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Nalyd

TMV World Legacy Member
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Everything posted by Nalyd

  1. Doubtless. But they are probably rarely in CVT Curbing.   The thing is that Uh can go three ways in CVT: Curbing, Neutral or Edge. As you know, we can't be sure how people will pronounce it based on spelling only. But, if it is pronounced as a rounded low front vowel (Å’) (sometimes called an open mid vowel) then it will take a skilled curber to do it in curbing. It will work best in Edge or Neutral. If, on the other hand, it is pronounced ÊŒ then it will lend itself more easily to CVT curbing. Still, as Martin said, Curbing is rarely intuitive for beginners.   So, I agree with what you said on page 7: Be carefull with Uh in Curbing (CVT Curbing)    That's the odd thing about the CVT modes: Some vowels go more than one way. 'I' as in 'sit' too can be in Edge, Curbing or Neutral.   Best regards
  2. CVT have abandoned the use of the terms "Belting" because they figured that people use it to refer to all kinds of different CVT sounds. Is Overdrive belting? Most people would say yes. However, Belting is not Overdrive (see below) Is Edge belting? Same answer. What about Curbing? Curbing can be powerfull on high/very high notes, so yes/no. Even some forms of neutral, especially on very high notes, will be perceived as belting by some.   On top of that, you cannot sing a song in a single mode with the exception of neutral. Different vowels take the voice through different modes.  Overdrive is particularly limited: It only works on two vowels (Eh & Oh) So therefore Belting is not Overdrive.   Best regards
  3. Here is a clip I found. Real baritones, that is, operatic baritones. And it's about high notes.  
  4. Then the breaks can happen on various pitches depending on the volume. Low volume, early bridging; high volume, late bridging?       CVT does acknowledge the breaks, it just says pretty much what Felipe says here: You need to increase the volume and support effort to avoid them. The latter is indeed one of the overall principles.    By the way, CVT has changed its position on the vocal modes slightly over the years. Overdrive and Curbing are not as common as Edge. This is because they stand more firmly on the vowel limitations of the modes, and because it has been discovered that Edge can be sung with less twang and volume than was believed. They now talk about 'main-modes', implying that a singer will rarely sing a song in just one mode. So for instance, Edge is very commonly the main mode, but certain vowels may force the voice into other modes such as Curbing and Overdrive. (This is consensus on their forum at least)       I saw an interview with an opera singer (can't remember who) he said that he had sung with Jones and believed that he could have been a great operatic tenor.   Best regards
  5.   Well, this is exactly what I don't know. I'm referring to what Benny says about voice-type-specific changes which occur on certain pitches.    Best regards
  6. Martin, do you mean whether it's a certain pitch or a range of pitches? Also, are you able to locate such natural 'breaks' in your voice?   Benny and Elvis, so it's easier to find with a light configuration. But speaking voice is not necessarily lighter than singing voice...   Best regards
  7. Yes, but how do you find the passagio? How do you locate the spots where your voice naturally wants to break?   Best regards
  8. I see what you mean. But what about those voice-type-specific breaks that Benny is talking about? I mean, the way I see it, a break like the one you are talking about could happen anywhere in the range if technique suddenly failed for some reason.   Best regards
  9. Hey, here is a question that is perhaps slightly off topic. It's something I never understood, perhaps you can help me: I always thought that breaks like that was something beginners experienced and then teachers could use this information to sort of measure a persons voice type. I thought that once a person practiced to a certain extent, the breaks would disappear. But apparently trained/experienced singers can still locate them. Personally, I can break voluntarily between different modes at any pitch within my range, but I wouldn't know how to find these sort of natural breaks. How do you do that? Or maybe it's much more subtle than breaks between modes? (volume/sound color changes)   Best regards
  10. Interestingly, the CVT program is very much based on holding back the air, although it discusses various approaches to support in some detail. Generally, it is suggested that when singing gets difficult, you should use more effort. Now, this really means that you should use more effort in two ways simultaneously: 1. Hold back the air more, 2. Push out the air more. To be sure, this is not an economical approach, but it seems to be considered useful when learning difficult things, such as high belting or long notes etc. So it is not necessarily intended to be the end result. It is also added that your should be very aware that this muscular effort does not lead to unwanted tensions in the throat.   Best regards
