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Found 465 results

  1. I have seen threads about "the dreaded A4" etc....so I assume it is a well known and common sticking point with well known solutions etc What about the f5-F#5 area? is that any type of "traditional" sticking point? I ask because im hitting a pretty solid wall around that point. IIRC when I first started I could falsetto up around there. Well now I can do a nice connected siren up to around f#5 but thats it...brick wall there lol. I know there is a bridge in that area somewhere, I feel a certain change somewhere around B4 so I assume I have a bridge in that general area. So starting about 3 weeks ago I was able to begin sirening cleanly through that bridge and now I can pretty much take ANY vowel and siren from down low up to right at f5-f#5 without any hiccups or flips etc. Or I can also onset at that high note and bring the note all the way down connected for a vague reference, here is a nice sustained F#5 (1:14, 2:20 etc). This is not a super strong or super twangy note, if anything its pretty light because i was trying to hit it light so I could hold it at a steady level. https://app.box.com/s/57e8hsloikcjn78se2shpt09wz9y1lk4 So that was a decent sustained note on "you" at f#5. The note wasnt super strong, for one reason because I had to hold that one breath etc but also because im simply topped out right there. BUT THATS IT! right now I cant even really squeak any higher lol. So I dont think that would necessarily be a "bridge"....since there is no note to bridge to. Seems more like I just run out of strength right there. Essentially I have been training long sirens almost exclusively, low to high, high to low, just working to smooth out the passagios etc. for me to go higher, is it just a matter now of spending quality time building strength around the d5,d#5,e5 area in order to be able to push on higher up? I havent really worked those notes THAT much, although when i do my sirens from high to low I often onset strongly on those high notes and hold and vibrato them before coming down and when I do supported sirens up I sometimes stop and vibrato that top note (which gets really twangy/ducky) What specific muscles are we talking about here? I feel that I am a fairly strong twanger....if anything I seem to get a bit ducky up high. What about specific onsets....A&R and C&R maybe? What about whistle, should I work on that a bit to at least start getting some squeaks up high? lol pretty sure David C topped out around this nice live A5. In my mind I have a goal of something like a nice Mark Boals C6. Any ideas? thanks, JJ
  2. playing between the 4th and 5th rd of this fight. Sounds like Chaka Khan doing metal lol. any ideas?
  3. Hi guys, I know the question title seems to hold the easiest answer, but bear with me, please. When I manage to find time to practice, I usually do both lip bubbles and tongue trills as part of my warm up, starting a bit lower in my range (chest voice) and going through my bridge to my head voice, always keeping the resonance in my head. What I noticed is I have a much harder time bridging when I'm doing tongue trills because my folds usually come apart many times, even after I'm warmed up, if I don't pay attention. So, I was wondering why this happens to me , and if it is common with other people too. Cheers
  4. This is for my other technique post e.g. asking if this example is mix voice. Please don't critique unless you are looking to answer the question. I tried to keep the high notes from 'releasing', because I think that a rounded mix represents how it would work with legato, where as a released sounding mix may not work in legato phrasing. Sound-clip is amplified to 0db by default. https://soundcloud.com/eisacurry/mix-test/s-DhlV8
  5. Was working on lightening up and relaxing since I was experiencing a lot of tension after not singing/training for a while. Any and all feedback welcome. https://app.box.com/s/fuo1o1g58yyv54tlc2m6i5k9gawb9rxp
