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  1. What are some techniques that will help a student learn how to use good breath support?
  2. Hi! I would find it interesting to know how you deal with your; so called, warmup exercices. Personally, mine are eg. breathing (mostly just the hiss exercise), lip trills, vowels. They are of course, also more than just warmups as I use them for learning intervals and so on. I've tried the hiss exercice while preparing tea in the morning but...the more physical things I do the shorter my hiss become but on the other hand you sometimes play an instrument and sing which is physical. Might be difficult to get the right body position when being in the kitchen. People, on the other hand, talk about how you can do your exercices while preparing tea and things like that. Has this worked for you or has it not worked? What are your experiences?
  3. I have recently begun teaching vocal lessons to a college student whose main instrument is not her voice. Her air support is strong in both her chest voice and head voice, but she is struggling to transition between the two. The transition is extremely abrupt and causes her to lose confidence in herself. What vocal workouts and exercises may be helpful when working on her mixed voice and transitions?
  4. I have a tendency to stick my tongue out (briefly, without feeling it ) during singing (and speaking) which is quite annoying. Are there any exercises for relaxing it that could help me?
  5. I'm teaching a few voice lessons in a undergraduate music education class and am working with a female student who is breathy and lacks confidence in her singing. What exercises or tips do you have to improve her confidence and help with breathiness? She plays french horn and has good breath support but doesn't think she is a good singer.
  6. Hello all! I am new at teaching voice lessons, and I was wondering if anyone could offer advice. How do you help a female voice use their breath to produce a more consistent sound, especially in their higher range?
  7. What are some good ways and/or vocalizes to get your students to really use their breath to get a better sound throughout the rehearsal? Does movement while singing work? If so, what are some other ways to help with a student not getting a full sound?
  8. Questions: 1. Can fapping daily for a long time effect your voice from the hormones and all the technical stuff that happens? Can it (in a process) change your pitch a little, help (or) go against expansion of the vocal range, and can it make the voice more "unreliable" and less solid (especially on the notes that close to the end of your range) ? 2. I need a help about finding a couple of formats for singing exercises. (I've done a lot of searching and nobody helped me please) (All of them are by Michael Jackson) + (on 1:54) - Michael is doing a "ohh" with a lot of different notes that seem to work more on the flexible side (correct me if I'm wrong).. Can you please help me find the format ? to post here notes as an example from that exercise from the video so I can learn the format and use this for my range. * and the same (^) with the four exercises below please. + (on 6:47) Michael is doing "ma" I could understand that 3 Major Notes UP - 4 Major Notes is on MAX - and 3 Major Notes DOWN (correct me if I'm wrong). + the same with (on 11:53) with the "no". + (on 21:01) with the "oh". + (on 45:22) with the "oh" . It's a pretty hard work (I Guess) to find these formats, I just want you to know that I really appreciate your help ! 3. What exercise would you recommend to help with the flexibility in the higher notes, but those who are more close to the end of the range. what exercise would make them more "reliable" or it's just that you need to expand your range more to make them more central and reliable. 4. (EDIT) Could you please give me a way of how to bridge through the passaggio ? Thank you all !!
  9. I've been thinking about vocal warmups and I'm curious to what is the actual purpose - Is it to "remind yourself" of the proper coordination, making sure the technique is spot on? - Is it about actually warming up the vocal muscles? - Is it psychological because you are afraid of injuring the voice? - Is it to "draw fluid" out of the voice to get rid of "morning voice" or get rid of mucus? - What do you think about the argument that "Vocal stamina is not unlimited, so warming up is actually wasting some of the stamina?". What's the purpose of a vocal cool down? In a sense it's counter intuitive to use the voice more to recover more? To reset the muscles to a relaxed state? Also I'm not looking for reasoning via analogy (f.ex. you wouldn't run without a warm up), I already know a lot of professionals recommend warm ups but I'm curious to the actual reason. It seems like a lot of the warmups are different and they seem really arbitrary in their focus. So if there is an actual purpose to warming up then it ought to be personal and intentional
  10. I am working with a new voice student. She has been a piccolo and flute 8+ years. I am trying to find some effective warm-ups for her. She is able to match pitch and has more confidence singing in her lower range. She has been recently singing with a very pressed sound and is very tense when beginning warm-ups. Trying to find warm-ups to help combat these things!
