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Found 482 results

  1. For a few months now I've been trying to get accustomed to vocalizing and controlling pitch in whistle register, and at this point I can say, although the amount of time I can access it in a day seems limited, it's requiring less mental effort and becoming more intuitive to use this part of my voice. Using it in songs is another story, but for the songs I've worked on with them included, the whistle sections are among the first things I record since I find towards the end of a session it becomes impossible to utilize. By working with these songs with whistle phrases it's a way of challenging myself stamina-wise and forces me to try to recognize when to rest. The goal ultimately is to be able to have the freedom to use it whenever though, I guess as it develops. The whistle in this song is part of a longer phrase and towards the very end, contains a trill/run sort of ending and is part of a transition from chest to whistle on the same note two octaves apart which probably made it easier. Did all of the background vocals on this also. Any and all feedback welcome. https://app.box.com/s/gyy466kqtc0g4gruinhex8k0favyih11
  2. Hey there! I'm a jazz music student but I'm also a pop singer and pianist. I'd like to be envolved in any kind of project, my favorite genres are pop and r&b, but I'm a jazz listener too and I can sing it. You can check my voice here:
  3. This question will be asking a lot, but I'm honestly totally lost. So, technique wise, I have 100% lateral adduction, that can be brought through each passaggio, and I've spent a lot of time on reducing TA strain to improve efficiency. But my voice has hit a road block. If I go with an edgy high tenor approach, my sound works okay until I start traveling into my nasopharyngeal tones. My nasal tones just cut off completely, and I really can't complete the sound wave. If I go purely nasal there is literally zero change in the output, and if I try to thin my sound by dropping back into the low pharynx, I only get a dopey and heavy tone. On the other hand, if I go with a low tenor approach and focus exclusively on my lower pharynx area, the sound produced balls up in an area that is slightly lower but there is no projection or release of this balled up sound, regardless of mouth position. It seems like the lower approach might be the better one as the sound wave isn't getting cut off, but at the same time there's no projection and all the sound is stuck in a ball. This hasn't changed for a few days, and I have no idea what to do because my voice is pretty much stuck, and confused as to why good adduction and TA balance would produce this.
  4. As I stated in my other post, I've found my head voice, or some kind of voice that makes me sing higher and with more power than I was able to do before. However, after G#4, I hit a sort of wall. I can "sing" up to a C5, but it sounds weak at best and not tonally good at all. I can sing maybe up to an A#4 with some control when doing exercises, but that does not translate into songs at all. The best I can manage to do in a song is A4, but it is not a reliable note at all, and is pretty much hit or miss. What I'm trying to ask, is if I can even touch these notes, does that mean that I can develop them enough to make them practical parts of my range? I really want to be able to sing up to at least tenor high C and make it sound good.
  5. 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.
  6. 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.
  7. 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
  8. 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?
  9. I think I speak really inefficiently. My voice goes, mainly my mix, and my tone completely goes. All the weight comes back in my voice. I really have no idea how to fix this. Lip rolls etc help in the short-term but I think I need to change the way I speak. It's almost as if all the training goes as soon as I start speaking Anyone have any tips?
  10. I have a student who is having a peculiar issue with constriction when using twang in the head voice. He used to have the same issue with chest voice, but we were able to overcome it there. I call it peculiar because it seems to be backwards to any issue I've ever encountered before with other students. Within two notes above his chest voice, he constricts his throat to the point of either a strained almost quacking like voice, or full out choking. We tried every exercise I can think of, from googs to all 6 onsets, lifting, dampening, more harshness, more open throat, "neeyahs", volume w/relaxation, etc. He even forms his "Ee" vowel through throat constriction, and his tongue shapes like a trough instead of helping place the formant in the proper spot. In other words, he's using constriction to form resonance and tone, rather than shaping with the help of his tongue. And when and if he's able to relax the constriction, he immediately pulls into the back of the soft palate, into either the "kermit the frog" placement, or extremely nasal. He can hit the notes, just not pleasantly. Am I missing something? I mean, obviously I am. Does anyone have suggestions on how to get his mixed resonance to pull forward and constriction to relax? We've tried to months, and have had very little, and yet inconsistent progress.
  11. 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
  12. Where do you guys feel your resonance on low notes and high notes? I never feel it in the mask, on high notes I can feel it on or slightly above the soft pallete but mostly I feel nothing except for ocassionally a little vibration on both sides of my throat right under the chin. I've read that some people can feel the resonance in the top of their heads which just seems insane to me. I'm asking because It's weird and cool that everyone feels the resonance in different areas.
  13. About 2 days ago, while doing some sirens, I finally came across my head voice. I was able to sing up to G#4 no problem that day, when it was difficult for me to sing up to a G4 previously, as I was likely pushing chest voice too much. Now, I can touch an A#4 and feel I still have more range to go. Now, mind you, the tone isn't so great on these notes, but I can sustain them without straining, which is what I've been working toward for a long time. This recent development has made me confused as to what vocal type I am. I feel that I'm a baritone as I can sing down to about F2 without vocal fry, although anything below G2 feels forced, but the high notes are so easy for me to sing, that I really don't know. Does the standard C3-C5 tenor range include head voice? I feel pretty confident that I can reach a C5 in head voice given enough practice. In addition, one vocal coach has told me that I'm a "baritenor," for all that's worth.
