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Found 222 results

  1. I'm a metal/progressive rock/classical guy taking lessons with a classical opera singer. It's always an interesting thing bringing her vocals to listen to. Some get better reviews than others, but the most common thing I hear from her is that the vast majority of vocalists are wrong for my voice, because they're just too high and light, and I have a bigger voice with a darker color. I kinda knew that was true of someone like James LaBrie, but Bruce Dickinson, Eric Adams, Dio, etc. I wouldn't have called them smaller voices, or the highest, or the thinnest, but to her they are. I one guy she thought was a bit closer match for my voice was Tim 'Ripper' Owens, or maybe that I could get get away with singing stuff from baritone-y guys like Eric Clayton of Savior Machine, who has a cool voice but it's usually a different thing. To her, a voice like Geddy Lee is just an exceptionally odd VERY light and high male voice, almost off the spectrum, and 90% of the rock singers out there are light, thin tenors. She asks if I have some other things to bring her that aren't like that, but it seems in rock, almost everyone has that sound, and with the exception of a few baritones here and there. The implication - the world of rock and pop is just filled to the brim with light tenors wherever you look these days. Even on Broadway these days this is all the rage: (Also interesting my teacher thought the composer should be shot for making the singer do that B5 at the end in that style, because it's certain to cause damage over time, and this singer did indeed have to take a break because of voice trouble I think). I mean, if you listen to something like this: ...this kind of voice can't help but sound a bit old fashioned. But really, it's just a natural male voice, singing as it would naturally sound. But there's practically no place for that voice in pop or rock, it seems. I suppose the question is, to what extent are we talking about just a lot of thin tenors, and to what extent are we talking about singers who might be baritones or low tenors, but who thinning their sound out, because that's the style?
  2. Lowest comfortable note: D2 Highest comfortable belt: Bb4 Highest belt: C5 Highest comfortable head voice note: F#5 Highest note(to get this note I have to really bring in some air for a falsetto): G#5 So... what would I be considered? I'm a 19 year old male. My voice sounds heavy and/or dark when I'm singing at a medium to loud volume and a little metally or metal like or metallic(not like the music genre but IDK... imagine like legit metal), it sounds clear, not much grit, no husk or rasp. At a low volume it sounds clear, not too airy unless I add some airiness. I can sing up to around an A4 without having to "belt". Speaking of belts...I can enunciate well on an A4, not on a Bb4, but my Bb4 isn't really pushed or strained and has the same quality as my A4. All the way up to Bb4... belts feel nice, pretty open, have a nice resonance. The B4 though... is a challenge. The B4 along with the C5, is a hit or miss in regards to being open or clenched, not too sure how to control it but I've sustained a nice, full, open, clear, C5 once... only once!!! Haven't figured out how to do it as freely and with as equal quality since. I want to be able to do it again, It felt so good coming out of me. My speaking voice consists of vocal fry and the lower end of the 2nd octave. My low notes aren't airy or hollow, they're pretty robust. I think my low notes are the highlight of my voice, I can speak on the D2 freely, its pretty resonant, and it feels nice coming out of me if that makes sense(I don't know how to describe it, but some notes just feel so good when i hit them). My head voice is kinda piercing, I don't have much of an issue transitioning in and out of it, doesn't sound airy, and can stretch down to a G3. I can sing in head voice at a low volume up until F#5. G5 is definitely the limit though for my HV, its not too pushed at a medium to loud volume, but I can't hold it as long as my F#5 and i have to try harder than i would like in order to sing at a soft volume on said G5. So aside from my initial question of voice type... if I were to get a vocal coach and go through some quality training, how much could I extend my range or would I just be able to improve what i already have...or both?
