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  1. Hi!! I'm trying to come to a deeper understand of the physiology behind the messa di voce, or the act of lightening the sound from a full voice in a gradual decrescendo and re crescendo back up with little to no discernible change in pitch, overall timbre, and oscillation rate of vibrato. From my current understanding, there are 2 main sets of muscles influencing singing in the larynx The cricothyroids and thyroidarytenoids. I know CT stretches cords making them taut and thin. TA relaxes the cords making them fat and thick. Now, from my understanding, when the cords are stretched thinner, less air is needed to set the cords in vibration, because the cords are thinner. However, when less air steam is used, I think it means also that the air must be more compressed so that the subglottal/transglottal pressure is correct (requiring more compression of air) for proper cord closure. Now, from what I know, when the singer performs messa di voce, the pitch is held, and the singer gradually engages more and more CT dominance (otherwise called head voice, though I prefer the term light voice function), while keeping the same pitch and correct cord closure. Is the method this makes physiological sense is that, as the singer gradually introduces more CT dominance, the singer also antagonistically sends forth MORE AIR but LESS AIR PRESSURE? To me, this makes sense, IF my understanding is correct that the actual PITCH is influenced by how many rates per second the cords are vibrating. So, the reason it becomes possible to engage more CT dominance while retaining the same pitch is achieving antagonistic balance of sending slightly more and more AIR (thicker/bigger airstream) while simultaneously balancing this bigger air stream with less compression of air The two antagonistic forces in balance help retain the balance of cord closure. The concept of then crescendo'ing back to more TA dominance is therefore the entire opposite physiological action- the singer begins to make smaller the airstream while simultaneously compressing more the air. ----- Is my understanding correct or make any earthly sense?
  2. Hey guys I haven't made video's in a while I have had some major back issues (20 years) that really has made it tough to gig the last few months and sing and work. But I had Emergency back surgery Friday and I'm looking forward to a very quick recovery. So my teaching is on hold for a couple weeks. So while I was hopped up on pain pills I decided to make a vid lol. Hope you like it.. see ya soon peace
  3. I have tried searching the internet and forum for clear answers to my questions, but can't seem to find anything coherent. Here are my questions: 1. Does mixed voice (speech level singing mixed voice) belong in classical singing (please specify male and female)? 2. What are the differences between classical technique (male and female), and mixed voice? 3. How can mixed voice be applied to classical singing/teaching? They may seem like generic questions, but look it up yourself, nothing on the web is clear. These need clear concise answers for the world to understand! Thank you for your contributions.
  4. i think it might be a combination of bad microphone/singing technique and tight sinuses, but i have a hard time liking my own voice because of the nasality. we just recorded a song live in at rehersals. in the studio u can cut some of the some of it with eq but this was supposed to sound 'live and raw' ill post a link to the video so u can analyze the s***** out if it.
  5. In the Spanish wikipedia article for Falsete (I'm learning it by heart ) I've read this: The first sentence says: In the Bel Canto (opera) technique, Head Voice and Chest Voice are mixed and that way Passagio is camouflaged. Since my main interest is in improving some voice similar to this, I should have a clear idea about it but I don't right now... I'll keep thinking and investigating, and will be very much interested in reading what you think about it.
  6. Hi all,   For the past couple months, I've been working with a vocal instructor who teaches Bel Canto. I enjoy working with her but I am wondering if the technique we're working with is going to be suitable with the goals I have for my voice.   Ultimately, I am interested in singing pop and r&b. However, the Bel Canto method is mostly opera oriented from what I understand.   So far I've made progress with our lessons, and have learned how to properly sing from the diaphragm, but I'm wondering if it's time to explore other techniques.   Is there anybody familiar with Bel Canto who can offer their opinion?   Thanks for any future responses,   WhiteTan  
  7. 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 and second passagio areas are C#4 and F#4 which are the passagio areas for a dramatic tenor or a robust tenor(Also known as the bari-tenor). I always thought I was a baritone, but I have noticed the ease I have singing in my higher register above my first passagio (C4-F4). I think i may just have a problem singing through my second passagio, because in lessons I have been able to sing up to Bflat4 in a well-supported chest voice. Has anyone dealt with this or have any advice? My ultimate goal (because I sing MT) is to be able to sustain notes and belt from A4-B4. This brings me to my second question...-Singing through the second passagio? I can sing through the first passagio with ease, but I always have trouble once I get up to F#4. My teacher has helped me sing past it up to Bflat4 (I am still new to formal lessons) but I have trouble on my own. Any advice?Thank you!
