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Building A Reliable Head Voice

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Hey all, I know somewhere inside me is a powerful head voice. Sometimes even so great that it can resonate in the chest. However it is very inconsistent, I have found that the "falsetto" mechanism often shows up when my technique slacks. What exercises have helped you SPECIFICALLY build the head voice, I mean with no chest mechanism whatsoever.

What specific training (either from TVS 2.0) or elsewhere has helped you isolate and train the head voice? I have found the quack and release exercises to be kind of helpful but I don't know where to go from there. I often neglect my headvoice because I just want to sing out those cool tenor songs but little by little the importance of this part of the voice is revealing itself. My "lower" register is already freakishly strong... definitely a registration imbalance.

How can I build a headvoice that will naturally want to blend with the lower register? I am currently going through the TVS training, but it has become obvious to me that the weakest part of my voice, is sadly my upper register. Any useful tips or sections of pillars that I should put more focus on would be of great help to me! I need to be able to rely on this part of my voice... instead of have it hold me back. What mental approaches and actual vocalises have helped you? Where do you feel the head voice resonate the most?

One last note, it feels way easier to blend upper register to lower on the AY vowel than an EEE or OOU. And doing staccato "may" before and after the bridge has helped me a lot!

It's quite fustrating lol :mad: Especially for lower voiced males. However, I intend to just keep going at it until I get it right. If anyone has any experience with their own headvoice development, especially guys, feel free to share how you discovered and improved this part of your voice :)

- JayMC

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Lower voice male here. I know it's hard to believe right now, but I PROMISE you that if you keep practicing you will learn how to use your headvoice consistently. There's nothing about your naturally low voice that prevents you from singing those high tenor songs. Every healthy voice is (at minimum) capable of three octaves.

Developing a consistent headvoice is a struggle for just about everyone, even tenors. Time and practice are the only solution. You'll start out being able to hit those high notes comfortably maybe only every now and then. Then you'll be able to hit them a third of the time. Then half, then 3/4ths, then finally you'll be able to hit them 100% of the time (well 99.9% because you might have a horrible cold or sore throat or something).

I know everyone says this, but sirens on an "ng" were hugely helpful to me in smoothing things out. In particular, making sure to do them very quietly and not pushing the "ng" sound. Also, keeping my larynx from rising too much on the "ng" was a big thing. Even though I have a consistent headvoice now, I'm still practicing this quite regularly, to reduce my effort levels and to get even better.

Also, adding a cry to my sound was (and still is) very helpful. Tony O'Hora has a great video on this.

I'm sure you'll get a lot more suggestions about exercises from people who are more knowledgeable than I am, and in particular people who have trained with Four Pillars. I haven't personally, but I know it's a great program and will get you where you need to go.

Again, I know it's frustrating, and for us low baritones and basses, it can seem hopeless because we've been told all our lives that it's unnatural for low voices to sing high and that we should just leave the high stuff to the tenors. Furthermore, it can take a little more work for us to get good control of our headvoices because we're used to very thick fold configurations and the headvoice requires a much lighter configuration.

The cool thing is that once you get all of this smoothed out, your natural baritone or bass voice can give you a huge amount of power in the upper register. Many lyric tenors would kill to be able to sing a G4 or an A4 with the kind of power that a skilled baritone or bass can.

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I don't have much advice for you as I'm in the exact opposite situation from you. My voice lives up high, and I feel very comfortable in head voice and can play around there all day, it's the lower chest register where I don't feel as comfortable.

I almost always start singing everything an octave higher without even thinking about it then have to tell my voice "down, boy... down"

This isn't a problem when it's a high pitch rock song or (gulp) singing along to female vocals, but when it's a song sung in the normal male chest/mix range when I need to adjust to the correct register, and it doesn't always feel as comfortable, and I find that I have to concentrate more on support as I sing lower as opposed to higher.

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Start off with a full song in head voice. As you sing start to add a little more pressure, and each time you go through a song, try to add slight increments of weight to the head voice. If you add too much weight and switch into a pulled chest voice, then you went too far.

Also don't be surprised if your chest voice starts thinning out during your head training./

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Start off with a full song in head voice. As you sing start to add a little more pressure, and each time you go through a song, try to add slight increments of weight to the head voice. If you add too much weight and switch into a pulled chest voice, then you went too far.

