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sws1

TMV World Legacy Member
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  1.   Not sure what you're asking.   To clarify, I'm conscious of the change in positioning / shape / resonance as I move through the first passaggio. And I prepare for that in order to navigate.  But it seems when I get to C5 and up, all I'm doing is pushing, and/or raising the larynx.  If there is another "shift" that I should be doing to more effortlessly go higher, I haven't figured it out.   I've played around with the shift to "uh", but I must not be doing it right, since it doesn't feel like it helps the same with shifting to "aw" in the first bridge does. &nb
  2. What's the trick?  How do you navigate that bridge?   I've been able to hit Eb5 on a good day, but I realized that I'm really just pushing my B4/C5 up and raising my larynx.  (Not the right way.)  I figured there must be some "shift" that I'm not doing to break through.
  3. What I see with those high notes is a jammed up larynx.  But I don't care. He's the metal god.
  4.   Thanks.  I've been "accused" by several vocal teachers of "carrying too much weight up".  This, despite being able to get to high-C and a bit higher (sometimes).  Problem was I couldn't quite figure out exactly what that meant, and how to control. I knew when I was going for certain sounds, I could make that 'light-mass' sound on the high notes.  But I needed to find my way to do that much lower, particularly because in the passagio area, I was simply running out of breath and working harder than I knew I should for a non-belty song.  This definitely is a key r
  5. I was playing around various sounds this weekend, particularly on my mid/higher notes and I realized that I could consciously use less air and produce the same pitch, perhaps have it sound "tighter", and hold the note for what felt like a VERY long time.  It used to be that singing a bunch of notes up there would get me a bit winded, and I couldn't hold them for really long durations.  One of the reasons I sang this way was because it felt like I could keep my throat very relaxed.  If I held back the air, almost to the point where it "felt" like I was breathing in, I could hold
  6. Here is the SLS intro video with Seth himself. Ultimately, these programs are less about "the right way to sing", rather "a way to teach someone". Having purchased and read and reviewed almost all of the programs, it took a while to understand what was being described in each of these. Years later, I completely understand what SLS is trying to do. However, at the time, when I started with it, it actually caused me the most problem. Why? No discussion of breath or support. No discussion of resonance shifts, etc. Seth makes it sound like like you simply convert from speaking to s
  7. What you described (short falsetto before the note) is what I hear in the first two, for sure. I don't hear that in the Bruno clip. I do hear him using vocal fry before some of his notes.
  8. ^^^^^^ What works for one is not the same for everyone. Speaking for myself, it took me a long time (lots of books, videos, etc) to finally put it together that I shouldn't be forcing 100% of the sound out my mouth. My tone was very flat, 2-dimensional. I followed KTVA which stresses a high palette, and which, for me, pushed all the sound out my mouth. Eventually, after triangulating videos like the one above, exercises in Jeffrey Allen's book, exercises which use NG, etc, I surmised that I needed a bit of that resonance, which can only come by letting a tiny bit of sound / air up in
  9. I'm confused. Isn't he hitting a Bb5, not Bb6? A Bb6 is just about 2 octaves above tenor high C (C5), right? I don't hear that note.
  10. C'mon. He worked very hard on that. (Not sure how to embed on this board.)
  11. I get a similar sound, typically only from E4 to G4. Above G4, it goes away, below E4, it goes away. When I'm fresh, I go through that range quite easily. But after hitting a few higher notes, A4-C5, that noise starts to appear, and I struggle to get rid of it. It's almost as if my higher range muscles are getting tired. Sometimes, I can make it go away, and it feels like a weird balancing act to get it to disappear. But after I'm tired, it simply won't go away until the next day. I just don't sing songs with those 4 notes in them. :)
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