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Found 147 results

  1. Hi guys! I was wondering how this singing technique that is used by Olivia O' Brien in "i hate u i love u" at 0:25 on the word "love" worked. It might be a very small vocal lick or something like that, but I haven't been able to identify the melody used here. The same goes for this "FIRE" cover of Aki Chan at 0:58, on the third "La" she is singing. Thank you very much for your reply in advance
  2. Hi Folks, This video really highlights all of the style and skill inside M.J.'s vocals. I thought it would be enlightening to hear, study and digest. All the little embellishments and techniques he used, some exclusive to only him. It's a great resource if you want to tackle that one and cover it well. Vocals begin around 46 seconds in.
  3. Welcome New TMV World Members! Please take a moment to tell us who you are, where you are from and what you hope to get out of your membership here. Also, if you have music to share with us, please feel free to embed your soundclound.com or box.net links in here. Be sure to upload a picture to your profile as well so you have an identity in our community. On behalf of myself, our moderator team and the long term, experienced members of our community, we welcome you! CLICK HERE >>> TO SEE THE HOME PAGE CLICK HERE >>> TO REGISTER
  4. I am a 15 year old and have been trying to learn singing for over six months, but with little to no progress. I can't sing in tune with any song. No one in my family, neither from my mother's nor from my father's side, can sing well. Maybe it's something hereditary that prevents me from singing well. Whatever the reason may be, I have absolutely no talent when it comes to singing. So, I want to return to square one. Please suggest a vocal training routine and share some tips.
  5. Hey there!, I am verry new on singing and just had a few questions about starting out and would love to get some tips &tricks! First a little bit about myself: I am a 17 year old guy with a pretty low/deep voice but would love to sing a bit higher and can't afford any singing lessons. Here are some questions: - What is the best way to start singing? -How can i get a bigger vocal range? -Where can i learn about the basics of singing? - What is your personal experience with starting out?
  6. For the pipe organ an open valve will trigger the sound of the pipe. The key of a song tells us which valves we can open safely to stay in harmony. Singers have a comfort zone All singers have a comfort zone, a range of notes that sound best and can be performed effortless. Despite of the ability to expand the vocal range through training, every singer has an individual physical quality which is responsible for the position of the comfort zone within the vocal spectrum. We may not consciously observe this, but the habit of speaking is already giving us a clue about this range. In classic musical education we classify this range by defining voice types, though this method is mostly a helpful convergence to reality. For the singer it is therefore essential to spend some effort on song choice, especially to ensure that a song lies within his or her vocal abilities. Of course that is not the only consideration during song choice, and if you are interested we invite you to read our article "Improve Your Song Choice" to find out more. Another possibility is to simply change the range of notes to be performed by changing the key of the song. The original key Every song was written in an original key. The key we know for any of these songs could be the one it was written in, or it could be the key used when the recording we know was produced. We still refer to it as original key. Original keys are usually relatively easy to access. They may be documented in sheet music, or available in databases, per example for DJ's that research harmonic mixing, among other sources. It also can be determined by examining the chords and notes of the song. It is to mention that a key can and oftentimes does change within a song. The key a song is regarded to be in is most often starting in the key and at one point returning to the same key before the end. Find out what exactly a key is, and how keys are transitioned in our article "Musical Keys and the Key Change". Here is an example. A song written or performed in a G Major key is based on the tonic note of G, and includes a system of notes defined by the major scale that is also based on the tonic note. The chord progressions used in the song will to a great extent lie within the scale, with the tonic chord being the foundation of those progressions. What happens between the use of G Major may be harmonic movement and/or modulation. Lead Vocals and original keys Here at Lead Vocals we consider our practice section as a tool to quickly review and learn the melody, timing, phrasing, and mood of a performance. In addition we think that the tool enables vocalists to study other artists by paying close attention to ingredients like dialect and pronunciation in language, the choice of placing words or phrases within rhythm and beats, any habits, and style and musical influences. Unlike other existing tools like per example some karaoke platforms we do not offer access to the same performance in multiple keys. But just recently we have introduced additional helpful information about many of the songs available here within the tagging system. At present we offer selection by tonic pitch, musical key, and scale information which can be helpful to explore new music. We think that from an educational point of view the choice of the tonic pitch is most interesting, because many melodies in songs may start or end with the tonic note. If a vocalist can deliver that note in a rich, strong, and compelling tonal quality that makes the audience want to hear more, then the song choice by tonic pitch may lead to the discovery of suitable songs for the singer. You may give this a try by selecting a song to practice by tonic pitch. Continue solving the mystery Find out why vocalists change the key of a song and how they approach the key change. In an attempt to solve the mystery behind the musical key we define what a key is, and explain the background