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Found 39 results

  1. 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..
  2. 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.
  3. Wade In The Water (Smule)

    https://www.smule.com/recording/eva-cassidy-wade-in-the-water/830708093_1214803719
  4. 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
  5. 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
  6. 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!!!
  7. 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?
  8. 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.
  9. 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
  10. 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
  11. What am i doing wrong?

    I tried to sing "let's Marvin Gaye and Get it on" by Charlie Puth but when the chorus comes He sing like this Charlie Puth - Marvin Gaye (Live) and I sing like this Let's Marvin Gaye and Get it On (cover). His voice sounds like the chest voice while my voice sounds like head voice What am i doing wrong? And how can i fix it?
  12. can someone critique my cover of "Rolling in the Deep" please? I'm practicing vocal runs/falsetto and would love any advice I can get please. A few things, At "We could've had it alllllll" my falsetto wavers every single time I try this. It's very low in my falsetto range but I can't switch to mixed voice that quickly. What is a god exercise that will help me transition quickly? I'm 20, male, and have been singing for about two years on and off. I think my breathing is okay at this point but I had some trouble breathing around the halfway point of this song until "We could've had it all". Thanks!
  13. Hi, so I have a hard time belting. A lot. It seems I can't figure out how to properly let the air flow or something. I was wondering if anyone could assist me in this dilemma, I even made a recording on youtube to help get a better understanding of what I'm doing and how to fix it. I did half of a song that represents me belting a few times and even if you see other issues that isn't belting, please point them out. I am finally asking for some help. I would appreciate some helpful feedback~
  14. Hi! A little background: I have trained my vocals with a college instructor for roughly four years, I haven't had a lesson in nearly two. The reason I say this is because I had posted on Yahoo forums only to be lectured without constructive criticism by someone who had the information I was asking about only because I was hoping someone would provide it free of charge. I am a student. I am also broke. Whenever I can afford to, I will reinvest in a vocal coach because I am aware that not having one has lead me to developing bad habits. She pretty much told me I shouldn't sing at all without years of proper training; in other words, said my vocals sucked! My techniques are full of bad habits. I need help analyzing them and figuring out what I can do to release the tension and build a stronger, healthier voice--that much is certain--but I am determined to learn the techniques used by a specific singer. Anyways, here is a song of mine for example. I did every part by myself, I also produced it with Cubase LE 5 and Ozone, but I am a crap producer and I don't have great equipment. The vocals are also completely random and nonsensical because I am more concerned about the tone of my voice at the moment and would like to address that before I do any serious song writing.. This song was really just an effort to get myself out there in the first place, but I'm apprehensive to advertise myself because of the quality of my voice. Here are a few more random examples. Clip C isn't my backing track...just to clarify. It's only for an example. I'm bothered by this in a few ways. For one thing, there's no smoothness in my tone. For another, I'm shouting at times. I am actively aware of my diaphragm and attempting to further naturalize my reaction to breath down into it, but the control seems to be an issue...I've heard that I need more breath while singing higher, but I can't separate myself from pushing the notes and it actually seems like I'm using less air...I feel like the only thing that sounds good most of the time is my distorted belts.. It should probably be worth mentioning that I had a background in metal too. I was unable to learn my screaming method under a teach...so I think I may be fry screaming and I've heard that was bad as well. Could that be relative to my incorrect executions of belted distortion? I am very fond of the distorted belt, one used by my favorite singer, Jonny Craig. This song here is amazing, it's my goal to be able to sing this correctly without strain in my own unique voice. But, I would be content with starting off this song correctly without strain to build up to more challenging techniques. I am under no disillusion that I can make my voice sound like his. However, I want to be a better singer, and I am determined to reach this magnitude of greatness. The only problem is that I'm broke, although I have a job, and live in a very plain area in Missouri that harbors very few musicians or coaches who can help me achieve these goals. I live about an hour away from St. Louis. If I knew of a coach there that could help me out, that might be a decent start. I could probably even take some exercises and run with those. Most of my equipment can run my voice back into my headphones, which gives me a good representation of my overall tone, which helps me decipher where I can improve...this has actually helped me improve dramatically in the past week or so. Thank you in advanced for your services! I'm looking forward to hearing your critiques.
  15. https://app.box.com/s/dnc0qhf770ihrubem25whchyl2x0nptw I was feeling adventurous today.. It's a song I'm familiar with but never really worked on in depth. The C5's towards the end felt more comfortable to me than the Bb4's, and I remember my teacher saying this would happen at some point because of the way these notes work in a belty sort of configuration. I guess it holds up here, but I'm proud I was able to actively think of and use technique I've learned to even access these notes today. I usually don't touch Musical Theater, mostly because I'm not sure how it's properly meant to be performed - same reason why I don't go near operatic stuff unless it's the crossover stuff that Josh Groban and similarly styled artists have done. I've done one Rent song, Will I, but it doesn't really sound like a "theater" song per se to me. Anyway, hope you enjoy and I hope there is some semblance of theatricality to this recording. Any and all feedback welcome.
  16. Its been a while! I was studying this one for some time but had to put in on hold to learn a bunch of other songs for a project... Anyways, cool song that in my opinion needs an extra punch to work well. Very fun stuff to study, I recommend! https://app.box.com/s/9ylbzjg5g56stj9icr5atqza9jdio9lc Let me know how it sounds like! and thanks for listening!!
  17. Chryssanthemis - Je T'aime (Live)

