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  1. Mikey Said No . Mikey Said No.mp4 (Click Bottom Right Corner menu to Download this Video to Share) My Music Staff Integrates Skype & Zoom Download the PDFs Below Print_MMS Online Teaching Checklist.pdf Click_MMS Online Teaching Checklist.pdf If you do not want to use Skype or Zoom, this is the best service available for offering virtual lessons. Go to PLAY WITH A PRO... CLICK HERE >>> . .
  2. https://www.npr.org/2021/01/25/960299623/voice-author-explores-accents-language-and-what-makes-a-tone-sexy
  3. He's been called the "greatest rock and roll singer of all time!" Some people agree, some don't. What's' new right? Personally he's not in my fav singer list. What I will say about Axl is, he has seemingly done very well maintaining his vocal health for the extreme style singing he does. His stint with AC/DC was impressive for sure! This is why I found this video interesting. Axl is not singing in full voice on all the high notes in this performance. He's using a semi-falsetto tone. Singers might do this for 2 reasons (I can think of), 1- They lost that region of their voice from screaming, coughing, nodules, or alcohol. OR 2- They may be on the edge of losing their voice from fatigue from excessive performances and/or singing improperly so, now he's trying to preserve his voice by being selective about what parts of the song he's willing to sing full voice (what he appears to be doing in this song). If he allows himself to heal (does some healing therapy vocalize), he should be able to sing full voice in the higher notes again. I guess I'm more of a purist on this, I'd say, "cancel the concert rather than sing like that, it sounds like shit!" I have found that any time I'm singing in the "high performance" realm of the vocal spectrum, I can be singing properly in every other way yet, if I don't engage solid appoggio (strong diaphragmatic support), my voice will still fatigue relatively rapidly! It is (in my experience) the number one defense (out of many) against vocal fatigue and damage!
  4. I've been listening to BTS "Dynamite" and looking at their Tiny Desk (Home) Concert. Most of the singers seem to hit the high B4 with ease, even though some have more vocal strain. On other songs, I'm able to hit a B4 without much vocal strain, but not in Dynamite. I find this particular sentence hard to sing and struggle with my vowels. I'm experiencing with different ways to approach the note, but I can't seem to get it right. Yes, there are some processing on the vocals in their performance, I already know that. I'm looking for some tips to help me hit the B4 with less straining. Here are all the timestamps refering to the sentence "Shining through the city with a little funk and soul": B4 => 0:55, 1:45, 2:02, 2:36 C#5 => 2:53, 3:09
  5. Hello, i'm male on my late teens and a literal beginner on singing. Recently, i've read some topics about vocal ranges and techniques and i wanted to know what my vocal types are and if i did my singing incorrectly. Because i've read that for male that tried to reach high notes, it often accidentally fall into falsetto and highly possible to damage my voices if i overdone it. So i'd be happy if you can make some reviews and ratings about my recordings below so i can started to practice correctly. And i really didn't know what my vocal ranges is Lol. Thanks a lot!! PS: i'm sorry for false notes and tempos, i barely start singing arbitrarily when we were younh (1).mp3 circles low (1).mp3
  6. It is sad to say and hear that we have lost another great singer, songwriter and friend. John Prine passed do to complications of the corona virus. John was not in the greatest of health to begin with and the added stress of the virus became too much for his body to handle. If you have heard John singing you may wonder why he would be brought up in a Vocalists forum. From a singers standpoint he was not the best of singers and his voice did not have any special characteristics. His songs are simple, uncomplicated and lack any technical flare. When he sings and writes it is as if he were having a conversation with his best friend. That is the very reason why his songs are special, why he has had a career in music from the time he took a dare on an open mike night at a local pub and captured the hearts of many people around the world. He sings like he is singing to family, he is engaging, funny and he makes you think a little bit. You do not have to be the best singer with the highest notes or the most complicated vocal runs with the perfect intonation , tone and vibrato to be a good singer or entertainer. You just need to have something to say and someone to say it to and communicate the message.
