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Found 32 results

  1. Hi Everyone, Many thanks to the people who contribute to this forum. Knowledge leads to understanding, and that knowledge must come from those who are experienced in the craft. To those who are nice enough to share, thank you very much in advance. The Fifth Dimension's Marilyn McCoo stole my heart in the late 1990's with a rendition of "One Less Bell To Answer" on the Ed Sullivan Show, I believe in 1970 - this is one of those "TV Land" performances dug up from decades past. You can find the specific performance I'm speaking of HERE. The rendition of this particular song has me coming back over and over to watch it while I try to dissect the absolutely masterful manner in which Marilyn sings her song. I believe she was classically trained (for lack of a better term.) I would like to understand the various singing techniques she is using throughout the performance - but I am not a singer, just an interested fan of her work. At 1:06, there is a encircling of the arms, and it appears she pulls her facial muscles back to get the right pitch. The encircling can be similarly seen at 1:21. At 1:45, 1:53, and 2:06, she does a bit of a different "opening" of her thoracic body. Finally, there is a marked "pulling down" of her facial muscles at 2:18 - I have seen this technique in classically-trained singers previously. Marilyn was inspiring to me because of her confidence and the tenderness of her delivery - I mean, she genuinely appears to be mourning the loss of a mate. This performance on Sullivan, in my estimation, is the bar by which all other soul/pop/harmony groups should strive to attain the professionalism - by all members - and Marilyn's flawless delivery of the piece. Thank you so much for your time and attention. Regards, Maitai
  2. 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/ *******************
  3. A small vocal tip with huge benefits. My last video was about vowel anchoring and "up and over" to avoid vocal fatigue. This one is about finding "your voice" by choosing where that vowel anchor sits along the soft palate.
  4. I started a thread on the LP reddit, and was hoping for some people to discuss this with. Without getting too crazy, not only what we are hearing is impossible, if you slow it down to .25 you can hear 2 voices at once being modulated at the same time. Humans can't do this. also in the end has come cute masonic alphabet in it. These guys have many secrets.
  5. The term Muscle Tension Dysphonia is a general term which could be associated with an imbalance in the muscle’s coordination and breathing patterns required to create a voice. Muscle Tension Dysphonia (often called MTD) may occur on its own, or as a result of a strained voice being pulled into the neck muscles. The reason behind this disorder is not always clear. It may be triggered by allergies, illness, acid reflux or whichever other means... Symptoms - The most common symptoms for this disorder is a change in voice quality, often associated with discomfort of the vocal cords (or voice box) while speaking or singing. Also, almost always, symptoms like hoarseness and rapines will be associated with an increased effort to talk or sing, coupled with subsequent fatigue during continuous voice use. Treatment - There is an alternative form of voice therapy which is the gold standard for the treatment of Muscle Tension Dysphonia. There are no other known treatments (outside of the Vocal Science™ Method and Technique) that can restore the muscle balance in the vocal mechanism. With that said, this unique form of therapy will help alleviate the above vocal symptoms. 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 View full articles
  6. 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
  7. Think of the sound of the male teenagers' voice when they're in puberty, getting lower, and sometimes they crack. I bet some of you know that sound. It's what happens to me, all the time, in my middle range and my lower range. It gets better after 10-15 minutes of warmups, but I'm still not confident that it won't crack. I can't imagine myself singing live, for example. Hell... On the verge of hitting THAT important note, and then... CRACK! I've been smoking for more than 4 years now (which was also when I started singing). My voice also changed quite a bit since then (from a mid/lighter baritone to a mid/lower baritone) and I've learned everything I know, but, as you see, not all gains were positive... Any help on how to deal with this... Anything... is welcome. (about quitting smoking... I'm trying as hard as I can)
  8. Came across this info and thought many would appreciate this ENT Doctor's perspective on vocal damage and vocal health. ENT Dr. talks about the stigma of vocal injury when she heard about Adele's concert cancelations. http://www.ohniww.org/adele-voice-injury-canceled-concerts/
  9. Ruth Alexis Jack

    Have I damaged my voice?

