I always love the depth you go into, explaining things. It's amazingly helpful. I've gotten heftily more serious about my vocals. I've gotten a lot better, than the times you heard me, in our chats. But I still have leagues to go, to meet my own standards lol
Mate, the way you sing is even better than the original. Maybe that's part of why singing sounds so special to people too, because the words aren't said how they generally are, the vowels are different even to try and like sound it out, it's a conscious choice to make a different sound.
Dude you've gotten so much better at explaining stuff! I am super-impressed. The only thing that was unclear to me was the way you explained the relationship between pitch and harmonics. I believe that the way it works is that the fundamental frequency (the pitch, F0) is deternined by the state of the vocal folds (or larynx, the "source" of the sound), while the harmonics (and hence also which vowel you're singing - this depends mainly on the first two harmonics I believe) are deternined by the shape of the vocal tract (the resonator, the "filter"). Vowel modification is required when certain frequencies constituting the usual vowel sound are lower than the fundamental frequency. (All the harmonics produced/amplified by the vocal tract have a higher frequency than the fundamental frequency/pitch.)
Hey Jarda! Harmonics actually come from the vocal folds themselves (go and give Ingo Titse a bit of time), where overtones ring in the vowel formants and vocal tract. Ergo, if you change the speed of vibration of "f0" as you say (can't stand the M0, M1, F0 conventions personally), you're actually changing the harmonics created by the folds, and you must alter the space for your overtones to match. Obviously, this is a simplified explanation and instruction, I'm not trying to be Wikipedia here - I'm trying to get the point across that as pitch changes, the harmonics change, and you MUST change your vowel to match. This is a two way street, the body is generally smart enough to work this in reverse; ie: if you alter the resonant space and vowel, the folds and harmonics adjust to meet. This can be a good thing, but can also be detrimental to the voice. And you're right, I didn't say the harmonics 'get higher', just that they're changing in relation to the pitch/they no longer have the same relationship to the pitch as you ascend (again, two way street - look at it however you want), and how you sing that vowel now needs to change. Best - K
@@FoundationVocalStudio Thanks heaps for the explanation Kegan, it is extremely useful! I don't want to be Wikipedia either but I want to understand my instrument to the point that nothing perplexes me anymore, so I did some reading on this. You're correct about the vocal folds producing harmonics. Every sound occurring in the nature has harmonics. Only pure sounds - which are always generated by some kind of a man-made device - have no harmonic. These are pure sine waves. The ear functions as a Fourier analysis device, which means that it perceives every (periodic) sound wave as a sum of sine waves of different frequencies, each of these component sine waves having its own amplitude (its own energy). These amplitudes determine the energy of the overtones. I believe it is also correct to say that the shape of the vocal tract (tongue, jaw, lips, soft palate, epiglottis...) determines the formants, which are regions of frequency where acoustic energy is concentrated (or where the overtones generated by the vocal folds are amplified the most).
Agreed, we're saying the same thing. Yes, the spaces/shape within the vocal tract creates/alters your formants within the vowel. Behind the tongue is your "structure" and in front is "clarity" - together, they make the sound you're hearing in the middle of a sustained word/vowel. The formant is generally the overtone most amplified by resonance (because the space matches the speed of vibration of air) - and this originates from air that is excited by the vocal folds in the form of a harmonic. Same thing as an acoustic guitar, if you just brush your finger over the 12th fret and play the string, this creates a harmonic, which then rings in the body as an overtone. The voice is similar, albeit on a more complicated level with multiple overtones and multiple harmonics. I often find that confusion in singing comes from semantics - someone might say head voice, someone might say falsetto, someone might even say mixed voice - but mean the same thing in a practical sense. This definition then gets confused by a third person who would treat head voice, mix voice and falsetto as different registers, and vice versa. Best - K
@@FoundationVocalStudio I suspect that the reason people use confusing semantics is that they don't really understand the mechanics of voice production. If they did, they would feel a strong need to clarify things.
