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Found 254 results

  1. 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.
  2. 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?
  3. 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
  4. 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 : 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?
  5. 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!)
  6. 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?
  7. 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
  8. 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
  9. 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?
  10. Too often, when I get in front of a microphone with loud speakers (including the monitor) I end up shouting. Then, even if I try to grasp the correct compression, I feel like it's too late. I've lost it for the night. I practice a comfortable amount of compression when I'm at home and as a result sound much better than any of my performances. Any tips on resetting or getting a grip on compression when it starts slipping away? Or is this something that I simply have to grasp from the very beginning of a show?
  11. How similar does singing and humming feel for you? What differences do you notice the most between the two?
  12. Robert Lunte, of The Vocalist Studio and The Four Pillars of Singing shares some details about the Audio VX5, condenser microphone. Purchase the Audix VX5 here: Description The VX5 is a multi purpose, professional vocal condenser microphone designed for live, studio and broadcast applications. With an ability to duplicate studio quality sound on stage, the VX5 has a smooth and accurate frequency response, resistance to feedback and handles very high SPLs without distortion. Designed with a tight and uniformly controlled supercardioid polar pattern, the VX5 helps isolate vocals from the rest of the stage. Other features are a 14 mm gold vapor diaphragm, an acoustically ported steel mesh grill with a multi-stage pop filter, and a -10 dB pad and bass roll-off filter. The VX5 will handle SPLs in excess of 140 dB (with pad and roll-off engaged) and will provide over 20 dB of ambient noise rejection on live stages. In addition to vocal applications, the VX5 is designed to capture instruments such as guitars, woodwinds, brasses, percussion toys, drum overheads, hi-hats and pianos. The VX5 requires 18 - 52 V phantom power. Applications - Live and studio vocals, lead and backing - Speech - Acoustic instruments Please see the spec sheet under the specifications tab for more information about this product.
  13. Does professional and the vibrant and pleasant vocal tones develop over a long time? I am not currently satisfied with my range and tone especially and I want to be able to develop more and more. How is he able to manipulate his tone so well comparing the first two videos and third video? It's almost as if he's two different singers.. Personal questions: I have been singing for a while now but only recently throughout 2016 I have "Properly practiced" getting rid of my bad habits, fixing tone, pitch, etc. 1. Is it normal that after I started to do so, my range increased VERY FAST. In a span of 4-6 months, I am able now to reach the notes he is singing that otherwise BEFORE I would just choke and sound like I am shouting. Just curious because I am worried I might be destroying my voice by pushing it too hard. There are times before I damaged my voice by improper technique which I guess somehow made my voice range increase as a short cut? is that even possible? I tend to just go all out when I sing right after doing my workouts. Example song I practice is the first video I post below.. ( I am currently using Ken Tamplin's workouts, if that is helpful in any way). ONE IMPORTANT thing to note is that as I go up in pitch and shed my weight, It feels like the TONE of my voice gets higher as well. It's like I sound chesty in the lower ranges then suddenly like little kid in the higher ranges. I also tend to MIMIC singers for a long time... sadly.. is it normal that I am mimicing their style in every different singer? I feel like it doesn't sound "right" if I don't sing with their TONE. 2. As I go higher in pitch, is it normal to feel like something in my mask/palate area to NARROW DOWN? It feels like my mask area is flexing and my chords are very tightly closing. IT ISN'T PAINFUL. Or is this improper technique? Am I suppose to feel COMPLETELY OPEN? When I try to keep it completely open it feels like my voice goes SPLAT and airy and it hurts. Sometimes I feel like I am overwhelmed wondering if I am singing right or am I singing improperly even following his lessons and achieving growth. Anyways heres, the singer. How is his technique? It'll be awesome if there are some veterans or experienced singers to guide a newbie like myself to achieve this versatility in terms of programs and what I need to do. How does everyone here see Ken Tamplin's program?... Thank you!!
  14. Hi there I am looking for something similar to an online piano that I can sing/ pitch to The problem with the piano is you press the key and it makes the sound for a brief second then stops I want something to make a continues sound for say 1 minute and to be able to do that with many different keys Any ideas please Thanks 2CIADB
  15. I've run into something with one of my newer students, something I've never heard before. He couldn't sing in head voice at all when he first came to me. Now that he's starting to get it, his head voice has two notes! Usually, it's the note he's trying to sing and an undertone that's exactly an octave lower in his chest voice range. I've worked with him for a few months. When he first came to me, he was hyper-compressing and choking his upper range, which kept him from having any head voice notes at all. I've helped him open up a LOT, but the undertone on his head voice has me completely perplexed. We worked on placement, relaxing, dampening, modification, and more. Sometimes it's there, sometimes it isn't. I've gotten him to where he can realize and communicate different sensations very well, but this is one we can't seem to figure out. Over 100 students, and I've never run into this before. Does anyone know what this might be and how to overcome it?
  16. Can anyone recommend exercises that help with chord closure and compression with low volume singing? I often use mezza voce exercises, but wondered if there was something else anyone might recommend.
  17. Teaching both contemporary and classical students, do you have any recommendations of a comprehensive sources for vocalises? Instead of a resource to teach singing, think of it more as a supplement for a teacher to pick vocalises from for the student. As boring as a book like that might be, I need something like that. And because I'm working with classical teachers and other contemporary teachers as well, the more exhaustive and general terminology, the better. They don't all follow the same pedagogy. I was originally just going to ask @Robert Lunte, but I figure a lot of you might have recommendations.
  18. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  19. This is an expression that I come around quite often, and everyone seems to understand the meaning, although I never saw it being defined. What does it mean to you? What is a high level performer/singer? Is it the same as "being famous", or do you know high level performers that are not that well known. What defines it in your opinion? Subjectivity is totally fine! All opinions and views are more than welcome! Felipe
  20. Hi! I am taking vocal lessons from a woman in the classical/church style. We work with singing easy melodies (I play them on piano as that is my instrument) as I am not too experienced in singing. I guess a vocal coach in blues/jazz/gospel would focus on that too but also sing blues scales and microtones. I have a question to you who are very experienced in singing: What is the difference between taking vocal lessons in the classical/church tradition and jazz/blues/gospel tradition? And yes I am aware that there are many subtraditions in these vocal traditions. And please understand that I am asking this so that I will know more information and therefore can take practical descision in life.
  21. What are your thoughts? I'm asking the classicaly trained singers only. Please do not reply if you haven't trained with a classical singing teacher unless of course you wanna crack a joke then be my guest
  22. I doubt that this has anything to do with training the voice but there is the possibility. I am a small skinny guy 130 pounds tops all my life. I have not been training aggressively but using more support more twang and cord closure. The issue is this, I have noticed that the soft tissue around my neck is swollen, also under my armpits. Normally my armpits are concave and there was a dip between the collar bones and sides of my neck. These areas are now puffy and convex. Earlier in life while working out with shoulder shrugs(holding weights) and other exercises meant to strengthen the neck and shoulder muscles this also happened. That was expected and looked for. Can just using more aggressive singing and stronger support cause these issues?
  23. Version

