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Found 481 results

  1. 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.
  2. Introduction In the male voice lower and mid ranges, (what has been traditionally called the "chest voice"), the harmonic structure of the sung tone contains many partials - harmonics, which fit nicely into the pattern of resonances for any particular vowel chosen. Throughout this range, the strong, lower harmonics are reinforced by the first vowel resonance corresponding with Formant 1, (F1), midrange harmonics are reinforced by the second vowel resonance from Formant 2 (F2), and higher harmonics are emphasized by the higher "twang" or "singer's" formant resonances. The combination of multiple, powerful low, midrange, and high harmonics present in all vowels is a distinctive characteristic of this section of the male voice. In contrast with this, in the male high range, (what has been traditionally called the 'head voice'), the harmonics produced by the voice are higher in frequency and more widely spaced. Here, few of the harmonics fit into the vowel resonance pattern. For one particular span of notes in the head voice, there is no significant resonance available to amplify the lowest two harmonics produced. To achieve vocal power and consistency of tone in the high voice, the male singer uses what he has available, "twang" (singer's formant) and the resonance from F2 strengthening harmonic 3 or 4, depending on vowel. Between these two resonance strategies is a region of transition, too high for the 'chest voice' strategy, and too low for the F2 alignments of the 'head voice' strategy. This transition region is the passaggio. Acoustics of the rising fundamental Throughout the voice, as the fundamental frequency moves, the alignment of harmonics and resonances for a vowel changes. On an upward-moving scale or leap, the fundamental and all the overtones rise in frequency. Since the harmonics are spaced at multiples of the fundamental, the harmonics also get farther apart, too. For most of the chest voice range, this is not an issue, as the resonance from F1 covers a wide frequency range, and midrange harmonics are close enough together for at least 2 or 3 of them to get some benefit from F2. These conditions apply to all the vowels. However, in an upward pitch pattern, as the voice passes middle C (C-F, depending on voice type) eventually the scale reaches a region in the voice where the alignment of harmonics to formants is no longer advantageous. Overall vocal power and tone quality will be lost if an adjustment is not made. The particular point in the male voice where this occurs is as the 2nd harmonic passes F1. Visualizing harmonics and the /e/ vowel in a spectragraph As illustration of this, what follows is a series of spectragraphs made with different fundamentals sung to the vowel /e/ (ay), made using my own, baritone, voice. As representative of a lower chest voice tone, the first is of the A natural just a bit more than an octave below middle C , also known as A2. Each vertical blue line represents the intensity of a particular harmonic, where 'up' = louder. Low frequency harmonics start on the left side. The leftmost peak is from the fundamental, and if you look at each peak to the right of that (increasing frequency of harmonic), you can see that the 4th harmonic is the very tallest, and then the peaks become successively shorter. This peak volume for the 4th harmonic, and the emphasis of those surrounding it, is the result of Formant 1, F1 in its position for /e/ in my voice. Harmonics to the 'left' of the formant center get progressively louder as they get nearer to it, and those to the 'right' of the formant center get softer. Proceeding to the right is a section of quite harmonics, not so tall in the display, and then there is another build up to the 13th harmonic. This is the area amplified as a result of the location of Formant 2, F2. The spacing of F1 and F2 is what makes this vowel sound like 'ay' to the listener. After another gap, there are two more areas of emphasis, which are the result of F3 and F4, clustered together. These formants move very little vowel-to-vowel, and form the high frequency 'brightness' resonances of the singer's formant. The reason we start with this: for any given vowel pronunciation, (like /e/) the formants stay at the same locations even while the fundamental (and the associated harmonics) are moved during the production of different notes. Especially important in the understanding of the male passaggio is the relationship of F1, F2 and how the harmonics align with them. A2 on /e/ vowel. Harmonic spacing As mentioned earlier, for any given sung note, harmonics are always the same frequency distance apart. That frequency spacing is the same frequency as the fundamental... the note being sung. So, if a fundamental is 110 cycles per second (like that A2,) all the harmonics will be 110 cycles apart from their neighboring harmonics. You can see this equal spacing in the picture above. Because of the closeness of the harmonic spacing, you are able to see pretty well the 'shape' of the formant regions. Up an Octave The next picture is of the same /e/ vowel, but singing the A up one octave, the A just below middle C, A3, which is 220 cycles per second. Notice that the peaks are farther from each other