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Most Important 2 Octaves

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Hi everyone, this is more of an opinion-based question because it also can be relevant to a person's individual range.

In the male voice, if you had to focus on 2 octaves only. Which would you choose to train? Why?

(We will speak from a training sense because from a singing perspective we would just choose our favorite range, however the goal is flexibility and agility)

Some example answers:

C0-C2 Extreme low parts of the voice

C1-C3 Medium low

C2-C4 Medium part of the voice

C3-C5 High part of the voice

C5-C6 Extreme high part of the voice


Any combination of octaves.

C1-C2 + C4-C5


I agree that all parts of the voice could use training but which 2 octaves are most fundamental to the balance of registration in the human male voice? Keep in mind some people such as myself don't have access to the extreme lows or extreme highs which is why I don't believe there is a sure-fire answer since different voices need different training.

- JayMC

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I would say C3-C5 (assuming we have to start on a C) is the obvious answer. I want to say I read that like 90% of all popular songs are mostly in the 4th octave, so it'd make sense to also train the 3rd since it's probably the second most "musical"

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I believe the entire range is important and no parts should be neglected or not trained, well maybe except the first octave if you have that goin' for yourself, not much musical use really.

But yeah if I must choose two octaves only then I'd say the 3rd and the 4th octaves, or to be more exact E3-E5.

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For me personally, A2 to A4. As a songwriter that's the two octaves I find most musically important and effective for the styles I write. I do go above and below that - G2-E5 normally (and recently i found an F5 musically effective) but only because I can. If I were forced into A2-A4 it would not compromise the overall quality of my songwriting at all, there would always be effective workarounds.

Even though I train my entire range (which you should too) (and no i don't include ridiculous fry or whistle stuff) the real end result I'm looking for is complete freedom of intensity and great tone up to the A4. The range extension is just a nice little byproduct and is actually way easier than sorting out the passaggio at ALL DYNAMICS ON ALL VOWELS - that is "the hard stuff" jay so don't even worry about range, range grows ridiculously fast when you train correctly - its the RELIABILITY and VERSATILITY of your PASSAGGIO that takes years to master.

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What needs to be worked. Not every issue is related to range. Its best to use a point in range as a catalyzer, to help exposing the problem and/or addressing it.

You can work 5 years repeating "range centered" vocalizes, while with 6 months of well oriented training on nothing but chest voice, something that most take for granted (and yet can not keep a consistant production), working all the fundaments well, will probably render much more singable range (not "look at how high I can go" thing) than the first idea.

Let go of range already. With training range is not a problem. With training your focus should always be presenting something fun to listen to.

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