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  1. 3 points
    It is amazing to me how Bollywood manages to churn out these beautiful tunes. What genre is it? (Sometimes, not understanding the language is a blessing. I am often disappointed if I see the translated lyrics. They are usually very average. ) Anyway, listening to you singing, I would say that you have good pitch appreciation (you may be thinking, "of course", but it is a big deal for some beginners). You do have some problems with execution as the pitch ascends (or occasionally as it fluctuates quickly), even though you seem to be aiming for the right notes. It sounds to me as if this is mainly to do with breath regulation and is made more difficult with a genre of music that uses a lot of melisma and arpeggios. I would recommend finding an appropriate diaphragmatic breathing technique. However, as I have not come across any coach or trainer of Western music who has correctly characterized the unique sound of this genre of singing, I can't really say which diaphragmatic breathing technique will work well. Somehow the Indian singers manage to get a lot of "cry" in the upper range, while keeping the lower range mellow. Some Western trainers confuse this with breathiness. In your singing, I think that the mellow lower end is going to come naturally. Breath control will be required to find the resonance in the upper range. That's my two cents worth of opinion.
  2. 2 points
    MDEW

    Eddie Vedder Technique

    What is the difference between formal training and training yourself? Read a few interviews from these guys and you will find out that they either started out at a young age or Learned from other musicians and singers and worked on sounding good. The difference is in wanting to sound better and working at it. From an interview in guitar Player Magazine: Tommy Shaw "GP: Were you copping licks off records and radio? Tommy: Right. It was more fun trying to figure out "I Want To Hold Your Hand" and "I Saw Her Standing There" than to take those lessons. By this time I knew my basic chords. There were some older guitarists on my side of town, and I got to know many of them. I would go and try just monkey-see monkey-do, which was always a lot easier. I was never a very good student until long after I got out of high school. It took me that long to realize the importance of having somebody who knows teach you something. GP: Was it your R&B background that gave you an appreciation for playing behind vocals?Tommy: When I was a little blue-eyed soul brother I learned how to do the scattin' stuff kind of like George Benson does, where you play and sing the same notes. I really got into that. It's a lot more than just cranking out riffs on the guitar because you're singing in unison, or in harmony, with your playing. It used to be a trademark of mine back in the old days." I would say singing in unison with a guitar riff is a pretty good workout wouldn't you? A nice way to train the voice? Jeff Scott Soto from Wikipedia "Having a keyboard in the house growing up, he taught himself by ear how to play his favorite songs on the radio but it wasn't until middle school where (playing trumpet) he learned to read music. Using this new technical knowledge, he began fronting his first band at the age of 12." Playing trumpet you learn breath control. One of the fundamentals of structured lessons. So, He first taught himself....That does not mean he was born with it. That means he worked on it. Dio: Wiki "His family moved to Portsmouth from Cortland as part of his father's service in the U.S. Army during World War II[11] and they resided there for only a short time before returning to Cortland. Padavona listened to a great deal of opera while growing up, and was influenced vocally by American tenor Mario Lanza.[12] His first formal musical training began at age 5, learning to play the trumpet.[12] " "Despite being known for his powerful singing voice, Padavona claimed to have never received any vocal training.[15] He instead attributed his singing ability to the use of breathing techniques he learned while playing trumpet.[16] In an interview from hammer magazine: "Was music in your blood? “There were no musicians in the family whatsoever, but due to Italian culture music was embedded in the town. I grew up listening to a lot of opera, which really affected my singing style.” So you have someone who is learning music and playing trumpet from the age of 5 and listening to Opera. A natural born singer? Not really. Someone who was singing opera from the age of 5 and who learned breath control AND had formal MUSIC training from that time on. A childhood of conditioning to be a singer. Not natural born.
  3. 2 points
    Lovely voice, awesome, more!!
  4. 2 points
    Hi Marvin, Why make a comment that makes sense and then put in a link that has nothing to do with singing? If you are a real person and want to improve your singing. Look into "The four Pillars of Singing" Taught by Robert Lunte. Binny90, I like the song. It has as much potential as any other song. Keep up the good work. If you do want to improve your singing, The main thing is to practice scales to get your voice used to changing pitches and recognize when you are singing off pitch. Sing a little louder with feeling.
  5. 2 points
    @MDEW The aryepiglottic muscle seen in your picture can't really create the narrowing of the epilarynx simply because it's too weak and sometimes it's even absent.
  6. 2 points
    Dude at least try to make some sense. Some good quality trolling would be cool but this is just too boring...
  7. 2 points
    Robert Lunte