  3. Hi All, I have created a YouTube Channel on which I plan to upload acoustic guitar instrumentals to help fellow singers train and improve their singing skills. Looking for feedback and suggestions. What do you guys think? Link to the latest video:
  4. Heres a little video my friend shot of me performing in the studio
  5. Hello everybody! So my last thread I asked for help on mixed/ middle register. I have been working on it for a little while now but I still feel like I'm shouting and using too much air on belting high notes. It's as if I'm trying to sing it rather than just letting the sound out. Here is a comparison: and me lol: Any tips or advice is appreciated. Don't know if I'm shouting because I can't get that cord closure properly in my higher registers or if it's a bunch of different things. Woke up a little hoarse today too after singing for around 2-3 hours heavily. this is so annoying Thank you ! Love this forum for all the help I get
  6. Hi to everyone! I've been reading this forum for a couple of years now and always found it very interesting and helpful in dealing with some of my own issues, so I thought I'd post this project that I've got going on. For a long time, I have suffered from vocal tension and inability to sing past D4 without pushing the "chest voice"/ overly-engaging the TA's basically. However, in the last year or so, I have experienced great relief after starting to do falsetto exercises suggested by Anthony Frisell in his manual "Training Baritone Voices". After reading many other sources later on, I have started questioning the usefulness of voice classification, purely from psychological point in the beginning (belief that one is a lower voice and its effect on the voice and singing), but now also physiological (neglecting upper range), especially in contemporary music (pop, rock, jazz, music theatre...). So now, I am writing a dissertation on the validity of voice classification in contemporary music and have already got some interesting answers. However, since there is barely any research done in relation to contemporary music, I would really be grateful if any of the members here, who give voice lessons, would participate. This is the link if anyone is interested: https://goo.gl/forms/uLMWByDMKYv4IWMk1 Thank you and feel free to spread the link if you find it useful! In general, I would also love to hear your opinions on this. Do you think tutors should classify their students and why?
  7. Currently debating my existence listening to the melismas in Handel's 'See the raging flames arise.' Any tips on melismas in general?
  8. So I have been having a rethink about where I am going with this project and wondering if I am going in the right path So the teacher I have now is a profesanol baritone opera singer and he is very good with the training he provides and he has an eye for detail; for instance if your not stood up right or not taken the correct breath of air or sang slightly the wrong vowel at a slight differnet note then he notices all this and points it out. Sure he has all masters degrees and everything but can he train me to sing contemporary singing to its full? All we seam to train on is low notes which I imagine that is all he can sing himself (being opera baritone). I asked him what was the highest note he could sing and he press a key on the piano and sang it, which was not very high at all then his voice cracked and he said "ow but I have been doing a lot of singing today" If I want to have the ability to sing soprano notes and sing contemporary songs written by females that are high notes and a lot of belting, can a baritone opera singer show me the way or not? Thanks 2CIADB
  9. Hello, TMVW! Finally I found a forum that is active and help people out! It's nice to meet you, I'm Gedas. So the situation is this: I've been singing for like 3 months. I've been writing songs (Rapping) for like 4 or 5 years and used to do rap songs in my native language (I'm from Lithuania). Now I'm transfering my creative zone into English language.And since I love music itself, I want to learn as many aspects of them as possible (But taking one by one and making it to a professional level). Now I Work only on singing/speaking/rapping and writing songs, sometimes I pick up a guitar or synth. So the thing is this- I'll post a link for a private video where I sang my own wrote song (instrumental is made by Encore beatmaker). I just used it for a purpose of learning and creating, no final released products. And i wanted more opinions from other people, since the only two or three people that heard me singing are my vocal coach and one or two friends. Where does the beautiful sound/energy comes from? Or lets say- where I'm singing, what drains that energy and that sound? It doesn't feel like talking anymore but it's still not that energetic, beautiful resonant singing. Link: I'm working on my enunciation hard because ohhh boy, I used to fall back in my throat a little bit, mumble words , speak quiet and + I'm native Lithuanian. Every single critique is appreciated, I need to grow in best ways possible! P.S. I sound like inbetween talking/shouting and singing. Like I'm not speaking, neither I'm singing with beauty in the voice. Is it because I'm forcing my throat too much and not working my breathing efficiently if am using it at all?
  10. I have never sang before, or have taken it seriously and do not know how to sing properly. I don't really know anything about singing because it's something I never do, but my sister kept on playing 'Dangerous Woman' and the whole song got stuck in my head, so I sang to it. It's only 10 seconds of audio, but that's what memory was left on my phone. Do you think I have some talent? Is it something I should take up? I don't really have any hobbies so that's why I ask, kind of want to start doing things but I am only assessing where my strengths and weaknesses currently are at. Thanks for your response! New Recording 5.m4a
  11. I was updating my website today and thought I'd add a new product for the fun of it. I don't know if I'll do this forever but as of right now I guess i'm a vocal coach. anyways..... if you're interested http://jaromeubanks.com/merch/c9om5vie7lbht7buj4v4o428wutdbc
  12. I'm curious if I am doing this right... I'm not even sure how to explain it. Here is a guy teaching it .. it's in korean but he's basically saying try to "pull" the sound out from the chest instead of having the sound fly out through ur mouth. Can someone explain to me in what way is this taught normally? Is this just the feel of "open throat?" or "support"? AND if this is how it should feel then how do I get that "mask" placement without losing that DEEP breath support? This way helped me develop my mix but I'm curious if this method is correct and is just another way of teaching the same thing? example done by a professional performance. (The sound literally sounds like a really low soft mix voice in the intro and when belting it sounds like the vibrato is so free and resonating really low. Is this how proper singing should be done? I am just wondering on how I should properly train and do warmups/workouts..
