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  1. I recently discovered the importance of cord closure in singing. It made singing so much easier and accessing the mixed voice feels just so natural and good now. But, it kind of changed my view on breathing in singing. I don't understand if I should just focus on cord closure or actively focus on keeping the breath in the body with abdominal, back and intercostal muscles. Before I worked on cord closure so much, I would focus on what was happening with my torso muscles, but when I started developing good cord closure it all came naturally. My muscles would engage as they were supposed to do and I would feel it and I didn't worry about it. But sometimes, for example when I'm nervous, actively holding the breath with those muscles combined with focusing on good closure seems easier. Then again, at times I feel like I'm holding the breath a bit more than necessary - it doesn't hurt my singing, but I feel good closure could be achieved with less engagement. The question is: should I actively focus on holding the breath in the body with my torso muscles or is focusing on good closure enough?
  2. 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
  3. 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...
  4. 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
  5. I am a baritone and want to write my own songs but am struggling to understand how to make use of vowels in my bridge. I notice that singers whose voices I study that have similar voices use very open vowels on the higher notes of chest voice or in their bridge. This is especially proved true when the vowels are sustained for longer periods in the vocal phrase. Specifically, I hear these vowels on the high notes "eh" as in "get", "bet", "Ted" "ah" as in "bob","up","not" "oh" as in "home","so","no" so I had some questions regarding this and was wondering if someone could help me out by first telling me if my observation is correct and also specifically why this is so? Also, what about the non-pure vowels like "aa" vowels such as in the word "back". I wrote a song that uses a word with this vowel in my bridge but after closer listening through a microphone it sounds a bit strained. Should this vowel not be used on higher sustained notes? and lastly, the "oh" vowel seems to be a dipthong. Is this true? I thought pure vowels were "pure" and not dipthongs. thank you!
  6. You can NOT become a better singer by only experiencing the pleasure of training and singing. Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King, Jr. To belittle knowledge and the way things work, is a popular tactic that is occasionally seen by some people in the singing industry. It is interesting to note that people who make the "less knowledge and understanding is not very important to learning how to sing", argument all suspiciously have one thing in common. They don't have a product to sell and/or if they do, the offering lacks depth. They don't choose to explain how and why the singing voice does what it does. You will never see CVI, EVTS, TVS or programs that offer some scientific insights publish a video or forum post that makes the claim, "... you don't have to know all that complex stuff, just let your inner feelings carry you through. That's all you need. It should never be hard, it should always be easy. You can just will it to happen. Don't bother learning any of the science of singing"... The world's best training programs will never say that. There are two things that motivate people. Pain and pleasure. Some people like to be given permission to avoid all the pain from voice training and learning how to sing. Promise them that they can learn to sing better without any "pain", ( practice, commitment, doing the same thing over and over again, reading a book, paying attention to a lesson, understanding a methodology, understanding how vowels work, etc... ), and they happily get on board. They don't want any "pain" associated with training or learning how to sing better. They only want instant gratification and pleasure. By no means is everyone like this. However, for those that do respond to that message, there will always be someone there to "sell" it to them.
  7. Hey everyone, I was wanting to know what the best way for me to smoothen the transition over the vocal break would be? My current vocal coach is making me do sirens and things like that, with me singing softer over the break.
  8. I've recently picked up singing again after quite a few years, and I've been doing the Mastering Mix exercises by Brett Manning, and I've just been wondering when I should start bridging into mix? As a female. Especially for pop/rock music? Like a newbie I have a bad habit of pulling chest up too high, but I've noticed a comfortable switching point between E4 - G4, is that ok? I think I'm a Soprano, though I can't be sure, but it seems like it. My voice is very light and bright. So I was just wondering what would be a good bridging point for me considering my music preferences and vocal type? Looking forward to your answers, thanks.
  9. I have been trying to work on developing a mixed voice but all I ever get is this weird brass sounding tone once I get past the bridge. Can someone tell me if I'm in mix? Do I need to just keep practicing and it will get strong and sound more like chest? MumRecording.m4a
  10. @ronws said a while ago my voice reminded him of Peter Cetera, so with that in mind I sang this. Sits pretty high the whole way through so I tried to lighten up, twangify and keep the sound bright as much as possible. Any and all feedback welcome.
  11. I have often read that a tenor will experience their first bridge around a D4 - E4. But contrary to that, I have also often read that the voice "changes gears" roughly every perfect 4th. Whether the above statements are true or not, is it possible that there would be a natural disconnect for a tenor around an A3 as the voice changes gears?
  12. How you see i go to the Bb2 to the D5 at least, but it's connected my register? I leave the link below link: Test Sound
  13. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  14. I know he's long out of the spotlight, Gary Puckett & the Union Gap...famous once for hits like Lady Willpower, Young Girl, Woman Woman, Over You back in the 60's. I always admired his tonal quality. But I recently ran across this solo album he did of some rock hits and I developed a newfound appreciation for his obvious skill and seemless transitions on these tunes. If you listen to him, you can pick up on many great things you might want to incorporate or develop in your own voice. Such consistency of tone, he sounds so smooth and seamless going in and out of falsetto head, voice, chest voice like nothing. Such a mixture of dark and light quality. In fact you will think he's singing a lot higher than he really is. I study his vowel particular me. He's right up there all the greats IMO, Tony Bennett, Andy Williams, Sinatra, etc. This is really worth a serious listen! Check out the entire album.. here are just a few:
  15. Dear All, I recently did a cover of I Will by The Beatles, with the attached Soundcloud link as follows: Your comments and review are absolutely appreciated. Thanks all! Regards sincerely, Tim
  16. I've been training with the foundation building routine religiously for the past week and I'm phonating really great sirens with Embuchore and larynx dampening. But during the sirens there seems to be two routes my voice can take as it rises in frequency. One route is into an airy falsetto, the other is a more stable chesty/twangy sound that I'm now able to carry up to b#4. My question is which route do I take? Am I pulling chest? Is that bad?
