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Found 10 results

  1. Hello I'm new here. I'd like you to say a few words about my vocal cover. http://www29.zippyshare.com/v/H12A7Wv8/file.html *Remamber to choose "hd" in right upper corner.
  2. Hi, everyone. I'm from Italy and I've just become a member of this community. My hope is to find great advice here, and I am sure I'll learn a lot of new things. People usually say I'm a good singer, but I have never had a formal singing education. However, two weeks ago, I bought a good program and immediately discovered interesting facts about voice and technique. Before starting this program: 1) I considered to be falsetto what in reality is head voice; 2) I tried to reach high chest voice believing that head voice/falsetto was a trick for incompetent people. Instead, if I've understood correctly, a singer should move from chest voice to head voice when necessary, so that higher notes are produced with that "fluty" and effortless tone. I think I've succeded in finding my head voice, because I've watched a lot of clear tutorials, but now I need your help. Let's take Iris by Goo Goo Dolls as an example. Suppose to play and sing that song in D major, which should be the original tonality. In the chorus, the singer goes pretty high, but I don't think he uses his head voice: I can't hear that delicate sound similar to falsetto, but an intense, chesty, "angry" shout, we can say. Have I interpreted correctly or not? If so, using only head voice to sing higher shouldn't be considered restrictive? I've listened to male head voice professional examples: in every example head voice appears clearly as something delicate, feminine, we can say, so how can it suit every performance with high notes? Thanks very much.
  3. 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
  4. 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.
  5. Ive been trying to find a coordination that allows me to stay connected up to a C5...im taking little steps and im hoping for the best..   https://app.box.com/s/kntp1krd9qyo0lxsg4mq6kcpa7bv9yor - Random high stuff ppl said its Head voice   https://app.box.com/s/gsloiqqnrccjqm6m35xydo3mo6usnr8j - a Siren that also ppl said its head voice   Now after these 2 clips im trying to learn how the get there...i cant seems to get to that kind of sound without breaking, so i figured i was pulling too much weight   The next clip is me trying to find coordination to bridge, and quite some time of trial and error i figured something out but idk if its the right thing to do    https://app.box.com/s/0lwd9mau2bgrsdbhbthunpjumaggkamb  ---- In this clip im doing a very light sound from i think E4-C5...first i find the placements with falsetto then i pick up some weight to make it sound full..   Is this the right approach or am i doing something that is not beneficial in any way..   P.S. i know the vowels are a mess, but im working on it ;P
  6. First im sry for another bridging thread. Now from what i understand there are 2 bridges that needsto be built...the first one around E-G4 and the secon around A4-C5... Now my question is this...when i sing i have no problem getting to G4 and when warmed up i can go to A4 with slight to no problems...but A# is an absoluts mystery to me..i just cant seem to phonate above A..it breaks horribly... Is it possible that actually my first break is around G#-A4... Ill add a zakk wylde cover that runs up to G4 for you to listen...NOTE that that isnt my best effort and those G's are not ussually that shaky... https://app.box.com/s/gga5ptl0l21ls04huapyhxz7amrhs0t1 Thanks
  7. I've recently made a concerted effort to lighten the mass of my phonation as I ascend. This has been a HUGE help as I kept getting "stuck" at A#4 and could never get past it to B4 in a light mass configuration.   I have no problem "pulling chest" and getting a more belty, beefy head tone B4 and above; in fact, it was much easier for me to access the notes above A#4 by using more M1 musculature. It allowed me to go up to D5 and even to E5 easier than the light mass way; now after trying to "shed the weight" as I ascend, I've been able to get bright, twangy head tones on B4 and couple of times on C5 as well.   As Robert has said before, the light mass way is MUCH less tiring on the voice, it almost feels effortless but sounds bright and connected. As of now, I can only sustain and "pull" M1 so high for so long before getting fatigued: not straining, as everything feels open and free, but my voice gets tired much easier than compared to the light mass way. Continuing to train the M1 "pull" should provide more stamina so I can utilize it for longer periods of time.   As for the light mass configuration, this is the sound I ultimately want, the James LaBrie/Geoff Tate/Rob Halford way, as opposed to the Bruce Dickinson way. Not that there's anything wrong with Bruce, he's one of my favorites, but it's not the sound color I'm looking for. I'm glad to have found both configurations and will train and utilize both of them.   Moral of the story is if you are looking for a light mass sound color, keep your phonation light and lighten the mass as you ascend. Robert has mentioned this before in his online videos but until I tried applying it yesterday and today, I didn't fully realize how big of a difference it makes. I feel as if my voice just "slots" into the proper place when slightly modifying the vowel and lightening the mass. It's a very delicate configuration.   Just figured I'd share my story and a bit of advice.
  8. My Mom approached me the other day wanting me to teach her. So now i'm giving her free lessons because.... well shes my mom. she is having a super hard time connecting and bridging through her break. I have tried lift up pull back, resonant tracking, mums, bubs, bips, and tons of other exercises to help get her to bridge yet she still either yells the note or switches to the voice she has sung with for 30 years, a breathy falsetto carpenter type voice. Her embouchure and vowel mods are ok I just need to remind her to drop her jaw all the time.    What are some tips to get her into the right placement and to bridge her registers?
  9. Any Estill experts here? I've come to realize that the main thing that has been holding me back is that I can't get thyroid tilt to happen in thick folds. I have been trying for a very long time now and nothing seems to work. I can make it happen only in very thin. Someone once brought my attention to the fact that one unmistakable sign that thyroid tilt is happening is that an octave feels extremely small, which is due to the fact that the folds are already pulled tighter and the arytenoids have to move less to reach higher notes. In my thinnest thin, I can make it happen easily, but otherwise, it just doesn't happen no matter how much effortfully I use cry/sob.   Can anyone offer any suggestions on how to get thyroid tilt and thick folds (modal voice) at the same time?
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