  6. So ive worked my headvoice quite a bit over the last several months. Its responded nicely and my upper range has opened up quite a bit. Time to work some belting now. I find that when I want to sing loud in headvoice its not too hard to do, I can get a nice cutting tone etc...but when i try to really go for it in chest voice or maybe right in the bridge, it gets a little constricted, maybe a little muffy. i cant quite make the note as "big" as I want it to be. of course i also know that I simply havent trained that aspect very much...but im gearing up for it now of course, I have seen about 2 dozen definitions of belting etc. I am going to post up 4 examples of singing styles that I like and want to emulate. Would all of these be considered "belting"? (also testing the forum to see if the post eating bug has cleared up lol) are these all clearly belting, or are some just good strong headvoice? of those, David Lee tends to be more chesty. Im realizing lately that dude was a monster singer
  7. Thought some of you might dig this and may have never heard of it. Came out in '96. Essentially Yngwie covered songs he said inspired him as a youth. Personally I dig the guitar playing even though its very self indulgent. I'll take it over "all about dat bass" anyday. Some pretty good singing IMO Singers are Jeff Scott Soto, Mark Boals, and Joe Lynn Turner (and Yngwie on track 4, lol. He does all the lead singing on his latest album) I list the singers in parentheses 1. Carry On Wayward Son (Soto) 2. Pictures of Home (JLT) 3. Gates of Babylon (Soto) 4. Manic Depression (Yngwie) 5. In The Dead of Night (Boals) 6. Mistreated (Soto) 7. The Sails of Charon (Boals) 8. Demon's Eye (JLT) 9. Anthem (Boals) 10. Child In Time (Boals) 11. Spanish Castle Magic (JLT) (Bonus track on Japanese release)
  8. This song has long confounded me. It hangs around the first and second passaggios, going from E4 to A#4 in the first line. Right now, I can sing this in full voice if I sing it in a lowered 5th interval, but that's obviously not ideal. Would falsetto or a light mass phonation be better to replicate this kind of sound?
  9. Hello, to sum it up the title says it all. I am a lyric baritone with a range of G2-A4 (including chest and head voice but not falsetto). Is this the limit of my range or is it possible for me to continue increasing my range? Also an extra question here, I came across a few posts mentioning about increasing high notes through mixed voice. Is pure head voice able to hit higher than mixed voice or can the latter hit higher notes?
  10. Rob Halford, 65 today. Super iconic singer some songs and vids I grew up on This one also happens to have a "model" guitar solo Insane vocals
  11. Today when practicing I came across a visualization that improved my head voice. I imagined (and possibly felt) my jaws coming closer together on the higher notes. I was able to reach high C with this technique. Anyone one else have a visualization similar to this one that works?
  12. Here's my backstory.. So my chest voice usually is much stronger than my head voice. I can easily hit a middle C in chest voice and can usually peak at about an A or a Bb above. I want to be able to sing..say a G4 in chest voice, but also be able to sing a G4 in a strong head voice as well at times like when my chest voice is worn out, ya know?. The is problem is is that when I try to build my head voice (which is usually an extremely slow process filled with lots of awkward sounds and vocal fry noises) my chest voice weakens immensely. One day after doing head voice exercises, my chest voice would only go up to about an F3 comfortably and I could only belt to about a D4 but it had no resonance, was not comfortable, and the sound just didn't go anywhere. Very flat, dull, and stale sounding chest voice but yes my head voice was much stronger. On the other hand when I build my chest voice power, my head voice almost completely vanishes. On days where my chest voice easily hits bright resonant middle C's and goes way up to A's, my head voice will be REALLY thin and is usually really hard to control. Many times, on days when my chest voice is strong, it'll be really difficult to initiate head voice tones. Lots of times I'll just get vocal fry before my vocal cords compress into a thin, wimpy, bratty, annoying sounding head voice. So with that said, I came here to ask for help and understanding of my problem so I can fix it. I just want my head voice and chest voice to be equally strong and for me to able to use the two voices interchangeably. Please help thanks.
