Kevin Ashe

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Kevin Ashe last won the day on December 15 2018

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About Kevin Ashe

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  1. Thanks James! It was good to see the Seth Riggs interview! I was coached by two of his teachers right around 8 years prior to when this interview was filmed. Interesting to see how my coaches were even similar in their coaching style/mannerisms. Learned so much from those guys!! Great techniques!
  2. Yes, I recall hearing about that method also. "Association" is the key here as there are likely differences from one system to another as to exactly what those associations are, i.e. this guy with the "tone generator" has one set of color to tone associations, Robert Lunte's system uses another set. I don't recall if he spoke on how the color associations were chosen for the system he's using however, the 4 Pillars is a simple logic of more cutting and edgy suggests warmth, more energy, so red is a "rational" choice, just as blue is for curbing/rounded phonations, yes? So regarding improving pitch, I've never tried it yet, I've got to believe color association with notes has to produce some desired results. We can exploit the association "trick" for all it's worth in numerous aspects of life, not unlike exploiting muscle memory to improve vocal agility, coordination, and control.
  3. I heard this on the radio and thought I should post it here! I really enjoyed them! Both talks touch on related aspects of vocal training, vocal science, and vocal "ideology." Hearing Color https://ideas.ted.com/the-sound-of-color-neil-harbissons-talk-visualized/ Synthetic Voices https://www.ted.com/talks/rupal_patel_synthetic_voices_as_unique_as_fingerprints?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare
  4. Draven, Super insightful instruction! I couldn't help but notice that when he described the "lean" of those he knew who chose the "sternal notch," as a target of their lean, this whole approach to the breath seems like another means to configuring the larynx for cry mode. If I think of a cry mode onset, this workflow he's described is essentially the same yet, he's placed the focus on the breath control for achieving less tension. Seems like a potential double edged sword technique - cry configuration and effective appoggio. If you're configuring for cry mode (when aren't you, right?), you might as well also (since you're more than 75% of the way there with cry config), release any tension from your breath support with the "lean." Do you think I'm confusing anything with this observation?
  5. I decided to run a little experiment and (for the first time in my life) analyze exactly what notes comprise the M1, M2, and what I'll call M3 regions of my vocal track. Just for fun, and to share with some of my fellow voice geeks here. Even though I received effective vocal coaching, it was a long time ago when popular vocal teachers did not bother explaining or analyzing anything unless you were willing to sit there and pay $80/hr. to chat (never happened for me). As a result, I never paid too much attention to notes and my "range." I would always reference songs my vocal hero's were singing, and I could tell my M2 notes were getting beefier from the vocal instruction / training. It is interesting to note that, after so many years of singing without strain in M2, I actually forgot how to pull chest voice. I discovered this one day when someone asked me to explain to them how I was able to sing "tenor notes" when they knew I was a baritone. I started to explain the difference between M1 & M2, I wanted to sing an example of straining to sing a high C. We all had a laugh as I struggled to remember how to pull M1 that high without singing in M2. So, lately I've been contemplating expanding my range a tad higher than I've been satisfied with for so many years. The pdf illustrates what I found out about my "instrument." I thought it was interesting to see how much more agile my M2 is than my M1! The overlaps are also interesting for me to see correlated with the notes. I'd like to start training those weaker M2 notes. I'd like to see if I can change the pink D#5, and A5, to red! Only two notes yet, I know it will take a lot of effort, those notes are not easy to make beefy. MY VOCAL TRACK ILLUSTRATED.pdf
  6. I like Mdew's observation because this is a challenge that is potentially compounded by subtle, often overlooked issues. As Mdew suggests, as long as the speed of the articulation and scale are not increasing your student's "work load," in singing in pitch, then you can continue with the checklist of troubleshooting. I do agree, a slower speed always increases confidence for more rapid, and difficult performance standards. True with any other musical instrument as well of course. Vowel Modification: Further discussion regarding vowels being sung becomes relevant by virtue of the fact that (as you know), even a singer with perfect pitch will go flat or sharp on a note with the wrong vowel modification (it's physics). So, you might break down exactly what the vowels are being utilized in the vocalize. The aim would be to craft a more customized sequence of vowel modifications that best accommodates a more accurate note placement for him. Have you ever analyzed the