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masqutti

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Everything posted by masqutti

  1. Great! So what i do "naturally" now is better, thanks As my chestvoice is strong I can feel these kind of resonations in my face. I think it partly comes from that I do sing in chestvoice with lowered palate, my tone is so dark that it actually doesnt sound nasal at all, at least in my chest. If I lower my palate in headvoice, i Don't know if it's nasal... But kinda brighter at least.. at higher range i'm still trying to figure out the balance of air flow&proper squeeze etc. So it's not so great yet. I may feel sometimes nice higher frequenzy boost when singing goes well, but not necessarily resonation in my face. I feel i tend to oversqueeze abit, and i'm not truly "free" in the higher range.. But the day will come =).. I'm up to a vocal teacher next month so we'll see if it helps. I'm abit cautious about the teacher thing as I don't value the "traditional teaching method". Maybe mostly because i haven't had any that kind of training nor knowledge about it. Mostly SS/SLS... We'll see that also if they'll manage to make me "a singer". :cool:
  2. Insane scream! Nice Is that "creak" made by vocal fry or is it some other mechanism(sounds something else coz it's really diverse in quality? I just found that nice youtube videos, CVT thingy where they represented different kind of effects while including that stroboscope(was it that?) video of what happened in the throat while doing different effects. really nice! I don't see why those couldn't be done in whistle also, at least some can be i guess :S here's the vids: (prt.1/2) (prt.2/2) You sound pretty great on that youtube video also.. and the high note in the end great! - masqutti
  3. Oh this topic is turning to be somekind of coach battle.. should we continue this whistle thingy Martin, can you post a clip about distortion or something in whistle! ?
  4. oh yes if you state it that way, you're right But I disagree about that you may not hear or see contrictions. What about a singer that tries to hang himself from the roof and tries to sing at the same time mary has a little lamb.. I'd say that time "hey you got some constriction around your neck area" Sry 'bout the sarcasm, but I feel that i can hear if there's something wrong. and "wrong" means unhealthy that everyone should avoid as much as they can. Most things can be done healthy i guess.. It maybe hard and sometimes teacher will think that something is wrong and the truth is opposite. But that's true also that singer him/herself knows if there's problems. If they're aware of symptoms and are councious about their bodies, the better. I have been singing like fom the age of 15. Back then I growled and strained for high notes. I "pulled up chest" as much as i could. And i mean truly, so high as i could. And used other ways to truly push my voice. And i "felt fine"! I guess my voice would've been dead like at the age of 30 if i had continued that. But the truth is, I became used to that superpushing, and when it really didn't wear my voice out, all that growling and shouting, I didn't know that there would be better ways to do it. And when I learned headvoice, I started to shout it with strained forced-up-larynx, and it didn't felt so bad either. I used somekind of rattle/distortion that well, it sometimes felt abit bad but not so much that I should've stopped.. That may tell something about that i'm a bit frustrated atm, coz I feel I really know alot more than back then and can use my voice alot differently/healthy, and I still have this stupid cracking issue! I somethimes wonder that maybe I should just go back to that pushing coz it worked and i never lost my voice.. But should I? Now that I somethimes try that kind of vocalizing, I find it extremely bad. Now i've used to this light and easy feeling even when singing abit louder, that this old way, pushing and straining feels like a suicide.. It's also about what ppl are used to Martin btw, are you a vocal teacher/coach ? - masqutti
