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Found 465 results

  1. Hey everyone. I've been lurking on these forums for a while and thought i'd create an account. So hello!   I'm in my 20s and I took some vocal lessons with a teacher in my area quite a few years back. I had no clue about the voice back then. This whole 'mixed', 'blend', 'chest', 'head' voice. I didn't know about any of it. And my teacher didn't tell me about it either. Maybe he just didn't want to confuse things for me and just instead think about it as 'one voice'. Anyway as I did the scales.. I got higher and higher and ended up straining, like many people do. But i thought that this was normal and if I just carried on going up higher and higher I'd eventually get it. Anyway in the end I could sing higher and on pitch but I hated the sound of my voice. It sounded too squeaky, forced, strained. And now I realize it's because I was squeezing my way through the vocal exercises with my 'chest' voice. After a while I began to realize that being on pitch isn't everything. There's so much more that creates a good singing voice.   I was like this for many years until a couple years back I started with this 'open-throat' technique that Ken Tamplin teaches with the bright 'ping' in the back of the throat. This helped me tremendously with pitch, power, and the overall tone of my voice. But I did find that I still didnt have the control I would have liked with my voice. Singing more softly was kind of difficult. I also hit a wall with the whole 'chesty' open throat approach. As I got up to around the E4 and area I was really pushing and doing the whole vowel modification thing and I didn't like how it felt. There was too much tension. And as much as I think Ken Tamplin is a hell of a singer. I think you can see the tension on his face and in his neck as he sings on his videos. But I understand there's nothing wrong with him because that's just his technique! Like I said he's a hell of a singer!   I like many different singers. In particular I love the whole 80's power metal and rock vocalists. Bands like Bon Jovi (I actually prefer the guitarist / backup vocalist Richie Sambora than Jon.. check out his solo albums!). Another is Miljenko Matijevic from Steelheart. I love the smoothness and how effortless the singing seems. And I think that's the key with what I'm trying to achieve. A smooth and effortless voice that can sound clean but can also and distortion on if I want. Check out Richie Sambora's 'Ballad of Youth' below. His voice does sound 'chesty' and people would say it's the same as Ken Tamplin but I think Richie Sambora's voice is more smooth and is using a lot of head voice with that slight distortion on top to make it sound thicker. He also sounds great in the backup vocals for 'Wanted Dead or Alive' by Bon Jovi.   Someone that has helped me alot just by sololy viewing his Youtube videos is Dan Formica, who I noticed is a member on these forums. His way of not pushing this 'chesty' voice and just letting it cross over into a more heady voice as helped tremendously.   I know this post might be kind of long, boring and pointless to alot of people but I thought I'd just tell a bit about myself. I have many questions about vocal techniques and will most likely create more posts in the future.   If there's anything anyone could tell me about the techniques Richie Sambora is using below.. please feel free to reply!   Richie Sambora - Ballad of Youth https://www.youtube.com/embed/gv8ZaD_oFpE   Bon Jovi - Wanted Dead or Alive https://www.youtube.com/embed/Mqyrt7RCgsg
  2. Phew.... This is a tough song to mix with so many changes in the volume and intensity of the singing, and needless to mention an even tougher song to sing.  I did a version last year and since I have made some improvements, I thought it is time to post a version 2 of the song..    The chorus makes it so difficult to sing in tune(it is so loud in the karaoke track) and the phrasing makes it difficult to record without backing track... Took me nearly two days of effort to produce a version I am happy with.  There are a lot of mistakes, but am giving myself a break since I am not a pro :-)     Thanks to everyone who listens to the song and drops in a sentence or two...    https://app.box.com/s/fm1yf25i19v69dz7qttseqhlo7cbr5j7  
  3. Love These Vocals!   Rob Halford Was GREAT!    "Screaming For Vengeance"       1:15 - 1:30 - Amazing Edging skills here. Lots of twang compression and guiding the resonant energy and sound color right to the forward, hard palette to make it sound more "metal" or brighter. Not a lot of jaw movement through this passage, and thats great! Halford is very efficient with the embouchure throughout this song...    3:56 - 3:59, another great moment with good, tight edging pops right to the front of the hard palette.   You also have to appreciate his ability to interpret the lyrics and get into character. This is great character and theater in my opinion. With just a look in the eye and mouth, he makes it looks masculine and tough... Poise!  Instead of getting all spastic on stage... Love the way Halford struts on stage and keeps a very loose posture all the time.. his cool walk is not just to be cool, but it is great for keeping the body from tensing up.   Thoughts?
