izzle1989

He has very good technique for this style of music. I am a fan :-)

Great Job! Stay motivated and keep up the good work.

If you want any specific details on how you can progress at a faster rate let me know :-)

Bah, come on mate you know it's good! It's à great practicerun, i think you feel that to... doesnt even sound like your putting yourself to test...

Exactly! The only approval you need is YOUR approval.

That is the most important thing to remember.

Well all I can say is take everything I say and everyone else including frisell with a grain of salt. Only you can truly figure out how to sing. Any description we give you will be different from what you feel. Just take the common points and make your own conclusions.

Sounds pretty good man. It's a little bit airy for my taste, but that maybe just a personal preference. When singin "Hallelujah", my suggestion would be to sing it like "allelujah" - The way you sing it now has a bit too much hhhhhhhhhhaaa in it. if ya know what I mean. Overall, I like it alot. Lots of the same feel as the original.

I have to agree with Keith.

You are not really supporting or using good vocal fold closure within this song, but at 1:10 and 2:00 you sound really good. The technique you are using in these sections is the same technique you should focus on using throughout your range. Just remember that just because the pitch and dynamic level is different within this portion of the song does not mean that you cannot sing this way throughout the song.

Just focus on using the technique that I speak of above throughout your range and your sound will grow and develop into something amazing!

Keep up the good work :cool:

Absolutely excellent, as far as I am concerned. Definitely expressing your "inner Geoff." I am so glad you started this thread. And of the people here, you have the voice that most sounds like his, as a side effect. I think you could cover most of the catalog. Given a few more months, I think you can "Take hold of the Flame." And, I think you could do "Queen of the Ryche," as well.

I feel the same way.

Just do me a favor and remember why you love to sing. If you are a true vocalist it's not because you want to sound good it's because you have something to say. So the next time you record a cover I want you to really understand the meaning or the song and why the song was written. Then I want you to find that place within yourself that can really connect to the emotion of this song.

We work on technique in practice when it's time to sing I want you to sing it like it will be your last time singing.

Keep up the good work.

I look forward to hearing this Keith :-)

Still waiting, Iz, tapping my foot impatiently.

I bet your cover will rock our socks off. So, I have preemptively removed my socks.

Haha Ron I will try my best to live up to expectations.

Thank you Ronws. So far one of the best lessons that I have learned here is get out of your own way.

I am training more. I have stood up to my band members and demanded my songs.

Talking through the reasons that I do what I do has helped me to remove the roadblocks that I put up.

I know that it is me and noone else that is stopping me.

Keep up the good work!

Well let me just say I look forward to all the submissions here and in the "Child In Time" thread(s). I am enjoying listening to the different renditions. However I am refraining from commenting. Everyone is doing a great job and I commend you all. I won't comment individually, I am not looking to compare or critique but rather just take it all in.

Keep on keepin' on!

Thanks for posting this great post Tommy!

We spend so much time trying to critique others that we forget to enjoy the sheer passion, musicality, and the art. Sometimes we have to all be reminded to humble ourselves and enjoy.

I really appreciate the kind words as I'm sure many others would too.

:cool:

I like it! It is a very demanding song that I would love to attempt. Send me the instrumental at izzle1989@yahoo.com

Thanks

Okay I will take a listen to it.

Thanks

You're welcome.

Eyes of a Stranger or Silent Lucidity are my choices right now. Do any of you have any suggestions?

Izzle - which track do you want? Send me an email at keith_goehner@yahoo.com, and ill respond with it (assuming I have it anyway lol)

I am listening to a few choices now. I will let you know which ones I like the most :-)

Thanks in advance.

Iz, I have heard some of your range and you could cover a QR song. Whether you sound like a memorex copy of Geoff or not. Who cares? I don't.

So, put an R & B spin on it. I don't sound like Geoff and I did one. Actually, I used that song to help heal my voice.

So, get crackin' .

Okay Brother Ron I appreciate the encouragement

I will get on it asap! Can anyone send me the instrumental?

Thanks Izzle. You are spot on with jaw tension also. I have a problem with gritting my teeth alot.

Any suggestions on loosing the tension?

General stretches and massages.

I personally like to let my head fall backwards as if I fell asleep with my mouth open and breath in this manner for a few mins. Then I use my hands to gently massage the muscles of the jaw while maintaining the open mouth position. If the jaw is tight then the neck may be tight too so I massage the soft areas around my neck and shoulders.

I feel that performing the NG exercise with a dropped jaw helps this the most. Hear is a great link.

I hope this helps.

Come on peeps, let's get more Queensryche covers posted up in here! Bob, I know you got one in ya! Robert ? Izzy? Everyone lol

Cool I will do a cover asap! Just know I come from an R&B/Gospel background, but I will do my best to get the feel/capture this style of music.

Hopefully I will post something by the end of the week.

You don't sound nearly as bad as you believe.

I actually enjoyed this recording very much. I feel that you are doing a lot of things correctly and you will make progress with practice. The main thing I noticed was that your jaw seems a little close down/tense. Doing some work to solve this problem could really help you to release the sound correctly.

There are other issues, but I believe this will give the most improvement to you voice as of now.

