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bigmike092

TMV World Legacy Member
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Everything posted by bigmike092

  1. I'd be interested to know what the experts have to say. I'm guessing it's a matter of practicing a coordination in the larynx where one part of it you must keep relaxed (false folds) and at the same time activate another part (true folds)?
  2. from what ive read there are safer ways to produce rasp, though its still not know whether these ways are truly completely healthy over time, but its much healthier in comparison to other methods. interested to hear other comments on this.
  3. hey dante, does it work the other way around too. like if you focus on keeping the solar plexus expanded, those pelvic area muscles will become engaged just indirectly, or do you think its essential to focus on the lower abs?
  4. i think hes just simply saying he likes the more intense kind of singing and judging by his later post it wasnt in comparison to steve perry. as for the pressure gauge reader well he clearly doesn't, but you can obviously sing with some varying intensities, and more intensity=more pressure. im still learning support, but as for the poop sensation i find trying to mimic that constricts my throat. but singing louder and intense definitely does involve strong muscles contractions.
  5. wouldnt it thinness just mean falsetto or close to it and more breathy, and fullness not falsetto sounding but more firm? at least thats what i gather from reading this forum. but i suppose its still relative, like his eb5 is full sounding, but not as much as it could be i guess?
  6. yea last night i was practicing singing while focusing on my support, and i really felt my lower ribs and back working in ways i havent gotten much in the past where afterwords it actually felt a little sore. it wasn't much though and i wasn't physically tired, but it felt far from feeling relaxed and effortless like many people, even vocal coaches say singing should feel like.
  7. interesting, dio never warmed up before shows, he would just go out and sing. not saying that to argue against it though, i just read that not to long ago in an interview about him.
  8. maybe it came natural to them and they're just gifted, or maybe they looked in books and just practiced a lot as there was no internet in the 70s. or maybe both. but I do somewhat see your point, the original poster isn't going to learn how a high C without cracking just by the answers on a forum. it takes a lot of time and practice id imagine, but it doesn't mean the answers cant point him in the right direction. as for even with lessons only doing 1% of what the above singers can do, you mean singing wise or songwriting wise. if the former, I was under the impressions anyone can learn to sing well. but anyways, I think all this debating should be in another post.
  9. singing and the actor, the bel canto buzz, singing for dummies are a few i came across that seem good.
  10. i see. thanks felipe and dan for making it more clear.
  11. "the way it is configured in here changes, into the chest, in the middle voice and the head voice...it's different. they are different and there are definite registers. we don't got them." 3:38 here he is saying more than just falsetto, that women have chest, middle, and head whereas we only have one voice. and he says quite a few times the passagio doesn't exist for us then does some scales and says, where did you hear the flip. exactly because there's no passagio. but is not true that without training there is naturally a flip and a place in the voice that is more difficult to get through? additionally why would these tools only exist for women and not men as this guy says?
  12. well at 5:35, he says, where was it? exactly, it doesn't exist. then at 3:48 he says there are registers for women but boys dont got them. then at 5:43, there's no such thing. its one of the greatest things garcia ever put to paper
  13. from tenelli- "Passaggio exists as a a sensation for every living voice and often as a register(transitive) not just a sensation. In appoggio technique there are no real registers(Sensations only) because appoggio singers are using chiaro-scuro all the way from the bottom to the top, they just support it and not replace it into a new register. I can see that Mr.Rocksell Blake is from Placement school of thinking, or even singing. I suggest to read Lily Lehmann, Caruso, Gigli that deny this Placement nonsense" i dont know about the specifics, but what i think he's saying is there is a passagio and register change but with proper technique its smoothed out and made to not look like there is one. and isn't that what part of vocal training is about, navigating the passagio, whereas this blake guy denies it exists just because he can sing it smoothly because of his good technique, whereas beginners pretty much cant. or at least thats what i gather from things i read about vocal training.
  14. yea i get that, i think im overdoing it though to the point where its adding tension as opposed to reducing it. but i think i just need to practice it more on scales as you suggested.
  15. thanks for the reply phil i think that may be where my problem lies, while singing im thinking too much lift the cheeks and keep the mouth open fairly wide and probably keeping too much in a position as opposed to letting it move more naturally
  16. ive seen a few times vocal coaches demonstrating how wide to open the mouth and have the whole top of the teeth showing, and when i try to copy it seems to be too much. whereas if i just think slightly lift the cheeks, jaw back and down but not unhinged, and sing i think i get better projection but my lips aren't far apart which makes me think its not right. maybe i was just copying wrong, or is it individual, or does it have to do with how high/loud your singing? for example, look at this video of the guy from seether. pretty much throughout the whole performance his lips aren't far apart, but i suppose his jaw is still open pretty wide? but looking at him it seems a coach would be like open your mouth more. at 2:25 a good view is shown
  17. try practicing sustaining a note at low volume with a focus of maintaining air flow but letting the breath out as slow as possible while not constricting the throat to help hold back the air. i dont have this down either but ive made some improvement with that.
  18. this made me want to look up the record for longest singing out of curiosity http://www.guinnessworldrecords.com/records-2000/longest-singing-marathon/ im sure what your saying applies to most people though on a different note, world record for highest note i came across. it was 2008 so may have been broken but its c8 by a guy. http://joetheflow.wordpress.com/2012/02/28/lowest-and-highest-sung-notes-guinness-world-record/
  19. i dont think its a bad thing if you have to sing quietly, as i remember reading it takes good proper support to be able to do so quietly in full voice, which is why a lot of singers can only sing in full voice by singing loudly. so i would say when you have to sing with low volume, make trying to get singing quietly without breathiness your focus. but im also not a teacher, but i wouldnt see why it would be unhealthy.
  20. yea that was a good video. all definitely be re-watching that a few times.
  21. so in other words when singing more powerfully your not directly contracting it, just holding the expansion out with a more effort and letting the muscles contract on its own. that's what I was experiencing before but I wasn't sure if that's what its like. either way though I still have a lot of practice to do on it though.
  22. well im not pushing on anything, just holding out the expansion as done in appoggio. but yea, cord closure is important too.
  23. So is it correct to say at times you'll be just holding the expansion out for softer stuff and not contracting much, and for more intense stuff you'll be holding it out but also at the same time deliberately contracting to varying degrees depending on how intense the sound your going for is?
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