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Found 26 results

  1. Singing Improvement and training

    Hi All, I have created a YouTube Channel on which I plan to upload acoustic guitar instrumentals to help fellow singers train and improve their singing skills. Looking for feedback and suggestions. What do you guys think? Link to the latest video:
  2. Hi to everyone! I've been reading this forum for a couple of years now and always found it very interesting and helpful in dealing with some of my own issues, so I thought I'd post this project that I've got going on. For a long time, I have suffered from vocal tension and inability to sing past D4 without pushing the "chest voice"/ overly-engaging the TA's basically. However, in the last year or so, I have experienced great relief after starting to do falsetto exercises suggested by Anthony Frisell in his manual "Training Baritone Voices". After reading many other sources later on, I have started questioning the usefulness of voice classification, purely from psychological point in the beginning (belief that one is a lower voice and its effect on the voice and singing), but now also physiological (neglecting upper range), especially in contemporary music (pop, rock, jazz, music theatre...). So now, I am writing a dissertation on the validity of voice classification in contemporary music and have already got some interesting answers. However, since there is barely any research done in relation to contemporary music, I would really be grateful if any of the members here, who give voice lessons, would participate. This is the link if anyone is interested: https://goo.gl/forms/uLMWByDMKYv4IWMk1 Thank you and feel free to spread the link if you find it useful! In general, I would also love to hear your opinions on this. Do you think tutors should classify their students and why?
  3. Please leave a comment below if u are interested in getting ur track mastered for only $5!
  4. What do you guys think about this guy's technique in terms of his agility? Does the shape of his mouth help with the insane vocal agility he has?
  5. Hello guys I am curious to know what singers have demonstrated vocal longevity without losing voice quality. Who are your favorite artists that consistently have sung well for at least 20 years? For me I must have to go with Celine Dion and Stevie Wonder. Please include clips of the proposed artist if possible.
  6. Crazy Agility!

    This is my friend singing. He's a natural. I cannot even process what's going on with these Indian style trills/runs/licks. How does one develop such agility? Is that even possible to achieve? How do I even memorize these notes? You can witness this in almost any Indian song. This sounds so beautiful. Recording: Another one:
  7. 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?
  8. Randomly got the idea to try to do the first cover I posted on here again. I posted it about one year ago, exactly. Wanted to see if anybody could see any improvements here and anything that needs work. I did "Ooh Baby Baby" by Smokey Robinson and The Miracles. Here's the original: http://picosong.com/Edtv/ Here's me giving it another shot. Differences between the first one I posted and this one is that I held a mic closer to my mouth, as opposed to singing into my phone's mic, which was sitting a few feet away, on the counter. Also, I sang the entire thing here. http://picosong.com/EdDj/
  9. Did this a little while ago. Sang it with a lady friend. Did the whole thing in falsetto, or, as Rob might say, "falsetto mode"
  10. Chryssanthemis - Listen (Live)