  8. 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
  9. Are there any exercises I can do to strengthen my diaphragmatic support? I'm breathing from my back properly and i'm feeling the diaphragm push down but the muscles feel weak and unstabilized. Any tips?
  10. I found this cool web site that offers bed tracks for Classical arias and art songs! Check it out! http://www.virtualorchestra.eu
  11. Hey guys! I stumbled upon a very interesting video of 3 GREAT VOICES Pavarotti, Horne, Sutherland disscussing and explaining some of Bel Canto Techniques!   I encourage you to watch it all, its preety interesting and EDUCATIONAL!!  
  12. Perhaps the best lesson I have learned with regard to open-mindedness has been through other vocalist websites. I learned the importance of open-mindedness in accepting what seems to be unusual ideas about the act and art of singing. I learned it from close-minded people. You know them, theirs is the only way to sing and so and so's method will ruin your voice. Bel Canto is the only true way to sing, etc. I rode with that crowd for most of my teaching years, although I have never been intimidating about it. When I began to study Estill Voice Craft, I came to it not knowing what I was about to encounter, but I went with an open mind and great curiosity. I went because of one word----belting----HORROR OF HORRORS!!!! YOU"LL RUIN YOUR VOICE---blah, blah, blah!!!! I learned much more than the structure of belting. I learned that all musical genres have worth and beauty and, although I was a classical singer with a musical theater bent, I fell in love with jazz and Country. I'll be honest, I still don't like Rap and Hip-Hop, they simply don't speak to me. I learned from Estill training not to have an aesthetic bias. It really is crippling. Not all singing requires beautiful "pear-shaped" tones. Of course, that's what I always listened for, and I picked up on every itty bitty flaw. Analyze, analyze, analyze!!! In my teaching, however, my inner goal is perfection with the knowledge that it doesn't exist. I don't tell my students this--they're already desiring perfection and I frequently have to tell them to get out of their own way both physically and emotionally and just let it go. This isn't easy, particularly when we live in a time where we are pressured from all sides to achieve. Parents push their kids to do so much that they don't have enough time to focus on any one thing toward mastership. It will look good on your resume, blah, blah, blah (yet again) Okay, I have gone off track and that tirade belongs in another blog. So back to open-mindedness in voice teachers, particularly, all of us need to take a step back and size up the vocal situation out there in the cold. cruel world and recognize that there are many possible ways to arrive at the same place---singing healthfully, in tune, and stylistically appropriate. Make sense?
  13. Note in the head. People think I am talking about singing purely in "head voice." I am not. But because of the traditional language involved, that is the perception. I will start right and concede that there are other places of resonance in the body, including the chest area. Anything that has or is a cavity can produce an acoustical resonance. Though I may continue to debate how valuable that resonance is to the total sound production. More often than not, what is experienced is a sympathetic vibration that is present when the right resonance of a note is achieved. Because what I am really talking about is resonance and where the loudest resonance is happening. And it is happening above the vocal folds. And the vocal folds are more than halfway up the neck and the first place of true and useful resonance is the vestibule just above it. And this all happens in the head region of the body. More importantly, the statement is akin to the bel canto, especially such as that taught and discussed by fellow member, opera singer, published author, and degreed college graduate Debra Lynn. The forward placement. But physically, the predominant resonance of any note, from basso profundo to leggiero tenor happens in the head region. So, get used to the head region. You are going to be there for a while. And if you are singing higher notes, regardless of voice type, that are above, say, D4, you are definitely in head area. Even the highest tenors, leggiero, have a bridge point around F4 and no later. And I know several people talk about "carrying chest" up to G4 or higher. And some maybe holding onto maximum fold involvement and meeting area in adduction. Or at least think they are. For they are as amateur as I am. And we are stuck with the language. Even though the sounds you make are originating from the head region, what folds are doing changes depending on pitch. More on that in the next post. When I do a high note, my sense of where the note feels like it is has subtly shifted. I used to feel it in the top of my skull, which is impossible. But as I have refined what I do, it feels more like it is at the juncture of soft and hard palate, which is more likely to be accurate, anyway. What about a low note? Same place. I don't feel it in my pancreas. Or my left foot. Or my clavicles nor behind my breast plate. And so, by accident or study, I have learned to feel or "place" the notes in the same place, regardless of vowel. And Debra Lynn is right. Once you achieve that feeling and lock onto it, it frees up your singing for a wide range of expression and volume. Which means the rest of the body adjusts to keep that. I have often said that I let resonance control the note and let the body adjust to keep that. But others can go on singing in "chest" voice even though, in my opinion, it really is in the head.
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