of harmonic movement, chord progressions, and modulation. We also include the consideration of emotional characteristics for all keys based on the major and minor scale, that may play an additional role in the selection process for the vocalist. Further we're taking a brief look at common practice in recording sessions. Continue reading about this topic in our article "Musical Keys and the Key Change" at http://www.leadvocals.ca/background/musical-keys-and-the-key-change Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  7. An example for the use of music is its distribution to people through a sound system. If a singer, instrumentalist or a band wants to record, use, or perform music that is owned or controlled by somebody else, it is very likely that a license has to be obtained to do this on legal ground. Find out what kind of licenses control the use and recreation of music compositions, audio recordings, the use of music in public, the reproduction of sheet music, and the performance of theatrical productions. At Lead Vocals we also offer links and services to help you obtaining licenses for cover songs. The purpose of licensing The purpose of music licensing is to make sure that the people and companies involved in the creation process of music, like per example the composer, the record label, the performing artist, and the publisher will get paid for the work and effort they have put into a piece of music. Allowing somebody to use a piece of music either as a composition, or as a recording, can be understood like a trade between the creator and the licensee. Per example, if an artist is recording a cover song of another artist and is then distributing and selling that song on his or her own album release, he or she must ensure that the original composer of that song gets a share in form of a royalty. A royalty is a sum of money paid to the rights holder for each copy of a work sold, or for each public performance of a work. In common practice such royalties are most often calculated and collected in advance during the phase of producing the copies. Types of music licenses It is to mention that we in general distinguish between different kinds of uses for music, its recordings, and its production. Here is an overview with examples for the most common types of music licenses: In general a license is necessary when the task is done by someone, who did not create the work. The overview shows a common example, but is in no way a complete reference. If you are interested in reading deeper into the topic please continue reading our article at - http://www.leadvocals.ca/background/music-licensing Additional Information License a Cover Song http://www.leadvocals.ca/resources/license-a-cover-song Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  8. Proper Breathing for Vocalists Breath is the motor of our voice. Knowing how to breathe correctly and being able to control it is one of the most important skills a singer can have. A proper breathing technique will enable us to sound great and to improve the tone of our voice. Our ability to sustain notes will increase and we will master to sing longer phrases more effortless. Breathing is a natural process of our body and therefore a good breathing technique comes natural and unforced. Methods of Breathing The human body knows several different ways of breathing which are called costal or chest breathing, clavicular breathing, abdominal or belly breathing, and diapragmatic breathing. The latter two are to prefer when it comes to singing, though only the diapragmatic method allows for full breath with maximum control. The diaphragm by the way is a muscle system that is located in the abdominal region right under the lungs. It controls the air flow by contracting when we breathe in and relaxing when we breathe out. Breath Support As a singer you want to learn slowing down the relaxation of the diaphragm to gain extra volume used for sustaining notes and sing longer phrases. This is called "breath support" and can be achieved in two different ways, either by adding a bit of muscle force during exhalation and while using your voice, or through lowering the muscle force used during inhalation. While the first method allows for an increased volume the latter will result in less air pressure in the lungs which in turn will slow down the exhalation process to the extent that you can sing longer. The second method is popular through the "Italian School" of singing, also known as Appoggio, which includes resonance factors in form of phonation alongside the breath management. Exercises to improve breathing Understanding the theory behind how the body masters the task of breathing builds the base for the vocalist to improve upon his or her own breathing technique, however the singer also needs to build an understanding on an experimental level. For this reason it is well worth to experiment with a few exercises to gain an additional understanding. At Lead Vocals we have collected a number of exercises to get you started. Continue reading about the topic and these exercises at - http://www.leadvocals.ca/improve/breathing Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  9. Hi all, have not posted here for a while. I'm still studying and practicing and I've improved a lot but there's a big gap between what I can do and where I want to be. I had a few opportunities to sing while playing with people and I still sing out of tune more than I would want to (although I really improved in this sense), moreover, I don't always feel that I exactly understand my capabilities. When I picked up a guitar I've started playing with bands/people after two years of playing (a year and half of lessons and half a year practicing alone). With vocal training it seems like it would take much longer. I did have experience playing the piano before I picked up the guitar - so I already had fundamental for playing an instrument while singing takes some additional techniques that I never used (if that makes sense). Still, I'm writing because I'm somewhat frustrated... For the more experienced guys here: how many years of lessons and practicing did it take for you to be confident enough to actually start singing in a band/seriously recording?