than in the prior picture... now they are 220 cycles per second apart. Looking at the peaks for a moment, you can see that the amplification effects of F1 and F2 are still in the same place (left to right), but now different numbered harmonics are boosted, and fewer harmonics are affected by each individual formant. In the case of F1, the 3rd harmonic is now the most emphasized, with the 2nd harmonic also getting some help, while F2 is emphasizing the 7th harmonic tremendously, but not much else. This excellent alignment of F2 with a harmonic makes it really ring distinctively, and is an example of 2nd-formant tuning, which will get discussed later. Finding the exact location of F1 for /e/ Are you curious about the exact location of F1? Look at the bottom of this next picture, right beween harmonics 2 and 3. See the blips? All voices have some soft, non-harmonic noise. When that noise falls under a formant, it gets amplified enough to measure. These low blips on the spectragraph are the giveaway to the location of the formant. A3 on /e/ vowel Continuing the scale upward As I continue up the scale from A3, three things happen due to the musical intervals represented by the harmonics: 1) My 2nd harmonic gets closer and closer to F1, strengthing that harmonic. This makes the warmth of the voice 'bloom' in this region, and the resonance makes it possible to oversing some and still get away with it. 2) My 3rd harmonic gets higher above F1, and so it gets progressively softer. In combination with #1, this changes the tone quality somewhat. 3) F2 tunes to successively lower harmonics. These three trends are very important in understanding the male passaggio. More on 'What happens when a harmonic rises above a formant'? As a particular harmonic rises above a formant center, it rapidly decreases in intensity. In this next picture, now singing Bb3 (up just one half step from the A), you can see the effect on the 3rd harmonic. It is quite softer now when compared to the 2nd harmonic. For this note, the principal power of the vowel is being carried by the 2nd harmonic. You may also note that the F2 tuning is emphasizing harmonics 6 and 7 more or less equally. That is because F2 is between them. Harmonic 7 is no longer in the 'ringing' position, and harmonic 6 is not yet high enough to be there. Bb3 /e/ vowel The male upper chest voice My voice is now in the 'fattest' part of the upper chest voice, where most of the vowel power is coming from the 2nd harmonic. This range is just about a perfect 5th wide, because that is the spacing of the 2nd and 3rd harmonics. The region begins as the 3rd harmonic passes F1, and ends as the 2nd harmonic passes F1, in other words, for my /e/ vowel, from the Ab below middle C, to the Eb above middle C. This is what makes my voice a 'low baritone' quality. (Note, you can still see the noise blip.. its getting closer to the 2nd harmonic the higher I sing) Now, the Db in the following picture. Notice that there are little noise blips on each side of the 2nd harmonic. This indicates optimum alignment of the harmonic with F1, the place where the 2nd harmonic is exactly aligned with F1. Db4 /e/ vowel The effects of strong resonance on ease-of-singing Through the entire compass of my voice, up to this point, lower harmonics have been boosted by F1, which has provided for some cushioning effect for the vocal bands. That situation is about to change significantly as the fundamental rises past this point. A very important challenge to the singer as this happens is to resist the temptation to maintain vocal power via pushing. And now to the Eb. The 2nd harmonic has just past F1. Its still very strong, but will lose ground very rapidly as I proceed upward. This is the beginning of the tricky section of the passaggio, where the resonance provided to the 2nd harmonic decreases rapidly, and I must, to retain vocal power and tone quality, find another way to shape the vowel. Eb4 /e/ vowel My next post, 'Male voice passaggio 102' will discuss the various strategies that can be used to retain resonance through the passaggio.
  3. Hello TMV members, I have an issue with my voice, sometimes it just won't thin out/conduct properly. Some days the break seems fluid and I can bridge the (full) voice all the way to an B5, with various mixed shades too. On other days, my voice completely fails apart, and I can't even have the vocal cords conduct an F4. Instead I get screechy distortion and the voice seems kind of dry and harsh, almost as if it was completely stuck in chest mode. It feels like the cords just refused to vibrate where they should. The amount of frustration caused by the issue would make me shout some really angry tones if it was possible given the situation. I wonder if there might be a condition that might cause the issue, which I am not aware of? Like irritated/inflamed vocal cords? This time around the problem was almost certainly caused by a bad cough I am having, but it isn't the first time. I would really appreciate if you guys knew any exercises or anything else that might help. Any information regarding the issue is warmly welcomed! I had to work a lot to eliminate that screechy distortion (or poor conductance) in/above the passaggio, which I am not sure if that's normal either, perhaps some coaches here know. Shame to have the problem re-appear randomly...
