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Found 36 results

  1. Yo! All my fellow singing geeks! I came across the article I've linked here (below video). I thought it is was very well written (a quick read), and includes a couple comments by Justin Stoney (coach most of us probably know from Youtube). I have read & posted in our "techniques" forum regarding so called "Natural Singers," percentages of the population who are or are not, training, and etc. Hope this helps lend some clarity to the matter(s). article - Singing Tips: Have A Certain Skull Shape, And Other Science Behind Carrying A Tune http://www.medicaldaily.com/singing-tips-have-certain-skull-shape-and-other-science-behind-carrying-tune-308372
  2. So after I sang to someone I was told I needed to work on my oh and ow vowels as they are causing my tone to accidentally darken So I have done what was recommended but decided to sing 10 different vowels of ee, ih, eh, a, ah, aw, uh, oh, ou, oo, instead of singing the recommended oh and ow And sang them to the pitch of this piano/ organ app which I recorded the notes from this link http://www.kongregate.com/games/buttonbass1/player-organ At the bottom of the page is an image of the piano. And inside the red lines of that piano are the notes I have sang I started at middle C (presuming middle C is the middle key in the piano) and worked my way up a note and down a notes at a time I will do more notes at a later stage though The links I have listed below are what I have done, the first link of each note is ee-ah and the second link of each note is aw-oo But I have worked hard at this doing each vowel at each note many many times Do you see there is much more work to be done? Thanks 2CIADB A2 (6) https://app.box.com/s/g5bqj3lneub23k550l6tbh1qpmq0u7kv https://app.box.com/s/b4x7zcjlfxa0fdgzbj8t993cflcwz4fd B2 (7) https://app.box.com/s/ncrqoxix0d8rxosv4yez1bnnkl5hc8nq https://app.box.com/s/1tazdpmy7rhwvk1524bmn20a43jrawzc C3 (8) https://app.box.com/s/3yhkqkcf1e56he75rlo7uotg46zoj066 https://app.box.com/s/wg5pmu98skppci031mv3rl7ouyd8i7v6 D3 (9) https://app.box.com/s/r5zp147rezjqvlh5swwriswrv0rtpffq https://app.box.com/s/aazy2p1zt6bgmn2dx3vfqsnao7ukyp66 E3 (10) https://app.box.com/s/uk7gsexxmsrll66wrnoq0k4n0spc7ipq https://app.box.com/s/jxb9fkgxrlz8tzf3718rrx29fikbtqqv F3 (11) https://app.box.com/s/3yf1zm711kyll5loi7i3wg7saiohpthc https://app.box.com/s/sd0jh3spqg45gxawsrz966ljcjd5jdwy G3 (12) https://app.box.com/s/6xemcs9oloq7ticr2upomf8m7vro3zdc https://app.box.com/s/w405xb8qefehqwqc20p3pa79lqom1etr A3 (13) https://app.box.com/s/mzw37jqs27hz6a1hhbtjjlq18v0szwxm https://app.box.com/s/wt6160a2kajbyiux1dlb3dykgfo5ycmh B3 (14) https://app.box.com/s/p0uq7sdmz8vq2b4eu73bz1uqahjdd3iy https://app.box.com/s/w01pxlwf8mwqfq5r3f6zzy8guv0r3ovj C4 (15) middle C https://app.box.com/s/3nqm37nifylqd64em11j5nhys39u8w32 https://app.box.com/s/uxd9f7iop4yy0x7a9g8ciivcochnzr6u D4 (16) https://app.box.com/s/54pvx6u55voctplrmubx728lvl0m5n12 https://app.box.com/s/jbdq4u8fstj66qbmbmoogvsa656oj4s7 E4 (17) https://app.box.com/s/f83l4nxrwj6xhfl2vzbs56crr8i6liyh https://app.box.com/s/qbpprthkz9jmy0h2n3l0p4yv2ybv3m1f F4 (18) https://app.box.com/s/fwq9pv9gszlypmouf5p5r893unya05vc https://app.box.com/s/5dknwrrcoaj8r4xj04qkf0pqzxqfibmp G4 (19) https://app.box.com/s/pgfhdrgnxhdu0ljy5w6fjpmwgk99rhta https://app.box.com/s/g23diog2qwpjri7dekxb810dt2j6wf46 A4 (20) https://app.box.com/s/fu4nk3bzoum3adae7fikme1x3g616088 https://app.box.com/s/utv1igpnm771uvayui196evx9e51fk4x B4 (21) https://app.box.com/s/w4bu0iw6cyopa70cl5jmq4c6bcxw6zj0 https://app.box.com/s/e7ulif4l5hx04g4d6et9khpe7ctiph0t C5 (22) https://app.box.com/s/a4ygldv7e0rgb9oxtvjg4nd58skczyij https://app.box.com/s/2z8b7swe21a2pgaqlgrlx0rjt01mya6r D5 (23) https://app.box.com/s/ad27auu6r3yvbikd2ywl0uji7yzx8yfc https://app.box.com/s/rwyymmc93tlek84ibnw6049d6ce7km12 E5 (24) https://app.box.com/s/19dbuf12hqqix7dqbox0hm9nlv0layij https://app.box.com/s/o8u1jogv9wle5gneuod3enij29kk1cn4
