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what is the toughest note for you to sing?

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Jarom
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a#4. Right there where my voice is deciding to flip and what timber it wants

exactly the same...so frustrating at times...when im fully warmed up and ready to go A4 is preety easy. But that A#4 is like a brick wall

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I worked so long at smoothing out my passagio that notes like A4 are nothing for me. However, maybe my highest note aprrox C6, takes some effort because I don't go there all the time.

 

On the low end, using trickery with mic placement, I have done an E2 as a grunt. But generally, anything below C3 is not all that easy for me. but working on the ends does help train for breath management throughout the range. And maybe, vice versa. Using breath management to get through the passagio, especially with a number of songs that reside there in the chorus, helps form good habits that work at the extreme ends.

 

And now, to be totally confusing, I use resonance to adjust my breath.

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Being trained as a lyric bass for a short time originally *eye roll*...I built a low end that doesnt give me too much problem lol.

I never have a problem hitting any of my range expect maybe my last two notes. Comfortable to a b5, stretch to a c6 will hurass me at times. Though at one performance got way too wound up, I stretched to a c6#, perfect and surprised me. Thought prob shouldnt do that again, and about 15 seconds later my folds agreed with me lol. "I have given you so much yet you still push for more...I should just take your head voice all together and teach you a lesson ha ha"

A#4 is just a pain for me. Sometimes I dont want more of a heady tone there, yet live its always a crap shoot. Try for a more modal tone it may back fire. So I usually go more heady just for reliability.

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A#4 is just a pain for me. Sometimes I dont want more of a heady tone there, yet live its always a crap shoot. Try for a more modal tone it may back fire. So I usually go more heady just for reliability.

And if you stick with the heady configuration more often, you will still be able to do it 20 years from now.

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Absolutely my thoughts on it ron.......So looking at the possibility of adding a little grit to make it a little more interesting. Though havent tested it in a performance situation yet, so unknown long term effects yet.

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The reason for the A#4 being a brick wall is because the passagio Eb to G4 is not correctly worked out.this is why you get the sometimes there sometimes not issues. The passagio isn't gonna be quite as big as you think it might be in the beginning, through proper training it will smooth out

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Depends on the vowel, how much weight I'm using, and whether or not I'm applying grit. Trying to carry weight gets harder in general above A#4, but if I let it release it isn't too bad. I'm not very polished at rasping 5th Octave notes although I have a pretty insane sound I use when really passionate.

 

But the worst thing is anything with too much R in it in passaggio. I just did a cover of My World Ended and whenever I'd sing with passion, 'world' would go flat or sharp. It's not like I can't do either, but it's like in my head I hear the tuning of the note wrong. Then I'd turn off the passion, and do a robotic one, and I could get it, like a robot singing world, it sounds like crap.

 

I settled for the best passion I could muster, which wasn't perfect, but I choose passion over perfection. So yeah, anything with too much R. I recall another time with the word 'share.' They tend to want to go like robotic, quacky, metallic, which isn't my normal timbre, which is almost literally like the word 'oomph' with various amounts of aggression. I like to sing with oomph, figuratively and literally.

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Interesting... I actually did a video on this idea a few years ago that became fairly popular... Note... the most difficult notes are NOT the high scream notes as most people would assume... not at all.  Its the lower M2 notes where it is more challenging for the voice to engage the musculature to get "anchored"... and that really is what we all feel on the low M2 stuff... Important and good question.

 

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The reason for the A#4 being a brick wall is because the passagio Eb to G4 is not correctly worked out.this is why you get the sometimes there sometimes not issues. The passagio isn't gonna be quite as big as you think it might be in the beginning, through proper training it will smooth out

 

Although... yes.. A4 requires some special considerations usually... its a major formant shift and you really have to train the articulators to tune to the right vowels to make it work... otherwise you get into a heavy, pushy, "Uh-ishness"... its a bit of a trick... Hint... Edging vowels... 

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@Jabroni,

I wouldn't say A4 is easy for most people, but above A4, if you have the "high screamy" thing down, it can seem to be a bit easier.

