Felipe Carvalho

You can develop the skill if you want by alternating using a reference, and not. If you will not be singing alone, I would not place that as a priority.

We can't know. If you suspect your voice is not healthy, see a doctor.

I would like to point that although the question asks about Singing Intervals, the skill in question is much more about reproducing a given melody with precision. These are related but different skills. If you will have use for precision with interval identification, for example say you want to come up with some interesting harmonies and you don't have an instrument to use as reference, then ok. But trying to break down melodies and reproduce them interval by interval often leads to a worse performance in intonation and precision. For whatever reason which I honestly don't know (probably related to our language) we process phrases in a different way. I would suggest practicing a scale or even the phrase itself against the harmonic context that is appropriate. The context can make an exact same note sequence sound consonant or totally dissonant (which often makes you gravitate to different notes that would be consonant on said context).

Right then, the way I see it, it crosses the line. If it has nothing to do with singing then it's not the job of a singing instructor/teacher/coach.

Depends on what that means. If the idea is replacing technical training with "emotions", as in depending on feeling something to sing as you intend, that's a problem. However, there is this aspect that is not easy to convey and perhaps it's what she wants: On every thing you do, you have two ways to approach it. You can do things intuitively, or, you can do it rationally. For example, say you have two boxes full of objects, and you want to tell which one has more objects. You can just glance, evaluate the contents and take a shot at guessing the answer, with a certain probability of getting it right, you will use your intuition. Or, you can sit down, and *count* everything inside each box, and have an exact answer. That's a more rational approach to the problem. Now, if you are an engineer or an accountant, that first approach might not be the best way to do it eh? hehe But on creative arts, we need the intuitive process more than anything else, because it is this type of approach that will give you freedom and allow you to express yourself better. And we need it because it's fast and does not depend on consciously evaluating everything. It may seem bad because it's not very accurate, but the good thing is that by failing and trying again, and again, you get better at doing tasks intuitively (and in fact you learned quite a lot of them as a child, all the things you do that you are not even aware). And that may be what your teacher wants to get you more into. It's common with people that are rational, and very intelligent, to try to break down problems and solve it in pieces. For example trying to count and measure every interval and duration of the notes they will sing. Which believe it or not is associated with a decrease in performance.

Well, for me, it really does not matter if you warm up or not

Yeah, silly doctors and their medicine thing...

About the hormone talk to your doctor. About the issue with singing, take lessons.

Without defininig a frame of reference it is not be possible to talk about this. Yodel, and observe that your voice flips. You have one kind of voice that works better on lower pitch, another that seems useful for higher pitch. Bruce is singing all the time on the lower *kind*. The other register will not be very useful to singing Iron Maiden except for some very high passages. He does use different qualities when singing, which are related to vowel choices, intensity and support. On the more modern recordings, he often uses an overall lighter quality with more round vowels. On the earlier days he used to approach it all open and out, that's why it sounds more aggressive. And there are songs where you can hear both.

@zijin_cheng if you are using the default reverb plugin from Audacity now, changing to Reaverb and some high quality Impulse Response profiles will make a huge difference. You could even record your own room response and use it on the program if you wish so.

I believe we talked about this on another place. In regards to this particular statement, perhaps the main problem here is exactly a mismatch between how you are using the tool (the mic), and what you are trying to achieve. If you close mic anything, be it a voice, a guitar, drums or hands clapping, it will not sound the same as it sounds in the room. Think it was video, you have an actor performing. You have a webcam, and a professional grade camera capable of recording 4k with full dynamic range and lossless compression. We can say for sure that the professional cam is much superior. However, if you place the professional camera 10 cm away from the actor eyes, and the webcam is placed in a distance that captures the whole body of the actor, as well as the scene, it is very possible that the webcam will have a result closer to being useful than what you will get with the pro cam at these conditions. Granted that close-miking vocals is very normal, and it does not compare to a poorly placed video camera, it is similar in the sense that the results you get from positioning and distance play a huge role on the result you hear, much more than the build/circuit/design quality of the mic ever will. In short, if you want to capture the natural sound of your room, move the mic away from you. And if you want to close mic, expect a different sound. Test various distances, and then see the one that best fits what you want.

Often what makes it really hard is not having a very clear idea of what you want, just trying to get the "best possible thing" out. Then you start to base the quality of what you are doing on something like how strong you sing notes, or how high you go. And since you can always go a bit stronger or a bit higher... Wel you do the math . And of course, if what you want involves using the higher range, technique will matter a lot.

Well, on every note you can sing, you have quite some dynamic range and a wide range of choices, from really strong to very soft qualities. How a note sound will depend mostly on the *context* its used. If you come singing A4s at the absolute maximum power you can and then suddenly go up to a G5, the G5 will never sound "full" since it will be compared to the A4. If you were singing a very soft E5, and jump to A5, opening it and going as strong as you can, this A5 will now sound quite full. Human voice works like this, as the pitch goes up, all avaiable qualities become thinner/softer. So you need to play your cards right. Fundamental rule of registration!

And some *boring* baritone range stuff for your appreciation:

Thats what most tenors think before learning to how to use their mid-high range