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Found 85 results

  1. What are the four voice types?

    HI all OK so today someone told me that there are 4 voice types The first. Is the shy sound The second. Is a puppy sound The third. Is a winey winging sound The forth. Is a call/ belt sound Dose anyone know what I am talking about please and if so what is the proper term for all this?
  2. Hi everyone! I recently just got diagnosed with Vocal Chord Edema, I've had alot of trouble hitting C4 and above in chest/mixed voice and had lost my head voice and falsetto for a solid 5 months after a cold. After being on medication for a while i've been able to explore the 4th octave more regularly with ease and wasn't sure if I am using healthy technique or placing my voice correctly. I am being assessed on this song in 3 weeks and I'm hoping to move my last assessment grade from a B+ to an A! I've only been learning this song for 3 days so some parts are not correct but I am doing my best as my throat gets swollen easily from the edema so I try to practice as much as possible without abusing my voice <3 https://vocaroo.com/i/s0r7K7hrWgxF (Love You I Do - Jennifer Hudson)
  3. Hi Folks, This is one of my favorite songs. I posted a version earlier, this is after I did some work on my musculature. Now I am able to retain more of the muscular sound even on my high notes. The verse as many will attest is one of James La Brie's finest performances. It has taken me several years to reach this level. For now happy with the outcome. Thanks to anyone who drops in a sentence or two..
  4. Wind Beneath My Wings

    https://www.smule.com/recording/bette-midler-wind-beneath-my-wings/1088277799_1483226920 This is a warts and all presentation of my singing. I tried a different intro to Bette Midler. Be interested to know whether you guys think that is works. I was going to re-record correcting any vocal errors but i feel to get the best from a review I need to show where I'm actually going wrong as well as the well-executed parts currently I have quite a poorly chest. Any thoughts on speeding recovery? Thanks guys.
  5. TLDR: Long story short... what songs would you suggest for a bass which, preferably, doesn't go above E4? (I'm talking about the songs though, I go above E4. I can go up to F#4, G4 sometimes, but I want some rest and actually sing really proficiently in the lessons, not upper belt all the damn time where I strain and push a little cause of the soft warm ups she teaches which doesn't loosen up my voice :/. Am I wrong??? is the teacher right??? I'm a bass and shouldn't be singing in a girl's key??? What do you think about this?? So I took private lessons before with a teacher for a couple months, have stopped taking them for a month or so now, and now I found a new teacher. It's a group lesson with my relatives and some others. I'm the only guy in there. So anyways, she makes me sing in a "guy's key", and whenever I sing in a girl's key, she says it's "not my key" and doesn't want me singing in it. And also, I told her that I can't hit that note, this (guy's) key is too high for me. And she insists that I can. Like no, I've went over the range in that SONG, and my range with my old coach, and I go over my range every single day when I practice. It's either IN my range, or NOT. She picks songs for me without even knowing my own range or that song's. Not only that, but the warm ups we do aren't even for belting. So while the girls sing in their lovely mid range, I UPPER BELT my butt through the song without proper warm up, while the original singer, who sounds either a baritone or tenor, seems to be having a great time. I once sang a girl's song... okay... with some really nice C5 and D5, and C#5 and Eb5 belts. But I sang it an octave lower, and she told me to sing a guy's song next time. What does she think a C#4 and Eb4 is for me? it makes no sense. C#4 is already a high note for me, (my old coach told me about the passagio, I checked mine out and it's around C4, sometimes a note higher) and she doesn't realize that and doesn't want me singing in a girl's key. Fyi, the girls learning are untrained. Vocalizing, the girls start switching to head voice on around C5, I switch to head voice on around C4. Going down? They can barely sing an F3, my lower register is a little better, and vocalized down to D2, and a pushed C2 (I don't train my lower register much). So overall, those FEMALES are pretty much inside my range, y'know what I'm saying? D2-F#4 vs F3-C5, except it's an octave lower, their voices are pretty untrained so their range is much smaller. But if they were more trained, theirs will be similar to mine but an octave higher??? So I'm STILL not seeing why I shouldn't be singing in a girl's key. Passagio is similar and so is lower register, only an octave lower. Another note: There was this girl song that I sang along with, and they told me that it was too low for me. BUT THEN, I SAID, IT'S ALSO LOW FOR THIS GIRL, AND THEY (teacher, and aunt who was taking them with me) SAID BACK THAT IT'S ACTUALLY HIGH FOR HER??? I CAME HOME AND CHECKED WITH A PIANO AND IT WAS AN F3. Tf??? And I know who the singer is, she's a flippin soprano, and they're telling me the 3rd octave is high for her? along with C#5 and Eb5 belts? crazy. Maybe I should've let them try that low note :/. I am upset. I think I'll end the ranting here :/. It may unpleasing to see someone ranting