  17. Hi everyone i wanna know my vocal register based on my colour (timbre, intensity, etc) i am bass? i am tenor? baritone? There is the link of the file (sorry for my english)
  18. Good morning Ray, thanks for randomly playing on my shuffle this morning as I drove into the studio. Keeping it real, and reminding me why the hell I started doing this...
  19. Well, first of all Hi everyone im from Chile and how its say in title i need your help, i really wanna know what is my vocal register... i mean im a tenor? im a baritone? bass? you can note, can you tell me what my vocal range based on the audio attached ? what is my colour, etc, and an opinion about the music would be very well received. That's all I gonna waiting for your answers Listo.mp3
  20. Hi guys, I know the question title seems to hold the easiest answer, but bear with me, please. When I manage to find time to practice, I usually do both lip bubbles and tongue trills as part of my warm up, starting a bit lower in my range (chest voice) and going through my bridge to my head voice, always keeping the resonance in my head. What I noticed is I have a much harder time bridging when I'm doing tongue trills because my folds usually come apart many times, even after I'm warmed up, if I don't pay attention. So, I was wondering why this happens to me , and if it is common with other people too. Cheers
  21. My first evidence afinnity/natural approach was with soft melodical songs like "If I fell" "here there everywhere" from the beatles I sang in a choking, ugly chest register. Then I took lessons for two months and was classified as a baritone because of the strength of my thick cords but the problem was I did not know how to use the head voice and the teacher made his students sing really loud searching for the "fullness" of each note" and he wasn't acknowledging my thin cords passagio notes due to lack of strength despite my effort but I sensed I was well higher than the teacher and my classmate in some notes like he was robbing me 3-5 notes after A3 and overall after C4. I found my niche on my own in spanish barroque pop from 70 and 80 but only in the baritone songs never in the tenor notes because I can only sing those in my not so pretty ligth voice. my speaking voice is confused very confused I can be confortable talking like a posh brittish woman or like a whispery brittish girl or even little boy normally is closer to bieber's speaking voice this one tone I find undesirable voice although I use my thicker cords and sound manly a lot of the time. Since my thick cords shift gear to my thin ones after a few minutes I'm now practising with love yourself and sorry from justin and human nature from michael I notice that Justin's speaking voice is like mine undesirable and he sings as a strong soft tenor normaly I sing above him thinning the cords without choking or using head voice now I can use too many tones in the head. The thing is thinning out I can find a child tone in which I'm comfortable that still retains some undesirability or I can go to head in a range of tones including that one. But my voice is just starting to develop the one song that is challenging my voice to get better is baby from Justin but I don't know how my voice will develop. at the moment the difference from me and Michael is that I can sound like an baby talking child or whispery woman he Can't. Between me and Current justin I can go higher than him with ease and for me it's child like voice or thick voice he has a stable ground and does not sing deep nor strong. between me and the old Justin is that his voice was clear and desirable but my voice is actually softer than that when acompanying. What are your general thougths? Do you think my voice is unfit for singing or will it develop a desirable tone with time? I can get to head voice with the thick cords but the transition happens quicker. Also do you think that Justin abandoned his old voice because a late puberty at 18 or because a personal decision? I'm 21. Thanks.
  22. Okay I've been training with Brett Manning's programs for about 3 years now. Got better but I'm frustrated with my vocal range. A vocal range upto A#4 is all I want for my singing. I'm a Tenor. So I've been hearing these concepts related to high notes. What I've realized is that people refer to the same thing by saying stuff like yawn, lift soft palate, cry and support. Also is the 'cry' necessary to hit the high notes in full voice cuz it sounds weird to me when I keep a cry on my notes. What are they doing? Singing in mix? Belting? Also would that be more towards SLS or classical typa technique. 2nd Thanks!
  23. I've been able to sing in a much fuller sounding voice in higher notes (let's say D4 and above?). I think that what I'm doing is more mix than belting. When a high note, let's say an A4, comes out full I'm sometimes surprised with the result while I sing. It's not a fun: "wow, I sound so full in high notes!" but more like "it came out very full compared to what I was expecting, am I off-key?". Usually - the answer is "no". However, when singing, this moment of doubt is problematic and might cause mistakes in the next notes. Anyone ever encountered something like this? ideas on how to deal with it? I'm trying to sing quite a lot to get used to my high register but I didn't manage to enirely resolve this (crazy?) problem...
  24. True to the original, not taking many liberties. Double tracked vocals and distinct nasality. Dedicated to an elusive lady in my own life.
  25. A song that everyone knows. It's a bit out of my range at parts but still fun and manageable enough considering the relative low passages throughout most of the song. I suppose it's stuff like this I should be posting as it demonstrates my singing in a range where I'm learning to improve on.. any advice or criticisms are appreciated. *the volume is pretty loud so keep your speakers down, or it may blast you lol