Search the Community

Showing results for tags 'head voice'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • WELCOME & HOW TO GET STARTED!
    • Welcome New Members!
  • SINGING & TRAINING TECHNIQUES
    • General Discussions
    • Vocal Health
  • REVIEW MY SINGING
    • Review My Singing
  • VOCAL GEAR
    • Microphones
    • Recording For Singers
    • Vocal Effects / Processing
  • SEEKING VOCALIST / VOCALIST AVAILABLE
    • Seeking Vocalist / Vocalist Available
  • ARTICLES / GEAR REVIEWS / INTERVIEWS
    • Vocal Gear Reviews
    • Singing Articles
    • Expert Interviews

Blogs

There are no results to display.

There are no results to display.

Categories

  • Singing Reviews, Programs & Lessons
  • Microphones (Live & Recording)
  • Vocal Pedals (Effects)
  • Home Recording Gear
  • Services For Singers
  • Singing Applications
  • Vocal Health Products
  • TMV World Exclusive Interviews

Categories

  • Product Reviews
  • Articles
  • Interviews

Product Groups

  • UNLIMITED SINGING REVIEWS
  • PROFESSIONAL SERVICES
  • SINGERS TEA & INHALER

Calendars

There are no results to display.

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Web Site URL


Phone


How did you hear about TMV World?