  7. My mouth keeps making this weird "clicking" noise after I sing, whistle, or even say anything, and I don't know how to get rid of it. It's really hard to explain so here's some example ( I recorded most of them purely to demonstrate my problem, but not all of them ) https://drive.google.com/open?id=1SDl9jnuHUKdlYMctvkIPaK55Hh-pSeT9 Basically the click happens when I stop breathing out after making a sound: For example in "test0" I stopped breathing out after each "pom" to cut the sound short, and it made the clicking noise happen. Other example, in "test4" I sing something and then keep breathing out without making a sound, but right when I stop you can hear the click. I can also hear the click in my head when it happens but I somehow got used to it and don't notice it immediately as it doesn't seem to always happen I tried to EQ it out but it's in a lot of frequencies so getting rid of it without destroying the rest of the audio is really time consuming and needs to be done manually for each click. I know it's NOT a saliva problem. Simply based on when it happens while I sing it wouldn't make any sense. Help me please?
  8. Hi. I am 20 years old. I born in 27 July 1999. I am un-trained singer. My voice get acid reflux damage since 2017-2018 and it makes maybe a little bit lower but nowadays i try to recover my voice health. Anyways, people calling me as "Baritone" or "High Baritone" and i'm tired because of this Baritone stuff. I always call myself as Dramatic Tenor (Low Tenor) because i think my voice is high pitched for calling as Baritone. But, some people say; "Your voice sounds too heavy to calling you as Tenor.". My voice is really heavy for become a true Tenor? I always want to get light voice timbre like spinto Tenor's at chest voice. I sing "I'll save you" a rock genre song made by Jordan Sweeto. Here is two different version; My voice version; https://www.youtube.com/watch?v=ZwzhpiUOGa4 Original version (Jordan Sweeto); https://www.youtube.com/watch?v=0diwDG-06Nc My vocal range (Un-trained voice); Chest range; E2 (Very weak as whistle talking but still possible to reach) up to B4 and not barely C5 Falsetto max note: G5 (Sounds like screaming) (Also my falsetto sounds like Mickey mouse and airy) What's a problem? My voice doesn't deserve for calling as Tenor? Is Jordan Sweeto he is Tenor? And i'm Baritone? Look, i always like Tenor type voices. And i don't wanna calling as Baritone anymore. I am really bored about calling Baritone thing. Tenor sounding more light, more sweet and better i think. My voice is more heavier than him?
  9. What are some suggestions for exercises and repertoire for helping a student gain strength and control in their lower register? Also suggestions for going between chest voice and mixed voice?
  10. How can you help teach a student to naturally let vibrato happen? For example if a student has been previously taught to sing with a mostly straight tone or reprimanded by people for singing with vibrato and doesn't know how to let it naturally happen, how do you teach that? Especially if it occasionally will come through in their lower register but they really struggle with it in the upper register?
  11. I’ve been very fascinated by male singers who can sing very high notes for the typical male singer. There are two singers in particular who are lead vocalist in a couple of I find very unique in their vocal style because of their range and vocal fry? It’s honestly too weird to describe. The two singers are Anthony Green (solo artist and Circa Survive) and Tilian Pearson. What I’d like to know is how are they singing like this ? Is this something learned or some sort of difference in their vocal cords? I know that sounds crazy but it sounds so destructive but they have both been singing like this professionally for 15 years and still going strong with the same range and vocal style. Examples: Anthony Green - Tilian Pearson -
  12. Hi! I'm new to singing, but I really have received much feedback on my voice. I'm a little lost in direction with what kind of songs I should go for or if I am in the wrong genre altogether? ill provide some links to some songs that I have tried. I'm really really inexperienced and uneducated with music. I've never been through any vocal lessons, and I haven't been through a music class in my life. The only reason I'm giving it a try is when im at a karaoke night at a bar a lot of people tell me that I should really get into it? Let me know what you think and if I should continue? Also, genre and/or song recommendations are also greatly appreciated. Any and all feedback is welcome. Song Links: 1. Don't Know Why - Nora Jones: https://www.youtube.com/watch?v=WERaHzmllfo"]https://www.youtube.com/watch?v=WERaHzmllfo 2. Dream a Little Dream of Me - Ella Fitzgerald: https://www.youtube.com/watch?v=l9J0EmQp7T8"]https://www.youtube.com/watch?v=l9J0EmQp7T8 3. Let it Be - The Beatles: https://www.youtube.com/watch?v=fRCpFphs6b4"]https://www.youtube.com/watch?v=fRCpFphs6b4 4. Dock of the Bay - Otis Redding: https://www.youtube.com/watch?v=RV3t2YT2fhM"]https://www.youtube.com/watch?v=RV3t2YT2fhM
  13. Foods to sleep by for Vocal Health Getting enough sleep is one of the most important things a voice professional needs. When we get the proper amount of sleep, at least 7 hours, our body is refreshed, strong and full of energy. The strength, power, clarity and focus of our voice is very dependent on our body. If we feel weak and depleted then our voice will more than likely sound the same way. A good nights sleep is crucial for quality vocal health. While exercise and mental clarity are definitely important for a good nights sleep, diet is equally important. Vocal Health and Eating before sleeping The body needs to rest while sleeping. If we eat up to three hours before sleeping, then our digestive system is working very hard digesting our meal, taking energy that should be storing up as we sleep. This energy is also needed to restore and heal whatever our body and voice is going through even if it is just basic repair