  10. I have been placing my hands on my throat and on top of my diaphragm at the same time and have found out that a lot of tension is gone. No breaking, more resonance, better relaxed richer tone. Everything is good, no problems with that. But when we perform, I am sure that our hands should not hold our throat haha. That would just look weird. What is another thing I can do to trick the brain to not add unnecessary tension to the voice?
  11. I just read this article about Xfactor's vocal coach who also trains Jessie J, Sam Smith and others famous singers. I found it quite interesting towards the last part of the article that he talks about needing raw talent to get the most out of your voice. What do you think? Do you agree? https://medium.com/for-life-journal/the-x-factor-vocal-coach-who-saw-money-in-one-direction-7481d565a24d#.igbgyo7zp
  12. tutorials

    Hii... i'm posting this one link here... its a pretty untidy take at the song I am confused as to whether this hooty sound is head voice or what is supposedly called the 'reinforced falsetto' .. what i know is that its not meaty enough the way true resonant head voice is ... I've nowadays taken to exercising for a fuller head voice..But i wanted to know just what i've done here
  13. Just want to know if I should keep singing or give it up? (Singing) ----> https://www.youtube.com/watch?v=lsbptdfKSFs
  14. I am also a guitarist. So I found that going to the music room, and using the microphone is great. But a lot of the time, my guitar is sitting right next to me and is really convenient. So after doing the foundation building routine exercises, (And I can tell you because I record them) exactly 34 times, using the files from The Four Pillars Of Singing course. I have gotten to know them very well. This includes the melodic fifth sirens, which on a guitar is just a basic bar chord. So the top string of your bar chord is the first/start note, and the second string in your bar chord, is your 5th. I have found that it is quite helpful. As you get to practice your scales on the guitar (Or any other instrument I guess), and so therefore your understanding of where notes lay on the guitar, at the same time as training, and warming up your voice. So obviously you could apply this to an electric guitar, or any other instrument, and then still use amplification for your voice. It's early days for me, having only completed the "Foundation Building Routine" 34 times. But I will experiment more with this idea, as I progress further into "The Four Pillars Of Singing", and at this stage feel it will be helpful. If anyone has any advice, or thoughts regarding this idea. Please share.
  15. Hello there, so you came here with in mind "No way!" Or maybe because when i drink i think i sound better. Ladies and gents, it gives me confidence. This is what i need to get past, i have recorded myself drinking and that's the only time i sound good. I am a song wrighter, and i play almost every instrument out there. It seems whenever there are people listeining, i forget how too. I cant imagine what i would sound like if i got past this confidence issue i have. I live in an apartment, i cant let loose unless NO ONE is near me, and that is when i am most confident. Ive came here to ask you, have you ever had this simular issue...And how did you get past it... Much Love, Michael.
  16. Welcome To The NEW TMV World Articles System! CLICK HERE >>> Post Your First Article / Blog at TMV World
  17. Hey guys, so in the last few months with the help of our very own sexy Swedish bastard Jens I've made a lot of progress in honing my vocal technique and even more excitedly, my falsetto register! In days before I had completely abandoned the M2 register thinking it was a useless party trick and that if you pulled chest long enough you'd start developing "Real head voice." Obviously, I'm a complete jackass for thinking that but my bro Jens luckily had the knowledge to convince me of the true nature of falsetto and how it was a necessary component to seriously train in balance with the entire voice. So, fast forward to last monday, in the middle of the night I came down with horrible stomach cramps and could not keep any food or liquid down. It turned out my intestines had become partially blocked due to previous complications of a major surgery I had in 2011. So, all of sudden here I am spending an entire night forcing myself to throw up to relieve the built up pressure from the blockage. For somewhere around seven hours I continuously spit my guts up in the most horrible way you could concerning vocal health. This went on for quite some time before I decided to call 911 on myself and get help. Upon entering the hospital with an already completely destroyed voice (Seriously, I had lost my voice more than I ever had before) they decided the best method of treatment would be to put a three inch plastic tube down my nose and into my stomach for a week. Unfortunately, not only was this tube as painful as it sounds but it was also made my throat 100% burning soar and prevented any chance of vocalizing. Now, the tube has just come out which is an AMAZING relief but as I try my first vocalizations since the incident I noticed my falsetto register is COMPLETELY gone. Before I came in, it was soaring, easy, quite pleasant and was just starting to pick up some nice twang potential thanks to Jen's great instruction. Now, my question to the vocal experts, what would be the best method of going about healing this as soon as possible? When it comes back will it be at square one again or will it return to the same strength it was before I had this vocal trauma? Has anyone else abused their voice before to the point where their falsetto register was lost completely? Thank you and god speed!!