  13. Greetings, new poster here. I play keyboards and bass, with a decent understanding of theory / arranging, etc., but am not really a singer. I have been asked to help a vocal group improve in singing harmony parts. Is there a good approach to teaching / learning harmony that has little or no dependency on studying theory? Some people seem to be able to harmonize pretty naturally and it turns out well, but I would have no idea how to teach that, or what to do to suggest learning that, apart from theory. [EDIT: Not to suggest that I necessarily would need to do the teaching myself! Would be happy to find and recommend a vocal teacher. Just trying to find out if such methods of teaching exist, and if so, what to be looking for.]
  14. Hello, I'm a true bass (B1-C4). Is it possible for me to climb up to C5? If so, then how many years would it take? Alot of the songs i want to sing are from C4-C5 so i have to sing an octave lower or strain my throat. Thanks
  15. Hi! I am thinking about learning to sing I heard it through the grapevine. Do you have any tips on where to start? I know some piano so maybe that would be a useful help. Is this a difficult song that is hard for a beginner?
  16. Hello I'd like you to judge my voice. Never had training but I sing for myself for 6-7 years, I like it but know my voice is amateur hehe so I've never sung in front of audience. Write what is bad. Maybe something is good. I must make a decision. If my voice is decent, I will do training. If my voice is awful, I won't waste time for singing, will give up and find new hobby. Like programming xd Link:
  17. Hey guys I'm going to be producing a weekly vocal tip video series starting end of January. Honestly I've never really watched any of these type of series and was wondering if there were any topics people wanted covered. If it's something I have experience with I will be happy to oblige. Thanks so much.
  18. Hello there I saw this on youtube and yes I know we all should be taking youtube with a pinch of salt nowerdays but this teacher says that for improving pitch we should replace the words of the song with the sound of "Done"; he says this is because The hard D sound at the beginning of "Done" stops you sliding into a note and the N sound at the end of the word "Done" sends vibrations up our checks which help us monitor the pitch that we are singing. He also states that replacing the words of the song with the sound "Bib" will improve rhythm. He dose not give a lot of explanation to this only to say it is very precursive. So what do you think; true of false? https://www.youtube.com/watch?v=cmvGW4guuxA
  19. Hi guys I was wondering if anyone here was familiar with the Roger Kain Complete Guide to tough vocals book and CD? I've been doing his exercises pretty much everyday for almost a year now and have noticed a big difference in my voice. I was wondering if anyone could help me understand something a little bit more. He has an exercise which he calls the male Quiet mixed head voice, which starts in falsetto and descends on a major scale on a legato Koo sound. Halfway down the scale you switch from falsetto into your quiet natural voice. The switch then happens earlier and earlier until a certain point where you then do the whole scale in your quiet natural voice till the end. It apparently is designed to create a beautiful mix of the natural and falsetto voices. He calls this exercise "the great problem solver" and also the most reliable way to unlock your higher register and increase your range. What I'm puzzled about is the highest note this exercise hits in natural voice is a G#4. So how could it possibly open up the notes above that? Apparently the exercise is hundreds of years old, so those who aren't familiar with the Roger Kain book might still know what this exercise is all about. In the glossary he refers to the quiet mixed voice as messa voce. But when I've looked that term up, it seems to mean volume swelling of notes rather than what this exercise is. Anyway, I'd love to know if anyone could shed some light on this for me! thanks Sid
  20. I just had a vocal lesson before, and this kinda drove me nuts, because I'm sure I'm right, but so was she ("I'll bet you money on it"), so I just needed to confirmation that I am right: Tenors read the treble clef, but sound an octave lower, yes? The highest range for a classical bass or baritone would be around F# or G, and you would write that 2 1/2 or 3 lines above bass clef, which is the same as the second line of treble clef. If we're singing, say, a Schubert baritone piece, the G written above the Treble clef will sound an octave lower. Pavarotti hitting his high C would be written two lines above the treble clef, but sound an octave lower; as the third space in the treble celf ...and high rock singer like Eric Adams of Manowar here at 5:13 : ...is hitting a high F# a tritone above Pavarotti, which would be WRITTEN 3 lines and a space above the treble clef for a tenor, but SOUND on the top line of the treble clef. She is trying to tell me that this is wrong. That tenors do NOT read an octave off, that the high F# in the Manowar is the same as a top line F# in a Schubert piece ("You only think it's higher because his voice is so thin"), and Pavarotti hitting his high C is going a tritone above both. And...unless I'm missing something huge, that can't possibly be right. Yes? Or no? I mean, I tried to show her by singing the pitch, and showing where it sounded the same on the piano, and she kept insisting, "No, you're singing that (plays an octave higher)" It got so we both had to just drop it. But...this seems obvious to me. So, what's the verdict?
