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Found 21 results

  1. Hello! I am a relatively new singer, I've been taking weekly vocal lessons for about a year. I recently switched teachers after realizing the one I'd been seeing didn't know very much about singing technique beyond the very basics, and I want to take my singing to the next level. My new teacher strongly emphasized "twang" as something I'm going to need to sustainably utilizing my upper range in the style of singing I am interested in (pop punk) and gave me some exercises to help develop it. However, the sensation I am experiencing when attempting to create this sound feels a lot like strain and tension, which makes me think I might be doing it wrong. I do intend to explore this further with my teacher the next time I see her, but I wanted to get a jump start and ask if this is a common mistake or how I might be able to avoid this.
  2. Hey Guys, i am really struggling to make progress with my high screams. I bought Ken Tamplins course a while back and studied and praticed to it alot, my singing doesn't have much to do with his though, because it never really worked out for me. The head voice part just lacked alot of information. I can't sing aaah or aeh in head voice. Above around d5 it just cracks at it feels really bad. I am doing pretty good with all the other vowels, the female soprano voice works well etc. its just that i feel like i can't even make my headvoice stronger because i can't open it up. I can go higher with an open vowel, but i have to use a mix or have to use insanly high effort in comparison to the other vowels to get higher. I really want to learn to sing better in head voice, guys like Chris Cornell, Rob Halford, Ian Gillan and many more are my inspiration. I can get a pretty powerfull sound on the highs but it is much too exhausting, because i think i am pulling my middle voice that high. It doesnt have the same soundquality aswell. Jens Viktor Johannson is amazing with these screams for example.
  3. Perhaps someone who is not really talked about is Lefty Frizzell. Lefty Frizzell was once a big country music star in the 40s, 50s and 60s; he at one time was competing with Hank Williams in the top charts, and toured with him many times. Lefty had a distinctive voice that influenced the likes of George Jones, Randy Travis, and many others. Leftys singing style was unique from the other singers from his time, he would sound out syllables for a longer amount of time than most singers, a vowel bending style is what it has been called too. How does someone try and attempt a singing style like this? Lefty was from Texas, so he had a distinctive accent, and then you add he had a distinctive singing style. One of the people that influenced Lefty Frizzell was musician named Jimmie Rodgers. Jimmie Rodgers is not to be confused with the Jimmie Rodgers who record Honeycomb, but the Jimmie Rodgers who yodeled, sangs songs like "Hes in the jailhouse now", and he sang a series of songs he called Blue Yodels. He influenced numerous people in Rock n roll, Country music, and Blues music, one of them being Lefty Frizzell. Do you think it is possible Lefty borrowed some of his style from Jimmie Rodgers?
  4. Hey guys. So I've been singing for some years now. I'm classicaly trained, theoretically a tenor, but I could never manage to understand and make the adjustments to go higher than F4 without breaking into M2 or straining a lot. Last year I started reading a lot about voice physiology and learning contemporary singing technique. Now I can go sometimes even up to G5 (not a pretty singable tone yet, but it's there). From Bb4 up I can somehow manage a lighter sound that doesn't sound like M2, but between E4 and A4 I can only do full-on belting or something lighter but with a lot of constriction (arytenoids I guess). I'm trying to achieve a lighter and freer M1 (mixed?) sound in that range, and so I've been reading and watching many YouTube videos on that, but I'm very confused with the way scientists and vocal coaches differently name the registers and stuff, so it's being hard to clearly understand what they mean and choose a way to approach the matter. I have to say that I personally think the names Chest, Head and Mixed Voice are terrible and extremely misleading, and they did nothing but prevent me from moving forward. Understanding the vibratory mechanisms and the filter/resonance adjustments is what really is helping me evolve. And although I understand a lot of people don't benefit from scientific explanations, it's really works for me. From what I understand, SCIENTIFICALLY mixed voice can be either: 1. M1 with less vocalis contraction and more nasal airflow/rhinopharyngeal resonance, as used by man and women in contemporary music and by men in high notes in classical. 2. M2 with more rhinopharyngeal resonance and twang in the higher range in contemporary singing. 3. M2 with more rhinopharyngeal resonance in the female first passaggio in classical. And head voice can refer to: 1. any sound in M2 2. only M2 with cartilaginous adduction Now I'm really confused with how vocal coaches use the terms. For me, the sound of what many demonstrate as Head voice - specially those who don't count falsetto as Head voice - is not M2 at all, but rather my first description of Mixed voice (less compressed M1 with rhinopharyngeal resonance). Which makes me think, when they say head voice they are referring mainly to head resonance (rhinopharynx) and not to the vibratory mechanism M2. So although many exercises for bridging/mixing/blending DO go from M1 to M2, and this is of course also used in actual singing, the "bridging" that happens most of the time in the mid-high range is simply the adjustments to go from M1 with oral resonance to M1 with nasal resonance, to allow the laryngeal tilt, less compression and lower subglottal pressure without breaking into M2. I'm still beginning in the science stuff, does anyone with more knowledge in that area agrees, disagrees or have any other thoughts on the subject and on how I could approach a softer sound between E4 and A4?