  5. I feel ok but still i can't sing with my mix for more than 15 minutes! It'll break down and start to crack... as i described in the other topic. And it feels fine! no irritation/hoarse/strain of anykind until the breaking starts! I sound nice and clean! and then *crash*.. The cracking will lead to cord swelling eventually, but not instantly. before that everything is just fine.. So I feel ok but still there's something wrong.. :S So I would need a teacher that should tell me what's the thing I should do differently and take me there! I think it's also a teachers responsibilty to tell student if something is wrong what he does. and "what is wrong?". I think that I don't want to learn to sing in order to destroy my voice. So, If there's rules what to teach to students, one of them should be to teach healthy ways! Of course it's students desicion if he/she want's to rape their voices but if you teach someone something truly unhealthy without student being aware of that, he/she'll notice it eventually and think that you are a bad teacher coz "it hurts what he taught me"!! So, there's a way to sing healthy insane screaming growling and distortions, and you can also do them really bad way that'll blow up vocal folds, one way or another. How you feel, which way should you teach students to do them? If I'd be a vocal teacher(hopely I'll be someday), I maybe would even refuse to teach the wrong ways, even if the students would want to! Exception would be, when a student wants to know if I'm teaching really better way, and I'd show how to do it unhealthy so he/she would see the difference!.. - masquttiiiiii
  6. Hehey, actually, as i described, the actual pitch that i sing doesnt drop, maybe a note or a half from the previous but the thing is, the vocal fry kinda "sounds" that's a note itself. basicly, the sound is produced by repeating pattern of airpressure changes/pulses, and we can think that vocal fry has a "note" of its own, coz it makes that fry "prrrrrrr" on a repeated manner, constant frequency. The whistle note almost vanishes coz the fry is so "heavy" comparing to the clean note behind it. That's why I referred it as a "double-note", there's a mix of, should I say, two different fundamental frequenzies. Those may even be out of tune to each other, if it is possible. But anyways, I think I can be able to "lighten" the fry sound so the original whistle note sounds clearer thru the fry and doesn't make such a confusion :S Maybe I try to take a clip or two about it. But yes, that wasn't the highest note I can do.. The higher, the harder it is to do :S May be that vocal fry limits it someway to some point unless I can lighten the fry enough. Easy it won't be! About that whistle dist, Sure I've heard many heavy metal singers do that. It's hard to say how "healthy" they are doing that but that alone tells that their technique is somewhat ok if they manage to do it, one way or another(I don't say that cannot be done unhealthy).. And I guess mostly singers don't write stuff that they cannot do live, coz how lame would it be to record insane screams and then disappoint live audience by not foing those live!!! But have to say, I haven't heard those live. Maybe because I visit gigs pretty rarely :(
  7. whoa :cool: Of course you can. But actually putting those into program(at least my clip) I prefer recording those kind of things with my condenser mic and properly warmed up etc.. so I can give you some quality! Actually i'm interested about that kind of thing so if you want something else(like audio clips representing... anything) I'd like to help.. just for fun Tho i'm not a pro singer and lack perfect technique but well... So sure you can use my clip(s) - masqutti
  8. How would you say about your vocal technique. In the past when I still sung forced and strained I actually somehow got the eustachian tube, so I heard some of my voice "from the inside" and it partially went that way. It wasn't so loud but still it happened. It got from the extreme straining I was doing some highnote or something, really really forced and then it happened. I dunno is it something to do with the airpressure in my head or something? It felt dangerous and luckily I doesn't happen anymore as I sing a way better in technique. Does your problem happen only during those reherseals, or have you noticed it just singing by yourself alone or something.. ?
