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Found 75 results

  1. 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
  2. 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...
  3. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support? 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
  4. 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!
  5. 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!
  6. 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
  7. 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
  8. 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!!!
  9. "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.
  10. 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?
  11. 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?
  12. 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.
  13. 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. The other recording of Your Song is done in my head/mixed voice. They sound like they've been done by two different people My question 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?
  14. I've been teaching a lot of new students lately, so haven't had time to dive into the course as much lately. Granted, I've been teaching the onsets in more of a TVS way now, and have noticed a big improvement on helping my student's get results even faster than before, not just that but pinpoint issues extremely fast too. For myself, it has given me a lot more control over my voice as well, but in ways I didn't know were even an issue. This is exactly the type of program I've been looking for, since I feel I'm already pretty advanced in my singing. I'm writing this just to say thank you for one thing in particular. After learning the lift up/pull back technique, using TVS coordination onsets, and even contract & release (although I overused it at first, ouch, lol!), my opened up my voice more than I thought possible. Before, I could easily sing a C5, even up to an E5 while belting, but only for about 30 minutes before feeling some fatigue. I could even belt up to a G#5 for a very short period. With the fatigue, I figured I was pushing too hard, but didn't know another way. So, with the new album being written, I simply started writing and altering my songs to stay lower in pitch than that. After practicing TVS methodology, I quickly realized just how much a belt is truly just head voice with TA being added. With this realization, I could suddenly control the volume and pressure of my belting much more than before. I can belt the E5 for hours now. To be clear, I know the difference in sensation and sound from a true belt vs. falsetto with twang or added harshness. I haven't ventured much above that, since I currently still fight the urge to push. The last time I belted the G#5, I was teaching a soprano a certain song, and didn't realize how high I was singing until it started hurting 15 minutes in. Then it was too late, I had pulled a muscle and it took me 3 months to recover. Needless to say, I'm overly cautious about belting above the E5 now. Not that I normally sing anything that calls for anything higher than that anyway. I'm very excited about this discovery, and I'm looking forward to the lesson on belting to refine it even more. Thank you for taking the pressure off my upper belt range. This will be extremely important as The Silent Still begins to tour our Rock Circus Masquerade production at the end of this year.
  15. Hi guys I'm kind of a beginner so please bare with me, and sorry if something like this has been answered elsewhere before. One of the things that really makes certain belts stand out to me is that 'ringing' quality. Not necessarily a overly cutting sound, but a nice round 'pingy' ringing sound. An example of such a belt is below (3.10-3.40, the first 'OOOOH', then 'BLIND', then 'YOUR', 'TRY TRY and TRY' - the whole climax sounds super nice but especially these notes). There are dozens of other examples but I always loved this especially. But my main question is, what is this? Is this twang? What is it EXACTLY that achieves such a round 'ringing' on notes? And HOW?
  16. Unfortunately not too many people are familiar Steve Walsh, probably because Kansas songs aren't as well known. So I wanted to start a thread to analyze his vocals. This was the song that started it all. Had to imagine that I might have never known about Steve Walsh if a classmate hadn't decided to play it. This was the first time I heard the song and that was in the post 2000s era! I didn't know anything about vocal technique back then but actually it was the lead singer's voice that captivated my attention instead of the iconic guitar riff. Below are the moments that stuck out to me the most the very first time I heard this song: 3:49 - 3:53 "Nothing equals the splendor" Very strong EE and on a C5 too! Still don't know how he does that. 3:46 - 4:00 "Surely heaven waits for you" This time an excellent OO from "you" on a B4. Pretty remarkable that it's a closed vowel at that high of an intensity! 4:13 - 4:21 "No mooooreee!" Another high intensity moment on a B4; this has got to require good breath management and efficiency Alright, here's one more: 6:48 - 7:28 OK this is pretty incredible. More than half a minute of beastly endurance! Vowels sound like OH-AH-UH to me, but I might be completely wrong.
  17. ok, so some life drama has sidetracked me for the last 2 I am trying to pick back up where I left off my "training" 2 questions 1) Belting vs bridging. I guess my question is any one time a singer can only be doing ONE of these...yes? for example. Lets say a guy starts to feel his passagio around e4 at an average intensity level etc. Now, if he wants to bridge up into higher notes then he goes ahead and starts to bridge at that point...yes? BUT, if he wants to BELT on up to f4 or g4 etc then he will use more support etc and stay in chest voice and "belt" up to f4-g4...correct? So here is the question.....once he starts his belt technique he CANT then bridge, can he?? say he did belt up to g4....he is pretty much stuck there yes? he cant THEN bridge higher can he?? He has gotten the mechanisms into the wrong configuration, yes? (perhaps a mega skilled singer has tons of flexibility in these areas, but I am talking a guy with a decent basic skill level) 2) So that leads to the 2nd question. for a relative unskilled newb, whats the best way to train? a) spend more time building the belt skills/chest voice. start working on bridging right away? c) combine the 2 approaches any ideas? thanks
  18. Robert Lunte - "Nocturne" I love this song, I hope you do too... Some of you have heard this. This is the Final production. Special thanks to my team Zack Uidl, Jason Shavey and Clay Copeland.
  19. What do you all think of Beyonce as a vocalist? She seems to have excellent control over her instrument. My only gripe is the clavicular breathing with the audible inhalation. Here are a few good videos of singing for you all to analyze: What do you all think?
  20. This song is darn good. Addicted to the song since the first listen. I can sing in that range but I get louder on the top notes. It doesn't hurt but I have this weird abdominal pressure that feels like I'm pushing air with my abdomen and my vocal cords are resisting the air pressure. Is that belting? Would it harm me?
  21. Ok this is the time of my life where I'm really really vocally frustated.. Started off 4 years ago with Brett Manning's stuff brought MM, SS, MV, etc. I've improved a lot but not as much as I'd like. I want a consistent working vocal range from E4-C5 and then I'd focus on other stuff. I can already hit those notes but I've to put much effort and when I sing with a little less effort, I sound like whining. I'm thinking about moving to Ken Tamplin's stuff. I've already brought his program too (all 3 volumes) but he looks like he's straining and his notes sound extremely heavy. I do not want that. I'm an engineering student and belong to a broke family. I cannot afford a vocal coach or any other program for now or atleast for 4-5 years until I get a job. What are the vocal techniques of these guys? They're notes sound so full yet effortless. I can do that but it sounds like crying and takes much effort. G#4-A#4 at the starting. This guy slays the notes at the end (F#4-G4). The most difficult notes for me. Any help would be extremely appreciated. This guy is currently at the pinnacle in India.
  22. Hello. I joined a choir, so my interest is in developing my head voice, which was totally abandoned (I was in a choir as a child). I saw Felipe's video on low notes and realized I was singing too often in my high notes now, so started singing some in my low notes but in Head Voice. But do you think it would also be good for me to sing some in strong chest voice? My throat was totally underused until I started now in the choir. I hope I was able to make the question clear. Tell me if I didn't.
  23. Robert Lunte, "Timeless Chains". A song about my "x" Anna Christina. Enjoy. Silently your, beauty took my breath away... Now comes the rain, can I feel another day. So much time has past away from that fateful day. So much time has passed, since you turned away. Chorus Now timeless chains, there's no escape! You walked Away Just when I started to get my life back under me. Berlin skies of gray, so cold I cannot breath Cause I lost, mean Frau in the storm, that marked my destiny! But here I stand defiantly mending a heart ripped to shreds of tragedy But my face to the wind, Im washed from my sins, but you still keeps haunting me Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me So much time has past away from that fateful day. So much time has passed since you turned away. Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me!