Correct placement for high notes

[alexc450]

Hello! So I just recorded 2 tunes (first takes, lots of mistakes, but i just wanted to record something) Im looking to sing with my band and would like to know if im on the right track (since this is a type of register i've never used in a live/public setting so i dont know if the vocal placement for these songs is correct). These songs are somewhat outside my singing comfort zone and what we usually play (in terms of vocal range and registers), but i would love to expand my repertoire. To give an idea my most demanding song right now is toxicity (SOAD)(with some chest pulling here and there). I've been a musician for 11 years but only been singing for 5 years now, and only had proper vocal training for about a year (not currently) mostly focusing on pitch, correct breathing, chesty high notes, etc... but nothing of this kind, so there is this desire to get into these types of songs.

Also, the "technique" im using for both songs feels (in my throat) the same to me, but it somehow feels more suited for the high notes heard in the scorpions tune, than in the skid row one. so I would love to know (if someone can give some input on this) why do i get two seemingly different results with the same technique?

Feedback is greatly appreciated!

Thank you 

Jesse

 

[Danielformica]

Sounds like your searching for different voices. Its kind of all over the place resonance wise. With some work keeping it "in the pocket" i think you would have an easier time

[Draven Grey]

I'm hearing the same thing as Daniel. I especially hear a drastic difference on the higher notes. It's as if you're trying to relax by modifying your placement a lot more towards head voice, and the end result is actually causing even more tension and instabliity on those notes. Edge it forward just a bit. Focus your vowels either right at where your hard and soft palates meet, or just behind that (depending on the sound color you want). If you're feeling a lot of tension in the neck, then you need to be transfering that extra pressure to both your soft palate and pushing into your solar plexus. If you really want balance your air rpessure, relaxation, etc, try singing the song through a cocktail straw while holding your nose andrelaxing (not pushing extra air through the straw). I don't suggest doing it more than 5 minutes at a time, perhaps a few times a day, because it stretches out every single muscle you're using too. But it can be an amazing asistant to singing a great vocal balance.

[Robert Lunte]

Jesse,

The skid row song:

- ? lacking any musculature. You have to ask yourself why this is so falsetto-ish. I get the feeling that YOU don't have to do this. That you have the ability to bring more musculature / TA to bare into this entire performance. You are choosing to sing on the edges of your vocalis which is a mystery. It says more about what is going on in your head then your capabilities... that is just a gut feel. There are some fleeting moments when the vocals connect better, but then you back off to this falsetto position.

- Dan is correct about resonance, but if you bring in more musculature support, resonance will suddenly "pop" better and "sit in", in addition to intonation. As well as so many other elements in your phonation package will come together. The singing is a mess because there is no framework, no musculature support. You can't expect to sing this song, or just about any song, in pur falsetto. So what do you do to fix that? You find a good training program and teacher if you can, and you begin to workout.

- What are you doing for training? ... What training techniques are you working with on a regular basis that can help you to strengthen your belt musculature, your ability to throat shape vowels ( narrowing ) and can strengthen your ability to maintain compression?  It sounds like you are not doing any resistance training to my ears. Are you just singing songs ONLY? If so, that isn't going to cut it for you... Very few people can get by by ONLY singing songs.  The purpose of training is to hasten your physical strength and motor skills required to support singing like this. If you were my student and were using The Four Pillars of Singing, I would be putting you on these routines right here. see the video capture.

 

The Scorps:

- Honestly... the same thing. It's a mess.

 

Make a commitment to TRAIN, ... practice some vocal training techniques or no one can help you. I am really just giving you the "tough love". Protecting your feelings isn't going to help you.  Being straight up, honest and telling you like it is, is the only thing that really has a chance to help you, provided that after you get that message, you take the steps that have been recommended.

[Robert Lunte]

... and BTW... Your  challenge is not about lack of "placement. "Placement" , or referring to where the resonant / acoustic energy is "placed" in your upper vocal tract... or where you are resonanting IS important and IS something that we all need to be concerned with, however,... it is not the thing you need to be focusing on. Your placement issues are one of many other issues that are not working properly, because.... you don't have the right musculature built and motor skills required to engage it. In other words, you want better "placement", than train and get stronger as I recommended and your "placement" issues will resolve themselves, mostly... Everything gets better, when you begin to train the belt musculature and create real stability in your voice.