  4. So, today I've tried singing a new song I wrote for the band. I think I'll leave it to our lead singer but it was interesting hearing myself through an amp.   When I record myself I know that my head voice sounds much fatter than it sounds in my head. When I record it goes from Bee Gees falsetto in my head to almost one voice. Let's say 1.1 voice...  when I sang and heard myself through the monitors it was weird though. I felt like I was singing the notes (which is good) but it really sounds different, and made me instinctively not understand why I'm not in head voice in places where I usually switch... the monitors overtake the sound that's in my head, of course...    My question is, how do you practice on coordinating yourself with what you hear from the 'outside'? any tips on how to get over the difference in what one hears?   Any (very) affordable solutions for home use and practice? I mean, I have a tube amp for my guitar... not sure how a vocal mic would work on it though...     Edit: After writing this I figured out I can experiment with a recording device I have with a built in mic and output for headphones. Still, if anyone has any ideas, thoughts, experience - I'd love to hear about it. 
  5. Hey all. I hope everyone is doing okay.   My question today is how can one add more emotion to his/her singing while singing lower notes ? everything below the end of the fourth octave.   I've noticed, as a guy with a bit of a deep voice (I don't know if I'm a baritone or not anymore, I used to believe I was) it is easier for me to bring emotion into my singing when singing over the end of the fourth octave around F4 - B4.   But anything below that seems mostly just plain boring or bland, unless I forcibly sing breathy and lower my volume, which isn't really practical in most situations.   Suggestions ?
  6. Hi folks.. Did a cover of this song.. Heard the version done by Bono before I heard the original and have since been hooked on to the song..    Lot of emotion in the song and the lyrics and I love to sing these kind of songs..    https://app.box.com/s/3q33lx11j48cz41iwjy8gyswmcqkymg5
  7. Hey guys! So im trying to do my Pillars training as best as possible but i seem to have a hard time finding headier placements on my lower head notes. On B4 and up its easy to find that headier placement but its still weak and im just trying to get those lower notes first. Im trying to phonate a G4 in a headier placement but i just seem to be belting it out. Its easy to belt that G4 but i really dont want to do it that way so i can continue to practice. https://app.box.com/s/qsrmy4qaof1e0cupijg4hvt4ce7x3b5s - this is a G4..im trying to go as heady as i can but this doesent seem to be it. Its either this or falsetto. Ill include a C5 just so you can hear the difference in aproach. https://app.box.com/s/u0ta2rfl7jo5wwas39zjg97c63mog05s - this is C5.. it is weak and windy but its not pure falsetto..i need more adduction...this is purely for seeing the difference.
  8. So yeah I'm pretty new at this whole singing thing.  Only been trying to sing seriously for about a year or so.  I just got into the Four Pillars program and i just can't express how badly I want my head voice to sound like my chest voice.  Robert's voice is obviously amazing, and that's what I'm aiming for.  I just had some questions about a couple clips on youtube.  I don't know if these singers are pulling chest or singing in a strong head voice.   First clip is Tyler Carter singing Fame Over Demise by Woe is Me: At 0:56 ("I'll build my way out of your demise") he sings from an F4 up to a Bb4.  Is he just able to belt this out in chest or is he singing that Bb in head?   Next is Brendon Urie singing This Is Gospel: at 0:38 ("If you love me let me go") he holds that A4 (seemingly pretty easily).  Is this head voice?   I appreciate any responses.  Like I said, I'm new and just looking to learn.  Would take lessons if I could afford them.  And also if these guys aren't singing in head voice, is it possible to sound practically identical when singing the same phrases in head voice?  Thanks guys! Best of wishes to everyone!
