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Found 17 results

  1. Hi guys! I'm Rodrigo again. I hadn't been training due  flu I had and now I started again. As you may guess, I'm a begginer and I have tons of ideas and questions. This one is really cool, and you will see why. I found out that the FBR is awesome but it has tons of information and for the part-time musician, it is critical to know what to practice in order to make more productive sessions. I've been playing gutiar for 15 years now, and also I play a lot of styles (classical, rock, acoustic, percusive, etc) and the key to progress and still have fun is to have goals. I mean, personal, realistic and short-terms goals that you can acomplish in a few weeks or months and then move on to another thing. Set a new goal, and keep moving. Now that I'm into singing, I can have practice sessions for 45 min 5 to 7 times a week. Some of them even until 1 hour. So I was doing this things to get better in things that I need to get better now. I do this: ---Resonant tracking 1 T&T Slow then Fast 2 T&R the same way and 3 R&R only fast ---Support training: Robert's excercises and a few more that I've been doing since I took classical lessons, more focused to feeling the awearness of the support process ( really easy ones, but gives awesome results) ---Onsets Well there is a lot here in the book. I have to get more compression, and I tend to sing with a lot of dark overtones amplified. And an excess of these does not sound well for me. What do I do? The following: Q&R since F3 to F3 (Sometimes G4 or A4, if I can do them without push, pain or constrictions) and I repeat 2 times that onset in every note, except for Db4 to E4, when I repeat 4 times the onset. I do this because my bridge is around those notes. And Robert says we have to practice those notes harder because those are the difficult ones (and I is so true!). Then I follow with a few attemps of A&R. If it is too hard for me, I don't do it. I listen to my body. After that, I do edging onsets in the same range, maybe 2 times per note. Sometimes 3. ---Sirens Well, not too much to say here. I do melodic 5th as Robert show us. Two times, at least, focusing on Q&R onset and some of T&R. I don't go too high, at least not for now. I hope my way to train this can inspire you to think and organize your practice schedule if you're not doing it now. For the most advanced TVS people... how do you practice the FBR? Do you think I'm doing it right? Rock-on!
  2. Hello guys,my name is Luka I must say that only after few hours of reading book,and about hour of watching videos ,I was able to do this(It is probably bad and for sure needs more practice ,but still before this it was like dream for me to hit those notes without hurting my voice ) : https://www.youtube.com/watch?v=_EfHMEXv17k
  3. Sergio Calafiura filming a video tutorial on how to sing different styles of music. Be sure to watch the entire video tutorial at the Sergio Calafiura YouTube Channel..., coming soon!
  4. Hi, I just wanted to introduce myself. I'm Annie. I recently bought The Four Pillars after sifting through Youtube singing videos for about a month.   I'm in a folk duo (psychedelic/prog folk)  in the San Francisco bay area.  I have only taken lessons here and there through the years and basically have no vocal technique knowledge. I feel that my vocals are ok but not exciting. I have always thought of myself more as a songwriter than singer, so haven't given as much thought to my vocals as I should have.   I want to improve, get stronger, more creative and to sound exciting and more expressive. I was inspired by what I saw/heard of Robert on Youtube.   I'm finding The Four Pillars really interesting and full of ideas and things that I've never heard of before. It's a little daunting but I'm up for the challenge.   Here's a video created several months ago of me singing Neil Young's Mr. Soul with my duo just to share where I'm at now vocally.  
  5. Hi guys. Ive been preety consistent with my training lately and some good things are happening. What ive been wondering is how should a head voice sound when in training. Let me elaborate. When training bridging and head voice into full sounding belts one must start at the begining and sound horrible. But i am wondering how does it progress. How should we sound when we are in training. So what is the middle ground between falsetto and full head voice. We see Robert Lunte and other guys singing high head tones with alot of power and convincing notes but how do we know we are on the right track to getting there. Robert have awesome demonstrations in 4 pillars but ghey demonstrate the end result. so just wondering if anyone can post a sound clip of them how they sounded when they were training or at least emulate how they sounded back then. Hope this makes sense and doesent sound stupid
  6. Hi everyone, I realize in the TVS methodology singing is after all the exercises and stuff. R&b and Pop head voice songs often are in breathy falsetto and not conductive to improving closure and control. Then there are super powerful high rock songs which are kind of like screaming (but still better than pure falsetto). In the frisell methodology they don't really mention singing... you'll be doing oo, ee, and aw slides for years before realizing you never learned to sing.  What are some good head voice songs to learn to get better control? Preferably within A4-E5 but if it's higher I will still try and work my way up there. I do not think there is a lot to choose from because few people have that level of control over head voice but also who are some good "role models" for male head voice.
  7. Ive came across the video of laryngoscope showing the vocal folds and the muscles around when performing the "Thyroid Tilt Manouver"     Really interesting to see how the light sound is produced by the person getting the scoping and the vocal folds are vibrating nicely.     Is the thyroid tilt what actually puts us in a twang vocal mode?
