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Found 144 results

  1. 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.
  2. 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.
  3. JonJon

    The Garden (original)

    The Garden https://clyp.it/qrfbaigr Another of my hastily done originals with scratch guitar and the standard pitchy vocals and trite lyrics....then again it's 100% autobiographical. Some slight 90s influence The bass was done at the last 2nd just to have a bass on the track...some of its a little iffy Cool song though? worth polishing? The guitars will have to be redone. The little lead at the beginning clashes with the rhythm because its the same exact tone (nvmnd old strings) For the middle section I have lots of Robert Plant/Beatles psychedelia planned, Lord willing Oddly enough, the main thing I am learning is how important mic positioning is lol. Sometimes u gotta get right up ON the mic...or about a foot away Enjoy
  4. 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?
  5. Going by GneeTaps suggestion, I wrote a chorus only today. Worked numerous hours for an 11 second snippet lol. workflow was along these lines: 1) Drums programmed yesterday 2) Started writing melody in D...starting on the highest note and working down. Starting note is (supposed to be anyway lol) a G#4 which is the flat5 in the key of D 3) started putting down a few scratch guitar parts using practice amp 4) sort of bounced back and forth between finalizing the melody and changing the guitar to fit better 5) Sang all the lead VX 6) Layered all the BGV. 4 separate lines, all doubled. It gets a little into the Eagles/Queen/Boston/Yes vibe 7) Redid all the guitar parts (still just used practice amp though). 2 main parts, both doubled 8) added bass 9) mixed....while falling asleep about 10x Anyway, let me know how it sounds. if nothing else its pretty interesting Here are all the various parts....pretty trippy hearing the layered vocal track by itself Full snippet https://clyp.it/41g4esi0 Rhythm Track https://clyp.it/joo5tv4l Full vocal tracks https://clyp.it/155rws0y Lead Vx only, definitely at the top end of my range https://clyp.it/uv0tgitn BGV only, 4 separate parts, each doubled (see if u can pick out the parts) https://clyp.it/bvfb0lkn Enjoy
  6. https://clyp.it/sidridqg essentially trying to learn to bridge etc. Not sure how much bridging is happening but for sure I can feel the benefit of doing some glottal attacks and trying to feel resonance up on my soft palate etc When picturing the song was thinking of Lynyrd Skynyrd but nothing I do will ever sound like LS lol.....I ended up going for a sort of Mick Jagger bratty vocal style on the verse compression/delay/tube distortion/rev etc used on vocals verse not doubled (but delayed etc) the 1 prechorus is obviously doubled chorus is obviously doubled and delayed etc etc. Usually I double and leave both doubles about the same volume to where it sounds chorusy....on the chorus I kept one double a little quieter a VERY scratch demo. , no bass, , no bgv, only 1 guitar track..gaping holes where solos and vocal banter should be. Some nice spots left for Whole Lotta Love type improv. Guitar will have to be redone etc..ending patched up. I forgot to edit out the cymbal count in lol enjoy
  7. 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)
  8. Okay, so I think im getting some bridging going here. I have NOT been training (due to life drama) but I have been doing some belting and head voice stuff at work for the last couple days. I was working on singing some Badlands and whereas usually when I hit the high notes I just flip to unconnected reinforced falsetto but today I worked on trying to keep it connected. Once I felt I was hitting a decent connected head voice note, the "bridging" was automatic. I think thats why I struggled with it before,,,,I was trying to bridge up but there was nothing to bridge TO since I wasnt used to hitting "connected" head vocie notes. Anyway, its pretty raw still. like I said, I havent been training so the onsets are iffy, volume fluctuates etc. The high C is REALLY iffy. There is some goofing off going up or down multi octaves Track and release up octave sirens GABC https://clyp.it/ceg054c2 Glottal Attack down octave sirens GABC https://clyp.it/zkqvnmqi So, technically, this is bridging, correct? lol
  9. 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
  10. 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
  11. Hi all, been a while Here is a nice little "one day wonder" I threw together the day before a friends birthday. Im mostly just sharing it to be sharing a song...no super heavy critiques needing because I havent been singing AT ALL since January due to personal life drama (hence the song.) So there is no technique shown at all in the song lol. Just a basic beginner voice that obviously has to work around a huge vocal break. There is zero bridging happening lol. I cant complain because, as I said, I havent had the mental focus to do any practicing since like mid January Im not terribly disappointed with the singing but its nothing special either. I do despise the 3rd verse "you are the one"....you can hear that it was a struggle and needed another take. Unfortunately I knew I was pressed for time and ended up burning the midnight oil and got 2 hours of sleep before work the next day lol. Other than that some of the diction isnt super clear (partially because im from Virginia and thats how we talk lol)...assuming maybe im missing some pharyngeal resonance? Sometimes it sounds to me like im singing against a low pass filter lol..or singing while holding my nose If I were a REALLY focused and dedicated guy, id like to develop my voice into a strong old school rock type voice but also add in some of the nice soulful melismatic touches here and there. I touched on that in the bridge in this song but (obviously) I dont have it developed very much. Side note for your enjoyment. For whatever reason I was having crazy upper stomach/diaphragm cramps all day long (choked down my breakfast way too fast). I know Steely Dan said "I cried when I wrote this song" but I LITERALLY was in tears right when I got into laying down the vocal tracks. I had to lay across the bed in pain a couple times and I almost just blew the whole thing off but I HAD to finish it that day. It is what it is I guess. The drum track was programmed a few days earlier and most of the lyrics were written the day before. I say it was a "one day wonder" because when I started that morning I had no chords, no key (I was planning to do it in C but it ended up in A) and no vocal melody. So I wrote it, played guitar, bass and sang, and mixed it that same day. Unfortunately thats how I tend to work. The thought I had at the start was to go in a sort of jangly Beatles direction but it didnt really come out that way. With all that being said, here ya go. Enjoy.... https://clyp.it/2chj11qz
  12. https://app.box.com/s/1o80rydp0b6dbdw0r7hi4tb255w6n4b7 I've been listening to Mariah's older work recently and wanted to try one of her songs that didn't employ the whistle register. In this key, the top note is C#5, on "SOMEthing just went wrong" but I ended up changing the melody in that line. I did try to do the 4 or 5 B4's and C5's in the rest of the song though. This song was challenging dynamically and for a million other reasons - especially the really low verses and much higher choruses. I was trying to get comfortable in that mixed/head voice sort of configuration for the second half of the song. I had to keep reminding myself to keep my soft palate raised for those weird sections of the chorus that sit around A4. Any and all feedback welcome!
  13. 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.
  14. Robert Lunte

