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Found 12 results

  1. What is the best way to talk about the anatomy and physiology of the voice (to any age from elementary-adults) while keeping students engaged?
  2. I'm unaware if this video has been posted here before. I think it underscores what's wrong with some vocal coaches who seem to remain stuck in outdated teaching methods from circa 1985. I would have come away from my first voice lesson with the exact same opinion were it not for the fact that a major rock star told me his coach increased his vocal range, stamina, and power significantly! I went to his same vocal coach. I went to the first lesson expecting that whatever the coach instructed was gold, and I was going to follow it blindly! After all, I had seen the results in a singer he taught! It's true, just like Grohl implies in this video, after that first lesson I thought, "it just seems bogus that these singing scales are gonna help me achieve what I'm wanting vocally!" There was very little in depth discussion about what the science of the vocal instruction was. It was just, take this cassette home of the scales I just recorded you singing, and practice them every day for at least an hour. Next week when you come back, we're gonna work on vibrato. Then the next lesson, another cassette, until a large volume of dollars drained out of my wallet. It's very cool how Rob Lunte blazed the trail on vocal pedagogy in the last 15+ years. It's a model that brings a more holistic and specialized comprehension, which translates into augmentation of vocal development/improvement. To say nothing of his engaging training system, and the re-engineering of "singing scales" or "vocal workouts" (chiefly - onsets) to maximize the students ability to feel more tangibly what is occurring in the vocal track, and why. I don't know who this coach was that Cobain went to, but you can see there wasn't enough understanding at the end of his lesson. AND, if Kurt blew his voice out, why did he come home with a cassette of scales? (see any of the youtube videos or threads on exercises for vocal damage). peace! k
  3. I have seen threads about "the dreaded A4" etc....so I assume it is a well known and common sticking point with well known solutions etc What about the f5-F#5 area? is that any type of "traditional" sticking point? I ask because im hitting a pretty solid wall around that point. IIRC when I first started I could falsetto up around there. Well now I can do a nice connected siren up to around f#5 but thats it...brick wall there lol. I know there is a bridge in that area somewhere, I feel a certain change somewhere around B4 so I assume I have a bridge in that general area. So starting about 3 weeks ago I was able to begin sirening cleanly through that bridge and now I can pretty much take ANY vowel and siren from down low up to right at f5-f#5 without any hiccups or flips etc. Or I can also onset at that high note and bring the note all the way down connected for a vague reference, here is a nice sustained F#5 (1:14, 2:20 etc). This is not a super strong or super twangy note, if anything its pretty light because i was trying to hit it light so I could hold it at a steady level. https://app.box.com/s/57e8hsloikcjn78se2shpt09wz9y1lk4 So that was a decent sustained note on "you" at f#5. The note wasnt super strong, for one reason because I had to hold that one breath etc but also because im simply topped out right there. BUT THATS IT! right now I cant even really squeak any higher lol. So I dont think that would necessarily be a "bridge"....since there is no note to bridge to. Seems more like I just run out of strength right there. Essentially I have been training long sirens almost exclusively, low to high, high to low, just working to smooth out the passagios etc. for me to go higher, is it just a matter now of spending quality time building strength around the d5,d#5,e5 area in order to be able to push on higher up? I havent really worked those notes THAT much, although when i do my sirens from high to low I often onset strongly on those high notes and hold and vibrato them before coming down and when I do supported sirens up I sometimes stop and vibrato that top note (which gets really twangy/ducky) What specific muscles are we talking about here? I feel that I am a fairly strong twanger....if anything I seem to get a bit ducky up high. What about specific onsets....A&R and C&R maybe? What about whistle, should I work on that a bit to at least start getting some squeaks up high? lol pretty sure David C topped out around this nice live A5. In my mind I have a goal of something like a nice Mark Boals C6. Any ideas? thanks, JJ
  4. Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing.
  5. Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing.
  6. I think I'm starting to tell the difference between glottal onsets and coordinated onsets and I think I may have been relying too much on glottal onsets. How do you ensure coordinated onsets? How do you become more in tune with the feeling of coordinated onset vs glottal attacks? Also how dangerous are glottal onsets, can they be used judiciously in a safe way?
