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Blending registers, etc... (Sound clip inside)

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Hey, this is a clip of me singing a 2 octave major scale, from C to C, on different vowels. I did this kind of medium volume.

http://www.box.com/s/7a1d4cecf8c48b373f48

I'm starting each scale with a hum, just to make sure I resonate and feel my support.

It would be nice to have a little analysis of what I'm doing. Am I:

- transitioning ok, blending my registers (chest, mix, head)?

- "connected" throughout?

- pulling up chest? Breaking into falsetto?

- are some vowels better than others? why?

- other thoughts?

Assuming I'm doing this with good technique, is this an exercise I can do to get better at blending my registers?

I don't feel strain (that I know of) when doing this. It feels pretty easy but kind of like a balancing act at times.

Thanks,

Nick

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why not some basic scales over 1, 1.5 octaves?...plenty.

I found that the shorter the scale, the more weight I carry into my upper range.

I feel I'm doing this scale with proper technique. Just want somebody to prove me right, or wrong.

Have you listened to the clip?

Nick

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Hi Guys, if is not too much to ask, could we get some more feedback on this post please? I'm also really interested to know... thanks :)

I'm kind of at the same place as you Nicogratouilli so I can't really answer your query.

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Hey Nico, when I see your login, I think, phonetically, neeko - grah-too-ee. Is that how you mean to pronounce it?

I'm not an expert but it sounds like you are doing the right thing, You are following the tone, that is, keeping the same sound of the vowel as you ascend the scale, regardless of what it takes. And that's a good thing.

It reminds me of a famous singer who does him warm up the same way, doing a scale on each vowel. By his own description, in his memoirs, this is how Steven Tyler warms up.

Lilli Lehmann did something similar called the Great Scale, although her scale would use a modified vowel position for up top, considering she was a soprano coloratura.

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I'm not an expert but it sounds like you are doing the right thing, You are following the tone, that is, keeping the same sound of the vowel as you ascend the scale, regardless of what it takes. And that's a good thing.

Thanks a lot ron, for your opinion and the bonus info! :)

Hey Nico, when I see your login, I think, phonetically, neeko - grah-too-ee. Is that how you mean to pronounce it?

Just pronounce it how a frenchman would do it. Like "ratatouille" ;)

Nick

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Dante,

What do you mean by "spreading" the vowel. I always assumed it means losing the integrity of the sound by losing support and getting wider with it and maybe the larynx wanting to go upward. Is this a general working description or something else?

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Nick - it actually sounds very good. You are making a great connection to head both ascending and descending. Descending from head to chest is typically more difficult and you are re-connecting well. I agree with Dante that you could work on adding more "chest" up in the higher range. You can hear slight coordination issues here and there - not much though - as you go through the passagio. Now all you need is a lot of practice to smooth it all out.

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Here's today's practice:

1/ Nay Nay Nay, from C to C, descending major arpeggio (I recorded this one twice):

http://www.box.com/s/ca4f78e5473e918c27c7

2/"eh" on major scale, one octave, C to C

http://www.box.com/s/962c9d1f9e149fcd2e6a

3/"ee" on major scale, one octave, C to C

http://www.box.com/s/f1f36f20ca519273cc1f

4/"oh" on major scale, one octave, C to C

http://www.box.com/s/b1f8cf89b65cb1facb4d

5/"uh" on major scale, one octave, C to C

http://www.box.com/s/834c6f58079f1a249944

Any thoughts?

Nick

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Hey Dante,

Thank you so much! In these few posts, I feel you've told me more about my voice than all the teachers I've ever had.

Just started lessons with a new coach, but if things don't work out with her, I'll definitely consider having Skype lessons with you. I think you are very good at what you're doing :)

I'll give it an other go tomorrow. Happy easter!

Nick

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Today's practice:

1/ "Nay" on different pitches, trying to say it with energy/conviction

http://www.box.com/s/2b66e756ab38f8c1820f

Then I tried to keep the same energy/conviction in my exercises:

2/ "Nay Nay Nay", C4 to F4

http://www.box.com/s/2fd30f712886f30de5af

3/ "eh", major scale, one octave, C4 to F4

http://www.box.com/s/3a0784440fed6c2a70fc

4/ "ee", major scale, one octave, C4 to F4

http://www.box.com/s/a7612958ec070233fe26

5/ "oh", major scale, one octave, C4 to F4

http://www.box.com/s/07f44e91014bf356207e

6/ "uh", major scale, one octave, C4 to F4

http://www.box.com/s/29b488d128614308cdad

7/ "eh" on a siren

http://www.box.com/s/6d3ceff54cb6373e4e8f

I was using more volume than last time, and I'm afraid I was pulling chest around E4 and F4...

I felt it would have been very hard to continue the scale to F# and above.

Also I think I felt my support more.

Is this any better?

Nick

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What the unbelievably valuable topic over here.

Thank you Nic for your clips.

Thank you Dante for your responses, your explanation helps me as well. it's fantastic you share with us your knowledge. Extremely helpful posts.

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nick

I dont hear connection happening and what I do hear is a very delicate problem with the EE vowel that, if you continue to work like this, will lead to problems when the time to work on passagio comes.

Take the time and chose the professional that will help you with great care. Someone that you trust. Because considering that you are searching an internet forum for directions on such basic stuff, its clear that something is not working as it should.

Your EE should be placed somewhat like this:

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3394

Hope that it sheds some light.

Do take care. Messing with the EE can easily take 1 or 2 years to fix later.

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The first clips all have a break.

The last clips are building up tension when he ascends near the passagio, which would then lead to a break if he went on. The effort is building up and he tries to darken and hold back the larynx stable as you pointed, without developing support, its a lost battle. The larynx has no choice but to rise.

The siren shows it clearly. Becomes airy on the passagio and then breaks into falsetto.

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