Manolito Mystiq

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About Manolito Mystiq

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    http://digility.nl
  1. The Music of the Night from The Phantom of the Opera

    Thank you Danielformica and Draven Grey! @Draven Grey: I was not running out of air. I practiced the note. Usually the note is held for 16 seconds, so I practiced to hold it for 30. Interestingly, the exercise you give was the very first one I got back in 2002. Anyway, I thought that I was holding the long notes too long, but after listening back the performance, I believe I could have easily done them longer—meaning I could worry less about such things during a performance. Just go for it. With the “be”-note [3:44] it appears that I slowly went to a more relaxed and more resonant state. Are we on the same page on that? I feel that I was trying to have a lot of volume in a mixed state, while this acoustic, non-amplified environment asks for either a more classical or a more beltier approach to stand out (something former Phantom Ramin Karimloo blended exceptionally well). Thanks again.
  2. Dear all, It has been a while that I have visited this forum. I have been very busy with my studies—having completed my BA in Musicology and currently finalising my MA in Applied Musicology. I did keep on working on my singing, however. Yesterday, “The Music of the Night,” a song that I auditioned with at the Conservatory of Rotterdam over a decade ago and that I had used for my singing lessons with many different teachers, was one I had never actually performed—until now! Indeed, there appears to be balancing issues with volume between me and the piano. On the other hand, I asked several attendees whether they felt there were problems with it, but they all did not notice them live. While I do think we could work on balancing our instruments, I believe the recording is augmenting the issue quite a bit. I am really satisfied with the performance—especially my acting abilities, intonation, enunciation, and stage presence. I could be more confident with the fermata notes just doing them as long as I want, rather than thinking I might do them too long (I think the “soul”-note [2:32] is great, the “be”-note [3:44] is just about right, the ”night”-note [5:20] is executed pretty well, but could easily be five seconds longer). I could also definitely stabilise and pronounce my “ring” more. Manolito Mystiq
  3. Practice routine higher register

    This can only make it harder. Your vocal folds along with your false folds and your glottis regulate both the airflow and airpressure; your lungs (and thus diaphragmatic breathing) is important for the capacity of air and the consistency of flow. You especially don't need so much airflow on strong, connected sounds, but you do need air pressure. This means that you don't need to take so much air for high notes in a connected setting. Singing in falsetto for instance, requires a lot of air, because the airflow is so high and so you lose air quickly. I suggest you don't think about your diaphragmatic breathing. For now, only pay attention to keep your voice open: Retract your false vocal folds: practice inhaling and exhaling WITHOUT making any sound; you might notice that you're opening up your voice in order to stay silent. Then try to sing a scale with the same sensation.Use a more simple scale: C-D-E-D-C and up and up. Use the "Mum-Mum" sound to keep it warm and round. Use the "Nay-Nay" sound to make it sharp and compressed.Go back and forth between the two sounds to find a balance that could work.Good luck.
  4. To Live Forever

    Thank’s for your comments, Robert! Alberto is too busy for private lessons. He’s creating his own system: Universal Voice System! So now we have CVT, EVT, UVS, and TVS, haha! My teacher, Marco, is using Alberto’s new method as well as EVT. I know that there’s a TVS certified teacher in the Netherlands, but since we can work so well together, I will keep having lessons with Marco for the time being—especially since he is also an actor and he knows how to shape my performance. I could blast it out more than I’m doing right now. It might be the Singing Succes training over the years. On the other hand, clearly I’m not using a musical belt, which is far more demanding and I think not even suitable for this material. LaBrie wouldn’t be able to sing a setlist of 2+ hours with a musical belt. I’m practicing “Eyes of a Stranger” as well. I think my control of my high range is quite solid. I just need to do more and more!
  5. To Live Forever

    I know, that’s why I’m taking those lessons. Do you have any comments about me singing the song?
  6. To Live Forever

    The teacher is a graduated musical theatre student. He’s specialized in Estill Voice Training and knows some CVT, too. I know the differences, I was just pointing out how he noticed the difference of my singing. I also practiced a musical song with him: “’Til I Hear You Sing,” which I can manage, but needs more work because I’m not used to belting as a musical singer. The teacher can guide me well and we understand each other. He did mention that I’m already very capable; we’re mostly working on the little details to make it ‘perfect’. I do feel I still sound so sharp and thin, but I might incorrectly perceive it that way because I hear myself, which is never accurate.
  7. To Live Forever

    Note: This was recorded with a phone and it was placed behind me, so the quality is not good and the position is not so good either. As I mentioned in my other thread¹: “Today, I had a singing lesson, and the teacher (specialized in Estill Voice Training and musical theatre) was baffled at how good I could manage rock material—I sang Dream Theater’s “To Live Forever”—which is so different from belting material in musicals. Often when I sing musical material I get commented how blended it sounds, but that I’m not belting my parts. This is not necessarily wrong, unless I want to audition for a musical role, where it is required. It’s a bit like “Who Wants to Live Forever”, but then the musical version. The first time I heard it, I felt, man, what is that guy doing? It’s like he needs so much effort to reach those high notes, which sound so loud and massive, compared to Freddie’s more flexible approach.” I am satisfied with the performance. It’s a little pitchy here and there, but I especially like the ‘live’ in ‘to live forever’ part and the final note. ---------- 1. http://www.themodernvocalistworld.com/topic/10289-being-“ready”-as-a-singer-while-still-not-believing-it/ EDIT: Something went wrong. I swear I opened up the Review My Singing page. I probably clicked on the wrong ‘Submit Topic’ button (other page). Feel free to move it to the right folder. Sorry guys and gals.
  8. Being “Ready” As a Singer While Still Not Believing It

