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  1. Singing is the art of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, rhythm, and the most important thing, a variety of vocal techniques. Sure the one who listens to songs are known as the listener (Song listeners) but the one who sings the songs are called singer or vocalist as well. If you are the one who is interested to learn singing but due to busy schedule can't join any Musical Training Institute or center then don't be sad I have best alternative for you. As World is moving toward digital so you can learn music online as well, There are lots of music training Sites / Teachers available. You can Learn Music On Youtube or you get paid skype classes as well If want to know about more sources to Learn Music then I suggest you to go check out singing-Life Blog. Singing Life was the one of most helpful source for me to learn music when I was struggling to learn hope you are going to get advantage from it as well. Best of Luck Don't forget to leave Feedback
  2. I AM Trojan

    Opinion Wanted on my Singing

    Can someone please give opinion on how my song is;-
  3. Came across this info and thought many would appreciate this ENT Doctor's perspective on vocal damage and vocal health. ENT Dr. talks about the stigma of vocal injury when she heard about Adele's concert cancelations. http://www.ohniww.org/adele-voice-injury-canceled-concerts/
  4. The answer is: Dealing with something serious like that cannot be self-served. Nevertheless, one of the commercials on weight loss for men says: “If you could do it alone, you would’ve done it already.” - Harvey Brooker Indeed, but some people still think that if they knew the diagnosis and somewhat (in theory) how it could be treated, they would have attempted fixing their vocal issues by themselves… The fact is that any voice problem, by definition, is already an internal problem; and thus, has to be treated very seriously and by a qualified voice specialist. The work with a damaged voice is usually very detailed and very intense, which applies to both sides: The injured client and the voice repair specialist. Without the guidance of a highly qualified professional, it is virtually impossible for the sufferer to lift their voice and re-channel it into the different set of muscles altogether; and on top of that, put those muscles (facial and abdominals) to work in full conjunction and coordination with each other. The above formula would allow the person to release their vocal anatomy from the pressure of the sound; and thus, allow the bruised throat and the vocal cords to heal. Moreover, the person has to adapt a new way of speaking, as well as singing (where applicable). It could be very much so equivalent to the modification of a whole “blueprint” of the person in question. Let’s say that a “dancer” was dancing for quite a few years with the feet inwards instead of outwards. Nevertheless, the dancer had gotten used to it and even felt quite comfortable with it until such time that his/her ankles and knees started to give out. So now, we have to restructure the feet position in order to save the dancer’s joints; and, as a side effect, finally teach him/her how to dance complying with professional standards and how not to damage the structural components of their body. In this case, (and as well as in any other case), we will, first of all, be teaching the brain to think differently and translate that thinking into the physical body (first in the slow-motion and then on an “automatic pilot”, so to speak). This methodology has similarities with what’s called Neural linguistic Programing. The above discipline advocates that, via special skill application, it could change and “replace” the certain modality of the certain behavior in one’s brain. As you see, my reader, it sounds pretty complex. Therefore, it never ceases to amaze me when after just an introductory session, my potential client is revealing to me that he is ready to practice by himself and quite prepared to work really hard on his own…? I’m sorry to say, but I find that a little ridiculous (to put it mildly). It would be the same as if the person would meet with a brain surgeon, who (granted) would explain in reasonable details what exactly the surgical procedure would entail; and then the patient (who is in need of a brain surgery) would decide that he, somehow, would be able to perform it himself, on his own, and at home…? Sounds funny, doesn’t it? It does indeed. But I do hear it quite often and I hope that people are thinking that way only because of the financial strain and not out of complete ignorance. On top of it, some of them are going to regular vocal coaches to seek help with their injured voice. I consider the regular vocal coaches, at best, equivalent to a regular physician who knows something about (let’s say) brain surgery, but never got specialized in it. If in real sense, (God forbid) you would need brain surgery, would you want your family physician to perform it, or you would rather hire a highly qualified brain surgeon to perform it? The above is your quiz for today. Enjoy your food for thought!
  5. Indeed, but some people still think that if they knew the diagnosis and somewhat (in theory) how it could be treated, they would have attempted fixing their vocal issues by themselves… The fact is that any voice problem, by definition, is already an internal problem; and thus, has to be treated very seriously and by a qualified voice specialist. The work with a damaged voice is usually very detailed and very intense, which applies to both sides: The injured client and the voice repair specialist. The answer is: Dealing with something serious like that cannot be self-served. Nevertheless, one of the commercials on weight loss for men says: “If you could do it alone, you would’ve done it already.” - Harvey Brooker Indeed, but some people still think that if they knew the diagnosis and somewhat (in theory) how it could be treated, they would have attempted fixing their vocal issues by themselves… The fact is that any voice problem, by definition, is already an internal problem; and thus, has to be treated very seriously and by a qualified voice specialist. The work with a damaged voice is usually very detailed and very intense, which applies to both sides: The injured client and the voice repair specialist. Without the guidance of a highly qualified professional, it is virtually impossible for the sufferer to lift their voice and re-channel it into the different set of muscles altogether; and on top of that, put those muscles (facial and abdominals) to work in full conjunction and coordination with each other. The above formula would allow the person to release their vocal anatomy from the pressure of the sound; and thus, allow the bruised throat and the vocal cords to heal. Moreover, the person has to adapt a new way of speaking, as well as singing (where applicable). It could be very much so equivalent to the modification of a whole “blueprint” of the person in question. Let’s say that a “dancer” was dancing for quite a few years with the feet inwards instead of outwards. Nevertheless, the dancer had gotten used to it and even felt quite comfortable with it until such time that his/her ankles and knees started to give out. So now, we have to restructure the feet position in order to save the dancer’s joints; and, as a side effect, finally teach him/her how to dance complying with professional standards and how not to damage the structural components of their body. In this case, (and as well as in any other case), we will, first of all, be teaching the brain to think differently and translate that thinking into the physical body (first in the slow-motion and then on an “automatic pilot”, so to speak). This methodology has similarities with what’s called Neural linguistic Programing. The above discipline advocates that, via special skill application, it could change and “replace” the certain modality of the certain behavior in one’s brain. As you see, my reader, it sounds pretty complex. Therefore, it never ceases to amaze me when after just an introductory session, my potential client is revealing to me that he is ready to practice by himself and quite prepared to work really hard on his own…? I’m sorry to say, but I find that a little ridiculous (to put it mildly). It would be the same as if the person would meet with a brain surgeon, who (granted) would explain in reasonable details what exactly the surgical procedure would entail; and then the patient (who is in need of a brain surgery) would decide that he, somehow, would be able to perform it himself, on his own, and at home…? Sounds funny, doesn’t it? It does indeed. But I do hear it quite often and I hope that people are thinking that way only because of the financial strain and not out of complete ignorance. On top of it, some of them are going to regular vocal coaches to seek help with their injured voice. I consider the regular vocal coaches, at best, equivalent to a regular physician who knows something about (let’s say) brain surgery, but never got specialized in it. If in real sense, (God forbid) you would need brain surgery, would you want your family physician to perform it, or you would rather hire a highly qualified brain surgeon to perform it? The above is your quiz for today. Enjoy your food for thought! View full articles
  6. Lead Vocals