from the days normal activities. In addition to, and even more important is the effect of eating before sleeping on the voice. Eating before sleeping is one of the most common reasons voice professionals have GERD, also known as acid reflux. Many times because of eating before sleeping and lying down while digesting, food is not able to digest properly and excess acid from the stomach can move up into the throat and sit on the vocal cords causing a myriad of problems ranging from waking up with mucus on the cords to inflammation and even vocal cord deterioration. Eating the wrong foods before sleeping can also lead to a difficult nights sleep due to the effects on the brain. Sugars, white flour, processed foods, dyes, fried foods, glutens and carbohydrates all effect the brain negatively not allowing it to slow down and rest while sleeping. Tryptophan for Vocal Health It is important for voice professionals to know what to eat before they sleep to get a good nights sleep. One amino acid that is very useful in helping the body to slow down and rest peacefully is tryptophan. Tryptophan helps to combat depression, stabilize moods, and insomnia. It also helps to alleviate stress, is good for migraine headaches, and aids in weight control by reducing appetite. If you must eat within three hours of going to sleep, try eating smaller amounts of food and eating foods with high levels of tryptophan. Some excellent sources of foods containing tryptophan and have a low potential to create mucus include: Alaskan salmon Asparagus Baked potatoes with their skin Beans Brown rice Chicken breast Cod Eggs Halibut Hazelnuts Hummus Kelp Lentils Meats Nuts ( sprouted not roasted ) Quinoa Seaweed Sesame seeds Shrimp Snapper Soy protien Spinach Spirulina Tuna Turkey Winter Squash Certainly this list is not all inclusive and there may be some foods that do not digest well in one person and are okay for another. Each person needs to know what works for them and their vocal regimen. As a voice professional your vocal health must be one of the top priorities in your life. Get the right amount of sleep and eat properly to insure your voice delivers for you when you need it to. As always, I wish you the best on your quest for Superior Vocal Health David Aaron Katz
  14. 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
  15. The answer is: Dealing with something serious like that cannot be self-served. Nevertheless, one of the commercials on weight loss for men says: “If you could do it alone, you would’ve done it already.” - Harvey Brooker Indeed, but some people still think that if they knew the diagnosis and somewhat (in theory) how it could be treated, they would have attempted fixing their vocal issues by themselves… The fact is that any voice problem, by definition, is already an internal problem; and thus, has to be treated very seriously and by a qualified voice specialist. The work with a damaged voice is usually very detailed and very intense, which applies to both sides: The injured client and the voice repair specialist. Without the guidance of a highly qualified professional, it is virtually impossible for the sufferer to lift their voice and re-channel it into the different set of muscles altogether; and on top of that, put those muscles (facial and abdominals) to work in full conjunction and coordination with each other. The above formula would allow the person to release their vocal anatomy from the pressure of the sound; and thus, allow the bruised throat and the vocal cords to heal. Moreover, the person has to adapt a new way of speaking, as well as singing (where applicable). It could be very much so equivalent to the modification of a whole “blueprint” of the person in question. Let’s say that a “dancer” was dancing for quite a few years with the feet inwards instead of outwards. Nevertheless, the dancer had gotten used to it and even felt quite comfortable with it until such time that his/her ankles and knees started to give out. So now, we have to restructure the feet position in order to save the dancer’s joints; and, as a side effect, finally teach him/her how to dance complying with professional standards and how not to damage the structural components of their body. In this case, (and as well as in any other case), we will, first of all, be teaching the brain to think differently and translate that thinking into the physical body (first in the slow-motion and then on an “automatic pilot”, so to speak). This methodology has similarities with what’s called Neural linguistic Programing. The above discipline advocates that, via special skill application, it could change and “replace” the certain modality of the certain behavior in one’s brain. As you see, my reader, it sounds pretty complex. Therefore, it never ceases to amaze me when after just an introductory session, my potential client is revealing to me that he is ready to practice by himself and quite prepared to work really hard on his own…? I’m sorry to say, but I find that a little ridiculous (to put it mildly). It would be the same as if the person would meet with a brain surgeon, who (granted) would explain in reasonable details what exactly the surgical procedure would entail; and then the patient (who is in need of a brain surgery) would decide that he, somehow, would be able to perform it himself, on his own, and at home…? Sounds funny, doesn’t it? It does indeed. But I do hear it quite often and I hope that people are thinking that way only because of the financial strain and not out of complete ignorance. On top of it, some of them are going to regular vocal coaches to seek help with their injured voice. I consider the regular vocal coaches, at best, equivalent to a regular physician who knows something about (let’s say) brain surgery, but never got specialized in it. If in real sense, (God forbid) you would need brain surgery, would you want your family physician to perform it, or you would rather hire a highly qualified brain surgeon to perform it? The above is your quiz for today. Enjoy your food for thought!
