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  1. Hey guys. So I've been singing for some years now. I'm classicaly trained, theoretically a tenor, but I could never manage to understand and make the adjustments to go higher than F4 without breaking into M2 or straining a lot. Last year I started reading a lot about voice physiology and learning contemporary singing technique. Now I can go sometimes even up to G5 (not a pretty singable tone yet, but it's there). From Bb4 up I can somehow manage a lighter sound that doesn't sound like M2, but between E4 and A4 I can only do full-on belting or something lighter but with a lot of constriction (arytenoids I guess). I'm trying to achieve a lighter and freer M1 (mixed?) sound in that range, and so I've been reading and watching many YouTube videos on that, but I'm very confused with the way scientists and vocal coaches differently name the registers and stuff, so it's being hard to clearly understand what they mean and choose a way to approach the matter. I have to say that I personally think the names Chest, Head and Mixed Voice are terrible and extremely misleading, and they did nothing but prevent me from moving forward. Understanding the vibratory mechanisms and the filter/resonance adjustments is what really is helping me evolve. And although I understand a lot of people don't benefit from scientific explanations, it's really works for me. From what I understand, SCIENTIFICALLY mixed voice can be either: 1. M1 with less vocalis contraction and more nasal airflow/rhinopharyngeal resonance, as used by man and women in contemporary music and by men in high notes in classical. 2. M2 with more rhinopharyngeal resonance and twang in the higher range in contemporary singing. 3. M2 with more rhinopharyngeal resonance in the female first passaggio in classical. And head voice can refer to: 1. any sound in M2 2. only M2 with cartilaginous adduction Now I'm really confused with how vocal coaches use the terms. For me, the sound of what many demonstrate as Head voice - specially those who don't count falsetto as Head voice - is not M2 at all, but rather my first description of Mixed voice (less compressed M1 with rhinopharyngeal resonance). Which makes me think, when they say head voice they are referring mainly to head resonance (rhinopharynx) and not to the vibratory mechanism M2. So although many exercises for bridging/mixing/blending DO go from M1 to M2, and this is of course also used in actual singing, the "bridging" that happens most of the time in the mid-high range is simply the adjustments to go from M1 with oral resonance to M1 with nasal resonance, to allow the laryngeal tilt, less compression and lower subglottal pressure without breaking into M2. I'm still beginning in the science stuff, does anyone with more knowledge in that area agrees, disagrees or have any other thoughts on the subject and on how I could approach a softer sound between E4 and A4?
  2. Hello I am having real trouble finding my falsetto, I can't make that effortless sound, it is always strained. I was always able to make a voice that I thought was falsetto, but I got to the conclusion that is flageolet instead. I got really used to it and it is relaxed, and really sounds like falsetto, but I think it isn't falsetto mainly because: - It isn't connected to chest voice. I know sometimes it's difficult to connect head and chest voice, but this is extremely disconnected, it is a different world. - I am able to transition smoothly from whistle to this flageolet. Not trying hard at all, just lowering the pitch from whistle, I end up in this voice. Demo: https://instaud.io/3rzk So, an example of this strained 'falsetto', in a moment with the voice quite tired (so that the strain is noticeable): https://instaud.io/3rzm Same song, in flageolet (I know it sounds a lot like a falsetto):https://instaud.io/3rzd An example of a song, in falsetto, that sounded better, in a moment my voice wasn't that tired: https://instaud.io/3rzf (Yes, I like Ed Sheeran XD). This is as close to a relaxed falsetto that I can get. So, any advice on how to find that relaxed falsetto? Maybe I am still unable to do it because I have those muscles untrained? I've tried yawning, making the sound of an owl, or Mickey Mouse's voice... Everything is strained. Any advice, or exercise? Thank you in advance Whistle to flageolet.mp3 Strained falsetto.mp3 Flageolet.mp3
  3. Quick question to any vocal coaches willing to give some advice As someone very new to singing, the current note I'm training is my A4 (which seems to be a problem note for many). I can just about maintain cord compression and keep an open throat if I'm just touching the note in a phrase, but only on a closed vowel - i've recorded an example below to illustrate what I'm doing: https://vocaroo.com/i/s0l0Ga7xiHob (I know I still have some pitching and breath issues - I'm working with my vocal teacher on those) The phrase "and I'll tell YOU all about it" follows a d4-f4-g4-A4-g4-f4-d4-c4 melody. With enough support, I can just keep my cords closed while singing that line. However, there's another song I've been singing along to in the car which touches an A4 on the word "day". I'd really like to be able to sing that phrase, but for some reason I'm finding it incredibly difficult to articulate "day" without splatting the vowel and having my cords coming apart . I've been taught diphthongs, and I can sing an A4 on the "ay" vowel during my scales - but of course singing a scale and singing an actual song are two different things. My teacher says that I just need time to continue training my support and larynx muscles so that my vocal cords become used to being stretched so thin. I believe him, but in the meantime I was wondering if there are any other tricks that anyone here knows of that can help with maintaining cord closure while singing wider vowels on A4 and above? cheers, SN
  4. So here is my cover of Steelheart's I'll Never Let You Go. Let me know what you think of it. I do accept all sorts of criticism regardless of whether it's positive and negative. Any suggestions or tips on how to improve I would greatly appreciate it!
