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Hey all, I'm really sorry for ANOTHER support thread but my training is coming along nicely, I'm starting to feel head resonance and my voice is starting to feel oneness. However, this new-coordination takes more effort not just muscularly but physically. I can physically feel my support failing and as a result the mix fails too.

This is NOT because of simple sirens like in TVS Foundations building. This is because my goal is not to just have a "mixed resonance" my goal is to MASTER my mixed resonance and not have it sound like crap. I mentioned in an earlier thread that I'd rather just stick with chest voice belting if I sound like a crazy chipmunk in blended-resonance but I'm sticking to the foundations of pillars and honestly trying to believe that I can beautify a covered voice.

Here's the thing, for the style I want to sing... for the style I'd love to sing... my support has to become impeccable...I need extreme flexibility... if the support is not there I end up falling back into my old YELLY ways (which sounds good but I refuse to fall back into that path). It's very hard to believe in the principles of vocal technique when you hear all these famous artists yelling away.... but f*#k that I can already taste what a one-register voice has to offer - even if that means sacrificing my "old voice"

I'm ready to take support seriously. I'm tired of that "out of breath" feeling. My training will now consist of 50% support and 50% vocal training.

Some things that are already in my arsenal that I have found useful.

Titze Straw Exercise - wonderful gauge of support you can easily sense pushing

Panting like a dog - seems to help

Leaky tire exercise - a small opening in my mouth and leak air like a tire for as long as possible

Sighing all my air reserves and speaking or singing - wonderful way to feel support (thanks Videohere)

Hissing Ssss or ss-ss-ss loud and quiet.

What else can I do to make sure that my support does not fail me? That my voice isn't left to endure all the crazy shit I put it through. I actually take a little straw to work and practice singing through it when no one is looking. I don't have any candles right now but I heard those are great too (any input on this?) :)

What can I do to embed good support into every aspect of my voice (including speaking voice)? Support feels like the missing link for me now that my cord closure is not falling apart.

Please recommend some exercises to help me achieve not good support but GREAT SUPPORT... should I just hold my breath till I turn purple? ;)

Don't hesitate to recommend crazy weird exercises, I will do them religiously.

Thank you!

- JayMC

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jay, what kind of music or sound are you going for?

give me a few examples of singers or genres or whatever....

and if you subcribe to appoggio (one voice) style, (as i do) it's going to be a more physical involvement of your entire body.

you must work at it. it's not for everyone.

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One single exercise of release of air, done correctly, will achieve much more than all these random procedures you dont know how to do yet.

Support only happens when connected with phonation, and it also depends on resonance to be properly felt and trainned to "mastery" as you say, if such thing as a support master exists.

To use exercises of independant coordinations, teacher, so that you know exactly what those exercises must do and how you are supposed to achieve it.

For example, what is the goal of a hissing low-high and how are you keeping track of it? What happens to your tongue? What is your focus? Why will this exercise produce results in your voice and how can you connect it to your singing afterwards?

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Another case of where I read the thread a few times before composing a reply.

Initially, I was going to say that breath support is a part of training. And it is. But some breath support work can be done separate from the actual singing may may or la la or whatever vocalize or scale you do in your practice session.

And this I get from Ron Keel. And yeah, Validar and I are probably one of the few to know who he is. He has been a guest singer with several bands. Was friends with and toured with another fellow named Ronnie.

Anyway, before he even worried about vocal exercises in depth, he spent a few months just working breathing for singing into his daily breathing routine. So that he didn't have to think about it later. Habit becomes habit. Belly breathing.

Which is something I do. Even when I am not singing. Every once in a while, I check my breathing. Am I breathing from the belly or the chest? Restart from the belly. Even lying in bed to go to sleep and relax before falling asleep. Am I letting the belly expand to draw in air? Do that. I have also found that it clears congestion, as a side effect, I am not sure.

Breathe from the belly. Transplant your lungs to the ab section.

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The sound that I am going for has not been developed by any artist yet in my genre. It involves a baritone-tenor- and countertenor voice production simultaneously while maintaining the ring in my voice.

Meaning stylistically I will be switching from an almost rap-like sound to a chesty resonant sound (think michael buble) to a justin bieber-like sound and then to a male soprano-ish sound but much more full. I guess it seems like a lot to ask for but it is what I want.