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    Joanna Cazden, MFA, MS-CCC, is a speech pathologist specializing in voice rehabilitation and a respected advocate for holistic, multi-disciplinary voice care. Joanna offers private services in voice rehabilitation and training, workshops and master classes for voice students, and seminars for speech pathologists and vocal arts teachers. Joanna also sees voice patients by medical referral at Cedars-Sinai Medical Center's outpatient Voice program. Helping to found this program in 2001, she has treated well-known pop singers, actors, broadcasters, and musical-theater artists. She was a clinical instructor for ten years at California State University, Northridge (CSUN), and has presented scholarly papers at major voice conferences in the USA UK, and Mexico. In 2004 she was named a Fellow of the California Speech and Hearing Association, an award that honors excellence in clinical service, teaching, and community service. Joanna released six solo albums between 1973 and 1997; her first album, The Greatest Illusion (1973), has been re-released internationally. In 2000 she joined Pete Seeger and other folk luminaries on "Folksongs of the Catskills," an ensemble CD later featured at the Library of Congress. She organized the first panel on Health Issues for folk performers, at the 1992 Folk Alliance Conference, and has won numersous singing and songwriting awards. Joanna studied voice with Ellalou Dimmock, Natalie Lemonick, and Jan Pederson. She holds a BA in Drama from the University of Washington, an MFA in Acting from CalArts, and an MS in Communication Disorders and Sciences from CSUN. In 2006 she was certified by Catherine Fitzmaurice as an Associate Teacher of Fitzmaurice Voicework. In addition to her expertise in voice, Joanna is an advanced practitioner of the Reiki and Theta healing systems, and a longtime student of yoga, meditation, and bodywork. These tools are integrated into her voice and speech services according to the individual's interest and needs. Joanna Cazden www.VoiceofYourLife.com
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    With over 25 years of experience, John Henny is regarded as a leading vocal coach in the music industry and as a true teacher of teachers. John’s techniques not only keep the voice healthy, they also improve the overall sound, help eliminate cracks in the voice and extend the singer’s range allowing the singer to express themselves vocally without limitation. John Henny has lectured at prestigious colleges and institutes such as USC, Paul McCartney’s Liverpool Institute of the Arts and The Academy of Contemporary Music in England. He is also a Master Teacher for vocal coaches all over the world, including his annual teaching engagements in Europe, Australia and New Zealand. John Henny www.JohnHenny.com
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    Ingo R. Titze is a vocal scientist and executive director of the National Center for Voice and Speech at the University of Utah in Salt Lake City. He is a professor at the Department of Communication Sciences and Disorders at the University of Iowa and has written several books relating to the human voice. He is considered to be one of the world's leading experts on vocal research. Dr. Ingo Titze www.NCVS.org
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    Robert Edwin has gained international recognition as a singer, songwriter, teacher, and author. He has sung Bach cantatas in church cathedrals and rock songs in Greenwich Village, New York coffeehouses, recorded for Avant Garde and Fortress Records, and toured extensively throughout the United States and abroad. He has performed in New York City’s Carnegie Hall, Town Hall, and Radio City Music Hall, and has appeared with such outstanding artists as opera star Jerome Hines, jazz legend Duke Ellington, and famed actor/director Ossie Davis. His TV and radio credits include several NBC Christmas specials as well as commercials for everything from politicians to hot dogs. His CDs of original songs (Robert Edwin-Christian Songs and, More to Life-Robert Edwin Sings Songs by Crosby & Edwin) are available at www.cdbaby.com . Robert Edwin has served on the adjunct voice faculties of the University of Michigan, the New Jersey School of the Arts, Burlington County College (NJ), and continues to serve on the Applied Music Staff of Camden