  13. Hey guys im providing links to 2 voice clips showing what i think is my mixed voice and then my falsetto. Ive heard people say my mix voice is a nasaly/chest falsetto. Could you tell me if thats the case? I doubt myself cause i go high as G#5 in mix voice. and im 17 and a guy and dont know if i should be able to sing that high. In my falseto clip, the first sound is me making an intentional chesty.nasaly falsetto becuase thats what i imagine a nasal falseto sounds like, not when people call my mix voice that. can i please get your opinion? is my mix voice actually a nsasal falseto? Also sorry my falsetto sucks in general, its hard to sing that high without mix, ive never had singing lessons but im lookin for a coach! and sorry my voice cracks at the end of my mix voice clip, its so annoying and i cant help it mix voice falseto Mix voice.wav Falsetto.wav
  14. I just got confused by this https://en.m.wikipedia.org/wiki/Tenor. It basically says that tenor is one of the highest male voice types. So that means that the highest is countertenor? But I thought tenor and countertenor has the same range. And the difference is, tenors are singers who sing more in a male range, while countertenors sing more in a female range. It also says that C5 is the tenor high C. But I remember reading somewhere that C6 is the tenor high C. So I'm confused. And I also know that Wikipedia can sometimes be wrong, because anyone can just go on there and write stuff. So I'll just ask this question here. Idk what tag I should put this in, because I have very little singing and voice knowledge, and Idk what a bunch of those tags mean. So I just put it in chest, head, and mixed voice. Because this question includes those stuff
  15. I've been able to sing in a much fuller sounding voice in higher notes (let's say D4 and above?). I think that what I'm doing is more mix than belting. When a high note, let's say an A4, comes out full I'm sometimes surprised with the result while I sing. It's not a fun: "wow, I sound so full in high notes!" but more like "it came out very full compared to what I was expecting, am I off-key?". Usually - the answer is "no". However, when singing, this moment of doubt is problematic and might cause mistakes in the next notes. Anyone ever encountered something like this? ideas on how to deal with it? I'm trying to sing quite a lot to get used to my high register but I didn't manage to enirely resolve this (crazy?) problem...
  16. So as the title says, stuck at F4 and can't go above it. Despite good adduction,twang,and appoggio. Once I hit G4 the balance starts faltering. I can sing above F4 with consistency but there's always some compromise, usually either a thinning with loss in body, or keeping the body but loss in upper ring.
  17. So, I think I'm decent enough now to post a little something. This was one of the first songs I learned to sing and play guitar for, so I think it would be appropriate to post this. Not too hard of a song, but it gives me nice long sustained notes to lock in proper resonance, which I think i accomplished. Without further ado, here it is: http://vocaroo.com/i/s0ph1hS02VcS Enjoy
  18. Cues are still a bit iffy. This was first take. Pretty proud of the direction I'm taking with my singing! Hope you guys enjoy and any constructive criticism is appreciated.
  19. As I have begun to really develop my head voice, I've noticed and been told by others that it is extremely loud. As ronws said, it has "volume that could crack a mountain." Now, I don't think this is a bad thing, as I want to do rock vocals, but could this be a problem in any situations? My mother has said that it's so loud that it's unpleasant to listen to.
  20. Wonderful song and another killer interpretation line from Bruce Dickinson. A real lot of power and details on the phrasing, in special his use of registration on the chorus and verses. Thanks everyone that listens and drops a few words Update: Fixed version with a little more punch to it, thanks @aravindmadis for the help!
  21. Have been meaning to cover this song for a while now. Bruce's tone is amazing in this song. What makes it so difficult is the number of closed vowels, especially in the chorus. Someday I would love to do a better version of the song, especially in the chorus. But for now I am very happy with the outcome for my current level. A big thank you to folks who give this a listen and drop a sentence or two...
  22. When I sing in head voice, sometimes my voice will make two notes at the same time and I don't know why. Btw, I sound very bad in the recording because I have absolutely no head voice control so please understand I don't usually sing this bad. lol. But what exactly is causing the phenomenon? Recording: http://vocaroo.com/i/s0Adwm0BShgq
  23. A couple of days ago, I finally got the coordination down for stable head tones, but I haven't been able to recreate that sensation again. Has anyone else had this kind of problem with their training, and are there methods to pinpoint what I'm doing right and remember how to do it?
  24. how long does it actually take to develop good compression? I have twang and cord adduction, and I've found that the next goes into compression. I found that compression gives my cords a very airy feeling and better tone, but it seems like I can only hit it at certain times in my warmup, so I'm wondering how long it might take to get consistent compression. I can actually sing above the compression, but that doesn't help with tone