  7. Something I'm experiencing when training is: the power (and genius) of onsets properly executed with work flows to "hold" that quality phonation steady, is something I can feel taking place! I can feel the musculature "locked/set" if you will, in to that ideal configuration, and the resultant sensation of that laser-like twang, and bullseye placement, unchanging as you siren, to or from the octave or 5th! LOVE IT! This has been especially encouraging to me due to my problems with singing with clearer, less raspy sound colors. Along with lots of resonant tracking, the sweeps and sirens are helping me achieve a more clean, solid, and clear tone option for my vocal color palette!
  8. Hello. I'm not a singer but I thought it would be the best place to seek advice. I've been having issues for a while about my voice. It leaks a lot of breath or air. My voice is quiet, lacks clarity. If I go to loud places I struggle to be heard. I lose my voice if I have to try speak loud or push for more volume. I'm far too quiet no matter what I do. The more I push for volume the breather my voice gets then my throat feels scratchy. If I done a lot of speaking and shouting on A night out my vocal cords are swollen, but weirdly it seems clearer and deeper, like the swollen cords cover up the air leak or something. Ive tried loads of exercises to improve chord closure but I can't seem to improve the quality of my voice. Can someone help me or offer me any advice? Ive also had my vocal cords checked with a scope. Which I was told is healthy... thanks
  9. I'm starting to realize after breath support onsets have got to be the most important thing in singing, I realized while singing at work the other day(singing the opening to LA devotee by Panic!, in a deep sinatra style) that I could sing those lines in a deep timbre, which correct me if I'm wrong is a thick fold variation on those notes, but I would start to run out of breath and have to start singing more thin to finish the line. Then I thought well what if I started thin and went thick, the difference was my thin initiation took less breath and it was easier to sustain. So after playing around with different onsets it was apparent that the onset if done properly led to a beautiful balance of head and chest resonances while maintaining the air supply. So my question to yous guise is what is the best way to approach an onset so that you retain the most air possible and how does it differ when onsets are initiated with consonants versus vowels and vice versa?
  10. Okay, so I think im getting some bridging going here. I have NOT been training (due to life drama) but I have been doing some belting and head voice stuff at work for the last couple days. I was working on singing some Badlands and whereas usually when I hit the high notes I just flip to unconnected reinforced falsetto but today I worked on trying to keep it connected. Once I felt I was hitting a decent connected head voice note, the "bridging" was automatic. I think thats why I struggled with it before,,,,I was trying to bridge up but there was nothing to bridge TO since I wasnt used to hitting "connected" head vocie notes. Anyway, its pretty raw still. like I said, I havent been training so the onsets are iffy, volume fluctuates etc. The high C is REALLY iffy. There is some goofing off going up or down multi octaves Track and release up octave sirens GABC https://clyp.it/ceg054c2 Glottal Attack down octave sirens GABC https://clyp.it/zkqvnmqi So, technically, this is bridging, correct? lol
  11. Just wondering how long it usually takes people to make progress in certain areas.   Bridging?   Connecting?   Getting a "chesty" sound in the head voice?   I'm not meaning significant progress, just some noticeable progress.  I've been training with the Four Pillars for the past couple weeks and I've successfully bridged a handful of times.  (You have no idea how excited/shocked i was when it happened). So i feel i'm making pretty good progress there.  I can get a connected sound in head voice pretty easily when practicing.  It's a little harder to maintain the connection when singing actual lyrics.  But the last part is what really gets me.  When singing phrases ranging from, let's say, C4-A4, I feel i can get in and out of my chest voice fairly decently, but while there's not a noticeable "break", it doesn't sound like the same voice at all.  I'm definitely not expecting this to be a quick process by any means, but does anyone have any idea when i might notice my head voice starting to sound like my chest voice? And i don't necessarily mean my head voice sounding meaty, just more like my chest voice in general. (hope that makes sense!)   I've been trying to practice at least 4-5 days a week.  I usually do the foundation building routine, then add some bonus scales and sirens afterwards to get more practice with my onsets (mainly Dampen&Release, Wind&Release, and Contract&Release) and bridging. When i get more comfortable with my bridging I plan to start working on the other exercises in the program. 
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