  3. OK so I googled what are the 5 singing vowels and the answer seams to be fairly simple ee, eh, ar, oh, oh But trying to pronounce them could be interpreted completely different since there are many ascents and variations in the English language. I know people that learnt English by reading books and dictionaries but never learnt it by speaking it, so when they tried to speak English to me they could not! So I guess the same goes with me trying to sing the above Any way hear is what I recorded myself singing what I though was best https://app.box.com/s/vz2785zeirxs24o3niugi2esbu66m4tv
  4. Heres a video I did addressing how some vowels work better for others and vice versa.
  5. Lately I have been lurking on the forums more than answering questions. I am finding that a lot of the questions that are being asked can be answered very simply but are being answered very wordy and creating confusion. I want to say that maybe I was lucky to study with who I studied and study with and also how I made my career singing for a living. It wasn't easy but I put a lot of work into my voice many many years 20 + and many years on the road away from an apt whether it be in NYC, CA, ATL,CHICAGO, CT.. I blew out my voice many times and studied with whomever I could never once did any of my teachers worth anything bring up terms like Twang,compression, hold or hold back your breath, embouchure,dampening, sphincters of any kind;), this anchor that anchor,chewbaca sounds, guinea pigs,curbing,overdrive etc etc etc.. Of course when I started teaching 7 years ago(after mastering technique In other words sing anything I want and diagnose problems quickly) I started seeing all these terms and had to know what they meant to keep up with the young guns term wise. So what I am trying to say is if you want to be a great singer you only need to concern yourself with a FEW principles/exercises Practiced Perfectly. Ask yourself these questions and listen to yourself closely when you practice. Does the vowel I am singing sound like the vowel i want? Is my voice ringing and buzzy? As I sing higher in my range do I stay consistent? Does my teacher demonstrate exactly what his "method" says it does? Hope this helps and doesn't sound like I'm looking down on the new terms. But TRUTH be told I got my technique down from perfect practice,vowels sound like vowels,and keep the buzzy ringy sound constant. hard hard work no b.s. years not months at least 15 years of perfect practice…Anyone of my musician friends/band mates would tell you the same.. Hope this helps.. Daniel
  6. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  7. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  8. I was pondering these metaphors and thought I'd see if I could expand it some. Let me know how you see it! Easel is the pedagogy/coach Canvas is the formants Paint is the phonation Colors are the acoustic qualities & vocal modes Brushes are the intrinsic muscular configurations & appoggio Frame is the musical context/setting (band, choir, acapella, singer w/ instrument, musical, etc.) Lyrics are the finished image Lighting (as in a gallery) is amplification & vocal effects
  9. Hello! Tried this challenging and legendary song again. I, especially found the C5 phrase "wheel" challenging, more than the equal C5 "seen". Why is that you think? Any suggestions to improve this song? Ok, so the youtube link doesn't work so here is a link to my facebook video instead. I hope this works. https://m.facebook.com/story.php?story_fbid=10153584906741517&id=654441516
