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Found 144 results

  1. Chryssanthemis

    Chryssanthemis - Listen (Live)

    "Listen" is οne of four new songs written for the feature version of Dreamgirls (originally a 1981 Broadway musical). Ιt's lyrics make reference to tenacity, love, the refusal to defer dreams and finally rise towards fame.In the film version of Dreamgirls, Knowles portrays the character of Deena Jones, a pop singer loosely based on Motown star Diana Ross. The story explores the life of The Dreamettes (based on The Supremes), a fictional 1960s group of three female singers,whose manager Curtis Taylor (based on Berry Gordy and played by Jamie Foxx) manipulates their personal and professional relationships.I Hope you Enjoy it!Official Facebook Page: Music Arts Facebook Page: : Music Studios Facebook Page: Editing: Modern Music StudiosElectric Guitar: Steve SovolosPianoAikaterini DeliyiannidouBass Guitar: Dimitris VerginisKeyboards: Kleanthis KonstantinidisDrums: Fotis Yiannopoulos
  2. A video from Ken Tamplin, voice coach and follow up from Robert Lunte, Voice Coach and producer of The Four Pillars of Singing in regards to SLS and any "sing like you speak" voice training approaches. I agree with Ken on points; 1, 3, 4 The points I don't agree are: #2. "Ah" is not the only vowel that grows the voice... but it is important. We call this the "Neutral" vowel in TVS and we train it. It is great for belting and strength building, but it certainly is NOT the ONLY vowel to train with or to help you. #5. This "meow" example may of not been very helpful, however... there are two elements to that "meow" that have merit in my view. a. Ken DID in fact bridge through his vocal break! If he teacher said, "... do this meow idea to get a good bridge", and then Ken did it and it produced a nice bridge, then...? Didn't it work? But I get Ken's point... he is trying to say that its not applicable to singing... I give you b. b. This "meow" probably has a benefit to LIGHT singing... and in regards to heavier/belt/call register singing,... it does have merits for Training! Maybe not for belt singing, but for TRAINING. You see, some vocal techniques are used ONLY for training. Not all vocal techniques are applicable to singing. I make this point in "The Four Pillars of Singing" on many tables that clarify for students what is applicable for training and what is applicable for singing. Regarding to this "meow" idea for training... /m/ is a nasal consonant and as I point out below... nasal consonants are actually VERY powerful for warming up and training. Nasal consonants induce vocal fold compression and help strengthen the TA muscle and they are just GREAT vocal health. Nasal consonants have a "healing" power to them. They are not only used by voice teachers, (including Ken), but also by ENTs and doctors that are rehabilitating clients with speech problems. So... an onset that starts with any nasal consonant can ONLY be good. The "i/ee" vowel that follows the /m/ ( m + "eeow")... puts the vocal folds into a very strong compression, adduction position. "i/ee", is a good training vowel for building compression strength! In "The Four Pillars of Singing" we have identified this and "named" it. We have 8 specialized onsets (... the way you start in training and singing. Designed for strength building and coordination). One of those specialized onsets is called, "The Quack & Release Onset". The Q&R onset utilizes the i/"ee" vowel to build compression strength. So in summary, while I agree the "meow" may not be super beneficial to people that want to belt, if you look at the consonant and the vowel of "meow", and you understand the benefits of those consonants and vowels and how to utilize them for training, you see past what Ken is pointing out and understand, that there is value there. Provided that you know how to use these consonants and vowels in training. It has a lot to do with understanding consonants and vowels, not only for singing, but what they can do in training, applied to techniques. I think the "sing like you speak" approach, if not in the hands of a more experienced and knowledgeable teacher, can be lacking in several key areas, here are my observations as a coach that has trained this stuff, been teaching for over 15 years and an author and producer of a vocal training program that is a best seller, if you don't mind me saying... 1. It has never embraced research or updating ideas that have evolved. This is why all the top teachers, including your "mentor" Dave Stroud left the organization and all those other teachers. There is a reason why they left... something important to realize. 2. Because of the, "... don't feel anything in your larynx" & "sing like you speak" point of view, it tends to teach fear of the voice. Students are afraid to contract, compress, anchor the larynx and distort. All movements that are perfectly healthy and fine... and if you want to sing "big and boomy" in the head voice, you have to do do these things. 3. There seems to be little to no understanding of vowels and resonance. At least not in a formal, methodological way... any individual teacher may know about it, but as a method, its not there. 4. Relative to #2, for many people, the techniques are too light to really get after the head voice and make it belt... of course this depends on the individual teacher, but as a method, it is really light. That is fine!... but it presents a challenge for people that want to belt high.
  3. I thought it was awesome so I posted it here to brag. Anyways.... is there anything you guys recommend me doing to make it better?
  4. A topic where I can embed videos about belt voice... I'm starting to get a few going here... Contact me if you have any questions...
  5. averagesinger