scale being sung in this manner? It's a first sweep at eliminating pitch bending configurations. Ear Training: A vocalize with more complex note arrangements, be it complex in the run of notes, or in the note selection, i.e. a minor-centric line with a high number of notes both close together, and disparate in scale position. again, slow at first to condition those muscles to retain the memory. This addresses the "ear" issue. Placement: I don't mind the term "placement" as some do. I acknowledge it's a term that does have some ethereal tendencies however, I accept it for the purpose of associating a sensation with notes in the head voice. This is a concept that solidified in my own mind thanks to insights innovated by Robert Lunte in the pedagogy that he created (The Four Pillars of Singing). - eliminate terminology that subliminally intimidates the student in pursuit of mastery of the minute intrinsic musculature. i.e. "Hitting" notes. The energy implied by the mere word will translate into tension and constriction. Here's a video by Robert Lunte that speaks to this notion and encourages a different mental focus that is actually in alignment with what is happening in a singer's formants! Singing "deeper" not higher. I hope this helps! peace, k
  7. The lift up pull back exercise described in this video will train the constricting muscles causing her "abrupt" transition to relax, then more strength can gradually be added in until the transition is seamless. This process for most people, requires weeks of training to tame the constrictors. Then adding in more connection would be "strength training exercises, a sample of which the last video illustrates. This summarizes a potentially more customized approach you might advise for her. I curious, what is your vocal coaching experience ? Did you study voice in college or through a mentorship/apprentice training?
  8. hey sp3c....., I forgot that the review my singing cost's like $10 in here. Either Draven or Robert (there may even be others now - coaches) will review your material and refute or confirm the advice I gave you. Plus answer any further questions you may have.
  9. That siren wasn't horrible. You got a little shaky right at the passaggio. Now I would check with Robert Lunte on this but I would say 1- your right about diaphragmatic support, that will stabilize some on this and is important for most all phonations. 2- It sounds like the shakiness has to do with the weakness in your passaggio, your trying to make a good connected sound when it's not easy for you, and your probably worried (at least subconsciously) about pushing/choking, and that just adds to the tentativeness. I think if you look up the "lift up, pull back" vocal exercise found on Rob Lunte's Youtube channel, that is a passaggio tension releasing exercise that should help you. It allows you to engage the passaggio with zero tension, then add in more connection as you move past the break. It's an easy tension free falsetto phonation that over time, you begin to add in more and more vocal fold connection or mass (within the passaggio). I never had this exercise when I was training for more strength and connection at the break, it's a brilliant innovation that will keep your constrictors at bay, and ultimately leads to more power with no tension as your strength on those passaggio notes grows! good luck Bro! k
  10. spc3c..., Excellent composition! Great style and arrangement, good air play material, catchy hooks, lots of melody! Very good musicianship! Your voice is very marketable as well! Reminds me a little bit of Tyler Joseph (21 Pilots), maybe a dash of Matt Shultz (Cage The Elephant)! I like it a lot! When you sing the lyric, "with no place to go home" - Sounds to me like you're singing with good connection in the lower realm of your head voice! Double check with a coach, but I'm fairly certain. I would predict that with just a couple months of committed training with a good coach and training system, you will sing much higher! You should check out Robert Lunte's Youtube channel and search for lectures on the subject of Baritone's singing high notes. Lot's of good solid facts that will power you up with confidence about the reality of expanding your range to include notes more common to a tenor. The truth is, you'll learn in those videos that vocal "Fach," (Bass, Baritone, Tenor, Alto, Soprano) are essentially a distraction in vocal training. Proper training leads to expansion of range, coordination, strength, respiration, and also, confidence, projection, release of tension, vibrato, distortion, . . . . the list is long! The point is, it takes work in the vocal "gym" so to speak, that being vocal workouts that bring the above mentioned qualities to your singing voice. Are you training? Do you have a vocal training program or a coach you are studying with? It's never been more affordable than today! peace, k
  11. This point Draven has made here, I have learned is a real cool added benefit of good embouchure! Anyone can test this and feel it for themselves! Just sing anything with, and without, good embouchure. I know that in order to achieve muscle memory on proper embouchure one must exaggerate the movement of the lips/mouth (when training) to a point of feeling strange, gradually the habit will establish and won't feel or look strange to the average person.