  6. Have I damaged my voice?

    Hey guys, I'm new to the site. I am really worried about my vocal health. I have just graduated uni after years of specialising in vocals and two months ago I began my first proper singing contract in a different country. Because of the change in climate I got ill and ended up with laryngitis. Unfortunately I still had to sing and do shows with laryngitis, however, I had to almost scream to get a sound out. My voice kept getting worse and the laryngitis developed into pharyngitis and guess what... I still had to sing every night. No voice rest for me It has now been two months and although I do proper warm ups before my shows, afterwards my voice is gone because of the amount of strain I am putting on it. I still have to shout to get the notes out and I cannot sing effortlessly like I used to. I'm getting so fed up of it. I live with other singers and I feel unworthy to join in with their songs because my voice sounds so bad compared to what it used to be like. The other singers in my company must think I'm talentless. I just want my voice back. I cannot do runs clearly; it sounds like I am sliding around the notes and my head voice is completely non existent. I know now I should see a voice therapist but finding an English speaking one may be difficult out here. Does anyone have any advice on remedies or exercises that will help me get my voice back? Almost importantly, do you think I have permanently damaged my voice?
  7. Throughout the last 4 years, since I started singing until now, although I gained technique (went from eardrum destroyer to mediocre/acceptable), my high register is fading away. What I did during this time was to smoke a lot (quitting now due to lung infections) and to focus on mid-register and lower register songs. Those songs were easier for me because I have to make little effort to reach the notes (from D2 to A3 is the area where my voice sounds better). When I have a higher song to sing, I lower the key to fit around D2-A3 for it to sound acceptable. In the past, I could sing easy cool F4's, although a little airy. Now, every note past around A3 (which is my "primo passaggio", D4 beind the second) sounds either heady, airy, thin, or unpleasant. Sure I can sing some 4th octave notes today, but they are limited and they use to suck. The main question is, is there a way to help recover some of the range that I lost due to heavy smoking and/or lack of practice, and then belt anything past A3 with some real chest resonance?
  8. Estill exercises

    So the story goes... Today/ yesterday made a new piano/ scales exercise up to do repetativally on the CD player When you get going on it, getting into the rhythm and hitting the notes of the melody, after a while you/ or should I say I start raising my voice and I start shouting or belting the notes After doing this it has left me with a loss of voice or a fading voice trying to sing higher notes I remember my teacher telling me a few weeks ago you should not belt with out doing the estill exercise, he said Adel did this and that is why she had to have an operation on her vocal cords Apart from that he also said I should go and have a look online and I should find this estill exercise somewhere Well googled estill; and nothing but the usual rubbish and sales tricks So what is of this exercise? Thanks 2CIADB