Agreed 100% - but there's also a 'practical' element outside of purely understanding hard science when it comes to singing however. How a simple shift in the resonant space flows back down to alter the coordination of the vocal folds on a muscular level, and in different singers in different ways, is really intrinsic to each voice individually. So, it's great to have this deeper understanding - but, I really don't think it's required for the singer themselves. I doubt Aretha Franklin in her prime even knew what a formant was, or Chris Cornell, or Paul Rodgers - but they sing damn nicely to my ear ha. For me, I had to do a deeper dive because each singer that comes my way is just so unique in the way their voice functions, and their background, their attitude, their accent even - so really being able to hear different sounds and recognise a shift that the singer themself might not even be hearing, and encouraging this, has been the key to consistently seeing results with my students. For me personally when I sing, I like to keep it as simple as possible, and only add on each layer as needed - it's about expression. I think the definition that changed everything for me with vocal training was when it was pointed out that a 'principle' is different to a 'technique' - you only need a technique where you deviate from the principle, hence "natural" singers who just do it well, where the rest of us deviate from the 'principle' and hence need to develop 'technique' to align ourselves with the 'principle' - realising it's that simple has made a huge change in my singing ability over the last say 4 or 5 years in particular - where beforehand, I knew all the techniques, but not how they related to the principle of just singing with freedom and quality. Best - K
Hello Kegan, First of all, thank you very much for your videos - they definitely helped me more than any existing channel on UA-cam out there. However, when it comes to vowel modification, I get a bit confused. Your videos helped me find the best resonating vowels for the range up to G4, but I'm not really sure which vowels to use higher in order to get full resonating sound - for now it's either muffled, or too cartoony. Sometimes I can randomly hit a higher note with a full sound, but currently those are just happy accidents. In your video "Simple Vowels" you showed "er" and "eh" vowels as the best suitable vowels for the song by U2, with the highest note in the fragment that you sang was G#4. Later you said that this position gets too cartoony when you ascend to B4 - and showed the example of Richie Kotzen song. You recommended getting voice into a 'neutral state' up there instead of maintaining the previous "er"-"eh" position - so vowels once again become "ah" and "ay". But in this video while singing "Man in the Box" you once again ascend to A#4-B4, but now you said that you pronounce the word "feed" as "fed" - with the same "eh" position as in the U2 song. Which you previously said was too cartoony for such high notes. Maybe you could give some advice on how to solve this problem? If I apply the "er"-"eh" position to higher notes, i get rather too cartoony and squeezed sound. If i try to make the vowels wider, the sound doesn't resonate and gets muffled. If I google vowel modification charts, sometimes they are too different or get too complicated (maybe because English is not my first language) - your videos in which you show examples of how those vowels actually sound are helping much more. Thank you again for everything you do to help us sing better! The information you provide is absolutely priceless.
Hey Stan! Depends on the style, and also the voice. Richie Kotzen isn't belting, where Layne Staley is belting - so, you adjust the vowel accordingly. I did point out that Layne was ever so slightly narrowing the top of that vowel in Man in the Box. If you're getting muffled, something isn't right in your setup - can you move fluidly into head voice at the top, or are you pushing up into a hard ceiling? That would be the first problem. Secondly, are you focusing down to the CT muscle to "stretch" the folds? Third, AY is a FRONT vowel, so, is your tongue up and forward to create that ring in the front of the mouth? It really could be many different things without having heard you actually demonstrate it.
I need to get back into singing lessons. She doesn't listen to the stuff I'm into (metal, grunge, punk), but she can probably teach me the stuff I want, like compression etc that those genres fsature so much. I'd love to see you do a video on Offspring's song, Dirty Magic. Dexter is so underrated as a singer.
Been working on a cover of Nitro actually - their early stuff was great, I can't stomach anything past Smash though. Yeah, he's..... unique. The production his voice received is a big part of that sound, but yes, he had a decent range. Best - K
@@FoundationVocalStudio Nitro? Very nice, I'm hoping the implication is you'll post that. Ignition was my favourite album of theirs. I'll admit some later songs weren't great, but Ixnay and Americana were great. I liked Splinter as well. True, there was a lot of cleanup, but he's good live. The new version of Dirty Magic is phenomenal, just discovered it this week and fell in love with it.
