Joe. W

TMV World Member
  • Content Count

    19
  • Joined

  • Last visited

Community Reputation

4 Neutral

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Tiffany, All I can say is to give your vocal cords some rest, and do certain exercises to help their recovery. Seeing as both of you are having trouble transitioning or singing down lower cleanly, I'd suggest the sobbing vocal repair exercise. This entails entering your laryngeal tilt; a part of your upper extension below the whistle tones. It's the one that you talk to little kids with. It's a lot cleaner and clearer than falsetto and you can hear the difference n that there's no air. If you can't get it, think of talking to a little puppy, saying "You're so cute!" as high up as is comfortable. Then, retaining that tilted position, lower your larynx and and raise the dorsum of your tongue to the roof of your soft pellet and make sobbing sounds by retracting and making the sound "mmmmm", going from as high as you feel comfortable with to as low as you can, dropping your larynx as low as you can as you go, then repeating in rapid succession so that it sounds like a dog whimpering. This begins the repairing process for your mid registers. The vocal science behind it is that when you tilt your larynx and then lower it as far as it can at the same time, it gives them a good stretch and increases the flexibility and decreases (after a while) the thickness and therefore the potency, inflammability and hardness of nodules and polyps, while helping the vocal cords retain plasticity while you're mostly resting them. Raising the dorsum of your tongue helps this stretching and the soft "mmmm" sounds doesn't cause too much strain. It's important that while you're recovering, you do not strain by singing high in your chest voice without immediately transitioning into your thin folds. I know this because a friend of mine encountered a similar problem when he and I sang in a particularly grueling set of shows (what a coincidence, we both got into the same shows) and he had to go to see professional pathologists and some recommended that he do this, especially while steaming for best effects, and there was immediate improvement, but it lasted a couple of minutes max, but after a few weeks he was good as new. I'm not 100% sure about recovering lower registers, because I've never known anyone who lost theirs. But I'd suggest that you micro siren down from where you feel the vocal fry coming, in your modal register for as long as you can, the reasoning behind this is that 1) If that fixes breaks, I don't see why it can't repair temporary breaks caused by fatigue and or damage, especially after you gave your vocal cords a good warm up and stretch, and 2) I'd assume that the reason the vocal fry is coming out of nowhere is because your vocal cords lost their flexibility due to the size/hardness of any developed nodes or polyps and there was a need to flip into that register to hit lower notes, so going near it will allow for your attractor state in your modal register to re-accustom itself to those notes, espcially seeing as low notes are based on size of vocal cords and not their flexibility when vocal cords are healthy and warmed up. Despite the fact that these exercises can (hopefully) help to repair your voices, it's important to remember not to strain them; your voice is delicate! The voicebox feels big but it's the size of your pinky nail, so look after it and always adhere to good technique, don't reach for high notes when you're sick (because vocal cords get swollen when you're sick) and don't overdo it in terms of how long you sing. That being said I wish you the best of luck and I hope it all works out in the end.
  2. I have to agree with what some of the other members here have said; the screaming is not as powerful as you think. If you want to actually go into the tonal qualities and the things he's doing to his natural attractor state, he's constricting, singing it with an asprit onset (which makes it airy) and he has his larynx slightly lower than he did before with no narrowing of the AES muscles (the ones you use for twang). This is very counterproductive to resonance and volume, and can be very harmful to your voice, and as such, warm ups should be done prior to attempting anything like this and you should 'clean up' your technique afterwards (especially if you're under 30, as your attractor state will still be subject to change very easily). I guess there should be some kind of technque to stronger constriction (the thing that gives him the growling, rolling, rough, gravelly sound) but I just don't know it, since I never had trouble singing growls dramatically, as my stylistic training was largely in jazz and blues but at the same time i was told not to do it too much since it's not good. Just try to gather more vocal awareness to feel where your false vocal chords are and go from there. I should reiterate this again, if you aren't careful this will hurt you.
  3. Having a naturally nice voice is all good and well, but ultimately vocal training is needed here; your throat just shouldn't hurt after performances period. That being said, it could be overly rigorous practice. Vocal awareness is also really important from what I can see in your post. I say this because you mentioned that your voice didn't project as well as it should have and you couldn't hit higher notes during the actual performance when you were nervous. Stage fright, anxiety and fear in general ruin a singer's natural retraction which helps in both projection (by creating a clearer sound) and in hitting high notes (as it allows cleaner vibration of the true vocal cords). Through training, the muscles you use to sing can be manipulated simply by habit and acquired techniques regardless of your mood. All that being said though, I'm glad you'll soon be seeking professional training.