Found 500 results

  1. 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
  2. hey guys, Quick question. Recently, me and my teacher have been trying to work on make my head voice stronger atm with the use of scales/exercises (the type that allows the shift from chest to head). The weird thing is that i managed to do it with ease during the lessons but now after playing the recordings, i can't seem to get that head sensation. For some reason, i keep pushing chest during the middle bit of the scale (that goes from chest to head and back again). Or sometimes, it just feels that when doing the exercises, the sound is all stuck in my throat when trying to access head or sometimes, The main issue is that, it just remains pure chest - basically me pulling chest to reach that middle bit of the scale.. It just feels like something is limiting me from accessing head. Thanks Edit; 5 tone scale on bub, gee etc.
  3. So after a long long while i returned to singing and even tough i sang this last year, i wasnt really practicing in a strickt sense of that word. But some good things happened to my voice. I will return to forum in pursuit of more vocal improvement. I wanted to share a small clip of some sirens up to C#5 for your reviewing. I understand this is far from perfect but this is something i havent been able to do before. https://app.box.com/s/xprqtqixm5zym91l4dxxenyr58ddi07d I just wanted to know if im on the right track to gaining vocal range or am i just shooting in the dark. Thanks!
  4. I just read this article about Xfactor's vocal coach who also trains Jessie J, Sam Smith and others famous singers. I found it quite interesting towards the last part of the article that he talks about needing raw talent to get the most out of your voice. What do you think? Do you agree? https://medium.com/for-life-journal/the-x-factor-vocal-coach-who-saw-money-in-one-direction-7481d565a24d#.igbgyo7zp
  5. Hi! Following up on simple exercises that touches relevant coordinations, I would like to share one idea that I find useful to aquire and to simplify the coordination for covering (head voice). Looking from the mechanical point of view, the main difference from "chest" to "head" is the position the tongue assumes inside the mouth, and the difference it makes on the vowels produced, both in terms of sound as in terms of the singer perception. On chest voice the tongue is lower on the mouth, with a lot of open space to the larynx, vowel registration is closer to spoken voice, there are more tensions overall. On head voice, the back of the tongue elevates towards the point where the hard and soft palate meet each other, increasing pharyngeal space, creating a constriction point on the mouth. The soft palate elevates to correct nasalance on oral sounds. The vowels are therefore modified to high vowels and the articulation changes considerably with release of many of the habitual tensions. This change in the articulation of sounds and the position of the tongue vs soft palate is quite unnusual due to the antagonic nature of it. The action of speaking AH for example means lowering the tongue, so for headvoice you will have another kind of AH, one that is positioned much more towards UH/OH actually. Not only that, a tongue positioned high with a closed nasal passage is unnusual for vowels. On a vowel, simply trying to make a sound become oral would trigger an action of lowering the tongue. Its logical, if the tongue is constricting the mouth, the easier way for your body to make your voice oral again would be lowering the tongue and opening more the mouth. Its important to clarify however that the idea behind this exercise is not to teach anyone HOW to sing in head voice, but instead, an exercise that will touch a common point of difficulty and construct perception and the coordination necessary to allow learning. With that said, lets begin. Initially, you will need to relax and open the jaw, and relax and elevate the tongue. To do so, get in front of a mirror and do the following: - Sliding your hands though your cheeks, let your jaw hang open, it should rotate a bit backwards and open quite well. This opening should be relaxed and easy, not forced, not uncomfortable. - Using one of your hands on your chin, without pressing it, grab your lower jaw gently. You will use your hand to monitor ANY glitches or movements while you do the exercise. - With the jaw open, in front of the mirror and your hand monitoring the jaw position, breath in and out ONLY through your nose. Most of you will notice right away that this simple attempt is not really so simple to do while totally avoiding jaw movements. This exercise can be done only in one manner, the tongue will elevate and close the