How is your recording set up coming along?

Sorry, I should've clarified... For me A4 and above is way easier than the low head tones.

I haven't received the kit yet, but I'll be sure to post and let everyone know how it is!

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Totally A4 and... and that damned B in "Don't Stop Believing"

I totally agree! However, I think it depends on the word I'm singing. I am used to warm up with several songs, and one of them is Crying in the Rain (A-Ha). I always end it like David Coverdale with his Crying in the Rain (a totally different song), on a high note, which in this case is a B4 (rain). I don't have as much trouble singing the word rain in B4 as I do with night in Don't stop believing.

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The high B4 in "Don't Stop Believ'n" is hardly the difficult note in that song... its one of the easiest.  Again, its not the high note in most cases... its E4-G#4... and the ability to articulate effectively on those frequencies... while maintaining your anchoring..

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It depends on how you want to sound.  Depends on the vowel. 

 

Are you just needing to tap it, or live there for a while?

 

Example: That full voice "A4" run in Toto's "Africa"  oh man, that's a tough spot in part because you need to sit up there for a while and the words you're dealt have all different breath pressures you need to modulate.

 

Example: Marvin Gaye's "Sexual Healing" all those full open G4's...you say not too high but in that song they can be brutal.

 

 

For me from G#4 to D#5 full voiced, tough area.

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     I am glad you figured it out in your teens Robert, otherwise you would not be here to teach us.

    For me it is that dreaded G4. I am now working on "Something in the way she moves" by George Harrison. It is in the key of C and the top note is G4 on an I as in "I don't know" . I've tried it with "Aa" as in Cat. "Ah" and Awe both full voice and falsetto but it still sucks. When I do get the note it wobbles in and out of Full and falsetto.

    When I am finished I will post it on the critique section so maybe I will get help there.

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It is in the key of C and the top note is G4 on an I as in "I don't know" . I've tried it with "Aa" as in Cat. "Ah" and Awe both full voice and falsetto but it still sucks. When I do get the note it wobbles in and out of Full and falsetto.

 

MDEW, on "know" I don't think you need to modify the vowel just hold on to the 'oh' part and finish the note with the "oo". Also you need to keep good legato during the whole phrase especially between "don't" and "know": carefull with that "t" it's gonna want to mess up your legato.

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MDEW, on "know" I don't think you need to modify the vowel just hold on to the 'oh' part and finish the note with the "oo". Also you need to keep good legato during the whole phrase especially between "don't" and "know": carefull with that "t" it's gonna want to mess up your legato.

    Thanks Sexy,  The I is the high note...... I submitted my recording to the critique section before checking here. I ended up using something like "Ah dun nuh-oh, Ah dun noh".

 That T was messing with me quite a bit. When I finally got a configuration that would work that T never even tried to manifest. Your diagnosis was right on.

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MD,

 

may I offer a suggestion?

 

It's the second "I" right?

 

("dun" will lock it up.) 

 

Try throwing an "h" in front of the "ah." That will drop the pressure, make it less of a glottal attack, and give you something to launch off.

 

On the "hah" you need height.  Open the back of the throat and get the palate up. 

 

"hah" "doh" "noh" or you might need to go more this way... "hah" "duh" "noh."  Hope this helps.  Bob

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MD,

 

may I offer a suggestion?

 

It's the second "I" right?

 

("dun" will lock it up.) 

 

Try throwing an "h" in front of the "ah." That will drop the pressure, make it less of a glottal attack, and give you something to launch off.

 

On the "hah" you need height.  Open the back of the throat and get the palate up. 

 

"hah" "doh" "noh" or you might need to go more this way... "hah" "duh" "noh."  Hope this helps.  Bob

  Thanks Bob, I posted my effort in the critique section. Take a listen to it if you don't mind.

  You are correct that second "I" gives the most trouble. and I dropped the T in Don't and I am not sure what you would call the vowel I used in Know.

  I think I sang that note pretty solid but I stopped it a little short.

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