    Silent Night and Purple Rain

    Hi Arj, sorry for the wait. Nice sounding voice. Lot's of cry in your singing. Why is there is no backing track? It would be better to hear you singing on top of the karaoke track, can you offer that for us to listen to? Are you doing any training? If so, what are you working on? Any programs? Do you have a teacher? Coach
  8. 2 points
    kickingtone

    Working on a song

    [Constriction and "choking" can also be a protective reflex. If the body detects that the pressure or airflow at the throat is unhealthy, it says, "forget the singing" and reflexes to shut off the problem. Just like your "blink" reflex, it is not a good idea to try to simply override it psychologically. You need to address the thing that is causing the reflex. For singing this is likely to be something like inadequate breath support.] Anyway, back to the OP. Decent vocals, imo. With proper diaphragmatic breath support, your voice will glide effortlessly straight over the passaggio, and you will get that responsiveness and agility you are looking for. I notice in classical training techniques that they make a big deal out of breath support (probably coming from traditions of singing without a mic), and relatively less of a deal about the passaggio (even though the term comes out of that pedagogy). Once you are able to employ a good diaphragmatic breath support method, .like appoggio, the passaggio is no longer a big challenge. It gets "fixed" almost automatically. Add that to the fact that you are able to siren up to G5 (wobbly, but an impressive foundation), I think you can really take your vocals places. Yup, I am not a coach. Just my personal take.
  9. 2 points
    Kevin Ashe

    Working on a song

    spc3c..., Excellent composition! Great style and arrangement, good air play material, catchy hooks, lots of melody! Very good musicianship! Your voice is very marketable as well! Reminds me a little bit of Tyler Joseph (21 Pilots), maybe a dash of Matt Shultz (Cage The Elephant)! I like it a lot! When you sing the lyric, "with no place to go home" - Sounds to me like you're singing with good connection in the lower realm of your head voice! Double check with a coach, but I'm fairly certain. I would predict that with just a couple months of committed training with a good coach and training system, you will sing much higher! You should check out Robert Lunte's Youtube channel and search for lectures on the subject of Baritone's singing high notes. Lot's of good solid facts that will power you up with confidence about the reality of expanding your range to include notes more common to a tenor. The truth is, you'll learn in those videos that vocal "Fach," (Bass, Baritone, Tenor, Alto, Soprano) are essentially a distraction in vocal training. Proper training leads to expansion of range, coordination, strength, respiration, and also, confidence, projection, release of tension, vibrato, distortion, . . . . the list is long! The point is, it takes work in the vocal "gym" so to speak, that being vocal workouts that bring the above mentioned qualities to your singing voice. Are you training? Do you have a vocal training program or a coach you are studying with? It's never been more affordable than today! peace, k
  10. 1 point
    RNBJR

    Bridge area notes

    I am working on my singing and have been taking lessons. My issue - I seem to do okay with head voice when I go above G4. However, when I try to see in the F4, G4 area on certain songs, it comes out “shouty” and harsh. I can hit the notes fine, but I am not getting quality. If it is a softer, quieter song, I don’t have this issue. I have this issue when trying to do fuller sounding notes in this area. I would greatly appreciate any feedback anyone cares to give. I am not a great singer yet and am trying to learn. Thanks!
  11. 1 point
    singing squirrel

    The Junk Food Effect

    And thank you Lisa for your kind support
  12. 1 point
    Robert Lunte

  13. 1 point
    Twang and Knödel both feature a narrowed epiglottic funnel via epiglottic retroversion, which, as people who treat swallowing disorders can attest to, is inextricable from tongue root motion. It is my assessment that the hyoglossus is not a likely candidate for the muscle responsible here, but I am given to understand that the aryepiglottic folds were recently found to actually attach to the palatopharyngeus rather than the epiglottis as was originally thought. Even so, it seems likely that this muscle is responsible as a certain tilting of the arytenoid cartilages is also observed during twang qualities. Yet if twang and Knödel both feature the retracted tongue and retroverted epiglottis, what might be the biomechanical difference that can account for the difference in sound? I believe it is a matter of whether the oropharyngeal isthmus is narrowed via the palatoglossus muscle, which would account not only for why many people have easier time finding nasal twang than oral twang, but also for why many will describe twang as nasal sounding unlike Knödel: The nasal quality is perhaps not primarily the nasal formants (which are weak since the nasal cavity is an inefficient resonator) but the bright quality resulting from the narrowed oropharyngeal isthmus. I believe the same movement of epiglottic retroversion will result in either twang or Knödel depending on whether the oropharyngeal isthmus is narrowed. I mentioned that the aryepiglottic muscle is likely responsible for the epiglottic retroversion. Since this also draws the arytenoid cartilages forward, it leads to some anteroposterior narrowing at the vocal fold level, which would indeed change the vibration of the vocal folds as you suggest - namely the vertical phase difference would be increased. I would also note however that people often underestimate the amount of source-filter interaction and that changing the resonances of the vocal tract will tend to change the vibration of the vocal folds as well. In addition, the narrowed epiglottic funnel would increase this nonlinearity (Titze, 2008) and it would also result in changes to the supraglottic flow due to changes in the aerodynamics (eg. the Bernoulli effect)
  14. 1 point
    HiCu

