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Felipe Carvalho

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Everything posted by Felipe Carvalho

  1. Sensations on the larynx should be nearly zero, specially during exercises. If you feel something, something is wrong.
  2. The easiest way to know if support is effectively connecting is comfort. If its supported, its comfortable. Now, the reasons why support is not connecting will range from breathing to emission and resonance. A simple experience may help, take a very deep breath, trying to provoke an yawn. When you get it going, feel how the air behaves both in the intake and when exhaling. Try to repeat the movement of the breathing and let an "Ahhhhh" be released strongly. As if you were very disappointed with something. Use a comfortable tone please, and do not try to sing the ah, just release it or you could hurt yourself. This relaxed position is a rough idea of how a supported note should feel. Different pitchs, vowels and dynamic ranges will only change the air and muscular pressures on your abs, back and lower ribcage, the voice should still come from this release movement. Measuring the time of sustain of a note is not usefull to diagnose this because a strainned note will use considerably less air. (strainned due to overcompression of course). To effectively build it and connect it with your voice, the only recipe I know is a well planned trainning program, professional help and discipline. GL!
  3. Will help relaxing, will surely not fix problems and will bring many others to the equation. Like starting to depend on it to sing well. Technique + water is a much better solution.
  4. Even if you are a baritone, and I really dont think thats the case since you can sing G4 in CHEST, baritones have a defined tessitura, not range. Range is usually much larger. So dont worry, study and it will happen. You are simply trying to do something that you dont have the means, yet. GL!
  5. Maybe somebody already sent this... But anyways: So much power that sometimes he completely covers the whole band sound, and the depth of the performance, the way he looks in the eyes of the people in the audience. To me its magic, just seeing it deeply moves me.
  6. You dont need anything other than water. If your larynx is healthy, the only thing you can accomplish by using herbs or whatever is making it less sensitive and thus allowing you to hurt yourself without suffering the immediate consequences, like discomfort or breaks. Keep yourself well hydrated and rested, thats all you need. If something feels wrong on your throat when you sing, it is because you are doing something wrong and using drugs to disguise the symptom will not get rid of the cause.
  7. It all sounds good man, think you found a good coach. This pulling the voice back thing kinda worries me, but then again you say its something that you figured from what she described... did she call it "covering"? Anyways keep track of exactly what she is trying to tell you. Just pulling back is not the answer, not by a long shot. Im sure that she will work this slowly with you when its time, do not rush into it on your own. Remember to have patience and to work with discipline on your exercises, always aim for comfort and precision on them, with time, it will pay off. GL!
  8. jonpal. if you have the oportunity of seeing him live, its worth it. loud is not enough to describe it. i saw him puting the mic away and singing with the drums and bass on a mid sized club. he and Dio are loud, very loud.
  9. This never ceases impressing me: One of the things that is really bizarre is the projection he manage to achieve on pp. And this, which is one of most powerful things I have ever seen. The Maestro was old, and physically weak due to his illness, it was his final concert: The singer is also amazing, but the whole situation... is kinda magic in my opinion. I recommend seeing from the start with patience and turning the volume up to get the full impact of the music.
  10. Jonpall, I think there is a terminology incompatibility to discuss this... I think that there is a difference in the way vowel modification and soft palate sensations is approached. I ve learned it like this: Reference of the head voice as soft palate sensations and feeling of higher resonant focus USING vowel modification to find it. I think you do it the other way around. Defining the mode as the vowel modification and using resonances and sensations to properly place them. This is an oversimplification, but am I near it or it has nothing to do with what you are doing? Which would result in the following: The sensation you tell us on the soft palate would be defined in our terminology as head voice. The vowel mod you are using to achieve it would fall into overdrive.
