Tonyy

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About Tonyy

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  1. Thank you very much Formica, your advice is always appreciated!
  2. When should I start bridging into Mix?

    I would say it depends what you are singing, however, for me "when it feels comfortable" works. When your singing starts to sound like pure yelling, you have gone too far in the chest land. E4 sounds way, way too low for a woman, hah. I bridge higher than that as a man. That being said, I don't know anything about female singing.
  3. Yes, you can learn, singing is a learned trait. Personal voice is a genetic one though. Of course, you will also need some musical ability which, too, is mostly a learned trait.
  4. So I would like to ask how to produce the full chesty sustained sound as high as high C (Pavarotti goes even higher): For me the issue is that right at about high C (or just a bit lower) my voice tends to naturally want to turn towards more heady sound. Not quite as heady as Pavarotti's Eb5 in the video, but still a bit heady. The high C in particular seems like it just requires too much of a push to feel good or usable. I do certainly have a darker, heavier voice than Pavarotti, but not a low one by any means (maybe a low tenor or high baritone). The question concerns particularly the long sustained high C, squeaking a short and full one out with less than stellar technique is not that difficult.
  5. How low can you go? (+ other questions)

    I would say, most definitely they do, or Ken tamplin school of singing would not exist...
  6. How low can you go? (+ other questions)

    I can barely sing below A2 and I am not sure if I am a tenor or a baritone (probably somewhere in the middle)... I think lowest I have ever hit is E2-F2 in the morning. C2 is rather extreme for a tenor, but it's not like it hasn't been done. PelleK seems to pull those notes off regularly and his tenor tone is unmistakable. Anyway, as with almost anything, there is quite a bit of difference on what can be done and what actually sounds good. The tenor/baritone classification also depends on the "heaviness" of your voice among all else. Tenor sounds thinner than Baritone... I believe the passaggio may be a better indicator (although even that is individual according to many) than the lowest note you can sing.
  7. I would not be surprised if height or the size of the apple would be correlated with the voice type. But it's just a generalization and you already know you are a tenor so... no need to apply generalizations.
  8. Issues with forgetting coordination

    Most definitely... don't get frustrated over it. Just repeat it enough times and remember to have a good night sleep... Also I recall that some time ago you lost your falsetto. As a beginner it's actually very easy to do something wrong, maybe go a bit too heavy and lose the CTs for the next day... You don't need to get hoarse at all for this to happen. If this is the case just skip the day or two (at least anything heavy) and try again the next day. Even with head tones remember to support properly and not produce the tone too much from the throat, because that is very taxing. Belting with too pressed sound is also very taxing... the balance is certainly tricky. Just IMHO...
  9. Just to bring the discussion a bit back on track, how about LaBrie? Sounds to me like the definition of a light tenor. Also has had his share of vocal issues, which can even be heard for example at 1:25:21...
  10. Do you build one note at a time?

    The A4 for the average low tenor voice is very difficult, since the mouth resonance pretty much ends at that point. Thus, you can ride your way to G4# rather quickly, while notes above that require more patience to develop (if you want to sing them in full voice). Just keep working at it and it will come. Hit that A4 every day, it requires a bit of warm up each time to get there. Start from the passaggio Eb4 -> and work up from there. Make sure that the tone keeps itself as clear and strain free as possible, don't go too fast... Patience is key!
  11. Bad Vocal Days

    Before throwing in the towel, warm up for 20 minutes or more, your voice can miraculous turn around. Sounds like the falsetto muscles are sleeping, and thus your tone is disappearing leaving you with nothing but the sound of air above A4. This may especially be a problem if you haven't vocalized at all during the day... or sing at an unusual time etc. Do not force the sound, everything relaxed, one note at a time... But sure enough we know what a bad hair day is. Very doubtful that you have blown your voice... it takes considerable effort to do that.
  12. Trouble after A4

    For me the trouble starts at A4. That's where the mouth resonance ends and getting higher with fat tone becomes a bit more of an effort. Couple things that help getting higher: - Good warm up (at least 20 min). - Big support and loud sound to get there chestily... I think this is good practice.You probably have a high voice and can take it up a few... - Do utilize more of a mixed tone too, when needed, but don't let it completely collapse. - It's a long process... don't expect immediate results. Try not to strain... aim for solid long tones with no squeezing... I think when Rob is talking about the high notes, he talks about singing them in the head voice, that is indeed easier than getting a full BB4. Of course take the professional advice over mine...
  13. Increasing range one semitone at a time

    The source filter theory is not very useful when it comes to acoustic instruments, since they are not source -> filter systems (like an analog synthesizer would be). What the vowels and body of a guitar actually do is that they boost the efficiency of a system. That means the sound from the vocal cords or acoustic guitar is transformed into air vibrations much more easily. This is why acoustic is much louder on ALL the notes (and frequencies) you play on it than an electric (but also the strings stop vibrating quicker). Believe me, putting a blanket in front of your mouth won't improve your singing, that's much closer to an actual "source -> filter". It's really about the interaction and efficiency. I believe the source filter theory was later modified to take into account how acoustic instruments actually function (in which case my criticism is not relevant), but I think the name could use some tweaking...
  14. Just saw this video on Richard's channel few days ago: Maybe this is helpful to you. Still a nicer issue than that of running out of air.
  15. At times we may sing while commuting in a car, or seated playing the guitar or piano. To me, singing properly while sitting is much more difficult. I may just start to pinch and strain like crazy for no apparent reason (especially on higher notes). Obviously support is a bit out of alignment due to the positioning. Still I wonder if there are any tricks to improve the positioning so that singing would flow a bit more fluently. Or is attempting to sing heavy while seated a no-no?