    Eddie Vedder Technique

    Thanks Robert. I guess what I'm trying to say with word natural talent is they find the property vocal configuration early on. Then they just work on dev songs because the mechanics are already in place. I have seen this over and over again with really natural singers I grew up with.
  15. 1 point
    Hi James, IDK... Wednesday morning quarterbacks? In the past I used to be inclined to add comment or argue with something like this that I feel is lacking in some way, but these days... I just don't care anymore. It's a waste of time... Who is this guy? Is he a teacher with credibility? Can we seem him teach? Can we hear him sing? It just looks like another way to do a reaction video, which in my view is .... I can't find the words to describe without being rude... but, I think... the ultimate form of "free secret tips". People that typically don't want to train and will never train and will never spend 100 hours singing songs and working on parts. I am SO disinterested in this person's opinion on Russell Allen, that I'm not going to watch the video. His opinion means absolutely LESS than nothing to me. Although I appreciate you making the post and sharing James... it is great to have you as a member. I don't want to seem lacking in gratitude for your participation. Only commenting on the value of the video to me personally. I did notice this however... which I think does have value for both of us. My name is James and I'm a possible future student of Rob Lunte. If you have questions about the TVS training program and becoming a vocal athlete on the program, I am available to serve. Let's get you actually training and singing better by doing it, not by talking about others who do.
  16. 1 point
    MDEW

    Eddie Vedder Technique

    I have seen several cases of an artist/musician/'singer confronting the comment "such a natural born talent" and the reply/look on the face says "Natrural? I worked like hell on this "Natural" talent." Learning, improving, training never stops. If you are taking lessons and the training stops when you walk out of the Teacher/coaches studio....then don't blame the teacher.
  17. 1 point
    kickingtone

    AUDIATION: the ignored skill?

    AUDIATION "Audiation" is "visualization, but with sound." It is the process of imagining and feeling music only in your mind, without any external stimulus. Some people have clear crisp imagination of music, while other people can only manage vague, fuzzy sounds. And among those who have clear imagination, some can only imagine a single melody, while others can apprehend harmony and a mix of instruments. Ability to AUDIATE has an enormous impact on musicality, musical creativity, and the approach to singing, learning and discussing technique. People who AUDIATE well may take it for granted that everyone does it well, and those people for whom AUDIATION is dormant or weak may think that is the norm. The two types of people may find it difficult to agree on "best practice" in vocal training without knowing what is behind their disagreement. Simple example: Singer asks how he can learn to keep in step with the music. He says that he often ends up one or two beats off the beat. In reply, my recommendation assumed that he could audiate. I told him to pick a key percussion instrument and mimic it in gaps in the music. i.e SING then do taa-taa-ta-taaa SING ta-ta SING....etc. That way he will better feel and become familiar with how the vocals fit in. Then he can pick another instrument, etc. to get as deep an understanding as he wanted. The approach requires him to hear the other instruments in his head (alongside his own vocals) to be able to anticipate all of them on the fly. He is basically singing less than the music he is imagining, which takes care of the phrasing issue. (Conductors do this. They can pick any point, hear where any instrument is supposed to be, and correct it if it is not there. I also remember training with a Ghanaian drummer, who would shout out the part of another drum if it was off the beat, while he was drumming his own part. Such people clearly have very well-developed AUDIATION skills because they can feel and hear the music ahead of the real sound.) The other recommendation on the thread (which surprised me) was "get out a metronome and practise against that". Obviously, these are different approaches, and I have to confess I don't understand the metronome method. I don't know what the metronome is doing that the music is not doing in the first place. And, if the metronome does help in some way, how the method helps when you take the metronome away in a live situation. POINT IS: Once you are aware of the importance of AUDIATION, you can develop it by paying attention to it and practising. You can build clarity and depth into how you imagine sound, music, singing etc. This helps in all aspects of musicality, including musical composition.
  18. 1 point
    Robert Lunte