  9. Hi! I've done it like 4 first cd's or something, it was pretty along time ago, but it sure is a great program to practice alone. The thing that actually disturbs me, is that well, there are those "pro's" doing the backingtracks, singing the scales etc. I remember they sing pretty much loud, that's way too much at start. That can alone decrease the development at first. Like the range, going up to the whistlevoice etc. Needs really low volumes at first, so you can enter it etc. So, do the excercices really softly at first. relaxed.. enjoy that thing if possible At least I got at the very first attempt great results.. You'll feel it as you do if it goes well or not.. In a fact maybe I should come back to that thingy, it's always helpful to do those excercices. I never succeeded in those tongue trills tho, they just seem to tense my neck and I guess that's not the point :S
  10. Ok! Thanks for answering! hmm is this "unhealthy" excess squeezing that squeezes whole thing surrounding cords and everything, just the same thing as this "healthy" narrowing, but just "too much", or is there a way to "unlock" and release the bad things, so they are separate muscles, and leave the good ones squeezing properly..? Oh my voice takes it all, I've have had to unlock every bad tension separately, and seems that all of the available ones are activated! - masqutti
  11. I just thought.. I don't know perfectly the anatomy and mechanics happenings inside the larynx. But is there a "secondary" way to squeeze? Or that would feel like the "real, right way of adducting" to receive the powerful tone. I realized that If I'll be really soft volumes the adduction is really soft, and feels like i'm only squeezing the "tips of the cords together". It's pretty fragile feel, and doesn't tolerate much. But I get some adduction with this soft way, adding some "chesty resonance" so it's "ok" I realized when I sing louder, I add somekind of squeeze to it. Can those be a muscles that constrict cords!? Those are still inside the larynx, or somewhere there. But they feel like a different mechanism happening. Some pro's plz answer! I've been having a problem, where I feel that i don't have tension in my neck/jaw or anything. Still, after singing louder for like 5 mins I get my folds go cracky and lose my voice. Can it be that I use some muscles that I shouldn't use to squeeze and hold cords together, and it squeezes so much that it makes my cords swell or something and make this crackiness? So, to "ensure" this, can I(you) adduct with this superlight feeling I have on really soft volumes(even less volume than speech) so that I can sing loud with it too? It feels really safe and nice, but is it the way, to somehow "build" the muscle strength to that coordination, so the same muscles works with this soft volume as well as louder volumes!? Is this "secondary squeeze i feel to have during loud singing unnecessary and harmful? As I mentioned I don't have any other tension and constrictions, so this is only thing that comes to my mind, so i've been somekind of manipulating some muscles to enforce the closure/adduction to happen in order to sing louder!?!? - masqutti
  12. Ye well increasing the range healthy is a great way to have ease on the higher notes, that sure helps hitting the notes in tune, as well as it just sounds better also to sing freely Take a songs that are decent for your skill level atm by the means of range, so as you stay in your chestvoice you still can exercice singing on pitch without straining. I'd like to point out that the "tone/quality", the way you sound like is not related to the actual pitch. So you can have a dark, big operatic voice and sing the same note as a little girl sings sounding like a mouse compared to you, you are at same pitch but still you'll create an image of singing "lower" than the girl. But it's ok to seek the pitches with buzzier, added vocal fry sound. Vocal fry is healthy and actually encourages to better closure. But plz don't overdo it, it may swell the cords if oversqueezed =)
  13. Ok! Now here's that whistle voice with odd distortion. It's made with simple vocal fry. I'd say it's pretty interesting, coz it seems to have pretty odd frequenzy comparing to the actual whistle voice note. It's like and octave lower or something(?) making and illusion of double-note, I'd say it makes some deepness in to that sound ^^ http://www.box.net/shared/neck60ysrd Sorry about that file format.. Vista basic recorder makes that wma... Isn't that neat, coz the start seems "hard".. Well it was I didn't warm up or anything, in a hurry recorded that as I finally remembered But I like that distortion. I feel it can be balanced how much I want that fry -sound into that, When less it gets more that original whistle voice and sounds more natural. But, it's really hard to coordinate, that place is a really tiny and hard to get solid where i was. I'd like to hear that with such a connected voice, that anonimuzzz can do. As you can hear, mine whistle is also more of an "pure headvoice" than anything connected.