  9. Another great added to the Angel Band. R.I.P. Gregg you helped us through some troubled times.
  10. Wade In The Water (Smule)

    https://www.smule.com/recording/eva-cassidy-wade-in-the-water/830708093_1214803719
  11. She is straining right? or am I wrong :3 2:33 build up to a G5
  12. Hello Modern Vocalist World! I just wanna thank Robert Lunte for his labor - the secret is revealed. For I was searching, trying, doubting... And finally TVS. So practical, exact explanations, awesome! Here I am singing and playing on this video: Vinni
  13. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support?..my vocal range atm is a2-g#4..and head voice goes up to f5 i strain at e4 and i carry chest up to g#4...i know its a bad technique..and im thinking of getting a coach in the future..but i want to start now
  14. MAESTRO DAVID KYLE THE WINDOW OF FAME Vocal teacher for all styles for over 50 years, David Kyle, The “Maestro” became a local Seattle icon and was considered by the industry to be one of the best vocal instructors for contemporary singers in the world. Unique to the “Maestro’s” approach was his method for expanding vocal range into multiple “registers”, or what we would refer to today at TVS as, "Bridging & Connecting". Maestro was also keen on eliminating psychological barriers that hinder singers’ freedom of expression, by use of creative visualization techniques and development of healthy auditory imagery for singing. One day, Nate Burch, one of my students from Seattle, came to the lesson with an old coffee stained piece of paper that had a hand written, transcribed lecture from Maestro Kyle on it. An excerpt from that lecture is shared below as well as popular quotes that Maestro Kyle used to use with all his students. Maestro David Kyle & Robert Lunte - The Vocalist Studio MAESTRO DAVID P. KYLE LECTURE: Those sounds which seem to ring the most are usually the best. Those which seem the roundest are usually the best. Those which seem to resonate are usually the best. Those which seem to echo are usually the best. So listen out into the theater and see if they are echoing, and if they are round, and they are resonant. Connect your notes and don’t be afraid. There are two kinds of stars. There are “stars” and there are “superstars.” The star no matter how he tries he just can’t seem to become a superstar. He’s great, great, great, great, but along comes a Caruso, or a Lanza, or a Gigli, and he can’t quite get over the hurdle. It’s because of one simple thing. The star sings, and when he’s singing he listens to himself; and while he’s listening he shapes it; and he opinionates it; and he shapes it around. If it isn’t round enough he rounds it more. And that sounds logical doesn’t it? It’s wrong! The superstar pictures the sound and knows what he wants to hear before he makes it! Singing is more the concept than anything. If we’ve got the right idea, then the muscles as they train more and more they become like a reflex and the reflexes respond to the image. Even if you’re trained beautifully and your image is a fear that you haven’t got high notes and it’ll never get there the reflexes won’t respond no matter how well trained you are. The epitome of it is you can say singing is absolutely mental. In the process of getting to realize that you have to take a lot of physical steps before you begin to see it, but it is true! The singer has to be in the consciousness and the mood. How does one establish a consciousness and a mood? You tend to become as you act. So if you pretend and try to get your feelings to act as you think they would act if you were doing it, then you’re getting in the consciousness. But if our consciousness is only on body and physical things then our mind is... The rest of the lecture offers another 5 pages of incredible insights about how the mind controls the singing voice. Read the entire lecture in The Four Pillars of Singing. Maestro David Kyle - The Vocalist Studio Maestro David Kyle Quotes “Good singers sing and listen, Great singers listen, then sing” “Good speech is half sung, but good singing is not half spoken.” “Wear the world like a loose garment. Don’t let it tighten in on you.” “Suppose you were learning to drive a car. Would it be better to learn on a road with no obstructions?” “Every negation is a blessing in disguise.” “The art of the art is the art that conceals the art.” “He who would know aught of art must first learn and then take his ease.” “When you open up you should be able to see light from both ends.” “Feel like you are singing with your whole body.” “Your reflexes respond to your image.” “The reflexes respond to the imagination.” “Listen away from yourself.” “Sing on the balls of your feet, like the American Indian.” “Burn Bridges and don’t look back.” “Listen away from yourself, right out into the auditorium.” “Singing is both a science and an art. All art is all imagination and you cannot fix that.” “You have to believe you will receive before you receive and then you will get it.” “Visualize you are already what you