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Everything posted by Chiaroscuro

  1. When I said go from light to heavy, I didn't mean on the same note the exact second after the previous tone such as how Freddie Mercury may do, I meant as far as verse to chorus and second verse go, meaning one verse may be a lighter or more head-dominant sound and the chorus following that verse a more chest dominant sound in the same song. If it were really that close together I meant maybe belt a couple-grit sounding notes then go back to a non-belt sound, or maybe be in a contemporary sound and then come down and hit a couple operatic-sounding notes as far as tone-quality goes, and then mo
  2. When I said that, I just meant that as to explain how my teacher approaches different methods to attain certain sounds because it got brought up in this topic. Before you begin training, If you already know what sound you are going for, then you can work on bridging earlier to get a more head-dominant sound, or later for a more chest-dominant sound. I never meant you NEED to determine what kind of sound you are going for before you begin. You may figure this out somewhere down the road after you started training. Me personally, I am not going for any specific type of sound, I am looking to be
  3. My last comment was pretty long. I edited it and spaced it out a bit. A lot of people probably wouldn't have read the whole thing before I edited it.
  4. Lunte, I actually kind of knew the answers to these questions before I posted this topic. I pretty much just wanted to see some other singers perspectives on this whole thing because everyone has different view points. I have known what chest voice and head voice are for years, and like in the video you posted have always thought that mix wasn't a separate voice from chest or head, it is merely just a description of when the resonance is balanced out and connected, meaning your voice doesn't just flip into a lighter function above chest all of a sudden. But I'm not making this up, I pretty muc
  5. To Ron, in my last comment I got your username wrong haha. I capitalized some of it and your username is all lowercase. No, I do not teach but might definitely look into it somewhere down the road. Who knows.
  6. RonWS, if you were referring to the links from youtube I posted above, those are not voice teachers giving examples or teaching people how to sing. Those are links to songs of singers singing with different styles and resonance coordinations. I never watch youtube videos to learn or get advice any more. The advice comes from my teacher. The only time I watched youtube videos for vocal instruction was many years ago when I first started out and was pulling chest and started to realize I might be forcing it.
  7. Here are some examples of just some songs with the difference between "chest-mix" "head-mix" and "head voice" (which uses middle voice, but my teacher just calls this "head voice", as my teacher classifies them). She means head voice isn't a mix between chest and head, it is just pure head voice developed to where it sounds like you are still in chest voice when you are in head. These are all just terms to help singers go by to get an idea of what idea the sound and tonal quality may be. Head Voice would be closer to operatic (though it doesn't have to be full-blown low-larynx legit opera, lis
  8. I agree with this as well as Lunte's description in the video. I believe 'mix' doesn't really exist as a third separate register, their is only one voice and "head voice" or that hooty sound on ooo is the same as that one voice and is inseparable from 'mix', it is just the lightest possible quality or sound you can sing in that one voice and contains the most miniscule amount of "chest" coordination that you can sing in the one voice. I believe "chest" (the lower part of your range) and "head" (such as the light disconnected hooty sound on ooo in the upper) and 'mix' are all the same voice, yo
  9. We actually determined that my mix is pretty much head voice with a stable larynx or twang making it sound like the same voice as chest voice. All these terms don't really describe it though, but to find the coordination I would just sing in a light head voice but make sure the larynx isn't classical low, but in a neutral speech-like position. and just lean on a very subtle twang sensation, which is automatic if it is speech-like. It sounds close to a shouty mix but has way more tonal clarity ands has more "ring". What I was doing in the lesson was a pushed mix with an excessive amount of ches
  10. I actually started out singing higher notes pretty much a yell pulled chest and with a forced grit every couple notes. It impressed some people but the technique for the grit involved kind of pushing air through the vocal chords. "Grit is done by relaxing more than you might think". That is interesting to me. Wayyyyy later down the road I might look into that. And post the links if you want. That is my favorite part of You are Not Alone though haha.
