RowboCaup

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About RowboCaup

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  1. I have tried searching the internet and forum for clear answers to my questions, but can't seem to find anything coherent. Here are my questions: 1. Does mixed voice (speech level singing mixed voice) belong in classical singing (please specify male and female)? 2. What are the differences between classical technique (male and female), and mixed voice? 3. How can mixed voice be applied to classical singing/teaching? They may seem like generic questions, but look it up yourself, nothing on the web is clear. These need clear concise answers for the world to understand! Thank you for your contributions.
  2. That's exactly how it was when I started. As you practice it, you'll get better at the coordination and know exactly how to do it; then before you know it you're throwing those high notes like it's nobody's business.
  3. Grit

    Sexy Beast: You trying to kill me? Lol   Mivke: That sensation you describe is pretty similar to what I feel when I sing. It's like my resonance begins in my chest, and ends somehwere outside of my body, like the air surrounding me is reverberating my resonance (I know, strange). Also, when I move into high notes, the resonance almost feels like it pierced through the roof of my mouth.   Jens: Very good explanation, excellent demonstration. You directons were very clear, I will have to play with this for the next few days (3 minutes a day of course). After trying it right now, I cannot find the same "throat clearing" I would normally do in the pharyngeal. My voice almost wants to move away from pharyngeal when I try it. Maybe this is my issue, I haven't figured out how to coordinate this.
  4. Absolutely impressive. His face and mouth are barely moving throughout the whole piece. Very impressive old man!
  5. Grit

    Danielformica: I will probably purchase that next paycheck or the one after (semester just started and I need to buy textbooks). If there's anyone that can sing anything, it's probably you. I like your videos, you describe many things exactly like I would or how I feel them.   m.i.r.: It feels pretty free as it is, and it sheds more weight as I continue to go higher.   Any advice for finding grit? I've tried the following:   1. Feeling a rumbling in the soft palate 2. Squishing an imaginary bean with my tongue at my soft palate 3. Pulling the tongue "up and back" 4. Supporting like hell whilst combining the above tactics   It seems like no matter what I do, I just can't find it in a healthy way. The closest I get is an accidental grit (like in my example during the siren). Any advice to help me get it?
  6. At this point, I feel like I've conquered most of my vocal issues. I haven't been able to find a healthy way to do it, however, I do want to be able to grit at my leisure. Here is an example so you can know more or less where I'm at. Keep in mind that this was done without any warmup, in one take, with no pitch reference, and kind of rushed. That being said, also let me know if there's anything wrong with what I'm doing:     How can I move into finding grit from here?
  7. Jesus Christ Superstar post was pretty cool. This is a singer I've had a fascination with for a while:     He is a "Golden Age" bass. Notice how his voice is not overly/unnaturally darkened, the fast vibrato, incredible legato, sounds like the resonance is completely unrestricted. This is the technique I'm after. In my opinion, this is NOT what is being taught at Universities. I haven't heard any singers sing with a techinique like this rise to operatic fame. Maybe they exist, and I just haven't stumbled them.
  8. Danielformica: Protruding the lips does tend to produce a headier tone, but I find when I do it I tend to exaggerate and overly darken my voice. I also tend to create tension when I do this, so it's something I generally use only for effect. Owen Korzec: This makes sense, and it took reading this to figure out how to do it (just now). My singing is about to become so much more efficient just from this one concept. Martin H: I think you are correct about the bite, especially regarding twang.
  9. So then why do singers open their mouths so much? If it really is not necessary to open your mouth much more than in speech, why do professionals and amateurs alike do it? When I open my mouth/jaw too much, I feel like the resonance almost gets stuck at the soft palate. When I do it open right, my throat feels open and voice feels free. When I don't open much, my throat feels restricted. The open throat has to be related to the jaw. In my case, opening just right does not cause tension, so I think it would be best for me to just keep doing it. Regardless, I'm going to continue experimenting with the more closed mouth to see if I can find the same kind of freedom.
  10. When I say keeping the pharyngeal space open, I mean maintaining the back part of the mouth/throat more open so the sound stays rich/colored/free. I never sing with nasality. I feel like keeping the jaw completely relaxed/barely open, I cannot do that. I can make an audio example demonstrating what I mean if you want...
  11. So my previous voice teacher was big on raising the upper lip to show the front teeth, particularly in and above the passaggio. I found that this helps me tremendously to keep the voice resonating freely. Even on low notes, if the voice isn't buzzing on the roof of my mouth the way it usually does, all I have to do is lift up that lip and my voice immediately frees up. When I do this, the voice feels like it is exiting the throat freely/without obstruction. I've noticed several old school opera singers used this technique as well. My current teacher is against anything that has to do with the lips. He tells me to keep them completely relaxed, and also tells me to keep the jaw completely relaxed (to the point that my mouth is barely open). When I keep my jaw so relaxed that my mouth is barely opened, I have trouble producing a bright [a] vowel (it's more of a dark [a]), and I feel like I cannot open my pharynx as much. My questions: 1. What is physiologically going on when I raise my front lip that suddenly frees my voice? It feels like the voice is resonating in a higher/more forward place in my mouth/head (I hate using language like that, but that's what it feels like). 2. Should I keep using the upper lip raise? After I have raised it and the voice falls in place, I don't have to keep it there. I think I can use it as more of a tool to use when I need it rather then completely relying on it. 3. Will keeping my jaw this relaxed continue to hinder my ability to produce a clear bight [a] vowel, and continue to hinder my ability to keep my pharynx completely open? I feel like I didn't have jaw tension to begin with, and that this is slowing down (almost reversing) my progress. 4. Is opening the mouth (dropping/pulling back the jaw) necessary in order to open the pharyngeal space? Thank you, looking forward to your responses.
  12. That was cool....
  13. Here are two very good articles on the subject: http://www.vocalliberation.com/articles/9-tongue-position http://silvervoicestudio.blogspot.com/2014/06/tongue-retraction-and-dangers-of.html
  14. Awesome High C, wabba_treads!!! I'd say posture is definitely important. If your ribs/spine/chest/shoulders/head/neck are not in the correct position, how is your breathing apparatus supposed to function correctly? Even if you get away with singing with bad posture (which I and many others do), you are not maximizing the efficiency of your instrument. It wasn't until I fixed my posture that I was able to get the high C out, and that really made it clear to me that posture is something I should give attention to along with the rest of my routine.
  15. You are doing the right thing, but your pharynx is tightening up giving you a squeezed sound. As you get better at this, that will happen less. Here is a tip: During your onsets, try and leave your face/mouth/neck/tongue/jaw/throat relaxed. Make sure the onset is clean, clear, resonant, and vibrant. As you slide upwards in pitch, try not to lose the integrity of the relaxed mouth/neck/tongue/jaw/throat and let the resonance shift to where ever it wants to go (let the vowel modification do it's own thing). I hope that helps, GOOD LUCK!