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Found 225 results

  1. AUDIATION "Audiation" is "visualization, but with sound." It is the process of imagining and feeling music only in your mind, without any external stimulus. Some people have clear crisp imagination of music, while other people can only manage vague, fuzzy sounds. And among those who have clear imagination, some can only imagine a single melody, while others can apprehend harmony and a mix of instruments. Ability to AUDIATE has an enormous impact on musicality, musical creativity, and the approach to singing, learning and discussing technique. People who AUDIATE well may take it for granted that everyone does it well, and those people for whom AUDIATION is dormant or weak may think that is the norm. The two types of people may find it difficult to agree on "best practice" in vocal training without knowing what is behind their disagreement. Simple example: Singer asks how he can learn to keep in step with the music. He says that he often ends up one or two beats off the beat. In reply, my recommendation assumed that he could audiate. I told him to pick a key percussion instrument and mimic it in gaps in the music. i.e SING then do taa-taa-ta-taaa SING ta-ta SING....etc. That way he will better feel and become familiar with how the vocals fit in. Then he can pick another instrument, etc. to get as deep an understanding as he wanted. The approach requires him to hear the other instruments in his head (alongside his own vocals) to be able to anticipate all of them on the fly. He is basically singing less than the music he is imagining, which takes care of the phrasing issue. (Conductors do this. They can pick any point, hear where any instrument is supposed to be, and correct it if it is not there. I also remember training with a Ghanaian drummer, who would shout out the part of another drum if it was off the beat, while he was drumming his own part. Such people clearly have very well-developed AUDIATION skills because they can feel and hear the music ahead of the real sound.) The other recommendation on the thread (which surprised me) was "get out a metronome and practise against that". Obviously, these are different approaches, and I have to confess I don't understand the metronome method. I don't know what the metronome is doing that the music is not doing in the first place. And, if the metronome does help in some way, how the method helps when you take the metronome away in a live situation. POINT IS: Once you are aware of the importance of AUDIATION, you can develop it by paying attention to it and practising. You can build clarity and depth into how you imagine sound, music, singing etc. This helps in all aspects of musicality, including musical composition.
  2. Alright, I don't want to discuss the religious aspect of the title. The meaning intended is "don't mix apples with oranges". Since I started to search for information about singing technique a long, long time ago, and also later when I began participating on online singing communities, a constant problem and complaint is that it's just all too confusing. Too many terms with similar meaning, discussions that many blame on terminology and invention of new terms that try to fix the problem only to then become a part of the problem itself, and so on. However, at the same time, it's been also my experience in direct exchange with skilled singers, that the terminology ceases being a problem when both sides are competent enough and share at least a few similar skills (which is very often the case). Which indicates an underlying common organization. Problem is, this is often just intuitive/practical. So what could that be? Here are the things that seem to be present when talking about technique with different people from different backgrounds (trained singers from different methods): Perception - How something sounds like, what are the qualities you can identify on it by listening. Practice/Execution - How to do it, references and exercises that leads to a certain idea. Sensations - How it feels like to do something, a reference of sensation. Mechanics - What is actually going on, how and why these other things happen. And now I will try to clarify the problem by comparing classical covering with CVT curbing: Covering: Perception - middle to high intensity / cry Practice/Execution - Try doing a dopey voice/Change vowels to UH Sensations - Voice against the nose/Vibrations on the upper part of the head Mechanics - Back of the tongue elevates/Soft palate elevates/Keep considerable amount of twang/reinforcement of 3rd and 4th partials. Curbing: Perception - Held Back / middle intensity / cry Practice/Execution - Try to make stomach aching voice. Change vowels to UH and IH Sensations - Sensation of hold on the throat area. Mechanics - Keep closure levels "middle" / middle level of constriction on the epilarynx / more "equal" level on the spectra up to around 3KHz, And that's where confusion comes from. First because often technical definitions have a primary focus. CVT has strong focus on Perception, how things sound like. While classical technique focus a lot of execution and sensation. Other technical approaches are more about the mechanics. At the same time even if their focus is fixed in one or two key aspects, they all need to address each of these aspects at least to some degree, otherwise the search becomes blind. The result is that from CVT perspective, Covering is curbing, since the quality description seems really fit for it. But from classical perspective, Covering is not Curbing because the orientations to produce Curbing will not lead to the same mechanical principle and execution, and this matters quite a bit. Even if the quality is indeed similar, it's different enough to bring a different flavor when both are used on songs. A cry is present on covering but it's at the same time darker and more "floaty" sounding during phrasing than on curbing. Using covering to sing Soul for example is not very effective, it just does not fit in as well as curbing even if the quality is almost there. And using curbing on Power Metal gets extremely taxing when you go past a certain point in pitch. So when you are looking for information on technique, try to understand where what is being said about the said technique fits. This can really help avoiding confusion and keeping things organized, as well as will open up possibilities to conciliate apparently opposing views (which often leads to better understanding). It will also help you identifying problematic information sources that either ignore some of these key elements but refuse and even act with fear and spite towards one or another of these aspects. And of course remember, the very least anyone talking about technique should be able to do is to sing using it.