  9. Hello everyone I'm ShySoprano and I'm happy to join this forum! I've seen it a couple of times before and I can tell people on here are musicians who know what they're talking about so I definitely wanted to go on here and ask some questions, get more educated about music, etc. I use another forum that has the exact same set-up as this so this is pretty easy...for now. I'm a soprano. I don't know what kind specifically, but it's definitely something lyric, not dramatic. If it helps, I'm a freshman and I sing soprano 1 in the all-girls choir. I know a lot of music technique and a lot of things about the soprano voice, but I don't know how to apply it. If it's okay, I'd like to ask a few questions about technique and vocal ability. Hopefully someone can answer at least one of them, though it's okay if no one wants to. Just so you know, I have the tendency to write essays on these forums... 1) The lowest note I can sing naturally is the E-flat below Middle C (Eb3) and the highest note I can sing is the A above High C (A6). I have to do a lot of warm-ups like octave jumps to hit that A though. The highest note I can hit without warming up is E6. I don't have a strong/fixed mixed register because I'm not formally trained but I have sung there once before unintentionally. The highest note I can sing in my chest voice is C5, but my voice normally starts to change at F4. My first question is a bit of a stupid one. For someone who has very little technical training other than choir, does this sound good or impressive? Or is it average? Below average? 2) The head voice is supposed to be the soprano's strength. I just discovered and started singing in my head voice in 8th grade because my choir teacher back then wanted me to sing soprano and I obviously couldn't sing everything in chest. I've definitely gotten better and I sing in actual head voice, not falsetto like I would sometimes. Like I said, I'm one of the higher sopranos in choir now. Problem is, I run out of breath so quickly. I can hold long notes in my chest and lower head voice. But once I get way up there, I struggle so much with my breath control. We're singing "Hallelujah" and theres a part where the sopranos start holding notes for 8-10 beats while the notes get higher and I always die on that part. What's wrong? And how do I fix it? 3) How do I strengthen my head voice? Mine is really light but it's kind of weak compared to other girls' and it's too feathery. I'd also like to know how to get a natural vibrato. I know you can't force it or apply it consciously to come because that leads to vocal damage, it's supposed to come naturally. 4) How do I get better mixed notes? When I mixed registers that one time I talked about, it sounded like I was in chest but it was lighter, almost going into head. I felt vibrations more in my head than in my chest and you're supposed to feel them in both (or in your nose?). Is the mixed voice supposed to have more chest, more head, a perfect 50/50 amount? Any more info on this would be great! 5) Last one, I swear. I know the proper singing technique. I know how to breathe correctly, I know how to get rid of tension, all the different parts of the voice, how to sing with strain, etc. I just can't apply them all naturally. I know I need actual vocal lessons, and trust me, I'd love to get them. But my family's going through a lot right now, so it's not a priority at all. I'll have to wait until I'm older most likely. I'll try to keep practicing on my own as much as I can. I still have a lot of problems but maybe I can work through them? Does anyone have more input on this? I don't want to teach myself the wrong habits and damage my voice. I try to do exercises I've learned before from YouTube or my choir teachers. Okay that's it! I wrote a lot I know...I'm sorry to anyone who doesn't like reading lots of paragraphs. Don't feel forced to answer any of the questions, but I would appreciate it if someone did. Thanks everyone! I hope I can make some great friends and learn a lot of great stuff Happy Spring ❤️❤️❤️ **sorry about the editing, it if shows up. I had to fix something because I gave you false info.
  10. Just wondering how long it usually takes people to make progress in certain areas.   Bridging?   Connecting?   Getting a "chesty" sound in the head voice?   I'm not meaning significant progress, just some noticeable progress.  I've been training with the Four Pillars for the past couple weeks and I've successfully bridged a handful of times.  (You have no idea how excited/shocked i was when it happened). So i feel i'm making pretty good progress there.  I can get a connected sound in head voice pretty easily when practicing.  It's a little harder to maintain the connection when singing actual lyrics.  But the last part is what really gets me.  When singing phrases ranging from, let's say, C4-A4, I feel i can get in and out of my chest voice fairly decently, but while there's not a noticeable "break", it doesn't sound like the same voice at all.  I'm definitely not expecting this to be a quick process by any means, but does anyone have any idea when i might notice my head voice starting to sound like my chest voice? And i don't necessarily mean my head voice sounding meaty, just more like my chest voice in general. (hope that makes sense!)   I've been trying to practice at least 4-5 days a week.  I usually do the foundation building routine, then add some bonus scales and sirens afterwards to get more practice with my onsets (mainly Dampen&Release, Wind&Release, and Contract&Release) and bridging. When i get more comfortable with my bridging I plan to start working on the other exercises in the program. 