    The Mystery behind Key Change

    For the pipe organ an open valve will trigger the sound of the pipe. The key of a song tells us which valves we can open safely to stay in harmony. Singers have a comfort zone All singers have a comfort zone, a range of notes that sound best and can be performed effortless. Despite of the ability to expand the vocal range through training, every singer has an individual physical quality which is responsible for the position of the comfort zone within the vocal spectrum. We may not consciously observe this, but the habit of speaking is already giving us a clue about this range. In classic musical education we classify this range by defining voice types, though this method is mostly a helpful convergence to reality. For the singer it is therefore essential to spend some effort on song choice, especially to ensure that a song lies within his or her vocal abilities. Of course that is not the only consideration during song choice, and if you are interested we invite you to read our article "Improve Your Song Choice" to find out more. Another possibility is to simply change the range of notes to be performed by changing the key of the song. The original key Every song was written in an original key. The key we know for any of these songs could be the one it was written in, or it could be the key used when the recording we know was produced. We still refer to it as original key. Original keys are usually relatively easy to access. They may be documented in sheet music, or available in databases, per example for DJ's that research harmonic mixing, among other sources. It also can be determined by examining the chords and notes of the song. It is to mention that a key can and oftentimes does change within a song. The key a song is regarded to be in is most often starting in the key and at one point returning to the same key before the end. Find out what exactly a key is, and how keys are transitioned in our article "Musical Keys and the Key Change". Here is an example. A song written or performed in a G Major key is based on the tonic note of G, and includes a system of notes defined by the major scale that is also based on the tonic note. The chord progressions used in the song will to a great extent lie within the scale, with the tonic chord being the foundation of those progressions. What happens between the use of G Major may be harmonic movement and/or modulation. Lead Vocals and original keys Here at Lead Vocals we consider our practice section as a tool to quickly review and learn the melody, timing, phrasing, and mood of a performance. In addition we think that the tool enables vocalists to study other artists by paying close attention to ingredients like dialect and pronunciation in language, the choice of placing words or phrases within rhythm and beats, any habits, and style and musical influences. Unlike other existing tools like per example some karaoke platforms we do not offer access to the same performance in multiple keys. But just recently we have introduced additional helpful information about many of the songs available here within the tagging system. At present we offer selection by tonic pitch, musical key, and scale information which can be helpful to explore new music. We think that from an educational point of view the choice of the tonic pitch is most interesting, because many melodies in songs may start or end with the tonic note. If a vocalist can deliver that note in a rich, strong, and compelling tonal quality that makes the audience want to hear more, then the song choice by tonic pitch may lead to the discovery of suitable songs for the singer. You may give this a try by selecting a song to practice by tonic pitch. Continue solving the mystery Find out why vocalists change the key of a song and how they approach the key change. In an attempt to solve the mystery behind the musical key we define what a key is, and explain the background of harmonic movement, chord progressions, and modulation. We also include the consideration of emotional characteristics for all keys based on the major and minor scale, that may play an additional role in the selection process for the vocalist. Further we're taking a brief look at common practice in recording sessions. Continue reading about this topic in our article "Musical Keys and the Key Change" at http://www.leadvocals.ca/background/musical-keys-and-the-key-change Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  7. An example for the use of music is its distribution to people through a sound system. If a singer, instrumentalist or a band wants to record, use, or perform music that is owned or controlled by somebody else, it is very likely that a license has to be obtained to do this on legal ground. Find out what kind of licenses control the use and recreation of music compositions, audio recordings, the use of music in public, the reproduction of sheet music, and the performance of theatrical productions. At Lead Vocals we also offer links and services to help you obtaining licenses for cover songs. The purpose of licensing The purpose of music licensing is to make sure that the people and companies involved in the creation process of music, like per example the composer, the record label, the performing artist, and the publisher will get paid for the work and effort they have put into a piece of music. Allowing somebody to use a piece of music either as a composition, or as a recording, can be understood like a trade between the creator and the licensee. Per example, if an artist is recording a cover song of another artist and is then distributing and selling that song on his or her own album release, he or she must ensure that the original composer of that song gets a share in form of a royalty. A royalty is a sum of money paid to the rights holder for each copy of a work sold, or for each public performance of a work. In common practice such royalties are most often calculated and collected in advance during the phase of producing the copies. Types of music licenses It is to mention that we in general distinguish between different kinds of uses for music, its recordings, and its production. Here is an overview with examples for the most common types of music licenses: In general a license is necessary when the task is done by someone, who did not create the work. The overview shows a common example, but is in no way a complete reference. If you are interested in reading deeper into the topic please continue reading our article at - http://www.leadvocals.ca/background/music-licensing Additional Information License a Cover Song http://www.leadvocals.ca/resources/license-a-cover-song Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  8. Lead Vocals

    Proper Breathing for Vocalists

    Proper Breathing for Vocalists Breath is the motor of our voice. Knowing how to breathe correctly and being able to control it is one of the most important skills a singer can have. A proper breathing technique will enable us to sound great and to improve the tone of our voice. Our ability to sustain notes will increase and we will master to sing longer phrases more effortless. Breathing is a natural process of our body and therefore a good breathing technique comes natural and unforced. Methods of Breathing The human body knows several different ways of breathing which are called costal or chest breathing, clavicular breathing, abdominal or belly breathing, and diapragmatic breathing. The latter two are to prefer when it comes to singing, though only the diapragmatic method allows for full breath with maximum control. The diaphragm by the way is a muscle system that is located in the abdominal region right under the lungs. It controls the air flow by contracting when we breathe in and relaxing when we breathe out. Breath Support As a singer you want to learn slowing down the relaxation of the diaphragm to gain extra volume used for sustaining notes and sing longer phrases. This is called "breath support" and can be achieved in two different ways, either by adding a bit of muscle force during exhalation and while using your voice, or through lowering the muscle force used during inhalation. While the first method allows for an increased volume the latter will result in less air pressure in the lungs which in turn will slow down the exhalation process to the extent that you can sing longer. The second method is popular through the "Italian School" of singing, also known as Appoggio, which includes resonance factors in form of phonation alongside the breath management. Exercises to improve breathing Understanding the theory behind how the body masters the task of breathing builds the base for the vocalist to improve upon his or her own breathing technique, however the singer also needs to build an understanding on an experimental level. For this reason it is well worth to experiment with a few exercises to gain an additional understanding. At Lead Vocals we have collected a number of exercises to get you started. Continue reading about the topic and these exercises at - http://www.leadvocals.ca/improve/breathing Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  9. The Importance of Vocal Anatomy for Singers The human voice is powered by breath, produced by vibrations, and shaped by resonance. "In every field the man who can merely do things without knowing why is at a disadvantage to the one who can not only build but also tell you just why he is building in that way. This is especially noticeable when the prescribed cycle does not obey the laws it is supposed to: then the labourer must sit by with folded hands while the mechanic or engineer comes in and adjusts the delicate mechanism. " Reuben Fine, Chess Grandmaster, Psychologist, Professor and Author We all can talk and sing without any further knowledge of the physiological mechanism that sets off our voice. It is when we start studying to become better at our craft, that we challenge ourselves in learning new techniques and in correcting bad habits and behaviour to achieve a specific sound. During our studies we will sooner or later get in touch with the topic of vocal anatomy and its terms. Knowing the anatomic elements and their function is essential for the purpose of communication, be it between vocal instructor and student, or in literature. The standardized anatomic terminology ensures that we can exchange ideas, techniques and instructions with great precision. The study of vocal anatomy will in addition help the vocalist to understand the mechanics and limitations of the human voice, and will function as a guide to choose those vocal techniques that respect the anatomic background of the voice. The newly acquired knowledge will increase awareness of the different parts involved in the creation of our voice, and will support us to develop a feeling for these organs during singing. What are these organs and how do they work? The background section at Lead Vocals has an article that describes the mechanism of our voice and the involved organs. Find out how our voice is created in the human body, how we achieve a powerful voice, how we produce pitch, and how we influence our vocal qualities at - http://www.leadvocals.ca/background/anatomy-of-the-voice Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  10. Yves Casalta

