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Found 254 results

  1. I'm unaware if this video has been posted here before. I think it underscores what's wrong with some vocal coaches who seem to remain stuck in outdated teaching methods from circa 1985. I would have come away from my first voice lesson with the exact same opinion were it not for the fact that a major rock star told me his coach increased his vocal range, stamina, and power significantly! I went to his same vocal coach. I went to the first lesson expecting that whatever the coach instructed was gold, and I was going to follow it blindly! After all, I had seen the results in a singer he taught! It's true, just like Grohl implies in this video, after that first lesson I thought, "it just seems bogus that these singing scales are gonna help me achieve what I'm wanting vocally!" There was very little in depth discussion about what the science of the vocal instruction was. It was just, take this cassette home of the scales I just recorded you singing, and practice them every day for at least an hour. Next week when you come back, we're gonna work on vibrato. Then the next lesson, another cassette, until a large volume of dollars drained out of my wallet. It's very cool how Rob Lunte blazed the trail on vocal pedagogy in the last 15+ years. It's a model that brings a more holistic and specialized comprehension, which translates into augmentation of vocal development/improvement. To say nothing of his engaging training system, and the re-engineering of "singing scales" or "vocal workouts" (chiefly - onsets) to maximize the students ability to feel more tangibly what is occurring in the vocal track, and why. I don't know who this coach was that Cobain went to, but you can see there wasn't enough understanding at the end of his lesson. AND, if Kurt blew his voice out, why did he come home with a cassette of scales? (see any of the youtube videos or threads on exercises for vocal damage). peace! k
  2. I was just thinking about the different styles of singing and I started to wonder, what are prominent elements in different styles?
  3. My voice type - need advice

    Hello, I need some help with my voice type My range is E2 - F4 and my comfortable note is F2, but I cant sing E2 very loud. In the morning I can hit loud D#2 and a bit quiet C#2. My voice is straining on high notes like C4, F4 but I can still sing them loud (the straining is probably because of bad singing technique and not training enough) I used vocal monitor which tells me that I speak in A2 (if that helps). I stated learning the subharmonic singing technique one week ago and now I can hit G#1 with it but I cannot sustain because Im working on controlling it now. I wonder what is my voice type. I am 18 years old btw. Thanks in advance
  4. Alright! What are we looking to do this year?!
  5. Hi guys I'm really new to singing, I have sung (for fun) before but now I'm really starting to try because of my academic major (I will have to take classical voice lessons) I am an 17 year old male I "think" I'm a baritone but that's based mostly off of internet research. This is just a small voice excerpt of Michael Buble's - Feeling Good (Moved down to Abm) https://instaud.io/1Bvb If you could help assess my voice type and give any tips I'd appreciate it! Thanks!
  6. Ms. Diana Yampolsky is one of the world's foremost specialists on the topic of the human voice and is the creator of Vocal Science(TM), a unique and truly revolutionary accelerated vocal development technique. It is a holistic and scientific approach to voice mechanics that enables all singers and speakers to reach their full potential in an extremely short period of time. Based in Ontario, Canada, Diana works with a worldwide spectrum of clientele as a Vocal Coach/Consultant, In-Studio Vocal Production Expert and Non-Surgical Voice Repair Specialist.If you feel that you, or a loved one, may be suffering from such voice disorders like Spasmodic Dysphonia, contact us: info@vocalscience.com | 416-857-8741
  7. The term Muscle Tension Dysphonia is a general term which could be associated with an imbalance in the muscle’s coordination and breathing patterns required to create a voice. Muscle Tension Dysphonia (often called MTD) may occur on its own, or as a result of a strained voice being pulled into the neck muscles. The reason behind this disorder is not always clear. It may be triggered by allergies, illness, acid reflux or whichever other means... Symptoms - The most common symptoms for this disorder is a change in voice quality, often associated with discomfort of the vocal cords (or voice box) while speaking or singing. Also, almost always, symptoms like hoarseness and rapines will be associated with an increased effort to talk or sing, coupled with subsequent fatigue during continuous voice use. Treatment - There is an alternative form of voice therapy which is the gold standard for the treatment of Muscle Tension Dysphonia. There are no other known treatments (outside of the Vocal Science™ Method and Technique) that can restore the muscle balance in the vocal mechanism. With that said, this unique form of therapy will help alleviate the above vocal symptoms. Ms. Diana Yampolsky is one of the world's foremost specialists on the topic of the human voice and is the creator of Vocal Science(TM), a unique and truly revolutionary accelerated vocal development technique. It is a holistic and scientific approach to voice mechanics that enables all singers and speakers to reach their full potential in an extremely short period of time. Based in Ontario, Canada, Diana works with a worldwide spectrum of clientele as a Vocal Coach/Consultant, In-Studio Vocal Production Expert and Non-Surgical Voice Repair Specialist.If you feel that you, or a loved one, may be suffering from such voice disorders like Spasmodic Dysphonia, contact us: info@vocalscience.com | 416-857-8741 View full articles
  8. Warm Ups for New Singers!

    I am working with a new voice student. She has been a piccolo and flute 8+ years. I am trying to find some effective warm-ups for her. She is able to match pitch and has more confidence singing in her lower range. She has been recently singing with a very pressed sound and is very tense when beginning warm-ups. Trying to find warm-ups to help combat these things!