  14. The last few months I have noticed less reliability in the upper parts of my head voice. I used to be able to hit a very clean, clear, well connected G5. It started to get a little scratchy, but still there. Now, I can barely hit an E5, and the highest note I can now reliably hit is a D5. What I don't get is that my voice generally feels better than ever. I've been training with Ken Tamplin's Vocal Academy, which has very little head voice development, so I have been doing some basic head voice exercises every so often. I've been getting AMAZING results everywhere else, but the loss of the highest notes makes me think something is up. I do everything by the books - I don't strain for notes, trying to keep my larynx as neutral as possible throughout my range, drink lots of water, steam my voice most days, and I feel absolutely no discomfort when singing. I don't care too much as I rarely use this part of my voice but I can't afford to lose any more notes from the top - I don't want this to effect my high C. I have been on complete vocal rest the last few days - just done some basic lip rolls and tried to vocalise up there but still, the highest note I can barely hit in head voice is E5. Any suggestions of what I can do? I can't afford to have my cords looked at by an ENT so home-remedies and cheap suggestions only, thanks.
  15. Another 1 day wonder. not 100% finished...needs bass gtr and some ad libs such as in the intro chorus fun stuff https://clyp.it/ccf4wf40
  16. I'm hoping to connect with some good producers to make some original stuff
  17. 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)
  18. Since every single thread recently seems to derail into a talk about registers in some manner, and no one made a thread for it, this will be around for a while. So if you feel like talking about M1, chest, head, falsetto, heady, mixed, or anything else of similar content, this is the place. Posts on other threads that do not have an objective and specific point in regards to the thread subject and that start to go in the direction of "M2 is the new M1" usuall conversations most likely will be deleted. "To do that thing well, keep in your normal voice, like this: sample shown" - Fine "In 1952 when observing the M3 register using high energy plasma on professional opera rockstars, scientists figure that..." - Should be in here What do you need to know about registers: There are five different ways of seeing this particular subject that comes to my mind right away: - A mechanical register: M0,M1,M2,M3 - An area of pitch: "All above note T4 is head, bellow, chest." - A quality or intensity used: Heady -> Soft. Chesty -> Strong, Mix -> middle. - A specific position of the vocal tract. - A sensation. The way it was used on classical technique, was more about the later two, and even so on its begining it was really just the sensation, that's where the names "chest" and "head" came from to begin with. What is important to keep in mind is that since its a reference of sensation, it does have pedagogic value but it will not reflect exactly into any of the first. There are specific coordinations that are know to produce the sensations, but they were unknown when the terms were first used and the ideals of both sounds and execution started to appear. This initial post will be updated with relevant information as it appears along the way. I will do an effort to include samples for each of the ideas, probably with the help of Dan and Jens if they are up to it :).
  19. So you have been searching the internet to find out how to sing those high notes with beauty and power. Well search no more, here you go: The first 10 orders will get an extra bottle in the exclusive mint flavour. Hurry!
  20. So I can hit the high notes I want too hit but they tend to have a slight raspy edge to them, I can make it sound not raspy if I open my mouth really wide but then I can't seem to narrow my vowels and it sound kind of dopey. I Feel like I should be releasing tension and giving more power to the head voice in my mix at this point but I just don't know how.
  21. Hi Folks, It has been a while since my last post. This time I wanted to do something that is quite different from my last song(s). I have always wanted to do distortion at lower ranges. I just could not find the right support mechanism and way to do this without hurting myself. I have understood how to do this safely without injuring myself. Sometimes when I am not yet sufficiently warmed up I get a itchy feeling when I try to distort. If I am careful, it goes away after a while. I am assuming that I am not doing anything wrong because I can sing like this for more than an hour and I don't feel any effects later in the day or the next day. All in all, quite a fun song to sing with an epic sounding F#5 to finish it. I wish I could get some grit on this note, but for the time being happy with where I am!
  22. I consider myself a beginner even though I've been practicing with various different methods for a few years (online). I am able to bridge my passaggio with complete ease and sing throughout my entire range without strain, hell, even my belts in mixed sound pretty good sometimes. BUT, I hate the rest of my voice, when I'm singing softly/normally. It just sounds so boring and dull, but I have no idea how to make my tone better. I find most of the training focuses on bridging the passaggio + singing in mixed/m2 and stuff - but what about if you hate your tone? I mean, it has improved a little over the years but nowhere near as much as the other areas. Any tips for improving the softer aspects of the voice? Is it a key thing? I really wanna take some lessons in real life but I'm very short on cash and I'm shy (hence not uploading any audio sample here, sorry I know that just text isn't a lot to go on) plus most of the people I can afford are usually SLS...
  23. 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.
  24. So, just the other night as a part of my class, I had to sing and though I was nervous, after going through the song beforehand, I felt a bit more confident. However, it didn't show in my singing where my voice wasn't projecting as well as it should've. I was also making little body movement and I couldn't hit certain high notes like I was able to when I practiced. Overall, after the performance, my voice was a little raspy and my throat was hurting me. I will say, I'm not trained at all, but I am looking for singing lessons after the semester is over. Is this normal? I had such a hard time using my head voice and I know I could sing better than I did last time. Any suggestions on what I should do? Thanks
  25. I'm extremely confused. According to this video: I can go from G3 to C5. Now, the chart says I'm a mezzo-soprano, but my voice doesn't sound dark or heavy at all! I can go low, but as soon as I enter what I think is my mixed voice, my voice sounds bright and high. I'm talking about this sound: https://www.youtube.com/watch?v=1znaw5PugOE (She's the only singer I found with my voice sorta). What am I? I like the sound of my chest voice a lot, but it's pretty useless.