  4. So my previous singing teacher/vocal coach of a couple of years is holding singing auditions for a production and she told me it'd be great if I could audition but the songs in the actual play that I'm auditioning for has a lot of old rock songs with the growling voices and distortion and well as 90's pop and soft rock. Problem is, I've been Estill trained since the very beginning, and I've been taught that I shouldn't growl too much because it requires constriction of my false vocal cords (or the newly discovered way with the aryntinoids which I know nothing about), so while I can do it, I know that even if I do it for the auditions, I'll not be able to withstand the growling constantly during the actual show. Do you guys think that I can get away with doing a 90's rock ballad or adding growl-like sounds through glottal attack instead? Thanks so much!
  5. So in some ways, the classical fach system is great, but in others, it's really useless, in my view. It definitely helps in classical, which is what it was made for, considering Classical singing doesn't allow for the raising of the larynx and the use of falsetto for males, which is vocally limiting. This means that choosing a song suited to your fach type helps your singing and performance. However, in most forms of singing, I find specific fach types eg. Lyric Baritone, Leggiero tenor, to be useless because we're allowed to sing non-operatically in vocal fry or in falsetto, which makes you more vocally flexible and capable of singing a wide range of songs which aren't necessarily targetted at any fach type. Anyways, singing at the extremes of your voice can damage it, especially if you're singing classically as a male on high notes, since you can't sing in falsetto, because at the top of your modal register your false vocal cords will constrict naturally, as if telling you not to do that.
  6. lol no I know I don't have perfect pitch. I can't just envision a note and hum it out of thin air, I need a reference, unlike people I know with perfect pitch, who can perfectly recreate sounds out of nothing. Hence, I'm much more inclined to believe either that it's simply acute relative pitch that makes me able to hear small differences in two notes, or that it's simply because of a percieved pitch difference which is really caused by a difference which is actually simply tonal or timbre based (i feel like this one is possible but not as likely, as I mentioned above, tuners can hear it and so can a friend with perfect pitch).
  7. Okay so I've never paid this much attention, but when I sing and when others play instruments I can hear a really slight difference between two sounds, but people always say it's right on, which I find very frustrating. For example, a couple of years ago when I first started lessons I hit the notes she was playing slighly flat and she was like "No, you're on" and pretty much just told me I was imagining it. I also hear this in band, but people are always saying that sounds are on when they're just slightly flat or sharp. I know it can't be my earning because tuners say he same thing and my friend with perfect pitch says it. However, I know I don't have perfect pitch because I can't just pluck notes out of the air like they do, I have to physically train my muscle memory and ears to recognise my C's (or any other note given to me) and then sing the scale til I get to the desired sound to be able to tell what note it is. So if it's not perfect pitch, then what is it?
  8. Joseph: Hi high note, I'm not really doing much today and I'm not learning any new pieces so I'm just gonna scale through my range. High note: All warmed up? Nice and hydrated? Watch your passaggio. (Since the OP asked for a nice, strong high note) Joseph: We've been over this thousands of times *continues singing scales* High note: *Refuses to come out of my throat just for the sake of giving me a scare* Don't push yet, remember, tilted larynx, no falsetto. Come on, sound happy, think of puppies and rainbows for compression and clear sounds. Joseph: Let's try that again. Sings last few notes again but gets to my trademark weird passaggio around the top of my voice (You can read about it in my thread) and then sings above it and hits the note. High note: About time Joseph: Shut up High note: Actually shuts up and the sound refuses to come out. (This part doesn't actually happen) Singing teacher: So, you conquering them high notes yet? Joseph: *Too scared to try that note in front of teacher so hits it using overtones caused by huge twang in tilted larynx* In all seriousness though. If you have trouble hitting a note you need, use twang overtones, because it's safer.
  9. I hear that classical training takes years upon years of intense training and their technique is usually quite different when they sing. In fact, you can hear it even when they sing other genres. They maintain that low larynx, that rich tone and the males are usually singing in their thick folds unless they're grasping for high notes like at the end of Nessum Dorma, and Females are in their thin folds. It's just how they've been trained, so their muscle memory kicks in. However, I know of someone who was told by her coach to sing like an opera singer, using all the operatic tonal qualities, and she actually got the lead role and toured around a lot internationally because of that. She wasn't trained in opera, but spoke Italian, the language the aria she auditioned with was in, and she's a great singer who's spent years in teaching, training, learning etc. Evidently it wasn't easy to pull off, but I suppose if well trained singers know what techniques, qualities and tricks to use, they can sound like an opera singer even when they're really not.
  10. Haha I suppose AES narrowing is a fair bit easier, especially since my teacher was a musical theatre singer so she's big on that. It does feel like polar opposites at that, one wanting me to open everything up and the otehr saying close my throat to a moderate degree.
  11. I see. I always thought that was odd because in those videos where people sang with tiny cameras down their noses, it wasn't as dramatic as it was described to me in words, though to some extent they were relaxed towards the outer edges of the voicebox.
  12. As posted above, Adderall should not be used to improve the voice. Besides, it's one of those things, like lozenges, which make you feel better, but never really get to the root of the problem. It may lead to the development of bad vocal habits when you become reliant on it for singing.