    Eddie Vedder Technique

    Ya ok. I like his voice. I like his singing. I really like his lyrics and song writing. I still think he is a pusher. Back in 2014 it was more concerning to me, these days, "what ever". I don't care. I enjoy the work from this album.
  19. 1 point
    @Felipe Carvalho Yes, sounds right. And it's interesting if you feel a difference in the cricothyroid visor. It would be great to see an MRI study in regards to the "tilt". They also mention this in the study I cited earlier: "Another potentially important finding is that the laryngeal tilt mechanism is independent of pitch production and can be related to a variation of density or “weightiness” of a sung note. This is a line of inquiry that warrants further investigation, such as studies of women, across various pitches, and from methods such as MRI or EMG." https://www.jvoice.org/article/S0892-1997(18)30040-7/abstract
  20. 1 point
    I agree, but I am not defending the removal of visualization and sensations, I mean I see no problem on someone learning just by it. On the contrary, I am also saying that a good deal of the relevant stuff there is to learn on singing technique exists only in experiential knowledge and can not be transmited just by saying "now increase the space in your pharynx while keeping the interarytenoids engaged and preventing the TA from over contracting". And it´s exactly because I think that these tools are important that I believe it´s very important to see how, where and why they fail. Because it does and it even fails more often than people report it does. I am defending that one of the primary reasons they fail is because they are simply a tool to transmit experiential knowledge, not the knowledge itself. And so when you have something like classical teaching where almost all is done through visualization and sensation, having the tools without the master intervention is like buying a fancy pants chisel and expecting it to sculpt wood by itself. Or in simple terms, these are just tools, and as such they are as dumb as they can be useful. The quality of the intervention will depend on the person using them. For someone that is starting out picking this information alone... What will happen is what I am linking here.
  21. 1 point
    MDEW

    New Innovative Online Singing Method

    Hey Carlo, How about joining the conversations instead of advertising for another singing program on a forum started by someone who HAS a singing program? Join the forum and contribute by sharing YOUR knowledge or opinions on the forum. Interact with people.
  22. 1 point
    MDEW

    Review of Twang and Squillo Research

    Look at the middle of the picture. The "X" muscle I mentioned is the Muscles that CREATE an X pattern. the Aryepiglottic muscles. Not "X" muscle as in random muscles. So when these muscles CONTRACT they pull on the epiglottis. Correct? The idea about Folding is in the PDF. That has nothing to do with the picture here. I am asking the question of Why it would be the folding that causes the eppiglottis to move and NOT the muscles I mentioned. Perhaps it is both.
  23. 1 point
    Hummm I don´t know, it seems to me that if it was just this, the coordination at 42:00 minutes would look different than that, and she says the singer was just playing with the idea, which she just acquired. For that to happen in that specific manner it would require that the thyroid was strapped, and that as the thyrohyoid space closed the tongue compensated the movements so that it´s shape was more or less the same as the hyoid approached the thyroid. It would take quite some training to reach a point where it seems to be perfectly stable on visual feedback no? And the folding would require up and down approximation on that area, that does not seem to be happening, that bulging seems to happen without the upward displacement of the larynx, and it also seems to be happening higher, above the hyoid bone. Narrowing the thyrohyoid space is also something I experimented before, it really feels bellow the *other thing* that I am experimenting with. Testing here and monitoring with my fingers I can feel that the other one can happen even with the thyrohyoid space open (and the larynx lowered). Seems to be happening on the position I marked in green, instead of the position I marked in pink (in the real time MRI on the video).
  24. 1 point
    Great video Felipe. You are correct. Singing and the process of learning to sing requires that the body learn an entirely new set of articulations and phonetics. There are speech articulations and phonetics , per each language... and then there are articulations and phonetics for another language called “singing”. this sis a powerful realization for singers to realize. Also, think of frequency as a constant. The higher you go, the more exotic the vowels need to be and become. The lower you go, the less exotic and the vowels need to be. Although even the low vowels are still not speaking vowels. here is a video I did that answers the question, “why do we not hear accents when people sing”. This is a bit off topic, but the answer to this interesting question includes the similar observations expressed above. i hope this doesn’t seem too far off topic, but it sort of hits on the same ideas. In particular, NOTE the point about “homogenization of the singing vowels”. Enjoy...
  25. 1 point
    Robert Lunte

