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Elrathion

TMV World Legacy Member
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Everything posted by Elrathion

  1. I would say to each his own. Everyone learns differently. Judge terminology by what it does for you. If you are a vocal student, or a singer, does it help you? That is a personal question for yourself, not a forum debate. If you are a teacher, what is your experience with students? Do they like it, does it help them move quicker in their progress? Maybe we should move with people coming forward and sharing their story on what helps for them rather then philosophizing on these topics for hours -_-
  2. Yeah ;> Made my move to the US to be with my wife ;> New life, new location, life caught up on me a bit. That and studying opera 4 nights a week and occasionally performing, phew, it can be a lot. But I'm still lurking around the corner ready to help people ;P
  3. Any exercise is as good as how you do it. Ask yourself why am I doing this exercise, and measure the result according to your set expectation. Generally I found a lot of people just liptrill one way and sing completely different. Then they are frustrated and say it doesn't help. How about just approaching the liptrill the way you were going to sing it? Personally, I like liptrilling through songs just to isolate the breathing part of it. Once I feel I found the right breathflow for the song, it allows me to approach the song more confidently.
  4. I guess it's a disease of the time we live in Most people spend more time worrying about what they will get out of it before investing into it. If you really love singing, then the time or effort shouldn't matter. And the result will be that people will love your singing. I'm not saying that you're going to be the big next thing, because that's a factor which has all together very few to do with just pure voice ability, but a combination of factors like right place right time right opportunity right marketing and so on.
  5. discussions on technique, it's a thing of all generations ;> Nothing wrong w that )
  6. Ow yeah good advice. Not to eat when singing aria's! Why didn't I think of that ;>
  7. My jaw used to lock all the time when jawning and I mubled alot but that was it. I kind of learned myself to not open too much to not have a lot of discomfort, but ever since I've been getting more serious with my training and trying to unlock that extra puzzlepiece the joy started. Click'i' di Click. It's downright anoying that whenever I have to keep my jaw open for an extended period of time, whether it's singing or at a dentist office, that I have serious trouble, pain, or clicking. I know a lot of people struggle w this. Especially a lot of Europeans are not used to open their jaws much (like me), and when learning to sing this is a real hurdle to overcome. I'm hoping to find more then live with it :^>
  8. Hey guys I was wondering if anyone else experienced serious issues with their jaw before in terms of having a hard time to open it, keep it open and or having clicking when using the jaw for elongated periods of time? I was wondering maybe others have experienced the same thing one way or another and have found some remidies for it (doctors, therapies, ways of opening, ...) Share your experiences please ,> (If not I'll just have to learn to live with this anoying stuff ;>)
  9. If the guy has a good voice and a good ear, he can help you. That being said there might be some philosophical dispositions he has trowards voice. Having trained under some classically schooled opera singers I can say that often they seek to train the voice to be harmonious in color and tonal quality all the way. Many approach the voice bottom up, one note at a time. That might be the reason why your particular teacher doesn't allow you to go above A4 yet. Because he feels you don't have the proper strenght to do those high notes yet with a similar color like your lower notes. It's important to assess whether your teacher has mastered the high notes himself. A baritone or tenor opera singers who caps out at F4 or G4 is not gonna be your best bet to develop your upper range. The rest of their voice might be very very well developped, but often out of fear they have not gone above certain notes because they thought they were possibly to "loud" or too "screamy". To resolve this, post some clips of yourself, and talk to your teacher. Ask him how he thinks to approach your voice over the next couple of months, and what he thinks are the building blocks to getting your voice where it needs to be. Hope this helps
  10. I understand where the guy is coming from, but that shouldn't discourage you or define you. It's a fact that a lot of the current musical taste of young people goes to a lighter type of singing. (the light R n B, light pop, etc...) However I think there is actually a trend where people start to appriciate a bigger varity of ranges, colors, ... in the popular genre. These days, singers like John Legend, Clay Aiken, Adam Lambert, Josh Groban, Adele, Jeniffer Hudson , ... have all shown that a more full sound is perfectly good for the current meta. Hell even Katy Perry ;> So don't take his advice the bad way, just realise you can bring something unique to the spectrum of what is out there in the music which is popular at the moment. You can very well be a trendsetter.
  11. That's where definitions become hard, because I would never consider the guy in that clip "pulling chest". Infact, most people can't pull chest correctly. Instead then people demonstrate an imbalancedly light amount of chest, and claim that to be pulling chest, while in fact it's the lack of chest that made the sound so hollow in the first place.
  12. I agree... If anything these technical things are good at is at giving credibility. If you have some science behind what you're trying to say, people will be more likely to try it, then if it seems like you drew your ideas out of thin air. In my experience, people for whom the why is important seem to be natural closet teachers. I too always refused to do stuff without knowing where it was going and where it came from. When you understand why you do something and where it came from, it's also easier to explain it to your students ;>
  13. amen brother. Ee vowel training is really tiresome.
