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Owen Korzec

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Owen Korzec last won the day on January 29 2015

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  1. Can you post a file of how it sounds when you try it now? That's a much better resource for people to try to help you than just guessing based on how you're describing it subjectively. As far as I can GUESS now I would reckon that, if you've been doing this warm up as a habit for a while, it's unlikely that your technique habits just suddenly changed one day, rather the condition of your voice did and caused a different result. Are you a little sick, or have you been singing too much recently and not giving the voice enough time to heal? Any changes in your diet? Did you warm up at a completely different time of day? If you try just resting your voice from any intense singing/speaking for a day, does the issue go away?
  2. Paul sings in a mix but remember that mix is also full voice. This is where the terms can get confusing. It's easiest to just define what he is NOT doing. He is not: -pulling chest, yelling, straining himself, etc. -flipping to falsetto or head voice or generally letting go of that full voice quality He IS using a coordination in between those two extremes that is similar to speech and I would definitely call it mixed voice. You have to train this mix over a period of time. It should resemble a natural speech quality, think of the intensity of loud speech. But it will also have a little bit of a cry quality in it that helps tilt the larynx and gradually "thin out" the fold mass so you don't have to push for higher pitches. You should be able to unlock the range you want in this coordination within a couple months training but honing and refining it so it sounds as great as Paul will take many years.
  3. Makes zero difference to me as a vocal student. But as a pianist, real piano please
  4. Myles Kennedy's advice is good, but it is a pro singer's advice not a teacher so what he mentions is bound to be accurate, just the delivery may be off. I think when he looks away he's just thinking hard on how to take what he knows and try to teach it succinctly on the spot which is not easy! It's the teaching skill he doesn't know, not the information. I think Ken does the tongue thing wrong for style...it doesn't sound right to me...but he also teaches the concave tongue which seems fine. And some singers do stick their tongue out, but just not the way Ken does. Seth Riggs' approach (true SLS) is close to this elusive "bel canto" but it's just missing emphasis on some important things. Brett's teachings & MM & SS however are pretty far off the mark. Several of their professional clients have gotten vocal damage and I think that speaks for itself. I have to disagree with the notion that singing all the time makes you better no matter what or how you train. Muscle memory does not know good from bad, everyone on this forum should know that...it's a very important concept to remember about singing. You have to teach your muscle memory what is correct by doing the correct way more often. There's also the "attractor states" concept which Rob could explain better than me but I'm pretty sure that it does not mean that if your technique is unhealthy, that when you build an attractor state for it suddenly becomes healthy. Almost positive it doesn't work that way. There's no substitute for constantly looking to improve your singing. Even pros with no training are doing this, most of them. At the absolute least, they are working hard to maintain what they can already do.
  5. hahahahaha perfect response Dan In my experience, singing quieter, like a medium volume 'mixed voice', should not increase neck or jaw tension etc. compared to louder beltier singing, otherwise it's gonna be problematic I would recommend focusing first on decreasing and eventually removing the neck and jaw tension because the more you tame those bad habits the more you eliminate limitations in your voice (such as being unable to go quiet in full voice without holding on even tighter). When you practice outside of the gigs start focusing a lot on learning to sing with less and less of that forceful holding on with extra muscles you're not supposed to grip with (neck, jaw, whatever else). Because those habits can take years to fix. Of course at the gigs you will have to continue your old ways temporarily to get the right sound reliably but when practicing on your own you should forget about sounding polished and just work on the right coordination - over time that coordination strengthens and gets more consistently accessible and you can start bringing it into the gigs gradually. Then the next thing is of course balancing cord closure, resonance and support...as you reduce the tensions you will find yourself going back to these fundamentals big time, re-adjusting them for more efficiency
  6. So much yes to this! Confidently standing still is bewilderingly difficult. Have written this down on my video lesson to-do list. It sounds like the real question is helping people improve the visual aspect of their performances through moving and standing better on stage, with the intention that this would help people up their game and book better paying gigs. Does this resonate more with people? Yes but I would be less focused on better paying gigs, I'd be more focused on getting the audience to love the show and turn them into loyal fans first, which will obviously lead to better paying gigs down the road.
  7. My movement on stage has evolved over time, keeps getting better I hope. Never was a source of fear or paralysis but i used to make it look weird unintentionally. I took an acting for singers class in college which helped me a lot - it was focused on musical theater but it helped me in general. For me the biggest things I got out of it were being able to ground myself (the skill of NOT moving) - often I would feel very comfortable on stage but LOOK nervous because my body movement wasn't in control, it was more subconscious and kind of ran away from me so to speak. So the first step was to tame and control that, and then from there intentionally planning or improvising actions in accordance to the lyric. Seeing yourself on video is definitely the only way to truly check in. You can think you feel great up there but still make the audience uncomfortable because they are seeing things you are doing that you can't. But then when you make it look right it will feel better too. Watching other people perform and studying their movement has also been hugely helpful to me.
  8. To me this is the best "visual" of how what people call "mixed voice" works and feels at the vocal fold level (not that you feel the larynx - you will feel this effect as pressure changes) - that red area in the pic is still going to move but it feels like you use less body of it, a less intense vibration, a thinner portion of it. The ability to back off and use the smallest amount of the body of the fold in M1 without letting go of it and going to M2 is a hugely important vocal skill to develop. It's where the balance of power and finesse lives. I've been trying to get into it a lot lately.
