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Found 480 results

  1. Some of you guys have seen earlier preproduction of this tune. Here is the final presentation to you all... hope you enjoy. The Song is a bit about... the morning after. That feeling you get when you did something the previous evening or have been doing something that is fun, but now you have to pay the consequences in the heart. Then freeing yourself from it...
  2. My voice teacher has been telling me that head voice is full voice. We have been working on bridging from chest voice into head voice with no noticeable break and using middle voice to get their. Middle voice acts as a gateway to allow you to switch into head voice without it being so abrupt that head voice sounds like a completely different voice My first question is: is head voice with a connection to chest voice full voice? Meaning it is a light and falsetto like sound without the connection and with the connection it sounds as full as chest voice, meaning you switch into head voice so seamlessly that it creates an auditory illusion to the listener that you are still in chest voice? So above middle voice, it still sounds like the same voice as chest voice, not a light disconnected sound? My second question: what is the difference between singing in a connected head voice and singing in a mix voice? I used to think that head voice was just a light disconnected sound for effect or for female opera singers. My third question: do male opera singers use mixed voice or head voice? Thanks!
  3. Hello, I recently got cast in the role of Katisha in the Mikado. The fun part? I'm a baritone. I found out when auditions were happening that I could hit the F5 required for the part in falsetto, so I tried out and was cast in the role. However, as rehearsals have gone on, my falsetto has gotten weaker and weaker, and in fact my range in chest voice has suffered as well. I think I might be straining my voice too much, though when I'm fully warmed up and singing it feels fine. Today, I can't sing any falsetto at all. I don't know if I just need to rest my voice for a while, or if I need to drop the part. I'm not experiencing any pain, but I'm really worried that I might be damaging my voice, because I definitely have much less stamina in falsetto.
  4. Hi everyone. Lately I've been going out for a run and instead of working my voice out at home with next door neighbors getting annoyed at me, I've been singing in the countryside. I find a quiet spot in the grass after a run and I can just let loose instead of worrying about people hearing me and annoying people. Something that I've noticed is after running for about 20-30 minutes, everything is much easier! Bridging and connecting, not straining, sustaining notes.. it's a whole lot easier. I'm guessing this is to do with the breath from the running. Whilst running i'm taking big breaths in and out. It's great! My voice feels a whole lot better after a run instead of spending minutes doing breathing exercises at home stood still. I also workout my voice when running back too. Each time one of my feet hit the ground, I let sounds out like "Yah", "Hee", "Muh", "Ma", "Hey" and it feels totally fine and released. It's like my voice is going where it wants to go naturally instead of me overthinking things and ending up straining. I just thought I'd mention it. Maybe it will help someone!
  5. Hi guys, In my singing lesson, my teacher tried to get me to sing a song on different keys. She tried to get me to sing the song on a (what sounded like a high key) high key and for some reason, my voice automatically went into my head voice or maybe falsetto. And then when he played a low key for me to sing the song in, i automatically went to a very low chest sound. He wanted me to sing in my own normal voice when singing at that high key but for some reason, my voice just switched and went into a really airry voice.He also mentioned that it seems that for some reason, i have unconsciously told myself when it comes to the high notes of a piano, i have to switch to that airy tone but when it comes to the low notes of the pianio, i should switch to chest. i think i have had this problem for as long as i can remember. It's like i see it as, high notes - only head/falsetto and low notes - only chest. Does anyone know how i can combat this problem? I want to be able to sing the song at the higher keys, he played without unconsciously switching to that airy tone. Thanks!
  6. Hello everybody, My name is Paul. This is my first post. I’m sure this has been discussed many times already.. I have been working as a singer/guitarist for approximately 15 years both in bands and more recently as a solo acoustic performer. I have always perceived myself as an average singer, but a far better guitarist. Lately I have come to the point where I am no longer having fun performing like I used to. I feel like the lack of confidence in my voice is holding me back from reaching the next level. I am hesitant to accept or pursue higher end gigs in fear of rejection, and end up sticking to the same set of venues that I have been playing for years. I generally perform 3 or 4 nights a week, usually 3 hour gigs. I went to a vocal coach 2 years ago and may have benefited from some breathing exercises, but I stopped going because I felt like I was not improving. My pitch has never been a problem, especially since I started playing solo and can hear myself much better. However, if I am having an off night, I tend to tighten up and I am unable to hold notes and my pitch can become erratic. This is extremely frustrating, because I am aware if I hit a bad note and it sends me spiraling into a negative mindset. Often my shows are an emotional rollercoaster. I have developed a lot of bad habits over the years and it has become overwhelming to adjust. My wife has suggested that I try a public speaking course to help ease my nerves.. I have also considered self-help strategies to promote confidence and positive thinking. I am tired of being my own worst critic and defeating myself by dwelling on the negative parts of my performances. Any suggestions to help battle this would be greatly appreciated. Thanks!!
  7. HelloI always wanted to sing a C5 note but if i try to sing it with chest voice my voice breaks and it sounds strained. I have heard about the head voice but it doesnt sound that loud when i sing in it. How can i make it sound as full and loud as chest voice?Heres an example of my C5 sounds very weak and quiet.