  8. Hello everyone, recently I notice something weird, some songs I sing in the lower register are very fast, tons of consonants, using all the vowels, my voice almost totally blown out after - can barely enter head voice . During scales and sirens D2-D5 is not uncomfortable and my voice does not feel heavy but after singing this fast low song my voice is not flexible. Then I realize that in order for me to be able to enter headvoice from those low notes (around e2, f2, g2) I must be in a place that can do that. There is no exercise or trick to stop the consonants from hurting me, I am trying my best to do the song over and over till it feels fluid. However, I feel that if I do the song at C5, or D5 in falsetto (like mickey mouse, not breathy), then down to original key it helps bring the weight of my voice, it feels easier to go back into headvoice because I just came from there. Is this wrong? or worth doing to make fast low passages less straining on my voice?
  9. So im working with 4Pillars and the term that is referd to tons of time is "Twang". And Quack and Release onsets is kind of helping students find that Twang configuration. Now ive been experimenting with this Quacking sound lately and i am doing this sound which i dont know if its correct.   Now i am aware this is NOT a sound i will be using when singing, but what i want to know if this is a proper way of finding that Twang thru EXCESSIVE quacking.   Obviously i want to aim for the effect that Quacking provides (adduction i guess) but in a more beautiful tone.   https://app.box.com/s/lnvdjb8n6rdge9kuukrkc3q9mvxhvoeo   Like i said this is extremelly excessive but i do feel like the tone is fuller and sound more connected.   You will notice as i try to open up the vowel (or embouchure) i fall back to falsetto.
  10. My student Will Scott just recorded this tribute to Queen, "The Show Must Go On"... sounds great!  
  11. I did a show a while back doing some Melissa Etheridge covers. For some reason I couldn't share the videos but I finally got the downloaded and up to Youtube so thought I would share them   Come To My Window -  I Wanna Come Over -    I've always wanted to be able to do her songs. Was able to do a whole 45 minute set screaming my head off without even losing my voice. Was totally awesome. Definitely once of my favorite shows to date.
  12. I decided to buy the Pillars..but since I'm self sustaining student money is a relative issue so i wanna be sure in what im buying. A little backstory. 2 weeks ago my high note was E4 and by just watching Luntes free vids on youtube i am able to hit A4. Now im certain his program works but i would like to know how far can it take me. Its not only range that i want but ofc its kinda main thing. Breathing stamina performance less fatigue is all stuff im out to get... so will Four pillars of singing coupuled with few skype lessons with Robert be enough to transform my voice. Or do you guys reccomend any other programe... just note that i think SLS is complete bull and i hate their methodology... I am aware the question s kinda dull but to sumarrise in a simple question "If i buy pillars will i be missing anything that other programes will give me?" Thanks!
  13. One of my students just released this production. I think it sounds great... wanted to share it.   http://www.reverbnation.com/psychosindicate/song/22963614-break-me  
  14. An iphone production of my student and teacher in training, Fabricio Fonseca from Brazil, performing "Man In the Box" by Alice In Chains. This is actually a great song to learn and train for technique. Especially higher belts, forward palette vowels and distortion. Enjoy!   Learn more about The Vocalist Studio training program, "The Four Pillars of Singing" .     Alice In Chains - "Man In The Box" - Fabricio Fonseca - TVS Student / Coach  
  15. Amazing DREAM THEATER Tribute! - Fabricio Fonseca from Brazil sings "The Spirit Carries On". Fabricio is a renown voice coach from Brazil that came to Seattle to train for the TVS Certified Instructor program and enjoy Seattle for the first time. Together we produced this great video. It is just the beginning Fabricio Fonseca! I look forward to our partnership and friendship. Thank you Dream Theater for a great song to train and cover.     "The Spirit Carries On" - Dream Theater - Fabricio Fonseca  
  16. Today Alberto ter Doest – master coach EVT – checked my vocal folds when doing whistle voice.   Interestingly, at my extreme high notes (C6–G6)1, I compress my vocal tract so much, that the light of the camera couldn't reach the folds, so it's hardly visible. I seem to fold my epiglottis in two, for amplification as well as being able to reach the highs.     I can sing my extreme highs very pianissimo and very loud. My compressing of like everything could explain why I can do that. The girl singers were either loud or medium in their highs and their folds were visible at all times, because they didn't ridiculously narrow their vocal tract as I did.   We arranged a new appointment with a camera through the nose, which could show more of what I'm doing.   I will be receiving the video material in the coming days and keep you updated.   Sincerely,   Manolito   ---------- 1. My range is G2–G6.  
  17. A nice endorsement from one of my clients who came to Seattle to train in the TVS Training Intensive for 12 hours. Congratulations to Jeffrey Hunt... who did a great job! It was really rewarding to watch Jeffrey take in the methodology and get immediate results... the look of satisfaction and happiness he had all week was really a reminder of one reason why I do this...