  11. It has been pointed to me that one of the issues I have in my singing is my not being able to maintain twang compression.  This is a very interesting thing for me to ponder about.     To me, twang configuration is something that helps me reach high notes with ease.  On the other spectrum is the chest voice, which is pure and so deep.  I have a certain degree of depth in my low voice that I would like to use.     When I approach a song like "Don't stop me now" it creates a tremendous confusion for me.  Freddie starts of with an amazing chest voice and when he goes to "turn it insaaaade outtttt yeeeeeah", it goes pretty high.. Now me, I cannot do the latter part in my chest voice and I need to use twang..    Listen to my attempt at the same song(only the intro)   https://app.box.com/s/sapjggxxuspa12u8cjpbw2ljm4x4da0v   From the beginning till 0:15, I am fully in my chest voice and I do the twang compression for "Turn it inside out".. It feels a little disconnected from my chest voice.. However, if I try to get this portion any deeper, my voice cracks(not everytime, but I don't have consistency)..    My larger question is on use of twang compression.. How does a singer visualize usage of twang.. It is whenever we cross the passagio?  Is it when we are in high head voice?  
  12. I need some ideas why this vocals dont sound musical especially on hi notes, its me singing i think when i hit hi notes it sucks, is ther some vocal coach that can give me some advice i'm a bit lost here is the audio sample 
  13. My student Will Scott just recorded this tribute to Queen, "The Show Must Go On"... sounds great!  
  14. There is something in my voice I have always wondered about that is sort of frustrating.  About a year back I didn't have any sensation of connected head voice.  (I.E. I could not bridge at all into a light phonation, I could only flip to a different "falsetto" register that was in no way consistent or bridgeable.) Since then I've discovered a connected sound that I can bridge on increasingly stronger levels with but one thing deeply concerns me.    I see all these demonstrations (sometimes from complete beginners) of people bringing their voice through their entire bridge and into the fifth octave with head voice without having to flip at all.  When I try to do this my voice can't pass G4.  Instead, at G4 my voice flips into what I would call my "Falsetto" voice.  This is quite annoying to me because I desperately want to be able to bridge into the fifth octave with a light, but compressed sound that is capable of bridging seamlessly back into chest.     So my question to you guys is, is this a normal problem that some people encounter?  Does anyone else have this problem as of now? And also, what exactly would you define the register I flip into at G4 that I call "falsetto" as? Is it something I should train or completely throw out? I am going to provide links of me utilizing both of these different voices in M2 I have to illustrate exactly what I am talking about.     Bridging from M1 resonance to M2 and my voice flipping at G4 without me having a say in it:   http://picosong.com/2gkp/   My "falsetto" voice:     http://picosong.com/2gYu/   So, the main question would be, how do I make a connected bridge on a light level without having to "split" into that flutey register?  
  15. Well as it seems im pushing my chest voice way up high and i did nog release. I tried working on lightening the mass. I was wonderinggif this is actually a head voice. I was surprised how easy it was to go up and dowm in this configuration and it seemed preety fullband connected TO ME. There are some clunks but i just got this down so ofc its far from perfect. Jens helped with his video about falsetto and yawning. Tell me what you think. https://app.box.com/s/ub8l62pvyta81vuj08p2b8gm9puxitfu
  16. Hi Folks,    This is a second take of this song.  I have been down with throat infection and cough again in the last 10 days and my voice is not in the best shape.     I have been meaning to do this for a while, since my skills have improved.. This is, like some of my recent recordings, a single take.  To me it sounds a little unpolished...    This is a very difficult song for me.  I am unsure how much air I need to use and I feel dangerously close to flipping from head voice into falsetto!     I seem to have problem with the pitch(just a little shaky).. What do I need to do to improve pitch accuracy(obviously talking about live singing here where we don't have luxury of multiple takes)..    http://vocaroo.com/i/s0JOC0jOmpnN
  17. So I have really been soul searching to fix all my smaller issues that bug me. Mainly because I am finally building the group I have been quietly working on for about 6 years. Finally at the place where I might have the time and finances to do so. Promise this is my last weird question lol. So whats the opinion of modifying vowels at say g#4 to c5 to always being more open and wide to bring a brighter tone? Even diphthonging to keep them as such if needed. Is this considered rookieish?? Bad grammer? ect? Doing as such has always been easy for me, however have always avoided it. More than likely because the classical group I trained with frowned upon it heavily. Since that was my first source of actual training, along with longest amount of time. Its like when you are a kid and something gets burned in your head, its hard to remove lol.... Also one more random tid bit...whats the opinion on grit from over compressing a bit in that area. I really like the tone it provides through experimentation, and its a pretty cool transition to full head voice. Also gets rid of the over covered sound or rrr sound as the sexy beast put it. Though I havent tried it live or anything under pressure. My folds dont seem to mind it, they dont love it, but they seem to accept it as of now.