  8. I am now beginning to gain the confidence to start taking on tough songs. I wish I could get more chord closure on the F#5 in this recording(would love for it to sound more full). It is also a very tough vowel for me("E" vowel). This kind of singing is out of my comfort zone. Always tough to get the right emotion when one has to sing on themes like war, death, evil etc Thanks to folks who listen and drop in a sentence or two. https://app.box.com/s/mjn82h7cjr2pyd09nyjcs2nmee72elo7
  9. Hi. I am able to "hit"(Since Rob hates the word "hit", you can also say reach) A4 fairly consistently and easily. But I am not in a position to hold this note steadily without breaking. I would like to get the ability to hold this note, and gradually increase this to Bb4 and eventually B4. How should I approach this? Should I do belting training? I think I am in mixed resonance in these notes. So if I develop the ability to hold until B4, will it automatically enable me to transition into these notes easier than I am doing now. For the style of singing that I want to sing, I would like to be able to sing as effortlessly as possible upto B4... I think people on this forum have commented on my voice sounding like a tenor. IS this possible and realistic for me to have a goal like this?
  10. Hi everyone. Hope you're well. Something that I've noticed when I do scales is that if I begin the note with a 'H', I seem to be able to go through the scale a lot easier and easily transition from Chest to Head without strain. The natural way. This works not only on vowels but also on Hums, which it should if you're phonating from the correct place. I keep the hum continuous throughout the scale with adding a 'H' at the beginning of each note in the scales and it does help.
  11. Is "mixed voice" closer to something like A or B. A: A soft, speech-like yell. Today I felt I was shouting in my lesson and my teacher said that was my mix. I don't mean shouting as in yelling and forcing as if someone was stabbing you, but to get someone's attention across the street or at a baseball game. B: Pretty much a connected head voice sound but with a slightly raised larynx than opera. In other words just making the head voice sound chestier. So it will feel like I am singing in pure head voice with but just with a speech-like larynx or twang? Is mix literally singing in chest and head at the same time, or singing in head voice with twang so it sounds powerful and full and indistinguishable from chest voice? I would like replies from singers who are not just starting out but have experience and can actually sing in a balanced 'mix'. Thanks
  12. Hi there, another song that will be part of the repertoire and that I was taking a look to see what I was going to do. I decided to go a bit more for the bright sound Mike Patton used at the time, please let me know if it sounds fine https://app.box.com/s/c8e5w3ipxgpicpl8vn9ruc8w8l3oh39o Felipe
  13. I never in a million years would have thought to do this song. But a producer friend of mine emailed me his version - minus the vocals. Actually one of my fav's when I was really young so I couldn't resist. This is version 2 in which I take the last chorus an octave up. ( he didn't like that version, so I did another for him. That one is also on my page ) I concentrated on a tip from Gino Vannelli, which he got from Frank Sinatra - Make sure the high part of your vibrato is higher than the pitch you're singing. A lot of singers keep the high part of their vibrato AT the pitch which doesn't sound quite as good. Let me know what you think. http://soundclick.com/share.cfm?id=13243503
  14. Hi guys! I am really curious about what experts say what configuration requires that type of singing. In terms of their style, is for this type of sound necessary to stablish a strong chest voice as for other genres as rock or pop? Is this a light mix and if so? What is the best way to train for that type of sound? I think it is more difficult than what it seems to sing in that manner. Thanks in advance
  15. HiIm very nervous because i havent sang infront of an audience before and the song we are gonna perform with my band is this onehttps://soundcloud.com/rms-17/children-of-the-damnedAre there any good techniques you can give me because its a B4 he hits on the chorus and i have to use my head voice to get there?
  16. Okay Folks, Here's something that I came up with while driving home last night. If we really want to understand high notes from all angles and a high note could speak, what would it be asking of the body? What would the voice say to you, if for example, it wanted to produce a big, powerful high note? What is really mentally and physiologically going on when you produce a high note? Do we really know? Should we really know? Let's go into this really deeply. To make this really interesting if you care to reply, do it as if you were the high note, not just provide explanations. Take on the personna of the high note. You are a high note in your body. What are you going to ask of your entire body? Try and be really specific.... I'll begin.....(going in a first-things-first order of requisites): It's a running conversation between you, (Singer) and the High Note. (High Note) "Before we even get started, are you well hydrated, and did you get a good night's rest because if you didn't you're gonna make this much harder than it needs to be." (Singer) "Yes, I'm good. What's next? (High Note)
  17. I have always been envious of singers who have this magical "Once voice" quality in their singing. I am sure that there are many excellent singers in this forum who have that quality. I want to hear from you about your journey, how long it took and what is the one most important thing you would recommend to a rookie in this quest for holy grail!