  18. Hey folks, I've made a short how-to video that I thought might be useful to you. It came from watching videos of myself performing and wondering how I was managing to move so damn strangely. Fast forward through four years of dancing lessons, and I've tried to distil down the knowledge I've acquired in to a simple default step to help people feel better and keep the audience engaged. I hope it is useful to you all. http://www.thatdancingchap.com/?p=5
  19. TMV World Members, The Modern Vocalist World Referral Program Earn 40% on Premium Services Here is a tutorial on how to find your unique affiliate / referral links and banners to participate in the referral program. If you have any questions, contact us at service@themodernvocalist.com.
  20. How To Embed A Video: TMV World Forum has "oEmbed" technology! Simply paste the URL (web address) of the video into the post space. The video will magically appear. It is that simple... nothing fancy here. See the video below...1). Paste the YouTube video URL into the body text and click "Submit Topic". (As described in the video below).2). You can ALSO go to: Embed Videos & Images ( Bottom Right Hand Corner of the Post Work Space) > Select "Insert Link for Video & Images" > Select "Insert Into Post".oEmbed is a format for allowing an embedded representation of a URL on third party sites. The simple API allows a website to display embedded content (such as photos or videos) when a user posts a link to that resource, without having to parse the resource directly (embed old school HTML code).
  21. Vocal Aerobics: Essentials for Today's Singers with Julie Lyonn Lieberman Running Time and Format: 60-minute instructional DVD Distributed by: Hal Leonard Corporation (7777 W. Bluemound Rd. Milwaukee, WI 53213, 800-637-2852, http://www.halleonard.com /) to bookstores, music stores and schools through the world) Release Date: September 30, 2008 Description: World-renowned music educator, Julie Lyonn Lieberman, has created an instructional DVD for singers. Her practice system focuses on cognitive illumination and muscular facility. This system can help develop a vibrating palette that communicates spirit, emotion, and viewpoint all riding effortlessly on the breath. It is supported by science yet connected to individuality. By first guiding the exercises in silence, her intent is to prevent the tension and misuse that often occur when the main impetus for the creation of musical sound is fueled by a brew of yearning and fear mixed with a fixation on the end product. Topics covered include: Section I Introduction, Creating a Cathedral, Breath Anatomy Section II Aerobicizing the Tongue, Mobilizing the Lips Section III Balancing the non-dominant side of the mouth, Posture, The Power of Imagery, Warming Up and Warming Down, Vocal Health Ms. Lieberman trusts the innate intelligence of the client by making sure that they understand how and why each region of their vocal anatomy works the way it does. Through extensive experience teaching, she has developed ergonomically based exercises that are fulcrum triggers: they get the job done more efficiently and faster. Lieberman has discovered that when the lights are turned on and the equipment is illuminated, epiphanies abound and can continue to be generated by the singer, long after the teacher leaves the room. In-depth studies while writing her critically acclaimed book. You Are Your Instrument, followed by her three spin-off DVDs (The Vocalist's Guide to Fitness, Health and Musicianship, The Instrumentalist's Guide to Fitness, Health and Musicianship, and The Violin in Motion) place a unique spin on this body of work. Most voice teachers use exercises that are effective in the long run or they would be put out of business, but the older model for mentorship entailed I do and do as I say approach. It was a faith-based relationship; the student was expected to blindly follow the teacher's directions without specifics, context, or adequate rapport with the musculature required to do the job smoothly and consciously. The belief behind that style of work was that if you repeated each exercise enough times (often while inadvertently thinking about something else), that it would help you sing better. This is the long, slow train to success. Julie believes that it's time to replace unconscious repetition with less activity, more awareness, and targeted control. She will help you convert the butcher's knife into a laser beam! To Order: see JulieLyonn.com and click on Vocalist's Corner About the author Julie Lyonn Lieberman (JulieLyonn.com) has specialized in working with creative vocalists in her NYC music studio over the last 3 decades. Her students have included artists such as Grammy-nominated singer/songwriter Vanessa Carlton, Grammy-nominated Putnam Murdock, Indie music award winner Kara Suzanne (best new folk-singer/songwriter album of the year), and critically acclaimed lyricist Julie Flanders, to name a few. Ms. Lieberman is an improvising violinist/singer, composer, recording artist, journalist, educator, and the author of nine books and six instructional DVDs. A dynamic, participatory workshop leader, her ability to stimulate participants to think and grow in new ways has earned respect for her work throughout the world. In addition to currently teaching improvisation at Juilliard, she has presented for organizations like Music Educators Association, International Association of Jazz Educators, the Juilliard MAP Program, Carnegie/Weill Hall/Juilliard's The Academy, National Young Audiences, and the Carnegie Hall LinkUp. Lieberman is a J. D'Addario Elite Clinician. Alfred Publishing publishes her scores.
