Jump to content

Has anybody here personally increased his Chest voice vocal range?

Rate this topic


Recommended Posts

[[Template forums/front/topics/activity is throwing an error. This theme may be out of date. Run the support tool in the AdminCP to restore the default theme.]]

Guffaw, guffaw ... "Ron's Method." - match the sound of a shrieking cat when you swing them around the room by the tail.

Just kidding. My method is to get out of my own stinking way, which is not as easy as it sounds. It ain't easy being lazy.

:cool:

Link to post
Share on other sites
  • Administrator

The "Ron Method"? It rips! Ron, knows a thing or too for sure...

Well guys, I have been working on this a lot too and the result has been good. We first developed a set of specialized onsets that would engage the interarytenoids and vocalis muscles, refined it, tried on different vowels to release into and its working great. My students are getting a lot out of it as am I.

I am now working in the "Contract & Release" onset with narrow vowels as well. Great stuff, but it really helps to throttle back to slightly more open positions when you begin to sing. The level of contraction in the workouts are not the same as when singing. It is a careful balance between good resistance strength training and balancing for efficiency. I call the "Contract & Release" onset the "squats" in my studio... for big muscle work. Then when we reach for more singing or artful phonations with less torque, we reach more for the lyrical onsets, such as; 'Track & Release', "Wind & Release', 'Quack & Release" and 'Messa di Voce" onsets.

Just thought I would give you guys an update and let you know that over here at TVS, more musculature inside of M2 is live and kicking and getting results. Great discussion.

Hope this helps...

Link to post
Share on other sites

Even though I don't often talk in terms of 4 Pillars, I think what I am doing is pretty much what you, Robert, are teaching. People often say that I am singing in head voice, a lot. Which I take as a compliment, as it means, at least to the hearing of others, that I am bridging early. Where do I bridge? I don't really know, not paying attention. The only thing I am paying attention to is the sound and resonance of the note.

As well as the whole drop the jaw thing, which Lunte has been including in his intrinsic anchoring package as laryngeal dampening. At first, I could not get my head around that and thought it didn't apply to what I was doing.

Then, I recorded "Child in Time." And happened to notice that I was dropping jaw on the highest notes, especially the A5. Cool.

And while, to some, it may have seem the notes were soft, and some thought they were screamy, they were not. They were very loud and I was stomping the bejesus out of the mic. Keith said he used 4:1 compressor and a few other things that translate into fitting the note into bandwidth that would not distort. I even had a bit of rattle on those top notes, except for the last one, which I sang more cleanly.

So, I still find things in the evolution of Lunte's system that are what attracted me to it, initially. Essentially, classical technique applied to rock singing.

Link to post
Share on other sites
  • Administrator

What started as some ideas from this post, has now developed into a pedagogy and results. Here is one of my students training the new, "Contract & Release" onsets to develop strength of the interarytenoids and vocalis muscles. It is helping my students quite a bit. Develops stronger, beefier head tones.

For my taste, the mass after the release is a bit heavy, but he is getting the feel for it.

https://thevocaliststudio.box.com/shared/static/56d40cdb659fcfe5068b.mp3

Enjoy!

Link to post
Share on other sites

Dropping the jaw is not all that new to me, I just noticed it at times and it reminded me of intrinsic anchoring and laryngeal dampening. Concepts that you have been teaching and bear out in the actual singing of a song, not just vocalises and scales and what-not.

Link to post
Share on other sites

What started as some ideas from this post, has now developed into a pedagogy and results. Here is one of my students training the new, "Contract & Release" onsets to develop strength of the interarytenoids and vocalis muscles. It is helping my students quite a bit. Develops stronger, beefier head tones.

For my taste, the mass after the release is a bit heavy, but he is getting the feel for it.

https://thevocaliststudio.box.com/shared/static/56d40cdb659fcfe5068b.mp3

Enjoy!

For me, that vocalise is like loading a cannon, and the release is like fireing the cannon! It's way awesome, and very tireing. BUT, I was able to record "Silent Lucidity" today, and sing the high notes with lots of power - something I could NOT do last week. Not only does it work, you start feeling stronger in a few days!

Link to post
Share on other sites

For me, that vocalise is like loading a cannon, and the release is like fireing the cannon! It's way awesome, and very tireing. BUT, I was able to record "Silent Lucidity" today, and sing the high notes with lots of power - something I could NOT do last week. Not only does it work, you start feeling stronger in a few days!

Let us not forget that the student is just as awesome as the teacher. The teacher can teach but the student must apply.

And please believe me, people in general, I stink at politics. I say what I think or know, often to my own social detriment. But, credit must be given where it is due. Yes, Robert is an excellent teacher. But an excellent student takes the instruction and makes something beautiful out of it. Just as Tate did with the lessons he learned from Kyle. Did I just draw a parallel, there? Oops, I think I did.

Link to post
Share on other sites
  • 8 years later...

i don't know what you guys are talking about. an F5 in chest voice is not high at all. im a 14 year old man and i can even at this young age continuously sing Dsharp 5s in chest voice while not completely yelling and if i am yelling i can touch G#5 and A5. granted i cant go lower than a G3, but i hope this will develop soon.

Link to post
Share on other sites
  • 2 weeks later...
On 10/31/2020 at 8:58 PM, nirvesh daven said:

i don't know what you guys are talking about. an F5 in chest voice is not high at all. im a 14 year old man and i can even at this young age continuously sing Dsharp 5s in chest voice while not completely yelling and if i am yelling i can touch G#5 and A5. granted i cant go lower than a G3, but i hope this will develop soon.

There are many possibilities here, one of them is that you are not really in chest voice, another that your voice is still not fully developed, and probably a combination of these... For males to go above A4 in chest voice it gets really brutal, an almost useless sound that you won´t be hearing much outside raw styles like Grunge/Punk.

Though I would argue there is something to gain practicing it.

Would love to hear a demonstration of what you mean though!

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now



×
×
  • Create New...