  14. Hey! So it's all about hearing the guitar and comparing that with your voice. Take a single note from your guitar and try to sing it "in tune". All kinds of vocal exercices that includes singing scales following the piano, in example, is a great way to start to hear what you should sing with other instruments to be in tune. Scales also gets your voice familiar with the different pitches, but makes you hit the notes more accurately. It needs practice, and have to say, as I haven't had any formal training with real teachers it took several years to really get the pitches accurately. At start I already could sing "the melody", but it wasn't precise. I didn't even focus on that so much, so the development was sloooow.. The pitch in itself, as we usually refer it as "high or low note", as human ear notices it and what we are learnt to describe. That's the basic idea, and, I have to say to be truly tonedeaf needs more than not having "musicality". It needs a human who should be born and grow up without any kind of "cultural" and social connections. It kinda comes naturally, when ppl speak about high or low etc. So based on this principle, practically everyone can learn to sing in pitch. So if the note you'r aiming at is like C, and you hit a note that's D. You should lower the pitch you're singing in. If it hits B below that C, you should raise the pitch. The "out of tune" singing can vary only a little off that certain note, but there's always only two way to go. up or down. Experiment. Take that note out of guitar, and sing it. Try to steadily lower your pitch. If you hear it goes all wrong, try to raise the pitch. The exact pitch you should be in, sounds like the guitar sound and your sung note kinda "amplifys" and sounds that they're buzzing in harmony with each other when they are at the exact same pitch. to let the pitch vary super-slight changes makes "chorus-like" effect, If you know what's that effect like. So when you raise your pitch or lower it, as you get to the point where your voice and the guitar are at the exact pitch happens this as described above. Ok now that you try these things, you should be aware that you can "sing in harmony" with the guitar and still take another note than what you are playing with the guitar. let's say you take a C with your guitar, and then you sing D#. That's like a C minor, you're forming a chord with your singing and guitar that sounds nice. But, it's easier to hit the right notes than create harmonies "by accident". And if you can sing with your guitar, you're on the right track, keep it up!
  15. Hey no reason to apologize:) Simple things being told simple may be the best to learn things.. Tho deeper knowledge keeps your way more accurate. Maybe it would be nice to represent the simplest idea first and then add the "professional viewpoint" or something? Anyways. I'm still having hard time with the "cord tiring" effect. Can anyone tell me what's about this thing, that I lose my sweet closure and it goes hard, almost cracking sound eventually. Any advices how to get rid of it? Maybe I could post a clip, where I do something like 30 secs holding one note. I assume that after it my voice starts doing that kind of thing.. I'd like to add a couple of questions that's about MetalHense first asked. 1. If I lose my voice like described above, is it about the tiring of the cord muscles or the tiring of the "breath control"? Or both? - I can squeeze to the end, as hard as I want, but that's not the thing. The thing is the sound gets ugly and eventually starts to hurt my cords(I don't go that far anymore, but it goes there if I keep singing) 2. If I keep singing like this, does anything develop better? Or should I change the way I sing in order to develop? 3. If I develop from this point without changing "technique", is it because of "unconsious development", where I really change things I do, but I just don't realize it, or can it be just that I "develop my current coordination, enchance muscular power, that are inside my larynx or compound to my "breath control"?
  16. hehey, I'll continue my "untechnical" answers I must say that when it comes to breathing I really don't have the knowledge how muscles works etc. And it seems there are always argues about support, and how it works and how it should be done so.. I don't try to be "specific enough" Ok the way you realize your soft palate: That's right, it is the soft tissue in the back, roof of your mouth. It raises and lowers, naturally when swallowing, or, when you are in example, blowing the balloon. Do this: Breathe normally thru your nose. Keep your mouth closed. Then "close your nose", like you would do when you start to blow a balloon, during the exhale. So you should think blowing up the balloon. You actually should even "push" abit air to see if your cheeks go "full of air" so it's same thing like blowing up the balloon. Now if your cheeck went "full of air", and the air doesnt escape thru your nose but you keep the air inside your mouth, you have a fully raised soft palate! Then after this, to lower the soft palate "breathe out thru your nose" to empty your mouth from the air and keeping your mouth shut. it's that easy This maybe a good way to realize what your soft palate is and how it works. In singing, I feel that you should not fully raise your soft palate, coz then you'll lack head resonance, and makes your voice sound darker, more "shouty" quality but depends how you wanna sound like. Raised soft palate tho somehow enforces closure and compression, so it encourages to healthier sound production. I find it difficult to lower the soft palate if I wanna brighter sound(I have naturally pretty dark color in my voice) it tries to add breathiness to my voice if I do it and needs concentration to balance the whole thing. I've used to sing fully rised soft palate, It has helped me, but now i feel it's more restricting than helping, at this point. - masquttii!!