Also don't be surprised if your chest voice starts thinning out during your head training./

I agree with this. Especially the last line. Frisell says something similar. Early in tenor training, don't be surprised if you seem to lose your lowermost notes. Because then, it's time to fish or cut bait. Are you a tenor? Then train like one.

And with the other posts, a habit is a habit is a habit. Ala Frisell, start in head voice. So, here's where I see it ties into 4 Pillars, which bridges early. If you take a soft head voice or even lighter, as a falsetto, descending slide and feel where it goes down to the "chest" voice region, still, keep it light. And remember that sensation, whatever it is to you and the description may be different for different people. Anyway, so when you want to start a song low, remember that head-voice-descending-to-chest-voice feeling. Because that is where you want to bridge early, going up. I was going to say especially if you are a heavier type voice, even baritone. But scratch that. It's the same for tenors. It only sounds different but the process is the same.

And it's going to take a while. At first, it may sound or feel weak. It may sound girly, even objectively to other listeners. Who cares? This is the long haul, this is the work, and you've got to be "in it to win it." There's no magic pill, there's no going from 1.5 octave baritone to Geoff Tate overnight or even in a week.

Even Keith, who is progressing so stinking fast is putting in the work. Nearly every day. And it's not the every day thing that is making it. It is the diligence, his concentration when he is doing it. That is the "magic pill." Concentrate, focus, whenever you do work on it, keep your mind in the game. That was Caruso's "secret." He didn't make a set schedule per day. But whenever he did anything, it had his full attention.

You do this because you cannot conceive of not doing it.

We sing because we must. Not singing is worse than death. At least death is a believable excuse.

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Find a coach and train. Alone, the goal is next to impossible. Even with a coach it will not be easy.

I could get some crap for this, but this has been bothering me for a while.

What is it with the general vibe of negativity that is always present in all of your posts?

It seems that each and every time you reply in a thread with tips or help you make sure to bookend your posts with "It's very very difficult" "It's a lot of hard work" "This takes years to develop" "This is almost impossible" "You can't do this by yourself" "This isn't for everyone" etc, and more and more variation.

I'm not saying you have bad intentions, or are trying to get people down and lose hope, but I don't think it's necessary to mention this in each and every post.

There are a lot of beginners here who may be excited about the prospects of singing and come here to learn and ask questions, but when you keep reading things like that time and time again it's really off putting. Singing should be fun, not a grueling boot camp. People get that it ain't always easy, that's why they come here to learn, but if this stuff if repeated enough (You seem to have an agenda to do this) gets soaked in on a subconscious level and this may drive people away, or convince them that they should suffer and break bones while training for singing, and that simply isn't true.

It's all about the wording "With a lot of good practice this will work for you" "If you put in the time you will see results" "This isn't the easiest concept, but with work it's doable"

It's not about sugarcoating things either, it's simply about being positive towards people and giving them hope that what they want to accomplish is reachable instead of hammering how hard it is like it's your personal goal is to keep everyone from singing.

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Find a coach and train. Alone, the goal is next to impossible. Even with a coach it will not be easy.

Which coach? One local to him, wherever he lives? What kind of coach? One that teaches only opera? I consulted with a classical voice coach and while he confirmed what I thought of my voice (I am a light tenor,) he also wanted to steer me away from rock music. And he may be right but I just can't give up hard rock.

So, if Jay or Dover, whichever one needs to get a coach, gets one, do they just get one and leave this forum and 4 Pillars behind? And if either one gets a classical coach, what might he say about the rock singing they aspire to, which they are more likely to find with 4 Pillars? One of the reasons I like 4 Pillars is that, of the modern singing systems, it is closest to the classical technique I have studied, though I am obviously not the expert in classical technique that you are.

I was just wondering. 'Get a coach" seems kind of vague but it may just be a result of my misunderstanding. I'm thinking the other guys might need a little more direct explanation. At least I would, if it were me, which it was before. I think you told me I should seek out a coach. And I did, having just related the experience, in a few words, here.

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Subconscious?

Then you guys got me wrong, I am saying it openly and loud, so that hopefully it gets to counscious level. And it will help anyone who is serious about it. A "reliable head voice" will not be developed from a few tips or just by positive atitude. Takes trainning, and yes it is hard.

If it is hard, why would I say it is easy? THAT is a negative atitude, because it traces the line low, and someone might read this and believe that because a few guys wants to find the "mix of the mixed" or "not sleep until learn how to support", its just a matter of doing a few tricks.

