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Found 21 results

  1. Something I have been thinking on lately. I really see good basic, supported, open throat singing as the real basis for good rock singing. I see a guy like Paul Rodgers being almost the ideal base model. Learn that base and THEN add on or go into other directions such as Plant/Cornell As far as actual difficulty or skill level of various classic rock/metal singers, I see it sort of as follows starting from "easiest" to hardest: (of course, ALL of these guys are great and all of it is hard to get close to!) Paul Rogers-----> Robert Plant, Chris Cornell, Rob Halford, G
  2. https://www.npr.org/2021/01/25/960299623/voice-author-explores-accents-language-and-what-makes-a-tone-sexy
  3. He's been called the "greatest rock and roll singer of all time!" Some people agree, some don't. What's' new right? Personally he's not in my fav singer list. What I will say about Axl is, he has seemingly done very well maintaining his vocal health for the extreme style singing he does. His stint with AC/DC was impressive for sure! This is why I found this video interesting. Axl is not singing in full voice on all the high notes in this performance. He's using a semi-falsetto tone. Singers might do this for 2 reasons (I can think of), 1- They lost that region of their voice fr
  4. Hello everyone, my passaggio is at B3-E4 and my chest voice is dark. It's not good for rock or pop cause is heavy and not pleasure. Some people told me I'm a tenor, others baritone but, is that possibile have a passaggio at B3-E4 beeing a tenor? It's possibile change the color of chest? Ty ...
  5. Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of
  6. Lucky for me, I healed in two days! Yes, this is a personal story, a cautionary tale of the vocal danger of over confidence, which can fuel lack of training, and lead to injury! It's a slice of humble pie for me to tell about this, especially with the influential voice of TVS & this TMVW community always echoing in my mind. So here's what shut off the echo (my excuse). A friend of mine gave me a call to invite me to jam with an old cover band he is considering reforming. I had not had the chance to jam with local musicians since I was last living where I am now some 8
  7. I had mentioned this singer "Chris Stapleton" in another thread. Thought I'd share this video/song he recently published. I was really struck by the numerous examples of solid vocal athleticism that arise in this performance. I try not to overanalyze every good vocal too often, cuz sometimes I loose the "soul" of the song in my ear from all of the deconstruction I use to understand the vocal. Couldn't resist on this one. Still "hearing the soul" to date. I've tagged all the key words that I believe I recognize "done well" in this composition. Personally, I'm most impressed with his
  8. I'm causing a little riot here. Support is over rated and shouldn't be focused so much on, especially if you are a beginner. Seth rigs was right when he said "You don't need so much support unless you're trying to force the voice" Those who focus on "support" tend to push and yell rather than train. You should focus on the resonance and the support will follow. It's popular in the community to promote pushing down and out or squeezing the butt cheeks, etc. This only leads to unnecessary strain and distracts you from the real issues. Focus on resonance and bridging through the registers an
  9. Hello TMVW Friends! Yesterday I shared a Youtube video slide show with Robert Lunte, which I had created to accompany a Song I wrote for my Dad's memorial service. He passed away, early last December. Normally, I would not have posted it here, only because I'm a tad self-conscious about being perceived as "fishing for compliments." Rob urged me to share it so I am doing so. I am proud of the song, and I'm just like anyone else, I do love compliments yet, because this is not a "review my singing post" that I am paying for, I want you all to know that I'm not opposed to "discussions" regard
  10. I recently discovered the importance of cord closure in singing. It made singing so much easier and accessing the mixed voice feels just so natural and good now. But, it kind of changed my view on breathing in singing. I don't understand if I should just focus on cord closure or actively focus on keeping the breath in the body with abdominal, back and intercostal muscles. Before I worked on cord closure so much, I would focus on what was happening with my torso muscles, but when I started developing good cord closure it all came naturally. My muscles would engage as they were supposed to
  11. I was pondering these metaphors and thought I'd see if I could expand it some. Let me know how you see it! Easel is the pedagogy/coach Canvas is the formants Paint is the phonation Colors are the acoustic qualities & vocal modes Brushes are the intrinsic muscular configurations & appoggio Frame is the musical context/setting (band, choir, acapella, singer w/ instrument, musical, etc.) Lyrics are the finished image Lighting (as in a gallery) is amplification & vocal effects
  12. Hi, I would like to know does messa di voce determine my vocal volume limit? I have tried to vocalize with messa di voce and found out that the upper limit of my crescendo is not loud enough although my mask resonance is buzzing strongly. I have tried to outsing the limit by pushing up my diaphragm but ended up with a sense of disconnection from the support which is dangerous. Besides, I am talking about the messa di voce with traditional appoggio that is using light approach, not that deep core appoggio with dark and powerful sound.
  13. This is a hard one, at the same time we all repeat "stay in full voice" and "stay in modal voice", I understand perfectly that the question that would naturally arise is: "How the hell do I do that?" And usually, the recommendation is to go strong. Which is not a perfect solution, but when used with the correct positions CAN allow someone trying it out to figure it out and feel how its like to use the voice in this way. Its such a special and different sensation that many people label it as a new register even though its just the same voice you use to speak with. When
  14. You know that whole thing about pushing down on the diaphragm? I've tried it before and it didn't work for me. In fact when I'm singing freely, I don't feel much tension in the core at all; it's a weightless kind of sensation. Also, if you push down on the diaphragm, the volume of your lungs increase, and all else being equal, that leads to a LOWER pressure. And that kind of position is one of inhalation, not exhalation. Yet, some people get a massive amount of power and volume this way. Jaime Vendera takes this approach, as do many opera singers. So for those of you who do use thi
  15. A recent thread Mentioned Barbra Streisand and that she Never had formal training. Well, she had one coach for a month after she had a little trouble with her voice. Her name was Judy Davis. I remembered an article I had read about this. I looked for Judy Davis and found this little GEM on YouTube. I hope it helps some of you.
  16. To give some background singing info: I am 18, My range is G2-G4 consistently in chest and F3-F5 in head voice. I sing mostly musical theater and Operetta sometimes. My first and second passagio areas are C#4 and F#4. I currently just started taking Musical theater voice with a teacher who specializes in Manuel Garcia Technique (A form of bel-canto) Although I have a lot of singing experience already!-Vocal Fach/Type? I know I am a young singer to try and 'identify" my voice, but I think I might be a tenor? so I'm a little confused... I have a strong low G2-C3 lower register, however, my first
  17. This is one area of singing that has always confused me a bit. I've been studying and practicing for about 4 years now, and I am a decent singer with power throughout my range, but my voice can be inconsistent, and I believe that the main issue I'm having is with breath management. It's one of those things that I know is important, but I don't quite know enough to apply it effectively and consistently. The reason it confuses me is that I have read many different things about "proper" breath management/support for singing, and it just seems like there isn't much consistency with vocalists and t
  18. Hi guys, I'm super new here and I thought i'd start a classical technique thread since no one has seemed to have posted in this sub-forum yet. I'll start with posting a little something I've done. SHOW AND TELL !!!!!!! This was from a few weeks ago. I need to work on my breathing near the end. https://soundcloud.com/arfoo/nessun-dorma-rehearsal
  19. Hi, I have an obstacle when adopting apoggio breathing while rehearsing singing. After only a handful of exercizes, tension begins to build up in my upper back. Not my lower back but my upper back. It has been this way for weeks now. Can anyone help me overcome this? Thank you very much. Sincerely, Jay Peek
  20. Many teachers will tell you to squeeze your bum cheeks to eliminate strain and to sing higher notes. What do you guys think of this technique, does it work?
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