    SmartVL2 for TC-HELICON Voicelive2

    Smart VL2 software on PC/Windows extends features of TC-HELICON Voicelive 2 allowing wireless remote control from any microphone; Playing WAV and MIDI files related to presets and steps that can automate effects changes and/or control harmony while playing. Not to mention the full-screen visual control. The software now already available for Voicelive2 will also be released soon for others devices of Voicelive series. Website: http://www.smartvl.com Facebook: https://www.facebook.com/smartvl
  11. Step 1. · Identify the vocal problem itself in order to get your voice back. Perhaps, you have noticed that your voice (Speaking and/or singing) is not working in the same capacity as it once was. Obviously you are puzzled and concerned. At this point, you have to come to terms that something is not the same and begin to accept that fact. Step 2. · Identify the cause of such occurrence. Please try to analyze what could have caused your voice problem in the first place. Please try to “rewind” all the possible facts, which could have lead to such an ordeal. You might think of any medical/surgical procedures you might have undergone in the not very distant past. You might think of a ball game you might have attended with your kids, or a concert of your Idol singing. In this instance, you would possibly be able to recall how excited you were then, during the events, & how loud you were cheering for the performers in the field. Also, it probably would not hurt to look at your personal relationship with your spouse and your children. Have you been shouting a lot lately? Have you, perhaps, been under a lot of stress at work and/or at home? All of the above factors (and many others) could easily aid to a voice problem. When you are in the moment, you are not paying attention how loud you speak or scream. The consequences will haunt you later. Step 3. · Do not ‘sugarcoat’ your feelings; rather, embrace it with a grain of sault. That alone will help you immensely to get your voice back in a fast and efficient manner. When you start experiencing some changes in your voice, please DO NOT pretend that nothing happened and do not convince yourself that it is just temporary and you will feel better tomorrow. Unfortunately, you might not feel better tomorrow, as the damage has already been done and it will not go away on its own. It might require some further investigation and medical (or alternative) assistance. Step 4. · Outline your goal for the best possible recovery of your vocal problem and enjoy getting there. Once you are able to face the fact that you do have a vocal problem, please embrace this fact and outline the goal to get your voice back. It might, not necessarily, be an easy road, but please try to enjoy the process towards achieving your main goal – getting your voice back.
  12. Step 1. · Identify the vocal problem itself in order to get your voice back. Perhaps, you have noticed that your voice (Speaking and/or singing) is not working in the same capacity as it once was. Obviously you are puzzled and concerned. At this point, you have to come to terms that something is not the same and begin to accept that fact. Step 1. · Identify the vocal problem itself in order to get your voice back. Perhaps, you have noticed that your voice (Speaking and/or singing) is not working in the same capacity as it once was. Obviously you are puzzled and concerned. At this point, you have to come to terms that something is not the same and begin to accept that fact. Step 2. · Identify the cause of such occurrence. Please try to analyze what could have caused your voice problem in the first place. Please try to “rewind” all the possible facts, which could have lead to such an ordeal. You might think of any medical/surgical procedures you might have undergone in the not very distant past. You might think of a ball game you might have attended with your kids, or a concert of your Idol singing. In this instance, you would possibly be able to recall how excited you were then, during the events, & how loud you were cheering for the performers in the field. Also, it probably would not hurt to look at your personal relationship with your spouse and your children. Have you been shouting a lot lately? Have you, perhaps, been under a lot of stress at work and/or at home? All of the above factors (and many others) could easily aid to a voice problem. When you are in the moment, you are not paying attention how loud you speak or scream. The consequences will haunt you later. Step 3. · Do not ‘sugarcoat’ your feelings; rather, embrace it with a grain of sault. That alone will help you immensely to get your voice back in a fast and efficient manner. When you start experiencing some changes in your voice, please DO NOT pretend that nothing happened and do not convince yourself that it is just temporary and you will feel better tomorrow. Unfortunately, you might not feel better tomorrow, as the damage has already been done and it will not go away on its own. It might require some further investigation and medical (or alternative) assistance. Step 4. · Outline your goal for the best possible recovery of your vocal problem and enjoy getting there. Once you are able to face the fact that you do have a vocal problem, please embrace this fact and outline the goal to get your voice back. It might, not necessarily, be an easy road, but please try to enjoy the process towards achieving your main goal – getting your voice back. View full articles
  13. I just read this article about Xfactor's vocal coach who also trains Jessie J, Sam Smith and others famous singers. I found it quite interesting towards the last part of the article that he talks about needing raw talent to get the most out of your voice. What do you think? Do you agree? https://medium.com/for-life-journal/the-x-factor-vocal-coach-who-saw-money-in-one-direction-7481d565a24d#.igbgyo7zp
  14. Jeremy Mohler

    R.I.P David Bowie

    Sadly, we've lost a legend today. R.I.P to a genius, I can't believe he is gone... And he just released a new song too. I hope everyone can pay their respects to him here. Everyone be sure to play a David Bowie album in his honor.
  15. TMV World Team

