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OMG Connected Falsetto!

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Hey all, I was doing some lip roll warmups/mixed with some light buzzy humming this morning way up high, like in my comfortable michael jackson notes (as I like to call them). Yesterday I was complaining how I could not access my higher register, ofcourse after a good nights sleep the game has changed.

I woke up this morning... did some "LIGHT" buzzy lip rolls/buzzy hums. Right into the quack and release which is in the Four Pillars, I just really love that exercise. Feels like I am meditating almost lol.

Then I went straight into witches cackles, I made sure to use support by literally just hissing for a few minutes and remembering that feeling. I knew that I could not let my throat interfere. Then I gradually slid down on a h-ee, I tried to make the "h" less pronounced because as I was descending I heard breathiness. I went all the way down with a hideous break in-between. I did this a couple times, and I still noticed the breathiness. So I went back up to some fun hee-hee-hee's probably somewhere above tenor highC, and I focused on maintaining the brightness and timbre of the sound... I also told myself... there is no passaggio FIRMLY so that I would believe it.

Then I slid down maintaining the RESONANCE of the upper-register... my voice effortlessly connected on an actual EEE :D With no breathiness whatsoever. Those high "chest notes" that I have been struggling to hit seemed to just appear out of nowhere.

Anyone have any experience with this or tips for me? I refuse to pull chest up again :cool: I'm taking a break now so I don't ruin my progress! For people that are struggling with cord closure like myself, the EEE vowel is a BEAUTIFUL thing, also I remembered to keep my mouth OPEN/Rounded instead of in the "say cheese" eee position most English speakers use.

I'm so excited LOL.

- JayMC

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You need to stay committed to that very first note. When you start to sing, stay grounded/"sit down" on that first note before going up or down in your scales. I found this to be very helpful to avoid the breathiness and the breaks while going up because you're committing to that ground with the first note. Sometimes it also helps to trick the mind and think "down" when you go up and vice versa, or to think of the sound flowing out in one straight line out of your mouth. Definitely agree with Owen when he says to not mentally anticipate a break because I always used to do this - I guess you could say I subconsciously feared it so I would think about it - low and behold, you get what you think about!

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Yep, practice your bridging like a champ and get it into your subconscious.

I don't necessarily agree that's it's wrong to anticipate the break as long as you don't let it scare you or freak you out.

The reason I say this is because when you anticipate it, or encourage it to happen, and really focus on it, then you embed into your brain the physical sensation of where that break note sits.

Once you become fully aware of it, and then as you practice more and more, you can completely mentally wipe out your break, by always bridging just before.

Once you get really really good at this, you can then work on bridging late, pulling chest a little higher, bringing head down and all that good stuff, but first you need to always be connecting!

Side note: When you become the master of your passagio, it's then nice when working on a new song, that maybe you want to convey a certain feeling or emotion in certain spots, you can then try not to bridge on purpose and kinda bump into your break and see what happens, it can sometimes add a nice "human" touch.

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Are you really skilled in the passaggio?....

Ya, thinking of your voice breaking won't help at all. You have to let your voice lighten into the higher notes. By not letting your voice lighten, you are only keeping your voice in it's current coordination.

In the first step of connecting chest and head, people have trouble because you have to condition the voice to go from a chesty phonation, to a head phonation, and most people just want to stick with the chest.

In the second step, once you have gotten through your bridge, you have keep developing your head voice, which is tough on it's own. It's that way because you have to use the same pressure to condition the head muscles, as well as release the pressure to expand the range.

If your belief in training the head voice and lightening the phonation, is nothing short of 100% when singing, then you won't get progress. Thinking there is a break doesn't help you eliminate the break.

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Are you really skilled in the passaggio? Because I am not, and I still think it's really the anticipation that's tripping me up. For me, it does freak me out subconsciously and I don't know if I can control that by anything other than thinking less about it.

I don't know that I'm REALLY skilled, but it doesn't give me problems, I learned how to work through and around it, depending on the song/situation.

The only area where I'm still having some issues with it, is when singing in head voice and having a certain low note that forces me to kinda "dip" into the passagio area and then quickly go back up into head. That to me is some fine balance work that still requires practice.

Different methods and different mindsets work for different people, I really don't know why some people are scared of the passagio, It's not gonna eat you or anything.

The big issue is, when you tell yourself that xx note is your last chest voice note and xx note is your first head voice note...that just sets you up for an break, no? Your note will always land comfortably in chest or head and you never develop the area in between or create a convincing illusion of one voice.On the other hand, if you don't focus on the passaggio enough, and the necessary adjustments are not already imbedded into your muscle memory, it's going to run rampant in some way or another and collapse.

Not necessarily. I go by feel, every group of notes resonate in different areas of your body, so as I approach that area where I know I usually bridge, I just do it, I don't think about it too much, I just do it. simple as that.

You will get to a point where it's the same for you, and you won't stress yourself mentally over it. It will become second nature to you, there's simply no other way.

Sometimes there may be a tricky lyric/phrase/vowel where the bridge won't succeed and you grind into your break, that's when I break up that phrase, examine the vowels and have to determine what's the best moment to bridge. I normally opt for a later bridge, but in instances like that I may have to do it a little early or modify a vowel a little differently then I normally do, to make sure I manage a successful bridge.

I think I'm going to start another thread on this, because I am really a victim of the passaggio and shouldn't be. I really haven't been making much progress with it for some reason, even though I've been practicing it regularly for about 8 months now (and I've been singing and toying with it for years before that).

It's not that I can't do it. I can completely smooth it out, but only about half of the time. The problem is inconsistency. When I do it successfully I still don't completely understand how I did it, how it's supposed to feel, why it worked this time and not the other. It's there, I just haven't completely grasped it.

When you have a successful bridge it's the combination of three things: 1 - Good support, 2 - Good Vowel mod 3 - letting go of weight.

Have these 3 things in check everytime and you should be able to always bridge with no problems.

I probably sound really down on myself, but this is just the current reality. I still have confidence for the future. I am determined that I can figure it out and master it. But I really hope it takes less than another 8 months.

It seems to me you're hung up on it mentally more than anything else. Just keep at it, go easy on yourself, I think you know what you're doing.

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