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guys, try singing like a woman

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folks,

i really feel very strongly that it's beneficial to really work the head voice area by just letting go of all your inhibitions and fear of not sounding manly and just sing sirens and vocalize as if you were an opera diva.

as you do, play around with palate adjustments, facial and slight jaw maneuvers and just let yourself float the tone from light and soft to piercing and strong. you will amazed the resonance variations you get.

also, run through the vowels the same way making very minor shade adjustments.

it's such an enlightening experience. don't be afraid to sound like a woman. don't be afraid to deviate from the notes of a scale or arpeggio.

all these frisell head voice slides really help so much.

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I agree with this too. Most of my favorite singers aren't insecure about gender either and would gladly raise a middle finger and sing a phrase with girly sounding falsetto or head voice and it's good practice too. It helps people break out of pushing the heavy voice upward all of the time and gives people additional tools with which to express something in a song.

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oh definitely....all things that release and free the voice. but i've noticed when you descend into a low voice but keep it anchored in the head register then tweak the jaw (as an example) you access this (best way to describe it) hollow horn of extreme resonation...does anyone experience this as well?

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Here, the first is more like the reference of head I am using right now, the other is what I get if I try to use this "honk" which is similar to what I know as mixed voice.

The mixed is much heavier, and I cant take the dynamics down...

http://www.4shared.com/mp3/3xQtJqu4/head_vs_mixed.html

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No...

Pretty sure the second had more pressure, I can feel some chest stuff on it. The first is much more round, no pressure bellow the jaw line whatsoever, its all on soft/hard palate and front teeth...

The second is strange, something is not right there, but since I never trainned this posture its kinda expected. Probably I didnt support enough for it. Oh yea the second tone is cutted because I was kinda chewing the vowel until I found something that worked and that had that honky thing going on, but when I tried to let the dynamics fall, it turned into chest.

So what do you call those things?

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I can get to mezza di voce from falsetto but only at high pitches and low volumes. It always wants to jump around. It's also next to impossible for me to make my voice really sound feminine with my voice type. I sound like a guy with a girly voice at best. My falsetto at maximum volume sounds like a really clean tenor belt if I place it right but I cannot access head voice from that volume. I get told I have an interesting falsetto. It's actually really versatile and resonant. It can go as low as A2 and I can sing G3 at a reasonable volume. Tops out around A5. But it is really very distinct from my head voice which carries a lot of husk no matter what.

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I can get to mezza di voce from falsetto but only at high pitches and low volumes. It always wants to jump around. It's also next to impossible for me to make my voice really sound feminine with my voice type. I sound like a guy with a girly voice at best. My falsetto at maximum volume sounds like a really clean tenor belt if I place it right but I cannot access head voice from that volume. I get told I have an interesting falsetto. It's actually really versatile and resonant. It can go as low as A2 and I can sing G3 at a reasonable volume. Tops out around A5. But it is really very distinct from my head voice which carries a lot of husk no matter what.

srs, what voice type are you?

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If you guys want a good example of the original topic, listen to early Stryper / Michael Sweet. He does alot of soft singing in some of the ballads. Some people have thought it was a woman at first. Go listen to 'First Love' by Stryper.

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oh definitely....all things that release and free the voice. but i've noticed when you descend into a low voice but keep it anchored in the head register then tweak the jaw (as an example) you access this (best way to describe it) hollow horn of extreme resonation...does anyone experience this as well?

Bob -

I know EXACTLY what you're talking about.. This is something that I came upon while doing the Frisell Exercises, and it does feel really strange initially, but increases resonance like mad!

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In my opinion that is wrong way.

I did this few years ago, And whats the result? I have no enouth chest ingredient in my passaggio now. Bad habit.

going step further....

just sing sirens and vocalize as if you were an opera diva.

Like opera diva. Ok Bob. I did. Short part of Nessun Dorma Celaf sings. http://www.box.com/s/pasg1za2t3uhdts48m3g

The question is: "for what"? I can't improve my vocal skill singing mostly in head.

I think the most important thing is how to give chest resonance to passggio area.

all respect dev

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folks, you might be missing the point. i use this to exercise the voice, not sing like this, or use this kind of voice in the performance voice.

what happens (over time) but in shorter time than i expected, is the head voice seems to thicken and deepen all on its own. then it seems like you've built a "passageway" when you vocalize and exercise on "oo."

bigfoot, it sounds like you're experiencing the same thing. it really just feels so good to do, like you just know it's a good thing to do.

what i'm doing also, is carrying the head register notes down really low, but not letting them it meld into chest. so what happens (again over time) is you begin to memorize singing with the voice placed higher, it doesn't drop into the throat so it sits in a better place when it's time to go back up again.

of course, i do other exercises as well for other goals.

am i making any sense?

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