    @ronws, did I do something wrong for you to tell me to shut up? I’m frustrated and I was expressing that frustration here seeking help. I might’ve misunderstood what you’re saying. I’m very sensitive. I perform and I know I have abilities and skills in my singing. But I still find it so hard to stand there and say: “Yeah, I’m a singer.” It’s not that I haven’t tried. Over the past five years I have done so many things, you wouldn’t believe. Singing is so close to one’s personality and mine is quite broken and hurt. I know that I should get over myself. Ever since I started therapy in 2010, I’m working so hard on that, but to me it’s not that easy or simple. I’m sorry about that.
  9. Being “Ready” As a Singer While Still Not Believing It

    It’s not that I didn’t perform. Back five years ago, I joined the band Complexity as their lead singer. Immediately the members of the band signed us up for a competition. We became second place. I learned a lot from those concerts. Because the band existed without a singer for such a long time, they found it hard to work with a singer, unfortunately, so after the competition, I was fired. And I have had setbacks and struggles. Today, I had a singing lesson, and the teacher (specialized in Estill Voice Training and musical theatre) was baffled at how good I could manage rock material—I sang Dream Theater’s “To Live Forever”—which is so different from belting material in musicals. Often when I sing musical material I get commented how blended it sounds, but that I’m not belting my parts. This is not necessarily wrong, unless I want to audition for a musical role, where it is required. It’s a bit like “Who Wants to Live Forever”, but then the musical version. The first time I heard it, I felt, man, what is that guy doing? It’s like he needs so much effort to reach those high notes, which sound so loud and massive, compared to Freddie’s more flexible approach.
  10. Guys and gals, could you please help me out? It’s been over ten years that I have studied a lot of different singing methods and systems. Currently I’m studying musicology at the Utrecht University and still I’m really wanting to understand it all. I have a library of singing books in my home, right now. I have this craving for wanting to complete programs, to get certificats (SLS, SS, CVT, EVT, TVS, and the recent Universal Voice System by Alberto ter Doest). However, when I perform at the university or at those singing courses, I usually get positive comments, that I have so much control over my voice. Yes it does need work here and there, but I might as well just perform and perform and learn from that, because I really know my voice well enough. I still feel my tone is odd and my English accent—for which I even study an English minor at the University—is still strange. And I hear a lot of peculiarities I want to change, but it might just be part of me. I’ve been transcribing some Dream Theater pieces (because of inaccuracies with the vocal lines on the official sheet music), and LaBrie is constantly preparing the singing pitch by starting a passing tone lower; it can be very distracting if you really look for it, or just part of his style if you accept it. I think I should just plan to post a song here, one every week. Or create a video how I sing in my whistle voice and exercises I did to improve it. Do you have any suggestions? I feel like I have wasted my talents by trying to find the key to finally start singing for so long, even though it appears I had it in possession for more than a while now. Cheers, Mano
  11. Vocal type related question.

    That was my point.
  12. Vocal type related question.

    My range is G2–G6. That would make me a baritone, tenor, alto, mezzo, and soprano . . . if you would only look at the range.
  13. Let's have some fun

    Robert Plant – Ann Wilson
  14. No no, I’m talking about thyroid tilting. The thyroid is part of the larynx, but it is not the larynx. You can thyroid tilt with either a high, mid, or low larynx, although it is easier to get the thyroid tilt working when you lower your larynx, because it’s almost a reflex that your thyroid is tilting forward when lowering your larynx, like with yawning. Cry and Twang are two different things. Twang is connected with a narrow aryepiglottis sphincter (AES), because a narrowing of the vocal tract creates a sharper, brilliant sound. A high larynx is a natural part of that, similar to how a low larynx is part of thyroid tilt (Cry), but one can Twang with a low or mid larynx, as well.
  15. I’d say, it’s the vocal onset, most notably the smooth onset. Even if one is a bit pitchy here and there, as long as she or he has a smooth onset, at least everything is ‘sung’. The vocal cry setup is stimulated with the smooth onset, and from my own experience, ‘cry’ (thryoid tilt) is beneficial for almost every style. The times when a singer feels she or he is missing something, and the usual advice is: yes, her/his pitch needs some work, she/he needs more support, has usually mainly to do with the lack of a vocal cry. I actually know of someone who had over a year lessons, and he definitely was improving, but the main thing he still wasn’t doing, was thyroid tilting. He still sounds very out of tune, because he tries to sing with vibrato and a soft but resonant sound without using thyroid tilt, which is just not possible. As a result, his vibrato sounds artificial, he’s way out of tune, and he either full on blasts with a belt, or falsetto his way. I mean: Try to sing the first verse of Miss Saigon’s “Why God, Why” without cry. You will either sing in falsetto (too soft dynamics) or blast it out when it’s not the time. Try to sing “Mr. Roboto” without cry. You will miss the theatrical, vibrato, and light sound. Try to sing the verses and choruses of “Stairway to Heaven” without cry. You will encounter all the troubles of passagio and such. Try to sing “Nothing Else Matters” without cry. [Power Ballad] You will sound dull.