Hello everyone, I cant thank you enough for your contributions on the forum , although I have to say that sometimes I try to stay away of collecting more information because I need to think easy and I am not that good to take advantage of the information. I just posted a couple of times from what I can remember, and read the forum intermitently. I am not new to singing but you could say I am still a beginner ( it is very frustrating) . I started with SLS and other methods, and took lessons from a variety of teachers (some in the forum) . I could say that my main problem is that when I approach B and middle C I kind of feel that I am going into the critical area and my body wants me to do something. For a while I tried to manipulate and narrow the sound while keeping the same intensity but the sound changed and I was not able to maintain compression and it became airy. I added twang and tried other approaches with not many consistent results. From all I have understood and tried, I feel that if I can solve from middle C# to G my voice is going to reward myself , and I feel it, but I am doubtful of what approach to follow. I have had teachers with a nice voice that advocate for a sooner bridging. Some of them have a light but energetic tone which reminds of a beatlesque, Tim Buckley, Thom Yorke type of voice, which I really like . I hear the mix voice and a pleasant tone in this coordination if done with equilibrium . In my voice it is not so stabile and when I try to put more energy it loses the stability and gets airy. I was told by some teachers, that , to get this light tone, first I have to stablish a more solid and strong middle voice, so the message was to kind of stretch the chest and maintain the coordination. After going back and forth I pursued the more solid chest voice trying to cover more notes before bridging. I dont feel my voice is agile when doing this nor elastic. It kind of gets stuck and loses resonance. I mean I can bridge but with useless tone. I understand the message of pushing the voice a little bit to awaken it but doing it focused it is hard. I think it is hard to tell how much air and energy to carry before the first bridge and the approaching area. I will use some examples, of two great singers and teachers from the forum ,even though I can be completely wrong since I am not an expert , but a passionated obsessed with voice because I need to be able to perform my songs: When I hear Daniel Formica, for example, I hear a focused tone no matter how much energy carries but without the problem of carrying weight to the first bridge. If I do this it is on the verge of being too light for crossing the bridge, but in his voice sounds very alligned . I can also hear the tone being forward which for me helps me more than if I let it fall back . I would like to have this texture, but I recognise that if I many times I pull back a bit when I approach that area, and my voice shows the whiny SLS sound if wrong executed because I do not know how to face it. That is also part of the question. Do i get this whiny sound because of being to light? If I hear Robert Lunte's voice, I hear a more boomy sound with more bottom end, and as far as I understand letting the resonance go to the back of the head while bridging. In my voice that feeling I think it is preventing me from bridging because I cant handle so much weight and singing becomes really hard . I know Robert does not have this problem, but I can't sing like this. In my voice I feel the tongue retract and the resonance goes to the back of the head which gives me less resonance than the forward tone. If I put more energy to avoid the whiny SLSesque sound which my voice projects either gets like a muffled yell or sounds flat. I am comparing these two approachea as an example of the two perspectives and how my voice reacts to them and I am just talking about what I hear, not saying if that is what is really going on as a result of the technique but my interpretation. So one more focused and light edged and the other one boomier with more bottom end with a darker resonance . Question: Do I need a fuller chest in order to later get a more coordinated passagio, and if so , how do you train that way ? Is it twang what can give me that or should be raw chest in a more classical way? I am very confused. I think I should stablish a lower voice that with not much changing allows me to bridge easier without becoming airy. I do not know if I got to say what I wanted, I am not an English native speaker. I pursue a more lighter voice with sharpness in the passagio area and the feeling of a one voice for style and for easyness. Thanks a lot in advance.