    "Listen" is οne of four new songs written for the feature version of Dreamgirls (originally a 1981 Broadway musical). Ιt's lyrics make reference to tenacity, love, the refusal to defer dreams and finally rise towards fame.In the film version of Dreamgirls, Knowles portrays the character of Deena Jones, a pop singer loosely based on Motown star Diana Ross. The story explores the life of The Dreamettes (based on The Supremes), a fictional 1960s group of three female singers,whose manager Curtis Taylor (based on Berry Gordy and played by Jamie Foxx) manipulates their personal and professional relationships.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...Video Editing: Modern Music StudiosElectric Guitar: Steve SovolosPianoAikaterini DeliyiannidouBass Guitar: Dimitris VerginisKeyboards: Kleanthis KonstantinidisDrums: Fotis Yiannopoulos
  11. Hi everyone! For me music has been on and off, and I feel the urge to reignite that passion. I'm a guitar player and thought I'd try my hand at singing. I'm keen to hear some advice.
  12. 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
  13. Please rate this, give me tips, tell me if I improved or not, etc.
  14. 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
  15. Hey Folks I just want to share a new song of mine...it's an R'n'B track with a rap verse by a friend... it's my first attempt to sing in my own language (Italian) since I always sing in English. So, even if Italian is my mother tongue, I had some difficulties in pronunciation, especially in the consonants and some vowels as "Ah"... I hope you enjoy it and feel free to comment if you want...here is "Niente è per sempre!" (Nothing is forever!) https://www.youtube.com/watch?v=7DGcfa7N5dI
  16. Hey guys, if you do not know Sam Smith he is a super awesome pop/r&b singer - I thought he had an amazing technique but now I found out he has to undergo surgery. He has been singing with a vocal hemorrhage and is going to need surgery. The doctors have told him to rest until his voice is fully healed or it can become a long term issue. I personally thought he had a wonderful technique able to sing in either register very easy and not sacrifice his lower notes. Not sure why the bleeding on his vocal cords occured maybe he overwork himself or simply is singing in a way he should not be. You can read more about it here http://www.rollingstone.com/music/news/sam-smith-to-undergo-vocal-cord-surgery-following-hemorrhage-20150507 . What do you guys think? Hopefully all goes well for Sam he is a great artist and unfortunately had to cancel his Australian tour.
  17. We've Got Tonight

    I've been Practicing this song for a few days Let me know what you think. Disregard the first few notes I was playing with rasp before and got carried away.
  18. Lately - Stevie Wonder

    What do you think about it?   ​
  19. Good singers are often described as having a unique personal style, a special way of expressing a song. But in the larger picture of singing, let's talk about vocal styles in general. First off, you want to be clear on which style you sing the most. Pop, rock, jazz, country, blues, R&B, classical, folk, gospel, Broadway belting or perhaps a combination of one or more of these styles? I frequently encounter singers who think they're singing in a pop style but are actually singing in a classical style because of prior training. It can sound quite strange and disorienting to the listener to hear someone sing in a wrong style. The conventions and techniques of classical singing are so different from popular, commercial styles that classical voice training can become a disability to the budding pop singer. Every vocal style is a recipe using only certain ingredients. Like a cook who knows the difference between braising and grilling, you should have an acquaintance with the recipe for your desired style. Let's start by comparing classical and non-classical styles: simply put, non-classical sounds like speaking or yelling and classical singing doesn't. If you've ever heard an opera singer speak then sing, you might be shocked to notice how different these two modes of vocal production are. Whether