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Found 33 results

  1. Hi. I am really bored being Baritone. I am not sure i'm a Baritone or Not. But i have totally un-trained voice and i have also, fry voice problem by Acidic reflux. I have damaged vocal cords but still i can sing. I don't know i have to chance to become Lyric tenor? Or i am a tenor or baritone? When my voice health before, my vocal range: Full chest: E2 (Very weak and force low note) up to A4-B4 and with force alot C5 Mixed chest: I don't know this technique so i don't know. Falsetto: Max note G5 i only know (But screaming) (And my falsetto is airy and dramatic sounds like very Mickey mouse tone) Head voice: Very weak but max note C5 probably. Here is my some cover tests: This recording when my voice is health... (Old a little bit)
  2. https://thebaritoneblog.com/2018/05/30/are-you-a-tenor-or-baritone/
  3. 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.
  4. Ms. Diana Yampolsky is one of the world's foremost specialists on the topic of the human voice and is the creator of Vocal Science(TM), a unique and truly revolutionary accelerated vocal development technique. It is a holistic and scientific approach to voice mechanics that enables all singers and speakers to reach their full potential in an extremely short period of time. Based in Ontario, Canada, Diana works with a worldwide spectrum of clientele as a Vocal Coach/Consultant, In-Studio Vocal Production Expert and Non-Surgical Voice Repair Specialist.If you feel that you, or a loved one, may be suffering from such voice disorders like Spasmodic Dysphonia, contact us: info@vocalscience.com | 416-857-8741
  5. Hi again, I tried support in these recordings but either I don't know how to do it properly because my throat still hurts. Like a grater was used on it. I'm currently using lozenges to soothe. Of late my voice has been raspy, I don't know why because my voice isn't usually like this. The ENT I went to said he sees nothing wrong with my vocal chords on the stoboscopy, he doesn't understand why I'm raspy now or sore throat. He says I'm probably going to have to do more tests. I'm still of the opinion that diaphragm breathing/ support only assists with sore neck & not throat. Any thoughts? Thanks in advance for your help (Why is there no gospel tag? Is it cause it's not really a genre, cause you can get gospel rock, gospel rap etc. It's similar to animation where it's not a genre cause it could be a drama or comedy etc? if so where do hymns sit?) Mountains of mercy - Gaithers Vocal Band https://singing-with-a-deviated-septum.tumblr.com/post/167245087814 Hosanna https://singing-with-a-deviated-septum.tumblr.com/post/167245210829
  6. I've gotten really good at pulling chest but I think for long term success I'll need to find a neutral position to sing in and eliminate strain. So my question for you guys is how do you make sure you can put in the right amount of effort to keep the breath flowing and not have the throat clinch up. What I've been doing to practice this is not pushing myself at all just trying to breathe and remain neutral and let the tone and the notes come, if they don't come I either go falsetto or change the note of the song I'm singing. I still feel like strain and reliance on the throat can creep in though maybe not enough to cause hoarseness but probably enough that it's not allowing the breath to support the cords and limiting my voice to one certain timbre and volume. I think having a breathy tone is a better starting point than having a solid tone because at least then you know the breath is flowing and from there you can work into a solid tone to keep stamina reserved. Just a little discussion on the topic of strain and remaining neutral I feel will be good.
  7. Came across this info and thought many would appreciate this ENT Doctor's perspective on vocal damage and vocal health. ENT Dr. talks about the stigma of vocal injury when she heard about Adele's concert cancelations. http://www.ohniww.org/adele-voice-injury-canceled-concerts/
  8. 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
  9. Okay, so to get started i believe i've had articulation problems my whole life, I couldn't speak fast at all, and my voice was somewhat hoarse. Often, people would ask me to repeat myself as my voice wasn't clear. I found that when I went on a ginger/lemon fast( for about 4 days), that my voice was ever so smooth! I could articulate my words perfectly, and speaking was no longer a problem. My singing voice got way better too. I've been trying to replicate this feeling by fasting, drinking lots of water... etc, and I can't seem to get the same effect. I think I might have chronic sinusitis, and was wondering if anyone had similar problems with articulation...etc I've googled it and I can't seem to find anyone in the same dilemma as me -> or is atleast aware of this dilemma.