    Hey guys, I'm new to the site. I am really worried about my vocal health. I have just graduated uni after years of specialising in vocals and two months ago I began my first proper singing contract in a different country. Because of the change in climate I got ill and ended up with laryngitis. Unfortunately I still had to sing and do shows with laryngitis, however, I had to almost scream to get a sound out. My voice kept getting worse and the laryngitis developed into pharyngitis and guess what... I still had to sing every night. No voice rest for me It has now been two months and although I do proper warm ups before my shows, afterwards my voice is gone because of the amount of strain I am putting on it. I still have to shout to get the notes out and I cannot sing effortlessly like I used to. I'm getting so fed up of it. I live with other singers and I feel unworthy to join in with their songs because my voice sounds so bad compared to what it used to be like. The other singers in my company must think I'm talentless. I just want my voice back. I cannot do runs clearly; it sounds like I am sliding around the notes and my head voice is completely non existent. I know now I should see a voice therapist but finding an English speaking one may be difficult out here. Does anyone have any advice on remedies or exercises that will help me get my voice back? Almost importantly, do you think I have permanently damaged my voice?
  10. Something I've grown accustomed to when listening to extreme vocals is 'imagining' I'm singing it in a way the music might feel, and that involves producing no actual sound, but tensing as if I'm blasting a big screaming high note. And I'm writing this because I'm noticing as I sit here that my throat seems a little unhappy about it. So I'm wondering, is it possible I'm actually doing some damage even though I'm not producing sound?
  11. PianoandGuitarguy

    The truth about 'lifting'?

    I'm a slightly older guy and musician who just started voice lessons for the first time. A big thing my voice teacher is having me do is work on 'lifting' as she calls it. And this doesn't mean lifting the soft palate, which I THINK is a different thing. It involves lifting the cheekbones is a way that's not quite a smile, but somehow allows you to hit high notes with much more ease. Most of the time it's kind of "am I doing it right, I have no idea", but maybe 3 times so far over the weeks I somehow got it, and holy shit I had tenor high c without feeling like I might burst a blood vessel...but then I lost it again. So, certainly seems to work, but I did a search and found a lot of things disparaging lifting the soft palate, which might be related, and other things disparaging the 'smile technique'. So I was curious what the consensus was here on it.
  12. Yo! All my fellow singing geeks! I came across the article I've linked here (below video). I thought it is was very well written (a quick read), and includes a couple comments by Justin Stoney (coach most of us probably know from Youtube). I have read & posted in our "techniques" forum regarding so called "Natural Singers," percentages of the population who are or are not, training, and etc. Hope this helps lend some clarity to the matter(s). article - Singing Tips: Have A Certain Skull Shape, And Other Science Behind Carrying A Tune http://www.medicaldaily.com/singing-tips-have-certain-skull-shape-and-other-science-behind-carrying-tune-308372
  13. Rlynnclifford

    Vocal fold hemorrhage

    Hello, I am having a serious and rather uncommon vocal issue and I was wondering if someone could shed some light on the situation. In early May of this year, I was very, very careless with my voice. I had always sung through basically blunt force trauma, but my voice had always rebounded- except this time, it didn't. For months I had pain after speaking , loss of range and projection problems. Finally, I was diagnosed with a hemorrhage of the false vocal folds. I was told it wasn't permanent, and put on modified, not total, vocal rest. From what I understand, true vocal fold hemorrhages are extremely serious...but I can find no information about false vocal fold hemorrhage. It's been about a month and I'm still having problems with all of this, if not worse problems. My concern is, what role do false vocal folds play in speaking/singing? If it's just a false hemorrhage, wouldn't that have a minimal effect on my speaking voice and vocal range? I often get hoarse as well. I'm very concerned with scarring and permanent changes.
  14. Lead Vocals

