "The Four Pillars of Singing" is a Vocal Exercise program. Training for strength and coordinations. CVT is an acoustic sound based program. Which "MODES" create which sounds and a guide to make them. I am not sure if they have actual coordination exercises or just examples that of the sounds produced by different modes. In CVT the vowels you sing and how loud or intense determine which "MODE" you would be in. In any given song you could use any number of different "Modes" and "sound colors". Even one phrase would switch back and forth between different modes. It gets quite confusing analyzing songs this way. They may tell you HOW to sing a full sounding note above your breaking point but not give exercises to give you the strength and coordination for it. TVS and "FourPillars of Singing" will give you the same thing with their Acoustic mode concept. Adding, Cry, Sob, Twang, along with vowel modification is the same thing as CVT "Modes", and they give you exercises to strengthen the coordinations.
  10. Twang is more of an action to help your folds stay closed than it is a sound you are going for. Most of the examples of twang are exaggerated to let you understand how to make the action.
  11. In a recent thread you were asking about TONE or TIMBRE, A change in tone or timbre will require other changes to your singing. Before, you were allowing your voice to do what was needed to get the pitch without being conscious of the tone.
  12. Here is a fine example of the difference between Singing Voice and Speaking voice. Listen to how Adele sounds between her NORMAL speaking voice and the Character she is adopting to fool the crowd. Her actual "Singing" is closer to the character she is playing NOT her speaking voice.
  13. It does make sense, when not in this state, you are "Singing". With all the tensions you believe are needed to sing, or preconceptions of singing. The day after your "Night Out" your singing is more relaxed. The folds work better in a relaxed state.Part of FORMAL training is to get rid of unnecessary tension. "Trying to sing". Tension equals Tighter folds, higher larynx position = thinner sound. You happen to like the thicker, raspier sound. Some people go for the Tighter sound and those people would feel their voice sound worse AFTER the party.
  14. Yes, Steve Tyler is a god. Along with Lou Gramm, and Dio. Unlike Steve Perry who is only a Demigod. There is no need to make a deal with Satan when you yourself are a god and are on equal footing or even surpass him..
  15. I totally agree with Draven. Having said that. I too had a tone that sucked, and still slip into it every now and then. Growing up I was told to sing like myself (whatever that means) and other advice such as singing should be free and easy{whatever that means) in trying to do that my tone was always hollow and thin. Finally realizing that advice was either stupid or I misunderstood, I decided to sing like someone else. Once I allowed myself to do that, different sounds opened up to me. A higher larynx will give a thinner sound and a lower larynx will give a fuller sound. Of course in each case it can be over done and sound fake. The voice is more flexible than some people give it credit. The same person can sing like Tiny Tim (If you know who he is) or Tom Jones (If you know who he is). And each sound can be done with proper technique. The truth is that until you get with a qualified coach, Teacher or program, you do not know how you are going to sound when you are doing things correctly and with proper technique and strength to your voice. I do need to clarify that in some instances......what you got is what you got. The tone can be more powerful, more clear, more solid but essentially the same tone. But still have the qualities that make a singer sound "Good".