Im kinda confused, if vowel shape dictates vocal register then why do people need vocal warmups? Can't they just make the right vowel sound and sing wherever they want in their range? Even when they wake up?
Yes, this is an important question. What ACTUALLY happens when you 'warm up' your voice?; you stretch ligaments and you gain bloodflow through the folds and other required muscles. This takes a manner of minutes at most. If you're 'warming up' for an hour before you can actually sing - you're just singing incorrectly. The idea you need an hour long vocal gym warmup for months or years before you can actually sing well is just a way to keep you on the wheel of lessons and courses, not actually help you sing any better. Quite often, people leave it up to a 'warmup' to find the right sound and right vowel - after singing for an hour, it seems easier because you're doing it in a better way - you can fast-track this process by simply singing the right sounds from the get-go; no more "morning voice", no more "hour warmup", no more wasted time.... You're asking the right questions man! Best - K
@@FoundationVocalStudiomy voice is now actually better in the morning than later in the day. Not sure if this is a good thing but I used to have to wait til evening, after talking all day, to feel like I had any vocal power or flexibility.
The pitch is "dictated" by vocal folds, not by vowel shape. But for every pitch or every section of your range, you need the appropriate vowel shape. So vowel shapes are not everything, but they're a necessary requirement.
At a certain point - absolutely. 'mix' doesn't really exist, it's just the natural function of your voice when your vowel and pronunciation are no longer hindering your ability to sing high. It's more of a tool than a reality. Try it - sing an AY sound like the word 'sleigh' and slide up higher into an EH sound like 'sled' (don't know why I'm going with Christmas references.....) in the back of the head like you're surprised. Don't try to chest voice it, don't try to falsetto it, just let it do it's thing without pushing and you'll notice when you get it right, you're actually in a different register. There's about 5 of these shifts per vowel group. So, when someone asks me 'what regiser is that?' it can be a tricky question to answer - in fact, there's a number of methods out there that really call your upper mix the 'vowel register' - literally like the name suggests.
Hi thank you. When I connect my head voice to chest, for eg from a g4 to a g3. I always come down to head voice. I mean I can hit a g3 in a heady voice, is that fine? Because when you demonstrate it in your videos, it seems like you dknt reside in a heady "hoody" sound but you land on a chest note properly. I find the chest and head connection in two octaves, as in from g4 to g2... Thanks
This is the key - yeah, I do it around G4 to G3, but on a bad day maybe even E4 to E3. Try if from the bottom up and connect it with head - it's an exercise rather than an instruction. Work on it. K
Quick question? I've been working on mixed voice/ head voice for about 6 months, when I'm in head voice placement do i want to be holding back most of my air? This is hard to explain but almost like finding a note in head voice and letting my support carry it instead of pushing air thru to carry it? Does this make sense? I suppose this is compression but it feels different for head voice because with chest voice i use compression but i can let more air thru. If i purposely compress while in head voice i can navigate very well but it's not very powerful, is this normal and something i should keep working on? Or am i way off 😂
Say what now? A closed vowel itself, and modifying a vowel slightly towards a closed variant - are two different things. So, if you're asking whether you can sing an EE or OE in your low range, of course. This wouldn't be the same thing as modifying an AH vowel to UH or OE in your higher range...