mouth, preventing air to pass through the oral airway. However, you will also notice that simply trying to keep the air in the nose will cause a reflex of closing the mouth. Aim to keep the jaw open and relaxed, and find a way to release any tensions on the tongue that are getting in the way. To make sure that the tongue stays relaxed, think of "sniffing the air" while inhaling, to avoid your habitual coordinations. Practice this exercise observing how it feels when breathing through the nose in this manner, pay attention to the tongue positon and how easy it is to keep it elevated, notice the sensations of air flowing. At first the coordination will be glitchy which is quite good as it shows room for improvement. Over time, it will become simple. When you get it relaxed and easy, slide the tip of the tongue forward, and make sure its touching the back of your lower front teeth. It should be "resting" against it with its back still elevated, continue to practice it in this manner. With this position of the tongue defined and knowing how to keep both jaw and tongue relaxed/free of tensions, the next step is finding a position where its elevated but not quite closes the airway. To do so, first simply produce a F without a vowel, no voice. Observe that you create a constriction on your lips/front teeth, breath in and out through that position keeping the F sound. Now produce a V. Observe that the position is the exact same, only now, there is voice. Now produce a S, observe that the constriction is now tip of the tongue vs upper front teeth. Now a Z. Same as before. Note: On these consonants the jaw will close. We will now find a new consonant to help on the exercising. Do the previous exercise and breath through your nose, with the tongue in the position that was found on it, observing yourself on a mirror to make sure you do NOT close the jaw. Now slowly, start to find a slight "yawning" sensation, specially on the upper back of your throat. You should keep the sensation of sending air up and forward, as if releasing it through the nose. However, you will observe that as that as you produce more of a yawn, slowly a tendency of releasign a bit of air through the mouth will increase. Let it happen. Alternate between (open jaw/relaxed/totally through the nose) and (open jaw/bit of yawn/a bit of oral flow). Observe this small difference, and observe the point of constriction in your mouth now. Similar to the F and the S, this is also a kind of consonant. Not used on modern english, but it still is a consonant. Observe this sound, the sensation and now try to define more towards it, using the same positions of jaw and tongue, but now with more "yawn on the back" and no air through your nose, as if you were saying a consonant like F or S on that specific spot. Alternate between the first exercise (jaw/relaxed/nasal) and this new consonant. Again, this should trigger all sorts of tensions. Aim to make the movement smooth and simple. Besides the small sensation on the back and a really slight lowering of the tongue to allow an opening, nothing should change. You can feel more pressure on the back as you do this, because of the constrictions that are being added by lifting the soft palate. Possible glitches: - Jaw trying to close - monitor it with your hand and the mirror, find a way to let it hang there, it should not move; - Tongue tensing - Aim more on the nose, check the jaw for tensions and make sure that is dropped/open; Finally, like the with the other two consonants, find the voiced version. Say V, then Z, then on the position found on the last step, add sound as if you were trying to say Z on that particular point. It should be something like a "oral NG". Again, monitor your tongue and your jaw! This sound should be a bit sleepy/hollow/goofy. You probably will feel vibrations on the upper area of your skull, and on the back near the soft palate. Allow these sensations to increase and make it very hollow WITHOUT allowing tensions to kick in, relaxed and easy always. After your practice this a lot, go from the "oral NG" to "dopey AH", slowly, aiming to make a very sleepy/dopey voice, as soon as you get bit of vowel quality, stop. Your "AH" will sound like a "sleepy" OH or UH, you should still feel the sensation of vibrations up and the rules about tongue and jaw being relaxed and easy remains. Then, simply alternate from speaking AH really clearly, to making the position for covered AH, and then finally back to it. On a comfortable pitch you go (open AH)->(covered AH)->(open AH) without changing the pitch and without breaking the production, a single release of voice, legatto. Making sure that the movement is complete, really define the open AH, make the covered AH go into