Find your "MIXED VOICE" with Complete Vocal Technique (CVT)
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- Опубліковано 7 гру 2021
- Authorized CVT teachers Aaron Perry and Ivan Mihaljevic talk about the elusive mixed voice and how it relates to the Complete Vocal Technique method.
To book us for lessons, contact us here:
Aaron Perry (short haired dude): aaronperry.de/
Ivan Mihaljevic (long haired dude): supersonicsongbird.com/
3:18 RD(reduced density)
5:03 Reduced Metal 21:18 22:19
12:15 almost FD Neutral
15:17 Neutral?
15:30 16:56 Curbing
15:54 curbing vowel
17:30 keep the hold to curb but not to hold too much especially the high notes
18:06 light hold vs too much hold
19:40 Full Density (highway)
20:19 21:00 curbing (byway)
22:16 lowering the volume requires support and twang
22:18 O to N
22:48 FD&FM to RM or RD
27:30 CVT finding on mixed voice
29:00 CT VS TA
Great work!
Interesting discussion.
Thanks for the explanation guys. Love your content. I've been struggling with mix voice and cvt for a while, because i read a lot of classical stuff and cvt approach is so different that i get lost with frequency reading the book. I still cannot do it, but I'm getting close.
this channel really open my mind 🥲
This is a great video, with all the nerdyness , thanks for doing it, very explanatory!
Thank you very much :)
Very interesting conversation, thank you :)
Glad you enjoyed it! :)
Thank you thank you so much Ive finally found center of Curbing through your video. Finally, I found the true sensation of hold, its like holding your breath and a hold is formed.
I am a lyric bass-baritone (I really am) and Im so enjoying the newly found curbing.
I know Im doing it correctly because the sound is so free, a lot easier through high c and it sounds light clear chest yet restrained - the so called mix voice. Not as powerful as overdrive and powerful sharp as edge, but its relatively medium loud esp with twang. I use to struggle singing above E4, but now I can pass thru E4 upto high C like I can even move freely between E4 - C5, which I cannot do before
My settings:
1)An amount of twang
2)Cvt's Open Throat (not the bel canto open throat or other singing pedagogies as they often speak open throat as - not constricting but 'always with low larynx', in cvt open throat is keeping away constriction before singing a note and you can do it thru low larynx and high larynx) No cvt video did discuss any about this, all they say is Necessary twang or twang. Open throat is one of the last missing piece ive been missing. Im so unaware for many years that ive been singing with undetected constriction, i even confused constriction as the hold!)
3) Light hold (which I only learned here, the cvt library only helped me about the vowel nuances, but I didnt get what hold truly feels like, thru your video only)
Thank you very much again ☺
May God bless you
you guys are amazing. i wish you did this years ago but better late than never! (not implying that you personally are late btw)
My teacher told me that mixing is a technique, a technique that goes from low to high without a break, without that abrupt point of falsetto. But this technique can be applied to strong sounds, balanced sounds, soft sounds. Not a specific sound
As stated in the video, there are many different definitions for mixed voice. Some make more sense than the others. Every specific technique has a sound because a sound is the product of that technique. If you change something about the technique, the sound will change. You can say that mixed voice is a collection of sounds with some common property. That works for me!
As a logic driven creature, I'd love to know what specific property that is and that's where answers get rather flaky. Being able to go through the range without a break is a result, not a single property. And there are various different ways of accomplishing that. One way is keeping the vocal folds thick and tracking the pitch by keeping the lowest vocal tract resonance an octave above the note you're singing. That would be the so called belting approach and would correspond to fuller density Overdrive and Edge in CVT. Another is to stop tracking at some point, thin out the vocal folds and press them together a little bit more (feeling like you're holding back a sneeze). That would be the CVT reduced density and that's the approach that I see taught the most often as mixed voice. You could also gradually thin out towards falsetto as you go higher, so that instead of an abrupt break, you're easing into it. That approach is often combined with the second one for teaching the so called mixed voice. Those aren't the only possible options, just several strategies that allow going through the range without a break.
@@RockVoxYT Yes, that makes perfect sense. I think mixing is more bad than good. I remember when I first started learning, my voice was very strong, and then a teacher said that I didn't have a head voice in my voice, and I didn't know what a head voice was, and then I followed suit and made my voice softer to blend, which I now think is probably reducing the density of my voice. It seems completely irrational now, the same way that I didn't sing with my diaphragm.