  26. 1 point
    To the point: There are some *smart* voice teachers displaying before and after of their students as a sign of improvement and that are deliberately faking results and exploiting recording conditions to create the illusion that their singing method produces *huge* voices. In this particular case I saw, the teacher compares a dry and very clean/honest recording of a students voice on a controlled volume level (meaning that it was properly gain staged for the best possible audio fidelity) and low to no reverb, which would be the before, with a badly distorted/digitally clipped sample of the same student singing where you can't even hear what the guy is doing anymore, which then would be the result of the training. Guys, when you hear a distorted AND louder audio, of course it will sound *huge* compared to a clean version of the same, but this is not a consequence of the singer technique being better, it's just poorly captured and louder. In the sample I received an audio engineer was able to restore a bit of the audio and you could hear the student having issues with the phrase and cracking on it, something that was completely hidden by the distortion. The fact that the distortion itself happens is being used as a sign of competence too, something like *it's so loud the recording equipment can't handle it*. This is non-sense. Certainly if you do not set the gear properly when you go loud, it clips, I did this mistake myself on a few of my videos, but it's all it is, a mistake when recording. Except that on this specific case the effect is being deliberately exploited so I would not call it a mistake either. Loud/Clipped recordings does not mean huge voices. Pay attention to what you are being shown!!
  27. 1 point
    Alright, so here is my testing with the idea: https://app.box.com/s/hya3ds8wkjh4jckfe5be7n508q3tojfl Sorry for the delay, my voice was crappy this past week (sick) and I had to train the idea properly first, I did what I proposed before, using the Arabian consonants to get a hang of the coordination. To me it feels like the larynx is pushing up while the back of the tongue is pushing down, not in a uncomfortable manner, more like the feeling of articulating a K with the back of the tongue and the soft palate (it constricts but it can be done gently without forcing). The sample is supposed to be different levels of the constriction as far as I am able to control, say 100%, 70, 30, 0. I think you can hear the difference in... twangyness? I personally think the 2nd and 3rd samples are within what I would consider useful for my voice and my tastes, and the other two more of an effect. Also I did what I needed to do to avoid distortion, You can hear that the most constricted one is all open, I think its my best Labrie impersonation so far lol, and the less constricted one is super dopey and silly. Now, its not that the sounds are particularly new to me, I could do all of these well with the exception of the Labrie one, but most importantly I feel its a very useful position leading to sound situation. I dont think you are off track, its just that these two ways to look at the problem are not mutually exclusive. I think you can learn to control better one specific aspect of the coordination, and I think everything so far suggests that you dont get a given result due to just one adjustment. For example on my first sample here I am pretty sure the pharynx is constricted compared to the other ones because of the vowels I am producing, and I am also pretty sure the closure levels on the vocal folds are highest on the 1st and lowest on the 4th. The 2nd sample is probably the most dynamic in all these aspects (stuff changing more), because its my normal/best game. The samples are compensated for loudness so that its easier to compare the quality.
  28. 1 point
    MDEW

    Review of Twang and Squillo Research

    Is anyone understanding what I am suggesting here? At a certain point in the voice it is beneficial to narrow(constrict) or widen(expand) the entire pharynx to adjust pitch. Not just certain areas such as the mouth or Epiglottic sphincter. Is there a reason that I am off track? Also the difference between a strong Falsetto sounding High voice like Berry Gibb and a clean but adducted sound like DIO could be in whether or not the Piriform sinuses are closed off or open.
  29. 1 point
    MDEW

    Review of Twang and Squillo Research

    Another few thoughts if there is anyone out there reading......I had a chance to try these ideas "the middle constrictor muscle" as the catalyst for twang and the Root of the Tongue for Squillo or just a means of getting better vocal fold closure...... Getting permission to USE the throat and its constrictors is almost like a birthday present to someone who keeps hearing "nothing in the throat" or "Open Throat". Also being ALLOWED to use the tongue muscles is in itself a breakthrough of sorts. I mentioned being able to sing in the upper range using "Other Voices" well, that pretty much gave me permission to use these ideas. To make your voice sound like someone else you use all kinds of distortions of your own vocal posture that in SINGING it is not allowed. Trying to sing in that range "Without distorting" the vocal tract or 'Manipulation" of any kind was the problem. So Felipe, Have you tried your song again while Purposely narrowing the pharynx for Twang or using the tongue root for brightness of tone? I have to say that both of these ideas had me singing D4 through A4 without sounding overly silly as usual.
  30. 1 point
    MDEW

