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Keith
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I recently played a song I sang for a vocal coach I know, and his resonse was "If I was training you, my next step would be to strengthen your chest voice so that you could carry it up to your high notes and make them stronger." Does this make any sense? Is this like the second step in Frisels method? And, if it does make sense, what exersizes do I do to accomplish this?

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To me it sounds like he wants to pull chest up towards head voice. The only problem is you can pull chest and strain. All I think you need to do is strengthen head, and twang to get the boom.

You can still be in head and have a good chesty resonance. Cover, curb, twang etc.

Consult Rob.

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Without knowing what your possible vocal coach means, I would say this is not from the Frisell method. Frisell starts you out light. And then you slowly add the volume and ring that is characteristic of "chest." And that is a difference of perspective. That is, you don't carry chest higher. You start out in head and bring in the sound of chest, without the chest voice dominant controls.

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Keith,

Would it be possible for you to re-do / re-create the vocal as you did for that coach and post here. Then write what he said based on the vocal (i.e. was it at a particular point in the track). so the A to mid C / D area. I agree on the, we don't know what he meant (so is he talking chest, low mix, upper mid ... etc). Were you on the Mic too ?

would be good to have a listen.

thanks

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Keith,

Would it be possible for you to re-do / re-create the vocal as you did for that coach and post here. Then write what he said based on the vocal (i.e. was it at a particular point in the track). so the A to mid C / D area. I agree on the, we don't know what he meant (so is he talking chest, low mix, upper mid ... etc). Were you on the Mic too ?

would be good to have a listen.

thanks

Here is the entire response:

"Hey Keith,

Anyways,

I really love your tone, it's very authentic and sounds great to the ear. I really like that song and you did it justice my friend!! kudos!

If as a teacher I had any coaching or advice to give you to make it even better, I would remind you to "look ahead" a little to help keep the pitches tight, and to support the higher passages a bit more. On the highest notes you have a very convincing falsetto that works well with your overall tone. If you were studying with me, i'd develop your chest voice to reach those notes which would give you much more power on the high range.

I hope you keep on keepin' on my friend, I really like your tone man, sounds great!

Don Dokken never sounded so good! "

Here is what I played him :

http://www.soundclick.com/player/single_player.cfm?songid=11225406&q=hi&newref=1

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The only problem I have reading the words of your possible coach is that it sounds like he wants to carry the mechanics of normal chest voice up higher. As opposed to the process of, say, Frisell, who wants you to have the controls of head voice, with the volume and ring we normally associate with chest voice. That is, your high notes can sound like "chest" only by not using the chest dominant (thyroartynoid - TA) controls. With Frisell, you are working toward one consistent tone throughout, but you are approaching it from the singing aspect, rather than the speaking aspect.

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It can be approached a couple ways. The way I learned is Tamplin's approach which is to "stretch your chest as high as you can in to head". This worked for me, but I later had to learn how to sing a lot lighter, which helped me put the whole thing together. Whereas Frisel would want the opposite - start with falsetto and strengthen it downwards. I can't speak for that way because not the way I did it.

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Hi,

Firstly, you have a great voice and I am enjoying your clips on soundclick.

On your friends response he said, "I would remind you to "look ahead" a little to help keep the pitches tight, and to support the higher passages a bit more.". Would agree with that.

He hears the times where the support slightly drops and thus the pitching slightly changes. I think you likely know as well, it's just what happens on the day (I have a female who keeps grabbing her C5's, rather then upper mid / head, before her next note G4. In up and coming concert - just have to see what happens on the day)

i was debating the other portion about developing chest voice to support the upper / give power (as other posters have eluded too), vs. warmth / colour / body, I agree with what Ron says in above post too.

But I would also suggest this.... (So will replay the conversation).

"Hey Keith,

Anyways,

I really love your tone, it's very authentic and sounds great to the ear. I really like that song and you did it justice my friend!! kudos!

If as a teacher I had any coaching or advice to give you to make it even better, I would remind you to "look ahead" a little to help keep the pitches tight, and to support the higher passages a bit more. On the highest notes you have a very convincing falsetto that works well with your overall tone. If you were studying with me, i'd suggest adding a bit of "body / colour" to your upper range. I suggest looking at http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=2856 - the Unraveling the Mysteries - Formants and Harmonics - Vowel Modification

post. I recommend both pages and exploring the ideas in Steven's post at 3:56 and what happens to your sound dynamically."