  10. So a month ago I was singing with very horrible technique and ended up straining my voice. As a result my throat felt a bit sore and I lost quite a bit of my vocal range. If I wanted to reach a higher note I would have to increase my volume. My falsetto in particular was dead. It had nowhere near the range it had before. Over time though with some vocal rest, my voice got better. Then one morning I woke up, and my falsetto felt strange. When I did my falsetto, especially higher falsetto notes it felt as if though I was doing vocal fry. The notes would sort of cut in and out, but the rest of my voice felt a lot better. Now that sensation is gone, but the issue I have is that I can't really do my falsetto at a super low volume. I used to be able to sing in my falsetto at really low volumes, almost to the point where I couldn't hear it. This was useful for practicing transitioning from my falsetto to full voice. However, now whenever I try to do my falsetto at this super low volume, nothing comes out. I have to go a bit louder. While it is still really quite, there are times when I need to be even more quite, and I just cannot be quite without my falsetto cutting out. I've also noticed a lack of control with my falsetto which is something I didn't have a couple days ago. Sometimes its a little hard to maintain a pitch. Also, if I try to make the falsetto louder, it dissolves into what sounds like a fully connected register with chord closure. (THIS IS A REALLY STRANGE FEELING). The transition has almost no break. Its a recent issue, but is it also serious issue? Should I just do vocal rest? Please help!
  11. Hello, I am having a serious and rather uncommon vocal issue and I was wondering if someone could shed some light on the situation. In early May of this year, I was very, very careless with my voice. I had always sung through basically blunt force trauma, but my voice had always rebounded- except this time, it didn't. For months I had pain after speaking , loss of range and projection problems. Finally, I was diagnosed with a hemorrhage of the false vocal folds. I was told it wasn't permanent, and put on modified, not total, vocal rest. From what I understand, true vocal fold hemorrhages are extremely serious...but I can find no information about false vocal fold hemorrhage. It's been about a month and I'm still having problems with all of this, if not worse problems. My concern is, what role do false vocal folds play in speaking/singing? If it's just a false hemorrhage, wouldn't that have a minimal effect on my speaking voice and vocal range? I often get hoarse as well. I'm very concerned with scarring and permanent changes.
  12. Hi guys, I know the question title seems to hold the easiest answer, but bear with me, please. When I manage to find time to practice, I usually do both lip bubbles and tongue trills as part of my warm up, starting a bit lower in my range (chest voice) and going through my bridge to my head voice, always keeping the resonance in my head. What I noticed is I have a much harder time bridging when I'm doing tongue trills because my folds usually come apart many times, even after I'm warmed up, if I don't pay attention. So, I was wondering why this happens to me , and if it is common with other people too. Cheers
  13. Hey everyone! My name is David and I'm from a small town in the Yukon, Canada. The town I'm in is about 400 people and doesn't have much of a musical scene so I thought I'd check out this site :). So ever since 2014 I've been getting mentored by a songwriting/production group in the music industry. They've worked with everyone from Maroon 5 to Fifth Harmony (most recently). It all happened after I reached out to them with my lyrics. They immediately took me on and in these two years I've worked on honing in my lyrical and melodic abilities and even taught myself how to play the guitar (within this last year). The last part of this puzzle is singing. I've always felt this fire deep in me ever since I was young. But I was too scared to try out singing in front of teachers until recently. So within the last 2 months I've gone to about 3 or 4 online singing lessons, which I've been feeling pretty great about. I made a promise to myself that before I email these guys something new, it'll be when I can sing decently enough to intrigue them. I know I have it in me. Aside from this introduction (I hope I'm posting in the right place). I'd love to get some feedback and tips and even more than that after I share some videos here. I see that this community has some vocal coaches, so it would be awesome to hear from everyone. Singers and teachers alike!
  14. https://app.box.com/s/xtczgyz7dgjy48mtrmqg0yydtkwh0466 Whitesnake cover!
  15. 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
  16. The last few months I have noticed less reliability in the upper parts of my head voice. I used to be able to hit a very clean, clear, well connected G5. It started to get a little scratchy, but still there. Now, I can barely hit an E5, and the highest note I can now reliably hit is a D5. What I don't get is that my voice generally feels better than ever. I've been training with Ken Tamplin's Vocal Academy, which has very little head voice development, so I have been doing some basic head voice exercises every so often. I've been getting AMAZING results everywhere else, but the loss of the highest notes makes me think something is up. I do everything by the books - I don't strain for notes, trying to keep my larynx as neutral as possible throughout my range, drink lots of water, steam my voice most days, and I feel absolutely no discomfort when singing. I don't care too much as I rarely use this part of my voice but I can't afford to lose any more notes from the top - I don't want this to effect my high C. I have been on complete vocal rest the last few days - just done some basic lip rolls and tried to vocalise up there but still, the highest note I can barely hit in head voice is E5. Any suggestions of what I can do? I can't afford to have my cords looked at by an ENT so home-remedies and cheap suggestions only, thanks.
  17. 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?