  18. Getting high in the mix and into full head voice. When I was originally finding my spots for these notes, I went extemely narrow almost covered for security. Then added more width to brighten it up, and take away that "amateurish" sound, as Robert calls it. So I would say I ended up on a 70/30 split wide/narrow that has never really changed since I landed there. Is there a way to have the security blanket and ease of a narrowed vowel up high, without having the negative sound that comes with it(like pure narrow not a hybrid). From my studies and experience I am un aware of a way thus far. I also dont believe its possible to bring in proper twang without widening the vowel. Which seems like the obvious reason one of the down falls of staying completely narrow up top is hootiness. Not really having problems with my current methods, though always interested in find better methods through debate.
  19. YOUR INSTRUMENT - UNDERSTANDING THE WHOLE VOICE: A 4-PART SERIES Co-authored by Dena Murray & Hilary Canto The series is presented as downloadable pdf files below so that you can easily print them. We'd love you to have a discussion thread here in the comments section. Please add any questions/comments below. We hope you enjoy the series! Thank you Dena & Hilary Left-Click here to download Part 1 Left-Click here to download Part 2 Left-Click here to download Part 3 Left-Click here to download Part 4 Dena Murray teaches in- home and online beginners as well as professionals with her own style technique for correct placement of the voice as well the art of breathing. Books available are: Vocal Technique: Finding your Real Voice (Hal Leonard Corp. 2002), a beginner's book separating the voice before teaching how to bridge the passaggio. Advanced Vocal Technique: Middle Voice, Placement & Styles co-authored with Tita Hutchison (Hal Leonard Publishing 2007) focuses strictly on placement and a unique technical approach to bridging the passaggio. Vocal Strength and Power: Boost Your Singing with Proper Technique and Breathing to be published By Hal Leonard Publishing, end 2009. You can find her on the TMV Directory Of Experts. www.denamurray.com Hilary Canto teaches in-home and online and developed the TRUE VOICE COURSE specially for allowing the voice to flow freely from the heart and to teach healthy vocal technique for performance singing. The course is available as mp3 files with written sheets to download. You can purchase it through and see her training videos to accompany the course on her TMV, youtube and myspace pages. You can find her on the TMV Directory of Experts.
  20. http://vocaroo.com/i/s1MBcg9w8BvC   When my voice cracks like this, does it mean I'm not supporting enough, or haven't I strengthened my twang musculature enough yet? I thought it was the latter myself since I still can't phonate quack mode in headvoice. When I do try my voice cracks and goes all over the place as if I'm yodeling. Really weird sounding and not pleasant. I could record a sample of it if necessarry.   I've been practicing with the Four Pillars of singing for about 10 weeks now and recently I've started taking Skype lessons with a local TVS teacher here in the Netherlands.
  21. Hi Folks.   I sang this is my college days nearly 13 years ago.  I sang it that time before knowing that something called "head voice" existed.  I am a much more knowledgeable about singing.     I have long wanted to cover this song.  This is a single take.  So there are few instances where i am not bang on the center of the note and some places where I run out of breath.  At some level I like the authenticity of a live performance, which is the kind of singing I am training myself for.  This is a very difficult song for me and sits smack on my passagio.  I always seem to get into trouble singing "For tonaaayt, Ahell sleeep on a baaaaaaaad'onaaaaaaayls".  I have used a lighter onset singing that particular line, hopefully it does not distort the colour of the tone       Thank you for your feedback.  