    Robert Lunte - "NOCTURNE"

    Robert Lunte - "Nocturne" I love this song, I hope you do too... Some of you have heard this. This is the Final production. Special thanks to my team Zack Uidl, Jason Shavey and Clay Copeland.
  15. https://app.box.com/s/vzehmp5d4amt79340nzib8hoqh3l9b8o I did the solo version minus Sarah Brightman and really tried to support the lower notes and the sustained notes towards the end after the key change. Any and all feedback welcome. The lyrics + translation are here - http://lyricstranslate.com/en/time-say-goodbye-con-te-partiro-time-say-goodbye-ill-go-you.html#songtranslation
  16. Hi guys, this is my attempt to sing Sweet Child of Mine (Guns n' Roses). I would like to get some tips on how to improve it, besides more practice, of course.
  17. Jowin95

    Smoothen an early break

    Seems like it's a subtle change in resonance that occurs naturally for the majority of people but not for me. The change occurs around middle C, C4. As a result, I'm having trouble singing in the C4-F4 area, whereas F#4 to about Bb4 is relatively easier. I've found this video https://www.youtube.com/watch?v=ArTvK1STVHw and at 3:43 he talks exactly about my issue. I've tried doing the slides and this is what I got : http://vocaroo.com/i/s0Z4VP0ODrcc Here I manage to stay connected but with a rather light sound http://vocaroo.com/i/s0uwsLQUT62R Here is another one, louder and with a more than audible break Besides this siren exercise, I also came across the goo exercise that also allows my voice to be connected as you can hear here : http://vocaroo.com/i/s1tcgxUmKqHV So my questions are, first of all is it ok for me to rely on these 2 exercices to be able to make that break totally disappear ? Should I stop looking for a big sound, or maybe am I trying to achieve it the wrong way, not relying enough on resonance ? Is there any other exercise that could help me regarding this issue (such as pharyngeal maybe) ? Thanks a lot to whoever takes the time to help !
  18. Rosa

