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The passagio....When to change??

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chillwynston
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Hi Guys...Newbie to the forum here!! Hi..

Ok, I use Ken Tamplins vocal academy I dont know if any of you are using that or aware of his techniques..

I am a little stuck about how best to train my passagio to smooth out and when to actually change...

At the moment if I want to do it smoothly I have to take the air right back to where my voice is somewhat breathy so that the muscles are relaxed enough to make the change.

Ken says to pull the voice through your chest as high as you can before handing it off to the head voice, my chest voice can go pretty high and into this comfortable highness kinda like a Myles Kennedy sound... But to hand the voice off at that point is almost impossible due to the high pressure..

I can only seem to change smoothly its low pressure and breathy, which is annoying, especially when my chest can go so high..

If I try to change to a head tone while pull my chest as high as possible I go into a weird shrieky sound that I have never heard before..

Also what tips can you give on darkening the head voice so that it sounds more chesty..

Thanks for reading its great to be a part of such a knowledgable community , we cannot fail!!!

Thank

Mike

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You'll get lots of different answers to this one. The important thing is to try to minimize the effort and squeeze in your throat, even though your support muscles in your mid section might work a bit harder.

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Ok thanks guys..

So is falsetto head voice?

I'm confused by this!

If I want to go from chest to falsetto I can do this like I said by cutting back the air almost to a breathy sound and then push it and I can push the falsetto quite hard with a decent vibrato..

So I may actually be in head voice when I am doing the notes I mentioned?

I cant tell, it seems like chest (lots of effort and breath) and is quite high, its different to when i push falsetto into that rock vibrato(easier)!

I'm trying to do this by learning about Bel Canto (Ken's technique) do you think it would be a good idea to get some coaching from a classical vocal coach?

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I'm trying to do this by learning about Bel Canto (Ken's technique) do you think it would be a good idea to get some coaching from a classical vocal coach?

You might want to go directly to the source(Ken Tamplin.) In the short term, you could post a link with you doing the exercise. Several people on here are familiar with Ken's technique, but I would strongly suggest having Ken take a listen to you.

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I don't know Ken's technique, but my question to you is, "how are you supposed to change registers?" Are you applying vowel modifications to assist the transfer of resonance? Holding on to an unmodified chest voice as high as possible will make it very difficult to smoothly transfer to head voice. If you can adjust your vowels in order to tune in the correct resonances, the resulting handoff can be smooth.

Even in certain CVT modes where you don't change registers, you have to eliminate certain vowel sounds in order to make it acoustically possible. At least that's what I understand (the CVT experts here can correct me).

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I don't know Ken's technique, but my question to you is, "how are you supposed to change registers?" Are you applying vowel modifications to assist the transfer of resonance? Holding on to an unmodified chest voice as high as possible will make it very difficult to smoothly transfer to head voice. If you can adjust your vowels in order to tune in the correct resonances, the resulting handoff can be smooth.

Even in certain CVT modes where you don't change registers, you have to eliminate certain vowel sounds in order to make it acoustically possible. At least that's what I understand (the CVT experts here can correct me).

this cannot be any more correct...i know exactly (nowadays) how important those vowel mods. are...

i was muscling my way up for years. then i started to study vowel modification.

however, you have to experiment per your individual voice because the textbook vowel modifier is one thing, but you may need to tweak the vowel to arrive at the best shade or adjustment to ease the effort.

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Thanks again guys,

I'll be experimenting tonight with the AA Ah OH OO vowel modification Ken teaches, I never felt the benefit of the modification while in a falsetto but definately do when it comes to pull my chest voice as high as possible!

I went back to the basic training cd last night and I nailed all of the bridging exercise, mainly because I took my time, I think I'm having more of a voice/brain connection and I'm much more mindful of the feelings in my throat...I guess it is all practice and letting the muscles change..

Mike

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Thanks again guys,

I'll be experimenting tonight with the AA Ah OH OO vowel modification Ken teaches, I never felt the benefit of the modification while in a falsetto but definately do when it comes to pull my chest voice as high as possible!

I went back to the basic training cd last night and I nailed all of the bridging exercise, mainly because I took my time, I think I'm having more of a voice/brain connection and I'm much more mindful of the feelings in my throat...I guess it is all practice and letting the muscles change..

Mike

i've seen the beginner's dvd.., it's excellent...............but it's so, so, important with his method to remember to relax the neck, and maintain that real open "it's the la" he talks about. when you get to the e4 or f, transition to the "oh" but not blatantly, just a little tweak ....and yes, it's a lot of concentration and coordination...you don't want to default to falsetto, you want to maintain fold adduction as you ascend to your head register not head voice, head register

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