  18. Mainly, vocal cord paralysis occurs after related (and unrelated) surgeries such as, for example: Thyroid removal surgery, spinal fusion and even simple surgical procedures that require surgical intubation (Tracheotomy). Often, those tubes are inserted incorrectly and, as a result, the vocal cord(s) could be damaged and/or paralyzed. The voice could be easily jeopardized if you have experienced stroke, or even unrelated surgeries, for example, due to even any accident, which requires surgical procedure. Of course if (God forbid) the sufferer had any growths like tumor, or even a simple nodule or polyp on a vocal cord, removal of any of the above could easily cause vocal damage and vocal cord(s) paralysis. The Vocal Science™ technique is the only alternative way, which could dramatically improve ones’ speech and even singing voice for that matter. The Vocal Science method is a holistic and alternative approach to voice mechanics. By the virtue of fact, the method suggests to remove the pressure of the sound from he vocal cords and lift the voice to the alternative muscles, which once put to work together in full conjunction and coordination, will amplify the sound 4 to 5 times over and will employ the wholesome vocal mechanism to work in its fullest capacity and with no pain or strain on the vocal anatomy. The space on the bottom of the throat is also released and thus, allows the room for the natural herbal and homeopathic remedies to work in the full force, which will greatly aid to the patients’ voice/vocal recovery. Please be advised that this process of restoration of the voice (after the vocal cords/vocal folds paralysis had occurred) is extremely tedious and intense. It could be also a very emotional process on the patient’s part. Obviously, their voice is not sounding the same and, at times, it Is difficult for them to pronounce certain syllables. I have seen a lot of tears in my studio/clinic, which sometimes served a positive deed, as after a good cry, the patient had regrouped and caught a second breath, so to speak. By that point, they got their sadness out of their heart and soul by releasing their emotions and even their voice became lighter and more compliant to the instruction. A lot of the patients, understandably, possess a lot of ‘stuffed-up’ emotions. That, by itself, could be one of the reasons of their voice disorder. I receive a lot of patients with thyroid problems and even removed thyroids due to cancer. In holistic teaching, the thyroid represents suppressed emotions and hurts. So, in the first place, they were experiencing something that, emotionally, they could not comprehend. Majority of the diseases are emotionally induced and then, they manifest in the physical body. For example: A bad marriage could cause a lot of anger and anguish. The human liver (in the holistic understanding) does represent suppressed anger. When one of the spouses dies of cancer, it is almost 100 out of 100 that it would be the cancer of thyroid or, even more so, cancer of liver. That’s, of course, if the marriage was full of disagreements and fights. So, from our side, we are wishing you peace and harmony in whatever you are doing in your life path. That will keep you happy and healthy & most likely by osmosis will keep your voice intact.
  19. Ms. Yampolsky's coaching concentrates not just on the voice, but on the performer as a whole. Her approach can boost stage confidence by improving the voice's range, pitch and power. She believes that a singer has 25% natural talent, while 75% of a singer's performance relies on technical training. Her special exercises enable the singer to meet any combinations of pitch and duration of sound. Ms. Yampolsky views the body as an instrument whose quality of well being determines the quality of sound produced and recognizes that the voice is a reflection of the 'inner self.' All courses are customized to the unique needs of each individual singer and program the brain using visualization and vocal repetition. The Vocal Science (TM) Method alleviates strain on vocal cords and develops proper use of facial and abdominal muscles while stressing posture.
  20. Hi, I'm new on this forum. I'm 15 years old and I'm going through my vocal change so maybe that has something to do with my problems. I have two main problems. The first one is my clean voice sounds really gay. When I talk I don't sound like this but when I sing (especially high notes) I do. The other problem is I'd like to sing aggressively, but I don't know how. I'd like to sing aggressively but without screaming, something like Jeremy McKinnon (vocalist of A Day to Remember) when he sings choruses, but I don't know which techniques I have to use (I don't actually know what the tags I've put on this topic really mean) or if my voice is able to do it (I think I have a high range but I'm not sure either). As you can see I'm quite lost, still don't know if I have a good voice or a really bad one, maybe singing is just not my thing, who knows. However, I'd really appreciate it if someone could give me a solution to my problems. Thanks a lot. PD: Sorry for my English.