Sounds like you're holding your breath - it's singing, not deep sea diving. Exhale as you ascend but keep the ribs OUT laterally instead of clenching like you're constipated. Step two would be to troubleshoot the connection between head and chest - but you're starting at step three by the sound of it. Can you sing lightly on an OO from head voice down to chest around an A4 or G4 down? There's your starting point. Don't clench, don't push, don't grind, don't belt - just do it light. Once you've found it, rewatch the video and follow my instructions again. best - K
@@FoundationVocalStudio Thank you for the response! I DO feel like I'm REALLY REALLY holding my breath, and having extreme vocal cord closure to produce higher sounds in a fuller tone. In a lighter manner yes! It works, it's connected, it only sucks as I raise the volume. I do have a "'belty" 'head voice too, some people called it head mix, or "'mix belts" but on some vowels (especially closed vowels) the placement falls back and it gets too heady and even cracky on consonants. It goes all the way to E5, when I'm really warmed up though I wouldn't push it that far. I'd rather use a headier tone past C#5 I'm curious, is what you sing in still stemming from chest voice? Especially when you did the B4 on "Feed my eyes"', I really can't tell, nor do I know if chest voice can still remain safely up there. It looks like it's almost completely effortless, which makes me think it is simply Head Voice. The only effortless tones for me are either head voice or low chest. At C4 I'd have to start squeezing and closing my vocal cords. Or it's rather head voice with a great vowel, and great vocal cord closure with pharyngeal resonance and twang It would really clarify a lot of things. How far would you push chest, and at what note would you be in straight up head mix/head voice
I saved my eyes and ears, so no! I did however, see Rose Tattoo a few days ago and Angry is wailing high C's at 76 years old while swigging a beer, without breaking a sweat.
![Can't find mixed voice (like me)? [THIS is why!]](http://i.ytimg.com/vi/_NcwIz8uA30/mqdefault.jpg)
![Can't find mixed voice (like me)? [THIS is why!]](/img/tr.png)
![What if CRY vocal mode doesn't work? [Straining on high notes]](http://i.ytimg.com/vi/6WLB3NIQtPg/mqdefault.jpg)
I always love the depth you go into, explaining things. It's amazingly helpful. I've gotten heftily more serious about my vocals. I've gotten a lot better, than the times you heard me, in our chats. But I still have leagues to go, to meet my own standards lol
I'm trying to simplify as much as I can with the new videos - I'm definitely not a rocket surgeon! Glad it's coming together for you. K
Mate, the way you sing is even better than the original. Maybe that's part of why singing sounds so special to people too, because the words aren't said how they generally are, the vowels are different even to try and like sound it out, it's a conscious choice to make a different sound.
Dude you've gotten so much better at explaining stuff! I am super-impressed.
The only thing that was unclear to me was the way you explained the relationship between pitch and harmonics. I believe that the way it works is that the fundamental frequency (the pitch, F0) is deternined by the state of the vocal folds (or larynx, the "source" of the sound), while the harmonics (and hence also which vowel you're singing - this depends mainly on the first two harmonics I believe) are deternined by the shape of the vocal tract (the resonator, the "filter"). Vowel modification is required when certain frequencies constituting the usual vowel sound are lower than the fundamental frequency. (All the harmonics produced/amplified by the vocal tract have a higher frequency than the fundamental frequency/pitch.)
Hey Jarda! Harmonics actually come from the vocal folds themselves (go and give Ingo Titse a bit of time), where overtones ring in the vowel formants and vocal tract. Ergo, if you change the speed of vibration of "f0" as you say (can't stand the M0, M1, F0 conventions personally), you're actually changing the harmonics created by the folds, and you must alter the space for your overtones to match. Obviously, this is a simplified explanation and instruction, I'm not trying to be Wikipedia here - I'm trying to get the point across that as pitch changes, the harmonics change, and you MUST change your vowel to match. This is a two way street, the body is generally smart enough to work this in reverse; ie: if you alter the resonant space and vowel, the folds and harmonics adjust to meet. This can be a good thing, but can also be detrimental to the voice. And you're right, I didn't say the harmonics 'get higher', just that they're changing in relation to the pitch/they no longer have the same relationship to the pitch as you ascend (again, two way street - look at it however you want), and how you sing that vowel now needs to change. Best - K
@@FoundationVocalStudio Thanks heaps for the explanation Kegan, it is extremely useful!
I don't want to be Wikipedia either but I want to understand my instrument to the point that nothing perplexes me anymore, so I did some reading on this.
You're correct about the vocal folds producing harmonics. Every sound occurring in the nature has harmonics. Only pure sounds - which are always generated by some kind of a man-made device - have no harmonic. These are pure sine waves.
The ear functions as a Fourier analysis device, which means that it perceives every (periodic) sound wave as a sum of sine waves of different frequencies, each of these component sine waves having its own amplitude (its own energy). These amplitudes determine the energy of the overtones.