  10. working on a chorus for a song. The chorus is in D minor and the highest note in the chorus is C5 So I can SORT of ease into the c5 note but its really shaky. Naturally if its doubled and heavily processed it sounds almost legit lol Here is the doubled/processed vox in the chorus snippet: (btw, be forwarned, there is a flat5 note featured lol) https://clyp.it/ybkczkss Now, here is the BARE vx, no compression, no nothing. This is each half of the doubled chorus put back to back. The first time thru was the first one I sang and it was a little better. The 2nd time thru was a little rounded off https://clyp.it/pjyyq1ke So essentially I am trying to hit a C5 on the "o" in "open" and on the "uh" in "love" Here is me JUST hitting those 2 syllables: https://clyp.it/4opbmxzu And to show the struggle, here is one that cracked: https://clyp.it/wpr4fvas So lets have some good discussion on how these sound as is, how I can best train for them to be WAY better for comparison here is a nice B4 by Joe Lynn Turner, obviously im miles from this but this is sort of a goal to aim at: https://clyp.it/o44er4fj Also any discussion on the mechanical aspect of the cracked note. Physiologically, what broke down there? (and thus, what does the training focus need to be)
  11. M It can be held: "mmmmmmmmmmmmmm" It has a pitch. You can sing "mmmm" in a scale or siren. So is it pretty much both a vowel and a consonant, in terms of behaviour (although we may not technically call it one). It may not be an open vowel, but it sure acts like a vowel. L, M, N, R?, V, Z seem to have this property. Sibilants like S and F can be held, but they do not really have a well-defined pitch. My current big project is vowels (I've graduated from basics to style, courtesy of kickingtone akadummy ). While studying phrases in various songs, I have found that Ms (particularly) have to be controlled in the same way as vowels, otherwise they can create unwanted fluctuations in brightness, and even pitch. It can be instantaneous if the M is just an onset, yet noticeable enough to affect the overall delivery and mood. I am now playing around with truncating my Ms so that they stay consonants when I want them to be. Any one else had to do this?.
  12. https://app.box.com/s/vzehmp5d4amt79340nzib8hoqh3l9b8o I did the solo version minus Sarah Brightman and really tried to support the lower notes and the sustained notes towards the end after the key change. Any and all feedback welcome. The lyrics + translation are here - http://lyricstranslate.com/en/time-say-goodbye-con-te-partiro-time-say-goodbye-ill-go-you.html#songtranslation
  13. Hi Folks.. I have put up a few versions of this song earlier which were not too impressive. I am now beginning to get a lot more control on the passagio area, especially with a more "open" sound. I have two areas that I would appreciate feedback 1. Looking at my singing, I seem to be using more horizontal embouchure than vertical. I only very recently started looking at my singing in the mirror. Is there anything wrong in my embouchure. I am looking for dark tones in the upper range. Does a horizontal embouchure produce a "brighter" sound? 2. The second question is with respect to the mix and mic placement. My wife says I sound much better in person than what I am able to get the mix in my recordings to sound. This does not help me at all since we don't hear exactly our voice in the manner we sound to others. What could I be doing wrong? She says I sound very different in my recordings. Is this a function of the average quality of backing track or is it a mix issue? Any pointers would be very helpful. The mic I am using in this a Shure beta 58A. I record in an untreated room.