    A disheartening lesson

    I am not sure why voice teachers of any credibility would say you cannot sing higher than G4. I could understand G5 if you are a male. The whole point of getting a teacher is to train the middle notes and how to manage the passage. Part of the training is to go ahead and sing sounding like a muppet. The middle notes are blending the low range sound with the high range sound. One way is that the muscle groups work together and another way is to "Change" from one voice to the other where it is possible. At least in the beginning until the muscles get strong enough or balanced enough to work together.
  31. 1 point
    @MDEW Humm I am not sure it's related. If my memory is right Fauchtinger idea was to train to have a tongue groove, making the case that high level performers such as Caruso showed such groove. Even if the video talks about the pharynx and it's constrictors, and that he probably talked about it to in his writings, I really don't see they are related since a big part of his theory was that you did that to increase space, she is making a case about how to create the constrictions that leads to the specific quality *twang*. @Robert Lunte I don't particularly know how to make use of it. Given what she said, kermit voice, while making sure that the tongue root was the cause of it, could be a way to acquire the coordination? Not a big fan of this type of reference... I have some ideas about the pharynx that I am trying to organize for a while now for different reasons, mostly using unvoiced, white noise sounds while observing it (since this one you can at least see). It's one of the reasons I would like to hear what people make of it since it introduces variation to exercises done based just on the sound.
  32. 1 point
    MDEW

    Interest in vocal forum

    I wasn't trying to put you on a pedestal Felipe. It is just there have not been many posts that really need to discussion. Congratulations for the new family member. I hope everyone is happy and healthy.
  33. 1 point
    This is from the owner of this forum. The one who people ended up with the idea that he was a tyrant because he started openly advertising his product on his forum. And it was a long journey before he did that. I only looked through a few posts on that thread a few minutes ago. I will read it from the beginning later. This thread is a good example of what the forum WAS about and , to me, what new and experienced singers/vocalists are looking for when searching "Modern" vocalists or vocal forums in general. Not so much the blatant advertising that Ken was doing when he started the thread or the subject of what system is "Best" but the fact that each of these post or responses were by Teachers, students or those who truly were interested in how the voice works and improving it. Then they responded giving their opinion and why they have that opinion. Even though Ken started with an advertising saying his technique is the only technique and a subsequent rebuttal against that statement, he was accepted by The owner and welcomed by him and the others who may have had a different view. Many coaches and methods were mentioned and credit given to different styles on their own merit. Those responding including Ken mentioned their background and their own troubles that led to their seeking through different "Techniques" and teachers on their vocal journey.
  34. 1 point
    MDEW

    Interest in vocal forum

    Glad to see you. I lost my internet for 6 months or so and could not take time to use other sources to post anything. I would lurk whenever I got the chance but did not see too much traffic. Thanks for responding.
  35. 1 point
    Are you training? I highly encourage you to check out The Four Pillars of Singing, or it's smaller counterpart on Udemy. Singing and speaking are very different configurations of the musculature being used. Singing tends to be lifted away from the throat and more soft and hard palate focused. Registers and bridges/passaggi are also a bit different, although most people refer to their bridge as a switch in registers. The Short Answer Your registers are, from low to high pitch: Pulse, Chest, Head, Whistle. With the ability to mix the chest and head voice together in varying degrees. The most talked about bridge is the one right at the threshold of chest and head voice. However, a bridge is simply a shift in resonance and vocal tract shape to help support singing the next set of pitches. You have multiple bridges within head voice. The Long Answer The main vocal registers most often talked about are chest and head voice. Chest feels similar to speaking resonance. Head feels more between the ears and often sounds like mickey mouse. Mixed is not it's own register, rather singing in the head voice range with chest voice musculature mixed in and therefore chest resonance as well (from more surface area in the vocal cords). Falsetto is often mistakingly used as a simile for head voice, when it's actually an open and airy muscle configuration usually within the head voice range. Pulse is below the chest voice, caused from the vocal folds being too loose to do much else.Whistle is above head voice, caused by the glottis/vocal-folds being too closed to do much else but whistle. The passaggi, or bridges, are shifts in pressure and resonance between various formants in order to support a range of pitches. You have several formants or "resonance chambers" that you're working with. In short, Formant #1 resonates more in the throat ("chesty"); Formant #2 more in the front of the mouth or "mask" ("tinny/brassy"); Formant #3 more in the soft palate ("heady/floaty/rounded"). There are more, but I'm trying to keep it simplified. The main bridges are around E4, A4, D#5, and A#5. For Females, leave off the E4. What you're feeling around G3 is a limit to your speaking voice. When shaped for singing instead, you won't feel that limitation until D4 or E4. And if training, you'll be able to smoothly bridge between registers, whether staying connected to your chest voice resonance or not (it will be your choice how much). What you're feeling at the F#4 and G#4 are definitely shifts in formants, but still from a speaking voice configuration rather than a singing one. Besides getting start through one of the links I placed above, try this: Place a finger on your bottom lip, and try to sing up and over it. This will help introduce you to the feeling of lifting the resonance out of the throat and to the palates. Cry/whimper like a puppy, top-down at the back of the soft palate while you sing. There are far too many benefits to list here, but basically this makes it much easier to sing. Touch your tongue to your upper molars and smile while you sing. This greatly help you to stay "up and out" with your voice. Start humming while buzzing your lips as much as you can stand it. This balances compression and air support, helps you get used to "up and out" resonance, and is a good beginning for training your singing musculature. Once you do the above, start working on bridging and connecting your voice. While you can look up Robert Lunte's YouTube videos on cry and bridging, the above courses will do FAR more for you.
  36. 1 point
    Kevin Ashe

