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Burning_Rand

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  1. I think the kinds of voices that I really am at a loss for words for are those extremely powerful rock belters with very gravelly voices who can raspy/scream super high - Marco from Nightwish comes to mind. I can belt in the extremes of my range but it's a very clean belt - as is the same with most of my colleagues and people I work with who are in classical/musical theatre. But that's why my field is more classical, musical theatre, jazz, pop etc and why I am no Melissa Cross!
  2. Ohh hahaha I was meaning my range, so bottom being A..3? i think? and top being D5 - which to me is one voice but when a beginner listens to a 'complete voice' they get this idea that we are somehow blurting our chest voice all the way up to a C5!
  3. I think that's definitely the ideal aim. Like I would say my one true voice is an operatic tenor voice that blends from a note at the bottom right up to the top - but the problem these days is that so many people (particularly males) loose hope when they only seem to think that their speaking voice (i.e. 'chest') is their maximum potential range. I guess those 'gear names' are our ways of presenting it to them.
  4. Dear Robert, will do. Thank you. Ah yes, that's the main issue about writing singing articles I think, it's easy to get things a bit mixed up. I also hate the term 'pull' and I use it in the context of what you 'should not' do, I go on later in the article to encourage a 'mix dominant' or a 'head dominant' chest voice as it moves towards the natural transition. I think your last comment is a subject for another article - The 'squashed' sound can be a result of a lack of an open throat, but the problem is that it's hard to teach a student to have an open throat right in the middle of the passagio too early on. I'm going to do a series called "High C easy as 1, 2, 3" over the next few months (Since High tenor notes are more my forte). It will probably benefit musical theatre and classical singers more than rock/scream singers but it may be helpful to the latter potentially :). - I will just say that I do not ascribe to people saying "Pavarotti does my method", quite the contrary, anyone who comes out with any kind of programme now is more likely to be "doing what Pavarotti encouraged". I do not have any kind of special breakthrough method, I'm more someone who is pulling together a lot of stuff from all over the place and discussing it . As for capability, yes I agree, my third principle addresses that in particular but I wanted to focus more on the mix around the passagio area :).
  5. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  6.   Yes it is a little bit flat because the chest voice is being brought up too high - which forces the larynx high too.   That's not to say you have a beautiful voice, particularly the first few notes, very easy sound.
  7. Hello there Not with David Jones but with a teacher of that Ilk. I am an avid follower of DLJ's posts and Richard Millar.
  8. Actually, if you want to listen to a comparison between someone pushing their chest up and using their mix/head voice, here's a prime example:   See how Jemma Rix very easily slides higher on all of her belted notes and does not have any 'flattness' and she uses them as a springboard for vibrato (1.50 onwards in particular) :    Now see how Idina Menzel almost underhits a lot of her notes and tries to scoop up to them and tends to shout a bit:    This is a prime example of how training the voice to go into that higher, brighter space should not sacrifice much of the substance of the lower voice while it is far easier to produce and does not cause as much strain and flatness.    
  9.   With enough training, that 'ng' will sound a little bit like a theremin as you go through the bridge and higher head voice (listen to one on youtube)... That's the only thing I can compare it to. When you sound like that, you will NOT be in falsetto but a fully connected middle-head voice. It will be extremely strange.    Also with the lip trills, try them with different vowels (as if you were doing brrrrreeeeeeeee for instance but not opening to the eeee) and see which one gives you the most ring in the front of the mouth/nasal cavity... I find the brrrs and the ngs only help when they are making that ring happen.