  22. Vocal Aerobics: Essentials for Today's Singers with Julie Lyonn Lieberman Running Time and Format: 60-minute instructional DVD Distributed by: Hal Leonard Corporation (7777 W. Bluemound Rd. Milwaukee, WI 53213, 800-637-2852, http://www.halleonard.com /) to bookstores, music stores and schools through the world) Release Date: September 30, 2008 Description: World-renowned music educator, Julie Lyonn Lieberman, has created an instructional DVD for singers. Her practice system focuses on cognitive illumination and muscular facility. This system can help develop a vibrating palette that communicates spirit, emotion, and viewpoint all riding effortlessly on the breath. It is supported by science yet connected to individuality. By first guiding the exercises in silence, her intent is to prevent the tension and misuse that often occur when the main impetus for the creation of musical sound is fueled by a brew of yearning and fear mixed with a fixation on the end product. Topics covered include: Section I Introduction, Creating a Cathedral, Breath Anatomy Section II Aerobicizing the Tongue, Mobilizing the Lips Section III Balancing the non-dominant side of the mouth, Posture, The Power of Imagery, Warming Up and Warming Down, Vocal Health Ms. Lieberman trusts the innate intelligence of the client by making sure that they understand how and why each region of their vocal anatomy works the way it does. Through extensive experience teaching, she has developed ergonomically based exercises that are fulcrum triggers: they get the job done more efficiently and faster. Lieberman has discovered that when the lights are turned on and the equipment is illuminated, epiphanies abound and can continue to be generated by the singer, long after the teacher leaves the room. In-depth studies while writing her critically acclaimed book. You Are Your Instrument, followed by her three spin-off DVDs (The Vocalist's Guide to Fitness, Health and Musicianship, The Instrumentalist's Guide to Fitness, Health and Musicianship, and The Violin in Motion) place a unique spin on this body of work. Most voice teachers use exercises that are effective in the long run or they would be put out of business, but the older model for mentorship entailed I do and do as I say approach. It was a faith-based relationship; the student was expected to blindly follow the teacher's directions without specifics, context, or adequate rapport with the musculature required to do the job smoothly and consciously. The belief behind that style of work was that if you repeated each exercise enough times (often while inadvertently thinking about something else), that it would help you sing better. This is the long, slow train to success. Julie believes that it's time to replace unconscious repetition with less activity, more awareness, and targeted control. She will help you convert the butcher's knife into a laser beam! To Order: see JulieLyonn.com and click on Vocalist's Corner About the author Julie Lyonn Lieberman (JulieLyonn.com) has specialized in working with creative vocalists in her NYC music studio over the last 3 decades. Her students have included artists such as Grammy-nominated singer/songwriter Vanessa Carlton, Grammy-nominated Putnam Murdock, Indie music award winner Kara Suzanne (best new folk-singer/songwriter album of the year), and critically acclaimed lyricist Julie Flanders, to name a few. Ms. Lieberman is an improvising violinist/singer, composer, recording artist, journalist, educator, and the author of nine books and six instructional DVDs. A dynamic, participatory workshop leader, her ability to stimulate participants to think and grow in new ways has earned respect for her work throughout the world. In addition to currently teaching improvisation at Juilliard, she has presented for organizations like Music Educators Association, International Association of Jazz Educators, the Juilliard MAP Program, Carnegie/Weill Hall/Juilliard's The Academy, National Young Audiences, and the Carnegie Hall LinkUp. Lieberman is a J. D'Addario Elite Clinician. Alfred Publishing publishes her scores. View full articles