    KTVA VS. TVS : Early VS Late Bridging

    HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. Hey Rob, So I noticed that there is a difference in definitions between TVS and Ken Tamplin's program. Ken Tamplin refers to head voice as a mode; basically a strong reinforced falsetto. WELL, ... IN REGARDS TO THE TRUE DEFINITION OF VOCAL MODES, THAT IS NOT A DEFINITION THAT IS AS ACCURATE AS IT NEEDS TO BE. IF WE ARE GOING TO TALK ABOUT MODES, IT IS BEST TO REFER TO THE ORIGINATORS OF PHYSICAL MODES, THE ESTILLIANS… WHICH IS MORE OR LESS WHAT THE TVS PHYSICAL MODES ARE INSPIRED BY. FALSETTO IS A PHYSICAL MODE, HEAD VOICE IS NOTHING MORE THEN A METAPHOR FOR THE UPPER REGISTER… HEAD VOICE ACTUALLY DOESN’T MEAN ANYTHING, IF YOU WANT TO BE STRICT ABOUT IT. IT IS A “PICTURE WORD” TO REFER TO THE UPPER VOICE SENSATION WE ALL HAVE… TO CALL IT A VOCAL MODE, IS TO CLAIM THAT IT IS A PHYSICAL AND TANGIBLE THING, WHICH IT ISN’T. THERE IS NO SUCH THING AS ‘REINFORCED FALSETTO’. THERE IS ONLY A PHYSICAL MODE CALLED FALSETTO AND IT IS CHARACTERIZED BY A WINDY, OPEN GLOTTIS THAT ESCAPES RESPIRATION. IF THE PHONATION DOES NOT HAVE WIND, IT IS NOT FALSETTO. IF YOU “REINFORCE” A PHONATION ON A HIGH NOTE ABOVE THE BRIDGE, IT IS MORE ACCURATELY GOING TO BE VOCAL TWANG… WHICH IS ANOTHER PHYSICAL MODE. In TVS falsetto is a mode, but the head voice is just what you call notes that resonate from the head, in whatever mode you are singing. WELL DONE, THAT IS MORE OR LESS CORRECT. HOWEVER, NOTE THAT THIS DEFINITION OF MODES IS NOT JUST THE WAY TVS SEES IT. IT IS ALSO THE WAY ESTILLIANS AND CVI SEES IT. ESTILL ARE THE ORIGINATORS OF VOCAL MODES, SO PEOPLE THAT CARE TO BE ACCURATE ABOUT VOCAL MODES, TEND TO FOLLOW THEIR ORIGINAL FOUNDATION ON THE TOPIC, WHICH TVS PHYSICAL MODES DO. I prefer the TVS definition. However, I think that makes the whole bridging late vs bridging early debate between the two systems inconsistent. IS THERE A DEBATE? ... OH YA, KTVA WOULD LIKE CONSUMERS TO BELIEVE THERE IS… THERE IS NO DEBATE. TVS HAS BOTH BOTTOM UP AND TOP DOWN TECHNIQUES. THIS IS A TIRED, OLD IDEA THAT STARTED ABOUT FOUR YEARS AGO THAT HAS BEEN PROPAGATED TO CREATE CONFUSION IN THE MARKET ABOUT WHAT TVS STANDS FOR... KTVA HAS GOT A LOT OF MILEAGE OUT OF PROPAGATING THIS MISINFORMATION. IT IS COMPLETELY STUPID AND I HAVE CREATED NO LESS THEN FOUR VIDEOS TO COMBAT THE CONFUSION. Ken's criticism of what he calls late bridging seems more apt to describing some classical voice teachers who teach bridging to a falsetto mode instead of a twang mode, or metal screamers who rely on a distorted reinforced falsetto. His criticism being that early bridging over time breaks down the "mid voice," of which he doesn't define. HE TALKS A GOOD GAME AND CERTAINLY SINGS A GOOD GAME… BUT WITH ALL DUE RESPECT, IN MY OPINION AND FROM FEEDBACK FROM HIS CUSTOMERS, HE DOESN’T ALWAYS DEFINE OR EXPLAIN A GOOD GAME. IN REGARDS TO EARLY BRIDGING AND VOCAL ATROPHY… ON THIS POINT, I AGREE WITH KEN. THE LACK OF BOTTOM UP TRAINING WILL RESULT IN WEAK TA MUSCLE STRENGTH AND ENDURANCE. BOTTOM TRAINING IS ESSENTIAL TO BELTING, BUT ALSO JUST TO BASIC VOCAL HEALTH. THIS IS WHY THE NEW 4PILLARS SYSTEM HAS AN EXTENSIVE BOTTOM-UP AND BELT TRAINING EXPLANATIONS AND ROUTINES. With the TVS definition, I'd say I mostly bridge early. But it's not such a big difference it seems. I can still bring a bigger boomier sound up higher, but from learning early bridging techniques, I'm not stuck to an overly heavy phonation with constriction. It's dynamic and free. PRECISELY!!!!!!!!!!! YOU NEED BOTH APPROACHES! DIFFERENT PEOPLE NEED DIFFERENT APPROACHES BASED ON THEIR NEEDS. YOU DESCRIBED THOSE NEEDS NICELY. I TOTALLY AGREE. KNOW THIS… THE REASON ANY COACH WOULD BE LIGHT ON TOP-DOWN TRAINING TECHNIQUES IS SIMPLY BECAUSE TOP-DOWN TRAINING TECHNIQUES ARE MORE COMPLICATED TO UNDERSTAND AND TEACH. IT IS A LOT EASIER TO TEACH BOTTOM-UP TECHNIQUES. TOP-DOWN TECHNIQUES REQUIRE MORE PRECISION AND MORE UNDERSTANDING OF THE MUSCULATURE AND OTHER DETAILS. "PUSH FROM THE BOTTOM UP ON AN AH VOWEL"... IS A FAR EASIER STORY TO TELL, THEN BUILDING FROM INSIDE THE HEAD VOICE. I think part of the confusion also stems from the SLS / singing success terms, where the mixed voice is their term for twang, and head voice is defined as a strong falsetto. WHICH IS AN AWFUL DEFINITION OF TWANG… AND PAINFULLY INCORRECT. AGAIN, IF ANY OF THESE PEOPLE, WOULD BOTHER TO STUDY VOCAL MODES AS I HAVE, THEY WOULD NOT BE TALKING INACCURACIES TO CONSUMERS. SLS AND SS SEEM LIKE THE LEAST INFORMED TEACHERS SOMETIMES. TO BE SURE, THEY ARE NOT TRAINED IN VOCAL MODES AND ARE WAY OF COURSE WHEN IT COMES TO BELTING. VERY FEW PEOPLE WILL EVER BUILD A STRONG TOP REGISTER BELT WITH "SING LIKE YOU SPEAK" TYPE METHODS. It's kind of silly considering the actually mixed resonance we feel is only from around c4 to E4. Mixed voice is just a bad term. YEP… THAT IS WHY I KILLED IT IN MY “MIXED VOICE IS DEAD!” VIDEO… IT IS A TERM THAT SOME TEACHERS USE TO KEEP THEIR STUDENTS CONFUSED. THE MORE YOU CAN KEEP YOUR STUDENTS CONFUSED, THE LESS YOU HAVE TO REALLY UNDERSTAND YOUR SUBJECT MATTER AND BE ABLE TO REALLY EXPLAIN THINGS AS A TEACHER. Am I understanding this right? TOM, I THINK YOU HAVE A LOT OF THIS PRETTY SQUARED AWAY. IT SEEMS THE TVS CONTENT IS HELPING YOU TO SORT THIS ALL OUT, WHICH IS GREAT. Tom
  16. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. Hey Rob, So I noticed that there is a difference in definitions between TVS and Ken Tamplin's program. Ken Tamplin refers to head voice as a mode; basically a strong reinforced falsetto. WELL, ... IN REGARDS TO THE TRUE DEFINITION OF VOCAL MODES, THAT IS NOT A DEFINITION THAT IS AS ACCURATE AS IT NEEDS TO BE. IF WE ARE GOING TO TALK ABOUT MODES, IT IS BEST TO REFER TO THE ORIGINATORS OF PHYSICAL MODES, THE ESTILLIANS… WHICH IS MORE OR LESS WHAT THE TVS PHYSICAL MODES ARE INSPIRED BY. FALSETTO IS A PHYSICAL MODE, HEAD VOICE IS NOTHING MORE THEN A METAPHOR FOR THE UPPER REGISTER… HEAD VOICE ACTUALLY DOESN’T MEAN ANYTHING, IF YOU WANT TO BE STRICT ABOUT IT. IT IS A “PICTURE WORD” TO REFER TO THE UPPER VOICE SENSATION WE ALL HAVE… TO CALL IT A VOCAL MODE, IS TO CLAIM THAT IT IS A PHYSICAL AND TANGIBLE THING, WHICH IT ISN’T. THERE IS NO SUCH THING AS ‘REINFORCED FALSETTO’. THERE IS ONLY A PHYSICAL MODE CALLED FALSETTO AND IT IS CHARACTERIZED BY A WINDY, OPEN GLOTTIS THAT ESCAPES RESPIRATION. IF THE PHONATION DOES NOT HAVE WIND, IT IS NOT FALSETTO. IF YOU “REINFORCE” A PHONATION ON A HIGH NOTE ABOVE THE BRIDGE, IT IS MORE ACCURATELY GOING TO BE VOCAL TWANG… WHICH IS ANOTHER PHYSICAL MODE. In TVS falsetto is a mode, but the head voice is just what you call notes that resonate from the head, in whatever mode you are singing. WELL DONE, THAT IS MORE OR LESS CORRECT. HOWEVER, NOTE THAT THIS DEFINITION OF MODES IS NOT JUST THE WAY TVS SEES IT. IT IS ALSO THE WAY ESTILLIANS AND CVI SEES IT. ESTILL ARE THE ORIGINATORS OF VOCAL MODES, SO PEOPLE THAT CARE TO BE ACCURATE ABOUT VOCAL MODES, TEND TO FOLLOW THEIR ORIGINAL FOUNDATION ON THE TOPIC, WHICH TVS PHYSICAL MODES DO. I prefer the TVS definition. However, I think that makes the whole bridging late vs bridging early debate between the two systems inconsistent. IS THERE A DEBATE? ... OH YA, KTVA WOULD LIKE CONSUMERS TO BELIEVE THERE IS… THERE IS NO DEBATE. TVS HAS BOTH BOTTOM UP AND TOP DOWN TECHNIQUES. THIS IS A TIRED, OLD IDEA THAT STARTED ABOUT FOUR YEARS AGO THAT HAS BEEN PROPAGATED TO CREATE CONFUSION IN THE MARKET ABOUT WHAT TVS STANDS FOR... KTVA HAS GOT A LOT OF MILEAGE OUT OF PROPAGATING THIS MISINFORMATION. IT IS COMPLETELY STUPID AND I HAVE CREATED NO LESS THEN FOUR VIDEOS TO COMBAT THE CONFUSION. Ken's criticism of what he calls late bridging seems more apt to describing some classical voice teachers who teach bridging to a falsetto mode instead of a twang mode, or metal screamers who rely on a distorted reinforced falsetto. His criticism being that early bridging over time breaks down the "mid voice," of which he doesn't define. HE TALKS A GOOD GAME AND CERTAINLY SINGS A GOOD GAME… BUT WITH ALL DUE RESPECT, IN MY OPINION AND FROM FEEDBACK FROM HIS CUSTOMERS, HE DOESN’T ALWAYS DEFINE OR EXPLAIN A GOOD GAME. IN REGARDS TO EARLY BRIDGING AND VOCAL ATROPHY… ON THIS POINT, I AGREE WITH KEN. THE LACK OF BOTTOM UP TRAINING WILL RESULT IN WEAK TA MUSCLE STRENGTH AND ENDURANCE. BOTTOM TRAINING IS ESSENTIAL TO BELTING, BUT ALSO JUST TO BASIC VOCAL HEALTH. THIS IS WHY THE NEW 4PILLARS SYSTEM HAS AN EXTENSIVE BOTTOM-UP AND BELT TRAINING EXPLANATIONS AND ROUTINES. With the TVS definition, I'd say I mostly bridge early. But it's not such a big difference it seems. I can still bring a bigger boomier sound up higher, but from learning early bridging techniques, I'm not stuck to an overly heavy phonation with constriction. It's dynamic and free. PRECISELY!!!!!!!!!!! YOU NEED BOTH APPROACHES! DIFFERENT PEOPLE NEED DIFFERENT APPROACHES BASED ON THEIR NEEDS. YOU DESCRIBED THOSE NEEDS NICELY. I TOTALLY AGREE. KNOW THIS… THE REASON ANY COACH WOULD BE LIGHT ON TOP-DOWN TRAINING TECHNIQUES IS SIMPLY BECAUSE TOP-DOWN TRAINING TECHNIQUES ARE MORE COMPLICATED TO UNDERSTAND AND TEACH. IT IS A LOT EASIER TO TEACH BOTTOM-UP TECHNIQUES. TOP-DOWN TECHNIQUES REQUIRE MORE PRECISION AND MORE UNDERSTANDING OF THE MUSCULATURE AND OTHER DETAILS. "PUSH FROM THE BOTTOM UP ON AN AH VOWEL"... IS A FAR EASIER STORY TO TELL, THEN BUILDING FROM INSIDE THE HEAD VOICE. I think part of the confusion also stems from the SLS / singing success terms, where the mixed voice is their term for twang, and head voice is defined as a strong falsetto. WHICH IS AN AWFUL DEFINITION OF TWANG… AND PAINFULLY INCORRECT. AGAIN, IF ANY OF THESE PEOPLE, WOULD BOTHER TO STUDY VOCAL MODES AS I HAVE, THEY WOULD NOT BE TALKING INACCURACIES TO CONSUMERS. SLS AND SS SEEM LIKE THE LEAST INFORMED TEACHERS SOMETIMES. TO BE SURE, THEY ARE NOT TRAINED IN VOCAL MODES AND ARE WAY OF COURSE WHEN IT COMES TO BELTING. VERY FEW PEOPLE WILL EVER BUILD A STRONG TOP REGISTER BELT WITH "SING LIKE YOU SPEAK" TYPE METHODS. It's kind of silly considering the actually mixed resonance we feel is only from around c4 to E4. Mixed voice is just a bad term. YEP… THAT IS WHY I KILLED IT IN MY “MIXED VOICE IS DEAD!” VIDEO… IT IS A TERM THAT SOME TEACHERS USE TO KEEP THEIR STUDENTS CONFUSED. THE MORE YOU CAN KEEP YOUR STUDENTS CONFUSED, THE LESS YOU HAVE TO REALLY UNDERSTAND YOUR SUBJECT MATTER AND BE ABLE TO REALLY EXPLAIN THINGS AS A TEACHER. Am I understanding this right? TOM, I THINK YOU HAVE A LOT OF THIS PRETTY SQUARED AWAY. IT SEEMS THE TVS CONTENT IS HELPING YOU TO SORT THIS ALL OUT, WHICH IS GREAT. Tom View full articles
  17. Steven Fraser