    chest to head connection

    hi guys i have couple for problems.Please help me guys 1.Recently i found my headvoice i can feel the buzz in my nasal cavity and also around head area but it sounds girls why??? will it gradually be more powerful as it train? 2.My voice changes its tone when move from chest to head why does it happen?what excercise should i do and how to smooth it ? or should let my voice break so that it changes over time?? 3.While doing wee wee excercise i can really sing high notes but i cant transalate it to my singing because when i sing i can only sing less higher notes why?will it gradually change as i practice?? 4.what excercises do you suggest for chest to head connection? I am really sorry that this post is long its because i have no one to ask to and what to search . I would like to get some suggestions and i want it really bad plz help me Thank you
  6. Was going to do the DLG version, but then I thought this song sounds better in the original Italian it was written. Spent a few hours just trying to EQ this hideous backing track so that it could be passable, couldn't find anything better for the remade version of this song. The song itself has a lot of dynamic shifts, unique phrasing, and navigation through the passaggio so it was fun to tackle. Any and all feedback welcome. Edit: updated the original file
  7. Hey guys. Ive been working lately on songs i couldnt tackle before. Essentially anything above A4 is a huge challenge to me. And even stuff up to A4. Not even mentioning tone and other stuff. So ive started to learn Catch the Rainbow by Rainbow (Dio). It goes up to B4 and i guess thats just enough to gove me quite a challenge. I recorded some clips of the chorus just so you guys can help me out a bit. Im not sure what im doing wrong but obviously i am doing quite a bit if it wrong. Here goes 2 clips. 1 shorter and one longer but both preety short just so you hear what im doing to phonate that B4. Longer: Shorter: Would appreciatte any help. Take note his is after a few take so even some other stuff is wrong but im primarly interested in that B4, but do comment on as much of it as you can. Thanks guys!!!!
  8. Musikman7002

    Lights - Journey

    This song I am trying to work the higher end of my range and the passagio area while staying relaxed.
  9. florancecipher