    Working on a song

    hey sp3c....., I forgot that the review my singing cost's like $10 in here. Either Draven or Robert (there may even be others now - coaches) will review your material and refute or confirm the advice I gave you. Plus answer any further questions you may have.
  37. 1 point
    sp3c13srock

    Working on a song

    Hey thanks for taking the time to listen and write this up! Appreciate the kind words as well. Good timing, just sat down at the computer to work on some music. I will definitely check out Robert Lunte. I am not training with anyone, no. That's cool to hear I could be in the lower realm of head voice. I can take my head voice really high but not with any control or without straining. Here's an example. I get to G5 but it's obvious to me my diaphragmatic support is weak hence the shaky transitions between passagios. After G4 or so, my voice is so inflexible that I can't really do anything with these notes at this point. Sorry for your ears lol. https://drive.google.com/open?id=1XeAtfESk7_kxclzd4uG-5XWwOyT8wEnH
  38. 1 point
    MDEW

    Voice Lesson Help!

    So, is the problem singing higher or faster? If you are working higher and faster at the same time try working them separate to find the real issue.
  39. 1 point
    SapperCav

    Crazy Deep Voice Help

    Never had a singing lesson in my life, but starting school in Jan. 2019. I can hit an A#1 in chest, A#0 in Subharmonics, and I've found a lower subharmonic that even takes it to a D0(I think?). It's also getting deeper and better by the day. I've only been singing (horribly I might add) for a few weeks. I cannot find any advice, practice techniques, digital Tuners, songs, etc. For this range.... Ive exhausted you tube on the subject. luckily I have a 2nd decent baritone range as well to help with vocal entertainment. Anyone that can help? I need a ton of work, but really feel there's something special there I need to build on and share.
  40. 1 point
    Draven Grey

    Bass or Tenor?

    It's best to use a link to your video, rather than an upload. Great low voice! I can form solid lyrics on a C2 or D2, and sing pretty straight forward down to a G1. Although, below B1 feels more like Tuvan Throat Singing.That took years of work too. A tenor range is probably the most difficult to develop, because, for a male, E4 to A4 takes a lot of control over head voice resonance balanced with bringing the chest voice musculature back in without strain, choking, over-compressing, or too much push. Start training with a course like The Four Pillars of Singing, or take lessons from a good TVS-Certified Instructor. Contact Robert or me and get started. There's no quick tip to helping you, but there is plenty your can do to start training solid coordination and strength in your voice. IT's not uncommon for someone to expand their range by at least half an octave, effortlessly, in the first lesson or two. For now, place a finger on your bottom lip and sing up and over it with a nice big smile. Also, sigh through your phrases from full lungs. Yes, sigh. If you need more detail, look up Appoggio explanations with Michael Trimble. Also, try to whimper top-down a bit more into your phonations. Done correctly, it's called cry vocal mode. Not a baby-like "whah," but rather whimpering like a puppy, just like when you cry or experience extreme emotions. In all honesty, it's best if you have guidance through all of that.
  41. 1 point
    Can you clarify your question a bit more?
  42. 1 point
    Draven Grey