    Approach to vocal technique

    Hi, TMV-ers! I thought it would be useful today to write a bit about how I approach and talk about vocal technique, in the hope that by putting these ideas out there, you can pick and choose some of them that make sense to you, and that you will hopefully find useful. As a starting point for this, I am inspired to recall an idea I read in Cornelius Reid's book, 'Voice - Psyche and Soma'. I cannot remember the exact quote, but the gist of it is that the mind and the body are acting together to produce the singing voice. I think this means for vocal technique that singing is simultaneously psychological and physical. A survey of books written on singing over the last 200 years shows that every teacher has a different approach to working with singers, a different mix of the psychological and physical. Some favor emphasis of the physical aspects, and talk about doing things with body parts, muscle groups, tendons, nasal cavities, lower jaw, the tongue, etc. Others emphasize the sensations of the singer, i.e., 'sing so that you feel such and such a sensation in such and such location in your body'. Still others rely on metaphors and imagery, i.e., 'sing out the top of your head', or 'imagine that you are projecting the tone toward a target on the wall', or 'think of a happy memory'. I don't do any of these alone. Perhaps better stated, I do them all, cherry-picking ideas and approaches from these authors that have these characteristics: 1) are based on anatomical fact, acoustical principles, and physiologically healthy bodily action. 2) are easily expressed and understood using in common language 3) can be practiced beneficially by the student without the teacher's constant supervision 4) help the singer build their ability to sing what they desire to sing - whatever genre or style that is. When it comes to teaching, I am also an optimist. :-) I believe that most people, with very few exceptions, can learn to sing for their own & others' enjoyment if they approach it with patience. In my next posts, I will be writing about the basics of how the voice works - 'what happens where' in the mind and body to produce healthy vocal tone. Along the way, I will address some common misconceptions I've encountered, and clarify some terms that are often used by singers and teachers, but not well understood. I have no illusions that the way I approach this is the only way, or even the best way. I am very interested to hear other ways of doing it as well, as that is how I learn myself. If you have a particular area you'd like to discuss, send me an e-mail or comment to my blog, and I will pull that text forward in a response. Best Regards, Steve
  18. TMV World Team