  14. They are made. No1 drank a magic potion and became a great singer. Either you've been exposed to a lot of great singers growing up, you listened to a lot of great singers on tv and copied them, you've had a great teaching who showed you what to listen for, and as a result started improving, ... People who we consider as talent are just one of the above. Sure, certain people learn faster then others. The thing with voice though is, it's not about range, flexability in voice, etc... Singer's timbres and emotions they portray w these timbres are so distinct and beautiful that it's not about being the best in singing (in terms of having the best voice). That's the big difference with talent for other things like basketbal or track running. You'll never be a success as a track runner if you can't run your ass off You can be a success as a singer having only medium ability, but perhaps a great musicality, or a beautiful quality to your voice. Sometimes even a great body suffices :p
  15. Wow this is becoming one hell of a thread. My personal views on this is: Leave the elaborate modelling and conceptualising to the scientists. It's their bread and butter. What I think is important for vocal coaches is that they can draw inspiration from research or even research themselves and come with WORKABLE concepts and personalise it to the needs of their students. No more No Less. I like to throw in Jesus method of teaching here ;> The guy obviously knew everything there was to know. Instead of using the correct "terminology" and confusing the crap out of everyone, he decided to use metaphores people could relate to and understand. If a vocal coach can do just that, translate difficult science into workable applications for me, or usable mental concepts to further my understanding about voice, they are of great addition and value in my eyes. Don't get caught up in going back and forth between eachother here but think if your way of teaching currently does that, and if there is room for improvement in that area ;> My 2 cents, hope they helped.
  16. hey man! Suprisingly good. The fast rythm is interesting. You have a good voice. To refine it more you could take more care of your pronunciation ,>
  17. Hehe ;> I was just making sure, because marketing can be understood in a rather broad sense. If I'm gonna do a session on Tomatis, and my findings, obviously people are gonna ask questions, and I wanna make sure we are clear on the guidlines :p
  18. nice initiative Daniel! Did Starbucks sponsor your video? They should! :p
  19. I actually think more airpressure, a bigger resistance at the cord level. But in the end this is very subjective as this has to do with sensation.
  20. Dang, I was thinking of having a session on discussing the use of Tomatis therapy for singers. Guess that could be in violation of the "no marketing" rules then?
  21. hey ;> not that it really matters for that style, but you're a bonafide tenor hehe
  22. remember Ozone, it's quality before quantity. Focused practise for 20 mins trumphs 6 hours of wailing away at a karaoke or at scales without any concrete direction to where you are taking this. You need to brace yourself for the long run too. I think the golden 21 day rule really works in singing. 21 days to learn a new habbit. Since you have a lot of habbits to learn and unlearn, don't expect 5 minute fixes :p
  23. Robert I'm down with helping to organise more initiatives like this, as I've done in the past. Just let me know. (I don't have skype premium however:>)
  24. Based on the clip, I can safely say you actually don't 100% know what you think you know. The beauty of singing is that vocal truth is like peeling the layers of an onion. You think you understand it, but gradually you discover more and more and more. Don't confuse your lack to produce something with the idea that it can't be done or isn't out there like so many think. Firstoff, your chest voice. In the clip you are digging into maybe 5-10% of your voice AT best. This might not currently make sense to you, but it will dawn to you over time. This chest voice builds a foundation for the high notes, if done correctly. If you get enough grounding in your chest voice (enough, not too much), your larynx won't feel pushed to rise, and it will naturally thin out some to allow head voice musculature to come in. The very fact that you think you know this is chest voice, is slowing you down. At this stage my best recommendation is not to make any assumptions about your voice yet, but trust the experience & guidance of a vocal coach or some people who know a lot about the voice and can put their money where their mouth is. Since the lower chest notes are weak, the medium and high notes were all falsetto (which you mistake for chest voice). It's irrelevant to think of yourself as any fach yet, and I wouldn't allow anyone to label you until way later into your carreer. Then your vocal color might determine your song choice, combined with were your voice wants to sit. Right now you need to DISCOVER your voice. As far as the mix goes... it's not really this mistery or magic place like a lot of people make it out to be. All it is, is that your voice should always have a correct ratio of chest musculature, head musculature, and twang or pharyngeal. But even this is too theoretical. Practically you just exercise your butt off around your passagio range, playing with vowels, trying to take up more chest, running scales from top to bottom, etc... Remember that ALL elements in your voice are interrelated. When I practise a lot of twang/pharyngeal exercises, it's gonna make my headvoice more pingy, and my chest vowels might get more bright naturally. When I exercise a lot of headvoice, my chest voice might be more dampened and subdued. You attack the voice from every angle until it falls into proper balance. Record yourself on a 5 tone scale taking the vowel A up. Start from your bottom range to your high range. Listen back carefully, and analyse yourself. Where are you TRULY in chestvoice in your opinion? Where are you in "mix"? Where are you in head? What are you doing good, what are you doing wrong? Developping a critical ear like this is CRUCIAL if you even wanna attempt to train yourself without a teacher. Lets see what comes out of this little experiment.
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