I think good or bad is a taste preference. Different sounds need different strategies. The issue I see, which may come across as a bias against "mixed voice" on my part is that many teachers end up teaching reduced density Neutral to singers who actually want fuller density Edge or Overdrive. Or in a more common terminology, you could say they teach a balanced mix where belting is more stylistically appropriate and what the singer wants. So there's nothing wrong with the strategy or the sound they teach, it can be a very important skill to have, but in some contexts it's not leading to the intended or appropriate sound!
@@RockVoxYT Yes, more often than not, a lot of guys like a strong voice. That method may not work, but it works for someone who likes a gentle voice. CVT has advantages for thick vocal mode, but it does not seem to be as efficient as some other methods for soft sounds.
I don't think CVT is less efficient for soft sounds. I think CVT does a great job of providing tools for all dynamic ranges!
New subscriber here.
I never knew that someone here in the YT will be using CVT as reference.
Oh gosh I’m the. 200th sub :)
Thanks for the video.
I have a suggestion for a new video. I´d like to know how I can influence the amount of metal I have in my voice / the way my vocal chords vibrate. I just donwloaded the CVT app recently and felt like I should investigate more in this direction. The app doesn´t go into too much detail there. I am glad I have heard of the "laryngeal tilt", though. :)
There's an article from Ingo Titze which I believe nails how to get metal (although he doesn't call it that). The name of the article is "What makes a voice acoustically strong?"
It comes down to three things - more epilaryngeal narrowing (twang), more TA muscle contraction and more subglottic pressure.
In terms of practical tips and tricks, I think the app covers those pretty well!
When are you going to make more videos ??
We're planning to do one next week hopefully.
I'm sorry that we're not as regular as we'd like to be, but Aaron just became a father recently and I've been swamped with teaching, recording and working on a new scientific study that I'm a part of (my first ever 🙂 ). But we haven't forgotten about the channel and have some cool ideas for new content 😊
I am trying to learn the essential difference between curbing and reduced density overdrive/ edge. It seems that they all share the held back quality along with tilted larynx? And they all sound like what most many people would indentify "mixed".
Yes, you are right! That's why in the foundation level model of CVT all reduced density metallic modes are lumped together under Curbing. However in the advanced level we differentiate between the different modes in reduced density and we would say that RD Edge and Overdrive sound a bit more open than Curbing or that Curbing is restrained while RD Overdrive and Edge are contained.
@@RockVoxYT Oh I see, that's rather interesting! Thanks for your contents.
We're shooting a new video tomorrow where we answer viewer's questions and I included yours in the list, so stay tuned for some demos of that difference.
@@RockVoxYT awsome!
I am super happy having discovered your channel about CVT (I did my first year at CVI in 2016)! I think I heard you say (I do not remember in which video) that, basically, everything that is not falsetto in CVT would be done in M1... (M2 would be falsetto often called "head voice"). Am I right I heard you saying that? I love the fact that you discussed that. To me the only thing that is "missing" in CVT is the M0-M3 parameters in the modes (but I understand why they don't insert this in their model). BUT, if we say that everything in CVT that is not falsetto is done in M1 (chest), than what about a very high note in Edge? For instance a A5 or B for women or men? Can we really make those high notes in M1? Thank you in advance.
Thank you very much! It was probably in our registers video. The official current limit for Edge is C6, but I've never really heard anyone take Edge up that high. Pretty much all A5s I hear are actually Falsetto Neutral with a lot of twang. So as it stands, in theory Edge is possible up to C6 for females, but in practice I've never heard anyone demo it above a G5 or so. Let's see if those limits change in the future!
I'm really sorry for the late reply 😅
@@RockVoxYT Hello, thank you. It makes sense to me. And the same for curbing. I think above a certain note, curbing would be done in M2. So to me we could have two option to define the curbing and edge modes vs M1-M2 : either we say that Edge and Curbing could be done in both M1 or M2 (because I can make a reduced character in M2, very possible! - does a reduced falsetto appears somewhere in CVT?). Or, we could say that curbing and edge are done in M1 only, but the limits seems to high in the CVT model (as you say, above G5 we have never heard that so far)... What do you think? 🙂
If it's M2, it's not really Curbing nor Edge by the current definition. It's Falsetto Neutral with a hold or with a lot of twang. So I'm sitting in the "current limits are too high" camp, but let's see how things develop!