  11. Hey guys I'm going to be producing a weekly vocal tip video series starting end of January. Honestly I've never really watched any of these type of series and was wondering if there were any topics people wanted covered. If it's something I have experience with I will be happy to oblige. Thanks so much.
  12. Hey there! I just want to show you this website that has a bunch of free vocal exercises. Ive been using them for a couple of weeks now and they are really good! here it is:
  13. Hey everybody, I am relatively new to this site and am still trying work out where certain posts go and such, so I apologize in advance if this is not the correct section but... At the moment I am really struggling with singing as neck/throat tension etc seem to be a big obstacle for me. I have searched all over YouTube trying to find a method I can use to reduce but after trying many of the warmups/stretches, I still feel a tight tug on my muscles when I tried and go out of my comfortable range. So that brings me to the question: Does anybody know an effective method of reducing it? This probably sounds like quite an stupid/basic question but I have minimal experience with trained singing and techniques used professionally. But I am hoping to have lessons after Christmas so that is something to look forward to! I have also been wondering about doing the Rate my Singing thing on this website but I'm that people will think I'm too young as I am in mid-teens. Thank you for reading!
  14. I'm practicing with a straw. My voice teacher suggested a stirring straw, and I bought one, but it's really small! It is difficult to get any air out. Is that the idea? Is the smaller the better? Not sure what is optimal when practicing the straw technique.
  15. I'd appreciate hearing some of youz guys's perspectives on Paul Rogers comments in this interview. I'm sure everyone would agree with his comments about "warming up" however, he makes an interesting comment about "his range," and then still manages to really avoid answering the question. Personally, I'm convinced he simply doesn't know the answer yet, he does offer the good warm up advice. The actual question is: "why do some singers lose their upper range as they age, and some don't?" -That's point #1, point #2 is, what about the interesting answer he gives regarding "feeling the song" in order to confidently sing the high notes in it. There are a few singers who don't seem in possession of the range they commanded in the prime of their career: i.e. Perry, Plant, Elton vs. other singers who are still going strong past their career peak: i.e. Rogers, Tyler, Elefante, Mickey Thomas, Tony Bennett, etc. the question is asked around 22:30
  16. Hi.. I am new here.. Im working about singing on my own and i realy improve my vocal.. Some questions: 1. I dont know if im a tenor or bariton yet, i found an easy exercise that makes my vocal sounds deeper and warmer, can it disturb my high notes? Can i change from a tenor to bariton? (If im a tenor) maybe this exercis is just a littel warm up for the low notes i dont know.. 2. If i sing and i can feel my sound in my nose, not in the chest and not in the head is it a mixed voice? 3. I heard thom york from radiohead when he was young and i heard his voice now and there are a lot of differences in his voice.. (In youtube) can someone explain to me please why his voice changed like that? 4. My vocal range can become smaller when i grow old ? I am 22 by the wayThank you for your help
  17. OK, so I've been realising that my singing voice is much more present, connected and fuller after a workout at the gym. The workouts aren't cardio based though, I rarely do cardio, it's either free weights or machine work. My voice just feels a lot better after a workout for like an hour than when ever I do a vocal warm up. My chest connects to my head without breaks, head voice is sharper, fry is better, my mix hits the sweet spot better. Just everything feels a lot overall better! Now, I understand that my blood flow is increased and I'm creating a pressure within myself to brace when pushing and pulling weights which in result could be helping warm up my voice. But why is this so much better than when I do a usual vocal "workout"? I do some pretty intense stuff when I work on my voice, obviously start off with simple stuff to wake my voice up and then get into chest stuff, head stuff and lastly mix stuff, but I don't get the level of connectivity as I do after a workout.
  18. So today I just realized, that I have access to my whistle voice. I was just trying to make high sounds in head voice (as usual). And whenever I made sounds quietly, I was able to reach notes that I would have a hard time with, if I sang them louder (which for a little while, I have wondered. That why is it when I sing quieter, I can reach higher notes). Right now, the highest I can go in head voice is a D6. And I can't even reach it with proper technique. I have to use lip rolls, to reach it. But when I made sounds quietly, I was able to reach an F6, G6, and higher sounds, but they were very quiet, and they were only squeaks. So that's how I came to the realization, that I have access to my whistle voice, and that I have been using my whistle voice, to make those high sounds. So do you guys have any tips for improving at whistle voice? Btw, I know that to improve one's vocal range, they need to work on making their mid range notes better first. So, I know that.