TVS is Robert program. To take this to this level, contact him, book sessions, end of story. Even if it was not such kind of result the goal, if he is having doubts, isnt this the most obvious answer?

ronws, if you are up to it, find another one that accepts working towards your repertoire, its important that it is directed to your style, if I could find one, you can too, this is maybe the only part of it that is simple. If you dont want classical, its out of my experience, but you will still need the help to get results.

But I will keep bashing non-sense, sorry if it bothers. Not meant to make anyone leave the forums, not meant to disencourage anyone, (if I even can do that, this person would not accomplish anything anyways), it simply is. The question is, what is the goal? Development or feeling nice with yourself?

I dont even think it bothers the author that much, he is asking nicely, my answer may be short and direct, but it was not rude. And it is implied that he can do it. If it does bother you JayMC, or sounded rude when you read it in your head, add a smile face after it :).

Now if it bother others that dont want to seek a coach, well, its really not my problem ;)

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I actually found Felipe's comment quite motivating lol! Everyone is going to tell you "you can't," you may even tell yourself at some point that you cannot do it. It is how you deal with failure that determines your success. No vocal coach can teach you that... No vocal coach can see inside you and feel what you feel. But yes they can help a great deal with technique.

Before I sing any note in head voice tomorrow, the only thing that is going through my mind besides the note exploding out of my head, is everything I have learned from TVS/guys on the forum.

Hope is not a strategy, luck is not a factor, fear is not option :)

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And don't get me wrong, Felipe. The classical coach helped me a lot. My point was the sound ideal he has, which is good and valid, just not the direction I want to go, though the technique helped and always will.

But at least you clarified a few things. Whether the student goes with Lunte or someone local to him, get some coaching, regardless. Which is always good advice.

As for tough love, I have to be careful how I give it. I could give a lot more tough love than I do but the thing is, I give tough love for everything, including attitude. And it almost got me banned. I was considered a loose cannon because I actually have no problems giving tough love. So, I learned to scale it back. And many times, I just stay quiet, which is when I look my best. :lol:

And I get the notion that it is necessary to dispel the magic pill myth. That the only magic pill is diligent work ethic and good materials that matches one's method of understanding. Some are better with the printed word, some are better with sound files, some are better seeing diagrams and graphic representations.

Lunte, for example, presents it in all 3 formats. One or the other is going to get you where you want to go.

Sometimes, here, it's like "Fame" - the singer's edition. "You want fame? Well, fame costs. And you start paying for it, right here, right now."

As for actual monetary costs, well, that depends. One might find a local coach that teaches for $30 to $50 a lesson and will cover the basics. But it may not cover the rock singing thing. Finding a local coach, well that depends on your locale. Even Bob, who had the good fortune to take lessons with Frisell, it still cost him travelling money, in addition to money for the lessons. So, he's only had a handful but what a great handful it was.

Or, one could set aside 30 or 50 every so often and after a while, saved enough to buy a system he can use at any time, listen to anywhere. So, I guess, now, we'll have to wait until the guy has money to hire a coach and then wait a while after that to see what the results are.

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Mr.Lunte said it well when if you are the ultimate student willing to put in the work... you are willing to put in the FOCUS... and you have the knowledge. You are already 90% there.... the other 10% is what a coach can help you with. He said this in the introduction of pillars I believe.

I've been to a regular coach (like 30$ an hour) she didn't teach me anything lol. I've been to a high-end vocal coach in Canada (80/hour).... he just taught me staccato "o" and vocal fry but didn't explain anything. I watched Pillars for 20 minutes and learned more than I could have from any of these teachers. Felipe you may be living in the old world my friend :lol: Having a coach is great but I doubt you can explain all the "natural" talents? What do they have that I don't? Other than the natural shape of their vocal tracts... they have developed a series of GOOD behaviours that have snowballed into the voice they have now. A vocal coach will simply try to remove those "bad behaviours" and replace it with good ones. However NO vocal coach can teach beauty of the voice, that is something we must learn ourselves, to sing on the ring.

As much as I try to teach my voice good behaviours, I also let the voice teach me. When something hurts, stop. When something feels good live in that area for a while, learn what the voice is trying to teach.

"We sing because we must. Not singing is worse than death. At least death is a believable excuse."

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As much as I try to teach my voice good behaviours, I also let the voice teach me. When something hurts, stop. When something feels good live in that area for a while, learn what the voice is trying to teach.