you sing classically or in a commercial vein, your choice of ingredients will determine if you're nailing your style or not. What are some of the ingredients of vocal style? Laryngeal Height - Your larynx (voice-box) can easily move up and down. Which vertical position you choose, regular, raised or lowered, will affect your sound. You might lower it for classical or soulful R&B and jazz, keep it regular for pop or legit Broadway singing, or raise it for rock and country. Airflow - How much air should you have in your sound? In country, there's typically not a lot of air coming through the vocal folds, but when singing sultry R&B or jazz, you may allow the folds to open more. Resonator Shape - What is the shape of your throat and mouth? For country, I recommend constricting the pharynx slightly under the jawline (never constrict the vocal folds themselves), while in classical or R&B I recommend widening that area to give me a more open sound. Shape decisions also include how open your mouth should be and if you're mostly smiling or pursing your lips. Nasality - Air which is routed through your nose creates the buzzy sound of nasality. Listen carefully to your favorite singers to see if you can discern how much nasality you hear. This important resonance is a must in rock and country, less so in pop and jazz, and not desirable in classical production. Dialect - Can you imagine hearing a country singer with a Russian accent? Or a blues singer with a French accent? Might sound strange. Consider a Southern accent for R&B and country, a standard American accent for pop and Broadway singing, perhaps even an English accent for classical. Stance - Ever notice how classical singers seem like they're leaning forward but some R&B singers may be leaning back on their heels? Subtle stance differences can make a difference in vocal production and are interesting to watch for. Volume - In sultry jazz singing, you may hear singers shift their volumes suddenly from loud to soft and back again, while in opera the vocal dynamics mostly range from loud to louder. Pop is often soft to medium loud, never getting very loud. When country, which is fairly soft to medium loud, gets louder, it then enters the world of country-rock. So volume can be a determining factor when combining styles. Stylisms - Each vocal style has particular stylisms which act as style hallmarks. For example, vocal fry can be heard in pop, jazz, and rock, which cry is common in country. Yodel can be heard in country and alternative pop, while stops are only heard in Broadway belting. There are different slides and swoops used and using the wrong swoop can get you into big stylistic trouble. Ornamental riffs such as R&B runs are important to master as well as classical ornamental runs called melisma or coloratura. Emotions - No one style has a monopoly on the human experience. For dignified and regal, no style comes closer than classical. If you want to express sensuality or ecstasy, look no further than R&B. Pop is sincere. alternative pop is quirky, rock is anti-social and powerful. You get the idea. A fun way to hone your style discernment skills is to sit at the ole radio tuner and go from station to station. See how quickly you come to a conclusion on the vocal style(s) you hear. It's not easy sometimes. Are you hearing country, pop-country, rock-country or R&B-country? Can you identify WHY you came to your conclusion? Remember that like in cooking (Thai, French, etc), each vocal style has conventions; rules that have developed over time. These conventions arise out of the particular culture and history which are the roots of a style. Listen and watch your favorite singers. Everything you see or hear helps to determine style choices. Styles are not accidents- make sure your style choices are well thought-out. Your next step? Pick a style, listen to the greats, observe everything, imitate, THEN play around to creative your own unique expressive masterpiece. Stay true to your style before you venture forth into uncharted territory. Lisa Popeil - Voiceworks Method - www.popeil.com 818-906-7229 View full articles
  20. Ingredients of Vocal Styles