@@RockVoxYT Ok thank you so much for this discussion! :)
Is a light hold in curbing like applying hold to your fuller (neutral) sounding non-airy head voice or falsetto- ? So adding a light hold to neutral = curbing. And if you make the twanging more distinct… and darken the sound color with a more compressed tongue a little more it becomes edge? For example, pavarotti’s climatic spot in la donna or daniel emmet in his deepfake simon cowell 2022 agt audition.
id really like to see cvts take on operatic singing because the info on the app is very little…
stuff like “turning” “tilting larynx”, ring, head voice, turning… vowel modification, you know what i mean. I’d assume ring is edge with a darkened sound color for men… and ladies - neutral.. but it gets complicated. Lol
They go from a really soft volume to a really powerful volume smoothly when they sing sometimes! Like the transition is seamless.
Brian McKnight does something similar and he uses falsetto a lot… but ends up making a more powerful sound when he leans into the falsetto sound… and the transition is seamless. But it’s a lighter sound than in opera so the tongue position is more of the other one because he’s singing rnb.
and if you have a stronger hold it’s like adding hold to your overdrive, which makes it feel harder and messes up as you go higher - makes the vowels harder to make especially OO’s? That’s what it feels like to me… EE’s feel really squeezed with a hold and feel like there can’t be a stronger hold for it… it needs to be lighter hold if it wants a curbing feel to it … and if removing the hold
it sounds really twangy and ugly. IH’s are a similar story. It feels like IH needs a lighter hold closer to the feeling of Neutral for me in order to hold onto the pitch. lol…
Because the lighter hold thing feels like it has to go into a more falsettoey coordination going higher whereas if the hold is stronger… it ends up feeling more chesty and if the hold is too strong, it feels very squeezed and sounds squeezed.
here’s the agt song im referencing (2:56 “need youuuu”) specifically. ua-cam.com/video/mPU0WNUzsBo/v-deo.html
is it possible to mix your chest voice and flageolet together in a powerful way?
That's an interesting question. I guess it depends what you mean with flageolet because, as with many other traditional terms it's become rather convoluted in meaning. Flageolet is not currently a term used in CVT and neither is chest voice, so I can't really answer that question from a CVT point of view, but I'd suggest a video from a good friend of mine Gregory West who has a video on what he calls Flageolet tension which can indeed be added to thicker sounds.
Cheers,
Ivan
Perry said he was tightening his abdomen and keeping it out, which increases the support resistance, but isn't it wrong to keeping out your abdomen in the support? Shouldn't it be pulled in the abdomen?
I don't think he meant keeping it out, but rather providing resistance to the inwards movement
I came across this cvt method just recently. It sounds interesting. But for me it a bit confusing as I am used to the speech level terminology with chest mix and head voice connected. When I sing in the highst part of my chest voice around a4 bflat 4 I have a sensation of a certain effort but if I go higher and let it go the tension I feel better and I think this is a mix. Now from what I understand of your cvt terminology I think that singing in overdrive is just chest voice or so called first mechanism whereas the other modes can be in chest mix and head depenfing on the pitch. Is that correct?
The best answer I can give you is that it depends 😄
High medium volume Overdrive could also be thought of as a mix by some. And full metallic Edge would probably fit better with chest than mix. But generally I find that SLS doesn't actually teach fuller density Overdrive and Edge in the high part, so there is no proper way to describe them with SLS terms.
Because when SLS coaches demo "pulling chest" that's also not FD Overdrive or Edge, but some weird form of Neutral with too much hold.
So these terminologies don't translate one to one.
@@RockVoxYT one teacher of cvt said that overdrive has a ceiling around D5 that is why I assumed that overdrive was only in chest voice. Basically you are saying that you can pull chest voice above d5 in an edge, neutral and curbing? It is a bit confusing. I can pull chest voice up to c5 but it requires a lot of effort, above that I feel that i have to change something whtever it means and I assume it is a mix.
Excuse my cautiousness with this, but I think it's necessary to hear the sounds and see if we're on the same page as to what "pulling chest" means in terms of the sounds produced. As I said earlier, when SLS teachers demo pulling chest, they are not making a centered Overdrive or Edge sound, but rather some kind of a choked off RD Neutral and I think we can all agree with them that that's not the best way to go about singing high notes.
Also, as covered in this video, mixed voice can actually be a lot of different sounds... If we talk about laryngeal vibratory mechanisms (LVM), all the metallic modes can only be done in M1. Neutral can be in either M1 or M2. So yes, you can definitely do M1 above D5. Whether an SLS teacher would consider that pulling chest or not is a different matter entirely.