  23. If we define belting in the most general terms possible, let's entertain the notion that it's a vocal sound which derives from talking or yelling. Belting is most often linked to musical theater singing but has been used to describe loud singing in commercial styles such as rock and gospel. Following is a brief description of the essentials of the mechanism of belting voice production, particularly as compared to classical singing. Head: aligned with body but with jaw parallel to ground (head tilted down in classical) Jaw: firmer masseter (chewing) muscle which protrudes jaw slightly forward Hyoid bone: pulls forward Thyroid Cartilage: slides forward (tilts down in front for classical) Larynx Height: higher position (approx. 1 1/2 cervical vertebrae higher) Vocal Fold Vibration Pattern: clapping, square-edge, no zippering, particularly at higher volumes VF closure speed, speed quotient: faster VF closure ratio, closed quotient: longer, closed minimum of 50% of time Increased sub-glottal pressure - upper belly must firm OUT, lower belly IN, to correctly pressurize vocal folds T-A muscle (vocalis): more contracted Frequencies: even range of frequencies up to 15k Subjective sensations: extreme breath holding prior and during the singing smack & sticky, the feeling of folds high speed of closure and long closed phase intense support (5 rules: chest stays up, side/back ribs stay out, upper belly magic spot firms out, lower belly gradually goes in, waist goes out) sound shooting through mouth or chin or upper neck or lower neck or nose Modern belting ideas: 1) Timbre (nasal and/or ringy) and volume should be character-based choices 2) Can be loud, medium or soft (rarely), but cannot be breathy 3) Musical Theater belting can be delineated into at least 5 belting sub-styles: Heavy Belt, Nasal Belt, Brassy Belt (nasal/ringy, mostly nasal, i.e. Ethel Merman), Ringy Belt (nasal/ringy, mostly ringy i.e. Kristin Chenoweth), and Speech-Like Belt (broad spectrum of resonance i.e. Idina Menzel) Teaching Approaches: Calls (Come, Daddy!), Nasals (e.g. nyaa), Lean Exercises, Pressure Sounds (bee staccato) c 2008 - Lisa Popeil's Voiceworks® Method - www.popeil.com lisa@popeil.com - 818-906-7229 - Sherman Oaks, CA Don't miss the Total Singer Workshop LA - February 14-16, 2009
  24. If we define belting in the most general terms possible, let's entertain the notion that it's a vocal sound which derives from talking or yelling. Belting is most often linked to musical theater singing but has been used to describe loud singing in commercial styles such as rock and gospel. Following is a brief description of the essentials of the mechanism of belting voice production, particularly as compared to classical singing. Head: aligned with body but with jaw parallel to ground (head tilted down in classical) Jaw: firmer masseter (chewing) muscle which protrudes jaw slightly forward Hyoid bone: pulls forward Thyroid Cartilage: slides forward (tilts down in front for classical) Larynx Height: higher position (approx. 1 1/2 cervical vertebrae higher) Vocal Fold Vibration Pattern: clapping, square-edge, no zippering, particularly at higher volumes VF closure speed, speed quotient: faster VF closure ratio, closed quotient: longer, closed minimum of 50% of time Increased sub-glottal pressure - upper belly must firm OUT, lower belly IN, to correctly pressurize vocal folds T-A muscle (vocalis): more contracted Frequencies: even range of frequencies up to 15k Subjective sensations: extreme breath holding prior and during the singing smack & sticky, the feeling of folds high speed of closure and long closed phase intense support (5 rules: chest stays up, side/back ribs stay out, upper belly magic spot firms out, lower belly gradually goes in, waist goes out) sound shooting through mouth or chin or upper neck or lower neck or nose Modern belting ideas: 1) Timbre (nasal and/or ringy) and volume should be character-based choices 2) Can be loud, medium or soft (rarely), but cannot be breathy 3) Musical Theater belting can be delineated into at least 5 belting sub-styles: Heavy Belt, Nasal Belt, Brassy Belt (nasal/ringy, mostly nasal, i.e. Ethel Merman), Ringy Belt (nasal/ringy, mostly ringy i.e. Kristin Chenoweth), and Speech-Like Belt (broad spectrum of resonance i.e. Idina Menzel) Teaching Approaches: Calls (Come, Daddy!), Nasals (e.g. nyaa), Lean Exercises, Pressure Sounds (bee staccato) c 2008 - Lisa Popeil's Voiceworks® Method - www.popeil.com lisa@popeil.com - 818-906-7229 - Sherman Oaks, CA Don't miss the Total Singer Workshop LA - February 14-16, 2009 View full articles
  25. So, where do we start? Every good voice coach will tell you that before any drills or techniques should be considered you must make sure you know how to behave with your voice mechanism. First, let's not do it any worse then, let's try to make it better. Who needs Vocal Hygiene? EVERYONE does! Listen to a full radio show : http://www.ireport.com/docs/DOC-156371