    "Je T'aime" : is a romantic French-pop ballad of Lara Fabian, included in the album “Pure” (1996), Lara Fabian is a multilingual Belgian, Canadian lyric soprano had sung songs in French, Italian, Spanish, and English, Portuguese, Hebrew and Greek.The song expresses the love and pain that a woman feels for her beloved!I Hope you enjoy it!Official Facebook Page: https://www.facebook.com/ChryssanthemisModern Music Arts Facebook Page: :https://www.facebook.com/modernmusicartsModern Music Studios Facebook Page:https://www.facebook.com/modernmusica...Composition - Lyrics: Lara Fabian & Rick AlisonVideo Editing: Modern Music StudiosElectric Guitar: Steve SovoDrums: Fotis YiannopoulosBass Guitar: Dimitris VerginisPiano: Aikaterini DeliyiannidouKeyboards: Kleanthis Konstantinidis
  18. Because You Loved Me

    I had been working on this song since last year - the climax "Because of you" isn't as full as I would like it to be, I guess since my voice thins out past Bb4, but I think the pitch is right for the most part. This key felt really comfortable for me though besides that part. I really like this Adult Contemporary stuff she did. Any and all feedback welcome. https://app.box.com/s/buvjmgr00xl5g1nl0ymqnwp7s1xtoh8z
  19. Hi! I'm Anthony, I'm new!! This is a clip from an audition I did in 2009: https://vid.me/n8jg This is a recording I did last year: http://picosong.com/9CTE/ I've never had any training or really performed in front of anyone, other than karaoke and that audition from six years ago. I have massive stage fright, so it makes things really difficult for me. I'm not even really sure what my voice type is, or what genre would suit me. I've been told I'd be good for Broadway or opera. I'd like to get some feedback and see what I can do, musically. Thanks!! - Anthony
  20. Hey guys!! Here's my cover of Stairway by Led Zeppelin!! Please tell me of your opinions, what I'm doing right and wrong, the type of voice you think I am, whether you'd like to hear me singing something else etc I'm a 19 year old untrained amateur singer from Pakistan. English is my third language. Cheers!!
  21. Hey guys, here's my cover of Earth Song by Michael Jackson! Please tell me of your opinions, what I'm doing right and wrong, the type of voice you think I am, whether you'd like to hear me singing something else etc I'm a 19 year old untrained amateur singer from Pakistan. English is my third language. Cheers!! https://soundcloud.com/junaid1754/earth-song-michael-jackson_cover
  22. http://vocaroo.com/i/s1wcFG0tUqWR I am really loving the feel of it, tell me what you think so far HEY GUESS WHAT!! you can review people's music and get paid for it AT http://www.slicethepie.com/?wyd=727083 --referral link I use the site every once in awhile and make a few bucks so I figured it wouldn't hurt to share the love and make a few bucks at the same time (Feel free to delete this part of my post if you would like. I am mainly posting about my new song im working on. If you would not like to see referral links on the forum please feel free to delete this part of my post. I am just trying to make a few bucks)
  23. Readers of my posts know that Freddie Mercury is my favorite singer. I have always wanted to sing Queen songs(even if I don't do a great job of them :)) I have done a couple of takes of this very song with mixed, mostly average results. I am confident enough in my singing and my technique to post an update. Please comment specifically if possible on the belting/aggressive portions of the song. Also to me the chorus sounds a bit too sharp(piercing to listen to and not in a good way). Not sure if this is a singing technique issue or an error in mixing(or both). https://app.box.com/s/59r4g7q8tptndur6odplhf4layn69exc
  24. Safe belt or not?

    First of all, I have this video of mine singing Gary Valenciano's How Did You Know. https://www.youtube.com/watch?v=I5vpwbMoXrI&feature=youtu.be And I would really appreciate if you'd comment positive and negatives on this cover. Better if the comment was with technicality. The song was quite high for my range though. Haha I hope y'all like it!
  25. Before I give the link to my recording, I have to share how I feel about attempting this song..          Now for the link..    https://app.box.com/s/az6jzsweecrmhl4w6kkr19u7r24cnafd   Thanks for your comments, feedback, critiques