Nicogratouille Posted April 6, 2012 Share Posted April 6, 2012 Hey, this is a clip of me singing a 2 octave major scale, from C to C, on different vowels. I did this kind of medium volume. http://www.box.com/s/7a1d4cecf8c48b373f48 I'm starting each scale with a hum, just to make sure I resonate and feel my support. It would be nice to have a little analysis of what I'm doing. Am I: - transitioning ok, blending my registers (chest, mix, head)? - "connected" throughout? - pulling up chest? Breaking into falsetto? - are some vowels better than others? why? - other thoughts? Assuming I'm doing this with good technique, is this an exercise I can do to get better at blending my registers? I don't feel strain (that I know of) when doing this. It feels pretty easy but kind of like a balancing act at times. Thanks, Nick Link to comment Share on other sites More sharing options...
VideoHere Posted April 6, 2012 Share Posted April 6, 2012 i don't know if i would worry about two octaves right now. why not some basic scales over 1, 1.5 octaves?...plenty. Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 7, 2012 Author Share Posted April 7, 2012 why not some basic scales over 1, 1.5 octaves?...plenty. I found that the shorter the scale, the more weight I carry into my upper range. I feel I'm doing this scale with proper technique. Just want somebody to prove me right, or wrong. Have you listened to the clip? Nick Link to comment Share on other sites More sharing options...
saucy88 Posted April 7, 2012 Share Posted April 7, 2012 Hi Guys, if is not too much to ask, could we get some more feedback on this post please? I'm also really interested to know... thanks I'm kind of at the same place as you Nicogratouilli so I can't really answer your query. Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 7, 2012 Author Share Posted April 7, 2012 Thanks saucy88 :) Link to comment Share on other sites More sharing options...
ronws Posted April 7, 2012 Share Posted April 7, 2012 Hey Nico, when I see your login, I think, phonetically, neeko - grah-too-ee. Is that how you mean to pronounce it? I'm not an expert but it sounds like you are doing the right thing, You are following the tone, that is, keeping the same sound of the vowel as you ascend the scale, regardless of what it takes. And that's a good thing. It reminds me of a famous singer who does him warm up the same way, doing a scale on each vowel. By his own description, in his memoirs, this is how Steven Tyler warms up. Lilli Lehmann did something similar called the Great Scale, although her scale would use a modified vowel position for up top, considering she was a soprano coloratura. Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 7, 2012 Author Share Posted April 7, 2012 I'm not an expert but it sounds like you are doing the right thing, You are following the tone, that is, keeping the same sound of the vowel as you ascend the scale, regardless of what it takes. And that's a good thing. Thanks a lot ron, for your opinion and the bonus info! Hey Nico, when I see your login, I think, phonetically, neeko - grah-too-ee. Is that how you mean to pronounce it? Just pronounce it how a frenchman would do it. Like "ratatouille" Nick Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 7, 2012 Author Share Posted April 7, 2012 Thanks a lot Dante. This is so helpful! I'll put everything you said to practice tomorrow! Nick Link to comment Share on other sites More sharing options...
Quincy Posted April 7, 2012 Share Posted April 7, 2012 Dante, What do you mean by "spreading" the vowel. I always assumed it means losing the integrity of the sound by losing support and getting wider with it and maybe the larynx wanting to go upward. Is this a general working description or something else? Link to comment Share on other sites More sharing options...
Quincy Posted April 7, 2012 Share Posted April 7, 2012 Many thanks. That makes a lot of sense! Link to comment Share on other sites More sharing options...
gno Posted April 7, 2012 Share Posted April 7, 2012 Nick - it actually sounds very good. You are making a great connection to head both ascending and descending. Descending from head to chest is typically more difficult and you are re-connecting well. I agree with Dante that you could work on adding more "chest" up in the higher range. You can hear slight coordination issues here and there - not much though - as you go through the passagio. Now all you need is a lot of practice to smooth it all out. Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 7, 2012 Author Share Posted April 7, 2012 Thank you Geno, Nice to hear that I am onto something Nick Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 8, 2012 Author Share Posted April 8, 2012 Here's today's practice: 1/ Nay Nay Nay, from C to C, descending major arpeggio (I recorded this one twice): http://www.box.com/s/ca4f78e5473e918c27c7 2/"eh" on major scale, one octave, C to C http://www.box.com/s/962c9d1f9e149fcd2e6a 3/"ee" on major scale, one octave, C to C http://www.box.com/s/f1f36f20ca519273cc1f 4/"oh" on major scale, one octave, C to C http://www.box.com/s/b1f8cf89b65cb1facb4d 5/"uh" on major scale, one octave, C to C http://www.box.com/s/834c6f58079f1a249944 Any thoughts? Nick Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 8, 2012 Author Share Posted April 8, 2012 Hey Dante, Thank you so much! In these few posts, I feel you've told me more about my voice than all the teachers I've ever had. Just started lessons with a new coach, but if things don't work out with her, I'll definitely consider having Skype lessons with you. I think you are very good at what you're doing I'll give it an other go tomorrow. Happy easter! Nick Link to comment Share on other sites More sharing options...
Nicogratouille Posted April 9, 2012 Author Share Posted April 9, 2012 Today's practice: 1/ "Nay" on different pitches, trying to say it with energy/conviction http://www.box.com/s/2b66e756ab38f8c1820f Then I tried to keep the same energy/conviction in my exercises: 2/ "Nay Nay Nay", C4 to F4 http://www.box.com/s/2fd30f712886f30de5af 3/ "eh", major scale, one octave, C4 to F4 http://www.box.com/s/3a0784440fed6c2a70fc 4/ "ee", major scale, one octave, C4 to F4 http://www.box.com/s/a7612958ec070233fe26 5/ "oh", major scale, one octave, C4 to F4 http://www.box.com/s/07f44e91014bf356207e 6/ "uh", major scale, one octave, C4 to F4 http://www.box.com/s/29b488d128614308cdad 7/ "eh" on a siren http://www.box.com/s/6d3ceff54cb6373e4e8f I was using more volume than last time, and I'm afraid I was pulling chest around E4 and F4... I felt it would have been very hard to continue the scale to F# and above. Also I think I felt my support more. Is this any better? Nick Link to comment Share on other sites More sharing options...
devaitis Posted April 9, 2012 Share Posted April 9, 2012 What the unbelievably valuable topic over here. Thank you Nic for your clips. Thank you Dante for your responses, your explanation helps me as well. it's fantastic you share with us your knowledge. Extremely helpful posts. Link to comment Share on other sites More sharing options...
Felipe Carvalho Posted April 10, 2012 Share Posted April 10, 2012 nick I dont hear connection happening and what I do hear is a very delicate problem with the EE vowel that, if you continue to work like this, will lead to problems when the time to work on passagio comes. Take the time and chose the professional that will help you with great care. Someone that you trust. Because considering that you are searching an internet forum for directions on such basic stuff, its clear that something is not working as it should. Your EE should be placed somewhat like this: http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3394 Hope that it sheds some light. Do take care. Messing with the EE can easily take 1 or 2 years to fix later. Link to comment Share on other sites More sharing options...
Felipe Carvalho Posted April 11, 2012 Share Posted April 11, 2012 The first clips all have a break. The last clips are building up tension when he ascends near the passagio, which would then lead to a break if he went on. The effort is building up and he tries to darken and hold back the larynx stable as you pointed, without developing support, its a lost battle. The larynx has no choice but to rise. The siren shows it clearly. Becomes airy on the passagio and then breaks into falsetto. Link to comment Share on other sites More sharing options...
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