  14. Hey Rob ! Howzitgoin' ? I'm practicing ( not as much as I would want : Work + daughter and stuff ...) During our lesson, we was reaching an E4 and then came the time to do vowel modifications We went obviously from Eh to a Ah or Uh and you said : Ah is your Trebble knob, Uh is your Bass Knob and said that formants are this : Multiple sound colours at the same time Is that to say that we can have simultaneously Eh+AH+Uh vowels blended together ? or is it just EH+AH or EH+ Uh Simply put : Can we have more than 2 vowels blended together ? If yes, how many of them then ? Question might sound silly, but I was wondering Let me know Thanx
  15. Hello everyone! I started getting interested in singing a couple months ago, but I am struggling a lot to sing most of the rock songs that I like. I have done my fair share of research about chest, head and mixed voice, which led me to believe that I am a baritone. The very lowest note I can sing is F2, and I can usually drag my chest voice up until G4. that means I usually experience a "crack" on Ab4. Therefore I can't sing 99% of songs unless I overcome that problem. I found out that you can learn and develop the ability to sing in the passagio zone and to connect all the registers, by doing vocal exercises. I recently downloaded an app which has about 5 scales for you to sing along. But I really don't know how much time per day I should spend doing that. Also, should I allow my voice to go into head voice, or should I push my chest voice higher until it cracks? I know this may seem dumb for some people, but I have just gotten started. Thank you!
  16. Okay Folks, Here's something that I came up with while driving home last night. If we really want to understand high notes from all angles and a high note could speak, what would it be asking of the body? What would the voice say to you, if for example, it wanted to produce a big, powerful high note? What is really mentally and physiologically going on when you produce a high note? Do we really know? Should we really know? Let's go into this really deeply. To make this really interesting if you care to reply, do it as if you were the high note, not just provide explanations. Take on the personna of the high note. You are a high note in your body. What are you going to ask of your entire body? Try and be really specific.... I'll begin.....(going in a first-things-first order of requisites): It's a running conversation between you, (Singer) and the High Note. (High Note) "Before we even get started, are you well hydrated, and did you get a good night's rest because if you didn't you're gonna make this much harder than it needs to be." (Singer) "Yes, I'm good. What's next? (High Note)
  17. Robert always says that the hardest notes to sing are in the first bridge (e4 g4). While I do think they are hard to sing I have always had more trouble with my second bridge (a4 c5) sometimes I feel like I have it down but it always reverts back to an uncontrolled yell. I can bridge effectively below my second bridge and can do the extreme high stuff pretty well. But when I sing note between a4 to c5 especially c5 I lose the heady feeling and start to choke. Once I reach c#5 the headiness comes back in and I can then sing the g5s and a5s. with ease. Have any of you had the same experience with the 2nd bridge or is it just me? Also when I do sing a note in the second bridge that's not yelled it has to much twang and that wind and relese onset with downward pressure just makes me clench my throat. btw. It dosent sound terribly bad live or on recordings.... but I can sure feel it.
  18. Introduction In the male voice lower and mid ranges, (what has been traditionally called the "chest voice"), the harmonic structure of the sung tone contains many partials - harmonics, which fit nicely into the pattern of resonances for any particular vowel chosen. Throughout this range, the strong, lower harmonics are reinforced by the first vowel resonance corresponding with Formant 1, (F1), midrange harmonics are reinforced by the second vowel resonance from Formant 2 (F2), and higher harmonics are emphasized by the higher "twang" or "singer's" formant resonances. The combination of multiple, powerful low, midrange, and high harmonics present in all vowels is a distinctive characteristic of this section of the male voice. In contrast with this, in the male high range, (what has been traditionally called the 'head voice'), the harmonics produced by the voice are higher in frequency and more widely spaced. Here, few of the harmonics fit into the vowel resonance pattern. For one particular span of notes in the head voice, there is no significant resonance available to amplify the lowest two harmonics produced. To achieve vocal power and consistency of tone in the high voice, the male singer uses