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benny82 last won the day on March 22

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About benny82

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  1. Yes, I think it is very often the case that when people say "don't do this" or "don't do that" in terms of singing instructions it often menas to not do it CONSCIOUSLY. If you keep your neccessary twang, the neccessary support and balance your volume correctly, the vowels will modify "by themselves" when you go higher. I think that is the basic idea. The downside is that this can easily lead to "forcing" the vowel to stay the same in the high range.
  2. There is always a back-coupling between the vowel in the vocal tract and the action of the vocal folds. You cannot isolate support from the vocal tract. You could isolate breathing, but breathing is not singing. There is kind of an exception if you use Falsetto or "Neutral" as CVT calls it. In Neutral the vocal tract is so wide and the vocal fold vibration is so weak that the back-coupling effects are minimal and you can use whatever vowel you want.
  3. Yeah, mixed voice as used in SLS is rarely used in classical singing now. It had a bigger role in more ancient times. However, classical singers DO use a mixed voice in the sense Daniel and Draven described. This register is also sometimes called "male head voice" in classical singing. You have to keep in mind that there are two parts of registration. There is the action of the vocal folds and the shift of the resonance. The vocal folds have two basic vibration modes (actually four, but 90% of the times two are enough for singing). They are called M1 and M2. In M1 the full body of the vocal folds is vibrating, in M2 only the outer edges. Also in M1 the vocal folds close over their full depth, while in M1 they only close on the upmost layer. There is no register "in between" M1 and M2. However, it is possible to reduce the vibration depth in M1 and it is also possible to increase vibration depth in M2. This action is needed for a smooth transition between them without an obvious crack. Both coordinations (M1 with reduced depth and M2 with increased depth) could be called "mixed voice". In vocal research M1 with reduced depth is often called "chestmix" and M2 with increased depth is often called "headmix". The SLS version of "mixed voice" refers to "headmix", but classical singers usually use "chestmix" for their high notes. On the other hand, there is also the "switch of resonances" which happens at a certain pitch (usually around E4 for males). At this point the harmonics of the sung note go above the first formant of the vocal tract. When this happens there is less resonance for the voice to work on and it is easy to "crack" at that point because without that resonance you need more stability in terms of support and fold closure to keep going. The resonance passaggio is usually encountered by the use of "covering" which helps to make the transition out of the first formant resonance more smoothly and controlled. The area in the voice where you do the covering is sometimes called "mixed resonance" as it is a position where you are neither in full "chest resonance" nor completely out of it.
  4. Yes, vowel tuning is real, but it is not neccessary to do it to sing well. It is an efficiency thing. The most efficient way to sing is not always the way that gives you the sound color and thickness that you want for the note.
  5. It is because of the focus of their business. The books are not meant to offer you everything you need to train yourself. They are specifically designed in a way that you feel the need to train with one of their certified coaches. Thus, they create a demand for CVT coaches. And the cool thing about that business idea is that they also are the only ones who can "supply" CVT coaches because you need to take their course in Denmark to become a CVT coach. Of course there will be some students who are able to train effectively with what they offer in the book.
  6. Let's put it like this: you can only "lean into the sound" if your vocal tract is narrow enough to provide a resistance. It is the resistance of the vocal tract you "lean on". I think Rob now has specific excercises for resistance training in his course. Here is also a good video by Felipe which is basically on the same topic. He uses vocal fry to get you into the "narrow" position, which is also a good method, because fry is basically a position where the resistance by the vocal tract is so strong that the folds cannot vibrate fully anymore but just pop open in short intervals.
  7. Vowels are not frequencies, they are frequency relations. If you take a voice recording and pitch it up, you can still understand the vowels. You can do the same thing in singing by spreading the mouth more and raising the larynx more the higher you go. However, just as with the recording you will start to sound like a chipmunk character in the high range of pitches.
