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Found 8 results

  1. 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: So, an example of this strained 'falsetto', in a moment with the voice quite tired (so that the strain is noticeable): Same song, in flageolet (I know it sounds a lot like a falsetto): An example of a song, in falsetto, that sounded better, in a moment my voice wasn't that tired: (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
  2. I was just thinking about the different styles of singing and I started to wonder, what are prominent elements in different styles?
  3. Hi guys. If I go lightly on my pressure I can sing up to F#5. The issue is that my throat gets very tight. I can start tight on a C#5 and then relax and add air to get it louder without issue. Any tips on how to do this for F#5. The F#5 seems too tight to actually be able to send enough air into it to add volume. Is this more an issue with control? Or muscle? More practice vs working out more. Thanks, Rich.
  4. 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.
  5. Hi everyone, I just want to get some insight (because the web has told me that complete opposites are both correct) on whether: 1) Moving eyebrows due to the emotion of a song is healthy for the voice. and 2) If I keep moving my eyebrows, will I develop wrinkles on my forehead and is that something that I should just accept being a singer?
  6. One of the problems I've come across is an elevated larynx position when singing in head voice. Now, I've somewhat managed to get it to a near-neutral configuration as of late, but want to know if the ultimate goal is to have it lowered. If so, how does one accomplish this?
  7. I have been placing my hands on my throat and on top of my diaphragm at the same time and have found out that a lot of tension is gone. No breaking, more resonance, better relaxed richer tone. Everything is good, no problems with that. But when we perform, I am sure that our hands should not hold our throat haha. That would just look weird. What is another thing I can do to trick the brain to not add unnecessary tension to the voice?