In so many words, the classical coach told me that, as well. Your voice can teach you. Find out what it does. Of course, we try different things. But learn to stop what is not working. And learn to do what is working. True, I was fortunate to find a wise person.

And I recommend Lunte's 4 Pillars quite often and not to gain any favor with Robert. I recommend it because it works. And I like it because it resembles the classical methods I am familiar with. I am by no means an opera singer. And, if a person that comes in here really wants to get "that voice," I think they can do that just fine with 4 Pillars.

And it could be only within their budget, at the time, to go with a local coach. Which may be difficult to find.

Let me imagine being a young guy living in the small town that I live in. This little town is about a square mile of houses, surrounded by hundreds of acres of farmland. Mostly corn, winter wheat, milo, and animal feed grain. 1 stop sign, 4 churches. 60 miles away from downtown Dallas, (Texas.) He might get some coaching from the choir director at one of our 4 churches. Who will probably teach him how to sing "Ave, Maria," which is difficult enough to sing correctly. But it definitely isn't "STill of the Night" by Whitesnake. And, maybe nearby the nearby city of Sherman has some theater folk in it. First, he's got to get a ride for the 7 or 8 miles to get there. And then learn theater style singing. Which might be good for "Fiddler on the Roof." But it's still not "Highway to Hell."

So, the next best bet is to see if there is a decent voice program at Austin College, not known for a large music program. Mostly, they have nursing and pre-med students there.

So, maybe he finds out about a coach in Dallas who can teach popular styles of singing. And it may cost a little more because that coach is living in a city that has a higher cost of living (please trust me, I have lived in Dallas and the cost of living is higher than the small town I now live in.) So, the lessons cost a little more. In addition to the transportation costs. While living in a town where you are better off learning to drive a combine or play football.

Or, you could go to an online forum and ask for pointers.

We've had a few young members who can't afford the singing program and can't afford private lessons and their parents are definitely not going to pay for that because it's an investment from which they cannot see any viable returns.

So, in our tough love, we tell them to get a coach. Which is good advice, regardless. This will probably come as a shock to some and I apologize ahead of time for the horror I am about to unleash.

In a state like Texas, there are more football coaches than singing coaches who can help you sing "The Trooper" by Iron Maiden. Crazy, isn't it?

So, someone comes to this forum rather than talking to his church choir director, who is more interested in his voice blending with others rather than being a LEAD singer, I feel more comfortable recommending something that will make him a lead singer.

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Ok man, suit yourself. But I stand on what I wrote.

Just one remark. I can teach exactly how to sing with beauty. Any teacher or coach must know, its part of the technique itself. :)

For anyone else who may read the thread, consider also the practical results that followed on this.

ronws, there is no point on working towards classical repertoire, it would be even harder to let go of the placement afterwards ( I would not have a clue on how to dismantle it back, must be one curious thing to do). But the technique is one and the same, its just smaller dosis.

I am really not saying this thinking on monetary costs or profits. lol I know coaches who do presential classes in exchange for other services ( not this kind of service ok, lay back the profanity hehe) or even products due to the monetary situation of the student. I even saw Daniel openly offering help a few times around here, and he does skype lessons professionaly...

Regarding distance, right now I travel 500km, 5+ hours trip, for my lessons. Because its a professional I trust, one of a kind.

So Im really sorry, but I just know its not a limiting factor. And in this particular case, distance is not a factor, since Robert teaches via skype.

My attitude may not be comfortable, or may not render me a very popular character, but if I was worried on popularity, I would just compliment everyone for how great they sound on their recordings, would not even bother hearing it hehehe.

Thing is, attidude or not, poetic phrases or not, wanting to get a coach or not, to sing in the level proposed, external help is necessary, and it better be the best possible.

If it was this easy, why is it that almost no one sings decently using head voice? Why is it always amateurish sounding? Unless you assume that everyone else is just dumb, and you just know better ( a very arrogant approach btw), the answer is given by the results.

Perception is maybe the most important factor that you are paying for when you get help of a professional. You simply can not evaluate what you are doing with your voice properly. You dont have references and you are not used to feel the important factors.

A simple question for everyone here that has similar problems to those of the author: from what you are doing now what is the main problem that you need to fix in order to improve? How is the overall placement of your voice? I assure you its not ballanced, if it was, there would be no problems to fix. What is happening to support? Too much pressure or too little? (also, if it was correct, there would be no problem)

Repeating random stuff without a goal, will only reinforce the unknown problems.