    Grooming Your Voice For Success

    Grooming Your Voice For Success By Julie Lyonn Lieberman It's easy to build vocal habits when you sing a song over and over again. These habits can be useful to free us to focus on performance values; but all too often, we lock in tightness and inferior function, thereby creating a struggle during performance or even hoarseness, a sore throat, and the like. No matter how good you sound, how music business savvy you are, and how hard you've worked on your material and its presentation, if you don't cultivate a ritual around how you care for your voice, you stand to compromise your future and potentially your level of success. Pro-athletes work with their muscles intelligently. They understand that if they don't warm up, respect the properties of muscle and joint function, and warm down, they may be beleaguered with aches and pains or injuries that thwart the level of success they are able to achieve. Taking responsibility represents potential longevity as well as quality of experience. Most singers already know that warm-ups are important, but they may not understand why it's essential to vocalize regularly before singing their actual material. Let's use our postural muscles as a metaphor. Let's say you spend 10 hours a day hunched over. The muscles will gradually adapt and freeze you into that posture if you don't stretch and strengthen your body to counterbalance repetitive motion. Your sound is influenced by a combination of genetics; family and geographic influences on pronunciation/articulation; and the influence of your emotional/psychological gestalt on the use of your vocal anatomy. All of these factors culminate to create habitual muscular response. This, in turn, can embed and strengthen patterns that mobilize the tongue, lips, breath, and what I call the cathedral the interior musculature of the mouth and throat. Vocal exercises aerobicize, stretch and strengthen these muscle groups so that they remain balanced. Through this process, you can refine and detail mind-to-body response so that each sound you hear, each emotion you experience, and every thought you intend to communicate to your audience is received by this flexible work station and translated into a palette of color and texture. Here is the ironic twist: we are least conscious of how we sing each time we learn a new song because our attention is focused almost entirely on learning the melody and words. Yet, this is when we tend to sing the song the most in order to learn it. If it's an original piece, this is also when we are also the most emotional because the lyrics are intimately connected to and motivated by current life experiences. Some singers, when they are imbued with feeling, tighten the throat or body to express emotion as it wells up. Muscularly speaking, the brain can't differentiate between the activity, singing that specific song, and how we are carrying out the activity. The brain takes all of that information, and locks it together into a sensory engram (which I like to call a barcode.) From that moment forward, we tend to perform the song exactly as we rehearsed it. Here are some simple procedures you can institute to improve your practice habits: 1) Warm up before singing lyrics: Assess your voice each day and choose exercises that stimulate desired response from breath support, lip action, tongue behavior, and the tone you produce. This is detailed on my DVD, Vocal Aerobics: Essentials for Today Singer (see JulieLyonn.com > Vocalist's Corner for details). 2) When learning a new song, sing the melody on the vowel that's most comfortable for you first; then use the actual vowels of the words but without the consonants. 3) To prevent any habitual muscular associations, speak the lyrics to learn them, but use varying accents from around the world or country; become an actor or actress and delivery the lyrics using different personalities, pitch settings, and emotional contexts to avoid inadvertently embedding negative muscular habits. Examples: become a British school teacher become a sea nymph speak wistfully, then angrily, then lovingly use your low range and then your high range vary volume as you speak vary pitch as you speak 4) Join the lyrics and melody together, singing softly without emotion; then try singing the song in various keys as well as with variations in volume. You can apply the personalities you've rehearsed to the sung version as well. 5) Now sing emotionally. Notice what happens to you physically when you become more expressive. If you discover tension mounting in areas of your body, try varying how you express emotion by using imagery: I will pour my anger out the bottom of my feet like a pitcher with a leak. I will inhale and exhale on between each sentence as if I'm filling the sails of a sailboat with my breath and emulate that image when I sing each sentence of the song. I will sing the song with the opposite emotion the lyrics require (emotion is energy and when we pour anger into a love song, it doesn't necessarily read as anger it can read as heightened passion!) There is a popular quote, sometimes attributed to Albert Einstein, and other times to Benjamin Franklin or Rita Mae Brown, that goes something like, Insanity is doing the same thing the same way over and over again and expecting different results. The above practice procedures will give you an opportunity to step out of old practice habits and thereby gain new results. Vocal Aerobics: Essentials for Today's Singers with Julie Lyonn Lieberman 60-minute instructional DVD distributed by Hal Leonard World-renowned music educator, Julie Lyonn Lieberman, has created an instructional DVD for singers. Her practice system focuses on cognitive illumination and muscular facility. This system can help develop a vibrating palette that communicates spirit, emotion, and viewpoint all riding effortlessly on the breath. It is supported by science yet connected to individuality. By first guiding the exercises in silence, her intent is to prevent the tension and misuse that often occur when the main impetus for the creation of musical sound is fueled by a brew of yearning and fear mixed with a fixation on the end product. Topics covered include: Section I Introduction, Creating a Cathedral, Breath Anatomy Section II Aerobicizing the Tongue, Mobilizing the Lips Section III Balancing the non-dominant side of the mouth, Posture, The Power of Imagery, Warming Up and Warming Down, Vocal Health Ms. Lieberman trusts the innate intelligence of the client by making sure that they understand how and why each region of their vocal anatomy works the way it does. Through extensive experience teaching, she has developed ergonomically based exercises that are fulcrum triggers: they get the job done more efficiently and faster. Lieberman has discovered that when the lights are turned on and the equipment is illuminated, epiphanies abound and can continue to be generated by the singer, long after the teacher leaves the room. Her in-depth studies while creating her critically acclaimed book You Are Your Instrument, followed by her three spin-off DVDs (The Vocalist's Guide to Fitness, Health and Musicianship, The Instrumentalist's Guide to Fitness, Health and Musicianship, and The Violin in Motion) place a unique spin on this body of work. Most voice teachers use exercises that are effective in the long run or they would be put out of business, but the older model for mentorship entailed a do as I do and do as I say approach. It was a faith-based relationship; the student was expected to blindly follow the teacher’s directions without specifics, context, or adequate rapport with the musculature required to do the job smoothly and consciously. The belief behind that style of work was that if you repeated each exercise enough times (often while inadvertently thinking about something else), that it would help you sing better. This is the long, slow train to success. Julie believes that it's time to replace unconscious repetition with less activity, more awareness, and targeted control. She will help you convert the butcher's knife into a laser beam! About the author Julie Lyonn Lieberman has specialized in working with creative vocalists in her NYC music studio over the last 3 decades. Her students have included artists such as Grammy-nominated singer/songwriter Vanessa Carlton, Grammy-nominated Putnam Murdock, Indie music award winner Kara Suzanne (best new folk-singer/songwriter album of the year), and critically acclaimed lyricist Julie Flanders, to name a few. Ms. Lieberman is an improvising violinist/singer, composer, recording artist, journalist, educator, and the author of nine books and six instructional DVDs. A dynamic, participatory workshop leader, her ability to stimulate participants to think and grow in new ways has earned respect for her work throughout the world. In addition to currently teaching improvisation at Juilliard, she has presented for organizations like Music Educators Association, International Association of Jazz Educators, the Juilliard MAP Program, Carnegie/Weill Hall/Juilliard's The Academy,National Young Audiences, and the Carnegie Hall LinkUp. Lieberman is a J. D'Addario Elite Clinician. Alfred Publishing publishes her scores. To Order: This DVD is distributed by Hal Leonard through your local music, book store, and amazon.com for $23.95 or SPECIAL PRICE FOR MEMBERS OF THE MODERN VOCALIST Purchase through Paypal at The Vocalist's Corner on julielyonn.com or Send a check to Julie Lyonn Music, P.O. Box 268, Worthington, MA 01098 $21.95 + $5.00 shipping in the U.S.Add $5 outside the U.S.
  19. 'Vocal Strength and Power' by Dena Murray Interview Steve: Hi, Dena! I understand that your new book on singing has just been published. Would you tell us a little bit about it? Dena: This is a book that has been 15 years in the making. From the time I started teaching (over 20 years ago,) I knew there was a problem with the prevailing concepts of diaphragmatic support. Singers were injuring themselves from too much pressure and misperceiving instructions. Steve: Do yo mean that the usual "singing teacher's lingo" was not helpful in leading the student in what they should do? Dena: Yes, exactly. They also were not getting what they'd hoped to get from taking lessons i.e., freedom when singing/performing. So after many years of study, I finally uncovered that the problem boiled down to correct intake of air (the inhale) and created exercises to correct it. Steve: You've published two other books on singing. How does this latest one fit in with them? Dena: Well, I never set out to do a three-part series but that was the end result of all my work. Vocal Technique: Finding Your Real Voice is a beginners book and focuses on the vocal mechanism. I did two things deliberately for the beginner: 1) I skipped the discussion of how to use the diaphragm for support, and instead created exercises to builid up the muscles and cartilages which control/support the vocal folds, and, 2) I separated the chest voice from the head voice because in my experience if there are problems in either register, those problems will show up when trying to bridge and combine them for that one-register sound.This book is the first step in how to gain support. Steve: Ok, I am with you so far. How was your approach received by your readers? Dena: Very well, I think. My European readers were especially open with their positive feed-back, and I still receive comments to day on that book's usefulness. Steve: Ok! What was your second book like? Dena: The second one, Advanced Vocal Technique: Middle Voice, Placement & Styles (co-authored by Tita Hutchison,) focuses on a step-by-step process of how to bridge the voice for the one register sound, vowel formation, and correct placement for any given style. Steve: So, that would make it the 'next steps' after clarifying the Chest and Head voices, and some discussion of the different vocal productions. Dena: Yes, that's right. There are 13 exercises in this book with every feeling and sensation one should (and shouldn't) have, literally spelled out for the singer. Again, we purposely stayed away from too much focus on the diaphragm. This book is the second step with regard to support. Steve: All right. How does this third book extend the approach of the other two? Dena: In this third and last book of the series, Vocal Strength and Power, the focus is solely on how to employ correct use of the diaphragmatic region for its support of the entire mechanism. Steve: How is your approach different from other's you've heard? Dena: Simply stated, I've uncovered a problem inherent with other approaches to 'support' instruction, and created exercises to correct the problem. Steve: Ok, I'll bite. What is the problem? Dena: The problem is the correct intake of air before singing. Steve: Who can benefit from your approach and exercises? Dena: Anyone should be able to add these exercises (if they should so choose) to already working methods of techniques when they notice they are struggling for not just the freedom, but also their inherent great sound. Steve: Dena, what else does the book contain? Dena: In addition to the CD of exercises, this book also includes a glossary of dictionary-definition.
  20. TMV World Team