County College (NJ). He is a frequent faculty member of the Voice Foundation’s Annual Symposium: Care of the Professional Voice. A member of the prestigious American Academy of Teachers of Singing (AATS), he has led master classes and workshops in the United States, Canada, the Bahamas, and Australia. Mr. Edwin is a member and a past Secretary/Treasurer of the National Association of Teachers of Singing (NATS). His column, "The Bach to Rock Connection" (1985-2002), was the first and only one in the NATS Bulletin (subsequently the NATS Journal) dedicated to CCM ("nonclassical") voice pedagogy. He continues to serve as an Associate Editor of the Journal of Singing for the "Popular Song and Music Theater" column. From 1996 to 1999 he also served as a Contributing Editor for VocalEase, a magazine for choral and choir directors. Robert Edwin taught for over ten years in New York City under the aegis of the Helena W. Monbo Studio, a studio that included actress/singer Grace Jones, Tony Award winner Ernestine Jackson, and A Chorus Line original cast member, Donna Drake. Past and present students from his New Jersey studio include Tyler Grady, a 2010 American Idol Top 24 semifinalist; Jennifer Piech, who created the role of "Kate McGowan" in the Broadway musical, Titanic; Claire Norden, "Baby June" in the 2008 Gypsy National Tour; members of "The Fabulous Greaseband" and "Grey Eye Glances"; Kristen Alderson, who played "Starr" on the ABC-TV soap opera, One Life to Live; and Integrity Music recording artist, Paul Baloche. Robert Edwin www.RobertEdwinStudios.com
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    With a teaching career that spans nearly four decades, Jeannie Deva is an international celebrity voice and performance coach, published author, clinician, recording studio vocal producer, trainer of voice teachers and originator of The Deva Method® - Complete Voice Training for Stage and Studio.As a graduate from Berklee College of Music in 1975 with a degree in Composition and Arranging, Jeannie assisted in establishing the college's voice department and later became President of Berklee's Alumni Association for ten-years. Voice teachers around the world base their teaching on Ms Deva's method from her published books and CDs. She is featured on the acclaimed video The Vocalist's Guide to Fitness, Health and Musicianship by Internationally respected music educator Julie Lyonn Lieberman and distributed by Hal Leonard. Jeannie Deva www.JeannieDeva.com
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    Scott Rabb is the world's leading retailer of vocal health products. Learn more about what it takes to run the world's largest operation for vocal health. Scott Rabb www.JustGottaSing.com
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    Robert Thayer Sataloff, MD, DMA, FACS is the Executive director of The Voice Foundation. The World's leading association for research regarding the human voice. He is also professor and chair, at the Department of Otolaryngology – Head and Neck Surgery and senior associate dean for clinical academic specialties, Drexel University College of Medicine. He is also adjunct professor in the Departments of Otolaryngology – Head and Neck Surgery at Thomas Jefferson University, the University of Pennsylvania and Temple University, and is on the faculty of the Academy of Vocal Arts. He served as conductor of the Thomas Jefferson University Choir for nearly four decades. Dr. Robert Sataloff www.VoiceFoundation.org
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    Steve Fraser is a noted expert on vowel modification, phonetics and formants for singing. Mr. Fraser is a recognized expert in the analysis of spectrograph analysis of singing. A spectrogram is a a time-varying spectral representation (forming an image) that shows how the spectral density of a signal varies with time. In the field of Time-Frequency Signal Processing, it is one of the most popular quadratic Time-Frequency Distribution that represents a signal in a joint time-frequency domain and that has the property of being positive. Mr. Fraser has a Bachelor’s in Vocal Music Education from Millikin University, and a Master’s in Choral Conducting from Washington University in St. Louis. Mr Fraser is also an active member at The Modern Vocalist World Forum. Steve Fraser www.SteveFraser.com
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