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Found 7 results

  1. I was thinking of this and I'd love to hear your opinions, especially from the voice teachers. Let's say a singer tried an experiment. He committed to practicing every day where he has to run the voice up his range and he had to avoid any kind of bridging, no letting go into falsetto, no transitioning...nothing... just had to run the full voice up all through just sheer will and determination. So any scale, any siren any voice exercise had to be done in full voice. No use of any heady placement, just pull up chest higher and higher..... I wonder,,,,,Would the voice eventually find it's way all the up the range? Would you and your voice figure out the way up through the "passaggio" and above? Would the development in this way open up the voice and allow it to release? I mean it's not like anyone's thinking of this or trying it, but I just wonder what the voice might end up doing in terms of capability and development. We always teach and read how the chest voice ends and now you have to nowhere to go......how you get stuck....or how you need to transition....... Historically speaking, did the teachers or singers of years gone by ever explore this? So let's say you just chest pulled for a few months, where would the voice end up? Would it be damaged? Would it be unbalanced? Who's to say...... (And yes.....I'm a little crazy I guess..lol)
  2. 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.
  3. Ive came across the video of laryngoscope showing the vocal folds and the muscles around when performing the "Thyroid Tilt Manouver"     Really interesting to see how the light sound is produced by the person getting the scoping and the vocal folds are vibrating nicely.     Is the thyroid tilt what actually puts us in a twang vocal mode?
  4. 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.
  5. 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?  
  6. Getting high in the mix and into full head voice. When I was originally finding my spots for these notes, I went extemely narrow almost covered for security. Then added more width to brighten it up, and take away that "amateurish" sound, as Robert calls it. So I would say I ended up on a 70/30 split wide/narrow that has never really changed since I landed there. Is there a way to have the security blanket and ease of a narrowed vowel up high, without having the negative sound that comes with it(like pure narrow not a hybrid). From my studies and experience I am un aware of a way thus far. I also dont believe its possible to bring in proper twang without widening the vowel. Which seems like the obvious reason one of the down falls of staying completely narrow up top is hootiness. Not really having problems with my current methods, though always interested in find better methods through debate.
  7. After just recently discovering my head voice I complained about only being able to achieve whisper volume sounds.  All of sudden I am finding myself able to grow the resonance in my connected head register a bit but it's a very new feeling and not yet free or really applicable.  I will post a clip and I ask if anyone can relate to this sound from their own training of head voice + is this newly discovered sound the foundation for a strong mix?     disclaimer: volume is quite loud so keep your headphones down: http://picosong.com/L24V/
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