    Proper Breathing for Vocalists

    Proper Breathing for Vocalists Breath is the motor of our voice. Knowing how to breathe correctly and being able to control it is one of the most important skills a singer can have. A proper breathing technique will enable us to sound great and to improve the tone of our voice. Our ability to sustain notes will increase and we will master to sing longer phrases more effortless. Breathing is a natural process of our body and therefore a good breathing technique comes natural and unforced. Methods of Breathing The human body knows several different ways of breathing which are called costal or chest breathing, clavicular breathing, abdominal or belly breathing, and diapragmatic breathing. The latter two are to prefer when it comes to singing, though only the diapragmatic method allows for full breath with maximum control. The diaphragm by the way is a muscle system that is located in the abdominal region right under the lungs. It controls the air flow by contracting when we breathe in and relaxing when we breathe out. Breath Support As a singer you want to learn slowing down the relaxation of the diaphragm to gain extra volume used for sustaining notes and sing longer phrases. This is called "breath support" and can be achieved in two different ways, either by adding a bit of muscle force during exhalation and while using your voice, or through lowering the muscle force used during inhalation. While the first method allows for an increased volume the latter will result in less air pressure in the lungs which in turn will slow down the exhalation process to the extent that you can sing longer. The second method is popular through the "Italian School" of singing, also known as Appoggio, which includes resonance factors in form of phonation alongside the breath management. Exercises to improve breathing Understanding the theory behind how the body masters the task of breathing builds the base for the vocalist to improve upon his or her own breathing technique, however the singer also needs to build an understanding on an experimental level. For this reason it is well worth to experiment with a few exercises to gain an additional understanding. At Lead Vocals we have collected a number of exercises to get you started. Continue reading about the topic and these exercises at - http://www.leadvocals.ca/improve/breathing Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
  15. The Importance of Vocal Anatomy for Singers The human voice is powered by breath, produced by vibrations, and shaped by resonance. "In every field the man who can merely do things without knowing why is at a disadvantage to the one who can not only build but also tell you just why he is building in that way. This is especially noticeable when the prescribed cycle does not obey the laws it is supposed to: then the labourer must sit by with folded hands while the mechanic or engineer comes in and adjusts the delicate mechanism. " Reuben Fine, Chess Grandmaster, Psychologist, Professor and Author We all can talk and sing without any further knowledge of the physiological mechanism that sets off our voice. It is when we start studying to become better at our craft, that we challenge ourselves in learning new techniques and in correcting bad habits and behaviour to achieve a specific sound. During our studies we will sooner or later get in touch with the topic of vocal anatomy and its terms. Knowing the anatomic elements and their function is essential for the purpose of communication, be it between vocal instructor and student, or in literature. The standardized anatomic terminology ensures that we can exchange ideas, techniques and instructions with great precision. The study of vocal anatomy will in addition help the vocalist to understand the mechanics and limitations of the human voice, and will function as a guide to choose those vocal techniques that respect the anatomic background of the voice. The newly acquired knowledge will increase awareness of the different parts involved in the creation of our voice, and will support us to develop a feeling for these organs during singing. What are these organs and how do they work? The background section at Lead Vocals has an article that describes the mechanism of our voice and the involved organs. Find out how our voice is created in the human body, how we achieve a powerful voice, how we produce pitch, and how we influence our vocal qualities at - http://www.leadvocals.ca/background/anatomy-of-the-voice Additional Information Our Practice Section at Lead Vocals http://www.leadvocals.ca/practice Try to Sing Along at Lead Vocals http://www.leadvocals.ca/lyrics/songs What is Lead Vocals? Lead Vocals is a free of charge online resource for aspiring vocalists, who are learning the craft of singing and who practice their art by singing along to playback recordings and to other selected musical performances on video. All recordings are hand selected and the lyrics are spot on matching to the performance of the lead vocalist. The tool allows for quick access to practice specific parts within a song. We especially took care in avoiding clutter and disruptive advertising. Follow us on Social Media https://facebook.com/leadvocals.ca https://plus.google.com/+LeadvocalsCa https://www.linkedin.com/company/leadvocals https://www.twitter.com/leadvocalsca https://www.youtube.com/LeadvocalsCa
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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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    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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    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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  20. Leo Golub

    We present VocalCare®

    Thank managers as well so to admit to all the members that make up this prestigious group. I want to tell about VocalCare® because that will be useful to you all.Many professionals in various disciplines who need and depend on their voice to perform work: singers, vocalists, coreutas, comedians, drivers on radio or TV, actors, lecturers, teachers, trainers, broadcasters, entertainers, business consultants and sales, telemarketers, pastors, etc.They use for many hours a day the voice as a basic tool to develop their work.Who must preserve your voice various factors that require daily.To all of them is aimed VocalCare®.And of course we realize that with the constant demands that arise on a day to day wear are produced in our tool, either by endogenous factors (inherent in ourselves or we can prevent), as well as exogenous factors ( we can not control or predict), which can produce significant changes in the organs that produce the voice and consequently deficits.The need to preserve our voice in optimal conditions led us to develop the most complete line of natural products for voice care !!VocalCare® is the answer to a better quality of life that helps us to protect and develop the most valuable asset we have: our voice !! More additional information on our website www.vocalcare.net
  21. Collin571