I believe it is also correct to say that the shape of the vocal tract (tongue, jaw, lips, soft palate, epiglottis...) determines the formants, which are regions of frequency where acoustic energy is concentrated (or where the overtones generated by the vocal folds are amplified the most).
Agreed, we're saying the same thing. Yes, the spaces/shape within the vocal tract creates/alters your formants within the vowel. Behind the tongue is your "structure" and in front is "clarity" - together, they make the sound you're hearing in the middle of a sustained word/vowel. The formant is generally the overtone most amplified by resonance (because the space matches the speed of vibration of air) - and this originates from air that is excited by the vocal folds in the form of a harmonic. Same thing as an acoustic guitar, if you just brush your finger over the 12th fret and play the string, this creates a harmonic, which then rings in the body as an overtone. The voice is similar, albeit on a more complicated level with multiple overtones and multiple harmonics. I often find that confusion in singing comes from semantics - someone might say head voice, someone might say falsetto, someone might even say mixed voice - but mean the same thing in a practical sense. This definition then gets confused by a third person who would treat head voice, mix voice and falsetto as different registers, and vice versa. Best - K
@@FoundationVocalStudio I suspect that the reason people use confusing semantics is that they don't really understand the mechanics of voice production. If they did, they would feel a strong need to clarify things.
Agreed 100% - but there's also a 'practical' element outside of purely understanding hard science when it comes to singing however. How a simple shift in the resonant space flows back down to alter the coordination of the vocal folds on a muscular level, and in different singers in different ways, is really intrinsic to each voice individually. So, it's great to have this deeper understanding - but, I really don't think it's required for the singer themselves. I doubt Aretha Franklin in her prime even knew what a formant was, or Chris Cornell, or Paul Rodgers - but they sing damn nicely to my ear ha. For me, I had to do a deeper dive because each singer that comes my way is just so unique in the way their voice functions, and their background, their attitude, their accent even - so really being able to hear different sounds and recognise a shift that the singer themself might not even be hearing, and encouraging this, has been the key to consistently seeing results with my students. For me personally when I sing, I like to keep it as simple as possible, and only add on each layer as needed - it's about expression. I think the definition that changed everything for me with vocal training was when it was pointed out that a 'principle' is different to a 'technique' - you only need a technique where you deviate from the principle, hence "natural" singers who just do it well, where the rest of us deviate from the 'principle' and hence need to develop 'technique' to align ourselves with the 'principle' - realising it's that simple has made a huge change in my singing ability over the last say 4 or 5 years in particular - where beforehand, I knew all the techniques, but not how they related to the principle of just singing with freedom and quality. Best - K
Hello Kegan,
First of all, thank you very much for your videos - they definitely helped me more than any existing channel on UA-cam out there.
However, when it comes to vowel modification, I get a bit confused. Your videos helped me find the best resonating vowels for the range up to G4, but I'm not really sure which vowels to use higher in order to get full resonating sound - for now it's either muffled, or too cartoony. Sometimes I can randomly hit a higher note with a full sound, but currently those are just happy accidents.
In your video "Simple Vowels" you showed "er" and "eh" vowels as the best suitable vowels for the song by U2, with the highest note in the fragment that you sang was G#4. Later you said that this position gets too cartoony when you ascend to B4 - and showed the example of Richie Kotzen song. You recommended getting voice into a 'neutral state' up there instead of maintaining the previous "er"-"eh" position - so vowels once again become "ah" and "ay".
But in this video while singing "Man in the Box" you once again ascend to A#4-B4, but now you said that you pronounce the word "feed" as "fed" - with the same "eh" position as in the U2 song. Which you previously said was too cartoony for such high notes.
Maybe you could give some advice on how to solve this problem? If I apply the "er"-"eh" position to higher notes, i get rather too cartoony and squeezed sound. If i try to make the vowels wider, the sound doesn't resonate and gets muffled. If I google vowel modification charts, sometimes they are too different or get too complicated (maybe because English is not my first language) - your videos in which you show examples of how those vowels actually sound are helping much more.
Thank you again for everything you do to help us sing better! The information you provide is absolutely priceless.
