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Found 19 results

  1. What are some suggestions for exercises and repertoire for helping a student gain strength and control in their lower register? Also suggestions for going between chest voice and mixed voice?
  2. How do you find ways to encourage instrumentalists to feel comfortable answering questions related to singing? Examples like: How to chose repertoire for a beginning singer or what kind of vocal inefficiency is there? (Assuming they do not have much experience singing themselves) I have found that it is hard for me to get them to join the conversation during lessons in our pedagogy class. I don't want them to feel like I am calling them out, but I also really want more participation from them in general. What do you all suggest I do?
  3. I have recently begun teaching vocal lessons to a college student whose main instrument is not her voice. Her air support is strong in both her chest voice and head voice, but she is struggling to transition between the two. The transition is extremely abrupt and causes her to lose confidence in herself. What vocal workouts and exercises may be helpful when working on her mixed voice and transitions?
  4. Hello, Im currently a student and i love singing alot, but i couldnt afford a vocal class and im facing this problem with my voice, and i dont know what is this or why it happen. is my voice broken??? https://soundcloud.com/nicole-chang-959104894/whats-this-weird-sound i sing with my head voice at the beginning, it starts at F3 and my head voice it very weak, then i tried changing from chest voice to head voice, it has this really weird sound. anyone can tell me why this happen? and how can i fix this? pleaseeeeeee
  5. Hi there! So I’m very new to singing, but I’m wanting to try and take a leap of faith, and audition for a local musical. I’m having a lot of trouble picking the right song though. Since I’m a beginner, I really don’t know where my vocal range is either. I’m able to sing along with most pop songs, though, and am decent at matching pitch. The part that I’m going for is a tenor E-G# (and I have absolutely no idea what that means other than tenors are generally the higher men’s octave). I’m also nervous because I’m a transgender guy with a voice that hasn’t dropped yet, and that’s the highest men’s role in the show (Hello, Dolly). I’m worried that I’m biting off more than I can chew with this one, and still pretty hesitant to audition, but for now I’m just going to keep pushing forward and try to pick a song to audition with. Thank you for any advice!
  6. Join us! Robert Lunte & Draven Grey Ask Me Anything Singing Webinar Wednesday, January 24th, 10am PST. Broadcast on FB Live: https://www.facebook.com/events/158276921614589/
  7. I am working with a new voice student. She has been a piccolo and flute 8+ years. I am trying to find some effective warm-ups for her. She is able to match pitch and has more confidence singing in her lower range. She has been recently singing with a very pressed sound and is very tense when beginning warm-ups. Trying to find warm-ups to help combat these things!
  8. This is by far the best exercise I've taught to help students overcome choking. I've had my share of students who deal with Muscle Tension Dysphonia. This is when they not only choke off on higher notes, they may not have higher notes at all (including head voice or access to their upper chest range), and often it's present in their speaking voice too. I often recommend first and foremost that they see an ENT to make sure there's no medical issues holding them back. Then, after working through many singing exercises meant to open up the throat and relax the glottis, I recommend a speech therapist. Sometimes I work with them for months with only a little progress before sending them to a therapist. I've had one student over a year who has had multiple singing exercises work for him one day, and totally fail on the next day, maybe even 10-minutes later. He's made progress, but it's extremely slow. He couldn't sing head voice at all when he came to me, and even his upper chest range choked off horribly. He hasn't had much success finding a speech therapist who will respond to him. And since I have quite a few students who deal with something similar, and really want to see him progress, I set out to find the answers for him. Besides using the cocktail straw exercise from Ingo Titze (which I put in part 2 of my warmup video), appoggio crescendos that morph into a horizontal embouchure, as well as onsets like dampening, wind, and pulse, the video below is BY FAR the best exercise I've found for getting my students to feel what opening the throat and finding deeper soft palate placement feels like. Now I just need to make my own video of everything I do from there.
