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dumb question about passagio

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MDEW
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If I am totally Stuck at F#4, without a radical change in configuration, Does that suggest that I should be "mixing" around D4 and be mostly in head when singing that G4 and higher. Or is that G4 where I need to start mixing.

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I've found that the more I bring head voice down, the better I connect. So try working out those lower head tones. Don't force your way through the passagio. And do lip bubbles. Those rock, don't write them off.

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Mdew why don't you post a clip of what you are trying to do. Then we can give more concrete advise. You can write about bringing the headvoice down, but if you're doing it simply cse it's in a book and dont' know why or how, then it's pointless.

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as dan says, over and over, day after day, week after week,

just one of my favorites...

stacatto,

no lightening up, no falsetto

may, may, may , may, may, may,

may, may, may , may, may, may,

may, may, may , may, may, may,

may, may, may , may, may, may,

may, may, may , may, may, may,

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they could be if you wanted to, but i'm suggesting a scale.

this is straight off roger kain's cd. i do this exercise every day.

no going into falsetto, keep it loud and supported.

disclaimer: this is merely a suggestion to help build strength in your middle voice.

it has helped me a great deal.

https://www.box.com/shared/yqtib7xa3x

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I swing the cat around the room at arm's length and match what she is doing. Or she swings me around and matches what I am doing. I'm not sure which ....

jk.

The other harry potter-ish secret is that we really don't sing like we speak. When we try to sing like we speak, things go wrong. So, part of the problem of ascending past the F#4 in this case is in trying to do it the way you speak when you are on the phone or ordering egg rolls at the restaurant.

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Bob, but really, what are the chances of someone that is not trainned yet actually supporting the voice out of nowhere?

"Keep it loud and supported", is like telling someone learning to play tennis to toss at the exact height and then hit the ball at the exact spot using your whole body to deliver the maximum ammount of speed to the ball, but do not pay attention to this, just aim where you want it to hit. I can only imagine what would happen if someone using a poorly ajusted voice and with the emission still low did this scale as your propose...

Nope, without assistance of a professional that CAN actually do it, there is absolutely no chance of getting this right. Sorry to say.

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Bob, but really, what are the chances of someone that is not trainned yet actually supporting the voice out of nowhere?

"Keep it loud and supported", is like telling someone learning to play tennis to toss at the exact height and then hit the ball at the exact spot using your whole body to deliver the maximum ammount of speed to the ball, but do not pay attention to this, just aim where you want it to hit. I can only imagine what would happen if someone using a poorly ajusted voice and with the emission still low did this scale as your propose...

Nope, without assistance of a professional that CAN actually do it, there is absolutely no chance of getting this right. Sorry to say.

I agree with you on this one...Nothing can replace a qualified voice teacher, but if one cannot afford that then they can make some progress if this is applied in a non-harmful way. But like you said earlier it is very hard to get this right without a trained teacher at your side.

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I recorded my sample but it is .wav my mp3 converter crapped out soundclick will only accept mp3.

Having all kinds of trouble. When i went to record the first time I nailed that G4 through the entire song....then I found out that the recorder did not record anything. But this time you will definately hear problems. Of course that's what I want you to hear.

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There's not much to elaborate its merely a way to train when you get really good at something you can move on to the next step whether it singing weightlifting speaking another language. For instance when your in grammar school they don't jump you from 1+1 to calculus in month. I hope that summed it for ya Jonpall

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Finally got it. Take it on the run REO Speedwagon.

I have been reading your posts. I thank you all for input. I know It's a long journey. I am just looking for a direction to start walking in. As I said First time I tried to record this I nailed it But it did not record. But you need to hear my mistakes so I also added another direction I sometimes try.

http://www.soundclick.com/player/single_player.cfm?songid=11731170&q=hi

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Your voice begins at the first vowel at a posture, the first note on the first Anytime.

Then you let your larynx rise and open into an airy emission.

Given the circunstances, I figure the breathing pattern is still high on the chest...

So first step. Take a deep breath through your nose and scold the nearest object you can see. Like "Let go of my hand &%¨&$& cup". But you have to actually mean it, be mad at the object. If you have a pet, pretend that the furball just ate through your cloths drawer and scold the living hell out of it.

This is a more ajusted phonation that you can use to train to get out of this problematic posture you are in right now. Use the reference, make sure that you can replicate the sound at your will, inhale and release an open AH in a confortable pitch using this same pattern, do not overdo it, just release the AH and DONT TRY to go into higher notes, this alone will not work.

Its a decent start. After this posture is set, a few months of work in paralell with support and your emission will be decent to start working on chest resonance and start defining some easier songs into a repertoire.

Hope it helps and clarify.

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When I sing in this area , the resonance pounds the back of my throat, and any tension I have is released. However, this area for me is small - maybe 2.5 whole steps. Above that i go right to head voice . Note that I don't even mix until f# ish or G. Seems like I should be starting that "mix" earlier doesn't it?

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Your voice begins at the first vowel at a posture, the first note on the first Anytime.

Then you let your larynx rise and open into an airy emission.

Given the circunstances, I figure the breathing pattern is still high on the chest...

FelipeCarvalho

Would this particular problem be lack of support, not breathing from diaphram?

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Also. But the main problem is that your intention during phonation is not working. Thats why this could help, if you do the reference well, it will improve matters a small but needed bit. Dont push your voice, simply find this seriou scold voice and map this action into an AH.

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Also. But the main problem is that your intention during phonation is not working. Thats why this could help, if you do the reference well, it will improve matters a small but needed bit. Dont push your voice, simply find this seriou scold voice and map this action into an AH.

This scold voice would be the posture before vowel you were talking about?

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i guess you folks have a point. i was so helped by this, i guess you just want to have it help another. he actually has this as the very first exercise in the program. kain was unusual in that he felt this exercise was to warm up with!!!

if someone owned the program and read the book, i really don't think they could get into trouble.

just goes to show you again, that many opinions and theories abound.

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