  3. Hi, I was wondering what singing course you would recommend for someone wanting to get a basic but comprehensive course on singing. This is not meant to answer 'how to sing high' or other 'secret' techniques etc. These things could be in the course. The point is it is a singing course, working as a comprehensive course and teaching the basics of music and singing, not necessarily 'techniques'. Doesn't have to be genre specific, in fact, shouldn't be genre specific. It would be like a guitar course that doesn't teach you how to play fingerstyle, or rock or jazz rather teaches you all the basic things you need to know about playing guitars including music theory. While elementary jazz, blues, rock, classical, etc would be essentially part of the course I would assume, the focus is not to teach 'styles' particularly. I hope this was clear. Also, would be great if you shared what kind of basic training you took and how (self taught, tutor). Thanks
  4. cj00

    HELP

    I'm interested in taking my singing from guy who sings in the car with the windows rolled up to windows down and singing proud. Any feedback would be great if you've got a sec. There's so much information out there but I'm just looking for a push in the right direction in terms of improving my singing. Take a look, tell me what you think. Thanks. https://youtu.be/adRM-pY0WRQ
  5. To the point: There are some *smart* voice teachers displaying before and after of their students as a sign of improvement and that are deliberately faking results and exploiting recording conditions to create the illusion that their singing method produces *huge* voices. In this particular case I saw, the teacher compares a dry and very clean/honest recording of a students voice on a controlled volume level (meaning that it was properly gain staged for the best possible audio fidelity) and low to no reverb, which would be the before, with a badly distorted/digitally clipped sample of the same student singing where you can't even hear what the guy is doing anymore, which then would be the result of the training. Guys, when you hear a distorted AND louder audio, of course it will sound *huge* compared to a clean version of the same, but this is not a consequence of the singer technique being better, it's just poorly captured and louder. In the sample I received an audio engineer was able to restore a bit of the audio and you could hear the student having issues with the phrase and cracking on it, something that was completely hidden by the distortion. The fact that the distortion itself happens is being used as a sign of competence too, something like *it's so loud the recording equipment can't handle it*. This is non-sense. Certainly if you do not set the gear properly when you go loud, it clips, I did this mistake myself on a few of my videos, but it's all it is, a mistake when recording. Except that on this specific case the effect is being deliberately exploited so I would not call it a mistake either. Loud/Clipped recordings does not mean huge voices. Pay attention to what you are being shown!!
  6. Dear Forum, This is my first post to this great "the singing wisdom". I just started my adventure with singing literally from scratch like 6 months ago. Never did this before. I mostly sing some covers i like with acoustic guitar (I do play guitar for many years) , and I find this a fun and inspiration. I want to develop this more. I know my comfort register - key G#. I mainly transpose song to this area. Easy on guitar. Here is an issue. There are some songs I want to sing, they start first note like 1 tone up from my comfort zone to make it back into comfort zone for rest of verse. 9 time at 10 I will start wrongly this song. Once it rolls I am OK. Like 2nd verse with higher notes is OK. But just beginning is always terrible. It varies from being not on pitch to be not on register even. Is there a way to address this somehow with dedicated exercise? Are there others who struggle with just beginning of song? Any suggestions are very welcomed.
  7. 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: https://instaud.io/3rzk So, an example of this strained 'falsetto', in a moment with the voice quite tired (so that the strain is noticeable): https://instaud.io/3rzm Same song, in flageolet (I know it sounds a lot like a falsetto):https://instaud.io/3rzd An example of a song, in falsetto, that sounded better, in a moment my voice wasn't that tired: https://instaud.io/3rzf (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
  8. Hi. I seem to have a problem. I imagine a pitch in my head before I sing it. But the thing is, while I'm singing it, it sounds normal, but when played back, I hear a constant microtonal flat. A friend told me that it might be because my pitch expectations are warping my perception of what is actually coming out of my mouth. In other words, it seems that I'm hearing the expected/imagined pitch more than the actual one. Another friend told me that the "formant/timbre" of my voice is higher in my head than what is actually heard outside. My voice literally sounds deeper and lower-pitched in a recording. The higher formant might make the illusion of a slightly higher pitch than what is actually heard. Sometimes, if I'm extremely concentrated on pitch, it feels like I can hear two different pitches when I sing, but I'm sure one is in my mind and the other one is real. Another issue I have is that my vocal muscles are inseparably linked to my pitch imagination. Sometimes, I am aware that I'm singing slightly flat, so I try to sing a note slightly higher. The issue with that is that I cannot do that without imagining a slightly sharp note and it gets disorienting. For instance, if I were to imagine a B, my vocal muscles would lock in to a slightly flat B. I could adjust my vocal muscles to an accurate B, but my mind will automatically imagine a slightly sharp B. My friend who is vocalist told me that it's because I learned pieces by singing along to pre-existing recordings and that it's natural to unconsciously sing a tiny bit flat when doing so as not to overshadow the vocals in the reference recording. That would basically mean that this inseparable inaccurate link between vocal muscle contraction and pitch imagination is mainly due to muscle memory and I have no idea how to undo that. I know I'm not tone deaf because I can clearly distinguish between notes, even on the microtonal level, on recordings. I can also hear microtonal sharps and flats when others are singing. I even have pretty good relative pitch. But it seems that it goes away when I'm singing in real time thanks to this psychoacoustic/psychosomatoacoustic (if such a word exists) issue. Any tips for this frustrated fellow? (Edit: I don't seem to have this problem when singing falsetto or within my comfort range.)