  9. I just had a vocal lesson before, and this kinda drove me nuts, because I'm sure I'm right, but so was she ("I'll bet you money on it"), so I just needed to confirmation that I am right: Tenors read the treble clef, but sound an octave lower, yes? The highest range for a classical bass or baritone would be around F# or G, and you would write that 2 1/2 or 3 lines above bass clef, which is the same as the second line of treble clef. If we're singing, say, a Schubert baritone piece, the G written above the Treble clef will sound an octave lower. Pavarotti hitting his high C would be written two lines above the treble clef, but sound an octave lower; as the third space in the treble celf ...and high rock singer like Eric Adams of Manowar here at 5:13 : ...is hitting a high F# a tritone above Pavarotti, which would be WRITTEN 3 lines and a space above the treble clef for a tenor, but SOUND on the top line of the treble clef. She is trying to tell me that this is wrong. That tenors do NOT read an octave off, that the high F# in the Manowar is the same as a top line F# in a Schubert piece ("You only think it's higher because his voice is so thin"), and Pavarotti hitting his high C is going a tritone above both. And...unless I'm missing something huge, that can't possibly be right. Yes? Or no? I mean, I tried to show her by singing the pitch, and showing where it sounded the same on the piano, and she kept insisting, "No, you're singing that (plays an octave higher)" It got so we both had to just drop it. But...this seems obvious to me. So, what's the verdict?
  10. Really would like to get some helpful criticism on my first song I have on the radio in order to improve my vocal performance. The song is "Love Like You" All the songs on Early Mornings, Late Nights, and Long Roads were written and composed by me and were produced by Joel Kazmi--who’s worked with artists like The Tea Party, Rush, N’sync, Sum 41, and Anne Murray. If you don't want to listen that is absolutely cool and if you can recommend some new music or mention any great shows you've seen lately, that would be great. Cheers! edit by moderator: link removed
  11. I'd appreciate hearing some of youz guys's perspectives on Paul Rogers comments in this interview. I'm sure everyone would agree with his comments about "warming up" however, he makes an interesting comment about "his range," and then still manages to really avoid answering the question. Personally, I'm convinced he simply doesn't know the answer yet, he does offer the good warm up advice. The actual question is: "why do some singers lose their upper range as they age, and some don't?" -That's point #1, point #2 is, what about the interesting answer he gives regarding "feeling the song" in order to confidently sing the high notes in it. There are a few singers who don't seem in possession of the range they commanded in the prime of their career: i.e. Perry, Plant, Elton vs. other singers who are still going strong past their career peak: i.e. Rogers, Tyler, Elefante, Mickey Thomas, Tony Bennett, etc. the question is asked around 22:30
  12. Hi guys! I just want to ask a question. In this video, what technique does the vocalist (Brendon Urie of Panic! at the Disco) use at around 1:27 - 1:34 mark of the video? is he really just using a stronger falsetto or a very high mixed voice? Please help me.Here's the link: https://www.youtube.com/watch?v=5XwBBVPeWfUThanks!!
  13. Hi! I'm new here so I'm sorry if I've done anything wrong. Either way, I just did a vocal range thing, and I went from C3 to a C6, but I managed to come up to E6+ but my voice got very squeaky. Many people have commented that I sing very high, and I really don't know what voice type I have. I have some trouble with singing very low, considering that my normal talking voice is low, but when singing high notes I don't have any problem at all, afterall, I prefer to do that. I'd like to do whistle tones, but I think it's better that I know what voice type I have before I do so so I won't damage my voice. What do you think?
  14. Hi TMV, Today I had to upload a few videos for an audition. Basically I sang for a few hours to get the takes just right, and it was more singing than I've been doing lately. Some of it was in the upper parts of my range. Long story short, after finishing everything, I tried hitting my upper notes a few minutes ago and I couldn't do it, I didn't have control over it, and it sounded really raspy, and not in a controlled way. I sound fine while speaking and I can sing lower down, and in the middle of my voice. There is no pain, and aside from the rough sound in the upper notes, there's no hoarseness. Could I have done permanent damage to my voice or is this just from tiredness and improper use of my voice? I admit I don't have perfect technique, and I chose a song that had a few parts that were too high for me. However now I'm worried I have nodules or something. Please do let me know what you think. I'm gonna go to a doctor in maybe 2-3 days if this doesn't change, but for now I'm trying not to panic, because it might not be anything serious.
  15. i have searched a lot to get vocal scales to practice but im not so sure about it so would u please suggest me some samples of these scales scales i need are double octave scale and 3 octave scale i would also like what a long scale i would like to get some samples so than i can play and practice thank you
  16. How do you go about "solfeging a song". My music teacher suggested I solfege Home by Phillip Phillips in the key of C. I know it starts off on a high C..making it do? I need help because I am fairly new to this. Please help.
  17. i wanted to ask how you folk feel any anxieties around being physically present on stage moving and dancing in front of an audience? My second hobby for the last few years has been dancing (primarily swing and blues), so I'm considering blogging some advice taking what I've learnt to help people remove any anxieties they might have around looking awkward in their movements on stage. I'd rather not sink time in to writing unwanted advice, so if you have any feedback around whether you've had problems of this type then that would be super useful The first post I'm planning out is around what to do with your hand that's not holding a microphone which I'll link here if there's interest. Follow ups could include a few understated steps, how to make your movements looks and feel good, strutting on to stage, motown style backing singer choreographies etc.
