Burning_Rand

  Yes it is a little bit flat because the chest voice is being brought up too high - which forces the larynx high too.   That's not to say you have a beautiful voice, particularly the first few notes, very easy sound.

Hello there Not with David Jones but with a teacher of that Ilk. I am an avid follower of DLJ's posts and Richard Millar.

Actually, if you want to listen to a comparison between someone pushing their chest up and using their mix/head voice, here's a prime example:   See how Jemma Rix very easily slides higher on all of her belted notes and does not have any 'flattness' and she uses them as a springboard for vibrato (1.50 onwards in particular) :    Now see how Idina Menzel almost underhits a lot of her notes and tries to scoop up to them and tends to shout a bit:    This is a prime example of how training the voice to go into that higher, brighter space should not sacrifice much of the substance of the lower voice while it is far easier to produce and does not cause as much strain and flatness.    

  With enough training, that 'ng' will sound a little bit like a theremin as you go through the bridge and higher head voice (listen to one on youtube)... That's the only thing I can compare it to. When you sound like that, you will NOT be in falsetto but a fully connected middle-head voice. It will be extremely strange.    Also with the lip trills, try them with different vowels (as if you were doing brrrrreeeeeeeee for instance but not opening to the eeee) and see which one gives you the most ring in the front of the mouth/nasal cavity... I find the brrrs and the ngs only help when they are making that ring happen.

  Hello, glad you asked.   Yes, a good musical theatre or opera singer has NO fatigue whatsoever. I'm a spinto tenor with a past of vocal damage from reflux. The voice is now back and stronger than ever and I rarely get fatigue above an A unless I'm being silly or overdoing it.   If you are singing in: - correct placement (resonating in  and around the nose and cheek bones). You can get this by making sounds on an 'ng' - keep your mouth open, sing an easy group of notes, but tongue is on the soft palate so the air is escaping your nose. However be sure to do this in a correct posture so the larynx doesn't come up - have an open throat (in order to do this, the tip of the tongue should be on the back of the bottom teeth and slightly forward and you can make a silent 'hooo, hooo, hoo' as if you have something really hot in your mouth. DO NOT let the tongue go backwards when you do this) - have the correct posture... Which is slightly bent knees, pelvis tilted forward VERY slightly, back of the neck elongated (but not tight), not looking up and sternum raised...     '>     '>  - These are fairly good examples showing not to hyper extend anything while not slouching at all. Once you get this right you can make adjustments for dramatic effect!!!   -  your larynx tilts down slightly (which is why I think you need to see a good teacher, since I don't want to try to teach you this through a forum) then you will access the middle/lower head voice with ease and will not tire. This can be achieved by bubbling a 'brrrrrrr' through your range but making sure to keep a strong air pressure on so that it doesn't get too light early on. However I wouldn't want to tell you this without maybe hearing you do it.     I'll just recommend a few videos from sources that I trust (I am very old-school classical which in my opinion works wonders and which is where most musical theatre singers and opera singers get their teaching from): https://www.youtube.com/user/singwisevocals/videos  and this is her website: http://www.singwise.com/ and this guy http://www.voiceteacher.com/ - although he's mostly focused on classical singing while Karyn also sings contemporary styles.        hmmm, I don't think you sound at all like a baritone. Your natural tenor range goes high and anywhere you can sing falsetto (with the exception of the tippy top range, although with some singers it can happen) you should eventually develop a healthy middle-head range. I'm not really a voice teacher, but I've always been good at hearing fach (voice type) and I'd say you're a tenor through and through.

  Tbh I find that all those terms are confusing.    I like to stick with 'head', 'middle' (which is just when you chest gains some brighter qualities and then when you first go into head it sounds like it's still in chest) and 'chest' - even better, once I've blended them all together I will just say 'my voice'... And then falsetto to me is just a very light version of head voice without body. It is true, you can train your head voice on A to sound just like an extension of your chest voice rather than a hooty 'second gear'. If it's dying after 20-30 minutes I think you need to work on it in front of a good voice teacher as what you're doing now is also quite damaging - particularly if you were to sing say  a 1 hour concert with high G-As.   In all honesty where you are is fine, this would just need to be the next step if you wanted to start doing full concerts of varying artists.

Oh, sorry it's when you said "Get your larynx up and amplify your palate" - Perhaps I'm misinterpreting this for a raised larynx?

My apologies, I must have misread you somewhere... I thought I read somewhere in your last post to keep his larynx high, must have imagined it or read two things at once!   It's the school of training that people like Jussi Bjoerling, Maria Callas, and Kristen Flagstad, Robert Merril and has been adopted by the American classical school. Later on you have people like Audra Macdonald, Jesseye Norman, Bryn Terfel, all of whom can sing a contemporary sound too - probably Bryn not so much ... Jennie Deva uses a lot of aspects of this training too for more contemporary voices.   Brought about a lot of what contemporary teachers like to work with posture, ng placement, slight tilt of the larynx, forward tongue position, inhalare (vacuum of the voice causing an open throat), wide pillars of faucets and blending of vowels mostly on a fundamental Ahh-Awh-Uh (for AH) and Ee-Ih etc. It works in opposition to certain methodologies, particularly the Estill method, the flat tongue method, raised larynx, over-supporting, wide mouth, overactive jaw.

    Well it would appear that it's something you would not like.. Since it's very anti raising the larynx. Either way his larynx sounds far too high. The italian/swedish school is basically way all the best singers of the 1900s were trained, including the old non-classical singers. It's not something I can explain in detail on a forum like this.   Either way, he can choose whatever he wants, I just put in my 30 cents.

  Thanks for that .   Also glad you said this, I should confirm that by using the head voice/mixed voice sound, I would only advocate this for the A-E on "Stay with me" which all the other parts sung in falsetto should remain as they are

Hi there!   Well I can still tell you're not a native speaker, however I will say you do have very good pronunciation and this activity has clearly made you a lot crisper.   I would recommend listening very very carefully to the following actors speak in interview situations (assuming you're going for a well spoken English dialect): Colin Firth,  David Attenborough and Melvyn Bragg. These are some of the the best examples I know of people who have a well spoken English dialect, and there are a lot of videos of them talking. If you can speak just like them, you will sound flawless.    If you want a fairly standard accent that isn't too posh, try Bill Bailey, Ricky Jervais or Martin Freeman.

  A lot of potential.    Just a trick, in time what you want is your falsetto (which is beautiful) to also be the same 'gear shift' that you sing "stay" however you must sing it with the right placement so that it has more presence. So instead of falsetto or a pushed up chest voice (you're doing the second one) you will get a head voice.   Try singing a few notes lower than those lovely top notes you have and do it on a buzzy 'ng' sound which should feel like it's resonating in and around your nose. It should be really easy to produce and it will feel almost too nasally and probably ugly, however that's the area you want those 'stay' notes to be vibrating. WARNING: Do not attempt to feel this buzz on your top notes (above high C) since those notes are resonating further back and up in the skull.

  I mostly looked at the first one since that''s the worst part for males.    Your vowels are way too spread as you go through the bridge.   Try Ahh (lower) to Awh (middle) to Uuuhh (higher) and the sound needs to be in the same place you would sing an ugly 'ng' sound. Take note however that if your technique is not there, your ng placement will fall a part. Personally I think you need a good teacher who understands the Italian/swedish old school classical method who can get you in the right placement. You can take the sound into a rockier place once you have that fundamental by changing the vowel shapes.