  11. Keeping it to the technical context, until you clarify on what "some concepts" are, its impossible to discuss. About being trainned as a classical singer, its perfectly possible to be trainned using the method to do pop material. Never said that Geoff Tate did Baritone arias. Quoting myself: About whats important to me, I dont see how this could be of any importance given the subject. Unless of course you believe that I am trying to invent or change methods, which I assure you that I dont have the competence that it would require. Still I am very confident that this kind of basic information on what already exist I can give with a very good degree of precision. But if you do think that any of what I said is not correct, please point me where, I am willing to listen and if I can learn anything new, it would be great! :D
  12. Yes, Ive read the book, and most of what he describes is exactly what is achieved in classical trainning. There are no rules on the classical school that does not allow a Baritone to have more range, the rules are all about tessitura. And by all means, a singer should just sing, and not be concerned with technique while doing so. Technique is there to be trainned uppon and be assimilated. If you have to think about it during a song, more trainning is due. All that is said in the classical school is that, for the sake of maintainning the character as the author intends, there is this area of his voice where a baritone must sing to retain those qualities (and be able to be heard). Outside the classical realm, those rules are only usefull to help a better understanding of your own voice, keeping around the tessitura is nice to maintain things more confortable, but it is possible to go higher or lower. For example, on pop music, a bass can connect his falsetto with the modal voice and it will not make a difference. The trainning is what matters, his discipline and the orientation he received.
  13. Confused here, what I know as head voice is only lower on volume around passaggio, it can be as loud as to be plain painfull to stand next to someone doing it. Its surely louder than chest, even if you scream on it.
  14. No, there is no formal trainning to achieve this. Its quite easy though, add H before a vowel and the air is there, the ammount is up to you. Practicing this serves no purpose. I believe what you mean is head voice... It really hurts to attempt it. The compression is way too much to allow this kind of freedom. You can use full dynamic range. But falsetto is there if you really want air, a better choice. Not healthy, but better.
  15. Brett Manning... I dont think that guy should be refernce for anything at all. Did you see a video that was on youtube before called "brett manning skinning a cat"? Pretty much describes his knowledge on singing. His videos telling people to adduct or zip or gug or whatever always looked like butchery to me. About breathy tone. Ill tell you this. If your voice is centered around a healthy vocal production, you can use it pretty safely as a resource to add to the performance. But doing it everytime, leads to damage. Look at what happened to John Mayer for an instance. Dunno about breathy and body, not sure I follow.
  16. Imagine a voice that is firm, no air, but the attack is rounded. Its pretty much that. There are some videos of pavarotti speaking on masterclasses. His voice is kinda like that. Soft onset, but firm. The compression of the folds rise together with tone and is followed by the breath support. It is not a constant value. Lower tones, less compression, more air volume. Higher tones, more compression, less air volume. By air volume, I mean air supplied ok? On the tone there is never sound of air.
  17. One way that this kind of attack is described to us is as an "ajusted" emission. Its just enough pressure to produce a firm tone, with no air. Too tight and tension shows up in the larynx, too loose and the tone becomes breathy, also causing tension on the larynx. Balance is the key.
  18. Oh boy... He is classicaly trainned and uses classical attack. I am classicaly trainned and I use classical attack This guy is classicaly trainned, and used classical attack: If anyone of those lacks range, its me, due to incompetence. Do you think any lack metal? Do you hear air? The invisible H has its name due to it NOT APPEARING. Its simply coordination between the onset and the engagement of support muscles and breath release. We learn to coordinate both so that in the exact second we finish to inhale, exhalation begins, support engages and the onset closes just enough to produce a firm tone with no breathiness whatsoever. A classical singer with a breathy tone would have a very short carreer. And what is really bizarre is that this information is on the page you linked on this topic.
  19. Classical attack does not uses air on the tone. Never. And the information that classical trainning equals reduced range is not true. Here is a video of a classicaly trainned singer and some explanation on technique too. Do you hear air or limited range?
  20. Nope, not slightly flat, either its a B or it is nearly halfway flat. But this does not matter, I was just joking. I meant that supporting in the context of singers who just screams things out, is almost cheating. You know it as overdrive, some know it as belting, I know it simply as chest. Yeah using it to record, maybe. Using it live, no way.
  21. Prety sure this is a B, and supporting it is cheating Mr Vedder just pushes things out his lungs. Still I gotta say GJ, I find this is too demanding to use... Support gets really mashed.
  22. I agree completely. And all this argument around the techniques of Vedder will lead nowhere. No one will sing better even if Vedder himself came here and said that he is taking classes with Robert. Neither will Ten be less of an album just because the obvious was stated. Its funny... I have a friend who would be probably mad at me if I said that Vedder was technical... :P
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