  19. I found an article that said warm ups don't have to be obligatory (or something). It also said the best thing is Steam. Do you use steam often? (I'll keep trying to find the article; can't see it now). I abused my throat again, this time overusing it. I am now considering that perhaps I won't need to warm up to sing in falsetto. How do you see it? I am just resting now. Edit: I've finally found the article (looks interesting to me):
  20. I just got back from the studio. We recorded probably 95% of the instruments and its sounding really cool. I'm going back tomorrow to record vocals and do some touch ups on the instruments. I have 2 hours scheduled just for vocals. Any tips to prepare my voice for the studio? Any foods to stay away from or to go towards? I am going to Denny's that morning along with go karting and bowling right after. Any preperation recommendations to get a rockin vocal?
  21. Hi, In my own experience and what I observe on most training content I come across, warm up routines seem to center mainly around pitch control coordination, while other aspects like registration and intensity vary from approach to approach but are more or les fixed, with many beliefs in regards to what is the correct way to do it, but to a large extent ignoring their control which in my opinion are, to say the least, just as important. This is something that I have been experimenting with on myself and on some singers that work with me, and it seem to make the workflow more efficient, specially for training and aquiring the since it allows for a better perception/awareness of the different controls possible prior to the work on technique itself. The idea is centered around the following fundamental controls: - Pitch regulation; - Intensity regulation; - Basic Registration; Prior to the work, I recommend strongly to work a bit on breathing and relaxation exercises, in special pacing down the breath cycle and making it smoother and relaxed, also yawning and neck stretch/rolls. When you feel calm and ready, then you begin. For these exercises, any kind of occluded phonation should work, as long as you are comfortable with it. Properly executed tongue trills usually are best since they cause more vibrations and they help relaxing the vocal tract, can be a bit tricky at first. Lip bubbles should do the job too. You could use a tube into a water too. But whatever the exercise, I recommend using something that creates vibrations. So with the occluded exercise, and in a very relaxed/comfortable manner. Start a note, using an underlying vowel that is easy for you ( I suggest OO/UH) and work on this manner: - Do the exercise freely exploring the different aspects: do a trill exploring pitch, then exploring intensity , then changing registers from full to falsetto. Don't aim to control things with independency yet let it go wild if it wants to, as long as you can identify the control, its fine. In regards to Pitch and intensity, just try to explore your comfortable limits, so that you know how low is your low pitch, how high is your high pitch, and how loud are your soft and strong voice. Registration might be tricky to identify properly, if so, do a yodel, and notice the switch, this is what you want to get a grasp. If it still doesnt work, produce a quite loud note on your low voice, and ascend in pitch keeping it all relaxed and without letting effort/intensity rise, it will eventually break (this change is what you want). Guys can mimic a girls voice, or Bee Gees, and identify the "switch" that happens. Once this is done, and you should not take more than 3 minutes doing it, work for control in this manner: - Pitch: Do the trills coming from a low tone comfortable in your voice and slowly ascending in pitch, keeping it comfortable and not forcing. Don't worry about intensity (let it vary if its the case), don't worry about registers (if it breaks, awesome!). - Intensity: Do the trills starting at a soft volume and progressively increase it, letting whatever happens to the register happen, dont worry about breaks, and don't worry about keeping the pitch controlled, let it wander too. - Register: Produce a note on your lower voice, and deliberately break it, letting whatever you need to do in regards to pitch/intenisty happen. Just break, if it ends higher in pitch and quiet, no problem. Then do the opposite, do a note in falsetto and switch back to your full voice. Make sure you flip! These are the rudimentary controls, also don't overdo, 3/4 minutes doing this should be enough, and keep it comfortable/relaxed. Then start working on independency: Fix Intensity, and vary pitch, letting whatever happens to the registers happen (if it breaks, great!). I recommend using a middle of the way volume, and then doing slides in pitch, up and down slowly. Again keep it comfortable, keep it easy. Also explore what happens on higher and softer intensities. Fix pitch, and vary intensity, letting the register do whatever it wants (dont worry about breaks!). I recommend using a pitch in your comfortable mid-range, and also progressively increasing and decreasing intensity. After that, explore what happens