Draven Grey

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Draven Grey last won the day on February 15

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About Draven Grey

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  • Birthday May 21

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  1. It's a different vocal mode - different structure. Rock vocals use twang (glottal closure and tilt), whereas Classical has a much more open throat. So, while not necessarily "thinner" or "smaller" (as it is in some cases), it is usually more compressed. The resonant space is often not as large as well.
  2. I recorded my thoughts about the course sold on this forum. I've tried a hell of a lot of different teachers and courses, and have not found anything that even comes close. I've been a pro singer for 27 years, and teach as well. It took me a couple of years of searching before I finally pulled the trigger with Robert and TFPOS. I'm extremely happy I did. Most comprehensive and extensive than anything else out there, and gets amazing results quickly. Robert is great on Skype too. I teach on Skype as well, about 90% of my Rock Singing Lessons students.
  3. His videos are okay. Lots to ponder. But a lot of what he teaches doesn't apply to contemporary voice or get the results that Robert does. "Appoggio" directly translates to lean, prop, bolster, support, and the like. Simply knowing the full meaning of the word in Italian helps better imagine how to use it. The idea can help you quickly get better support while training through Robert's breathing and training exercises and learning how to do it betetr and more naturally.
  4. It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster. I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
  5. I'm glad I brought you here! I'm glad to help however I can! I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.
  6. I would put respiratory support at a 5 out of 5. Different techniques require a bit different of a balance (glottal and subglottal pressure), but havign the "external" or "third-party" support effecting glottal closure without having to directly squeeze down on the glottis helps immensely. As an example. The last 20-minute set I did on television, I decided I didn't want to be loud, so I backed off in repiratory support. The room was small, I could easily clip the mics, and I wanted to play it safe. Normally, I can sing 2 to 3 hours at full volume before I get tired and need a break. Without the good rspiratory support to help me through it, I barely made it to the end of our last song. In fact, even 15 minutes in I starting struggling. The rest of my phonation package was worn out very quickly simply from not having that extra help from appoggio.
  7. I've taken several memory courses. I think those techniques are a bit overkill for memorizing songs.
  8. review my singing

    I'm hearing a few different things making you a bit pitchy and strained, especially on higher notes. The one thing I think will help the most is lifting the voice out of the throat and onto the soft palate more. You have a great voice, but not having that extra lift is causing you to go flat on certain notes. Learn good embouchure. The easiest way to describe that over text is to smile or bare your teeth (horizontal embouchure), narrow how wide you are vertically, and push your tongue straight into your bottom teeth to help lock in your chest voice musculature especially on higher notes. A simple way to feel this lift is (1) make a soft "K" sound while inhaling. Where that hits the roof of your mouth is where you want to point your vowels. Vowels will modify to include shades that are deeper into the soft palate as you go higher, but simply trying to relax into that "resonant spot" or "soft K spot" will help immensely. (2) "Over the pencil", instead of using a pencil, just place a finger on your bottom lip, bare your teeth (engage embouchure), and then sing up and over your finger. This new "lift" of the voice will correct a lot of issues and start to get you to where you're not singing in your throat as much, which in turn makes singing more effortless and consistent. The idea is to relax the pressure upward and then out, taking the strain off the throat.
  9. Repetition. It was already said, but it's by far the most important. There are other memry techniques you can learn, but repitition is easy, fun, and inrcedibly effective. It also gives you time to work through or figure out good technique for hard parts of a song.
  10. That's usually the feeling most of my students describe. You could try it in head voice too, just to be sure. Often, it's easier to sing at volume in mixed more than it is in head voice. You can do both loud, but mixed you still feel more in the throat (at least by the above description, I often say it's muscle tension under the jaw or just above the larynx).
  11. Great answer @geran89. I do exactly as you described when a student is overconstricting/hypercompressed.
  12. I don't get it. You're essentially saying not to worry about how, just do it. How does that work? dankim: Ken tends to push hard on higher notes rather than fade out the TA muscles to the point you're talking about. If I remember correctly, he does address the musculature, but doesn't go very deep into the technique beyond modding your vowels. TFPOS goes into much more detail on how.
  13. This post is being locked by request of the administrator, until further review. After everything that happened, Tristan (the person in the video) does not need to be discussed on this forum again. He personally attacked Robert, tried to defame him, and made personal threats as well. EDIT: Issues with the site have made locking currently not possible. Please respect the owner's and administrator's wishes to not comment any further. All further comments will be erased when the site issues have been resolved.
  14. How are those things not necessary for development without developing bad habits?
  15. He cause more than quite a stir. He was an outright ass and evil in his vindictiveness. There's a point where I don't care if your information is good or not. I think his reactive personality and vindictive mindset are dangerous to those that choose to study under him. He was given a multitude of chances, and a lot of offers to help however we could. His technique is questionable, except for some of what he has been able to gleen from the very teachers he critiques. I'm glad to see that he seems to have changed his attitude a bit and has progressed a bit as a singer as well. However, considering his track record (a lot of which is still evident on his channel), I would stay clear. I think it says a lot that my first thought on this post was that you might be him trying to edge his way back in to cause more trouble. That's not to say that he couldn't redeem himself and repair bridges. At this point, however, it would take a Hell of a lot to build back trust with the owners, moderators, and more than a few members of this forum.