that position you found on the previous exercises, and back to open AH. Observe how hard it is to avoid tensing everything when covering if you come from open (chest) voice. Observe also that when you cover, its hard to go back to the more open position. Notice how easy it is to try to stay in a midway all the time, and how it just creates more tension and decrease quality on both cases. This movement, is often called "spin of the voice", because of how it feels when the position of the tongue changes, and it is the main aspect of passaggio that is quite constant for all voices on classical technique. Try to use this voice higher in pitch and you will observe that the quality improves a lot when compared to how it sounds on the low range. Record it and observe how different it sounds from what you hear inside while doing it. This position creates the necessary conditions for you to continue on full voice above the passaggio point without having to push more for it, however: you will need a very well coordinated support for that to happen, and, if ANY tensions remain on tongue and jaw as you try to position this, you will feel a hold near the larynx as you try to use sleepy quality which will make the higher range sound more airy, become harder to execute and you will lose the possibility of later using high intensity sounds within this same position. A good control on chest voice is fundamental when working in practice. If you strain on your low voice, it will be extremely unlikely that you will find the position for a high and more relaxed production. This particular approach of deconstructing the coordination in pieces works very well to aquire the positioning for head voice and it can speed things up considerably if you pay attention and work with focus on controlling and understanding it. That's it, I will make a video later following the instructions provided here as I've done with the other exercises, this is simpler to execute than it looks on text (hopefully hehe), again, please keep in mind that this is not really technique but more of an exercise to make study flow easier, registration of head voice requires positioning all vowels in a similar manner, both in relation to each other within the same position as in relation to chest voice, so its a really fine tunning training. Feedback is greatly appreciated
  6. Hi, I am new here and I hope I am not breaking the forum rules by such questions So, I am 17 years old male who really likes singing but I am curre tly confused about many things. When I was a child (11-14 years maybe), I sang in a choir and I probably had one of the highest voices (so I was classified as boy soprano), but I stopped attending the choir around the age of 13/14. However, I didn't stop singing and I sang songs that I liked. I haven't really thought about such things as voice ranges until now though. By the way, classmates keep telling me that I have unnaturally high speaking voice. I have decided to join school choir few weeks ago and, to my surprise, not only I was classified as a tenor, but also I was told that my highest note they wanted me to sing - G4 - is higher than most tenors have. Well, as I've "tested" my vocal range (without any technique, warm up or so) few days before joining the choir, I was expecting they'll tell me I am a (high) baritone. So about my voice range (C4 is middle C I hope) - my absolute minimum is probably F2, but I usually can't sing comfortably below C3, my absolute maximum is A4, but I usually can't sing it comfortably (and sometimes I can't just sing it, for example when I've sung in this height for a long time - for example now ), so I suppose G4 is my "reasonable" maximum. Another strange thing is my falsetto. I have good-sounding falsetto, but the problem is that my falsetto maximum is C5, so I usually don't need to use it, as I can sing with my "normal" voice. I really like to practice singing in my boundaries, so I often try to sing around F2 and G/A4 (which leads to temporary (I hope) unability to sing A4 and sore throat. And I don't hear any registry changes, my voice sounds the same to me in every height (I can't hear any head voice or things like that)... So my questions are: Am I right when I think I am probably a baritone? Can I damage my voice by singing in my range boundaries? Is there a hope that I'll be able to extend my range to more "tenor" height (notes A4, B4, C5), for example when I start to attend a singing teacher (I think of that, but not just because of extending range, but because I simply want to practice my voice, as people tell me I have beautiful voice...) Similar question, but about falsetto - Can I extend my falestto above C5, for example F5? Even if such things are possible (I am definitely not sure), I understand it would be long and challenging.