    Vocal Aerobics: Essentials for Today's Singers

    Vocal Aerobics: Essentials for Today's Singers with Julie Lyonn Lieberman Running Time and Format: 60-minute instructional DVD Distributed by: Hal Leonard Corporation (7777 W. Bluemound Rd. Milwaukee, WI 53213, 800-637-2852, http://www.halleonard.com /) to bookstores, music stores and schools through the world) Release Date: September 30, 2008 Description: World-renowned music educator, Julie Lyonn Lieberman, has created an instructional DVD for singers. Her practice system focuses on cognitive illumination and muscular facility. This system can help develop a vibrating palette that communicates spirit, emotion, and viewpoint all riding effortlessly on the breath. It is supported by science yet connected to individuality. By first guiding the exercises in silence, her intent is to prevent the tension and misuse that often occur when the main impetus for the creation of musical sound is fueled by a brew of yearning and fear mixed with a fixation on the end product. Topics covered include: Section I Introduction, Creating a Cathedral, Breath Anatomy Section II Aerobicizing the Tongue, Mobilizing the Lips Section III Balancing the non-dominant side of the mouth, Posture, The Power of Imagery, Warming Up and Warming Down, Vocal Health Ms. Lieberman trusts the innate intelligence of the client by making sure that they understand how and why each region of their vocal anatomy works the way it does. Through extensive experience teaching, she has developed ergonomically based exercises that are fulcrum triggers: they get the job done more efficiently and faster. Lieberman has discovered that when the lights are turned on and the equipment is illuminated, epiphanies abound and can continue to be generated by the singer, long after the teacher leaves the room. In-depth studies while writing her critically acclaimed book. You Are Your Instrument, followed by her three spin-off DVDs (The Vocalist's Guide to Fitness, Health and Musicianship, The Instrumentalist's Guide to Fitness, Health and Musicianship, and The Violin in Motion) place a unique spin on this body of work. Most voice teachers use exercises that are effective in the long run or they would be put out of business, but the older model for mentorship entailed I do and do as I say approach. It was a faith-based relationship; the student was expected to blindly follow the teacher's directions without specifics, context, or adequate rapport with the musculature required to do the job smoothly and consciously. The belief behind that style of work was that if you repeated each exercise enough times (often while inadvertently thinking about something else), that it would help you sing better. This is the long, slow train to success. Julie believes that it's time to replace unconscious repetition with less activity, more awareness, and targeted control. She will help you convert the butcher's knife into a laser beam! To Order: see JulieLyonn.com and click on Vocalist's Corner About the author Julie Lyonn Lieberman (JulieLyonn.com) has specialized in working with creative vocalists in her NYC music studio over the last 3 decades. Her students have included artists such as Grammy-nominated singer/songwriter Vanessa Carlton, Grammy-nominated Putnam Murdock, Indie music award winner Kara Suzanne (best new folk-singer/songwriter album of the year), and critically acclaimed lyricist Julie Flanders, to name a few. Ms. Lieberman is an improvising violinist/singer, composer, recording artist, journalist, educator, and the author of nine books and six instructional DVDs. A dynamic, participatory workshop leader, her ability to stimulate participants to think and grow in new ways has earned respect for her work throughout the world. In addition to currently teaching improvisation at Juilliard, she has presented for organizations like Music Educators Association, International Association of Jazz Educators, the Juilliard MAP Program, Carnegie/Weill Hall/Juilliard's The Academy, National Young Audiences, and the Carnegie Hall LinkUp. Lieberman is a J. D'Addario Elite Clinician. Alfred Publishing publishes her scores.
  21. Hi, Everybody.....It's nice to see this new forum even in its early stages having such response as well as the enthusiasm that's being generated. Already I am seeing posts on Breath Support. Listen up everybody. If you are not all over your kids(students) like I am about Breath Support, it's only going to lead to their downfalls and short-comings in many aspects. In the past 6 months, I have seen people lose gigs, blow auditions and turn out really sub-par recordings because of lack of breath support. Mainly, bad intonation that was caused by lack of Breath Support was largely the problem. Now I'm not going to sit here and write a long article on my philosophies because I know that ALL of you have your own way of teaching and monitoring your kids' breath support. I'll be sending numerous articles on this topic soon on this site and other forums that I contribute to. Ironically Breath Support can be abbreviated to BS. But this a not a BULL*#@T story!!! So let's cut the BS and make sure the word gets out on Breath Support. Breath Support is No BS!!! I can't even begin to tell you how many times a day that I have to yell "SUPPORT!!!!" over the loud music in my voice studio while my kids are singing over their tracks because people don't keep Breath Support consistent from the beginning of each phrase to the END of each phrase. The end of the phrase is when Breath Support is the most crucial for airstream as well as keeping the Voice relaxed. So now I'm going to tell my kids this "If you want to be a BS singer or BS performer then don't cut the Breath Support." That's total BS. But then again, look at the person who authored this Blog who more than likely has been called a B*#@SH---TER his entire life.(Even when he was a liitle sh-thead).
  22. Steven Fraser

    Starting Off...