Hey Stan! Depends on the style, and also the voice. Richie Kotzen isn't belting, where Layne Staley is belting - so, you adjust the vowel accordingly. I did point out that Layne was ever so slightly narrowing the top of that vowel in Man in the Box. If you're getting muffled, something isn't right in your setup - can you move fluidly into head voice at the top, or are you pushing up into a hard ceiling? That would be the first problem. Secondly, are you focusing down to the CT muscle to "stretch" the folds? Third, AY is a FRONT vowel, so, is your tongue up and forward to create that ring in the front of the mouth? It really could be many different things without having heard you actually demonstrate it.
I had to go check that Alice in Chains reference... I never picked up on that before. Of course, I haven't ever tried to cover that song either...
I need to get back into singing lessons. She doesn't listen to the stuff I'm into (metal, grunge, punk), but she can probably teach me the stuff I want, like compression etc that those genres fsature so much.
I'd love to see you do a video on Offspring's song, Dirty Magic. Dexter is so underrated as a singer.
Been working on a cover of Nitro actually - their early stuff was great, I can't stomach anything past Smash though. Yeah, he's..... unique. The production his voice received is a big part of that sound, but yes, he had a decent range. Best - K
@@FoundationVocalStudio Nitro? Very nice, I'm hoping the implication is you'll post that. Ignition was my favourite album of theirs. I'll admit some later songs weren't great, but Ixnay and Americana were great. I liked Splinter as well.
True, there was a lot of cleanup, but he's good live. The new version of Dirty Magic is phenomenal, just discovered it this week and fell in love with it.
Grest video as always… thanks 🎉
Great video, bro. I got heaps from it.
It sounds so strained, your jaw moves sharply, how you do make this voices without making your throat hurt
No, it doesn't sound strained. The answer to your question is in the advice I gave. Best - K
how those ranges are fused has a really cool resonance
kind of like a Marshall
Plexi sounds
Used to have a 50watt Plexi - holy hell!! Try rehearsing with two guitarists playin Plexis, you can't go above 0.001 on the volume dial ha.
Im kinda confused, if vowel shape dictates vocal register then why do people need vocal warmups? Can't they just make the right vowel sound and sing wherever they want in their range? Even when they wake up?
Yes, this is an important question. What ACTUALLY happens when you 'warm up' your voice?; you stretch ligaments and you gain bloodflow through the folds and other required muscles. This takes a manner of minutes at most. If you're 'warming up' for an hour before you can actually sing - you're just singing incorrectly. The idea you need an hour long vocal gym warmup for months or years before you can actually sing well is just a way to keep you on the wheel of lessons and courses, not actually help you sing any better. Quite often, people leave it up to a 'warmup' to find the right sound and right vowel - after singing for an hour, it seems easier because you're doing it in a better way - you can fast-track this process by simply singing the right sounds from the get-go; no more "morning voice", no more "hour warmup", no more wasted time.... You're asking the right questions man! Best - K
That's sooo interesting 👍🏽
@@FoundationVocalStudio So does that mean i can do the "morning voice" whenever i want? can you do a video on that? Please??
@@FoundationVocalStudiomy voice is now actually better in the morning than later in the day. Not sure if this is a good thing but I used to have to wait til evening, after talking all day, to feel like I had any vocal power or flexibility.
The pitch is "dictated" by vocal folds, not by vowel shape. But for every pitch or every section of your range, you need the appropriate vowel shape.
So vowel shapes are not everything, but they're a necessary requirement.
are you saying that you don't need to think about singing in head/chest/mix voice and focusing more on your vowels is an easier way to think about it?
At a certain point - absolutely. 'mix' doesn't really exist, it's just the natural function of your voice when your vowel and pronunciation are no longer hindering your ability to sing high. It's more of a tool than a reality. Try it - sing an AY sound like the word 'sleigh' and slide up higher into an EH sound like 'sled' (don't know why I'm going with Christmas references.....) in the back of the head like you're surprised. Don't try to chest voice it, don't try to falsetto it, just let it do it's thing without pushing and you'll notice when you get it right, you're actually in a different register. There's about 5 of these shifts per vowel group. So, when someone asks me 'what regiser is that?' it can be a tricky question to answer - in fact, there's a number of methods out there that really call your upper mix the 'vowel register' - literally like the name suggests.