The support is very dynamic so it's easy to get overwhelmed... but my goals are set. I'm starting to do cardio and semi-occluded phonations at the same time in order to develop some stamina :lol:

For some reason I find that the support I need is very specific for example I think Felipe suggested something like this to me but I made a modification of it. I just go KA (cat) Ah-ah-ah from falsetto down to my lowest note... trying to maintain the heady feeling. It really helps my support since it dictates how much air I need at the onset. Felipe is right when he says support is connected to voice production x) I will definitely take time to breath from my belly, maybe put a book on my belly and try and keep it up :P Any opinions on singing w/ candles? seems fun.

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I'll give you one exercise ready

Take a nice low breathe fill up like a glass of water from the bottom to top don't raise your shoulders

Ok now say Awe..No not haw" say Awe in a comfortable speaking range

Say Aw no not ahhhhw... Not breathy just a short Awe

You got that good good

Now starting on c3 say Awe and continue to d3 and then e3 then back to d3 and finally end on c3

Don't change anything just say on c3aw----d3----e3----d3----c3-- nice and smooth

Don't do anything but the exercise don't lower your larynx dot twang out dont curb your hiney hole or overdrive your sphincter do the exercise

Go up in half steps when you feel you are starting to tighten your jaw or wiggle your tongue or want to crack don't go that high go back down and get it perfect on all of them.

Now you have the secrets of support and cord closure

Shhhhhhhh don't tell anyone I'm gonna put it in my new book of secrets muuuuuuhhhhhuuuaaaaaa!!!!!!!!

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Videohere, everytime you hear a pop or r&b singer on the radio it feels like they're so trapped with their sound. They take chest as high as possible and stay there... then they crack/break into falsetto when they need to go higher. They are even afraid to use that "boomy" resonance the lower register has to offer.

I believe Owen and I want to do all 3. Meaning transitioning freely WHILE maintaining that 1 voice quality. It's probably about 2 octaves, maybe 3 at most. But the goal is to maintain maximum beauty while doing things that the generic radio artists have totally given up on. Here are some problems...

1. Support needs to be on point and flexible (very underrated, underexplained, and underworked)

2. Just because you can transition does not mean you will sound good.

Think about Freddie Mercury but a little more refined and more emphasis on beauty so a little "headier" if that's the right word.

Back to the main point, are there any exercises that can drill in support that are not overly complex? Singing with very little air is helpful until that feeling of suffocation starts kicking in which is when I stop!!

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https://www.youtube.com/watch?v=pqRrvYjznQc

Usher from 0:25 - 0:50

Josh Ramsay from :14 - :30

Luke Lucas 3:10 to right at 3:40

Lin Yu Chun :10 to whenver - 20yrs old and spent his time singing at home since ppl made fun of his weight

Bruno Mars from 3:00 to end... my favorite example... when he actually blends into head NOT falsetto.

Not all these examples are perfect and seamless because this level of technique is very hard to find in modern day singing but I just want to point out the flexibility, the fearlessness, and the finesse. I don't think any of these could be sung without some level of support! Not all of these are my preferred genre's but imo still great to learn from. Lin Yu Chun and Bruno are both great in their own right even if you're analyzing support :)

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Videohere, everytime you hear a pop or r&b singer on the radio it feels like they're so trapped with their sound. They take chest as high as possible and stay there... then they crack/break into falsetto when they need to go higher.

What? Almost every pop or R&B singer I hear takes mix/curbing up really high and breaks to neutral for stylistic reasons only.

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Take a nice low breathe fill up like a glass of water from the bottom to top don't raise your shoulders

According to Anne Wilson, in her own words, this is the kind of instruction she received from her choir teacher in high school, Allan Lund. And pretty much the only vocal lessons she remembers.

Sorry, head full of useless trivia.

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@eggplantbren turn on the radio right now and turn to any pop-radio station... find me a singer that transitions into head voice and back down. I'm waiting buddy... :)

The reason why they are on the radio is because their "chest-belts" sound like "mix" but in actuality they are actually just yelling really pleasantly :lol: That does not necessarily mean they cant twang inside M2 like owen said maybe they just choose not to use it....

It is quite tempting to follow the path of these singers and just stretch the speaking voice higher and higher the incorrect way and sounding good doing it. However that is not the formula for true longevity IMO

@DStar your voice to me sounds like a combination of Craig David with a bit of Chris Brown, as a fellow singer I urge you not to rush your progress buddy... I KNOW that eventually you'll be bridging & connecting like its nothing... just focus on what works and ignore what doesn't and don't be pressured into sounding a certain way if you already sound great!

