Rockstar
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@Daniel, I wanted to read whatever you posted but something's wrong with the forum. Here's my siren: Here's me singing without cry (upto E flat) after that I have to cry or add support to go higher and hence cannot carry the 'pretty' clear tone up. -
Wow those are way awesome compared to mine. I've been learning to bridge for years now but cannot do it the way you do. Your voice thins out perfectly as you go higher and there is no apparent change of vocal tone as you go from chest to head. That quality that you have on the high notes (more prominent on the A4) is what I'm looking for. It doesn't sound like headvoice but a thinned out chestvoice. I cannot achieve that lightness. If I back off weight, they become weird and whiny. How did you learn that? Please give me some pointers.
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I do not choke on the high notes, I left that thing years before. Now the sound gets weird but there is no strain. What do you mean by "resonating on the soft palate"? So the soft palate must rise which gives you that yawn like sensation and the resonance ascends. right? Any exercises you recommend? cuz I'm on my own for now. Can you post a clip of you doing a siren that I may imitate?
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I should not say 'sing', squeal is a better word lol. They sing it like beautifully, easily and consistently.
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I would not be posting here if I could actually get a real teacher but my current circumstances don't allow it. That is headvoice? What!? How do I achieve that sound anyways. I am on my own for few years so I'm trying my best to achieve a working range upto A#4. I can sing upto C5 without breaking but it sounds weird and unbalanced. I can sing beautifully till E4 after that I have to change my vocal tone to stay connected not that the sound breaks into falsetto or becomes shouty but the resonance dampens and feels closed off. I'm confused. In SLS they say to not lift the soft palate yet advise to lower larynx and cry into the notes which actually raises the soft palate.
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Okay I've been training with Brett Manning's programs for about 3 years now. Got better but I'm frustrated with my vocal range. A vocal range upto A#4 is all I want for my singing. I'm a Tenor. So I've been hearing these concepts related to high notes. What I've realized is that people refer to the same thing by saying stuff like yawn, lift soft palate, cry and support. Also is the 'cry' necessary to hit the high notes in full voice cuz it sounds weird to me when I keep a cry on my notes. What are they doing? Singing in mix? Belting? Also would that be more towards SLS or classical typa technique. 2nd Thanks!
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Wrecking Ball by Miley Cyrus cover by ellise
Rockstar replied to ellise k's topic in REVIEW YOUR SINGING - SHARE YOUR SINGING
Why aren't you a star yet? -
Hey Benny!
Do you have some tips/tricks for training to sing above F4 in m1?
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The most common excercise is really that top-down excercise. You go into hooty falsetto on the vowel OO on a high note (at least G4, better higher), then slide it down as low as you can.
Then you try to keep that vocal tract posture and make a new onset on an AH vowel in your chest voice but you try to keep the position roughly intact that the falsetto created when you brought it down.
That AH should then transition out of chest voice at a point that is suitable for your voice (usually between D4 and F4) but it should stay modal voice. On thing you have to keep attention on is to keep singing "forward" and not up when you go up on that AH. Try to fixate a window or something in your room and sing out of that window.
Another thing that works well for me is to train on the vowel /OE/. This vowel has a natural posture that is similar to the falsetto-down posture. The vowel /OE/ sounds like the "e" in the englisch word "herb" or like the "u" in the englisch word "murder". But also here it is important to "project", to sing forward into the distance.
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