  5. Hello everybody! So my last thread I asked for help on mixed/ middle register. I have been working on it for a little while now but I still feel like I'm shouting and using too much air on belting high notes. It's as if I'm trying to sing it rather than just letting the sound out. Here is a comparison: and me lol: Any tips or advice is appreciated. Don't know if I'm shouting because I can't get that cord closure properly in my higher registers or if it's a bunch of different things. Woke up a little hoarse today too after singing for around 2-3 hours heavily. this is so annoying Thank you ! Love this forum for all the help I get
  6. 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 mastery over what I would assume are the critical configurations which bring great resonance with comparatively low level respiration. I'm convinced that, with the best possible formant, combined with the strength support of skilled appoggio, the "illusion" of a belt is created. He is singing at a relatively low volume yet, the intensity of his voice is sustained. The same nuance is applied to his vocal distortion, which he employs mostly in the higher notes. Those are my impressions.
  7. 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 do and I would feel it and I didn't worry about it. But sometimes, for example when I'm nervous, actively holding the breath with those muscles combined with focusing on good closure seems easier. Then again, at times I feel like I'm holding the breath a bit more than necessary - it doesn't hurt my singing, but I feel good closure could be achieved with less engagement. The question is: should I actively focus on holding the breath in the body with my torso muscles or is focusing on good closure enough?
  8. 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.
  9. I have a few assorted questions:   1. How can I tell the difference between twang and regular glottal compression in the sound? That is, I know twang is used because it improves compression, but what is the difference in sound (or specifically in sound color) and sensation between the two? 2.Is twang the same as pharyngeal voice? If not what is the difference?(I have a feeling James Lugo will nail this one) 3.When I try to twang on higher notes my larynx jams up and my sound ends up muffled and with extremely poor ressonance. Any way/exercise to fix this? I'm trying to dampen the larynx as in The Four Pillars, but it still goes up a lot and sound really muffled. Could this be realted to opening up my throat too much to block nose airflow? 4.To use mask properly must air come out of the nose or is the correct technique not having any air come out? 5.Does twang have any relation to mask? 6.If I open my throat a lot, so that no air comes out of my nose and "aim the sound"(don't know how to put this better) at the hard palate, up and forward, does that have a name? Gives a metal ping to my voice, but I don't know why or how. So far I'm not using it.
  10. Hi all, I have noticed that my high notes (I guess G4 or more) seem to be getting too much air.  I don't recall having this problem before.  I am doing a lot of the mums and mooms and working a lot with the "uh" sound, trying to do CVT curbing.  Any advice on how to get it cleaner and tighter?
  11. So im working with 4Pillars and the term that is referd to tons of time is "Twang". And Quack and Release onsets is kind of helping students find that Twang configuration. Now ive been experimenting with this Quacking sound lately and i am doing this sound which i dont know if its correct.   Now i am aware this is NOT a sound i will be using when singing, but what i want to know if this is a proper way of finding that Twang thru EXCESSIVE quacking.   Obviously i want to aim for the effect that Quacking provides (adduction i guess) but in a more beautiful tone.   https://app.box.com/s/lnvdjb8n6rdge9kuukrkc3q9mvxhvoeo   Like i said this is extremelly excessive but i do feel like the tone is fuller and sound more connected.   You will notice as i try to open up the vowel (or embouchure) i fall back to falsetto.
  12. It has been pointed to me that one of the issues I have in my singing is my not being able to maintain twang compression.  This is a very interesting thing for me to ponder about.     To me, twang configuration is something that helps me reach high notes with ease.  On the other spectrum is the chest voice, which is pure and so deep.  I have a certain degree of depth in my low voice that I would like to use.     When I approach a song like "Don't stop me now" it creates a tremendous confusion for me.  Freddie starts of with an amazing chest voice and when he goes to "turn it insaaaade outtttt yeeeeeah", it goes pretty high.. Now me, I cannot do the latter part in my chest voice and I need to use twang..    Listen to my attempt at the same song(only the intro)   https://app.box.com/s/sapjggxxuspa12u8cjpbw2ljm4x4da0v   From the beginning till 0:15, I am fully in my chest voice and I do the twang compression for "Turn it inside out".. It feels a little disconnected from my chest voice.. However, if I try to get this portion any deeper, my voice cracks(not everytime, but I don't have consistency)..    My larger question is on use of twang compression.. How does a singer visualize usage of twang.. It is whenever we cross the passagio?  Is it when we are in high head voice?  
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