as you go higher and lower in pitch. Fix register, and vary pitch. While keeping within the same register, slide pitch up and down, letting intensity do whatever it wants to do. Do it both on full voice and falsetto. Fix register, and vary intensity. While keeping within the same register, go soft, and then loud, progressively varying the intensity. Do it both on full vice and falsetto. Fix pitch and vary the register, which means you will need to use a tone in the middle of your range and break the registratoin on the same note deliberately. This is a bit tricky, dont aim to make quality smooth, let the intensity change. Just break and stay on the same pitch. Fix intensity and vary the register, find a middle level intensity on your full voice, in the low range, and break it into falsetto at the same level of intensity. This is a bit tricky too, you WILL need a pitch jump to go from low voice to falsetto at a same intensity level. Again no goals regarding consistent quality. Here there should be some notable differences in relation to the tradional warm ups we are used to, I stress that you need to keep comfortable and relaxed. Dont overdo and don't take too long. Finally, in this specific order: Fix register and pitch, vary intensity - Begin by falsetto! Make sure you stay in falsetto, use a pitch that you are comfortable with, and slowly go from soft to loud, then back to soft. Explore the pitch area, notice what happens to your dynamic capability as you go lower in pitch and don't let the register transition to full voice (you wont be able to get loud!). Then do the same on full voice, and pay attention so that the same coordination you use to control intensity in falsetto is what you use to control intensity in full voice. Fix register and itensity, vary pitch - Means that within full voice AND within falsetto, you will set a level of intensity and make sure you stick to it through the exercise as you vary pitch gliding slowly. Respect your comfortable limits, pay attention to intensity regulation and do the exercise first at medium volume, then loud, then soft. Fix intensity and pitch, vary register - Means that you will pick a note on your mid range that you can do with considerable volume on both registers, and flip back and forth without letting pitch and intensity vary. This must be done comfortably and relaxed. Dont choose intensity levels that are too high at first, the softer you are, the lower in pitch the exercise will be possible. I know I said this more than once here (actually once every phrase most likely), but when I say comfortable, easy and relaxed, I mean it. Don't exercise aiming to produce quality or be perfect. Do these aiming to relax and to explore and identify these different controls, look for awareness. Going super loud, smooth or high is not the point. Also don't take too long, you should not take more than 20 minutes in this whole routine. And this is not a good idea to use when you are sick. You will notice no exercise trying to "connect" anything is done, mainly because "connecting" is not a laryngeal function but a situation that you will create by using these three coordinations with skill. And doing it on a lip bubble is not so relevant on the context of training for singing. I will make a video demonstrating it later today. I would really like to know: The results and effects on your voice, specially going from it into singing and into technique practice. If you feel the routine itself made you improve. If you have ever worked with a similar mindset with your teacher/training routines. Felipe
  22. Hi,I am a Computing Science Student at Staffordshire University, I am currently completing my final year project which will be a Vocal Warm Up application for the Windows Phone platform, below I have included the abstract of my report to add context, please do note however that this is likely to be reworded and is a draft in its current state,"The objective of this project is ultimately to create a vocal warm up mobile application, which will assist singers of all levels to properly warm up before singing. The following report details research into specific areas around mobile application development and vocal warm up exercises, it will be used to support design decisions which are made and the development platform which is used. I believe there is currently a gap in the market for such an application, specifically within the Microsoft Windows Phone environment as there are few apps available to users which provide similar features as proposed in the scope of the project."As part of the research element of my report I have created a survey posted on Survey Monkey and would greatly appreciate it if you could take 2 minutes to complete it, the link can be found below, you have any further feedback I would greatly appreciate an email at
  23. i have searched a lot to get vocal scales to practice but im not so sure about it so would u please suggest me some samples of these scales scales i need are double octave scale and 3 octave scale i would also like what a long scale i would like to get some samples so than i can play and practice thank you