  17. Hi! Yeah so it's about "the support". Do you feel you're lacking the air in the end of the phrase? So it is really shacking coz you're pushing out the last out of your lungs, that usually makes your voice shaky coz you cannot let the air flow out at a constant rate. I guess you knew that already. Well to think "simple" solutions, is, how do you make your breathe last longer? There's basic things, like, how much you can inhale? how much you SHOULD inhale? What is the rate the air is flowing out when you are singing? First, i'll tell you these really "simple" facts, well that's obvious and no science. These are advices that probably don't solve your problems, but are facts that join this problem.. 1. Inhale abit more than usually to be able to sing longer phrases. But if out inhale as much as you can, you are in really tensed position, and probably not gonna make it, it'll make you just sing with excess compression that'll tire your cords.. Or a breathy tone. So it's gotta be "necessary, but not too much" 2. Inhale during phrases/inhale more often than you've done during singing. If it fits in the middle of phrase, you can inhale(why not?) during the phrase. It is silly if you have a 3 sec pause during the phrase that doesn't have any vocalizing and then you keep your breath like under water I guess this is not a natural way that someone does, but if it is... you can repair that. Well. Breathing should be natural and if it feels ok and relaxed etc it's ok in the basic level.. So this is about taking air in. Your problem probably is in the "exhaling" area. 1. Avoid breathy tone. Breathiness means more air out than you should. At first, you should avoid it even if you eventually would want to add that as an effect, or texture to your sound. Pure vocal fry may be the most "effective" if you wanna exhale so slow as you can. Relaxed. It's the sound where folds are the most amount of time closed during "vocalizing" I guess. I haven't measured it but i guess I can do it about a minute. Then i'll start to feel light headed, coz 1 minute without breathing in gotta be hard!.. If you add some note to the fry, the time you can hold one note will get abit shorter. But not so much. If you have followed CVT, it's twanging that'll help you, in SLS/SS they talk about cry/whine. The sound should be like a baby crying. lots of buzzy closure. There the air efficiency is the greatest.. This crying maybe good way to approach this. Support, controlling your air is another, and is still needed even when crying but that's so "unprecise" without a good teacher and real sessions with him that I'd say you could start whining The sound helps. You can just shout out whit that crying sound in it and you don't need to think to support.. just do it and it will turn out good I listened your song abit you've recorded. It was pretty ok basicly.. You can still add that cry abit and see if it helps.. about the range, if you can go to the headvoice, that's a good place to be. Then if you want to go more higher, and have like 4-5 octaves range.. I'd say you should get a teacher! I'm sorry to hear about your parents. Some are like them. They don't realize you have to have something as a hobby you really like! If your life is only working 24/7 and beside that you'll do nothing you enjoy, you'll find yourself really depressed! I don't know what kind of music you like the most. If it's Rock/heavy metal, SCREAM OUT AND ROCK OOOON!!!!! The purest thing about rock is to rebel parents!!! If it's pop/classical something I wonder why your parents don't like about what you do. well. don't bother about them. Just do your thing! Staying in the same key needs experience.. You should listen what she sings and how do you sing. You may want to train with your friend. Let her take a note and then you sing the same note simultaneously. Start from the basic things. And then maybe some simple melodies together etc. See first what you CAN do nicely. And start from there. Hope these helps!:P
  18. Well to think this from the beginners view it may be too much info. These forums are great about the fact that you may read whatever you wan't and when stuff gets too "hard to chew" you can just stop reading Whenever it's about teaching a beginner, I think you don't want to throw all the things you know about singing to the students face. First of all, he/she doesn't really learn and remember but a fraction of what you tell him/her if you spread everything out. About a basic kind of learning process, that they use in schools from the very first grades. First, the basics. it has to be taught little by little. It has to be consistent, logic way to teach, that consists of "blocks of subjects", like a pyramid, from upside down. it starts off in one block like "this is singing, you open your mouth and make a sound", and then comes two things, etc. This way student learns and remembers in