  21. hi guys im back, couple years without posting here! i wanted to ask you what do you think about this youtuber and singing teacher?? he is kinda cool! i like how he mixes what works from different methods! he is kinda critic with some other teachers but i think it doesnt matter since he is giving lots of good information for free to all the community! (and in a lot of cases his critic make sense!)
  22. I've seen many vocal coaches and I've spent hundreds of dollars with them and I've learned a lot about singing but I still strain my throat. No matter what range I'm singing in or how many techniques I've used (lowering tongue, take a huge breath from my diaphragm, and a few others) I still end up straining my throat. I just wanted to know if you guys have any other techniques or something that I should practice to stop this from happening?
  23. Greetings everyone in this great vocal struggle! I'm very glad to find this forum and see the same questions I'm asking to myself. I'm 23 years old, a lyric/spinto voice type wannabe, currently in the 3rd bachelor year, working also in Opera chorus. I'm looking to find a teacher that specialises in tenors and carries and teaches the wisdom of oldschool Italian/Swedish school techniques, not quite Melocchi type, more like Bjorling, Gedda. I'm 1.73m tall, I have baritonal vocal chords, body and trachea of a tenor, I have powerful and warm middle voice, and hard time with the high notes(which I have) (A+), somehow they get disconnected from the body, and I can' t reach my full sound potiential simply because I don't know what I'm doing there. I know the simple bases of singers anatomy and how it all works, but you can't really learn to sing from a book, great singers have great teachers. Maybe someone has gone trough same problems and can recommend me a voice teacher or summer academy or school in Europe? I would be very grateful and ready to work. Thanks! I' ve also uploaded my "Ich grolle nicht" sample if maybe someone can show it to their teachers If they wanna work with me. Thanks! ichgrollenicht.mp3 ichgrollenicht.mp3
  24. Hi, I am Stan from Belgium and I play guitar and I sing in a rock band. We play rock music (obviously) and it's pretty 'rough' music. Not like metal rough, but similar like Foo Fighters, Queens of the Stone age, ... . You get the picture. So frequently, my vocals have to go pretty high and loud. Well, I always sing loud and it's already pretty high, which suits our style of music. But sometimes, there are notes that I just can't reach, but I get really close. It's close to 'screaming', but not like metal screams, but more like shouting really loud. For example, it's a bit like Dave Grohl (Foo Fighters) in the chorus of the song 'The Pretender'. So my question is, is there anything I can do to make my voice go that extra step higher? Like warm up my voice, drink a beer before, ... I really have no idea I'm not schooled or anything. But I need like a kick or a boost to go all the way. Thank you in advance Stan
  25. Hi everyone, new member here. I am a female singer who has been diagnosed with a severe underbite and TMJ with neck stiffness. This diagnosis has been pretty devastating to my confidence, given that I am not a trained singer and have only been doing this for about 3 years (I'm 20). I have recorded quite a bit of music, mostly originals in the style of punk rock, and I can't help but think that my severe underbite coupled with the loud style of singing that I have grown accustomed to is to blame for my TMJ. At the moment, I am seeking treatment to correct my bite via jaw surgery, but it will not be completely fixed for another year to 2 years. Until then, I need some tips on how to overcome this problem so that I can start gigging live and avoid the pain/burning sensation that I get when I sing. Has anyone had a similar experience?