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Summoning Chest Musculature

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Hey all, I know TVS trains beginners to bridge early... and that's great I could never bridge at all if i didn't lift-up pullback on the speaking voice. Here's the thing... I need to be able to do both bridge early AND late... within seconds of each other.

Ie: go from a loud chesty(feels like a twangy boomy chest) all the way up and then in a different part of the song to a softer heady sound. Right now the "passaggio" area feels so heady for me... lacking in power... even breathy.

What do I do to slowly start bringing the power of my full voice back in? At the same time I do not want to hurt the progress I have made so how do I train to get to the point where I can sound like full voice all the way up PAST belty notes and at the same time if I want to "bridge early" and sound softer how can I summon that function in my voice.

It feels so tricky and delicate! Hope someone can help... I really am a fan of bridging early but it won't cut it for the power I need in my songs.

- JayMC

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let's analyze this for a moment a different way. what really makes a thick, strong sounding head tone?

vocal folds that are both stretched and thickened, and held together under greater air pressure, right?

then the greater pressure has to be channeled by the singer to the most resonant spot, right? the pressure also needs to be maintained and/or sustained.....right?

so if you bridge early, and by doing so you opted out of the musculature that really helps keep the folds together and thickens them (the arytnoids) how are you going to accomplish your goal?

bridging early is great in the beginning, but then you have to get off of it...you have to take steps to strengthen the musculature that accomplishes the powerful high notes....

for these kinds of notes, powerful, thick, rich, you simply cannot shed the chest voice musculature to such a degree that you lose it's function. and if you can, you can take a greater portion of t/a up with you as you get stronger and more developed.

make sense?

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What song are you working on that requires bridging early and bridging late within seconds of each other?

I have not heard of such a situation. Sounds more like a mathematical puzzle.

However, it would really be neat to hear a sound sample to get a better idea of what you are talking about.

Or even,just a difference in bridging early and bridging late and then applied to a song to see what kind of effect that achieves.

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You just apply your full voice. if you can sing it in chest with proper support, and you say that head registration is working, do it on falsetto, retain the posture without letting anything change, and apply voice concentrating on support and air flow.

If it does not work, well, more work on the fundaments is necessary. Either emission is not well ajusted, or support does not have enough pressure, or head resonance is not yet ajusted. .ost probably a combination of all these and some tensions creeping due to the failed attempts to forcefully do it.

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