  9. Hi everyone, I asked for feedback here over a year ago and really took the advice to heart! I've been practicing some more, but feel that I've kind of hit a wall with improvement. I want to become technically better and have a stronger voice (I feel I sound weak when I sing and I sound a bit flat) and I would like better vocal control. Any suggestions on what I could work on in particular? I'm open to any kind of constructive criticism since I want to get to the next level, thank you in advance to anyone responding! My Soundcloud:
  10. I've included 2 videos. Eden turn the page is to show my struggles and little wonders is to show strengths. I cant say i know what im doing technically and that's what i need y'alls help for. If there's anyone who can help me understand what I'm doing both right and wrong itd be so helpful. Thank you all for taking the time. QuesoMcpeso
  11. Hello, my 10 year old daughter is an aspiring singer. She is in voice lessons and has been in some musical theater productions as well. We understand she is not necessarily a "natural", but she does have the drive and desire and truly loves performing. Any thoughts or suggestions for improvements are welcomed to help her with her goal of becoming a singer one day? She has sung the National Anthem at a couple college sports events and a professional event. I am also including a link for one of her musical theater shows, Music Man. Thank you in advance! https://www.youtube.com/watch?v=XUg--tK829M (National Anthem) https://www.youtube.com/watch?v=B8lGocVKUHw (Goodnight my Someone)
  12. Hey! There's something that a lot of popular vocalists do and I'm trying to figure out how to do it too. Ed Sheeran does it a lot, for example in the first two words of the phrase 'Are all over written on the signs' at 0:36 seconds in this video: https://www.youtube.com/watch?v=OtZRC_0Vc_A . It sounds like he hits a ton of distinct notes in that trembly 'flourish' thing, I don't know how he makes them each sound so distinct or generally why it sounds so cool. One guess is that he's just doing vibrato as he goes up and down in the tone or maybe he's just skilled enough to do that without any 'trick'. Regardless, does this technique have a name? And how can I practice it? Thanks very much!
  13. What are some techniques that will help a student learn how to use good breath support?
  14. https://youtu.be/FxZZwxR6hyk https://youtu.be/M5ymDCllhd8 https://youtu.be/fKmR38DpgkA https://youtu.be/9EHat-NCseY I need to know if I sound good in tone and where I need to improve(vocal analysis). Also I don’t know if I’m a tenor or baritone.
  15. Im a newbie. So I have a really deep voice. Can hit Bb1 plus subharmonics down to a D1. My bass sounds and feels natural to me. I keep being told that I'm an octive to low, and my choir teacher actually wants me to sing Tenor in January. This higher range sounds horrible and feels unnatural (to me), but it seems like a common theme among critiques. So am I a tenor with a crazy bottom range, or a Bass with a Crazy top range? I'm new to singing and am so confused with range...any advice or answers? Everyone says my Tenor sounds better, but my bass feels more natural. Tried attaching video, but it keeps telling me file size is to large and im tired of reshooting it to make it shorter.
  16. I remember seeing posts like these for years. Now, I finally get it somewhat. What are some good ways of accomplishing this?
  17. So, I finally have a technique question. I saw a video about grunting and I essentially was able to work it into a growl that I can apply to singing. I can consistently do this now, but I know this can be harmful if done wrong, so I was wondering, to those who believe they are doing this right, and can consistently do this and have never had any problems, how does it feel to you? I've experimented with it, but not used it a whole ton. I've gotten it to the point where I barely feel it very little, if at all. Just looking for experiences to compare it to.
  18. If you're doing it wrong. I tried for years to match these guys who were up in tenor range, because a lot of guys I listened to were tenors. I couldn't do it without flipping into falsetto and ending up with a completely different tone. I finally start working with somebody who knows and not only do I find I'm getting up in that range, I find out that I'm a tenor! After believing for 8 years that I'm a baritone. I got several opinions on that. Some thought I was a baritone, some weren't sure. It just goes to show that it doesn't matter how many times you do something or how hard you try if you're doing it wrong. Failure does not mean you can't do something. An important lesson.