  8. It completely depends on what tone you are going for. Obviously Bruno Mars uses a very different tone compared to Pavarotti who uses a different tone than Bruce Dickinson. The three main actions that determine your tone are: 1. The amount of narrowing in the pharynx (= amount of "metal" or "thickness" in the tone) 2. The amount of narrowing in the epiglottis (= amount of "twang" or "sharpness" in the tone) 3. The position of the larynx (= amount of "darkness" or "brigthness" in the tone) Number one is also what determines the "mode" you are singing in, from light to heavy or from Neutral to Edge in CVT terms. Number two and three are usually balanced against each other to determine the "color" of your sound. The twang also has an influence on fold closure so it should not go below a certain threshold.
  9. First of all, the singer in the video DOES use vowel modifications. He is singing AH (open) in the low range and goes to AW/OH (more closed) in the higher range. If he would go even higher in pitch, he would need to close towards OO. This is pretty much the "standard" way of modifying vowels in classical singing, sometimes call the "Caruso scale". It goes something like AH -> AW -> OH -> OO. Of course the modifications need to be subtile, but you can definitely notice them in the singer in that video. To make the vowel mods as subtile as possible it helps a lot to learn "throat shaping" of the vowels, which means that the vowels are formed in the pharynx and not using the mouth. You can notice that easily on the singer in the video. His mouth shape does not really change at all, but he still uses the vowel mods by using a more open pharynx for the low range and a more closed pharynx in the higher range. As for being "chesty" in the high range, it depends on what "chesty" means for you. Singers like Steve Perry create a more "chesty" sound in the high range by adjusting the formant frequencies. He stay quite open in the pharynx (very close to falsetto) but shapes the vowels in a way that the resonacne makes it sound more similar to chest voice. The other way of being "chesty" is to sing with "more muscle" after the passaggio. The key action for this is (again) to learn to narrow the pharynx in the high range and keep it narrow independent on the vowel you sing. Here is an excercise you can try - first of all you need to make the "dead face". Try to imagine that your mouth is numb in a relaxed state and cannot move. Then sing a relaxed AH in your low range without changing the shape of the mouth out of the "dead" state - Then switch between AH and AW on the same low note using the "dead face", notice how the vowel is shaped in your pharynx because the mouth is dead and cannot shape the vowel. This is the action of "closing the vowel in the pharynx". - Now extend that excercise by going AH -> AW -> OH on the same low note (remember the dead face), then do AH -> AW -> OH -> OO. Notice how with each modification the vowel closes more in the pharynx. - Next try to speed it all up, so you go AH -> AW -> OH -> OO very fast on the same low note (remember dead face) - The next part is a bit tricky. You do your fast move from AH -> OO, then stay on the OO and modify that OO to AH again. Try to stay on the same kind of "narrowness" that you had on the OO. What you will get is a different version of AH that will sound more bright ("twangy") than the AH you started on. This is the "narrow AH". - Now you have two vowels that both sound like AH. One is wider, one is more narrow. The narrow AH actually has an OO-modification in it, but it still sounds like AH. - What you do during passaggio now, is that you simply learn to smoothly and slowly switch from "wide AH" to "narrow AH". There is an OO-modification in it, but to the listener it will sound as if you are staying on the same vowel. The difference between singers like Steve Perry and Bruce Dickinson is that Perry stays on the open AH in the high range and just "ligthens" the voice when going trhough passaggio. He reduces the mass a lot and goes very close to falsetto. Dickinson narrows more during passaggio, which allows him to stay on a heavier mass. However, this is also more costly in terms of support of course.
  10. Most people just hate the sound of twang with a high larynx. It sounds way better with a dampened larynx. Twang is often taught with a high larynx, though, just because it is easier to find the coordination.
  11. Like MDEW wrote, different methods define vocal modes from different perspectives. Overdrive, however, is to my knowledge only used in the CVT system. Edge and Curbing also exist in 4 Pillars of singing. If there is a "most common mode" the title probably goes to Overdrive. Simply because Overdrive resembles what most people do in their "chest voice" and most of the singing people do in the low range will be Overdrive, except for the case that they sing very soft/quiet. However, Overdrive is kind of cumbersome when it comes to the higher range of pitches because you will end up "yelling up" your chest voice. The traditional "passaggio" can in most cases be seen as a transition "away from Overdrive". If you go to the Estill system Overdrive would mostly resemble their mode "belting". 4 Pillars mostly focuses on the modes you can enter when you go "away from Overdrive", which would be Neutral, Curbing or Edge in ascending order of "heaviness". Neutral is a very light way of singing "head voice", similar to Countertenors or females in classical singing. Curbing is kind of middle ground during passaggio but gets a very winy and almost strained quality in the very high range, where Neutral is often the more powerful choice. Edge is the most heavy of the "head voice modes". It gives a piercing and loud sound quality, which some people would also consider "belting" or at least "belting tone in the head voice". Thus, in terms of use you mostly have Overdrive in the low range. Overdrive in the higher range, espeically above G4 is rare, it is often considered "un-technical". In more aggressive/loud singing (like rock or opera) you will find Edge in the high range. In more soft/pop singing you will find more Curbing and Neutral.
