Manolito Mystiq

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About Manolito Mystiq

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  1. @ronws, did I do something wrong for you to tell me to shut up? I’m frustrated and I was expressing that frustration here seeking help. I might’ve misunderstood what you’re saying. I’m very sensitive. I perform and I know I have abilities and skills in my singing. But I still find it so hard to stand there and say: “Yeah, I’m a singer.” It’s not that I haven’t tried. Over the past five years I have done so many things, you wouldn’t believe. Singing is so close to one’s personality and mine is quite broken and hurt. I know that I should get over myself. Ever since I started therapy in 2010, I’m working so hard on that, but to me it’s not that easy or simple. I’m sorry about that.
  2. It’s not that I didn’t perform. Back five years ago, I joined the band Complexity as their lead singer. Immediately the members of the band signed us up for a competition. We became second place. I learned a lot from those concerts. Because the band existed without a singer for such a long time, they found it hard to work with a singer, unfortunately, so after the competition, I was fired. And I have had setbacks and struggles. Today, I had a singing lesson, and the teacher (specialized in Estill Voice Training and musical theatre) was baffled at how good I could manage rock material—I sang Dream Theater’s “To Live Forever”—which is so different from belting material in musicals. Often when I sing musical material I get commented how blended it sounds, but that I’m not belting my parts. This is not necessarily wrong, unless I want to audition for a musical role, where it is required. It’s a bit like “Who Wants to Live Forever”, but then the musical version. The first time I heard it, I felt, man, what is that guy doing? It’s like he needs so much effort to reach those high notes, which sound so loud and massive, compared to Freddie’s more flexible approach.
  3. Guys and gals, could you please help me out? It’s been over ten years that I have studied a lot of different singing methods and systems. Currently I’m studying musicology at the Utrecht University and still I’m really wanting to understand it all. I have a library of singing books in my home, right now. I have this craving for wanting to complete programs, to get certificats (SLS, SS, CVT, EVT, TVS, and the recent Universal Voice System by Alberto ter Doest). However, when I perform at the university or at those singing courses, I usually get positive comments, that I have so much control over my voice. Yes it does need work here and there, but I might as well just perform and perform and learn from that, because I really know my voice well enough. I still feel my tone is odd and my English accent—for which I even study an English minor at the University—is still strange. And I hear a lot of peculiarities I want to change, but it might just be part of me. I’ve been transcribing some Dream Theater pieces (because of inaccuracies with the vocal lines on the official sheet music), and LaBrie is constantly preparing the singing pitch by starting a passing tone lower; it can be very distracting if you really look for it, or just part of his style if you accept it. I think I should just plan to post a song here, one every week. Or create a video how I sing in my whistle voice and exercises I did to improve it. Do you have any suggestions? I feel like I have wasted my talents by trying to find the key to finally start singing for so long, even though it appears I had it in possession for more than a while now. Cheers, Mano
  4. My range is G2–G6. That would make me a baritone, tenor, alto, mezzo, and soprano . . . if you would only look at the range.
  5. No no, I’m talking about thyroid tilting. The thyroid is part of the larynx, but it is not the larynx. You can thyroid tilt with either a high, mid, or low larynx, although it is easier to get the thyroid tilt working when you lower your larynx, because it’s almost a reflex that your thyroid is tilting forward when lowering your larynx, like with yawning. Cry and Twang are two different things. Twang is connected with a narrow aryepiglottis sphincter (AES), because a narrowing of the vocal tract creates a sharper, brilliant sound. A high larynx is a natural part of that, similar to how a low larynx is part of thyroid tilt (Cry), but one can Twang with a low or mid larynx, as well.