    Starting Off This will be a short post, with much more to come later. I am happy to be a part of this group. I will likely be posting quite a bit in the areas of vocal technique and concepts for the younger or beginning singer of whatever age. I like to help folks improve and enjoy their singing more. Feel free to post technique questions to me, and I will do my best to respond in a respectful, thorough and clear way. Steve
  23. TMV World Team

    You WERE Born with "It"

    I was just saying to a student yesterday (I'm a voice teacher)... I have this friend who is in awe of all these great writers, and is fond of saying things like, "I'll never write like Herman Hesse, or Sylvia Plath. They were so great." And I say, "Yes, they are in your eyes now. But when they were sitting down, writing, they weren't trying to be 'great', or trying to be a 'genius'. They were simply doing what they were driven to do. And I'll bet you they thought what they were doing was crap, and they struggled with doubts just as much as we do." History is full of a legion of writers and artists, etc., who were unappreciated in the time they lived, but were revered afterwards. In our own lifetime, we have amazing writers whose novels were turned down countless times before finally being published and then topping the bestsellers list. I'm a firm disbeliever in the old adage that you 'have to be born with it.' My challenge to anyone who says that is... how do you know if you are born with it, if you don't do the work to find out? And you do that work because it lights you up inside to do that thing. Your passion becomes your motivation to work, and to practice, and to become. Not so you can be seen by the external world to be 'great' or a 'genius', but because you can't imagine your life without that thing you do that makes you feel alive. And you want to get good at it, and through that process of growth & healing you become more than you ever thought possible for you. As you walk your path, struggling with your own doubts and trying to learn what you need to know... you become compassionate about the people who are around you, in front of you, behind you, on the same path... because you realize there is no difference between you and them. Yet each of us is special and unique, and has the potential to achieve almost anything we dream of doing. As we are mentored by our more experienced friends, we pass along our knowledge to those less experienced, and it becomes a chain of support & understanding from our extended family of creative souls. No one is an island. As long as we are born & remain relatively healthy, and have the capacity to listen and learn, then anything is possible. If we are willing to do the work. I see this in my own studio all the time. I work with singers who cannot sing. They are 'tonedeaf'. They cannot sing on key. Even if you offered them a million bucks, they couldn't do it. You'd say, very adamantly, they are not born with it at all, that they should give up and go do something else. Come back a year or two later. And you'd say... 'this can't be the same person.' You'd be amazed at the stunning voice coming from that supposedly tonedeaf person who couldn't sing on key to save their life. As long as you are born with the capacity to learn and perservere, have compassion for yourself & others, and grow your conscious awareness so you can balance strength with humility, you have "it".
  24. VocalScience

    Vocal Injury

    Vocal Injury: The pain could be inevitable, but the suffering should be optional. Like many of my other clients, Karen lived with her voice disorder for almost two decades. She had seen many medical professionals, alternative doctors, and nevertheless, speech therapists. To all of them, she had been complaining about the pain in her throat, her neck and her shoulder, evidently associated with that. Practically all of them told her that it is all in her head. Only one of the specialists was able to diagnose her with muscle tension dysphonia (MTD), but like everybody else, he was not able to administrate any kind of treatment which would help Karen to get rid of her nagging pain while speaking. Needless to say, she was devastated and practically was ready to give up on life. She is a very vibrant and boisterous person who loves to talk a lot. Some of the so-called medical professionals ordered her to keep silent for six months!! Needless to say, I had quite a few cases like Karen's in the past. In brings out the memory of my former client, George L., a real estate agent from Los Angeles, California, who went through the similar ordeal. Nobody could tell him also what was wrong with him and every treatment George took around the world would make his sufferings with his voice worse than before. And he needed to speak for a living! Twenty minutes into my first session, George had tears in his eyes and said to me, I'm honored to be in the same room with such a specialist like you.Four days later, George left very happy with his voice completely recovered. The fact is, that from the medical doctor and the alternative practitioners point of view, there is nothing wrong with such patients like my two clients described above. Why, you, my reader, may ask? Because the problem, one more time again, is mechanical. None of the doctors know how to fix the mechanics of voice, i.e. recover it from the neck and chest muscles; structure it and place it in the sinus (facial) cavities; and how to create the support of the sound from the lower and upper abdominal muscles; and how to integrate and synchronize those muscles to work simultaneously with each other. The description of the Vocal Science Method is such that it requires the synchronicity and synergy between mental, physical, emotional and vocal components. If that doesn't happen, the voice repair will never be accomplished. If that wholesome mechanism which allows the voice to work in its fullest capacity possible with no pain or strain on the vocal anatomy is not established, the voice, speaking or singing, will never have a healthy sound and always will be prone to some kind of injury. With that mechanism in place, the speaker or singer will also be able to comply with standards of professional speaking or singing, and nevertheless, preserve their recovered voices for their lifetime.
  25. Ever wanted to add some sparkle to your mic cable? Item: Neutrik crystalCON, Decorative Mic Cable Connectors Price: $18 (US), £15 (UK) (per connector) Mic Rating: 4/5 At A Glance: Neutrik’s crystalCON range consist of XLR (mic) connectors that are decorated with Swarovski crystals to add some sparkle to your mic cable. They have a tough black metal housing and gold plated contacts to ensure you get a great quality connection to your microphone that will withstand years of use. The connectors also support Neutrik’s colored coding rings that allow you to add a further degree of customisation so that your mic lead doesn’t get mixed up with your band mates if you all have similar looking cables. High Notes: The are available in both male (NC3MXX-B-CRYSTAL) and female (NC3FXX-B-CRYSTAL) XLR connection formats – so you could just solder one to the end of your mic cable that is on display if you wanted to and not have to buy both connectors. The CRYSTALLIZEDTM, Swarovski Elements stand out nicely against the Black chromium chassis and the color ring can be changed without unsoldering insert. Off Pitch: Adding crystals to your mic cable won’t be to everyone’s tastes. Also, there are very few ready-made cables available that use the connectors – so you may need to solder your own. VoiceCouncil Reviewer Says: Love them or hate them, Neutrik’s crystalCON connectors offer something a bit different from your usual mic cable connectors. They are built to an excellent quality and if your stage look involves a lot of sparkles, then these could be the perfect to addition to your setup. It is a shame that there are very few ready-made cables available that feature these connections, as I’m sure many singers are not that confident using a soldering iron (however, it’s not as difficult as you might think and can be a useful skill to learn). If you also play guitar or keyboards while you sing, Neutrik also produce a ¼ jack lead version of the connector if you want it to match your mic lead. Manufacturer’s Website: Neutrik Other Reviews: We could not find any other reviews at the time of publishing.