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Found 65 results

  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. https://youtu.be/FxZZwxR6hyk https://youtu.be/M5ymDCllhd8 https://youtu.be/fKmR38DpgkA https://youtu.be/9EHat-NCseY I need to know if I sound good in tone and where I need to improve(vocal analysis). Also I don’t know if I’m a tenor or baritone.
  4. 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?
  5. Hi there folks! I just joined today, my name is Liza Jean (stage name, granted), and I sing for a KC-based rock band. I'm an alto/mezzo and my chest range is roughly F3 to D5, and my head voice is about Eb5 to G5. That being said, I can belt an Eb5 in chest, but it comes and goes, as that area is where my vocal break sits. So I guess I'm here with a few questions! I take singing lessons currently, but I'm pretty certain my teacher doesn't have formal training in the sense of knowing the pieces of the vocal chords. She has her own solo project and usually teaches children, and while we've made some great progress with where my voice was last year, I'm still hitting some roadblocks that I'm not sure how to explain, and that neither of us are sure how to overcome. So I thought I would turn to y'all! So without further ado, I'll try to word these in a way that makes sense: 1. When I initially started working on strengthening my head voice, I did by using a lot of nasal-y 'nya' vocalizing. However, I've found fairly recently that this seems to create a lot of tension in the back of my mouth/back of my tongue. When I sing in head voice, it's hard to not fall into it, and if you put your thumbs under your jaw and right at the back where it curves up, that soft space always feels 'weird' when I sing head voice. The best way I can describe it is like someone's stuffed cotton into the space or similar. I'm pretty sure it's tongue tension but I'm not positive. Thoughts? 2. My chest voice is very deep-sounding in tambre, and pretty warm. Even when I belt, there's still a decent richness to the tone, but once I get into head voice, I lose it. My upper register sounds like a completely different voice: it's a little thin in tambre (but not breathy), very bright, and just generally not what I want. I'd love to bring some of the richness of my chest voice into my head voice, but I'm not sure how to. 3. The dreaded vocal break. I definitely have it, and it's very noticeable. What are some good exercises to smooth this out? It tends to sound a bit like a yodel, but there's still a patch of graveliness when I make the switch, even if I slow down the exercise I'm doing. Being able to switch seamlessly between my two registers would be absolutely ideal! 4. In general, I tend to break fairly easily in my head voice. I know this is probably a matter of strengthening my breath support, but in particular words that start with a vowel or glottal stop have a high tendency to break and/or crack, and so far my only real method is to just very slowly go through the vowels while in my head voice, but I'd love if there was a better set of exercises I could do. Songs I tend to sing for practice on these things include Stone Cold (Demi Lovato), Praying (Kesha), and more recently Who You Are (Jessie J). They all have a lot of runs and switching between the registers, and I'd love to be able to sing them and have my voice sound like one seamless, well-mixed register. Any advice is appreciated! (And if I can, I'll try and get a vocal recording up one of these days if it's easier to hear what I'm talking about.) -LJ
  6. 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
  7. Hi all, I've always loved to sing, but over a month or so I've began lessons and been using the app "Vanido" to try and improve my intonation, which has always been my problem. As such, could I please have some feedback on my cover of Julio Iglesias' "Begin the Beguine," with particular attention to my pitch? Of course, comments on tone and everything else is very welcome too! The playback is a karaoke version from YouTube, and I added some reverb in GarageBand. Thanks so much for your help on my singing journey
  8. I have played piano for a while and last year began singing along with it. I have always liked singing for fun, but lately I have been getting more serious about singing. I found out about the elusive but magical "mixed voice" and have been trying different methods I have heard to get my voice into mixed voice. I finally got it a couple days ago and could feel it in my chest and my head, but something sounds very wrong with it. It sounds like vocal fry in the sense that the chest voice part of it cuts in and out like popcorn popping. I am wondering if there is any way to fix this? Or should I just keep practicing, doing scales, etc. until this sound stops and the mixed voice is nice and smooth? I I am unable to post any link at this time, but I might be able to tomorrow if it would help. (Also, sometimes I notice that it sounds like my head voice is an octave higher than my chest voice??? even though I didn't think this was possible.) LINK TO WHAT IT SOUNDS LIKE: https://soundcloud.com/nevergiveup123-1/cracklinghoarse-mixed-voice It sounds like I am straining, but I am not, it it comfortable singing that, it just sounds horrible.
  9. Hi fellow vocalists! What is this thread? Why? I am starting this thread as a place to compile different trusted online teaching resources on how to begin training your falsetto or head voice both for myself and for other people looking for a one-stop shop list of this topic. What is your skill level and experience on this topic? I have been studying and training my full voice all semester and want to finally begin adding this skill to my vocal toolbox. I have a very basic sense of head voice to full voice just because of my musical background but other than that I have little to no education or experience on the techniques, practices, standards, and healthy conventions of the use of falsetto singing. Thank you guys for your help in populating this thread.