  11. Ok. Now I see what you mean. But this also means that there will be a slight outward movement of the belly when you reset for another round of supported exhalation. To be sure, this is not the same as belly breathing.   Best regards
  12.   What about this then? (considering that the abdomen is part of the expiratory muscles)   Best regards
  13. Could it be that people tend to lose the twang as they lower the larynx when reaching for low notes?  Definitely keep the sound bright to get compression, but I think it must primarily be achieved by twang, since a too high larynx will shorten the length of the vocal tract and make powerful low notes impossible. It seems that the combination of twang and a low larynx can be counterintuitive.   Yes, support. What I find interesting is that constricting in the low range can be a rather subtle problem. In the high part, one is hardly in doubt when the support is inadequate for powerful notes. However, in the low range, one will know that it has likely been going on when the voice has been noticeably weakened after singing or speaking.   Best regards
  14. If you are talking about EE as in "see" and OO as in "loose", they are the most limited vowels in terms of volume. I agree that Eh (hey) is a possible alternative for the EE, but the vowel i as in "sit" is closer and can be quite loud too.   As for the OO as in "loose", you can go for Oh as in "low" or "yo", but if you want a less radical alternative, you can also go for a rounded front vowel: Start with the vowel e as in "her", then try to make that slightly more narrow at the lips and position the tongue slightly more forward as with the vowel i as in "sit", but maintain a good amount of twang.
  15. All singing in what CVT calls the "metallic modes", that is, powerful singing, involves a very precise activation of the "constrictors". Too much will be fatiguing. In some situations, too little can be fatiguing if the air supply is not adjusted accordingly. To be sure, powerful singing can indeed feel very free, if done properly. We could call this a feeling of an "open throat", but from an anatomic perspective, it is not absolutely true.    Best regards
  16. The abdomen pulling the pelvis up. Still works. But it seems his heroic posture has suffered a bit over the years.
  17. I find it interesting that it is the lower/middle part of his voice that seems to have weakened. At least that is how it seems to me when I compare it to this version:   '>   www.youtube.com/watch?v=X_mJgVwQ3Qw
  18. But there is also a good amount of edge and overdrive, especially from 3:24
  19. Larynx position is relative. It must go up to reach the high notes, and vice versa, but it can be more or less lowered on any pitch. Classical singing is characterized by a relatively lower larynx position than most pop, rock etc. But there are a number of other factors which contribute to the characteristic dark sound color in classical music. Notably the raised palate and the compressed tongue. CVT explains projection as a combination of twang and a relatively low larynx. This is part of the classical sound ideal. Regards
  20. In general: isn't it all a mix of TA & CT up until the point where it's only CT? (except pulse reg. of course) That CT only would correspond to CVT flageolet (problematic definition) and falsetto (M2)...
  21. I would add that in my personal experience, as you approach the upper limit of your chest voice, the support work becomes enormously laborious which in turn limits your agility. And as Video says the demand for precise shaping of the vocal tract increases. Certain vowels become absolutely impossible and some fall out sooner than others. The size of your instrument will determine the need to back off the volume as you ascend. Lighter male voices will probably be able to take the chest voice well into the fifth octave, while the heavier may not get past C5. Similarly, lighter voices will be able to take their max volume higher whereas heavier voices must reduce their volume more and sooner. In CVT terms, the most practical approach to powerful singing towards the upper limit of your chest voice is to combine the full-metalic modes edge and overdrive at volume 5-7 (10 being max) with curbing. Choice of mode depends on the vowel. This is probably close to what is generally meant by "mix" but still allows for occasional louder notes on the right vowels (i.e. dynamic variation between volume 5-10)
  22. My personal experience is that it seems to be possible to extend the chest voice to app. three octaves. Your A1 is very likely in M0, also known as pulse register. The lower limit of your M1 or chest register is probably somewhere around C2-F2.
  23. Why not play around with an operatic sound, just for fun, or perhaps to sing one or two arias? A practical approach: First learn how to control: Twanging the epiglottis (brightens the sound) Raising the soft palate (darkens the sound) Compressing the tongue (darkens the sound) Rounding the lips (darkens the sound) If you then start by singing a bright, twanged note, then by adding these three other factors, (without losing the twang) which all contribute to a darker sound, it is extremely likely that your larynx will lower as a result and you will end up with, or close to, an operatic sound.
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