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Found 86 results

  1. Hey everyone. I'm pretty new to singing and don't sing very well, but I came across some of Robert's videos on YouTube and it inspired me, I might purchase the four pillars. I have a question about modes and increasing range. I'm a fan of Kpop and aspire to sing similarly (in a ballad style). Here's a YouTube video as an example and I'd like to know what he's doing, Kpop ballad singers have a youthful, sweet light sound, is it because they're tenors? Or just the way they're singing? I think I'm a baritone and I can make my voice lighter but it doesn't really sound the same. Also at 4:23 onward he hits an A or b4 and I wonder whether that's in chest register or head with twang? Male Kpop singers always hit A4-c5 in the climax of their ballads and I'm unable to take my chest beyond an F4(that's a strain). I'm not sure what y'all think about mixed voice thanks!
  2. I recently discovered the importance of cord closure in singing. It made singing so much easier and accessing the mixed voice feels just so natural and good now. But, it kind of changed my view on breathing in singing. I don't understand if I should just focus on cord closure or actively focus on keeping the breath in the body with abdominal, back and intercostal muscles. Before I worked on cord closure so much, I would focus on what was happening with my torso muscles, but when I started developing good cord closure it all came naturally. My muscles would engage as they were supposed to do and I would feel it and I didn't worry about it. But sometimes, for example when I'm nervous, actively holding the breath with those muscles combined with focusing on good closure seems easier. Then again, at times I feel like I'm holding the breath a bit more than necessary - it doesn't hurt my singing, but I feel good closure could be achieved with less engagement. The question is: should I actively focus on holding the breath in the body with my torso muscles or is focusing on good closure enough?
  3. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support?..my vocal range atm is a2-g#4..and head voice goes up to f5 i strain at e4 and i carry chest up to g#4...i know its a bad technique..and im thinking of getting a coach in the future..but i want to start now
  4. You can NOT become a better singer by only experiencing the pleasure of training and singing. Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King, Jr. To belittle knowledge and the way things work, is a popular tactic that is occasionally seen by some people in the singing industry. It is interesting to note that people who make the "less knowledge and understanding is not very important to learning how to sing", argument all suspiciously have one thing in common. They don't have a product to sell and/or if they do, the offering lacks depth. They don't choose to explain how and why the singing voice does what it does. You will never see CVI, EVTS, TVS or programs that offer some scientific insights publish a video or forum post that makes the claim, "... you don't have to know all that complex stuff, just let your inner feelings carry you through. That's all you need. It should never be hard, it should always be easy. You can just will it to happen. Don't bother learning any of the science of singing"... The world's best training programs will never say that. There are two things that motivate people. Pain and pleasure. Some people like to be given permission to avoid all the pain from voice training and learning how to sing. Promise them that they can learn to sing better without any "pain", ( practice, commitment, doing the same thing over and over again, reading a book, paying attention to a lesson, understanding a methodology, understanding how vowels work, etc... ), and they happily get on board. They don't want any "pain" associated with training or learning how to sing better. They only want instant gratification and pleasure. By no means is everyone like this. However, for those that do respond to that message, there will always be someone there to "sell" it to them.
  5. Hey everyone, I was wanting to know what the best way for me to smoothen the transition over the vocal break would be? My current vocal coach is making me do sirens and things like that, with me singing softer over the break.
  6. I've recently picked up singing again after quite a few years, and I've been doing the Mastering Mix exercises by Brett Manning, and I've just been wondering when I should start bridging into mix? As a female. Especially for pop/rock music? Like a newbie I have a bad habit of pulling chest up too high, but I've noticed a comfortable switching point between E4 - G4, is that ok? I think I'm a Soprano, though I can't be sure, but it seems like it. My voice is very light and bright. So I was just wondering what would be a good bridging point for me considering my music preferences and vocal type? Looking forward to your answers, thanks.
  7. I have been trying to work on developing a mixed voice but all I ever get is this weird brass sounding tone once I get past the bridge. Can someone tell me if I'm in mix? Do I need to just keep practicing and it will get strong and sound more like chest? MumRecording.m4a
  8. I have often read that a tenor will experience their first bridge around a D4 - E4. But contrary to that, I have also often read that the voice "changes gears" roughly every perfect 4th. Whether the above statements are true or not, is it possible that there would be a natural disconnect for a tenor around an A3 as the voice changes gears?