For example, Jennifer Hudson is fantastic at singing in fuller density Edge in her high range and I've recently seen a video of Seth Riggs commenting on a performance of hers and complimenting her "register management". So obviously, he doesn't consider FD Edge pulling chest. At least the way she does it.
@@RockVoxYT thanks it is true that it is the sound that matters. The vocal technique is difficult to teach and learn because it involves also personal sensations. I started singing 25 years ago and my first teacher was a tenor and never explained to me any concept. I only got an idea of the vocal technique 15 years ago with an sls trainer. In the last 5 years I found many youtube videos which confirmed me a bit what he was saying, but again then there is this cvt approach which is slightly different. Singing for me it is just a hobby, I am quite old at this stage for anything more, but I have a real passion about it, that is why I keep trying to learn more. My favourite singers are ella Fitzgerald and Barbara Streisand and obviously Whitney houston. Apart from this last one who can belt in an amazing way, I am not really a fan of belting, maybe also because I do not master it, but not only. Probably my mode would be a neutral but I think that a good singer should be able to sing any style even if everyobe has a favourite style.
Yes, tastes differ and for me, it's really important that the method of teaching singing allows for differing tastes between singers 🙂
I'm personally a sucker for belting 😄 I love hearing massive, loud high notes and the emotional impact they bring. But I know some people hate it and that's totally fine 😊
Ivan
I've been told to lower my lyrnix to sing higher but I can't for the life of me keep it low, I should state that I have a high resting lyrnix so trying to keep it low is hard😂
What happens if you just allow it to raise instead?
@@RockVoxYT I'll try to explain the best I can, I just recently learned head voice and opening my nasal passage while singing in head voice. When I get to the top of my head voice with my lyrnix up it feels like I'm hitting a ceiling just like I did when I only sang in chest voice. I have full chord closure while using head voice placement, I keep my folds tightly closed with little air and I feel it going up thru my nasal passage, I can also add chest into this so from what I'm being taught this is mixed voice, but like I said I'm hitting a ceiling.
Mixed voice is so loud dude. I'm scared of it but I'm easing into full mix slowly now I got things down. Got a CVT coach and I had the coordination built over a couple of years of practice.
There are so many different sounds that people might call mixed, some of them loud, some of them not. That's why we feel the CVT language which abandons the term mixed voice and instead breaks those sounds into the amount of density, the amount of metal and modes is a clearer way of communicating.
What specific mode are you working on with your teacher when working on the idea of mixed voice?
@@RockVoxYT can u say a cvt terms that might describe different definitions of mixed voice?
@@izukikatzuki6890 I thought that's what we did in this video 😄
Do you have a specific question that you feel wasn't answered in the video?
@@RockVoxYT well I understand cvt more now but I’m still confused on weather neutral is traditionally considered strictly head voice, or if it’s just a soft non metallic version of both head and chest voice.
Also I’m still extremely confused on what metal is
I feel like density is constraint but I’m not sure
@@RockVoxYT but I understand the video a lot more now LOL reduced density is often mixed voice
Its so hard to define anything in cvt comparing to evt
I think it's really easy to define things in CVT, but we're talking about what other methods might call mixed voice and that can be many different things in CVT and also many different things in Estill.
If communicating to someone with a CVT background, you could for instance just say "sing that part in Curbing" and have them do it.
How can one subscribe a second time? What about the third? 🤣
I think you'll need multiple channels for that 😄
@@RockVoxYT I subscribed with the accounts of all my family
@@natanaelnoga2739 Now that's dedication 😆
You look a lot like that RHCP singer… Anthony… something
Anthony Kiedis - that's the second most frequent one I get. The first one is Dave Grohl (Nirvana/Foo Fighters).
Ivan
@@RockVoxYT I'd like to ask you something about the CVT masterclass. As far as I know, there's only one way to become an authorized CVT teacher - you have to go to Denmark for a year or so, right? Is there any other possibility? I'm a working mum, trained musician and I'd love to be able to teach the method. I think it's awesome. I learned more from CVT in a few months than I learned in 4 years of classical training...
To be an authorized teacher, you need to take the 3 year course! But you don't have to stay in Denmark for 3 years straight. It's split up into 6 seminars per year, so we all traveled back and forth. There's now also the option of doing the full 3 year course online. Go to completevocal.institute/ for details!
Btw, an absolute recommendation for it! It's an amazing experience!