  18. Song selection is sometimes the most important factor in an audition preparation. What type of song you pick depends entirely on what you audition for. Here is what to consider. Musical: Take time to get to know the show. Choose who you want to be and pick a difficult song from another show by a similar character. For instance, if you want to be Marian in Music Man, find a piece similar to her hardest solo, “My White Knight.” Several aspects of the song are difficult, but focus on singing something in the same vocal range and style. Opera: Whether you audition for the chorus or as a soloist makes a big difference in the world of opera. You may sing one selection to sing in the chorus, and at least two to sing solo. Pick an aria in German, Italian, English, or French. Do not audition with an art song. Typically as a soloist, you pick one aria to perform and prepare and list several others for the casting director to pick from. List at least one serious and one funny selection, represent several languages, pick arias from several periods (Mozart, Rossini, Massenet), and be prepared to sing whatever they ask you to. Jazz Gig: With jazz gigs, most managers expect you to either play the piano yourself or provide your own live accompaniment. Be proactive and ask at restaurants or department stores whether you may audition. They may want background music or a main attraction. Try to find out before the audition, so you can select music accordingly. Prepare at least 30-45 minutes of repertoire for a performance. If you are hired for a longer period of time, just take a break, and then run your set again
  19. (Blues, Jazz singer Cheryl Hodge - author, is currently nominated for BEST BLUES SONG, 2011, at the Hollywood Music In Media Awards) People are always asking me about what my secrets have been for getting ahead in the music biz. It's almost like they think there is some magic answer that will help them move up the ladder. Well, in a funny way, maybe there is one. But you might not like the answer. There are basically three rules that I live by and have for 30 years. In order to succeed in the music biz (the simple answer), you need three basic ingredients. In time you will find that all three ingredients are inner-related, and that one hand scratches the other. You must have: 1.) A great musical product (it doesn't have to be original - but if you are going to do a cover, do it nothing like the original... avoid comparisons.) The first 20 seconds of the production have to be both innovative, infectious, and flawless. This has to be music so catchy that if you, yourself, had only enough money to buy one CD a year, this would be the one you would buy. Put yourself in the consumer's seat. Remember, we are presently in a devastating recession. Talk is cheap (there are lots of sales pitches out there), and money is dear. For someone to buy your music, they need to be really moved by you, in a way that no one else has. 2.) Relentless drive (unending belief in yourself). 99% of the artists who are successful did not "make it" over night. They knew, at the start, that they would most likely be in for a "long haul" before the public would become aware of them. The chances of being a huge success in the selling market are actually less than that of being kidnapped, believe it or not. When people see those odds, they tend to become daunted. The sooner you get started, the better. Look at former mouseketeers, Britney Spears, Justin Timberlake and Christine Aguilera. Starting early certainly gave them a "leg up" in the business. However, having said all this, it is truly never too late. At 56 years old, I am starting to be discovered in the biz. Why? Because I didn't give up. I believed in my music; I believed in myself. I knew my niche, as it were. I realized my market. The great Lou Rawls once said at a seminar that his golden rule for success was, "Never change your music to suit the public, and current trends. Do what YOU believe in. If you believe in your music, then sooner or later the public will, too." 3.) Business savvy. This is the one that some artists absolutely hate to acknowledge. Many believe that the words "business" and "artist" are polar opposites. Every year, a few songwriters approach me by saying that they feel that being a business-minded musician is the equivalent of "selling out". Interesting premise, but I beg to differ. Songs are a communication. If you believe in your art, then you will admit that you believe in communicating the message of the song with the most listeners you can possibly relay the song to. And now we get to the ultimate goal: exposure. You'll need to learn all about agents and managers. You will need to schedule out at least an hour per day of web work. You will need to know about tax shelters. You will need an office that includes: a computer, possibly (probably) a home studio, a phone/fax machine, a scanner, a filing cabinet, and a few absolutely great books about the music business. One of my personal favorites is Hal Galper's book, "The Touring Musician". The best way to find out what you like is to talk to some of the most successful people whom you have already made acquaintances with in the music business. Questions? Feel free to contact me at one of the following places: cherylhodge.com ,jazzboulevard.com, reverbnation.com, Jazz & Blues Artist, Cheryl Hodge (facebook) .