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How to disconnect completely from Chest/Speaking voice.

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Hello guys, I've been lurking the forum for some time now, and I really love it!:D

I've been wondering if there is a way to have a voice completely controlled by heady coordinations, but still with a bit of depth or chestiness in it. Also is there any way I can speak in a higher key/ headier voice and still sound manly?

PS: I ordered Anthony Frisell's "The Tenor Voice" because I heard it does just that, so if anyone has it, I'd love to hear any tips/info you can give me.

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part of your solution is in the wording of your post....you don't want to learn to disconnect anything.

without hearing you, it's likely you need to develop a more balanced voice....you still need chest voice musculature involved in your singing.

it's a great read.

your first exercise in that book is one of the most beneficial exercises you can do. he will teach you how to narrow and thin so you aren't (assuming you are) dragging up chest voice and hitting a ceiling.

read it, and if you need to, re-read it......

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I've heard good things about that book, but it is definitely an unconventional approach.

Speaking in head voice, no way you could get away with that, not in my culture at least lol!

Singing always in heady coordinations but training to achieve more depth and chestiness within that, kind of. But expect a unique and notably lighter and headier sound. If you want to sound as powerful as 90% of the other singers in contemporary music then exclusively following a Frisell-esque approach will probably not give you that power. If you want a deliberately lighter, floater tone than most singers, that still sounds good enough to sing full songs with and not sound like a mouse, then by all means the head-dominant approach, gradually building the chest musculature inside of that, will work wonders toward achieving that goal.

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wow guys thanks for the quick replies:)

you dont want to disconnect, but, to use a head dominant coordination while keeping a little tiny amount of chest remaining

Yeah by disconnect this is what I meant.:P I can bridge lightly, and I can pull chest to about a G4, but what I want is that sort of voice that is controlled by head voice, but has chest tones. By disconnect I mean achieve a more balanced tone, as opposed to a chest dominant one.

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Let me explain. My singing days are like this:

On bad days, its mostly pulling, and throat singing that's happening. I'm trying to get to that higher place, but it doesn't want to work.

On good days, my voice just seems to float in a head dominant coordination, and I can feel that its nowhere near the throat. That's the sort of head dominant voice I want, but I feel that the sort of throaty singing in chest voice is hindering me from achieving it everyday. So thats why I'd prefer if my voice was more head dominant and more out of a throat-chestvoice coordination

Does this make any sense to you?:P

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I have the exact same problem from time to time and luckily Frisell's blog came to the rescue.


"While actually singing, the chest register’s and the head register’s ranges of pitches (each of which is controlled by separate, individual groups of muscles), have specific duties to perform. While the singer is attempting to accomplish these duties, the separate muscles which individually control them often get negatively entangled with each other. This causes the singer’s voice to immediately become dysfunctional.

This undesirable, negative “entanglement situation” is much feared and readily recognized by almost all professional singers. However, few of them, or their vocal teachers, seem to know the reason for the “vocal crashes”, and/or “vocal lock-outs” which they cause.

Most amateur singers also experience these negative entanglements of the two registers, but because their voices are less developed than the voices of professional singers, and because they are usually also struggling with many other vocal problems, they cannot distinguish one negative cause, from another. Negative registers’ muscular entanglements repeatedly occur within specific areas of all singers’ complete ranges."

THE FIX - Descending falsetto from D4 to Bflat3 (lower 5 notes of passaggio) alternating between oo (shoe) and oh (bone) vowels. I do this exercise and it works for me. I get my highs back and my chest voice gets tamed.

FRISELL addresses this problem here in more detail:


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MasterBlaster, I had a feeling Frisell's stuff would help. I ordered his "The Tenor Voice" book, its arriving tomorrow. Actually, I do falsetto and NG slides all the time to try get a headvoice placement, but it's sort of a hit and miss thing. Sometimes it works, sometimes it doesnt. Probably because I'm not doing it exactly right :/ Also I believe frisell's stuff has you working a thicker chest voice into your headvoice coordinations. Have you tried it yet, and if so, how has it worked out?

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Frisell focuses on headvoice training and bringing your head voice down instead of pulling chest.

Try only working D4 to Bflat3 (lower 5 notes of passaggio). Don't go higher than this. Alternate between oo and oh vowels. Take a deep breath and go ooooooooooooo then ohhhhhhhhhh then oooooooooo then ohhhhhhh until you run out of breath, start on d4 then descend chromatically to bflat3. And make sure it's falsetto only. Just work these 5 notes. Do this for an hour , don't do any other exercise or don't sing. Rest then try singing next day, you'll find your highs come back again. Your voice won't feel "jammed up".

Everything frisell describes in his books/blog has happened to my voice - shrillness, gathered voice, vocal lock outs but I am very happy with my progress and the solutions he offers. Patience is the key but I think a headvoice strategy is the key to good singing.

Only problem with Frisell is he gets very complicated something with his explanations and I am sure that this loses a lot of folks. Sometime you have to read what he says about 10 times before it starts to make sense. But in the end I think he really knows what he is talking about.

And Yes you must do the exercise preciously as he describes to get the best results.

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owen, these descending slides are just one small part of frisell's approach...

he's an opera coach...he had me doing things with my voice i could not believe.

he states that even after one builds a strong head voice, you still have to unite the two (chest and head) but in such a way that the musculatures yield to each other.

after a while of doing these falsetto slides, the pharyngeal voice starts to make itself known, which is a sign of further development.

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if you are presently a baritone, presently, (that status could change) then maybe that's a good idea.

but, a deep voice does not always mean you're a baritone. it's more about where your voice sits (or is most comfortable in a given range of notes).

not sure if the books are that much different.

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