  5. Hi, I have always, as long as I have defined my self as a singer, experienced periods of bad vocal health. Over time I have learned better technique and learned to sing smart and kind of use damage control paths through songs on rough days but I find it really hard to just surrender to not knowing what really goes on. Problem is basically this. During periods which can last from a few days to a few months in row, I experience like some configuration just goes out after just a very short time singing notes over the passagio. What happens after this is that my falsetto/neutral is fine while my twang is totally gone and trying to produce twanged vowels result in a complete mess. I can still sing cross the passagio with heavy voice production in a kind of overdriven manner but the smooth transition is gone. Funny though how the configuration seem to work somewhat initially only to go out completely after a short while. The common answer to vocal problems like this might be acid reflix. Go see a doctor, get your subscriptions and eliminate triggers. Yes, my doctor has seen symptoms of acid reflux and I have been on and off prescription medicines for a long time. I rather not take them though considering negative sideffects from such meds. Also the meds doesn't really seem to do the trick or might work initially like some kind of pseudo effect. But the problems always seem to come back. I also remember doing laryngoscopy one time during a period of experiencing problems and the doctor could not find any obvious redness. That thew me a little bit of the chair thinking it might have to do with something else. I seldom experience severe "morning voice" which seem to be a common symptom of LPR or GERD. The problem only occurs when singing over the passagio and during long vocal lines. I am interested in what other things could cause the symptoms i'm describing. A theory of mine is that it is related to viral infection. I base this theory upon the fact that problems seem to go when after periods of being sick. My theory is that there could be viral infections that does not break out and just sits there waiting for the body defense system to react. Another theory is that this is technique related and could be the result of a vocal blow out or something like that. Allhough I never change my technique and when I have a good day everything is fine and this could sometimes be from one day to the next so it really does not make sense. I wonder what you think. Have anyone of you had or maybe are having the same kind of problems?
  6. Robert Lunte & RĂ˜DE Microphones present four weeks of vocal training in Germany, Italy and France. April, 2018. For information click the links below or reach out to the people tagged in this post. See you in April! TVS Events Page http://bit.ly/TVSEvents Download The Tour Poster HERE: http://bit.ly/TVSMCTourSpring2018 14-15 APR Ansbach, Germany http://bit.ly/TVSMCAnsbachGermany 21-22 APR Pescara, Italy http://bit.ly/TVSMCPescaraItaly 28-29 APR Cagliari, Italy http://bit.ly/TVSMCCagliariItaly 1-2 MAY Nimes, France http://bit.ly/TVSMCNimesFrance If you have any questions about the event or private lessons, contact me on my personal email or here at TMV World. I look forward to helping you with your singing. You will get results, guaranteed.
  7. So here is my cover of Steelheart's I'll Never Let You Go. Let me know what you think of it. I do accept all sorts of criticism regardless of whether it's positive and negative. Any suggestions or tips on how to improve I would greatly appreciate it!
  8. I had mentioned this singer "Chris Stapleton" in another thread. Thought I'd share this video/song he recently published. I was really struck by the numerous examples of solid vocal athleticism that arise in this performance. I try not to overanalyze every good vocal too often, cuz sometimes I loose the "soul" of the song in my ear from all of the deconstruction I use to understand the vocal. Couldn't resist on this one. Still "hearing the soul" to date. I've tagged all the key words that I believe I recognize "done well" in this composition. Personally, I'm most impressed with his mastery over what I would assume are the critical configurations which bring great resonance with comparatively low level respiration. I'm convinced that, with the best possible formant, combined with the strength support of skilled appoggio, the "illusion" of a belt is created. He is singing at a relatively low volume yet, the intensity of his voice is sustained. The same nuance is applied to his vocal distortion, which he employs mostly in the higher notes. Those are my impressions.
  9. This is just a quick recording, Using what I call "Fake" voice. I am playing with a little rasp. While growing up and singing with relatives they would condemn me for NOT using "MY NATURAL" voice. So I got stuck thinking to "Fake it" was a wrong thing to do. I think that some of this is on the right path to "Singing" rather than what I was doing before and thinking that I was "Singing" using my "Natural" voice. So if you would .......... Point out what is "Right" rather than just saying it sucks and I need more lessons. Thanks.
  10. 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.