  4. Hello All! New to this forum and looking forward to getting to know you all. I was wondering if anyone might be able to explain what Ella Fitzgerald is doing stylistically in certain parts of "Night and Day" (video provided). At 51 seconds, the "are" in "you are the one" and then again at 1 minute 0 secs, the second half of "under" in the line "and under the sun". I hear it a lot in Ella's recordings. It's subtle but I love the effect. Does it have something to do with using the vocal shift from chest to head voice? How does one develop that technique? Any help would be much appreciated !! .
  5. Hi! For the ones that are new to my name, I am Francis. 15 years of age. i like singing classical, rnb and opera. Maybe some rock too. It's been a long time since I last posted and I was like a newbie way back then. And I am coming back with a song of G. Puccini popularized by Luciano Pavarotti. This is Nessun Dorma. http://picosong.com/Sbbw I had a break somewhere at "Il nome mio nessun sapra" and I really want to ask about that. First, about what the title says. What resonation am I using? Is it chest, head, or mixing? WARNING: The very first part of the clip where I was speaking is very soft. The singing part is VERY loud. So, I recommend turning down the volume for the part after "Here it goes". And, is this proper or not? Do I need to address something first before continuing and finishing the song? All replies will be appreciated. Thanks in advance! -Slash
  6. WHAT THE HELL IS A "SNILE"? I have formulated a new idea this morning that is great... I share with thee... This is a technique that is used to help train singing through narrowed vowels and improving the articulation of your lyrics when singing high. This technique is also great for resonating to forward positions and amplifying the "cup" of the hard palette. A snile is a cross between a sneer and a smile. It is used in singing to help narrow singing vowels to maintain intrinsic musculature support and stability with amplification, when singing pop / rock music above the passaggio. Mastery of The SNILE will greatly train your kinesthetic feel for narrowing vowels, resonating forward into an "edgier" position, and amplifying while keeping acoustic mass low and balanced. "THE SNILE" is characterized by: A lifting of the upper lip to expose the forward teeth of the embouchure.A "narrowing" of the embouchure, to prevent "splatting".A very strong, amplified, forward resonant position in the "cup" of the hard palette and "edgey pings" off the forward teeth.Must have dampened larynx or anchoring of the larynx. Notice How Geddy Lee of the prog. band, RUSH tracks "Limelight" through the "SNILE"! Who said that "FREE" Secret Tips Didn't Exist?! TRY "THE SNILE" NOW!! ... and post your results here! Video demonstration on "THE SNILE" coming soon... "THE SNILE" is just one idea and technique. It is not a "global" solution for all things singing... it you want to get a feel for forward resonance and narrowing, it is good for that. It can also help you to sing very accurately with great intonation and articulation.
  7. So is that possible by nature or it is just a goodtehnique?https://www.youtube.com/watch?v=R6uexPmL0fk
  8. Hi guys, I'm super new here and I thought i'd start a classical technique thread since no one has seemed to have posted in this sub-forum yet. I'll start with posting a little something I've done. SHOW AND TELL !!!!!!! This was from a few weeks ago. I need to work on my breathing near the end. https://soundcloud.com/arfoo/nessun-dorma-rehearsal
  9. "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: https://www.facebook.com/ChryssanthemisModern Music Arts Facebook Page: :https://www.facebook.com/modernmusicartsModern Music Studios Facebook Page:https://www.facebook.com/modernmusica...Video Editing: Modern Music StudiosElectric Guitar: Steve SovolosPianoAikaterini DeliyiannidouBass Guitar: Dimitris VerginisKeyboards: Kleanthis KonstantinidisDrums: Fotis Yiannopoulos
  10. "Je T'aime" : is a romantic French-pop ballad of Lara Fabian, included in the album “Pure” (1996), Lara Fabian is a multilingual Belgian, Canadian lyric soprano had sung songs in French, Italian, Spanish, and English, Portuguese, Hebrew and Greek.The song expresses the love and pain that a woman feels for her beloved!I Hope you enjoy it!Official Facebook Page: https://www.facebook.com/ChryssanthemisModern Music Arts Facebook Page: :https://www.facebook.com/modernmusicartsModern Music Studios Facebook Page:https://www.facebook.com/modernmusica...Composition - Lyrics: Lara Fabian & Rick AlisonVideo Editing: Modern Music StudiosElectric Guitar: Steve SovoDrums: Fotis YiannopoulosBass Guitar: Dimitris VerginisPiano: Aikaterini DeliyiannidouKeyboards: Kleanthis Konstantinidis
  11. For a long time, I have been practicing to have similar technique to this vocalist. Mind you, I do not wish to sound exactly like him, I know that's not possible, but I would like to better understand his techniques and vocal flexibility. Over the past five years, I have accomplished his range and some use of techniques, but as you will hear in the recording at the bottom, my formant and vocal flexibility are lack luster. This has been hard to fix for me. Part of my formant problem is me finding the spaces in my voice where I sound my best. And, due to imperfect technique, I get tired very quickly. This is the song I am singing. Below is the same song with me singing over it. You should be able to hear it pretty clearly, how much voice doesn't quite have the same overtones, yet, it seems like our vocal tones are within the same ballpark. You can hear my voice get so, so tired after a while. Sometimes I sound mouthy and muddled whenever I feel like I sound so much brighter or warmer. I am unsure of what to be looking for. I want to be a performer. This doesn't sound very healthy to me. Please help me to understand where my voice needs to be worked on. Thank you.
