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Best Option For Large Range

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I am asking everyone who has sung or does sing for their PERSONAL opinion... if they have ever felt like me or remotely understand how I feel then please respond thoroughly.

The problem is... my english speaking voice screwed me over. Natural speaking voice is a bit too low... falsetto is a bit too high. However the range in between is about 2-4 octaves...

But that is USELESS to me as an artist if I cannot find "STABILITY..." or a sound that FEELS and SOUNDS "similiar" throughout the 2-4 octaves I need to express myself.

How can I make my big ass voice FEEL and sound like ONE thing. Every exercise I do ... every song I practice is geared to achieve this goal... it slowly is showing signs of stability but my "high voice" and "speaking voice" feel totally different at times.

This is the best singing forum in the world right? Even teachers that I have been to have eventually realized that I learn from the SIMPLEST exercises... anything that can help me FEEL my way through the registers instead of "hear" the massive difference in my voice.

Feel free to send me a private message as well.

- JayMC

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jay when you actually understand how simply the voice works the easier it will be. You said you learn best from simple exercises. well, do just that. warm up stretching your voice using your chest and your falsetto. And then gradually bring your chest voice up higher and higher without squeezing anything pushing anything thing or feeling like its supposed to be a different feeling like a separate entity mixed, middle head voice etc. It's not its your voice, just the technique gets better and it thins out a little from low to high but its not a setup or" click" different voice. you can feel free to pm me;)

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Dan and Phil are both spot on.

Some specific things that have helped me personally to FEEL the voice becoming one instead of split into two portions:

lip bubbles (but don't do them airy, emphasize the "b", keep it connected)

Onsetting with the "b" consonant, any exercise, what's important is how you produce the b and carry that over to the vowel, you will feel your abs tense and a sense of good cord closure.

Bright ee vowel. Again, any exercise or variant, just matters how you produce the ee. Of the greatest priority is to do it with good twang and keep it thin enough that you can smoothly bridge into the head voice without pulling chest and then flipping

And going along with what Dan and Phil said, and probably the most important part: train your chest voice up really high and train your head voice down really low. But you have to do it correctly. Chances are you will still do it incorrectly if you don't see a teacher, but here's the best way I could describe it:

Chest voice:

Take a scale, siren, or even just onsets, and move it up by half steps, go from low and bright to high and dark.

Start at about an 8 in intensity (10 being the loudest sound you can make), end at an 8 in intensity. The volume will naturally increase a bit but you don't want the intensity/effort to increase too much. Stay in your "big boy voice" the whole time.

Head voice:

Same, take a scale, siren, onsets, whatever: move it down half steps, go from high and dark to low and bright.

Start with the intensity as high as you can do without strain, end with the intensity as low as you can, in order to stay in head voice. Do not let it go into chest at the bottom.

And then repeat that again. Go back and forth between chest and head for a couple hours. As you start getting more comfortable, put some mixing in there too, particularly lighter mix and heavier mix (medium mix is the most difficult). The longer you do it the more results will come provided your technique is correct. Then go sing some songs and notice what you feel. If even after multiple hours (with some short breaks in there of course) of this alternating pulling chest up and pulling down you're not feeling your voice more connected than ever before, please just go take even just ONE lesson with Dan or Phil and have them show you how to correctly warm up both the chest and head voice and start getting them to mix over time. If all you ever do is that and then go practice it, there's no doubt you'll start developing the ability to, if given enough time, get your voice warmed up to function more like one versatile middle voice instead of a high falsetto and a low speaking voice. It won't BE one versatile middle voice until you get really really good, but you'll get yourself closer to that goal through a great, thorough, balanced warm up.

BTW, when we go to sing with one voice, it's mainly going to be chest voice. But it will get slightly headier and headier as we sing higher instead of getting chestier and chestier. But for most songs you won't actually need to use falsetto or similar sounding phonations at all except for when you need to produce high pitches softly

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and may add to this wonderful list this?..... i'll post again from the less popular poster....lol!!!!!

i personally like slowly executed (and i mean slowly) sirens with the word "meow."

i do them on the loud side and purposefully dwell on the vowel sounds built into the word..."ee" "aw" "oh" and "oo."

"meow" helped me to learn to narrow as i went up in pitch......the "aw" to "oo" i found very beneficial.

you can also break it up for change.......instead of running through the whole "meow," you can run sections

"mee ah" or "ah oh" or "aw oo" ...

another great one is "nyat" ...(neeah) loud and bratty. cry into it....

emphasize the cry...you're aren't doing these to sound good

don't have to do these long...5 minutes is plenty.

after a while you'll (figuratively speaking) carve into a narrow point that resonates like hell...

important...you're training the voice to stay connected on the way up without breaking ..not gonna sing this way

also, set up your face to engage a lift with a little of a smile..this will help focus the tone forward...when it's better focused, it will give you a feeling of release.

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A lot of great advice and specific exercises, here. But when I want to work on a challenge, which for me, is a song with low notes, I do best when I let go with how I may think those notes are supposed to be done. Let the voice make the pitch. As for how to make the voice "one voice," it starts out with expecting that out of yourself. And then, don't accept anything less.

You mentioned various registers and I am not saying that those registers do not exist. But you need to quit concentrating on them. As Lilli Lehmann said, quit thinking about registers or assign a specific register to each note because each note is requiring adjustment, no matter how minute, to be created.

"Large" is relative. Most any person can sing one octave. Often, in casting operas, the director is looking for someone who can carry 2 octaves for a particular role. Some voice experts, working with the dynamic range or total range of sounds a voice can make, see that the voice has an effective range of 3 to 3.5 octaves. And some singers seem to have one that is "larger" than that.

Songs in the styles that you listed, Jay, usually have a melody line that covers 1.5 to 2 octaves at most. But if you want to have the largest range ever, even for bragging rights, go ahead and do that. Maybe you want to be able to sing every song known to man, in a style and sound similar to the original. Go ahead and do that. There are even some instructors claiming they can teach how to sing like a particular singer. Follow them and then do that.

Read Bob's replies. The sounds you make in exercising are sounds that you could use in singing. Otherwise, why do them? Why make a sound that you are not going to use? While making that sound may train some coordination, it is not totally without value, otherwise, Axl Rose would not have had a career.

And not many songs are constructed entire of sirens on one vowel. But if it teaches you adjustments in real time for songs, cool.

In my amateur opinion, one voice is not a mechanical thing, it is an aural effect, even if you practice some mechanical things to coordinate.

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