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EisaCurry last won the day on May 9 2016

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  1. WELP. I posted a link in review my singing in relation to this topic, of me trying to do a 50/50 mix, or the basics of a 50/50 mix.
  2. Right. Well most of my practice has always been letting go of TA weight to reach the right coordination, so probably those muscles aren't used to this level of twang.
  3. I may be maximizing my twang with breath compression, but that seems to have been the only possible outcome of said exercises. If I sing in my head voice, it now feels like the top of the cords are vibrating and the bottom are tight and closed. This matches my results, because my upper tone is alwAys correct now, but now the body is missing. So I have to figure out how to loosen up the lower portion ... but I honestly have no idea what would do that. Placement adjustments seem to not help anymore. I don't have the exercises.
  4. So the question I have today, is a full mix or head Voice an actual possibility? I've been working on my breath compression for a while now and have had great results, but have one issue with tone. So as far as progression has gone, the first sensation was no longer leaking air, then I went through stretching sensations in the lower area of the throat, which I assumed was related to CT stretching. Then I found that if I adjusted my placement into the lower pharynx, I could actually produce both high and low tones without ever needing forward placement or any of the super forward placement I had during twang training. There has been lots of tonal gains, like the ability to mix tones better and my head voice achieving a very piercy tone instead of the wide falsetto back when I wasn't compressing my breath. But the one point of interest, Is that my head Voice in itself is "piercy", but I hear other people refer to a "mix" tonality as head Voice. So this is where I am getting these doubts. If I approach from my head voice, there's plenty of that piercy...upper harmonic sound but there's not that much chest energy. Where as if I go from the lower approach, there is a mix, but the lower harmonics are still clearly the louder ones. I'm very elated that I can mix tones better, but I also realize that my voice just doesn't like sitting anywhere between head dominant or chest dominant. Is it possible to get this 50/50 sound... at some point in the future. Because if it's not, doesn't that mean singers who are doing a full 50/50 tone are not actually using their chest voice to it's full extent?
  5. Not the kind of compression you are talking about. It has it's own dynamics, which contribute to that connected sound that people talk about.
  6. All of bobs posts here are hitting the nail on the head in terms of most types of compression. This "breath compression" however is distinctly different than any kind of twang or formant mechanism, in terms of my sensation.
  7. No. But it relies heavily on support(thats where all the force is).
  8. I believe what I'm referring to is breath compression, according to what bob described. It's not a specific formant type. I dont feel any added pressure while doing breath compression.
  9. Yeah. I've been getting a much better handle on it since i first posted.
  10. hmmm. well I practiced more and I got a more established compression. I think I was using compression without support in the first place. but now it feels like it has more support behind it.
  11. how long does it actually take to develop good compression? I have twang and cord adduction, and I've found that the next goes into compression. I found that compression gives my cords a very airy feeling and better tone, but it seems like I can only hit it at certain times in my warmup, so I'm wondering how long it might take to get consistent compression. I can actually sing above the compression, but that doesn't help with tone
  12. I think Rob was asking to demonstrate what issues you have. In general, doing mix notes above e5 requires a theoretical "perfect" balance, which simply takes time. I'm in at 8 years in(at least an hour everyday), and I just started to get those notes above E5 in a true mix. If you improve your mix up to E5, then you'll essentially be close to going above that. It just requires the commitment. But you can't really access it via some, quick fix or exercise, it's a culmative thing.
  13. The best way to hit an A4 without putting in the work is to hit it lightly with a "woh" sound, and keep working on that light sound. If you're willing to put in 100% now (or however much you've done before), you can expect to put in 10 times that when you're done. Really, don't go for a full belt. The difference between a natural A4 and a perfect A4 is immeasurable; in fact the vocal cords will have to change major phonation patterns two times before they get there.
  14. Well the main glaring issue I'm seeing here is your falsetto range. You should be able to bring falsetto up past B4 regardless of your coordination. The two main issues would be not achieving full ct tilt and oversupporting to compensate, in which case you wouldn't have falsetto, and the other being general mouth tension inhibiting/preventing falsetto. But in both cases, technique correction should provide a falsetto up to E5 at least. So, there's something wrong here. Everything else about your chest voice sounds normal. Also around your age it's normal to have laryngeal lengthening, however that should actually help your range/technique, instead of inhibit it. As someone who pushed a lot, your chest range sounds normal, but the whole falsetto deal seems jacked up. And to address your goals, with how you currently are, A4 seems wholey unrealistic. I honestly wouldn't push anything above the F#4.