  12. Hi Folks.. I used to have major issues in both these songs.. They cut across my passagio and I always was unsure about the right vocal weight for these songs.. I had major issues in transitioning from a comfortable low-med range to the high notes above my passagio. It has taken a long time for me to reach this level and I am in general happy about the outcome for now. Obviously, there is always scope to improve As always, any tips suggestions on improvement are welcome... PS: Now that I have heard these songs, I think I know what other members have pointed out about a slightly cartoonish tone. I am beginning to hear the places where this happens(think this is because of the laziness in focusing on the "easier" notes). Goo goo dolls(IRIS) - https://app.box.com/s/evfe0j10ho0fnlurxpi96v4maa2jdy36 Have you really loved a woman - https://app.box.com/s/zcbtbvgpx320yhighu8nhx592myeg36d
  13. 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? http://vocaroo.com/i/s0fyCH3oqtVe
  14. Hello forum, My name's Ross and I have been interested in learning to sing for some time, but due to residential constraints (I'm at university here in the UK) I've never had the space to practice and neither the confidence to practice. Saturday I move into my new place with my best friend and there's only us two so I thought this would be the perfect time to begin. I'm not really looking to become the next big thing or join a band, it's more of a wind down activity to keep me occupied in between my studies. I have watched a number of videos online, but not really came across much for an absolute beginner. I've read and watched much on the importance of singing from the diaphragm and I know I can breathe efficiently from the diaphragm as It's a way to control anxiety. Cost is an issue, I don't get much in terms of a loan or grant so paying for tuition could be difficult. But I'm stuck as to where to really begin and that's why I have started this thread, if anyone has any tips or directions it would be a great help. I do appreciate that this is a fairly vague post, so please ask any further questions as I don't really know where to begin or how to give you an idea of what I can and can't do. Kind regards, Ross.
  15. 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
  16. Hello guys! I need your help in diagnostics of what kind of sound is that: https://soundcloud.com/hewonders/wont-let-you-go Is it head voice? I don't have troubles singing that, but my friends keep telling me I sound like a gay if I sing that way well I must confess it doesn't soung like a man, but I can hit those notes easily! And If go "chest" my larynx tighten and nothing goes right! What am I supposed to do? How can I chest the sound and make it more manly? Thanks in advance
  17. My upper range is weak unless I lean heavily on my head voice but then I lose ALL my baritone chest sound. I've been told my chest voice sounds like Corey Taylor, but my upper voice sounds like Axel Rose. This isn't working.
  18. Hi Good folks in this forum. I am back after a gap. I have been busy with work and also on trying to improve my technique. So I wanted to take a break and post after I felt like I made progress.. I also had some issues with getting my credit card to work!!! IT was pointed to me last time around that the effort during my belting was very much obvious and it sounded strained. In my quest to fix this problem, I have gone back to drawing board(won't we all love to sing full sounding F4-C5 without strain:) ) and tried to address it in a way that works for me and here is the outcome. This was a single take, so there are a few pitchy spots. But please point out any flaws you here purely from a tonal quality. Thanks in advance to anyone who drops in a few words.. https://app.box.com/s/d59gku119z1a0qsv22ik5r29y5268uah
  19. This has always been the holy grail to me vocally. This version is a bit old and I would like to have remixed it but could only find the background track and this 2 track master. I was just getting a grip on this tune here and I can hear myself getting fatigued towards the end of the song. I am going to do an updated version soon since I found the background track. This is for you Jabroni https://app.box.com/s/qwgcoghu7tudz9bmvrgk728nocarpnqt
  20. Any feedbacks, comments, and advices are warmly welcomed. Never had singing lessons and I want to improve myself in singing. This is an improved version from the same post about a month ago. Enjoy!