what he has available, "twang" (singer's formant) and the resonance from F2 strengthening harmonic 3 or 4, depending on vowel. Between these two resonance strategies is a region of transition, too high for the 'chest voice' strategy, and too low for the F2 alignments of the 'head voice' strategy. This transition region is the passaggio. Acoustics of the rising fundamental Throughout the voice, as the fundamental frequency moves, the alignment of harmonics and resonances for a vowel changes. On an upward-moving scale or leap, the fundamental and all the overtones rise in frequency. Since the harmonics are spaced at multiples of the fundamental, the harmonics also get farther apart, too. For most of the chest voice range, this is not an issue, as the resonance from F1 covers a wide frequency range, and midrange harmonics are close enough together for at least 2 or 3 of them to get some benefit from F2. These conditions apply to all the vowels. However, in an upward pitch pattern, as the voice passes middle C (C-F, depending on voice type) eventually the scale reaches a region in the voice where the alignment of harmonics to formants is no longer advantageous. Overall vocal power and tone quality will be lost if an adjustment is not made. The particular point in the male voice where this occurs is as the 2nd harmonic passes F1. Visualizing harmonics and the /e/ vowel in a spectragraph As illustration of this, what follows is a series of spectragraphs made with different fundamentals sung to the vowel /e/ (ay), made using my own, baritone, voice. As representative of a lower chest voice tone, the first is of the A natural just a bit more than an octave below middle C , also known as A2. Each vertical blue line represents the intensity of a particular harmonic, where 'up' = louder. Low frequency harmonics start on the left side. The leftmost peak is from the fundamental, and if you look at each peak to the right of that (increasing frequency of harmonic), you can see that the 4th harmonic is the very tallest, and then the peaks become successively shorter. This peak volume for the 4th harmonic, and the emphasis of those surrounding it, is the result of Formant 1, F1 in its position for /e/ in my voice. Harmonics to the 'left' of the formant center get progressively louder as they get nearer to it, and those to the 'right' of the formant center get softer. Proceeding to the right is a section of quite harmonics, not so tall in the display, and then there is another build up to the 13th harmonic. This is the area amplified as a result of the location of Formant 2, F2. The spacing of F1 and F2 is what makes this vowel sound like 'ay' to the listener. After another gap, there are two more areas of emphasis, which are the result of F3 and F4, clustered together. These formants move very little vowel-to-vowel, and form the high frequency 'brightness' resonances of the singer's formant. The reason we start with this: for any given vowel pronunciation, (like /e/) the formants stay at the same locations even while the fundamental (and the associated harmonics) are moved during the production of different notes. Especially important in the understanding of the male passaggio is the relationship of F1, F2 and how the harmonics align with them. A2 on /e/ vowel. Harmonic spacing As mentioned earlier, for any given sung note, harmonics are always the same frequency distance apart. That frequency spacing is the same frequency as the fundamental... the note being sung. So, if a fundamental is 110 cycles per second (like that A2,) all the harmonics will be 110 cycles apart from their neighboring harmonics. You can see this equal spacing in the picture above. Because of the closeness of the harmonic spacing, you are able to see pretty well the 'shape' of the formant regions. Up an Octave The next picture is of the same /e/ vowel, but singing the A up one octave, the A just below middle C, A3, which is 220 cycles per second. Notice that the peaks are farther from each other than in the prior picture... now they are 220 cycles per second apart. Looking at the peaks for a moment, you can see that the amplification effects of F1 and F2 are still in the same place (left to right), but now different numbered harmonics are boosted, and fewer harmonics are affected by each individual formant. In the case of F1, the 3rd harmonic is now the most emphasized, with the 2nd harmonic also getting some help, while F2 is emphasizing the 7th harmonic tremendously, but not much else. This excellent alignment of F2 with a harmonic makes it really ring distinctively, and is an example of 2nd-formant tuning, which will get discussed later. Finding the exact location of F1 for /e/ Are you curious about the exact location of F1? Look at the bottom of this next picture, right beween harmonics 