  12. Don't think too much about support. It is not where the "singing magic" happens. Just think of support to be a thing that delivers a constant airstream to drive your singing. Personally I also don't like those picture like "anchor in the body" or "sing form the diaphragm". In the end, there is hardly any innervation in the diagphram, and the diaphragm is an inhaling muscle, so you cannot "sing from it" or "sing with it". It just provides some resistance to the exhale that helps to control the airflow. Singing is all about the a constant exhale. For support my experience is that the major factors are that your exhale is constant (does not vary in strength a lot) and unconstricted. You can do a few heavy pushes on SSS or FFF or something like that to check if you are able to "push air" in an unconstricted way. After that you just push that air slower, so you do that SSS or FFF not as strong as possible, but rather as long as possible. That's all support is about. When you actually sing, you provide that constant airstream first and then just sing on it. If you have the 4 Pillars, the onsets are what you are probably looking for. They usually start on a constant, unhindered airstream (a breathy HAAH) and then shape the vocal tract in a way to sing on that airstream.
  13. In terms of formant placement it would be something like this: - In the low range we keep the formants stable in place. As the harmonics are rising with rising pitch, the formants get lower and lower in relation to the harmonics - the formants getting lower in relation to the harmonics means that the vowels take a more closed shape the higher we go, we don't even have to close the vowels intentionally, we just have to keep the formants in place - at some point the last harmonics (the 2nd) has passed the 1st formant and the vowel is in its most closed position - from there on the goal is to prevent the fundamental from surpassing the 1st formant because this usually results in a complete loss of vowel definition - thus we need to raise the formants after passaggio, which means we have to make the vowels more open again
  14. So here is some imagery I work with. Tell me if it works for you, too. - In "chest voice" your "opening" is created as space in the back of the pharynx. Imagine the "chest resonator" to be between your ears and the lower edge of the jaw. This space should be most open for the lowest range - Sirening towards the passaggio this space is narrowed by the back of the tongue, which comes up towards the soft palate, towards a G-Position - In the center of passaggio (between D4 and F4 depending on voice type), the vowel is in the narrowest position, almost as if the vocal tract is a flat very thin tube on the "palate-line" - "Opening up" in head voice is not done by opening the chest resonator again, but by imagining to open the vowel into the space above the palate. It is sometimes helpful to open the eyes wide for this. The tongue needs to stay in a high position to "close down" the chest resonator. I'm pretty sure that these imaginations resemble the three resonance regimes F1 resonance (open chest resonator). Singer's formant resonance (very thin vocal tract), and F2 resonance (open head resonator). It is possible to stay on F1 through passaggio, but it will get very shouty and hard to control. It is also possible to stay on the Singer's formant after passaggio, but it will get very thin and piercing in tone.
  15. That's a nice example. The problem here is that he talks about darkening, not about closing. The darkening is done in classical singing to get a consistent timbre when you narrow the vocal tract. For contemporary singers this is not an issue as there are no "rules" to have a consistent timbre. Watch that Disturbed video I posted and it is pretty clear that his timbre gets more bright and "child-like" through the passaggio, while his lower range is more dark in timbre. Rockwell's voice distorts because he continues to darken in the high range, which makes the larynx go too low and the palate too high and everything constricts. The problem is the darkening, not the closing of the vowel. However, if we talk about closing, it is perfectly possible to stay on the closed vowel even after the passaggio, it is just not as efficient as "opening" up into head voice. The tone will get very thin and piercing, but will not constrict.