want to be. Act as if you are that, and you will become it.” “If you always notice what you are while trying to get there, you’ll never get there.” “Start as if the sound begins before the breath.” “The end is in the beginning, and the beginning is in the end.” “It’s not a game I’m playing! If you think that you’re short changing yourself.” “People don’t get tired of their work; they get tired of the resistance to their work.” “Forever diet the voice. Diet the voice; diet the mind; diet the spirit; diet everything but your income!” “Feel like your whole self is all a part of the sound, like the full violin is just vibrating.” “Imagine the sound you want, picture the sound you want.” “Open up the entire body and see the light through both ends!” “Breath, pause, release the jaw, visualize the sound you want, and sing to the back of (Carnegie Hall).” “We don’t let attitudes control us, we control them!” “Only babies are victims of moods!” “Let the sound flow right over the roof of the mouth into the masque.” “Bowels up, vowels forward.” “Some day you’re going to stand up and say, ‘This is me’ and go!” “We tend to become as we act.” “Attitude is everything in everything.” “Every time you find your thinking going to the strain or the resistance, immediately create mentally the sound that you want, hear what you want.” “And remember you have a beautiful voice. At your worst you sound better than many of them at their best!” “Just don’t sound like everyone else!” “And tell it your singing marvelous, you’re singing wonderfully!” “Sing Away from yourself, to something.” “Listen, then sing!” “Way to go Baby!” Maestro David Kyle passed on Saturday, November 27th of 2004 OTHER VOICE COACHES OF ROBERT LUNTE...
  15. I have been somewhat in a kind of void wondering what I might post. It's been a while. I stumbled across Rosetta in my hours of Youtube wanderings searching for music. I remembered the old hymn she was singing called, "This Train," though I sang it with a waspy congregation, the whiteification of the song didn't water down it's impact on me. I like the way Rosetta soften's (with humor) the potentially "condescending" anti drinking & smoking lyrics by gesturing towards one of her band members as a loyal whiskey drinker. The inspiration of course is to always strive to shed my vices and aspire to righteousness! Makes me wanna be good! So as I'm watching Rosetta with a tear in my eye, suddenly I think of Alabama Shakes, realizing what an interesting similarity Rosetta shares with their lead singer Brittany Howard. Not ONLY that, but my favorite song by Alabama Shakes, "Don't Wanna Fight" was also a perfect sentiment to my personal circumstances, and is an outstanding groovecentric tune! Both these Women really demonstrate a level of passion and emotion in their singing that I really admire!
  16. So ive worked my headvoice quite a bit over the last several months. Its responded nicely and my upper range has opened up quite a bit. Time to work some belting now. I find that when I want to sing loud in headvoice its not too hard to do, I can get a nice cutting tone etc...but when i try to really go for it in chest voice or maybe right in the bridge, it gets a little constricted, maybe a little muffy. i cant quite make the note as "big" as I want it to be. of course i also know that I simply havent trained that aspect very much...but im gearing up for it now of course, I have seen about 2 dozen definitions of belting etc. I am going to post up 4 examples of singing styles that I like and want to emulate. Would all of these be considered "belting"? (also testing the forum to see if the post eating bug has cleared up lol) are these all clearly belting, or are some just good strong headvoice? of those, David Lee tends to be more chesty. Im realizing lately that dude was a monster singer
  17. Hey guys im providing links to 2 voice clips showing what i think is my mixed voice and then my falsetto. Ive heard people say my mix voice is a nasaly/chest falsetto. Could you tell me if thats the case? I doubt myself cause i go high as G#5 in mix voice. and im 17 and a guy and dont know if i should be able to sing that high. In my falseto clip, the first sound is me making an intentional chesty.nasaly falsetto becuase thats what i imagine a nasal falseto sounds like, not when people call my mix voice that. can i please get your opinion? is my mix voice actually a nsasal falseto? Also sorry my falsetto sucks in general, its hard to sing that high without mix, ive never had singing lessons but im lookin for a coach! and sorry my voice cracks at the end of my mix voice clip, its so annoying and i cant help it mix voice falseto Mix voice.wav Falsetto.wav
  18. I want to improve my belting range. So far, the highest I can belt is up to an F#5. But I have sometimes belted up to a G5 before. Anyways, I want to improve my belting range, and I want to practice it, by singing songs that are like, at the end of my belt range. So if you guys know of any songs, that have E5-F#5 belts, feel free to comment them!