I hope you keep on keepin' on, .... etc "

The other thing I debated was, don't change much and ask the Desk EQ guy/gal to add a bit of 250 (without 200 muddiness), add 2100 and 3200 to taste (dont spread the Q too much), and hint of 5K (if you think it adds). If you have the dry vocal then send to (I believe it's Matt) i.e. someone who has more experience in adding body / warmth / Chesty sound ... etc and see what happens to the sound.

I did a quick eq on FL and changed the body of the sound to taste. Just something to think about. If you do manage to get the "sound", ask the EQ guys on here what bands they boosted.

Hope it helps.

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Hey Keith I believe what your coach is speaking about is more of a fullvoiced tone. Some singers call it chest voice because it never feels any different to them. When i asked my buddy who is also one one the best singers I know how he does it he says" i never sing in falsetto I just sing in my chest voice." What he means is his full voice because it's all the same to him doesn't get trapped in terms and tech talk.

But I think that's what your coach is talking about just supporting more to get more meat of the cord so it's not so letting go

Hope that helps

Daniel

Www.danielformicavocalstudio. Com

Ps this stuff ain't rocket science :)

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Hey Keith I believe what your coach is speaking about is more of a fullvoiced tone. Some singers call it chest voice because it never feels any different to them. When i asked my buddy who is also one one the best singers I know how he does it he says" i never sing in falsetto I just sing in my chest voice." What he means is his full voice because it's all the same to him doesn't get trapped in terms and tech talk.

But I think that's what your coach is talking about just supporting more to get more meat of the cord so it's not so letting go

Hope that helps

Daniel

Www.danielformicavocalstudio. Com

Ps this stuff ain't rocket science :)

Thanks Brother, maybe I'm just an over-thinker :)

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The only problem I have reading the words of your possible coach is that it sounds like he wants to carry the mechanics of normal chest voice up higher. As opposed to the process of, say, Frisell, who wants you to have the controls of head voice, with the volume and ring we normally associate with chest voice. That is, your high notes can sound like "chest" only by not using the chest dominant (thyroartynoid - TA) controls. With Frisell, you are working toward one consistent tone throughout, but you are approaching it from the singing aspect, rather than the speaking aspect.

Hey Ronws- are u still working out with the Frisell stuff? How's that going?

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keith, nice vocals.

if i may make a small suggestion?

i don't hear as much "perceived passion" (a little more balls needed) to coinside with the track. it sounds just a little too easy going per the actual song and it's lyrics. perhaps you may want to try adding a little more meat and feeling to it.

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So, Sunday I started doing my normal warm up / workout routine, but I added some "ng" 1.5 octave arpegios and I'm still doing a zzzz with an "uh" under it up to a note and then opening up into the note The "uh" is still weak for me, which is why I still do it. Well, today I started singing some songs, and at one point, my jaw started hurting - so I cancentrated on support and relaxing (yes, at the same time). So, I hit this note, somewhere around C5, and it felt / sounded like something in my throat broke. I immediatly stopped singing.. I did some warm downs (lip bubbles) and some humming... I didn't feel any pain after it happened, it felt "uncomfortable" when it happned.... Any idea what may have happened? Ohh, was doing some "mum" arpegios also - for tilt exercises.

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So, Sunday I started doing my normal warm up / workout routine, but I added some "ng" 1.5 octave arpegios and I'm still doing a zzzz with an "uh" under it up to a note and then opening up into the note The "uh" is still weak for me, which is why I still do it. Well, today I started singing some songs, and at one point, my jaw started hurting - so I cancentrated on support and relaxing (yes, at the same time). So, I hit this note, somewhere around C5, and it felt / sounded like something in my throat broke. I immediatly stopped singing.. I did some warm downs (lip bubbles) and some humming... I didn't feel any pain after it happened, it felt "uncomfortable" when it happned.... Any idea what may have happened? Ohh, was doing some "mum" arpegios also - for tilt exercises.

keith, how are you feeling?

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