  6. I’d say, it’s the vocal onset, most notably the smooth onset. Even if one is a bit pitchy here and there, as long as she or he has a smooth onset, at least everything is ‘sung’. The vocal cry setup is stimulated with the smooth onset, and from my own experience, ‘cry’ (thryoid tilt) is beneficial for almost every style. The times when a singer feels she or he is missing something, and the usual advice is: yes, her/his pitch needs some work, she/he needs more support, has usually mainly to do with the lack of a vocal cry. I actually know of someone who had over a year lessons, and he definitely was improving, but the main thing he still wasn’t doing, was thyroid tilting. He still sounds very out of tune, because he tries to sing with vibrato and a soft but resonant sound without using thyroid tilt, which is just not possible. As a result, his vibrato sounds artificial, he’s way out of tune, and he either full on blasts with a belt, or falsetto his way. I mean: Try to sing the first verse of Miss Saigon’s “Why God, Why” without cry. You will either sing in falsetto (too soft dynamics) or blast it out when it’s not the time. Try to sing “Mr. Roboto” without cry. You will miss the theatrical, vibrato, and light sound. Try to sing the verses and choruses of “Stairway to Heaven” without cry. You will encounter all the troubles of passagio and such. Try to sing “Nothing Else Matters” without cry. [Power Ballad] You will sound dull.
  7. I’m a little late, but I hope you still appreciate some advice. As you might have read from one of my posts, they did some vocal research on my whistle register. I do some very uncommon things with my vocal configuration. I fold my up my epiglottis, for instance, when doing the whistle. The research was actually only for female singers, because they figured only females had such high whistle registers. Interestingly, every female had quite a different way of getting into this whistle voice, as well. I can hit my whistle with barely any effort. Then, they do sound very softly, yes. I can easily manage more sound. I do seem to have trouble with generating fortissimo, though. When I did that high part in “The Phantom of the Opera”, my control over pitch went a little stiff, because I tried to give more volume and forced it a bit. What helped me a lot was doing sirens and sirens and sirens. Humming them on ‘mmm’ works the best, as far as I can tell. From around C6 I do flip up to a new register, at least it feels that way. It’s probably the transition point of head voice (light mechanism) to zipping up (what I’m doing). The zipping up idea of Singing Succes (and probably also Speech Level Singing) does exist, but not from chest to head as they incorrectly state, but rather head to super head (or whistle). Mind you, I am a high tenor, not a high baritone. I do know of a baritone jazz singer when I was studying at the Conservatory, who could manage to go above C6, without much trouble, even though it didn’t sound so good, because he wasn’t training that part. He always sounded like a tenor, to me, though. My (non-identical) twin brother could reach the same range without any trouble, and his voice wasn’t trained at all. So genes do help considerably, it seems. Good luck with the highs!!! Mano
  8. @KillerKu: Actually, I practiced my voice to go from a high note to a note in my whistle range, just like how a pinch harmonic sounds on the guitar (and I play guitar, so that helped with the 'idea' if you can call it that). A student at the conservatory thought of a flageolet, as well. And my control over a wide range of dynamics is pretty interesting. I can make it sound very softly, and also like a (pinch) harmonic, but also full blast, similarly to a female whistle range. I can use some -- what I think is -- laryngeal vibrato, and I can do scales, but I get easily tired practising those. I also think that I can let go off some unnecessary tension. But I think that's only when I sing whistle softly; full blast is much easier. Also, while I can go higher, up until G6 is comfortable. The B6 in the video seemed like just a lucky day thing, because even though I can still go that high, it's not as easy as it was on that rehearsal session.
  9. Today Alberto ter Doest – master coach EVT – checked my vocal folds when doing whistle voice.   Interestingly, at my extreme high notes (C6–G6)1, I compress my vocal tract so much, that the light of the camera couldn't reach the folds, so it's hardly visible. I seem to fold my epiglottis in two, for amplification as well as being able to reach the highs.     I can sing my extreme highs very pianissimo and very loud. My compressing of like everything could explain why I can do that. The girl singers were either loud or medium in their highs and their folds were visible at all times, because they didn't ridiculously narrow their vocal tract as I did.   We arranged a new appointment with a camera through the nose, which could show more of what I'm doing.   I will be receiving the video material in the coming days and keep you updated.   Sincerely,   Manolito   ---------- 1. My range is G2–G6.  
  10. Well, it's similar to say a cello. Theoretically the high range of the instrument is unlimited, though obviously, it's harder and heavier if one were to perform a high melody on a cello than on a viola. You can't change the low end, though. The low C2 is the lowest note of the instrument. You could detune your cello, but that's a radical step and before you know it, the tone would be so vague, similar to a voice's vocal fry.
  11. The best ending cadence ever written: Andrew Lloyd Webber’s Phantom of the Opera’s ‘Music of the Night’. There is a pop version by the same singer (Karimloo), with an impressive longer ending note; I don’t like the arrangement, though.