  21. Hi folks, this is a song that the last time I was not quite happy on how it was sounding, new version with some differences on the approach: Thanks everyone that can take a listen
  22. Hey everyone! Just wanted to check in with some interesting reflections that I had recently with the folks who could benefit. So for background, I recently started med school and we have to take a pretty detailed course in gross anatomy that covers the entire body head to toe. I found that as a singing student, learning gross anatomy in lab and lecture has been extremely beneficial. There are so many things that we talk about and try to cue ourselves and others to do in order to achieve certain qualities in vocal production that now seem so much less mysterious, mystical, and/or unclear to me. 1. Twang - quacking, pharyngeal voice, narrowing of ari-epiglottic funnel/space/whatever people want to call it. I have seen SO many thread about "what is twang, how do we do it"... seriously, cutting into the back of the pharynx and looking at the picture like this taught a very real lesson of how close the muscular back of the tongue is to the epiglottis, which creates the necessary twang to help us negotiate pressure to adduct our vocal folds for good singing. This explains why the cue of "raise back of tongue to molars" can help get the epiglottis to move if the student does not know what it means to "twang". There are three muscles attached to the pharynx called "superior, middle and inferior pharyngeal constrictors", the infrahyoid muscles, and some of the tongue (more on that later) muscles... some of the enemies of beginning singers. 2. Support - If anyone wants any cool pictures of support muscles, please let me know and then tell me how real you want the pictures to look haha I have a better understanding now of... what muscles are used in support, how to use them, do I tighten/tense them or not?! how proper support is almost as easy as learning a few things about what proper "bracing" for daily activities and athletics is from a physical therapist. How you can squeeze your glutes to "set" the spinal alignment before you work on the breath so you KNOW 100% that you are straight. How the pelvic floor contributes. How scapular stability relates to consistent support and expansion. How pulling in from the stomach is invariably requires strength and command of the transverse abdominal muscle, so telling students to "just relax and breathe and pull in but stay relaxed" can be counter-productive because they don't realize they're engaging one muscle while keeping the other muscles in check. Also, Phil is totally right about the "fist into the gut" feeling, and Marnell is def talking about the transversus abdominis when he talks about the sensations of support (vomiting, etc) in that 1 hour long video. 3. Soft palate, the nasopharynx, sinuses - After seeing the sinuses in real life and finding them myself, I can definitely say I have a new appreciation for how vibrations and sound and fluid all interact with the sinuses in the nasopharynx. Also a new appreciation for how bad head colds with sinus problems can be. 4. Ken Tamplin's tongue - that's right, I said it. So many questions are asked every year about "wtf his tongue is doing" and if it is okay or not. My personal verdict on the topic is now out: what I learned suggests that it is indeed okay to change the shape of the tongue in the mouth while singing if you want - to a certain extent. The genioglossus (the largest tongue protruding muscle) and some other tongue muscles are attached to a bone can cause unintentional larynx raising (as larynx is also connected to said bone lol) if the tongue is protruded too far out, but where and how to shape the tongue otherwise is rather individual and totally cool if you can still form your vowels and consonants the way you want (I admit some of Ken's vowels are not how I personally would sing my vowels but I know he likes em and that's cool): this is because the muscles that do that part of tongue shaping "making concave U's or fat lizard tongues or flat tongues" are NOT attached to any bones, making them totally cool to do what you want with them, including help you form consonants. Stopping myself from going on forever now. tl;dr: Med school anatomy has confirmed to me and taught me even more about many things in vocal pedagogy that I was not sure about before, feel free to discuss how you guys might have already known this stuff or whatever or ask for cool pictures.
  23. Hello TMV members, I have an issue with my voice, sometimes it just won't thin out/conduct properly. Some days the break seems fluid and I can bridge the (full) voice all the way to an B5, with various mixed shades too. On other days, my voice completely fails apart, and I can't even have the vocal cords conduct an F4. Instead I get screechy distortion and the voice seems kind of dry and harsh, almost as if it was completely stuck in chest mode. It feels like the cords just refused to vibrate where they should. The amount of frustration caused by the issue would make me shout some really angry tones if it was possible given the situation. I wonder if there might be a condition that might cause the issue, which I am not aware of? Like irritated/inflamed vocal cords? This time around the problem was almost certainly caused by a bad cough I am having, but it isn't the first time. I would really appreciate if you guys knew any exercises or anything else that might help. Any information regarding the issue is warmly welcomed! I had to work a lot to eliminate that screechy distortion (or poor conductance) in/above the passaggio, which I am not sure if that's normal either, perhaps some coaches here know. Shame to have the problem re-appear randomly...
  24. "Listen" is οne of four new songs written for the feature version of Dreamgirls (originally a 1981 Broadway musical). Ιt's lyrics make reference to tenacity, love, the refusal to defer dreams and finally rise towards fame.In the film version of Dreamgirls, Knowles portrays the character of Deena Jones, a pop singer loosely based on Motown star Diana Ross. The story explores the life of The Dreamettes (based on The Supremes), a fictional 1960s group of three female singers,whose manager Curtis Taylor (based on Berry Gordy and played by Jamie Foxx) manipulates their personal and professional relationships.I Hope you Enjoy it!Official Facebook Page: https://www.facebook.com/ChryssanthemisModern Music Arts Facebook Page: :https://www.facebook.com/modernmusicartsModern Music Studios Facebook Page:https://www.facebook.com/modernmusica...Video Editing: Modern Music StudiosElectric Guitar: Steve SovolosPianoAikaterini DeliyiannidouBass Guitar: Dimitris VerginisKeyboards: Kleanthis KonstantinidisDrums: Fotis Yiannopoulos