  11. Vocal Twang is a term that refers to a physical configuration for the singing voice that is characterized by tilt of the thyroid cartilage, compression on the vocal folds and an amplification of the voice. This "vocal mode" is ESSENTIAL for great singing. It is the most important physical setup that a singer needs to train to develop to become a great singer. Vocal Twang explanations, techniques and training are all provided in The TVS training program, "The Four Pillars of Singing". www.TheFourPillarsofSinging.com. WHAT IS VOCAL TWANG?
  12. Vocal Twang is a term that refers to a physical configuration for the singing voice that is characterized by tilt of the thyroid cartilage, compression on the vocal folds and an amplification of the voice. This "vocal mode" is ESSENTIAL for great singing. It is the most important physical setup that a singer needs to train to develop to become a great singer. Vocal Twang explanations, techniques and training are all provided in The TVS training program, "The Four Pillars of Singing". www.TheFourPillarsofSinging.com. WHAT IS VOCAL TWANG?
  13. So is that possible by nature or it is just a goodtehnique?https://www.youtube.com/watch?v=R6uexPmL0fk
  14. In every other thread on this forum I've seen references to something called 'vocal twang' and, as I'm new, I don't have a clue what this is and googling wasn't a great help. So if I need to learn how to do it, I will first need to know what it is. So, can somebody please explain it to me and give tips on how it is achieved (when I sing I sound dull and nasal because when I talk I sound dull and nasal).
  15. Hi all, I recently finished this cover, I hope you like the vocals. Rob Zombie - American Witch Cover by OGregomixmaster Many thanks, Than
  16. I was thinking of this and I'd love to hear your opinions, especially from the voice teachers. Let's say a singer tried an experiment. He committed to practicing every day where he has to run the voice up his range and he had to avoid any kind of bridging, no letting go into falsetto, no transitioning...nothing... just had to run the full voice up all through just sheer will and determination. So any scale, any siren any voice exercise had to be done in full voice. No use of any heady placement, just pull up chest higher and higher..... I wonder,,,,,Would the voice eventually find it's way all the up the range? Would you and your voice figure out the way up through the "passaggio" and above? Would the development in this way open up the voice and allow it to release? I mean it's not like anyone's thinking of this or trying it, but I just wonder what the voice might end up doing in terms of capability and development. We always teach and read how the chest voice ends and now you have to nowhere to go......how you get stuck....or how you need to transition....... Historically speaking, did the teachers or singers of years gone by ever explore this? So let's say you just chest pulled for a few months, where would the voice end up? Would it be damaged? Would it be unbalanced? Who's to say...... (And yes.....I'm a little crazy I guess..lol)
  17. The vocals on this entire album are mind blowing!!!   Listen To This!     Freddy Curci         Freddy Curci on Wikipedia
  18. Love These Vocals!   Rob Halford Was GREAT!    "Screaming For Vengeance"       1:15 - 1:30 - Amazing Edging skills here. Lots of twang compression and guiding the resonant energy and sound color right to the forward, hard palette to make it sound more "metal" or brighter. Not a lot of jaw movement through this passage, and thats great! Halford is very efficient with the embouchure throughout this song...    3:56 - 3:59, another great moment with good, tight edging pops right to the front of the hard palette.   You also have to appreciate his ability to interpret the lyrics and get into character. This is great character and theater in my opinion. With just a look in the eye and mouth, he makes it looks masculine and tough... Poise!  Instead of getting all spastic on stage... Love the way Halford struts on stage and keeps a very loose posture all the time.. his cool walk is not just to be cool, but it is great for keeping the body from tensing up.   Thoughts?
  19. Ok... is it only me... or is John Arch one of the coolest, most original sounding rock singers ever?!  I love the way this guy sings. Yes, I know it is a bit "quacky", but he has taken that sound color and made it his signature. He also has these fantastic little vocal riffs... check out the signature John Arch riff at 3:46 - 3:48.. and 3:56... that is "so John Arch".    Anyways... anyone have any thoughts about this cat? Can anyone analyze the intervals of the riff at 3:46 and determine what scale/mode that is coming from because he uses this a lot. It sounds very modal, or middle Eastern sounding.   On "Relentless" below, check out the riff from :51 to :58... so cool!   this is a "signature" sound that John Arch does a lot. Very unique.     Here is a tune with his "Arch/Matheos" project: "Midnight Serenade"     This is also really good: "Relentless"  
  20. Any Estill experts here? I've come to realize that the main thing that has been holding me back is that I can't get thyroid tilt to happen in thick folds. I have been trying for a very long time now and nothing seems to work. I can make it happen only in very thin. Someone once brought my attention to the fact that one unmistakable sign that thyroid tilt is happening is that an octave feels extremely small, which is due to the fact that the folds are already pulled tighter and the arytenoids have to move less to reach higher notes. In my thinnest thin, I can make it happen easily, but otherwise, it just doesn't happen no matter how much effortfully I use cry/sob.   Can anyone offer any suggestions on how to get thyroid tilt and thick folds (modal voice) at the same time?
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