2 and 3. See the blips? All voices have some soft, non-harmonic noise. When that noise falls under a formant, it gets amplified enough to measure. These low blips on the spectragraph are the giveaway to the location of the formant. A3 on /e/ vowel Continuing the scale upward As I continue up the scale from A3, three things happen due to the musical intervals represented by the harmonics: 1) My 2nd harmonic gets closer and closer to F1, strengthing that harmonic. This makes the warmth of the voice 'bloom' in this region, and the resonance makes it possible to oversing some and still get away with it. 2) My 3rd harmonic gets higher above F1, and so it gets progressively softer. In combination with #1, this changes the tone quality somewhat. 3) F2 tunes to successively lower harmonics. These three trends are very important in understanding the male passaggio. More on 'What happens when a harmonic rises above a formant'? As a particular harmonic rises above a formant center, it rapidly decreases in intensity. In this next picture, now singing Bb3 (up just one half step from the A), you can see the effect on the 3rd harmonic. It is quite softer now when compared to the 2nd harmonic. For this note, the principal power of the vowel is being carried by the 2nd harmonic. You may also note that the F2 tuning is emphasizing harmonics 6 and 7 more or less equally. That is because F2 is between them. Harmonic 7 is no longer in the 'ringing' position, and harmonic 6 is not yet high enough to be there. Bb3 /e/ vowel The male upper chest voice My voice is now in the 'fattest' part of the upper chest voice, where most of the vowel power is coming from the 2nd harmonic. This range is just about a perfect 5th wide, because that is the spacing of the 2nd and 3rd harmonics. The region begins as the 3rd harmonic passes F1, and ends as the 2nd harmonic passes F1, in other words, for my /e/ vowel, from the Ab below middle C, to the Eb above middle C. This is what makes my voice a 'low baritone' quality. (Note, you can still see the noise blip.. its getting closer to the 2nd harmonic the higher I sing) Now, the Db in the following picture. Notice that there are little noise blips on each side of the 2nd harmonic. This indicates optimum alignment of the harmonic with F1, the place where the 2nd harmonic is exactly aligned with F1. Db4 /e/ vowel The effects of strong resonance on ease-of-singing Through the entire compass of my voice, up to this point, lower harmonics have been boosted by F1, which has provided for some cushioning effect for the vocal bands. That situation is about to change significantly as the fundamental rises past this point. A very important challenge to the singer as this happens is to resist the temptation to maintain vocal power via pushing. And now to the Eb. The 2nd harmonic has just past F1. Its still very strong, but will lose ground very rapidly as I proceed upward. This is the beginning of the tricky section of the passaggio, where the resonance provided to the 2nd harmonic decreases rapidly, and I must, to retain vocal power and tone quality, find another way to shape the vowel. Eb4 /e/ vowel My next post, 'Male voice passaggio 102' will discuss the various strategies that can be used to retain resonance through the passaggio.
  19. Introduction In the male voice lower and mid ranges, (what has been traditionally called the "chest voice"), the harmonic structure of the sung tone contains many partials - harmonics, which fit nicely into the pattern of resonances for any particular vowel chosen. Throughout this range, the strong, lower harmonics are reinforced by the first vowel resonance corresponding with Formant 1, (F1), midrange harmonics are reinforced by the second vowel resonance from Formant 2 (F2), and higher harmonics are emphasized by the higher "twang" or "singer's" formant resonances. The combination of multiple, powerful low, midrange, and high harmonics present in all vowels is a distinctive characteristic of this section of the male voice. In contrast with this, in the male high range, (what has been traditionally called the 'head voice'), the harmonics produced by the voice are higher in frequency and more widely spaced. Here, few of the harmonics fit into the vowel resonance pattern. For one particular span of notes in the head voice, there is no significant resonance available to amplify the lowest two harmonics produced. To achieve vocal power and consistency of tone in the high voice, the male singer uses what he has available, "twang" (singer's formant) and the resonance from F2 strengthening harmonic 3 or 4, depending on vowel. Between these two resonance strategies is a region of transition, too high for the 'chest voice' strategy, and too low for the F2 alignments of the 'head voice' strategy. This transition region is