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  1. Hearing this song for the first time can you depict an image of the singer? Do you think he is a professional or amateur? How long do you think he is been singing and playing guitar? How is his guitar playing? How old do you think he is? I sometimes do this for random artists I’ve never seen and then look them up and see the differences. Anyhow, what do you think about this cover? How can you tell?
  2. How do you singers do retrieval practice? It seems to me that this must be done acapella. At a lesson we bassically only sing with accompaniment. I find that I have never been tought how retrieval pratice works for singers. What are your tips? I find that amateur singers who are ok at singing have sung acapella without even thinking about doing it as an exercise.
  3. 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.
  4. Opera singers, classical singers, actors, cantors, preachers and even nowadays rock stars and rappers could gain a great deal from learning one of the most elaborate and sophisticated singing techniques that was invented more than 200 years ago by the Scuola Italiana del Belcanto (translated freely into: The Italian school of beautiful singing). This ancient school of thought has produced some of the most fundamental Opera music and singing techniques that are on a daily basis use by most Opera houses in the world. But , you don't have to be an Opera singer to take advantage of the great benefits the Appoggio technique has to offer a professional vocal user You can learn to master it with an extremely good voice coach or as a part of professional voice therapy design with a voice specialist like me. Appoggio is coming from the Italian word Appogiare which means to lean on What do we lean on when we sing? On air ! Our breath support which is crucial to voice and speech production. Breath support means exactly that, the support our breath is getting before and while we produce sounds of speech or singing using the air that is coming up from our lungs moving our closed vocal cords approximately 100 times per second (Hz) for men, 200 times per second (Hz) for women and up till 400 times per second (Hz) for a child. Many singers and actors (especially beginners or natural ones- that do not attend comprehensive voice coaching as part of their training) are referred to my voice clinic by ENT surgeons after suffering from vocal nodules, vocal cords hypertrophy, detuning and other vocal abuse symptoms mainly because they do not use the correct breath support while stretching their voices to the limit. Simply put, the air support or the breath support for professional voice users like Opera singers, classical singers, actors, cantors, preachers and even nowadays rock stars and rappers should be based on the abdominal muscles. In most cases, state of the art technique for a singer will be MBS = Midsection (abdomen) Breath Support and for an actor the AGIN technique (abdominal breath support while the body is in motion, like on stage). Most clinical professional vocal abuse cases will require an exact Stroboscopy / Laryngoscopy done with the ENT specialist and the professional voice evaluation by the speech pathologist that specialize in professional voice therapy, and then the patient will be given vocal cords physiotherapy and a full 12-weeks technique for improving his breath support and tone control. While this procedure is extremely good for beginners or natural singers and actors, cantors, preachers, rock singers and rappers. It must be understood that these patients use their voice for their living their voice is their profession! Most of them simply cannot wait 12 weeks of correction like that because they will lose their jobs / places in their scheduled performances And what about the veteran singer or actor who had done a great deal of vocal training already with his voice coach and knows all about how to breath correctly? That is why this Appoggio technique will be most beneficial in these cases! Simply put, when you use Appoggio you first take in lots of air using upper chest muscles then you push in your belly muscles the diaphragm will move up pressing on the air in your lungs (that is abdominal breath support !) then you will start voice production while the pressed air is coming from below the vocal cords supporting them while vibrating, then you will use your upper chest muscles dropping them slowly controlling high pitch sounds or extra long periods of vocal singing with extra air support from the chest. So, basically, Appoggio is leaning on two breath support techniques put together the abdominal and the upper chest. A veteran singer or actor could learn that pretty quick while the beginner will be able to learn it combined with the full scale technique on the 3rd treatment providing him enough air support to hold onto his scheduled performances and thus proceeding with his 12-week voice therapy. It is good practice for the voice speech pathologist to teach the patient how to project his voice thus improving volume without putting more effort on the vocal mechanism.
  5. Hey guys ? Can you please tell me if it’s my mixed voice?
  6. I am looking for suggestions to work on passaggio improvement and techniques in vocal lessons.
  7. 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?
  8. I am in the habit of cutting the last note of a phrase of words too quickly and not holding the note as long as I should. I was wondering if there is a lesson in the TVS program that addresses this problem? I want to get to the point of breaking that habit and holding notes as long as they should be and have it be second nature to do that.
  9. 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?
  10. 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.
  11. Hello, everyone! I've been a part of this forum fir a long time and I wanted to share our first single with you. I've been struggling with vocal issues this last two years so this is the result of a ton of effort and dedication, please have a listen I hope you like it, and even better, share it. We'll be releasing two new singles on September, so subscribe to our channel
  12. 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.
  13. 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
  14. cj00


    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.
  15. 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!!
  16. 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.
  17. 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: So, an example of this strained 'falsetto', in a moment with the voice quite tired (so that the strain is noticeable): Same song, in flageolet (I know it sounds a lot like a falsetto): An example of a song, in falsetto, that sounded better, in a moment my voice wasn't that tired: (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
  18. 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.)
  19. 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:
  20. 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
  21. 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! (National Anthem) (Goodnight my Someone)
  22. 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: . 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!
  23. What are some techniques that will help a student learn how to use good breath support?