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  1. Very useful lesson Felipe! It makes a lot of sense
  2. Hello Steven , Thanks very much. It helps, sure. I understand. It is not breathy but I hear a more flutty kind of sound which I perceive as more air, that is why I wrote breathy, but yes I am wrong .For the first example, it is really hard to find an onset that works connecting my voice in that area . Either I start with a heady disconnected sound or with a chesty strained distorted sound. Is it useful to start from a higher position placement as in a descending scale?I mean trying to reduce the amount of chest in the onset or should i compress from a chest perspective? SOrry if this does not make sense, but I describe it as I think of it . As for the parlante voice? Is it any approach more effective ? Thanks again .
  3. Hi guys! I am really curious about what experts say what configuration requires that type of singing. In terms of their style, is for this type of sound necessary to stablish a strong chest voice as for other genres as rock or pop? Is this a light mix and if so? What is the best way to train for that type of sound? I think it is more difficult than what it seems to sing in that manner. Thanks in advance
  4. Hey! Thank you all for your information and perspectives. Just all your ideas and thoughts make me think I am not crazy and that this is hard to almost everyone. What amazes me is to see singers like Jeff Buckley singing with a neck that does not show any movement and still get so many different textures and intensities. I try to control the muscles popping up out of the neck no matter how I approach the sounds, they are there. That is maybe a reference I try to check, because for the sound it does not feel so squeezed for me. Then right, the problem is that you know from others that you should not be doing that but how?? Then comes terminology and the checking from one thing to another: tongue, relaxation, breathing, palate, lips... the unsolvable puzzle. I will keep working patiently and more focused on your ideas. Thanks everyone!
  5. Hello everyone, I used this forum for a couple of times a long time ago and now I think I would like to share my thoughts about this learning process. I have tried many methods including The four pillars ,but mostly I went for the soft way (SLS and SS) of singing although I really like rock and powerful voices but the idea that I got from more "athletic methods" was not the one I had in mind. I had a couple of lessons with a CVT teacher, and also went against my preconception of "singing should be easy". But the thing is : how easy??? I think we all have preconceptions based on many reasons , including the psychological aspects of our way of seeing the world, how hard should be the learning process, which sound I want to have , how healthy is this or that method, how dangerous are some techniques,...and many other influences. But the thing is that I feel now that I have been going round in circles looking for answers and that there is some truth in almost everyone that has created a method and I would say in almost that has tried to learn how to sing and was successful to some extent. It is like trying to choose the car you need to buy. There is always a subjective ingredient that is going to make you think that the one you had in mind is the right one. I have been trying to get results but I am far from what I think I should be right now, but still moving forward. Some days are better that others of course but I do not think of giving up. My specific concerns were about the following aspects of the voice and what I thought I should be learning: -support and its different grades. From what I interpreted from different methods and many videos on youtube some were really intense and others like SLS were softer. I think I might be neglecting something and the truth in "my body" could be something in between these two ideas. Over the last two days I have been trying to pay more attention to the support because my notes between B and F , are really unsupported and for the higher notes my neck is tensing , creating a hole below the larynx. -chest voice and where to bridge. The idea of bridging around E, F is accepted but I realised that the big problem started around B or middle C until the bridge. I thought i should be lightening around B but after some months of practising I feel now that I do not have a chest voice. I think that the idea of breathing low and the bridging made my chest area a dead zone. What I mean is that I literally when I try to breath and get support my chest area is dead. It resonates but it is like if it was inactive. I tried to put the resonance more in the chest because I think it was muffled and hidden somewhere in the neck. Sorry about being so long and disperse, but frustration came tonight and I needed to throw up everything. Is it possible that paying so much attention to not raise the chest while breathing, I created a more inactive area which is needed for the bridging?? I can resonate in the chest, but it is kind of without control when singing a song. I need to raise the volume and I am looking more for a control sensation than a powerful chest without control. Thanks so much in advance and I hope you the best in this process.
  6. Interesting point Marcus. I had not thought of the possibility of singing along easily with some singers and not with others in the same pitch because of the different break notes Thank you
  7. Hi thank you both for answering First thing I want to know is if he is bridging or maintaining the singing in chest voice and if he is bridging when exactly is doing it, because the voice doesn't sound heady for me... Thanks for the advice
  8. I assume that in the chorus he is twanging, but what about in the verses? It is ok a brief general description on the song , but for me it is difficult to know how to start (if I start heady I can put volume). The question is also for the chorus , for example at 1:35 when he starts to sing a bit louder at least for my ears. Does he have good technique?Any comment would be appreciated since I feel that anyone's opinion here would help me to face the song. Thanks a lot.
  9. Hello, I am new to the forum and also a beginner in singing, although I already tried some different methods. So far I am still confused on how to bridge between chest and head voice. I am training the four pillars and while doing the sirens is not that hard (but it still requires coordination).I am just looking a reference on how to get a decent sound, just the picture of what I am trying to reach. I think I know the difference between twang but it is hard to make it clean and not constrained. I do not feel it is so hard while doing sirens, although I am not sure how to maintain twang while singing songs. It gets really strained, not clear and volume-decreased... I get the sensation on how you can connect both registers but the main point is the quality of this connection. That is why I think that the problem is knowing what twanging is but not in the very high notes while doing sirens, but also singing in a song like this. Please can you help me with this? Thanks in advance.