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Found 222 results

  1. 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?
  2. How similar does singing and humming feel for you? What differences do you notice the most between the two?
  3. 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!!
  4. 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
  5. 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?
  6. 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.
  7. 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.
  8. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  9. 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
  10. 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.
  11. 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
  12. 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?
  13. 1 download

    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 www.JohnHenny.com

    Free

  14. 4 downloads

    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 www.NCVS.org

    Free

  15. 0 downloads

    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 www.cdbaby.com . 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 www.RobertEdwinStudios.com

    Free

  16. 0 downloads

    With a teaching career that spans nearly four decades, Jeannie Deva is an international celebrity voice and performance coach, published author, clinician, recording studio vocal producer, trainer of voice teachers and originator of The Deva Method® - Complete Voice Training for Stage and Studio.As a graduate from Berklee College of Music in 1975 with a degree in Composition and Arranging, Jeannie assisted in establishing the college's voice department and later became President of Berklee's Alumni Association for ten-years. Voice teachers around the world base their teaching on Ms Deva's method from her published books and CDs. She is featured on the acclaimed video The Vocalist's Guide to Fitness, Health and Musicianship by Internationally respected music educator Julie Lyonn Lieberman and distributed by Hal Leonard. Jeannie Deva www.JeannieDeva.com

    Free

  17. 6 downloads

    Robert Lunte is the owner founder of the The Vocalist Studio International www.TheVocalistStudio.com, an Internationally recognized voice training school for extreme singing vocal techniques and advanced vocal instruction. Robert is also the author and producer of the critically acclaimed vocal instruction training system, “The Four Pillars of Singing”. TVS techniques are shared around the world by voice teachers as part of the TVS International Certified Instructor Program, which is one of the fastest growing vocal organizations of highly trained voice coaches in the world today. Robert is also the founder of The Modern Vocalist World www.TheModernVocalistWorld.com, the #1 online resource for vocal education and networking on the internet. This download include four separate interviews of Robert Lunte. www.TheFourPillarsofSinging.com

    Free

  18. Right now I'm doing too much; up to 3 hours a day. I know this is excessive, so I'd like to know how much you guys do.
  19. Muffinhead suggested this poll in response to the Vocal Coach Poll I did earlier. I liked the idea, had the day off and through this together. The aim of this poll is to give a chance for more advanced singers to encourage beginning students of singing, and convey a vision for the dedication it takes to get the singing voice you desire. Hopefully no self proclaimed "singing sensations" who are actually beginners, will vote and hack the results. We got nobody hangin' out in TMVW like that though right?! no worries. The idea is, if you have dedicated yourself to training (with a coach & on your own) your singing voice for many long hours, and truly have had your talent confirmed by cheering crowds, and many genuine compliments, vote.
  20. Hey all you coaches! I'm very curious as a possible vocal coach in the making, just what your coaching experience looks like these days. These questions assume a student who is dedicated to the home training you prescribe. Thanks for sharing!
  21. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  22. What do you guys think about this guy's technique in terms of his agility? Does the shape of his mouth help with the insane vocal agility he has?
  23. We talk about all these different registers, resonances, breath support, etc. One coach will tell you one thing the next coach will tell you another. But at the end of the day you get the same result, a better singing voice. Does it really matter if what your singing is called mixed voice, or head voice, or something else? No, the only thing that matters is that you have grown your singing voice. We get so uptight with the little things that we forget the big picture. All good coaches teach the same thing but just have different ways of going about it. anyways.... just a thought
  24. Hi! I am learning the piano but I am also very interested in how to sing. It would be nice to learn to sing as well but I've never really done anything about it. blI found a book called The real book of blues which included a melody to the song Back door man (sung by Willie Dixon and Howlin' Wolf).http://www.breitlinks.com/jazz/realBookOfBlues1.pdf When I tried to play that melody on the piano I got some questions: The first note in the melody is E but I don't really think that my piano's E matches with what Howlin Wolf is singing. Could any signing experts please explain what Howlin Wolf is doing with his voice on that E? It also seems that singers are not too concerned with playing a melody on a piano and the singing that melody. They just hear the guitar or piano doing some comping and then just sing what they think should sound good. Is this a good approach I should use when learning to sing the blues? If so then such a melody would include mictrotones and other things. i.e. it would sound exactly like a minor pentatonic you on the piano. What can you say about this? I am a beginner when it comes to singing the blues. As a piano player I am used to the concept of "blue notes". People use them a lot when singing the blues. Do you pratice singing them or do they just come naturally? I don't imagine the first blues singers or field hollers going to vocal coach and saying: teach me how to sing "blue notes". What are your advice to me? and what are your definitions of "blue note"?
  25. Hey, I have taken probably 10 or 20 voice lessons in the past, and having gotten bogged down with work and family commitments I wasn't able to throw myself into it like I wanted to. Now I find I have a bit more time on my hands and am trying to find the right teacher, and perhaps also buy a program for doing exercises. I tend to prefer singing songs in the style of Sam Cooke, The Everly Brothers, Elvis. So soul mixed with a lot of early r&r, r&b, early country, blues etc...the classics. I'd LIKE to find a teacher local who has a bit of a secular/gospel background but I don't think there are any around in my province. The two coaches i've had both had classical training which is great, but I always feel like by continue to study with them i'll sound like i'm singing with an operatic type of voice in the styles I enjoy. 1)Are there any online coaches, or programs that might fit what I'm looking for? 2)What is the most important thing to consider when hunting for a local voice coach? Thanks