    diagastric muscles safe

    Hi everyone! So from all vocal programs i have tried I have heard that the diagastric muscles should never be engaged I have been able to hit high notes with phrases like "mum" or "buy tomato" things like that and my diagastric muscles arent engaged, i.e.the under-chin area is soft but my diagastric muscles always tighten a bit during the /i/ vowel as in "see" and also it kinda moves a little during consonants like /j/ as in 'yes" Is that safe ? and is singing overall safe if i the diagastric muscles aren't engaged? Thanks so much!
  10. I recently had a breakthrough......It only took 40+years As a child and growing up I would imitate cartoon voices, High voices and Low voices.......For some dumb reason I never used them for singing, Except imitating those singers who already sound Cartoony ( Axl Rose, Brian Johnson). I guess I wanted my voice to sound cool or something, anything but cartoony. But when using some of the cartoon voices I could easily produce pitches pretty much anywhere in my range (on a spoken phrase)......I was playing with one of the Exercises in "Four Pillars of Singing" and Robert does tell you to Play with this particular one......I ended up in one of my "Cartoon Voice" configurations and there was no problem keeping the configuration through the passaggio (E4 to A4 range)........Here is the breakthrough........What causes these Cartoon Voices are an imbalance somewhere along the line...Too much compression......Too Much Twang.......Too much Larynx manipulation...... Too much lift of soft Palate.......Too much air......Or just not enough of something somewhere. SOME of these exercises are MEANT to over use some aspect or another of the Vocal package......WHILE TRAINING do not be thinking you are doing something wrong Because it sounds too cartoony.....What is making that Cartoony sound is what is being strengthened and it just may be the Week Point in your normal singing voice. I will give you One example...... Foghorn Leghorn....If you are having trouble Dampening your larynx (Dampening is slightly different than lowering) Imitate Foghorn Leghorn.
  11. Idk if this is the right forum (new here) but the problem is that my lower range sounds really weird. Before I go into describing it, I need to say that I'm recovering from acid reflux and I'm going through puberty, so hopefully that helps to solve the issue. Now back to my voice, whenever I go lower I crack and then I start to go into this weird falsetto-y kind of sound, except it's at the extreme lower end of my range. Also, some parts of the day my voice is louder, but most of the time it's really airy and hard to get out, but I think I'm just recovering. Also, when my voice gets louder, my lower range kind of sounds normal, but for only like one second. That's all!
  12. We all know that warming up is very important to our singing careers, but how can we do this when people don't understand or apreciate warming up? If I am at home alone or with family i can warm up and make funny noises because they understand the importance of it. However, if i have friends over most of them dont sing so they wont let me warm up they think i should just sing and that warming up is only for opera singers. My one friend who does sing also feels the same way and refuses to warm up. Whenever we are together and we feel like writting and playing music together he will always refuse to warm up. he says rock singers dont warm up. this frustrates me because it makes it very hard for me to sing in public or at camps because the people around me look down on warming up and singing becomes very difficult for me if I don't. what are some ways you can warm up in around people that look down on warmups?
  13. Most People speak about mixed voice like it's an actual combination of mix and head voice. However, after seeing this video, I think that I agree with Rob on this one. It's about thickening head voice to sound like chest Voice and thinning Head to sound like Chest. Please help me clear up this confusion
  14. Many teachers will tell you to squeeze your bum cheeks to eliminate strain and to sing higher notes. What do you guys think of this technique, does it work?
  15. Jarom

    Singing extreme notes

    I go from f#2 up to f#5 then a slight squeaky whistle at f#6. I thought it sounded really cool so im sharing it on the forum. IMG_5197.mp3
  16. I had resolved that I would not post gratuitous high-pitched screams on here until I had some more practical and sensible performance to seek advice and comment on. However I can't help myself. I was going through the Foundation Building Routine and whereas I normally* run out of steam at C5, I was able to maintain some control and closure up to D#5. My control is really lacking on the way back down the octave compared to on the way up. There is plenty to critique in this (and I'm certainly interested to hear anything anyone has to say) but my main purpose is to share this bit of progress in controlling my wayward vocal tract. * By 'normally' I mean after having worked with Pillars for some time. Before Pillars B4, maybe even A4, was out of reach except as pure falsetto. Greg
  17. Hey guys I'm sure you're absolutely sick of hearing this song but even though I have a lot of good exercises and I do my sirens and staccatos still I am nowhere near this seamless. I feel almost ashamed of my less abilities and sometimes believe I will never be able to sing like this. The korean k-pop stars take training very serious and sometimes do not debut their students for many years. How is it possible for him to sing like this seamlessly without barely any audible break?
  18. I have recently started to bridge the gap between my chest voice and head voice. However, I can only mix the two while singing at a very low volume. I know you have to thin out chest to make the transition but I cannot seem to keep enough of it in my sound without breaking. I'm making progress but am confused as to how to get my volume up. When you first start to bridge the two voices, Is this usually the case?
  19. folks, if you haven't seen this video and you want to sing "steve perry like" (lighter registration) please check this out. this really was explained in such a way it really hits home. especially if you tend to sing on the heavier side, this is a good watch.