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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. 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.
  5. 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!
  6. 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.
  7. 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
  8. 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
  9. 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.
  10. 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.