  9. Hello I recently discovered a YT-Channel called JT Machinima (now JT Music) and I enjoy a lot of their songs. Their main content are rap videos with some singing passages in them. So naturally I tried to sing/rap along and.... I am really bad at it. Obviously, I am a 16 year old boy who never did sth like this before. Song that I tried: So my question: I am a complete beginner. How can I get started and work my way up to sth like this song? How can I sing/rap without damaging my voice? Because when I tried to sing along my voice just breaks/goes silent because I cant reach that pitch. And even if, then my voice gets hoarse. Ps: Singing lessons are not a viable option right now, because I just want to try it and not start paying money or sth. Maybe later. Furthermore I am also kinda shy/scared when it comes to singing so I don't want to join a choir or sth public. Thank you in advance!
  10. Hi all, looking for input from experienced singers. I've been a musician for 20+ years (Guitar, Piano mostly) I have a degree from Berklee College of Music and I'm starting to think I just can't sing. I'm currently doing vocal lessons with a great teacher. We're basically just doing matching pitch one note at a time focusing on tone and timbre. I can nail one note at a time just fine. However when things start getting melodic everything falls apart. Singing along with any pop songs I just get lost and and get wildly out of tune pretty quickly. I'm fully aware I'm out of tune just now how I'm out of tune. This is if the song is instrumental and less so if I'm singing along with the original vocal (although that still isn't great either). However if I were to try and transcribe something on Guitar or Piano I'd have much more success. Anyways I'm getting pretty discouraged and feeling like giving up as I don't know how to fix this as the mechanics of practicing singing are so much different than Piano or Guitar. Looking for advice from experienced singers. Any help is much appreciated.
  11. How do you correct a vocal fault (that could be potentially harmful) when the student can’t comprehend what you’re telling them to do to change how they are singing?
  12. I am a beginning voice teacher who is teaching a 21-year-old student who has no prior musical training. I have designed my exercises to improve breath support and coordinated onsets so far, but I am noticing that pitch matching and retention are what we are spending the most time on in lessons. What are some efficient exercises or techniques for improving pitch matching and retention? Do these need to be developed before other aspects of singing (i.e. breathing, tone), can be addressed?
  13. I have been learning to sing for two weeks so far. I need a little help figuring out how to make my voice sound better. The song I am singing is panic at the disco Time to Dance.
  14. Baritone practice High C

    Hello I am a baritone who has always loved to sing a high c. This is me in practice. I have a harder time hitting it then the tenors. https://vocaroo.com/i/s1JiT23lEhKD
  15. I understand that asking how to get higher notes usually annoys people on forums, but I don't care. Usually the people that ask this are kind of new to singing, I've been singing in choir for 4-5 years and nobody has ever directly answered this question. How do I train my voice to hit higher notes? I believe my current top is like a D4 or F4. I really want to get an Ab5. There is a specific set of songs I want to sing that require that as a top note. My question is, what vocal exercises should I do to get higher notes, and how often?
  16. A Diphthong is a sound formed by the combination of two vowels in a single syllable, in which the sound begins as one vowel and moves toward another (as in coin, loud, and side ). Often times the second vowel color is a narrowed language vowel such as "ee", "oo", or the R-Controlled vowels; "er", "ur", "ar", "ir". These narrowed language vowels found in diphthongs, are one of the PRIMARY reasons why singer's voices break and weaken when singing in the head voice. The solution? ... Be aware of this issue and then train your articulators to learn how to shape diphthongs in the head voice with slow and controlled detail work. www.TheVocalistStudio.com. From the 2nd webinar with Draven Grey.
  17. Hello fellow singers, looking for input how to approach teaching singing. I'm going to be teaching an 11 year old girl who's interested in pop/jazz. I'm fairly proficient at conveying the basics about breath,support, posture, technical stuff mostly. What exercises would you recommend, general tips and what should I focus on in general. Any advice from pro vocal teachers would be mostly appreciated.