  22. Introduction Female singers have a wide range of tone qualities available to them. For many classical as well as nonclassical singers, the upper octave of the vocal range is performed using what we colloquially call the 'head voice', which is produced by a combination of laryngeal configuration and resonance adjustment. With some small modifications, the tone quality of the upper middle, and even the middle voice can be produced so as to be perceived as consistent with this upper voice. In this and future articles we will explore how female singers who use the 'head voice' accomplish it in their various ranges. The Resonance Transition into the High Range As female voices ascend in pitch into the middle of the treble staff, the fundamental frequency of the sung note begins to approach the frequency of the lowest vowel formant, F1. This freqency varies by voice type, by vowel, and to a certain extent, by the technique of the singer. Generally, women with long vocal tracts, and/or who sing with low larynx, will have F1 at a lower frequency for a given vowel than those who have shorter vocal tracts, and/or who sing with a neutral or high larynx. Additionally, some vowels have lower F1 than others. For example, the vowels /i/ (ee) and /u/ (oo) have lower F1 than /o/ (oh), /e/ (ay) and /a/ (ah). These factors, taken together, determine the frequency of F1 for that singer for that vowel, using that particular technique. Singing an upward scale on a single vowel, as the fundamental approaches F1 for that vowel, that harmonic becomes progressively more resonant, to the point that it is the very loudest in the voice. This is the first characteristic of the so-called female 'head voice': In the upper range, its loudest harmonic is the fundamental. Some Spectragraphic Examples - Whitney Houston This first example is of Whitney Houston, singing the highest note (on the vowel /u/ (oo)) in her performance of 'I will Always Love You' available on youTube at http://www.youtube.com/watch?v=HGC003Xz3CY Its in the section after the modulation (at about 3:40) and she sings this note several times. Except for the instrumental components on the extreme left end, the five highest peaks in this are from Whitney's voice, and you can see that the first one (the fundamental) is quite a bit taller (louder) than all the rest. Angela Gheorghiu - Top note on Puccini 'Un Bel Di' This one is taken from the top Bb of this famous aria, at http://www.youtube.com/watch?v=PNKWzml7zlY as sung by Operatic Lyric Soprano Angela Gheorghiu. I've labeled the fundamental, so that it can be seen even though there is clutter from the orchestra (they are playing fully Forte, and doubling her note), Barbra Streisand - Who's afraid of the Big Bad Wolf This one is from a very early recording of http://www.youtube.com/watch?v=m3SmmKtR8Bw. Here, she is singing the vowel /a/ (ah) on the B above the treble staff.Barbra's, and released on 'The Barbra Streisand Album'. The headvoice tone is heard, used in an almost mocking way, at about 1:56 in the recording at 'Head Voice' in the middle range While it most commonly appears in the upper range, 'Head Voice' quality is not limited to there. For many classical singers (and also for nonclassical when singing softly), head tone is achievable in the middle and upper middle by managing a glottal closed phase somewhat less than 50%, and by using darker vowels. In a future article, I will write on the dynamics of this particular kind of vocalism.
  23. Hi guys!    I'm a vocal coach primarily but have my own short comings/insecurities as a vocalist myself which I would love to get your feedback on. I make a major effort to produce a twang sound in my head voice when singing pop as I really struggle with singing in my mix due to my training being classical. I also think I'm just genetically set up to sing predominately in my head voice. Any tips welcome on how I could get in to that mix or let me know if I tricked you during this track in to thinking that I used mix at any stage.    '>
  24. Guys,  I chanced upon the pinned "How to Sing in the Style of Steve Perry" video last night right before bed, and on a whim, decided to sing along.  I was surprised to find that I could do it just fine, especially with his pointers.  It felt so easy and efficient and, being somewhat lazy, I liked not having to work so hard.  I had been working lately on light singing and sirens and letting the voice do what it wanted at light volumes, so perhaps I was already in that mode.     Anyway, today I warmed up and tried it again and it did not feel too good.  What had felt easy last night was a bit of a struggle.  I didn't think much of it... I then went to try that style on "Hotel California", and what came out was a kind of reedy screech.  I was puzzled.     I downshifted and tried to sing "Smooth", which I think goes above E4 rarely, and there just really wasn't anything there.  That song usually feels too low, but it does lie in my speaking range, at least.    Voice felt tired and didn't want to cooperate with the lighter singing.  More intense, "overdrive" or "belting" sounds seemed okay, although by this time I was ready to shut it down and didn't want to make whatever it was worse.  I am not a big-time belter, but I think I generally sing above the passagio in a lightish "overdrive" up to G4-B4 or so.  I can sing in a falsettoish head voice up to E5 or more, especially in exercises.    Any ideas as to what could have been the cause?  My theory is that the heady, light "mixed voice" thing in the video uses a different part of the voice than my usual activities, so that part (M2?) fatigued quickly and needs recovery time.       
  25. Recently i made a thread where i posted a siren goi ng up to C#5 and people said it was a head voice...so i tried to apply similar thing to singing and even tough im not having a HUGE proggress i am slowly learning to find that configuration..   So i decided to record another short clip to demonstrate what i am doing..   So is this also head voice or not...also notice my break down at the bottom in the end of the clip...any tips on how to strenghten that   https://app.box.com/s/kntp1krd9qyo0lxsg4mq6kcpa7bv9yor - new clip     https://app.box.com/...5xydo3mo6usnr8j - siren from the old thread for comparison