the passaggio. Acoustics of the rising fundamental Throughout the voice, as the fundamental frequency moves, the alignment of harmonics and resonances for a vowel changes. On an upward-moving scale or leap, the fundamental and all the overtones rise in frequency. Since the harmonics are spaced at multiples of the fundamental, the harmonics also get farther apart, too. For most of the chest voice range, this is not an issue, as the resonance from F1 covers a wide frequency range, and midrange harmonics are close enough together for at least 2 or 3 of them to get some benefit from F2. These conditions apply to all the vowels. However, in an upward pitch pattern, as the voice passes middle C (C-F, depending on voice type) eventually the scale reaches a region in the voice where the alignment of harmonics to formants is no longer advantageous. Overall vocal power and tone quality will be lost if an adjustment is not made. The particular point in the male voice where this occurs is as the 2nd harmonic passes F1. Visualizing harmonics and the /e/ vowel in a spectragraph As illustration of this, what follows is a series of spectragraphs made with different fundamentals sung to the vowel /e/ (ay), made using my own, baritone, voice. As representative of a lower chest voice tone, the first is of the A natural just a bit more than an octave below middle C , also known as A2. Each vertical blue line represents the intensity of a particular harmonic, where 'up' = louder. Low frequency harmonics start on the left side. The leftmost peak is from the fundamental, and if you look at each peak to the right of that (increasing frequency of harmonic), you can see that the 4th harmonic is the very tallest, and then the peaks become successively shorter. This peak volume for the 4th harmonic, and the emphasis of those surrounding it, is the result of Formant 1, F1 in its position for /e/ in my voice. Harmonics to the 'left' of the formant center get progressively louder as they get nearer to it, and those to the 'right' of the formant center get softer. Proceeding to the right is a section of quite harmonics, not so tall in the display, and then there is another build up to the 13th harmonic. This is the area amplified as a result of the location of Formant 2, F2. The spacing of F1 and F2 is what makes this vowel sound like 'ay' to the listener. After another gap, there are two more areas of emphasis, which are the result of F3 and F4, clustered together. These formants move very little vowel-to-vowel, and form the high frequency 'brightness' resonances of the singer's formant. The reason we start with this: for any given vowel pronunciation, (like /e/) the formants stay at the same locations even while the fundamental (and the associated harmonics) are moved during the production of different notes. Especially important in the understanding of the male passaggio is the relationship of F1, F2 and how the harmonics align with them. A2 on /e/ vowel. Harmonic spacing As mentioned earlier, for any given sung note, harmonics are always the same frequency distance apart. That frequency spacing is the same frequency as the fundamental... the note being sung. So, if a fundamental is 110 cycles per second (like that A2,) all the harmonics will be 110 cycles apart from their neighboring harmonics. You can see this equal spacing in the picture above. Because of the closeness of the harmonic spacing, you are able to see pretty well the 'shape' of the formant regions. Up an Octave The next picture is of the same /e/ vowel, but singing the A up one octave, the A just below middle C, A3, which is 220 cycles per second. Notice that the peaks are farther from each other than in the prior picture... now they are 220 cycles per second apart. Looking at the peaks for a moment, you can see that the amplification effects of F1 and F2 are still in the same place (left to right), but now different numbered harmonics are boosted, and fewer harmonics are affected by each individual formant. In the case of F1, the 3rd harmonic is now the most emphasized, with the 2nd harmonic also getting some help, while F2 is emphasizing the 7th harmonic tremendously, but not much else. This excellent alignment of F2 with a harmonic makes it really ring distinctively, and is an example of 2nd-formant tuning, which will get discussed later. Finding the exact location of F1 for /e/ Are you curious about the exact location of F1? Look at the bottom of this next picture, right beween harmonics 2 and 3. See the blips? All voices have some soft, non-harmonic noise. When that noise falls under a formant, it gets amplified enough to measure. These low blips on the spectragraph are the giveaway to the location of the formant. A3 on /e/ vowel Continuing the scale upward As I continue up the scale from A3, three things happen due to the musical intervals represented by the harmonics: 1) My 2nd harmonic gets closer and closer to F1, strengthing that harmonic. This makes the warmth of the voice 'bloom' in this region, and the resonance makes it possible to oversing some and still get away with it. 2) My 3rd harmonic gets higher above F1, and so it gets progressively softer. In combination with #1, this changes the tone quality somewhat. 