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I am a strange breed I guess. A true dinosaur stuck in the past. I am part of a forum and surrender to many of its modern ways but I still giggle and question much of it. A good deal of it I let roll off my shoulders . Forums, message boards, instant messaging, text, youtube, CD's, DVD's. Singing programs, digital programs and on and on. Holy crap! What in the world did we do before the internet. I guess there were no singers. But wait! There were. How the hell is that possible? Could it be that people used there brains and figured things out for themselves. Oh ... what about this... a coach? Nah. Who would think of that? Not when there's the net. But what about before the internet? Oh wait... I know. Some one will say we are "better' now, because of the net. Give me a break. Tell that to Patsy Cline or Aretha Franklin, or Pavoratti.

Amazing. Truly amazing.

Yes the internet makes things easier and more available. But imo, human interaction trumps all. Some things can't be modernized. It just becomes mechanical and impersonal. Emotionless.

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Just one remark. I can teach exactly how to sing with beauty. Any teacher or coach must know, its part of the technique itself. :)

For anyone else who may read the thread, consider also the practical results that followed on this.

ronws, there is no point on working towards classical repertoire, it would be even harder to let go of the placement afterwards ( I would not have a clue on how to dismantle it back, must be one curious thing to do). But the technique is one and the same, its just smaller dosis.

I bet you could teach to sing with beauty. At least your singing is beautiful and if you can teach half as well as you sing, I think you could make good on that claim.

For the last paragraph that I quoted from you, I have read it a few times and still cannot make sense of it. But that is probably just me. I think it means that the sound ideal of classical singing is so specific and takes so long that to reverse it and sing pop music is harder. But that the basics are similar, regardless of genre. Is that right? For I do agree with that. And that if one is intent on pop singing, don't worry so much about the classical, especially opera, sound ideal.

I was just trying to give another perspective, which evidently pales in comparison to yours. I don't have much skin in this game (golfing expression.) Peace out, have a happy.

And Tommy, as always, you rock.

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hehe indeed Tommy. :)

A small something that I just remembered that may clear out the "reliable" part:

I am aware of a certain person who was before a gig with fever and completely hoarse. So the band asks him if he wants to do the show anyways, answer is yes. Goes to the backstage, warm up and deliver 2+ hours of show, including Iron Maiden songs on the repertoire, and with a quality that would make me happy to have anyday.

That is what reliable trully is. Or you may remember, a certain singer on his 60s, with a serious cancer, wakes up a given day and simply deliver one of the most amazing performances of the aria most known for the virtuose required, live, to a full stadium. Thats reliability.

Now, do we need this level of development. Maybe not. But reliable is, at least, wake up, are you in decent health? No fever? No need to go to a hospital? Then you can sing whatever is within your technique.

Maybe reliable means something else for you guys, then I may agree. But in this regard, the ammount of "naturals" is even lower. A handfull at best.

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ronws, thing is, its not a sound ideal.

Its a placement ideal, perfect resonance. On classical, you place it high on the mask, and stay there, from low to high. If you go away from there, its plain wrong and not acceptable.

After you build your voice in this way, its pretty much like you removed all possible tensions, and then you would have to add some back. Thats why I would not have a clue of what to do.

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That is what reliable trully is. Or you may remember, a certain singer on his 60s, with a serious cancer, wakes up a given day and simply deliver one of the most amazing performances of the aria most known for the virtuose required, live, to a full stadium. Thats reliability.

That bit made me think of Dio. Here he is, in his 60's, already diagnosed and being treated for cancer. And you wouldn't know it because he loves the music, the fans, and is one of the fans. This man, is the way to be, regardless of where you get your instruction.

It's one of my favorite "arias."

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Indeed, Dio is reliability in itself.

Even his older clips. If you check the recordings of rainbow, even on the videos, its basicly the band playing the material live... Almost supernatural.

He was that good. And the proposal of this thread is going after a similar level of development. Maybe Dio did it alone, I have my doubts, but it matters not. No one here is Dio, nor went through the same experiences that lead him to the state he was.

And then, we are back to my first statement. Trying to get to this alone, is basicly trying to stumble on it by luck, hard work does not count one bit without the proper direction. It will be next to impossible. And even with a coach, it is not easy, not even close.