  9. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  10. Hi everyone i wanna know my vocal register based on my colour (timbre, intensity, etc) i am bass? i am tenor? baritone? There is the link of the file (sorry for my english) https://soundcloud.com/fernando-salvatierra/listo
  11. Good morning Ray, thanks for randomly playing on my shuffle this morning as I drove into the studio. Keeping it real, and reminding me why the hell I started doing this...
  12. Hi guys, I know the question title seems to hold the easiest answer, but bear with me, please. When I manage to find time to practice, I usually do both lip bubbles and tongue trills as part of my warm up, starting a bit lower in my range (chest voice) and going through my bridge to my head voice, always keeping the resonance in my head. What I noticed is I have a much harder time bridging when I'm doing tongue trills because my folds usually come apart many times, even after I'm warmed up, if I don't pay attention. So, I was wondering why this happens to me , and if it is common with other people too. Cheers
  13. My first evidence afinnity/natural approach was with soft melodical songs like "If I fell" "here there everywhere" from the beatles I sang in a choking, ugly chest register. Then I took lessons for two months and was classified as a baritone because of the strength of my thick cords but the problem was I did not know how to use the head voice and the teacher made his students sing really loud searching for the "fullness" of each note" and he wasn't acknowledging my thin cords passagio notes due to lack of strength despite my effort but I sensed I was well higher than the teacher and my classmate in some notes like he was robbing me 3-5 notes after A3 and overall after C4. I found my niche on my own in spanish barroque pop from 70 and 80 but only in the baritone songs never in the tenor notes because I can only sing those in my not so pretty ligth voice. my speaking voice is confused very confused I can be confortable talking like a posh brittish woman or like a whispery brittish girl or even little boy normally is closer to bieber's speaking voice this one tone I find undesirable voice although I use my thicker cords and sound manly a lot of the time. Since my thick cords shift gear to my thin ones after a few minutes I'm now practising with love yourself and sorry from justin and human nature from michael I notice that Justin's speaking voice is like mine undesirable and he sings as a strong soft tenor normaly I sing above him thinning the cords without choking or using head voice now I can use too many tones in the head. The thing is thinning out I can find a child tone in which I'm comfortable that still retains some undesirability or I can go to head in a range of tones including that one. But my voice is just starting to develop the one song that is challenging my voice to get better is baby from Justin but I don't know how my voice will develop. at the moment the difference from me and Michael is that I can sound like an baby talking child or whispery woman he Can't. Between me and Current justin I can go higher than him with ease and for me it's child like voice or thick voice he has a stable ground and does not sing deep nor strong. between me and the old Justin is that his voice was clear and desirable but my voice is actually softer than that when acompanying. What are your general thougths? Do you think my voice is unfit for singing or will it develop a desirable tone with time? I can get to head voice with the thick cords but the transition happens quicker. Also do you think that Justin abandoned his old voice because a late puberty at 18 or because a personal decision? I'm 21. Thanks.
  14. I've been able to sing in a much fuller sounding voice in higher notes (let's say D4 and above?). I think that what I'm doing is more mix than belting. When a high note, let's say an A4, comes out full I'm sometimes surprised with the result while I sing. It's not a fun: "wow, I sound so full in high notes!" but more like "it came out very full compared to what I was expecting, am I off-key?". Usually - the answer is "no". However, when singing, this moment of doubt is problematic and might cause mistakes in the next notes. Anyone ever encountered something like this? ideas on how to deal with it? I'm trying to sing quite a lot to get used to my high register but I didn't manage to enirely resolve this (crazy?) problem...
  15. For years I sang as a very high soprano (I believe I'd be classified as a lyric soprano), doing a lot of Classical and Broadway stuff. After about a 20 year break where the most singing I did was in the shower due to raising kids, I started singing again, but now I'm being called upon to sing mostly Pop/Rock, and I'm struggling a little. I have a "soft and mellow" chest voice that I can mix easily through the middle and up into my upper registers, then through to very high whistle with no effort. That's good but it doesn't really work for the genre except during emotional moments. I have a mixed voice that I can access from middle C on up. At least I think it's mixed. It's strong, but it is definitely not a belt. Then I have this very limited "strong low belt" voice that I can't seem to transition into my mixed voice through. I can pop into head, but of course that's ugly and all I get is a soft head voice, but it takes me a few more notes to adjust back to mixed. In my strong low belt, I sing like a tenor (I'm female) and can't really even hit an alto range. For reference, my belt is strong from D3-G4. Above G4 it cracks badly. My head voice can go through to beyond C6. I'm very confused by all of this. I speak very low, and often times people are confused by my singing voice because my speaking voice is so different. This leads me to believe it's a technique issue but after reading and watching and trying to learn I'm not sure what I'm missing. Any pointers to exercises that may help me sort this would be terrific.