    Yodeling

    At minute 3 Felipe starts talking of Registration, and he says "Registration is easy to find if you try to Yodel". He makes it look easy, but I can't yodel! Can you? I don't think yodeling is easy, but I've noticed people talking about it as if it was. This might be related to "flipping", which I understand as your voice naturally/automatically changing registers without your conscious intention. Is that normal for you??? It's not for me and I can't remember it ever was.
  19. Hey guys! I'm a guy, and have always had random access to which seems like the whistle register - although it seems like an extension of my falsetto and I never count it as my usual range. It comes and goes, more often not there, and usually airy and disconnected from the rest of my voice. But the WEIRDEST thing happened - I let out a yawn and made a noise. I went from the bottom of my range, up to my head voice (which stops at about E5), and went into a fully connected whistle register. I was hitting up to an E6 VERY clearly, completely connected to the rest of my voice. I was gliding up and down (to my lowest note - A2) with complete ease, and it felt and sounded more like a part of my head voice as opposed to an airy, difficult to produced falsetto. This has never happened to me before, so I found it pretty exciting I could easily get completely connected heady sounding note all the way up there. But alas, it just kinda stopped and I wish I recorded it for you guys to decipher what was going on! I was wondering if any other guys (or girls) have any experience of something like this happening. Are there any ways of nurturing this? Tried to do some lip rolls up there but now I can't access it as easily
  20. Hi, so I've been "playing" with my voice doing vocal fry and sirens, and right now i came across this resonance which i believe to be mix voice? Im pretty excited because i can reach higher notes relatively easy. Although without good support and vowel modification the notes just distort in my throat. the way this (mix voice?) feel its pretty much as it is usually described. i can place the note higher in my head or lower towards my chest. Its almost like breaking into falsetto but just hanging to chest resonance anyway I'll leave an mp3 so if anyone can give me some input it will be greatly appreciated!:) PD: i know there are some tuning issues hehe, but still id like to know if im on the right track! Thank you!!!
  21. Ok, maybe a dumb question. The whole bridging/passaggio/belting thing. It gets confusing because we read that the male passaggio is typically starting somewhere around d4-f4. Ok, fair enough. Yet then we read that so and so likes to "belt"a b4 or c5. So if he can "belt" a b4 then how is his passaggio down somewhere around d4-f4? As a person becomes more trained does this all become a matter of semantics and/or shades of gray? for instance that same singer could probably hit a b4 in chest, or "mixed", or pure head voice, correct? And nevermind those 3 pictureword terms, he could probably hit NUMEROUS different shadings and versions of that same b4...correct? I think its just the term "bridging" that throws me. The term itself implies some sort of "digital" either/or thing when its really not that way. The term "bridge" make you think someone has done a trick or something lol. But if a guy sings a phrase from chest voice up to, say, a4-b4...its not going to stand out like "omg, he bridged!"...correct? Obviously a trained singer isnt going to all of a sudden hit one specific note and his while vocal character change So the term "bridging"...does it really almost apply more to sirens that to singing actual phrases? Any good examples out there of guys singing phrases where they obviously bridged within the phrase? Obviously there are plenty of examples where guys belt B4-c5ish stuff in pure chest. Its like there are SO many examples of belts around b4 that it makes it hard to understand the passaggio being said to be around d4-f4ish
  22. Ok this is the time of my life where I'm really really vocally frustated.. Started off 4 years ago with Brett Manning's stuff brought MM, SS, MV, etc. I've improved a lot but not as much as I'd like. I want a consistent working vocal range from E4-C5 and then I'd focus on other stuff. I can already hit those notes but I've to put much effort and when I sing with a little less effort, I sound like whining. I'm thinking about moving to Ken Tamplin's stuff. I've already brought his program too (all 3 volumes) but he looks like he's straining and his notes sound extremely heavy. I do not want that. I'm an engineering student and belong to a broke family. I cannot afford a vocal coach or any other program for now or atleast for 4-5 years until I get a job. What are the vocal techniques of these guys? They're notes sound so full yet effortless. I can do that but it sounds like crying and takes much effort. G#4-A#4 at the starting. This guy slays the notes at the end (F#4-G4). The most difficult notes for me. Any help would be extremely appreciated. This guy is currently at the pinnacle in India.
  23. Víctor Malheiros

    Good rock songs for beginners

    I would like to add some songs to my daily vocal practice, but most of the songs I like invove belting long phrases around A4-C5. I wanted to avoid frustration, so I came here to ask you: What are some good rock songs for beginners to practice? Thank you.
  24. K. Mc

    False Cord Function

    Interestingly enough, I got into a discussion about false cord function with David L. Jones of www.voiceteacher.com about this "false cord function" and have been mind boggled about the concept. I was told that it is often used in metal and rock music to pitch "death growls" and "death screams," and parson my terminology if those are incorrect. I admittedly know nothing about rock music or metal, nor would I ever claim to. That said, knowing that there are several rock aficionados here, I was curious if anyone is familiar with this false cord function and just exactly how it operates?
  25. Did the original version recently. Any and all feedback welcome. https://app.box.com/s/z4pem1kzthgsv7y2iandr7oliyqt5qnw