  21. Can I practice mum and nays nays together or should I train seperately
  22. i have searched a lot to get vocal scales to practice but im not so sure about it so would u please suggest me some samples of these scales scales i need are double octave scale and 3 octave scale i would also like what a long scale i would like to get some samples so than i can play and practice thank you
  23. If you can, you will be able to use your voice, by design, and think on a parallel track and in synchronicity with your speaking or singing. Nevertheless, this is an invaluable skill to have. The fact is that the majority of people do not possess that skill, as they are simply out-of-balance and out of alignment. Some of them think long and hard before producing the speaking or singing sounds and thus, evidently, “missing the boat”. The others, opposite; they speak and sing without boarders and think, if at all, after the fact. It is especially crucial for those who have been undergoing a non-surgical voice repair ordeal. In fact, the above-described imbalance was also a contributing factor to their voice disorder in the first place. The human being who is, in fact, in balance, is most likely able to think and act on a parallel track, which means that his/her subconscious mind and conscious mind are aligned and thus, work on a parallel track with each other. The subconscious mind is responsible for the thinking and the conscious mind plays the role of the driving force. If they are in agreement with each other, the voice should come out as the outcome of the above equation. If the synchronicity between the subconscious and conscious mind is disrupted, the person will not be able to produce any sound upon design and will get stagnated with their thinking and no action, or with the action, which is not supported by any structural thinking. In this case, the singer most likely will be going out of tune and out of timing and, no doubts, sooner or later, will end up with some kind of voice disorder. The regular speaking person, who is very loud in an everyday basis, screaming and shouting at all given times and without boarders, also will end up with some kind of voice damage down the road. As these people have no understanding of any kind that their voice is also one of their organs and if abused, it will lose its functionality, just like a liver will give up its functions for the alcoholics. To conclude – The balance is everything, and so is the knowledge. Stop yelling and screaming before, during and after the voice repair work. Speak in moderation and be always on guard that the voice is a fragile human organ and could snap and become damaged at any given time. For singers - don’t push your voice to the extreme high or low notes without knowledge how to approach and access it. Please learn how to hear yourself thinking and act accordingly and timely.
  24. Hey guys, so in the last few months with the help of our very own sexy Swedish bastard Jens I've made a lot of progress in honing my vocal technique and even more excitedly, my falsetto register! In days before I had completely abandoned the M2 register thinking it was a useless party trick and that if you pulled chest long enough you'd start developing "Real head voice." Obviously, I'm a complete jackass for thinking that but my bro Jens luckily had the knowledge to convince me of the true nature of falsetto and how it was a necessary component to seriously train in balance with the entire voice. So, fast forward to last monday, in the middle of the night I came down with horrible stomach cramps and could not keep any food or liquid down. It turned out my intestines had become partially blocked due to previous complications of a major surgery I had in 2011. So, all of sudden here I am spending an entire night forcing myself to throw up to relieve the built up pressure from the blockage. For somewhere around seven hours I continuously spit my guts up in the most horrible way you could concerning vocal health. This went on for quite some time before I decided to call 911 on myself and get help. Upon entering the hospital with an already completely destroyed voice (Seriously, I had lost my voice more than I ever had before) they decided the best method of treatment would be to put a three inch plastic tube down my nose and into my stomach for a week. Unfortunately, not only was this tube as painful as it sounds but it was also made my throat 100% burning soar and prevented any chance of vocalizing. Now, the tube has just come out which is an AMAZING relief but as I try my first vocalizations since the incident I noticed my falsetto register is COMPLETELY gone. Before I came in, it was soaring, easy, quite pleasant and was just starting to pick up some nice twang potential thanks to Jen's great instruction. Now, my question to the vocal experts, what would be the best method of going about healing this as soon as possible? When it comes back will it be at square one again or will it return to the same strength it was before I had this vocal trauma? Has anyone else abused their voice before to the point where their falsetto register was lost completely? Thank you and god speed!!