    Good singers are often described as having a unique personal style, a special way of expressing a song. But in the larger picture of singing, let's talk about vocal styles in general. First off, you want to be clear on which style you sing the most. Pop, rock, jazz, country, blues, R&B, classical, folk, gospel, Broadway belting or perhaps a combination of one or more of these styles? I frequently encounter singers who think they're singing in a pop style but are actually singing in a classical style because of prior training. It can sound quite strange and disorienting to the listener to hear someone sing in a wrong style. The conventions and techniques of classical singing are so different from popular, commercial styles that classical voice training can become a disability to the budding pop singer. Every vocal style is a recipe using only certain ingredients. Like a cook who knows the difference between braising and grilling, you should have an acquaintance with the recipe for your desired style. Let's start by comparing classical and non-classical styles: simply put, non-classical sounds like speaking or yelling and classical singing doesn't. If you've ever heard an opera singer speak then sing, you might be shocked to notice how different these two modes of vocal production are. Whether you sing classically or in a commercial vein, your choice of ingredients will determine if you're nailing your style or not. What are some of the ingredients of vocal style? Laryngeal Height - Your larynx (voice-box) can easily move up and down. Which vertical position you choose, regular, raised or lowered, will affect your sound. You might lower it for classical or soulful R&B and jazz, keep it regular for pop or legit Broadway singing, or raise it for rock and country. Airflow - How much air should you have in your sound? In country, there's typically not a lot of air coming through the vocal folds, but when singing sultry R&B or jazz, you may allow the folds to open more. Resonator Shape - What is the shape of your throat and mouth? For country, I recommend constricting the pharynx slightly under the jawline (never constrict the vocal folds themselves), while in classical or R&B I recommend widening that area to give me a more open sound. Shape decisions also include how open your mouth should be and if you're mostly smiling or pursing your lips. Nasality - Air which is routed through your nose creates the buzzy sound of nasality. Listen carefully to your favorite singers to see if you can discern how much nasality you hear. This important resonance is a must in rock and country, less so in pop and jazz, and not desirable in classical production. Dialect - Can you imagine hearing a country singer with a Russian accent? Or a blues singer with a French accent? Might sound strange. Consider a Southern accent for R&B and country, a standard American accent for pop and Broadway singing, perhaps even an English accent for classical. Stance - Ever notice how classical singers seem like they're leaning forward but some R&B singers may be leaning back on their heels? Subtle stance differences can make a difference in vocal production and are interesting to watch for. Volume - In sultry jazz singing, you may hear singers shift their volumes suddenly from loud to soft and back again, while in opera the vocal dynamics mostly range from loud to louder. Pop is often soft to medium loud, never getting very loud. When country, which is fairly soft to medium loud, gets louder, it then enters the world of country-rock. So volume can be a determining factor when combining styles. Stylisms - Each vocal style has particular stylisms which act as style hallmarks. For example, vocal fry can be heard in pop, jazz, and rock, which cry is common in country. Yodel can be heard in country and alternative pop, while stops are only heard in Broadway belting. There are different slides and swoops used and using the wrong swoop can get you into big stylistic trouble. Ornamental riffs such as R&B runs are important to master as well as classical ornamental runs called melisma or coloratura. Emotions - No one style has a monopoly on the human experience. For dignified and regal, no style comes closer than classical. If you want to express sensuality or ecstasy, look no further than R&B. Pop is sincere. alternative pop is quirky, rock is anti-social and powerful. You get the idea. A fun way to hone your style discernment skills is to sit at the ole radio tuner and go from station to station. See how quickly you come to a conclusion on the vocal style(s) you hear. It's not easy sometimes. Are you hearing country, pop-country, rock-country or R&B-country? Can you identify WHY you came to your conclusion? Remember that like in cooking (Thai, French, etc), each vocal style has conventions; rules that have developed over time. These conventions arise out of the particular culture and history which are the roots of a style. Listen and watch your favorite singers. Everything you see or hear helps to determine style choices. Styles are not accidents- make sure your style choices are well thought-out. Your next step? Pick a style, listen to the greats, observe everything, imitate, THEN play around to creative your own unique expressive masterpiece. Stay true to your style before you venture forth into uncharted territory. Lisa Popeil - Voiceworks Method - www.popeil.com 818-906-7229
  21. So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 6 - REPERTOIRE Having a list handy of all the songs you sing in alphabetical order with a column for the key in which you sing each song can be invaluable when you meet musicians. If you are that organized, then you can probably fill the bill as a singer. Keep adding to the list as time goes by, until you've filled up two sides of the page. Try to include the composer of each song. Example: 1. A CHILD IS BORN C Thad Jones 2. A FOGGY DAY G Gershwin 3. A NEW WAY OF SINGING THE BLUES F J. Cartwright 4. AFRO BLUE Cm Coltrane 5. AIN'T MISBEHAVIN' Eb Fats Waller Versatility is a plus. It always helps to know songs in more than one genre. It may be necessary to have more than one list or categories, if you sing in two or more genres, for instance you may separate songs by: Jazz Blues Gospel Rock R&B Latin/Samba/Bossa Broadway Country Pop or Top 40 Hip Hop Reggae Contemporary Another way of categorizing songs is by composer or artist: Anita Baker Antonio Carlos Jobim Aretha Franklin Beatles Billy Joel Billie Holiday Cole Porter Duke Ellington Ella Fitzgerald Randy Crawford Stevie Wonder Whitney Houston Always have a list of your original songs, as well. That way people understand that you are a songwriter. Have a few copies of your songs in case other musicians want to play, sing or record them. In time, you will be respected as a songwriter and people will begin to request your songs, before they request songs of other artists. Buy this book at http://stores.lulu.com/divajc See all of Joan Cartwright's Books