3) F2 tunes to successively lower harmonics. These three trends are very important in understanding the male passaggio. More on 'What happens when a harmonic rises above a formant'? As a particular harmonic rises above a formant center, it rapidly decreases in intensity. In this next picture, now singing Bb3 (up just one half step from the A), you can see the effect on the 3rd harmonic. It is quite softer now when compared to the 2nd harmonic. For this note, the principal power of the vowel is being carried by the 2nd harmonic. You may also note that the F2 tuning is emphasizing harmonics 6 and 7 more or less equally. That is because F2 is between them. Harmonic 7 is no longer in the 'ringing' position, and harmonic 6 is not yet high enough to be there. Bb3 /e/ vowel The male upper chest voice My voice is now in the 'fattest' part of the upper chest voice, where most of the vowel power is coming from the 2nd harmonic. This range is just about a perfect 5th wide, because that is the spacing of the 2nd and 3rd harmonics. The region begins as the 3rd harmonic passes F1, and ends as the 2nd harmonic passes F1, in other words, for my /e/ vowel, from the Ab below middle C, to the Eb above middle C. This is what makes my voice a 'low baritone' quality. (Note, you can still see the noise blip.. its getting closer to the 2nd harmonic the higher I sing) Now, the Db in the following picture. Notice that there are little noise blips on each side of the 2nd harmonic. This indicates optimum alignment of the harmonic with F1, the place where the 2nd harmonic is exactly aligned with F1. Db4 /e/ vowel The effects of strong resonance on ease-of-singing Through the entire compass of my voice, up to this point, lower harmonics have been boosted by F1, which has provided for some cushioning effect for the vocal bands. That situation is about to change significantly as the fundamental rises past this point. A very important challenge to the singer as this happens is to resist the temptation to maintain vocal power via pushing. And now to the Eb. The 2nd harmonic has just past F1. Its still very strong, but will lose ground very rapidly as I proceed upward. This is the beginning of the tricky section of the passaggio, where the resonance provided to the 2nd harmonic decreases rapidly, and I must, to retain vocal power and tone quality, find another way to shape the vowel. Eb4 /e/ vowel My next post, 'Male voice passaggio 102' will discuss the various strategies that can be used to retain resonance through the passaggio. View full articles
  20. This Guy Trained Onsets & Vowels He's Good...
  21. WHAT THE HELL IS A "SNILE"? I have formulated a new idea this morning that is great... I share with thee... This is a technique that is used to help train singing through narrowed vowels and improving the articulation of your lyrics when singing high. This technique is also great for resonating to forward positions and amplifying the "cup" of the hard palette. A snile is a cross between a sneer and a smile. It is used in singing to help narrow singing vowels to maintain intrinsic musculature support and stability with amplification, when singing pop / rock music above the passaggio. Mastery of The SNILE will greatly train your kinesthetic feel for narrowing vowels, resonating forward into an "edgier" position, and amplifying while keeping acoustic mass low and balanced. "THE SNILE" is characterized by: A lifting of the upper lip to expose the forward teeth of the embouchure.A "narrowing" of the embouchure, to prevent "splatting".A very strong, amplified, forward resonant position in the "cup" of the hard palette and "edgey pings" off the forward teeth.Must have dampened larynx or anchoring of the larynx. Notice How Geddy Lee of the prog. band, RUSH tracks "Limelight" through the "SNILE"! Who said that "FREE" Secret Tips Didn't Exist?! TRY "THE SNILE" NOW!! ... and post your results here! Video demonstration on "THE SNILE" coming soon... "THE SNILE" is just one idea and technique. It is not a "global" solution for all things singing... it you want to get a feel for forward resonance and narrowing, it is good for that. It can also help you to sing very accurately with great intonation and articulation.
  22. So is that possible by nature or it is just a goodtehnique?https://www.youtube.com/watch?v=R6uexPmL0fk
  23. "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