  16. So after a long while of training my chest voice up and doing hard and heavy singing, I think it's time to work on a headier placement. I've felt the Ct musculature take over before when singing high songs but typically certain words and vowels tend to trip me up, as well as certain pitches. A few questions I have hopefully you guys can hopefully help with is does the support always have to be super intense? High head voice should have one of the highest airflows of any of the registers yes? Also with practice is it possible to use a high and heady placement to sing mid range/low notes?
  17. I threw together a nice little vocal jam track for me to practice with. It's sort of loosely based on the Heart song "Rage". If you listen to that song you see the idea It's basically emphasizing these notes as it steps up higher and higher. E-F#-G#-A-A#-B-C. Next one I make wont skip notes...I skipped notes on this one because I started with 7 drum sections. Obviously its not deal to skip thru those low head tones but I wanted it to end up on high C. Having a basic bluesy rock feel, the track probably works well for either singing the root, the flat 7th, or the minor 3rd. for instance over the E one could easily sing E,D, or G etc When u listen you'll get the idea. There is a little short section where it previews the note for you then a section for you to sing...then the next preview section to hear the note and catch your breath etc I also put it in my 4PS student "log" and maybe i'll add more of them later Enjoy, let me know if u try it out. https://clyp.it/jsv1anfa Heart "Rage". Just first heard it yesterday, it came out in 93
  18. After being sick for a while (I still kind of am), and not being able to practice, I started again today, and probably too zealously, but that's besides the point. While doing sirens, I became aware of a break that occurs at A#4. Under this, I can sing notes with a full, throaty tone, and after, with a harsher, brighter, "screamy" tone. The tone of the upper part of my voice can be very loud, and is not breathy like falsetto. With some effort, I can relatively seamlessly connect between these two voices, but singing A#4 for a sustained period of time is very tricky for me. Also, there is no noticeable "flip" like when switching from a modal voice to falsetto. The tone just gets very garbled and distorted between. Should I suspect I'm using some type of falsetto for the upper notes, or is it pure head voice? Also, what should I work on when blending these two sounds together? They sound night and day in terms of timbre, and I'd like be able to use both when singing.
  19. I didn't use to train falsetto but when I started doing so last month I noticed it was helping me open up and remove unnecessary tensions, as well as establishing better placement in the hard and soft palate region. Now in the G4-C#5 range I feel my voice wants to release into those notes, but for whatever reason I've been hitting a wall. I suspect this is due to a mixture of factors: 1. Poor use of the breath. The higher I go the less breath I need, not more. If I blast the vocal folds with too much air, of course they just get slammed wide open. I am learning to use as minimal air as possible for falsetto to get used to the sensation of suspension when singing. 2. Sub-optimal vowels. I may be keeping the same shape as in the low & middle part of my voice, and it seems some gradual adjustment needs to done to go higher. 3. Incorrect mental visualization of the tone. Since everything starts with the mind, I need to have a mental picture of what the desired sound will be BEFORE I sing it. And this may be part of the reason why my larynx has been shooting up and choking off the sound. When I have a lower larynx I find it easier to sing because I have more acoustic space, greater stability, and a warmer, more balanced timbre. So basically I'm curious if training falsetto has helped open up your upper notes and if so, how did you use that as an intermediate step to learn your full/complete voice coordination? I feel that I am almost there but missing some steps, especially with complete adduction, proper vowels, breath management/efficiency, and a lowered/more stable larynx.
  20. Take a look at this. This singer is defying gravity. He sings light yet without breaking or sounding weak. I heard that you must sing in full voice to hit the high notes correctly. I have to tighten up in the abdomen and compress more to go high. But this singer has confused me so much. When I attempt doing it like him, I break into falsetto. I almost have the same tenorish tone quality as him. How do I learn to develop this type of technique? I am studying SLS yet I sound more compressed and "waily" than him.