  19. I've now had a few wonderful lessons with Robert and I'm still working through my lessons So much material in The Four Pillars. Seriously good stuff. When I started, after years of singing classically in mostly head register, I had an extremely limited belt range (for a woman). So limited that I was only able to hit G4 or so in belt. I've been at this for 3 or so weeks now, and I'm up to a solid D5 in a strong belt using the onset and sirens, and today on a few sirens I was able to bridge up to my F#5 smoothly and cleanly with almost zero tonal change. I still have a LOT of work to do, but holy shnikes. I'm not solid yet - I have a lot more practicing to do but I have to say I'm pleased. I'll keep going with the log, so that progress can be seen and heard, but I'm super happy so far!!!
  20. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  21. Oh man, I'm trying to learn this song and it's just killing me. But what I'd like to ask is what is she doing when singing 'lovers' at 1:30. Is this a really fast trill/run she's doing? I'm new to this technique but I always thought it was something you kind of did with the back of your throat yet there's a lot of movement in her lips. Can anyone shed some light on what's going on?
  22. Brick wall at the B4

    So I've never been able to sing a B4 or higher in modal voice. My range goes from C2-Bb4 with another octave of falsetto on top of that. Even when I sing a good feeling Bb4 belt the B4 seems like a physical impossibility for me; it feels like a rubber band that can't be stretched anymore. Overall a step under three octaves I consider to be a pretty good range, and through lots of training I have good dynamic control all the way up to the Ab4. A4 and the Bb4 are tricky and crack frequently. It's quite rare to find a singer that sings over 3 octaves without resorting to a brian johnson-esque distorted head tone. Do any of you experience a note where your modal voice just can't continue anymore?
  23. Too pushed in belt?

    This goes along with my other thread, and yes I am now a premium member I'm just starting to exercise my belt voice, and I'm wondering because it sounds SO different than my higher range whether it's ok to keep belting here or whether I'm pushing it too hard. This quick recording of Hallelujah was done on my computer with just the mac mic (so I'm peaking out) and I gave up on the recording because my husband got home and the dogs were about to go nuts. https://soundcloud.com/bevin-hernandez-1/hallelujah-unfinished The other recording of Your Song is done in my head/mixed voice.https://soundcloud.com/bevin-hernandez-1/v1_yoursong-1 They sound like they've been done by two different people My question is...is it ok to keep working low in belt to try to reach a better mix? Am I pushing too hard? Anything else that you want to share?
  24. For years I sang as a very high soprano (I believe I'd be classified as a lyric soprano), doing a lot of Classical and Broadway stuff. After about a 20 year break where the most singing I did was in the shower due to raising kids, I started singing again, but now I'm being called upon to sing mostly Pop/Rock, and I'm struggling a little. I have a "soft and mellow" chest voice that I can mix easily through the middle and up into my upper registers, then through to very high whistle with no effort. That's good but it doesn't really work for the genre except during emotional moments. I have a mixed voice that I can access from middle C on up. At least I think it's mixed. It's strong, but it is definitely not a belt. Then I have this very limited "strong low belt" voice that I can't seem to transition into my mixed voice through. I can pop into head, but of course that's ugly and all I get is a soft head voice, but it takes me a few more notes to adjust back to mixed. In my strong low belt, I sing like a tenor (I'm female) and can't really even hit an alto range. For reference, my belt is strong from D3-G4. Above G4 it cracks badly. My head voice can go through to beyond C6. I'm very confused by all of this. I speak very low, and often times people are confused by my singing voice because my speaking voice is so different. This leads me to believe it's a technique issue but after reading and watching and trying to learn I'm not sure what I'm missing. Any pointers to exercises that may help me sort this would be terrific.