  18. Hello everyone, I cant thank you enough for your contributions on the forum , although I have to say that sometimes I try to stay away of collecting more information because I need to think easy and I am not that good to take advantage of the information. I just posted a couple of times from what I can remember, and read the forum intermitently. I am not new to singing but you could say I am still a beginner ( it is very frustrating) . I started with SLS and other methods, and took lessons from a variety of teachers (some in the forum) . I could say that my main problem is that when I approach B and middle C I kind of feel that I am going into the critical area and my body wants me to do something. For a while I tried to manipulate and narrow the sound while keeping the same intensity but the sound changed and I was not able to maintain compression and it became airy. I added twang and tried other approaches with not many consistent results. From all I have understood and tried, I feel that if I can solve from middle C# to G my voice is going to reward myself , and I feel it, but I am doubtful of what approach to follow. I have had teachers with a nice voice that advocate for a sooner bridging. Some of them have a light but energetic tone which reminds of a beatlesque, Tim Buckley, Thom Yorke type of voice, which I really like . I hear the mix voice and a pleasant tone in this coordination if done with equilibrium . In my voice it is not so stabile and when I try to put more energy it loses the stability and gets airy. I was told by some teachers, that , to get this light tone, first I have to stablish a more solid and strong middle voice, so the message was to kind of stretch the chest and maintain the coordination. After going back and forth I pursued the more solid chest voice trying to cover more notes before bridging. I dont feel my voice is agile when doing this nor elastic. It kind of gets stuck and loses resonance. I mean I can bridge but with useless tone. I understand the message of pushing the voice a little bit to awaken it but doing it focused it is hard. I think it is hard to tell how much air and energy to carry before the first bridge and the approaching area. I will use some examples, of two great singers and teachers from the forum ,even though I can be completely wrong since I am not an expert , but a passionated obsessed with voice because I need to be able to perform my songs: When I hear Daniel Formica, for example, I hear a focused tone no matter how much energy carries but without the problem of carrying weight to the first bridge. If I do this it is on the verge of being too light for crossing the bridge, but in his voice sounds very alligned . I can also hear the tone being forward which for me helps me more than if I let it fall back . I would like to have this texture, but I recognise that if I many times I pull back a bit when I approach that area, and my voice shows the whiny SLS sound if wrong executed because I do not know how to face it. That is also part of the question. Do i get this whiny sound because of being to light? If I hear Robert Lunte's voice, I hear a more boomy sound with more bottom end, and as far as I understand letting the resonance go to the back of the head while bridging. In my voice that feeling I think it is preventing me from bridging because I cant handle so much weight and singing becomes really hard . I know Robert does not have this problem, but I can't sing like this. In my voice I feel the tongue retract and the resonance goes to the back of the head which gives me less resonance than the forward tone. If I put more energy to avoid the whiny SLSesque sound which my voice projects either gets like a muffled yell or sounds flat. I am comparing these two approachea as an example of the two perspectives and how my voice reacts to them and I am just talking about what I hear, not saying if that is what is really going on as a result of the technique but my interpretation. So one more focused and light edged and the other one boomier with more bottom end with a darker resonance . Question: Do I need a fuller chest in order to later get a more coordinated passagio, and if so , how do you train that way ? Is it twang what can give me that or should be raw chest in a more classical way? I am very confused. I think I should stablish a lower voice that with not much changing allows me to bridge easier without becoming airy. I do not know if I got to say what I wanted, I am not an English native speaker. I pursue a more lighter voice with sharpness in the passagio area and the feeling of a one voice for style and for easyness. Thanks a lot in advance.
  19. A cover I did yesterday. I would appreciate to get some feedback on my technique. - Kasper
  20. A quick attempt at the scream from dream on. I have always had trouble with this but within the last week or 2 it has become very easy!!
  21. Hey all! I'm a big fan of Jorn Lande and I was listening to this song and wondered... what kind of distorsion could he be using on that light note at 00:49 ? Is it common to be able to use distorsion in light mass phonation? I don't know how to use distorsion, and when I have tried to add false cord distorsion to my singing, I can only do it on chest, but I can't for the life of me apply that on headvoice. Also, I can't sing with distorsion, it's uncomfrotable and sometimes has hurt, so I must be doing it very very wrong ( that's why I avoid it, hahah) I really am puzzled as to how can distorsion be achieved at such light coordinations. To people here who can do distorsion effectively, can you do that kind of stuff he does? Is it hard? How does it feel? It seems to me that a lot, if not most, of people can do distorsion intuitively while talking or yelling. All I can do, is the Louis Armstrong voice haha But I feel like that's cheating, because it engages swallowing muscles ( think of Kermit the frog ) and I can't sing a serious song there, haha
  22. Hi guys, Can anyone take a quick listen at this clip and tell me if this really "floaty" or whiny voice is a lack of chest voice strength and/or straying into falsetto, or something else? The song calls for a really light voice but I'm having trouble making a light/flute-y voice without making it sound too "whiny" (like the high-pitched part of yodeling almost). I just need a pointer in the right direction then I can work on improving it. As of now when I listen to it I don't really know what is the root of the problem. https://app.box.com/s/47hummk6r8qj34rh89rzo210tzhgl26q (Sorry the song is not in English as it's the only file I have on hand atm) Thanks.