  7. 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!!!
  8. one of my fave singers from late 80's early 90's. Unfortunately the BulletBoys hit at the absolute worst time so they only got like 4 minutes of fame. Dude seemed to have a good range and a lot of soul and blues feel mixed in with the good hard rock/metal screaming ability. Id love to hear some opinions and analysis of his style and what coordinations he uses etc. I picked one that actually seems somewhat "easy" since it seems (to me anyway) to be mostly head voice. Is this correct? naturally a lot of his other stuff is crossing the passaggio numerous times etc seems to be a lot of notes based near c5-e5 what is the note at 2:54? any special technique there? any opinions on his voice? in a sense it vaguely reminds me of Paul Stanley
  9. I believe I am using too much air while singing clean vocals, this is great for when I want a breathy tone and when the song calls for it, but the thing is I don't know how to cut back on the air without letting my voice distort. Whenever I cut back on the air, vocal distortion kicks in, and my vocals get a grunge like rasp tone. I've discovered that whenever I sing anything above F#4, I can't sing it without vocal distortion kicking in. I don't believe it's an issue involving breath support, because I can sing all the way up to A4 comfortably, even though I can only sing above F#4 with a distorted tone. Too much air dries out my vocal chords pretty fast whenever I sing clean, and I often have to pause between lyrics and inhale fast so I can get enough breath for the next phrase, I manage to do it flawlessly, but it is annoying. Why can't I cut back on the air without my vocals distorting into a grunge/raspy tone?
  10. Hi Folks.. Trying to do something different this time.. Please give a listen and let me know what you think, specifically on the tonality of the head voice..
  11. Hii... i'm posting this one link here... its a pretty untidy take at the song I am confused as to whether this hooty sound is head voice or what is supposedly called the 'reinforced falsetto' .. what i know is that its not meaty enough the way true resonant head voice is ... I've nowadays taken to exercising for a fuller head voice..But i wanted to know just what i've done here
  12. What do you all think of Beyonce as a vocalist? She seems to have excellent control over her instrument. My only gripe is the clavicular breathing with the audible inhalation. Here are a few good videos of singing for you all to analyze: What do you all think?
  13. Hi Folks.. I have put up a few versions of this song earlier which were not too impressive. I am now beginning to get a lot more control on the passagio area, especially with a more "open" sound. I have two areas that I would appreciate feedback 1. Looking at my singing, I seem to be using more horizontal embouchure than vertical. I only very recently started looking at my singing in the mirror. Is there anything wrong in my embouchure. I am looking for dark tones in the upper range. Does a horizontal embouchure produce a "brighter" sound? 2. The second question is with respect to the mix and mic placement. My wife says I sound much better in person than what I am able to get the mix in my recordings to sound. This does not help me at all since we don't hear exactly our voice in the manner we sound to others. What could I be doing wrong? She says I sound very different in my recordings. Is this a function of the average quality of backing track or is it a mix issue? Any pointers would be very helpful. The mic I am using in this a Shure beta 58A. I record in an untreated room.
  14. In the Spanish wikipedia article for Falsete (I'm learning it by heart ) I've read this: The first sentence says: In the Bel Canto (opera) technique, Head Voice and Chest Voice are mixed and that way Passagio is camouflaged. Since my main interest is in improving some voice similar to this, I should have a clear idea about it but I don't right now... I'll keep thinking and investigating, and will be very much interested in reading what you think about it.
  15. Hi everyone, Im Connor Aiden a 17 year old vocalist currently in training in London (Popular Performance Vocals) and I'm having a bit of trouble regarding my 'official' voice type. Although I have sang in classical styles I initially taught myself how to sing and mainly listen to female singers which has confused me about which octave I sing things in. I was also put in a choir as a tenor so have been reading treble clef and unknowingly singing an octave down the whole time. I thought I must be a baritone but I have a peculiar higher falsetto range: Chest: G2-E4 (Strong, Belty as I get to D/E4) Mixed: I am working on but seem to have no mixing traits currently Falsetto: F4-F#5 (Breathy, Slightly Unclean) (can bring it down to B4) If anyone has any information or knowledge to share I would be very grateful as It would clear a lot of problems up and get me on the right track vocally. Thankyou!