  10. As far as Im aware I have a pretty average chest voice range. the highest I can sing are the likes of fear of the dark by iron maiden. Recently I went to see Testament live and understandably I was getting pretty into it. When the singer was saying the typical “are you guys ready” sort of stuff I yelled back “f*ck yeah!” as you do. Somehow I accidentally yelled extremely high and loud (enough for me to hear myself) and I somehow hit this really high note that I have never been able to deliberatly do. Im talking like the trooper and hallowed be thy name range which is really high for me. Its funny because the exact same thing happened to me when I seen Diamond Head live too. Im wondering what made me able to do this so that I can start meaning to do it. Was it just because I was so in the moment and put so much effort into the shout? Or is this not possible? I dont think ive ever tried putting that much effort into singing before due to fear of injury so im wondering if this is what “belting” is?
  11. Hi everyone! I recently just got diagnosed with Vocal Chord Edema, I've had alot of trouble hitting C4 and above in chest/mixed voice and had lost my head voice and falsetto for a solid 5 months after a cold. After being on medication for a while i've been able to explore the 4th octave more regularly with ease and wasn't sure if I am using healthy technique or placing my voice correctly. I am being assessed on this song in 3 weeks and I'm hoping to move my last assessment grade from a B+ to an A! I've only been learning this song for 3 days so some parts are not correct but I am doing my best as my throat gets swollen easily from the edema so I try to practice as much as possible without abusing my voice <3 https://vocaroo.com/i/s0r7K7hrWgxF (Love You I Do - Jennifer Hudson)
  12. Note: was recorded with computer microphone, and is supposed to be sung kind of lightly Is this kind of good?
  13. 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!
  14. TLDR: Long story short... what songs would you suggest for a bass which, preferably, doesn't go above E4? (I'm talking about the songs though, I go above E4. I can go up to F#4, G4 sometimes, but I want some rest and actually sing really proficiently in the lessons, not upper belt all the damn time where I strain and push a little cause of the soft warm ups she teaches which doesn't loosen up my voice :/. Am I wrong??? is the teacher right??? I'm a bass and shouldn't be singing in a girl's key??? What do you think about this?? So I took private lessons before with a teacher for a couple months, have stopped taking them for a month or so now, and now I found a new teacher. It's a group lesson with my relatives and some others. I'm the only guy in there. So anyways, she makes me sing in a "guy's key", and whenever I sing in a girl's key, she says it's "not my key" and doesn't want me singing in it. And also, I told her that I can't hit that note, this (guy's) key is too high for me. And she insists that I can. Like no, I've went over the range in that SONG, and my range with my old coach, and I go over my range every single day when I practice. It's either IN my range, or NOT. She picks songs for me without even knowing my own range or that song's. Not only that, but the warm ups we do aren't even for belting. So while the girls sing in their lovely mid range, I UPPER BELT my butt through the song without proper warm up, while the original singer, who sounds either a baritone or tenor, seems to be having a great time. I once sang a girl's song... okay... with some really nice C5 and D5, and C#5 and Eb5 belts. But I sang it an octave lower, and she told me to sing a guy's song next time. What does she think a C#4 and Eb4 is for me? it makes no sense. C#4 is already a high note for me, (my old coach told me about the passagio, I checked mine out and it's around C4, sometimes a note higher) and she doesn't realize that and doesn't want me singing in a girl's key. Fyi, the girls learning are untrained. Vocalizing, the girls start switching to head voice on around C5, I switch to head voice on around C4. Going down? They can barely sing an F3, my lower register is a little better, and vocalized down to D2, and a pushed C2 (I don't train my lower register much). So overall, those FEMALES are pretty much inside my range, y'know what I'm saying? D2-F#4 vs F3-C5, except it's an octave lower, their voices are pretty untrained so their range is much smaller. But if they were more trained, theirs will be similar to mine but an octave higher??? So I'm STILL not seeing why I shouldn't be singing in a girl's key. Passagio is similar and so is lower register, only an octave lower. Another note: There was this girl song that I sang along with, and they told me that it was too low for me. BUT THEN, I SAID, IT'S ALSO LOW FOR THIS GIRL, AND THEY (teacher, and aunt who was taking them with me) SAID BACK THAT IT'S ACTUALLY HIGH FOR HER??? I CAME HOME AND CHECKED WITH A PIANO AND IT WAS AN F3. Tf??? And I know who the singer is, she's a flippin soprano, and they're telling me the 3rd octave is high for her? along with C#5 and Eb5 belts? crazy. Maybe I should've let them try that low note :/. I am upset. I think I'll end the ranting here :/. It may unpleasing to see someone ranting
  15. 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
  16. So far, I've had a very tiny experience with singing, and it's primarily vocalising or humming. I think my bad experience singing in primary school has repressed my desire for singing for the rest of my childhood and later on in my adulthood. Sometimes I vocalise a tune that I like and experience an abrupt break doing it. I found a video by Roger Love which I think is about fixing this. Roger calls it middle voice, but in other places, I later found it called mixed voice. He presents an exercise for finding that mixed voice, but it isn't very clear to me. I found the same exercise later more clearly in other videos like this. I tried to do it and recorded myself more than once till my performance became more acceptable, and uploaded this track to sound cloud. It sounds to me like the first 2 octaves are not as good as the following ones. Let me know how you find it.