  9. I have done both...don't bother with music school if it's just for singing. For what you're trying to do a vocal teacher will be fine and a much smarter way to start, and easily twice the bang for your buck.
  10. Thanks for pointing that out, that's awesome to know. Extraordinary songwriting in this tune, both the lyrics and the music, and especially how they fit together.
  11. ​Frankly, I don't like this advise. Just because he is a famous icon/star... it doesn't make his advise good necessarily. Many singers warm-up before they practice and perform. If you are trying to help Jarom, I'm not sure how this quote will do to help anyone Bob? Are we now going to fish through YouTube and the internet to find opinions about warming up from famous singers to counter this point? Because we could if need be, but Let's not go there... Let's try to guide these guys properly... And can I say... someone like Steve Walsh is singing every night, for years... ! He is capable of getting his voice into a configuration that works quickly... simply by the shear "momentum" and repetition of doing it every day for 30 years... his own songs BTW... that are already inclined to "fit" in his voice... This too can happen for people that are singing every night for years, their own songs, etc... but this is not the situation for 95% of the people reading this forum. These are students, beginners mostly, not Steve Walsh and Bruce Dickinson... ​So true. You will find TONS of videos of singers actually showing their warmups, some of them pretty silly. Michael Jackson, Celine Dion, Michael Bolton, Hailey Williams, Anna Kendrick, the Les Miserables cast, im sure there are even more. None of them are true "opera singers" and they still need it. Not to mention, contemporary vocal teachers who also perform (or performed) full time always take their warm up very seriously - Ken Tamplin, Daniel Formica, etc.... It's just common sense that these of course these folks warm up very seriously but if they have a day where they can't, i'm sure they get by fine without it too, it just won't be AS great sounding or AS healthy as if they do warm up. And then the last part, contemporary vocal coaches like Rob Lunte who teach full time and have to be able to demonstrate vocal technique all day, you really think THEY don't warm up just because someone amateur told them "i thought that's only for OPERA style!"? Trust your knowledge, Jarom, you know better. And then on TOP of this, for beginners it's just that much more important though because you just haven't racked up the years of experience of good singing! The "momentum" aspect is huge...you can make it help you or hurt you. If you warm up an hour one day and then sing an entire show with good technique, you will already be partly warmed up the next day and maybe only need a half hour warm up which allows you more time to rest your voice for better stamina. Can you see how this cycle creates a natural reward for being smart about your voice, and really helps you? You can hurt yourself by the exact reverse way. If you don't warm up one day and sing forced at a show, then you will have a worse vocal day the next day because your folds have swollen, then you have to force harder the next show causing more damage from that, or it takes twice as long to warm up and by the end of the warm up you have no stamina left for the show and then you're singing while fatigued and causing damage that way, etc. etc. if you keep this negative momentum going for months you'll surely lose your voice. If you keep the positive momentum going for months you'll get more toward Steve Walsh's level where you can just jump on stage and you're ready to go. And as you can see, not even all professionals have their voices up to that level of command. So as an average guy beginner how can you expect to be? Also keep in mind professionals who don't warm up and SUCK because of it. I saw an interview with Geoff Tate where he mentioned Meat Loaf doesn't warm up, he kind of played it off as inspiration for him, but, I disagree - if you actually listen to Meat Loaf's live performances lately...well, um...he sucks!!!! hmmm...I wonder what may be contributing to that... Your friends who don't warm up just aren't getting the most out of their voices. That's really what it is. If you never challenge yourself to improve there's no incentive to warm up, you can just keep doing the same easy vocals and you'll be fine. But whenever these folks who don't warm up try to challenge themselves they'll fall flat on their face like Meat Loaf has been doing a lot in live shows lately...boy talk about strain and flat out missing the note consistently, look at the ending https://www.youtube.com/watch?v=Oq9cs4uDdSU
  12. Jarom just warm up before the friends are over. Always. It's really really really easy to do, you just find out when they are coming and plan your time to fit in your warm up and a short break before they come. And if life happens that you can't warm up before they come, Rotlung hit the nail on the head. Just know what you can do without a warm up and only do that. You should always be ready and willing to sing even if it's not your best. Making the best of what your instrument will allow you to do in a particular moment is an extremely important skill for every singer to develop and singing on command no matter what is the best way to develop it. Never try to warm up in front of anyone. That's my philosophy I've gathered based on the professional people I work with and the hobbyists too. Confident singers generally don't warm up around others - It's just unprofessional and weird. I think of warming up more like getting dressed, you do it as a preparation for the event and if you do it well then you don't have to say anything about it. I've been in my current band for a year and they probably don't even know I warm up because I just do it before every practice and gig, it's a habit. But even if I don't warm up I know what to do to get through the gig safely and musically. That is key as well. Without a warm up, you should at least be able to sing songs in a comfortable range with accurate rhythm and pitch, and good tone, without hurting yourself. The big part is just learning what is most comfortable to you and if you have to go outside of that to hit or note or whatever, you have to know the closest way you can get to the result you want without encountering problems.
  13. Thank you so much for posting this. It's very nice to hear someone make great improvements and openly explain what worked and didn't work.
  14. aw perfect place to expose my crazy weird ever evolving music taste! I essentially "discovered" K-Pop last week and ran into this arrangement and I can't get enough of it. I'd love to be able to understand the lyrics but everything else about it already makes me feel absolutely euphoric and that's what I like in music. https://www.youtube.com/watch?v=EEw_amnBlCU Edit: Why is this automatically hyperlinking itself when I want to put it in unlinked to embed? frustrating...
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