  16. Hi Folks.. Please review yet another iteration of the song! Can you please me what technique I am using in the chorus where it goes (Run to the hills, Run for your lives) https://app.box.com/s/2069x3dc3np3ev621lzddt70q9hw8kbg Also any tips on tonality will help.. Thank you..
  17. Hello. I joined a choir, so my interest is in developing my head voice, which was totally abandoned (I was in a choir as a child). I saw Felipe's video on low notes and realized I was singing too often in my high notes now, so started singing some in my low notes but in Head Voice. But do you think it would also be good for me to sing some in strong chest voice? My throat was totally underused until I started now in the choir. I hope I was able to make the question clear. Tell me if I didn't.
  18. 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?
  19. Me tackling some progressive metal! Thanks to kristoffer for the amazing backtrack and guitar
  20. Hi guys I've been trying to cover this song for a while.. The problem is... that when i sing the high notes, my head voice tone is too bright (maybe?). I try to make it sound more chesty but all i got is this Thinking Out Loud Cover It sound to me that the sound is too light and breathy, isn't it? What exercise should i do to improve that?
  21. Three and half years ago I decided I wanted to have a deeper voice. I did some research and found an article that suggested saying your ABC's in a deeper voice everyday until your voice became that pitch. THIS WAS A HUGE MISTAKE. It has massively hurt my communication skills and left me sounding very unnatural and unpleasant . After years of trying to correct it by speaking my way back to my naturally voice, going through phases of pain and scratchiness, I think it's as good as it can be without some help from people who know what their doing. I'm coming to this great community for advice on how to get back to my original voice and get on sounding the way I was meant to sound! Sincerely- RecoveringFromTheDeep
  22. Robert Lunte, "Timeless Chains". A song about my "x" Anna Christina. Enjoy. Silently your, beauty took my breath away... Now comes the rain, can I feel another day. So much time has past away from that fateful day. So much time has passed, since you turned away. Chorus Now timeless chains, there's no escape! You walked Away Just when I started to get my life back under me. Berlin skies of gray, so cold I cannot breath Cause I lost, mean Frau in the storm, that marked my destiny! But here I stand defiantly mending a heart ripped to shreds of tragedy But my face to the wind, Im washed from my sins, but you still keeps haunting me Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me So much time has past away from that fateful day. So much time has passed since you turned away. Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me!
  23. Something I threw together in the wee hours of the night. I did a double track vocal to try and get the sound right and I think besides a few occasional out of syncs it works nicely. Hopefully you guys like it. http://picosong.com/E2RM/
  24. So I finally got my head voice mode to pick up my 1st formant/pure oh vowel, but now I don't really know how to approach my singing from this point, in a tonal sense. When I sing, if I do a more modal approach I sound somewhat baritenor-ish but my voice sounds too bright to be that deep/chesty. If I go with a light approach, I don't sound like a normal tenor, but rather a very smooth boyish tenor. I was hoping that by developing this head voice mode with 1st formant connection, that I would figure out where my voice sits, but that's not the case. I'm betting on being a baritenor, but then again I always only heard baritenor who where more modal voice dominant and not head voice dominant.