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40 years plus self teaching reading whatever I could about voice while my family was just doing it without any apparent studying or training just singing what naturaly came to them. I could sing enough to get by. Even sounded good on a few songs that were "in my range".But I never measured up ( in my mind not their's ). I knew what you were supposed to sound like when you were doing it right. I didn't sound right to me ( even listening to recordings of myself). I read books. Watched videos. Searched the internet. I got the knowledge. Did what I thought the exercises were supposed to be. Still could not sing above G4 in a voice that sounded like it was coming from me or someone who knew what they were doing.

My point is if you can do it find a good coach. Not until I started reading this forum and having someone answer my questions did I start making improvement that I could be proud of and have it appear to myself that I was making progress. I had myself all turned around by what I thought the terms meant and what I thought the exercises were supposed to help with. I asked some pretty stupid questions ( at least to me they were stupid ) But I got information before that was either false or misrepresented.

Because of trying to interpret information on my own I expected things to sound a certain way or feel a certain way. If I would have had someone there who knew what to listen for and how to guide me in the right direction I would have made progress decades ago.

My goal is mearly to be able to sing songs that I feel passionate about and not sound like a total Hick from the hills and after 40+ years I am only now starting to sound descent.

If your goal is to be a professional in any arena. Find someone who who is fully capable to help guide you.

For me Felipe is totally correct it is nearly impossible for me to have a professional caliber voice without a capable coach. I don't know what to listen for, I don't know the proper placemen ( I may think I have the proper placement but I can't hear my voice as others hear me. I could be fooling myself into improper placement). What I think is free and vibrant may actually sound shrill and grating to someone who knows what to listen for.

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Lol Felipe is only half right.... the BEST way to learn singing is a natural way. It is when you are home practicing those exercises your vocal coach has assigned for you that you can begin to FEEL what is right. I am currently in talks with a coach who was coached by Jamie Vendera for my private lessons. If all goes well I will have much more to offer the forum ;) and have a new outlook on what I want to achieve.

Its great to be fiercely independent but I remember a quote from Lamperti saying "“keep a warm heart and a cool head. 50/50 is a good mix" which I why I have decided to try and find someone who is right for me (lol intense) :lol:

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I gotta say I lean more on your idealist side of thinking. Felipe is a total realist and that is cool too, I don't think he is being too negative, he is just stating the facts. But what I believe, and what neurology and psychology findings seem to be supporting lately, is that the idealist, optimistic, visualization-of-success mindset brings people closer to the result than if they expect to fail. I think Felipe suspects that people like us will be let down when we find out it takes way longer than we expected to build a solid head voice, so that's why he mentions those things as a reality check. But if you retain an optimistic mindset, you won't be disappointed that you took a longer time than you expected to figure something out, because you are always thinking positive and futuristic. It doesn't matter how long it took to get here, you just want to zoom forward as fast as humanly possible. In contrast, if one not only accepts the fact that it will take them years to figure this out, but reinforces that reality and builds it into the way they think during their daily life and during their practice sessions, they will usually not practice as efficiently and frequently.

Bravo Owen. This x 1,000,000

Live your life by these words people, for this simple reason - They are true.

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There are many ways and paths. For myself, I tend to check the notes and see how difficult or lengthy a process may be for a given endeavor. Then I see how well I seem to grasp the task. After that I make my way forward ignoring whatever predictions or general beliefs are. I chart my course and I go adjusting as I move forward.

I have found over the years that there were things that people said took years to learn that I have learned fairly quickly. I was told there were things that were difficult that I found not so difficult. I was once told it takes 7 years to reach top pay and I did it in 4.

On the other hand there have been things I was told were easy and I found very difficult. There have been things that most people can do that I find hard or can't do, and just can't figure it out. There are things that have been said to take minimal mounts of time to master that I take double the time. So who knows. More importantly, who cares. I don't. I just do my own thing.

But I straddle the line of tough love. I believe in being a bit hard on people/trainees so that they develop character and learn how to "work " at their dreams. But I don't believe in being a drill instructor just for the sake of barking. I am for constructive criticism. But you have to point out mistakes. If it's bad don't say "nice job." Say it needs work then say why. Someone said that "the bitter truth is better than sweet lies" and I think that's true.

What I don't agree with is today's ideal of babying everyone. Let em down easy crap. I hate that now even the losers (that's right when I was a kid if you didn't win it meant you LOST) get trophies.

What incentive is that? If you didn't make 1st, 2nd or 3rd then you had better go train harder!! If you didn't make first then you still better train harder.

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