  17. So, it might set fire to an old discussion, but I remember this is something that came up a lot of times in the past. The whole M1 or M2 for the middle/high voice thing, and where it is useful. A somewhat recent study was released with audio samples of a tenor using a very light voice on C5 and D5, and guess what they found? It has body vibrations, so its register M1 I wrote a bit about the subject in my site, here is the published paper: https://www.ncbi.nlm.nih.gov/pubmed/27430862 Here are the samples And here is what I wrote on my site: http://highlevelsinging.com/index.php/2017/05/01/laryngeal-mechanical-registers-m1-and-m2/ Thoughts? BTW folks if you can read my article and let me know if its clear I would appreciate, I am not native and the subject is complicated enough without the language getting in the way.
  18. Hi, so just recorded this clip (No rain)(sorry for the quality, im traveling right now) but I want to know if im using the right technique, and if this is any closer to a good mix voice. Of course, a lot of things to work on regarding the song, but I'd like to know if im on the right track and what should I improve or work on for those high notes. At the end of the clip I also did a small comparison between a very nasal tone and a cleaner tone. Im not sure if this nasal tone is the right way (+ diaphram compression) to get a good distortion for heavier songs? Finally i also attached another clip (Paradise city) which is basically me playing around with this nasal tone quality to see if i get a good result. Thank you very much! cant wait to be singing these songs live:D
  19. She is straining right? or am I wrong :3 2:33 build up to a G5
  20. 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.
  21. Hello I am not a professional singer but have been singing for about 10 years now, I usually sing for about an hour a day. I sing in a mix of chest and head voice and am female, 27 years old. I try to do vocal warmups regularly but my motivation to do so is low because I have never noticed any improvement either short or long term. The one thing that consistently seems to give me a great voice is having been on a night out the night before. I.e. being hungover, having smoked cigarettes and not had much sleep (and probably having done a lot of shouting). This is bizarre to me for obvious reasons. I cannot think what would cause my voice to improve (better pitch, more smooth) from doing the above and would love to understand so I can hopefully find a way of achieving the same effect without damaging my voice. Thanks in advance for your help, Hanne
  22. 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?
  23. https://app.box.com/s/hipoe5h4ahmj0f3f2n58hvkgkmy4du15 Here's a clip of me singing the chorus to "Lay Me Down" by Sam Smith. The highest note I'm hitting is an A4 (I'm singing it a half step higher than the original). As a comparison, here's a guy singing it on "The Voice": https://youtu.be/zAaVoMLblDY?t=34s To me, his sound is so much meatier and much more chesty. To me, my voice sounds like Barry Gibb from the Bee Gees or an Axl Rose. Nothing wrong with either of them, but not the effect I'm going for. Basically, my question is: If I continue to do meowing exercises / sirens / slides, will my tone eventually darken? Or am I doing something completely wrong to generate this tone? Other sub questions: Should I be enunciating these vowels more with the "ng" sound to try to resonate it more in my nose? Or should it feel more like a "ha" sound to try to bring up my chest more into the mix? Lastly, here's another sample of me singing high notes with a more "bottom to top" approach up to G4 (Wise men(G4) say..). My problem is, I feel like I'm definitely "pulling up" my chest voice to hit the G4 with that tone is pitchy and strained. The A4 I'm hitting in Lay Me Down doesn't strain me at all but it doesn't have the same timbre quality as this G4.
  24. I've recently picked up singing again after quite a few years, and I've been doing the Mastering Mix exercises by Brett Manning, and I've just been wondering when I should start bridging into mix? As a female. Especially for pop/rock music? Like a newbie I have a bad habit of pulling chest up too high, but I've noticed a comfortable switching point between E4 - G4, is that ok? I think I'm a Soprano, though I can't be sure, but it seems like it. My voice is very light and bright. So I was just wondering what would be a good bridging point for me considering my music preferences and vocal type? Looking forward to your answers, thanks.