  10.   Hello, glad you asked.   Yes, a good musical theatre or opera singer has NO fatigue whatsoever. I'm a spinto tenor with a past of vocal damage from reflux. The voice is now back and stronger than ever and I rarely get fatigue above an A unless I'm being silly or overdoing it.   If you are singing in: - correct placement (resonating in  and around the nose and cheek bones). You can get this by making sounds on an 'ng' - keep your mouth open, sing an easy group of notes, but tongue is on the soft palate so the air is escaping your nose. However be sure to do this in a correct posture so the larynx doesn't come up - have an open throat (in order to do this, the tip of the tongue should be on the back of the bottom teeth and slightly forward and you can make a silent 'hooo, hooo, hoo' as if you have something really hot in your mouth. DO NOT let the tongue go backwards when you do this) - have the correct posture... Which is slightly bent knees, pelvis tilted forward VERY slightly, back of the neck elongated (but not tight), not looking up and sternum raised...     '>     '>  - These are fairly good examples showing not to hyper extend anything while not slouching at all. Once you get this right you can make adjustments for dramatic effect!!!   -  your larynx tilts down slightly (which is why I think you need to see a good teacher, since I don't want to try to teach you this through a forum) then you will access the middle/lower head voice with ease and will not tire. This can be achieved by bubbling a 'brrrrrrr' through your range but making sure to keep a strong air pressure on so that it doesn't get too light early on. However I wouldn't want to tell you this without maybe hearing you do it.     I'll just recommend a few videos from sources that I trust (I am very old-school classical which in my opinion works wonders and which is where most musical theatre singers and opera singers get their teaching from): https://www.youtube.com/user/singwisevocals/videos  and this is her website: http://www.singwise.com/ and this guy http://www.voiceteacher.com/ - although he's mostly focused on classical singing while Karyn also sings contemporary styles.        hmmm, I don't think you sound at all like a baritone. Your natural tenor range goes high and anywhere you can sing falsetto (with the exception of the tippy top range, although with some singers it can happen) you should eventually develop a healthy middle-head range. I'm not really a voice teacher, but I've always been good at hearing fach (voice type) and I'd say you're a tenor through and through.
  11.   Tbh I find that all those terms are confusing.    I like to stick with 'head', 'middle' (which is just when you chest gains some brighter qualities and then when you first go into head it sounds like it's still in chest) and 'chest' - even better, once I've blended them all together I will just say 'my voice'... And then falsetto to me is just a very light version of head voice without body. It is true, you can train your head voice on A to sound just like an extension of your chest voice rather than a hooty 'second gear'. If it's dying after 20-30 minutes I think you need to work on it in front of a good voice teacher as what you're doing now is also quite damaging - particularly if you were to sing say  a 1 hour concert with high G-As.   In all honesty where you are is fine, this would just need to be the next step if you wanted to start doing full concerts of varying artists.
  12. Oh, sorry it's when you said "Get your larynx up and amplify your palate" - Perhaps I'm misinterpreting this for a raised larynx?
  13. My apologies, I must have misread you somewhere... I thought I read somewhere in your last post to keep his larynx high, must have imagined it or read two things at once!   It's the school of training that people like Jussi Bjoerling, Maria Callas, and Kristen Flagstad, Robert Merril and has been adopted by the American classical school. Later on you have people like Audra Macdonald, Jesseye Norman, Bryn Terfel, all of whom can sing a contemporary sound too - probably Bryn not so much ... Jennie Deva uses a lot of aspects of this training too for more contemporary voices.   Brought about a lot of what contemporary teachers like to work with posture, ng placement, slight tilt of the larynx, forward tongue position, inhalare (vacuum of the voice causing an open throat), wide pillars of faucets and blending of vowels mostly on a fundamental Ahh-Awh-Uh (for AH) and Ee-Ih etc. It works in opposition to certain methodologies, particularly the Estill method, the flat tongue method, raised larynx, over-supporting, wide mouth, overactive jaw.
  14.     Well it would appear that it's something you would not like.. Since it's very anti raising the larynx. Either way his larynx sounds far too high. The italian/swedish school is basically way all the best singers of the 1900s were trained, including the old non-classical singers. It's not something I can explain in detail on a forum like this.   Either way, he can choose whatever he wants, I just put in my 30 cents.
  15.   Thanks for that .   Also glad you said this, I should confirm that by using the head voice/mixed voice sound, I would only advocate this for the A-E on "Stay with me" which all the other parts sung in falsetto should remain as they are
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