Is this sort of exercise helping me pass my bridge?

[gandlethorpe]

I got some time in the house to myself and decided to get a better recording of my "heady-belt" thing. This is pretty much my minimum volume, though. I'd like to be able to do these without overpowering my microphone, or get them to a point where I wouldn't be self conscious doing it when people might hear.

[jonpall]

I figured air control was one of my problems, as my teacher often says I'm too breathy. But I feel like I'm using as little air as I can and letting resonance take over. How do I go about using less air and while still making a sound? I assume squeezing inside my throat is not the way to go.

To start off with, try not to over complicate it. Just PLAY with it, like a little kid would, without any worries - play with holding your breath and speaking at the same time and especially on some notes that are just above your comfortable range. Just try to do it with as little throat tension as possible and always remember stop and re-think what you're doing the second your throat hurts.

Holding back your breath/airflow or regulating it, is what support is about. It makes your larynx function a thousand times better if you support well and in the case of high, powerful notes, it's impossible to do them if you don't support well. But like I said, many people tend to overcomplicate this process. When you breath IN, just let your stomach go out on its own, don't force it and don't raise your shoulders. When you sing a melody, during high notes, your abdominal region (both in front, back and sides) will contract slightly because that's what holds back the air. Contracting those muscles in a manner that feels like you're working against resistance makes your lower rib cage go down and in at a slow rate, which slow the ascend of your diaphragm, which in turn makes your air go out slower. Some people like to know the technical details of what's going on. Other might preferm some sort of imagery, like the sensation that your chest is a balloon and during sung phrases, the balloon is being blown up. All of those ideas can work so try them out. Not sure if this helps but it might get you on track. First and foremost I think you'd do well to check out a vocal coach. And if you have one already and you're not getting the results you want, find another one. Definitely do that. Cheers.

[ronws]

^ excellent post, jonpall.

[jonpall]

Thanks man.

[VideoHere]

i'm sorry......i didn't mean to beat you up about this, nor did a mean to hurt any feelings... (that's why i don't like to comment.) i just know that i sincerely wanted you to get off on the right track (or back on the right track).

if you want to skype with me, i'll be happy to do it that way.

[gandlethorpe]

No, no offense taken. I want to learn how to sing properly, so if I'm doing something that's potentially damaging, I need to know. It's just kinda frustrating to think that maybe I'm doing something wrong fundamentally and need to start at square one.

I don't know when I'd be able to Skype right now, but in the mean time could you direct me to some relevant resources based on the problems you identified? (proper siren exercise, what t/a and c/t muscululature is, etc.)

Much appreciated.

[VideoHere]

are you with a voice teacher now?

some people (i'm not saying you) like to say they are, when they really aren't.

[gandlethorpe]

Sort of. I see someone every now and then (once a week or every other week), we work mostly on those arpeggio exercises. Problem is, it's only ever for about 30 minutes at a time, and it's not enough for me to work out my issues. The teacher is female, if that matters. She's a certified SLS instructor, and I don't doubt her credentials, but I can't shake the feeling that her not being male makes it a little harder for me.

I've never done those loud high notes for her, because I don't want to subject anyone to those in person. When we do the exercises, I pretty much jump into and out of falsetto, like in the other recordings.

[VideoHere]

i love women, but for a voice teacher to would work with on a regular basis i would want a male, and a teacher of a similar timbre with similar likes and dislikes.

the chemistry element is critical.

[gandlethorpe]

It's hard enough to find a male singing teacher near where I live, let alone SLS. The only male teacher I found nearby didn't impress me with his website.

I do think I've gotten better with my current teacher, but I'm still waiting for things to click and really feel what mixing/connecting is like.

[VideoHere]

be patient, and consistent and it will come.

don't forget there's always skype for lessons.

[gandlethorpe]

Yes, I do get frustrated from time to time, but I definitely never lose enough patience to give up. In fact, I often find myself getting better after a period of frustration. I am a bit concerned about cosistency, though, and not consistently doing something wrong.

I would like to do Skype some day, but I never know when my microphone's will give a good output.

[VideoHere]

i'm going to go out on a limb and say that after you start doing some kind of routine vocal exercises, as long as you work on something, without straining and pushing (just failing....failing to hit a note, failing to connect, etc.) you come to a point where you begin to get an innate sense of what you need to do the next time, and the next time, and the next time....

if your only way is to d.i.y., you have involve the mind and and all your senses to help you along. read, study, watch videos, find ways to help yourself.

sure it's frustrating at times......you feel like you've got something right, and the next day it feels like you are starting from scratch.

but over time, it all starts coming together like pieces to a puzzle.

my biggest discovery recently was the simple fact that you don't need to actively, purposely, inhale to sing. but for that fact to sink in, i had to read or hear it told to me in a way that connects with me.