categorized manner! And there's a fine way to take students knowledge how far he/she wants. Another thing about these great, delicate and specific conversations is that, some here are teachers, and some may want to become one. The thing is, that if one guy is being taught singing, you don't necessary need to tell the heavens about techinque. He get's away with simple excercices. He may be amazed "this is so simple, i just do these things and miracles happen". too much information makes him think that it's HARD!!! When you think it's hard it becomes a mind block and it has to be tackled or he maybe a poor singer to rest of his life! And to some too much info makes them go furstrated for some reason, I guess they just don't want to know too much, they just wanna enjoy and have some fun without huge amount of study!! I'm not a professional teacher. I taught singing to my cousin. I gotta admit I told him too much about these things, tho he was really interested about those things, he admitted that only a some parts of the info he remembered.. But I didn't take those exercices too hard. He never had known what is "head voice" or anything. He didn't know what it is, how to access it or anything. He wasn't aware of the terms, the technique, and even his chestvoice was pretty weak, coz he is a very shy guy, and doesn't speak loud After two sessions, he got ability to use his chestvoice more efficiently, it was breathy, harmful way to sing before, now he has really a bite to it! And about range, he used only his chestvoice before, and had about 1,5 octaves or something. after these two sessions he got 3 octaves of strain-free range(it was with pure smooth headvoice, not strong of course but still). If you know SLS terms, he got past his second bridge on the second lesson. I'd say this was a good improvement without the knowledge how he did it. He just felt it, that's enough.. But problems occur if teacher isn't aware of these little things what may happen, and don't know how to correct them. That's why, at least I wanna discuss and read this super-specific things, and it seems this forum is great at it also!
  19. hehey nice whistle jens You should be careful with the tongue trick. It may tense the tongue and do contrictions, that may "reinforce" the whistle to get it "easier", but it'll block vocal folds vibrating if tensed too much and make cords go abit sore/swell in the worst place,basicly losing your whistle for awhile. It will help tho, I notice I'm doing it unconsiously also. But can do it without the tongue raising. Maybe if it helps, you could do it and after it start to unactivate the tongue. The tongue can be raised without tensing it too much. But in that position it's really easy to do it wrong.. Jens from your clip I'd say you "squeeze" too much when entering your whistle. You know, the bridging from your headvoice to whistle is something like just ascending your headvoice higher and higher, without straining it in order to get it.. I see you got it, but you should work some releasing exercices to get the lower whistle voice working. At the moment you squeeze too much to let it "flow freely". In SLS/SS they talk about bridges, that there's many of them. It's pretty cool way to think about it, since you get to imagine that you "shift up gears", and makes it easier to access extreme high range with solid connection. And this isn't false, coz there really are some "breaks" in tone quality that can be smoothed out tho, but it still feels like it goes a gear up everytime the qualitychange happens.. So, as you can go to the whistle now, maybe you could do like this: Go up to the whistle the way you can and then descend like a siren to the headvoice and, if you want to, to the chestvoice. The higher you are, the lesser the amount of airflow should be, isn't that right? I think that usually descending makes release, whereas ascending usually squeezes up, it's a natural behaviour for the voice to "trying to access higher", when you don't control your airflow to go smaller as you go higher, so it needs more squeeze to hold the folds together when ascending. When you descend, the air flow already is "smaller" coz you are higher, and descending from that has a more easier feeling, coz airflow needed is now actually less than you would usually have within those abit lower notes! I believe this helps bridging whistle, once you get it descending, you might be able to figure out that the "configuration" should be the same as you ascend! Hope this helps! plz comment! :cool:
  20. whoa pretty nice, you actually got pretty loud volume there, is it comfortable to go that loud,tho it sounds pretty free? I recorded that distortion but forgot my usb-stick home and cannot upload it yet Tho it wasn't so good, i already had raped my voice abit with heavy metal so it wasn't such an easy place I recorded maybe I try again today and send it when I can.