  18. As I've mentioned in other posts, I've been taking lessons for a few months with an opera/musical theater singer, and I've played a whole lot of different singers I enjoy for her to hear her opinion, and I find it interesting to hear the impressions of someone from a different world and different sensibilities. I thought I'd compile all the ones I remember into a collection because I was also curious to hear reactions: Chris Cornell: Disliked. "He's just screaming in the one part. And his high notes are very thin, but he puts all the scream and effect on it. If you heard it without that stuff it would just be a very weak sound." Bruce Dickinson(Iron Maiden): Disliked. "Sound is thin, poor technique on higher notes, badly produced vibrato." Dio: Unimpressed. "Again, just a thin tenor putting some effect on his voice." Warrel Dane(Nevermore): Liked. "Good control. He's making a choice on every note." Eric Adams(Manowar): "One of the best sounds of all the singers you've played for me. But still a thinner tenor voice." Mike Patton: Liked. "Nice voice, clearly knows how to sing. But I wish I could hear his natural sound more instead of all this 'put on' stuff he does." Tarja Turunen and Marco Hietala(Nightwish): "You can hear both these people know how to sing correctly, they're just doing some weird things because that's the style I guess. Forcing the straight tones is making her sound flat, and she knows that, but she still does it." Devin Townsend: "If I were his ENT doctor, I'd love him, because of all the money I'd make form all the damage he's doing. He has to be on steroids to be doing what he does consistently. Either that or he's just a freak." Eric Clayton (Savior Machine): "Completely different from the other stuff you've shown me. Sounds like a regular baritone stage voice." Daniel Heiman (Lost Horizon): "Not bad. He's doing some of that weird stuff again, but he sounds good otherwise." Alissa White-Gluz (Arch Enemy): "Oh God, that's a woman!? I can't listen, it's too painful, she's ripping her vocal chords to shreds." Phil Anselmo (Pantera): "I guess it's...kind of like singing." Tim "Ripper" Owens (Judas Priest, Iced earth): "His voice will probably last a bit longer because he knows what he's doing and being very controlled about it." Mikael Akerfeldt (Opeth): "He's got a nice voice." Mikael Akerfeldt growling: "There's no way he's producing that sound naturally. Either that or he's doing it very quietly and it's made to sound much bigger."
  19. I'm a metal/progressive rock/classical guy taking lessons with a classical opera singer. It's always an interesting thing bringing her vocals to listen to. Some get better reviews than others, but the most common thing I hear from her is that the vast majority of vocalists are wrong for my voice, because they're just too high and light, and I have a bigger voice with a darker color. I kinda knew that was true of someone like James LaBrie, but Bruce Dickinson, Eric Adams, Dio, etc. I wouldn't have called them smaller voices, or the highest, or the thinnest, but to her they are. I one guy she thought was a bit closer match for my voice was Tim 'Ripper' Owens, or maybe that I could get get away with singing stuff from baritone-y guys like Eric Clayton of Savior Machine, who has a cool voice but it's usually a different thing. To her, a voice like Geddy Lee is just an exceptionally odd VERY light and high male voice, almost off the spectrum, and 90% of the rock singers out there are light, thin tenors. She asks if I have some other things to bring her that aren't like that, but it seems in rock, almost everyone has that sound, and with the exception of a few baritones here and there. The implication - the world of rock and pop is just filled to the brim with light tenors wherever you look these days. Even on Broadway these days this is all the rage: (Also interesting my teacher thought the composer should be shot for making the singer do that B5 at the end in that style, because it's certain to cause damage over time, and this singer did indeed have to take a break because of voice trouble I think). I mean, if you listen to something like this: ...this kind of voice can't help but sound a bit old fashioned. But really, it's just a natural male voice, singing as it would naturally sound. But there's practically no place for that voice in pop or rock, it seems. I suppose the question is, to what extent are we talking about just a lot of thin tenors, and to what extent are we talking about singers who might be baritones or low tenors, but who thinning their sound out, because that's the style?
  20. Heres a little video my friend shot of me performing in the studio
  21. 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:
  22. Hello everybody! So my last thread I asked for help on mixed/ middle register. I have been working on it for a little while now but I still feel like I'm shouting and using too much air on belting high notes. It's as if I'm trying to sing it rather than just letting the sound out. Here is a comparison: and me lol: Any tips or advice is appreciated. Don't know if I'm shouting because I can't get that cord closure properly in my higher registers or if it's a bunch of different things. Woke up a little hoarse today too after singing for around 2-3 hours heavily. this is so annoying Thank you ! Love this forum for all the help I get
  23. 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?
  24. Currently debating my existence listening to the melismas in Handel's 'See the raging flames arise.' Any tips on melismas in general?