  19. Which vocal course is best? (I want sing mainly rock - from art rock, blues rock, swing to heavy metal but too can sing most of music genre) I hear (mostly) good opinions about: Ken Tamplin Vocal Academy and course '' How To Sing Better Than Anyone Else '', Kevin Richards (Rpm Vocal Studio) and course '' Breaking The Chains '' ''Superior Singing Method'' of Aaron Anastasi And '' Singing Success 360'' of Brett Manning What do you think about these courses and which is best and help me 'increase' my voice? - Lyssie
  20. Hello all, I am currently taking Bel Canto singing lessons with an instructor, and she has been teaching me vocal technique and giving me exercises to get more in touch with my emotions so I can draw them out and use them in singing. Learning Vocal Technique and Adding Emotions Separately? I originally wanted lessons so I could improve my vocal technique and use my vocal organs to their maximum ability (and sing healthily) so I was a little surprised by the addition of emotion, as I had thought that adding emotion comes after you learn how to sing properly. The instructor trains all her students with stardom as the goal, and says that learning vocal technique and emotion go hand in hand, you cannot learn one first then the other if you want to be a good singer. She said that if I wanted to learn technique first then emotion, she is not the teacher for me as in her opinion that just doesn’t work (or is a rather half-assed attempt at becoming a singer). What's your Opinion? I have zero experience with singing and don’t even know anyone I could ask about this (cept for the internet), and to a layman’s mind, it seems logical that you could learn vocal technique first then learn how to sing with emotion later just like learning an instrument. So, is she right? Side Question Let’s say that my interest in singing ranges from singing broadway like Les Mis, Chinese pop songs, and Oratorios like Handel’s Messiah. Can I train to sing all those genres in their appropriate styles, or is it impossible to do that?
  21. Vocal Athlete Intensive Seattle, WA USA - May 14th - 18th Five (5) Day Vocal Intensive to ACHIEVE YOUR VOCAL POTENTIAL with Robert Lunte & Draven Grey.RESULTS: Take ownership of your voice with hands-on, results-driven coaching. You will learn the top tested exercises and get the feedback for doing them correctly.CONFIDENCE: Get behind the mic knowing exactly what to do and how to do it. Sing with confidence from a solid vocal foundation with a performance that is uniquely you.MASTERY: Achieve your vocal potential. With a proven pedagogy for modern singing, we will show you the way out of vocal frustration into mastery.Study with Robert Lunte, Founder of The Vocalist Studio, author of critically acclaimed vocal training system The Four Pillars of Singing and internationally recognized voice training school for hundreds of voice coaches. Draven Grey is an accomplished musician, vocalist, rock singing teacher and music industry expert. He has coached bands across the world in their careers, released multiple books and course on the music industry. www.VocalAthleteIntensive.com ******************* Be sure to check out the Facebook Event and show your interest: https://www.facebook.com/events/158276921614589/ *******************
  22. Hi, This is my tribute to the late dance music legend Avicii. Your invaluable feedback on the performance is appreciated. https://soundcloud.com/machaan/avicii-tribute Kindly like and repost if you think it's worth it. Cheers Machaan
  23. In this Quick Answer, I talk about how to train to build consistency in your singing voice. Besides an important exercise, I also address the main questions that came up from my last videos about finding your voice and avoiding voice fatigue, bringing it all together.
  24. I'm Noah, I'm from New Zealand, and I'm almost 15. I've been singing for about 4 years now, mostly in the 3rd octave (My voice dropped relatively early, around 12). However, I'd like to build up some confidence in my upper register (above say G4), where up until now I've resorted to yelling (small clip provided) This threshold used to be a lot lower, close to E4, but over time this has moved up. What I think I know about my voice. Based on my dad's range and tone (we both have the same range, about D2-C6) I think I am a tenor, albeit slightly lower set. My passaggio seems to be between Eb4-G4 I'd like to develop a mixed coordination of some sort so I don't have to yell when singing notes in the upper 4th octave, and also to be able to connect my falsetto to my full voice. I've been working on this for a few months now, and I've found that I am able to slide smoothly between my chest voice and falsetto on a closed "oo" or "ii" vowel. This is only going up though (I can't slide bACK from falsetto to chest w/o breaking). I have also found another voice that is connected to my chest that I can take pretty high (goes up to C#5 on a good day, which is my highest yelled note; i've managed to get it to around an f5 on some occasions), but it is veRY VERY light (also an example provided). My question is: What exercises do I need to be using, how do I use them effectively, and what is this mysterious upper voice? Thank you (excuse the whistle at the beginning, i was messing around lol) Ballad Of Mona Lisa.mp4 Head Voice?.mp4