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@eggplantbren turn on the radio right now and turn to any pop-radio station... find me a singer that transitions into head voice and back down. I'm waiting buddy... :)

The reason why they are on the radio is because their "chest-belts" sound like "mix" but in actuality they are actually just yelling really pleasantly :lol: That does not necessarily mean they cant twang inside M2 like owen said maybe they just choose not to use it....

It is quite tempting to follow the path of these singers and just stretch the speaking voice higher and higher the incorrect way and sounding good doing it. However that is not the formula for true longevity IMO

@DStar your voice to me sounds like a combination of Craig David with a bit of Chris Brown, as a fellow singer I urge you not to rush your progress buddy... I KNOW that eventually you'll be bridging & connecting like its nothing... just focus on what works and ignore what doesn't and don't be pressured into sounding a certain way if you already sound great!

You are so knowledgeble. I must admit I thought you were a beginner when you first started posting threads about each basic concept of 4 Pillars. In which case, you are certainly an awesome beginner, unless my perception is off.

And my perception could be off. It happens from time to time.

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Videohere I've been aware of them for some time now and just looked back at this video.

I don't believe its totally seamless but I can see a lot of TVS stuff here. Twanging, certain vowels, and so on. Also he is not "yelling" you can hear and visually see that he is not using a lot of air. Also maybe he just not bridging for stylistic purposes? I like him as an artist regardless :)

And to remain on topic... I think Owen, myself, and D.Starr are going for sounds that may take a long time to perfect... which is why I figure I should get a head-start on support :lol: Is holding a note for as long as possible and switching vowels while maintaining quality of the note a good way to gauge my support?

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@DStar your voice to me sounds like a combination of Craig David with a bit of Chris Brown, as a fellow singer I urge you not to rush your progress buddy... I KNOW that eventually you'll be bridging & connecting like its nothing... just focus on what works and ignore what doesn't and don't be pressured into sounding a certain way if you already sound great!

Thanks a lot bro!

A lot of people have said that, they also say at times I sound like Trey Songz.

I'm trying not to rush, everyone knows what it's like to want something so bad. I promise I won't settle for less, I want that connectivity of Michael Jackson, Usher, Bruno Mars. I hate to see my favourite singers going on stage skipping high notes.

I'm going to start working on vowel modifications and working in leaning into my voice more. That is what I need to work on. Light is right but there is a certain type of light, obviously mix. I'm not a 100% certain my support is perfect but my tone seems well supported, I just think I'm shouting at them tops areas. Pulling in muscle when I should simple just shift it. Like driving, putting it in the wrong gear.

I can hiss comfortably for 40-50 seconds with no feeling of support. If I think of holding this in, pushing this, expanding this, keep this as that, it all falls apart.

WE WILL GET THIS!

Don't believe in the dream, believe in yourself

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@ronws.... I learned early on from some wonderful people that the basics... are EVERYTHING. Reading a book on singing will not make me a better singer... it might help me find new exercises and ideas but the only way to really do it is to test the waters.

In a way... we are all mad-scientists trying over and over to create the perfect conditions to facilitation vocal greatness. One thing that is helping me progress quicker is making everything "custom JayMC" tailored towards exactly what I want and the needs of my voice. Ie: I never once considered that the causation of my unbalanced voice was the very thing I neglected the most... falsetto ;)

But supporting the "entire" voice takes a bit of work... I think hissing for 40-50 seconds is AWESOME but that particular air-speed won't work for every note. Since D.Star, Owen, and I want to do some crazy sh*% we truly need to have the basics down.

Ron if you don't mind me asking, how do you approach support? You said before you are a tenor... and I personally think the funny stuff you say is helpful x) Let's say you wanted to sing from your lowest singing note all the way to your highest note on an "eh" what do you do in terms of support?

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The reason why they are on the radio is because their "chest-belts" sound like "mix" but in actuality they are actually just yelling really pleasantly :lol: That does not necessarily mean they cant twang inside M2 like owen said maybe they just choose not to use it....

It is quite tempting to follow the path of these singers and just stretch the speaking voice higher and higher the incorrect way and sounding good doing it. However that is not the formula for true longevity IMO

I like the sound of these chest-belts-that-sound-like-mix more than I like the sound of twang-inside-M2, and there are plenty of singers who can still do it well into their older years, so I'm not convinced that it's "incorrect". It's just different.

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