  21. Different people call it differently: head voice, bridging, mixed register, compressed falsetto, laryngeal tilt.. They all mean the same thing right? Singing the range of one's falsetto but sounding more full like chest voice, and does not crack going from low notes to high notes. My instructor can do this. I cannot. He said to practice singing falsetto louder and going to lower notes. I've been doing that for days, but I don't feel any improvement, other than my falsetto getting louder. I still crack going from chest to falsetto, and the falsetto still doesn't sound full. There are dozens of video on youtube explaining how to do this. They demonstrate before and after. But I want to know what it's like in-between, so I know if I'm making progress. Is this technique something you gradually master, i.e. the crack becomes less and less obvious and the falsetto sounding more and more full, or is it a sudden revelation type of technique, where you practice without improvement for a while but wake up one day and suddenly you can do it?
  22. So I have been learning to bridge. Naturally I am going to write songs that encourage bridging. So I wrote one in E. Why E? Well specifically I was thinking about the G#4 note which is the major 3rd in the key of E major. Thats high enough above the passagio that one isnt likely to "pull chest" to reach that G#4. So if we hit a nice clean G#4 then we know we bridged or at least we know we are in a good clean head voice. That was my thinking anyway. I was thinking for instance that if I hit an E4, big deal, thats only right AT the passagio so one could easily hit that in pure chest with a little effort (or easily, depending on the person) Like I said, that was the thought process. In practice I found that E wasnt the best key (at least for me). So I tried to write a basic rock song http://www.themodernvocalistworld.com/topic/10946-minnesota-mama-original-scratch-demo/ If we take it as sort of a given that a lot of basic rock focuses on the root note, then the Key of E is interesting from a bridging point of view. I found myself basing a lot of the melody around the sort of E3-D4 range. Well obviously thats only getting up TO the passagio on that highest note. Youve got almost a whole octave to play with before even going thru the passagio. Yet if we use the root at E4 then we are starting right AT the passagio and there isnt going to be much room to work before one starts getting up to the A4-B4 range...so the whole song is going to be head voice and pretty high ranged at that, I was finding it challenging to write a really WIDE ranging melody that made sense in the song seeing as how the verse was down around that E3-B3 area. So I am guessing that something like the key of A or B would be a good choice. That way you can start around your root and by the time you get to your 5th/7th/octave you are going to be at or thru the passagio. For instance if you start on A3 you will have to bridge just to get an octaves worth of notes. In that case youd get a lot of chances to bridge. Any feedback or ideas along those lines? (Yes, if one writes big sweeping melodies that use 2 octaves then one is going to bridge no matter what lol)
  23. ok, so some life drama has sidetracked me for the last 2 months....so I am trying to pick back up where I left off my "training" 2 questions 1) Belting vs bridging. I guess my question is this.....at any one time a singer can only be doing ONE of these...yes? for example. Lets say a guy starts to feel his passagio around e4 at an average intensity level etc. Now, if he wants to bridge up into higher notes then he goes ahead and starts to bridge at that point...yes? BUT, if he wants to BELT on up to f4 or g4 etc then he will use more support etc and stay in chest voice and "belt" up to f4-g4...correct? So here is the question.....once he starts his belt technique he CANT then bridge, can he?? say he did belt up to g4....he is pretty much stuck there yes? he cant THEN bridge higher can he?? He has gotten the mechanisms into the wrong configuration, yes? (perhaps a mega skilled singer has tons of flexibility in these areas, but I am talking a guy with a decent basic skill level) 2) So that leads to the 2nd question. for a relative unskilled newb, whats the best way to train? a) spend more time building the belt skills/chest voice. start working on bridging right away? c) combine the 2 approaches any ideas? thanks
  24. Hello guys, I like doing exercises and sirens and things because it is more easier than singing songs at F4-C5 which is where all the fun songs are. Recently I made a commitment to sing more challenging songs (even though half the time it is me failing into falsetto). I have discovered that maybe doing the song on a "mum mum mum" before adding in the lyrics is a good idea and helps me. What are some good ways that you have found to transition from exercises to songs? Because at the end of the day singers want to sing songs
  25. Just getting tips on YouTube is NOT EVER going to help you to sing better. A free tip without content and your commitment to practice and train, will do nothing for you. To sing better, you have to train, practice and sing songs. TheFourPillarsofSinging.com.