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    With over 25 years of experience, John Henny is regarded as a leading vocal coach in the music industry and as a true teacher of teachers. John’s techniques not only keep the voice healthy, they also improve the overall sound, help eliminate cracks in the voice and extend the singer’s range allowing the singer to express themselves vocally without limitation. John Henny has lectured at prestigious colleges and institutes such as USC, Paul McCartney’s Liverpool Institute of the Arts and The Academy of Contemporary Music in England. He is also a Master Teacher for vocal coaches all over the world, including his annual teaching engagements in Europe, Australia and New Zealand. John Henny


  24. Version


    Ingo R. Titze is a vocal scientist and executive director of the National Center for Voice and Speech at the University of Utah in Salt Lake City. He is a professor at the Department of Communication Sciences and Disorders at the University of Iowa and has written several books relating to the human voice. He is considered to be one of the world's leading experts on vocal research. Dr. Ingo Titze


  25. Version


    Robert Edwin has gained international recognition as a singer, songwriter, teacher, and author. He has sung Bach cantatas in church cathedrals and rock songs in Greenwich Village, New York coffeehouses, recorded for Avant Garde and Fortress Records, and toured extensively throughout the United States and abroad. He has performed in New York City’s Carnegie Hall, Town Hall, and Radio City Music Hall, and has appeared with such outstanding artists as opera star Jerome Hines, jazz legend Duke Ellington, and famed actor/director Ossie Davis. His TV and radio credits include several NBC Christmas specials as well as commercials for everything from politicians to hot dogs. His CDs of original songs (Robert Edwin-Christian Songs and, More to Life-Robert Edwin Sings Songs by Crosby & Edwin) are available at . Robert Edwin has served on the adjunct voice faculties of the University of Michigan, the New Jersey School of the Arts, Burlington County College (NJ), and continues to serve on the Applied Music Staff of Camden County College (NJ). He is a frequent faculty member of the Voice Foundation’s Annual Symposium: Care of the Professional Voice. A member of the prestigious American Academy of Teachers of Singing (AATS), he has led master classes and workshops in the United States, Canada, the Bahamas, and Australia. Mr. Edwin is a member and a past Secretary/Treasurer of the National Association of Teachers of Singing (NATS). His column, "The Bach to Rock Connection" (1985-2002), was the first and only one in the NATS Bulletin (subsequently the NATS Journal) dedicated to CCM ("nonclassical") voice pedagogy. He continues to serve as an Associate Editor of the Journal of Singing for the "Popular Song and Music Theater" column. From 1996 to 1999 he also served as a Contributing Editor for VocalEase, a magazine for choral and choir directors. Robert Edwin taught for over ten years in New York City under the aegis of the Helena W. Monbo Studio, a studio that included actress/singer Grace Jones, Tony Award winner Ernestine Jackson, and A Chorus Line original cast member, Donna Drake. Past and present students from his New Jersey studio include Tyler Grady, a 2010 American Idol Top 24 semifinalist; Jennifer Piech, who created the role of "Kate McGowan" in the Broadway musical, Titanic; Claire Norden, "Baby June" in the 2008 Gypsy National Tour; members of "The Fabulous Greaseband" and "Grey Eye Glances"; Kristen Alderson, who played "Starr" on the ABC-TV soap opera, One Life to Live; and Integrity Music recording artist, Paul Baloche. Robert Edwin