    Tenor Humming Vocalizes

    Resonant Tracking, Nasal Buzzing, or humming while buzzing the lip ("M", although could be n or ng too), can bring the resonance into the mask and out of the throat. This will cause better control over the compression and air pressure balance, and cause more resonance in the soft palate by engaging twang vocal mode. Another semi-occluded phonation he could try is humming into a cocktail straw and trying to get light and whimpery on higher pitches. This activates cry vocal mode, releases pharyngeal tension, and also thins out the glottis which then requires much less pressure to phonate.
  43. 1 point
    Part of gaining confidence is discovering that things are nowhere near as bad as you imagine. It's a classic catch. You need the confidence to take the first step, but you need to take the first step to see what it is about and gain the confidence. The other thing is that negative opinions and thoughts are only as potent as the attention you give them. So forget all the imagined "horror" scenarios and think of the time when you are looking back and saying, "what on Earth was I worried about?". That is the prize you are aiming for. As a start, bear in mind that any competent teacher has seen and heard it all before: singers of all abilities. All the teacher is thinking about is building a voice -- none of the negative opinions you may have grown up around. So it really is up to you to drop that fear. The teacher is not going to even bat an eyelid. Listening to your clips, I would think that the first thing a teacher would tell you to do is to RELAX! Don't try to compensate for doubts in your head! Think six months ahead, man. I am not hearing anything in your clips that could stop you from sweeping away all your doubts within six months. It's your career. Is it worth that patience?
  44. 1 point
    This is Defoe a happy pop tune fit for the radio
  45. 1 point
    miken12

    Review My Singing

    Hello singers, My name is Mike. I'm a beginner singer with no prior vocal training. Recently, I have been developing a passion for singing and I would love to be able to get better. I would love to be able to sing professionally one day. I don't have a good singing voice, which is why I need constructive criticism in order for me to find out what I need to work on. I recorded a clip of me singing and I am open to honest constructive criticism. Thank you if you took the time to listen and reply. https://soundcloud.com/mike-nguyen-750945623/all-of-me-cover
  46. 1 point
    Draven Grey

    My voice type

    Stop pushing and start singing. Train. Join Robert's course. Vocal Fach or classification is only needed when there are pre-written parts for specific voice types (both range and color), such as in musicals, opera, and choir. Contemporary singing rarely needs more than just knowing your range. And since singing is very different than speech, your speaking voice is no indication of actual vocal range. So you know, mixed voice (more aptly "mixed resonance") IS head voice. Within the head voice range, you can open to more air (falsetto) or reconnect to your chest voice musculature by "mixing" them back in. Falsetto won't damage your voice any more than whispering would (which it can, surprisingly). However ,pushing to go higher and higher can be dangerous. When you start training, remember this:
  47. 1 point
    Wow... Welcome back Aravindmadis. Good to hear that you are still singing and sounding so good.
  48. 1 point
    Everyone I've taught speaks near the bottom of their vocal range and shouts closer to, or just above, their primary bridge. As with singing, when trying to add volume to the lower range, it's easy to overflow the acoustics and cause too much strain on the vocal folds. Also as with singing, using a horizontal embouchure, lifting resonance to the soft palate and out from there, your voice becomes much easier to hear and unwanted tension is taken off of the vocal folds. Regularly practicing resonant tracking (nasal buzzing consonants like /m/, or rather humming while buzzing the lips) will help both your speaking and singing voice in many ways. For example, it will help you better balance compression with air support, help lift the voice away from the throat, and be very therapeutic for your vocal folds. Singing is helping your voice for the same reasons. However, it doesn't rule out other possible medical issues. There have been plenty of professional singers who sang for many years with polyps and the like. Asthma meds will dry you out and make it more difficult to get good vocal fold closure. I've experienced that first hand and with a number of my students. A personal steam inhaler, salt inhaler, and drinking plenty of water can all help with that, but only to a point.
  49. 1 point
    Steven Fraser

    David Phelps

    Degree in Vocal performance at Baylor University, Waco. 1992.
  50. 0 points
    Fadel Muhammad

    Am I Baritone?

    Hi, i always wondering my vocal fach. My speaking voice sounds heavy and dopey but in tenor tessitura. I'm very insecure about my voice sounds weird in others ear. But, i'm very love to sing, i can't stop doing this. This is my voice sample This song is easier for me because alot of headvoice. https://soundcloud.com/fadelsawi/shes-gone-moris-morty-monty And, this one is harder because i need to stretch my chest up to A4 (my second passaggio). https://soundcloud.com/fadelsawi/risalah-hati-monty