Thanks izzle, that makes a lot of sense.

"This way of training will work to an extent, but you will never become strong or coordinated enough to sing those same pitches in a chesty way if you are always lifting half of the weight.

This is where I hope that messa di voce and other Frisell-exercises are able to eventually deliver those results.

"at some point you are going to have to start to add more weight."

I hope that point is now. But gradually though.

I'm starting to have some success with swelling EH vowel from detached falsetto into a full voice, which according to Frisell marks a turning point in the muscular development and a shift from "closed phase training" to "open phase". At that point Frisell advices to start working the head and chest voice both separately, if I remember correctly. I'm not gonna go there quite yet, but soon I guess.

Hopefully I'll be able to handle more weight soon enough.

Well I'm am glad I could help

Just know that the sooner you start to add more weight the sooner you will improve with lifting that weight. You will not be able to sing all of the pitches in your range with this weight yet, but if you take it pitch by pitch you will improve.

I'm not saying that you have to abandon the head voice only workouts I'm just saying the only way you are going to truly have the control you want you will have to strengthen and coordinate both. They both work together and are never separate or we would not be able to make sound or change pitch.

Good luck with your journey. If you need any help let me know! :cool:

Really? I'm not talking about disconnected headvoice, I already exercise chest but only by blending it with head voice and there I try to strengthen it as much as possible. I do this with the messa di voce exercise. I don't exercise chest in a raw state, which means without the collaboration of head voice muscles, or swelling it "through the head". However singing in a light semi-disconnected way in a song like I did above might be dangerous or unnecessary, or not, I'm not sure.

I differ with you based on the information on Anthony Frisell's book The Tenor Voice. Here's a quote of what I'm talking about:

"All superior voices are "created" by muscular structuring, achieved by transforming the undeveloped muscles of the two vocal registers (from whatever starting condition in which they present themselves), to a "new" state of structural existence, one that must conform to, and in time, satisfy all the demands of a large repertory of difficult vocal literature. In the beginning, this transformation is accomplished by executin a series of selected exercises which favor the development of the upper register, so that it becomes the dominant muscular system.

What becomes evident, during this slow building process, is that the muscles controlling the tones of the upper register begin to grow in strength, first, within their original boundaries, and then, they can be transported physically ( not merely esthetically), downward in the vocal range and made to overlap all the tones of the lower register.

(Another later paragraph):

With continued strengthening of all the tones of the upper register, the basic sound of its tones begins to change. New, improved vocal sounds appear and begin to match the sounds of the transformed tones of the lower register. The lower register's tones begin to sound "lighter", "buyoant", and "heady"; in time, they become "puffy" (with breath) and "falsetto-like", because the breath flow is now merging with them. They communicate to the singer (and to the knowledgeable teacher), their capacity to correctly apply "projecting power" as opposet to "forced resonance". At the same time, all the developing tones of the upper register begin to take on a more solid sound that is "like" the transformed sounds of the lower register, yet they are still being produced and controlled by the muscles of the upper register."

So Frisell clearly states that the lower register will "lose power" during the process and the upper range will grow in strenght. This is the early phase of training.

I have nothing against Frisell or his methods because this does make alot of sense and has been proven to work. You are a fine example on how much improvement that can be made by doing this, but the "head voice musculature" is the same musculature that we use for the other areas of our voice too.

The CT muscle tilts the larynx which causes the vocal folds to stretch and thin. Regardless of whether we are in "head" or "chest" voice the CT controls the changing of pitch. This way of training will work to an extent, but you will never become strong or coordinated enough to sing those same pitches in a chesty way if you are always lifting half of the weight.

I didn't want to give a detailed comment because you have been making great progress, but at some point you are going to have to start to add more weight.

I might be absolutely out of my mind but I do it on purpose to develop my voice in a certain direction. No way I'm going to sing that heady for the rest of my life and I can sing chestier too, but I hope to develop a new structure in passagio and throughout my voice. This kind of heady singing is just for a little practice, my real workout is messa di voce exercise.

This is so weird, because it's kind of working so far. On the other hand my headvoice alone is much stronger and more reliable and my high range is more accessible, but my passagio and chest has been losing power and I have allowed it to happen for now.

I might be crazy, my voice is less powerful right now but still I feel like I'm making progress to the right direction. I think that when the power and chest comes in after all the headvoice workout and blending, it will be a new kind of structure where my voice sits higher and I will be able to blend the chest and head in a new way.

That's what I hope to accomplish anyway. For now I'm in a weird middle ground, if what I think is true.

This is a warning sign. If your chest voice is losing power you will never be able to sing a chesty/fully connected tone. Make sure you perform lots and lots of chest voice work if not you will always flip into a disconnected head voice.

Well, I think you sound better the higher you go. My opinion is that you should bridge later or not bridge at all, and sing the lower parts more chesty using a high larynx and maybe "jawn" a little so that you make enough room (curbing in cvt terms). That's what Adam does. Not saying that's why you should do it, but I think it sounds better.

Or are you just doing headvoice all the way for the practice of it?

I did find it very heady also, but he has come very far from what I heard from him a couple of months ago. I didn't want to give any tips that could potentially deter him from his goals.

You're welcome