  21. Hi Roberta! Wow that was an approach I've never heard before And have to say i am confused about the "support" myself too. I don't take things as a "divine truths" when i hear them. I'll check if they work and try to figure out what's the thing "why it works, if it does." So there's some different views i've heard and yes, they are confusing coz they usually don't explain the body mechanics that they do/affect. I'd say i'm not a truly beginner since i've been searching these technique things for a long time already. But when it comes to actual singing, I guess I don't do that good. "I know more than I can do".. Well maybe we shouldn't raise this as a philosophical conversation about how do I know something If I can't do it, but anyways.. Your explanation feels really "natural" basicly, If you tell me that I shouldn't push my belly in(Like that's described in example, by the CVT method) I gotta check it.. I really could use a teacher, but the fact is that i don't actually trust singing teachers here in finland In U.S they got these Brett Mannings and other superteachers, that would be nice to have guiding me, but it's not so great here. The CVT method hasn't arrived yet, only a couple of teachers use it I guess.. Mostly it's something traditional that teachers use.. I guess operatic singing teachers could actually teach something good. But they would only intend to put this operatic style into my voice which i don't want(oh yes, i'd like to be able sing also that way, but not permanently) And I bet they can't "separate" the style from the technique they're teaching. Other teachers are most likely to do my voice just harm. What I see mostly among finnish singers(that are taught by finnish teachers mostly) is high strained and pushed up larynx, excess amount of tension in the neck etc. They seem to teach this way mostly. Also the quality of the voice/tone is really poor among some. nasality/weak vocals, "pulled chest"... Not connected and easy. I our "professional singers" are in this level, how could I be better with those teaching abilities? I've decided to correct this problem and really delve into singing teaching and make the world a better place to sing!! And sorry about generalisation, I know there gotta be really good teachers also.. But the fact is there are alot of those who just doesn't know enough about body mechanics and everything necessary. They teach based on imagines "Think of being an ass when you sing the lower notes." Ye, that'll do it They may get the sound they wanna hear and at the same time miss the constrictions this way made to a student.. wow abit offtopic, but ye, I'll check your explanation roberta, thank you! :)
  22. Hi! This is a great topic, the issue has been confusing me lately alot. To think that i don't strengthen my fold's muscles, There's a lot of confusion basicly in the balancing my voice. My problem seems to be that when I sing in the middle/high part of my voice, over my first bridge(chest-head), in full voice, it'll start off good. I sound nice, I have some power and dynamics. Depends what kind of song i sing, let's say that's a rock, that includes alot of mid/higher singing, it'll wear out my voice almost completely. It feels like I start to oversqueeze. sound gets cracky, like vocal fry, but hard, not healthy, and if i try to "let go" the squeeze abit to remain in steady closure, it's almost impossible. Either I oversqueeze, or then I just let go and well.. it start's to go really shaky, maybe like oversquuezing but still breathy etc. The sweet "buzz", the closure vanishes. So if i just squeeze, I truly can squeeze really much. So it's not about the muscle strength. Or then there are some muscles i'm tiringor something. Could you tell me is it the muscles going tired, and out of control, or what is this. It happens every time I sing enough. Secondly, if it would be because of lack of support.. I feel that i can support. I can control my airflow, to the point where i actually don't "exhale" at all, so I guess I don't "push" the air out either too much. What i'm missing?
  23. Hi! Sure it's possible. Maybe the easiest is with vocal fry, kinda "cracking" it. It may even help going into whistle, coz vocal fry connects easy. You have to be sure not to force it tho. It'll make your whistle to go away. I think I could send a clip about it. I'm not doing it well enough tho to use it completely healthy.
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