Hi thank you. When I connect my head voice to chest, for eg from a g4 to a g3. I always come down to head voice. I mean I can hit a g3 in a heady voice, is that fine? Because when you demonstrate it in your videos, it seems like you dknt reside in a heady "hoody" sound but you land on a chest note properly.
I find the chest and head connection in two octaves, as in from g4 to g2...
Thanks
This is the key - yeah, I do it around G4 to G3, but on a bad day maybe even E4 to E3. Try if from the bottom up and connect it with head - it's an exercise rather than an instruction. Work on it. K
I can't sing in home, cause my parents HATE IT, what can I do?
Alright, let me give them a stern talking to...
@@FoundationVocalStudio they wont listen no matter what, I think I'm faded to sing in my car or whem I'm alone at home
I’m sorry idk why they wouldn’t want their kids to learn how to sing lol! It’s so fun
@@marcs1024 yep, idk too but I will keep on progress, or at least try
@@LifeEnjoyer4251 Heck yaaaaa !!
Quick question? I've been working on mixed voice/ head voice for about 6 months, when I'm in head voice placement do i want to be holding back most of my air? This is hard to explain but almost like finding a note in head voice and letting my support carry it instead of pushing air thru to carry it? Does this make sense? I suppose this is compression but it feels different for head voice because with chest voice i use compression but i can let more air thru. If i purposely compress while in head voice i can navigate very well but it's not very powerful, is this normal and something i should keep working on? Or am i way off 😂
Try this - ua-cam.com/video/jjAWMbMRhcg/v-deo.html&ab_channel=BVS-FoundationVocal
@@FoundationVocalStudio thank you so much 🤘
What gonna heppen if you use closed vowel for hight range but try to sing low notes its gonna break ?
Say what now? A closed vowel itself, and modifying a vowel slightly towards a closed variant - are two different things. So, if you're asking whether you can sing an EE or OE in your low range, of course. This wouldn't be the same thing as modifying an AH vowel to UH or OE in your higher range...
But what if the sound gets blocked and distorted/strained no matter what vowel?
Sounds like you're holding your breath - it's singing, not deep sea diving. Exhale as you ascend but keep the ribs OUT laterally instead of clenching like you're constipated. Step two would be to troubleshoot the connection between head and chest - but you're starting at step three by the sound of it. Can you sing lightly on an OO from head voice down to chest around an A4 or G4 down? There's your starting point. Don't clench, don't push, don't grind, don't belt - just do it light. Once you've found it, rewatch the video and follow my instructions again. best - K
@@FoundationVocalStudio Thank you for the response!
I DO feel like I'm REALLY REALLY holding my breath, and having extreme vocal cord closure to produce higher sounds in a fuller tone.
In a lighter manner yes! It works, it's connected, it only sucks as I raise the volume. I do have a "'belty" 'head voice too, some people called it head mix, or "'mix belts" but on some vowels (especially closed vowels) the placement falls back and it gets too heady and even cracky on consonants. It goes all the way to E5, when I'm really warmed up though I wouldn't push it that far.
I'd rather use a headier tone past C#5
I'm curious, is what you sing in still stemming from chest voice?
Especially when you did the B4 on "Feed my eyes"', I really can't tell, nor do I know if chest voice can still remain safely up there.
It looks like it's almost completely effortless, which makes me think it is simply Head Voice.
The only effortless tones for me are either head voice or low chest. At C4 I'd have to start squeezing and closing my vocal cords.
Or it's rather head voice with a great vowel, and great vocal cord closure with pharyngeal resonance and twang
It would really clarify a lot of things.
How far would you push chest, and at what note would you be in straight up head mix/head voice
Did you go see Paul Diano , ?
I saved my eyes and ears, so no! I did however, see Rose Tattoo a few days ago and Angry is wailing high C's at 76 years old while swigging a beer, without breaking a sweat.
@@FoundationVocalStudio
Looks like I have some research to do mate