    Speaking voices

    We always talk about singing vocal techniques but what about speaking vocal techniques. Particularly I'm intrigued by Mike Breen's voice, the way he announces games. His voice has such good texture and consistent timbre. He obviously uses alot of emotion when he announces but it seems effortless, his volume and intensity increases when he announces crucial moments but if I was to try to do something like this I would inevitably cause vocal strain. Even when he's just describing players characteristics or aspects of the game it still has a tone that seems for lack of better words captivating and intense. Mike Breen speaks with good resonance so resonance in speaking must be important to establishing an attractive and appealing voice and perhaps also will help in better understanding the singing voice. Seriously listen to this guy.
  22. Ms. Yampolsky's coaching concentrates not just on the voice, but on the performer as a whole. Her approach can boost stage confidence by improving the voice's range, pitch and power. She believes that a singer has 25% natural talent, while 75% of a singer's performance relies on technical training. Her special exercises enable the singer to meet any combinations of pitch and duration of sound. Ms. Yampolsky views the body as an instrument whose quality of well being determines the quality of sound produced and recognizes that the voice is a reflection of the 'inner self.' All courses are customized to the unique needs of each individual singer and program the brain using visualization and vocal repetition. The Vocal Science (TM) Method alleviates strain on vocal cords and develops proper use of facial and abdominal muscles while stressing posture.
  23. Hi Everyone, I'm not a particularly good singer. I have a fairly prominent Adam's apple. One of the challenges I have as a singer is that I have a fairly small and low range. The tonal quality of my voice also sounds a bit like my vocal cords are being squeezed as opposed to being open. I've been playing around with something lately. If I pull the skin on my neck away from my Adam's apple, I'm able to sing more easily, higher, and with better tone. My theory is that, because I have a large, protruding, Adam's apple, it can't help but be somewhat restricted by the normal tension of my skin. So I'm wondering, is this a known thing for singers? Maybe my voice would be less constricted if my Adam's apple were smaller. Could a Chondrolaryngoplasty (tracheal shave) potentially reduce this problem for me and help me to open up my voice? Thanks.
  24. At times we may sing while commuting in a car, or seated playing the guitar or piano. To me, singing properly while sitting is much more difficult. I may just start to pinch and strain like crazy for no apparent reason (especially on higher notes). Obviously support is a bit out of alignment due to the positioning. Still I wonder if there are any tricks to improve the positioning so that singing would flow a bit more fluently. Or is attempting to sing heavy while seated a no-no?
  25. Hi there, so I've been working hard at my singing for years now and feel I've gotten quite good. I can sing Judas Priest with a relative amount of comfort if I'm feeling good and eaten a large meal and gotten some sleep. Without an audience. For maybe 30 minutes or so. And half the songs in my set list are relatively easy. But I'm hitting the notes (mostly) and bringing the volume (probably too much.) All right so I've been trying to sing Queen off and on too. Mostly I sing along with a recording of Queen live at Wembley 1984 that I downloaded off youtube. Well I pretty much can't get through even one song really. OK, I can get through a few songs when I'm feeling good. I'm probably a bit pessimistic because I just was trying 30 minutes ago and I'm relatively tired after working outside in the sun for like 3, 4 hours today. Now one of my perennial problems is finding pitch, matching pitch. So I'm a little unsure if maybe I'm trying to sing higher notes than freddie mercury is singing. However I'm feeling fairly confident that even if I'm singing too high in some cases that his set list in that concert is essentially impossible to sing. The way he sings it, with that level of volume and passion. Not impossible, maybe, but for me it would have to be the right time of day, afternoon, when I was at peak energy. I'd have to be feeling really really good. And I would still be absolutely wiped, I mean truly spent, completely exhausted when I finished. And this is just in theory based on my experience of rehearsing at home for a few years. Drinking a lot of water between songs. I've never really tried to sing the whole concert by any stretch. Anyway, I'm pretty sure this is why he injured his voice. It's just an inhuman set list. Am I wrong? is he really keyed lower than I'm hearing? Is there a trick here? Maybe his voice is somehow naturally pitched up or something so it's easier for him to sing those notes? He does look like he's sweating profusely in that video and there's long instrumental segments where he doesn't sing. It seems to me like with Halford (Judas priest) he really drops down into a lower register in most every song. And there's something about the way Halford transitions from high to low and back that I find way easier to deal with. Maybe someone here can help me understand what's going on with my technique.