  11. Thanks for the replies. KillerKu, your first comment on this thread makes so much sense of all. I do have a teacher. She is teaching me how to bridge into head voice early in the scale and using 'middle voice' to switch from chest to head seamlessly. We are pretty much focusing on a more classical type approach right now (just with a more neutral larynx than full blown legit opera would entail) and once I can get this to where "head voice" sounds like the same voice as "chest voice" and middle voice, we are going to work on contemporary later on. She calls this "head voice" and switching into
  12. In the very last part of my last post I meant the last lines from You Are not Alone by Michael Jackson where he belts the hell out of it. It might be just stop being alone, but one lyric video had it that way. Could be wrong hahhaha. How does he get that grit?
  13. Thanks for the replies everyone. I know everyone has different definitions and what not. My coach though classifies head voice, mixed voice, and belt as three different approaches to begin training your voice, with head voice being ultimately a different approach from mix and belt, with belt just being an add on or slight adjustment later on. She terms middle voice and mix as being different, with mix having a later transition into head voice, the head voice approach transitions earlier. I've decided to stop thinking about it as mix head or belt or yell or whatever and just go by ratios. I mea
  14. Is "mixed voice" closer to something like A or B. A: A soft, speech-like yell. Today I felt I was shouting in my lesson and my teacher said that was my mix. I don't mean shouting as in yelling and forcing as if someone was stabbing you, but to get someone's attention across the street or at a baseball game. B: Pretty much a connected head voice sound but with a slightly raised larynx than opera. In other words just making the head voice sound chestier. So it will feel like I am singing in pure head voice with but just with a speech-like larynx or twang? Is mix literally singing in chest and he
  15. My voice teacher has been telling me that head voice is full voice. We have been working on bridging from chest voice into head voice with no noticeable break and using middle voice to get their. Middle voice acts as a gateway to allow you to switch into head voice without it being so abrupt that head voice sounds like a completely different voice My first question is: is head voice with a connection to chest voice full voice? Meaning it is a light and falsetto like sound without the connection and with the connection it sounds as full as chest voice, meaning you switch into head voice so sea
  16. Yes, that does make since, I will give it a shot. I really appreciate your help.
  17. Thanks for the advice. Are you recommending that When singing at all times I should use the twang configuration on ALL notes above chest until I get the feel fir the "ping" sensations", and then after a while sing with a normal configuration? What I mean is sing like I regularly would in chest voice but as soon As I reach middle voice and head implement the twang configuration? I'm confused as to if I should always be singing with the twang configuration above chest voice or just sometimes? Thanks for your help I really appreciate it.
  18. Hmmmm don't really have a sound file but found a video on youtube where this guy explains it pretty well: https://m.youtube.com/watch?v=T8kS6jGDs8o
  19. I do believe I was over emphasizing the twang a little too much at first, which caused the folds to press together. I've realised this and have corrected that problem to where I can sing with a twang configuration through the break with comfort and ease (though I still would not sing this way in public, it is just a tool). My larynx barely ever rises anymore; my coach has gone over support and appogio with me a long time ago. in our lesson today, we discussed this, and I told her about the article I found explaining the route which focuses on incorporating the bringing down of an operatic vowe
  20. Thanks for the replies guys, I really appreciate it. I will take everything into consideration.
  21. She has given me exercises such as "wah", "meow", "ming", and "ng", to execute the twang sensations. It's supposed to sound a little nasty and over exaggerated at first, and she says to gradually taper that down to a regular singing tone over time once this configuration becomes consistent. She says you don't actually want to sing this way in the long run, it's just a tool to help sing through the break. I don't know if you are familiar with the "nay nat nay" exercises, but it uses the same concept. It gives you those buzzing sensations in the masque and behind nose/soft palate to access over
  22. I don't want you to tell me that she is wrong, she knows I prefer the bel canto but recommends this exercise as if they were "training wheels" to help me sing through the break, it isn't permanent. I just wanted to know if any if you guys had experience with this and most importantly does it work for bel canto? Thanks.
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