  25. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. Hey Rob, So I noticed that there is a difference in definitions between TVS and Ken Tamplin's program. Ken Tamplin refers to head voice as a mode; basically a strong reinforced falsetto. WELL, ... IN REGARDS TO THE TRUE DEFINITION OF VOCAL MODES, THAT IS NOT A DEFINITION THAT IS AS ACCURATE AS IT NEEDS TO BE. IF WE ARE GOING TO TALK ABOUT MODES, IT IS BEST TO REFER TO THE ORIGINATORS OF PHYSICAL MODES, THE ESTILLIANS… WHICH IS MORE OR LESS WHAT THE TVS PHYSICAL MODES ARE INSPIRED BY. FALSETTO IS A PHYSICAL MODE, HEAD VOICE IS NOTHING MORE THEN A METAPHOR FOR THE UPPER REGISTER… HEAD VOICE ACTUALLY DOESN’T MEAN ANYTHING, IF YOU WANT TO BE STRICT ABOUT IT. IT IS A “PICTURE WORD” TO REFER TO THE UPPER VOICE SENSATION WE ALL HAVE… TO CALL IT A VOCAL MODE, IS TO CLAIM THAT IT IS A PHYSICAL AND TANGIBLE THING, WHICH IT ISN’T. THERE IS NO SUCH THING AS ‘REINFORCED FALSETTO’. THERE IS ONLY A PHYSICAL MODE CALLED FALSETTO AND IT IS CHARACTERIZED BY A WINDY, OPEN GLOTTIS THAT ESCAPES RESPIRATION. IF THE PHONATION DOES NOT HAVE WIND, IT IS NOT FALSETTO. IF YOU “REINFORCE” A PHONATION ON A HIGH NOTE ABOVE THE BRIDGE, IT IS MORE ACCURATELY GOING TO BE VOCAL TWANG… WHICH IS ANOTHER PHYSICAL MODE. In TVS falsetto is a mode, but the head voice is just what you call notes that resonate from the head, in whatever mode you are singing. WELL DONE, THAT IS MORE OR LESS CORRECT. HOWEVER, NOTE THAT THIS DEFINITION OF MODES IS NOT JUST THE WAY TVS SEES IT. IT IS ALSO THE WAY ESTILLIANS AND CVI SEES IT. ESTILL ARE THE ORIGINATORS OF VOCAL MODES, SO PEOPLE THAT CARE TO BE ACCURATE ABOUT VOCAL MODES, TEND TO FOLLOW THEIR ORIGINAL FOUNDATION ON THE TOPIC, WHICH TVS PHYSICAL MODES DO. I prefer the TVS definition. However, I think that makes the whole bridging late vs bridging early debate between the two systems inconsistent. IS THERE A DEBATE? ... OH YA, KTVA WOULD LIKE CONSUMERS TO BELIEVE THERE IS… THERE IS NO DEBATE. TVS HAS BOTH BOTTOM UP AND TOP DOWN TECHNIQUES. THIS IS A TIRED, OLD IDEA THAT STARTED ABOUT FOUR YEARS AGO THAT HAS BEEN PROPAGATED TO CREATE CONFUSION IN THE MARKET ABOUT WHAT TVS STANDS FOR... KTVA HAS GOT A LOT OF MILEAGE OUT OF PROPAGATING THIS MISINFORMATION. IT IS COMPLETELY STUPID AND I HAVE CREATED NO LESS THEN FOUR VIDEOS TO COMBAT THE CONFUSION. Ken's criticism of what he calls late bridging seems more apt to describing some classical voice teachers who teach bridging to a falsetto mode instead of a twang mode, or metal screamers who rely on a distorted reinforced falsetto. His criticism being that early bridging over time breaks down the "mid voice," of which he doesn't define. HE TALKS A GOOD GAME AND CERTAINLY SINGS A GOOD GAME… BUT WITH ALL DUE RESPECT, IN MY OPINION AND FROM FEEDBACK FROM HIS CUSTOMERS, HE DOESN’T ALWAYS DEFINE OR EXPLAIN A GOOD GAME. IN REGARDS TO EARLY BRIDGING AND VOCAL ATROPHY… ON THIS POINT, I AGREE WITH KEN. THE LACK OF BOTTOM UP TRAINING WILL RESULT IN WEAK TA MUSCLE STRENGTH AND ENDURANCE. BOTTOM TRAINING IS ESSENTIAL TO BELTING, BUT ALSO JUST TO BASIC VOCAL HEALTH. THIS IS WHY THE NEW 4PILLARS SYSTEM HAS AN EXTENSIVE BOTTOM-UP AND BELT TRAINING EXPLANATIONS AND ROUTINES. With the TVS definition, I'd say I mostly bridge early. But it's not such a big difference it seems. I can still bring a bigger boomier sound up higher, but from learning early bridging techniques, I'm not stuck to an overly heavy phonation with constriction. It's dynamic and free. PRECISELY!!!!!!!!!!! YOU NEED BOTH APPROACHES! DIFFERENT PEOPLE NEED DIFFERENT APPROACHES BASED ON THEIR NEEDS. YOU DESCRIBED THOSE NEEDS NICELY. I TOTALLY AGREE. KNOW THIS… THE REASON ANY COACH WOULD BE LIGHT ON TOP-DOWN TRAINING TECHNIQUES IS SIMPLY BECAUSE TOP-DOWN TRAINING TECHNIQUES ARE MORE COMPLICATED TO UNDERSTAND AND TEACH. IT IS A LOT EASIER TO TEACH BOTTOM-UP TECHNIQUES. TOP-DOWN TECHNIQUES REQUIRE MORE PRECISION AND MORE UNDERSTANDING OF THE MUSCULATURE AND OTHER DETAILS. "PUSH FROM THE BOTTOM UP ON AN AH VOWEL"... IS A FAR EASIER STORY TO TELL, THEN BUILDING FROM INSIDE THE HEAD VOICE. I think part of the confusion also stems from the SLS / singing success terms, where the mixed voice is their term for twang, and head voice is defined as a strong falsetto. WHICH IS AN AWFUL DEFINITION OF TWANG… AND PAINFULLY INCORRECT. AGAIN, IF ANY OF THESE PEOPLE, WOULD BOTHER TO STUDY VOCAL MODES AS I HAVE, THEY WOULD NOT BE TALKING INACCURACIES TO CONSUMERS. SLS AND SS SEEM LIKE THE LEAST INFORMED TEACHERS SOMETIMES. TO BE SURE, THEY ARE NOT TRAINED IN VOCAL MODES AND ARE WAY OF COURSE WHEN IT COMES TO BELTING. VERY FEW PEOPLE WILL EVER BUILD A STRONG TOP REGISTER BELT WITH "SING LIKE YOU SPEAK" TYPE METHODS. It's kind of silly considering the actually mixed resonance we feel is only from around c4 to E4. Mixed voice is just a bad term. YEP… THAT IS WHY I KILLED IT IN MY “MIXED VOICE IS DEAD!” VIDEO… IT IS A TERM THAT SOME TEACHERS USE TO KEEP THEIR STUDENTS CONFUSED. THE MORE YOU CAN KEEP YOUR STUDENTS CONFUSED, THE LESS YOU HAVE TO REALLY UNDERSTAND YOUR SUBJECT MATTER AND BE ABLE TO REALLY EXPLAIN THINGS AS A TEACHER. Am I understanding this right? TOM, I THINK YOU HAVE A LOT OF THIS PRETTY SQUARED AWAY. IT SEEMS THE TVS CONTENT IS HELPING YOU TO SORT THIS ALL OUT, WHICH IS GREAT. Tom