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The Missing Link to MIXED VOICE That NOBODY Talks About; Flageolet Tension
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- Опубліковано 15 сер 2024
- Hi everyone,
This entire video is about my extrapolated sensations of singing. As I learned to sing, this feeling of "flageolet tension" that I describe here was always something that NO VOCAL COACH could explain to me in a satisfactory way. One teacher would say, "That's just your voice" and another would claim to not even hear it or the difference between the sounds I wanted to do and what I could do.
I was frustrated and I tried for a long time to fit this experience into the standard words that float around voice pedagogy such as "mix voice", "head voice", "being connected versus disconnected", "singing on the voice", etc. Ultimately, there was not a consistent usage of any term that described what I was doing. This led to me CREATING the term myself. I don't wish to reinvent a wheel, but I do genuinely believe that there is no conception of this phenomena in modern voice pedagogy.
This is a PROBLEM because I, and other singers like myself, do have this experience. Certain issues and benefits arise from using the flageolet tension. In other words, it is a technique- a tool that we can use as teachers and singers to explain various sounds. I believe flageolet tension fills a missing gap when it comes to singing technique.
We shouldn't pretend that two different vocal coordinations are essentially the same when there are important distinctions to be made. "Importance" in this sense is assertained by the impact of the difference in technique. If a singer wants a certain sound and the flageolet tension is holding them back, then it's important to recognize that they are doing something different from their intended sound design.
If a singer WANTS the flageolet tension sound, and they are not able to achieve it, then it's important information for them to understand that there is a technique they are missing.
Claiming there is no valuable distinction between flageolet tension and "non"- flagolet tension sounds serves as a massive disservice to those who would benefit from making this distinction.
This distinction is not absolutely "necessary" at the end of the day. However, so are MANY distinctions in voice pedagogy. The entire idea of "mixed voice" pedagogically is mainly to discern the sensations and strategies of singing higher in M1 (chest). That is something that many people find HELPFUL. It doesn't matter if there isn't technically an in-between between m1 and m2- that misses the entire point. The point is there are different sensations and experiences that we need to reconcile in productive ways. That is why we have different words used in singing.
I hope flageolet tension contributes positively to the voice communities understanding of singing and the techniques that various singers use. I can certainly express that it has made a world of difference for my singing and for the singing of others who have benefited from this additional layering to vocal conceptions.
THAT being said, If anyone has additional information regarding precise definitions and studies conducted that are related to this, I would love to hear about it. I am willing to grow and abandon words for better, more precise ones.
Please email me or comment below if you want to engage in a constructive discussion or ask questions!
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Just a heads up to any new viewers: There has been a change in terminology!
I no longer call this technique "flageolet tension." I now refer to it as the "tight mode" and will refer to it that way in future videos. The "tension" component of it will be referred to as "creaking tension" which is the muscular effort that can CAUSE the tight mode, but it is not the tight mode itself. Essentially, there is a difference between the tension (creaking) and the place the tension takes you or rather, can take you(tight mode). This update is important because you can engage the creaking tension without necessarily going into tight mode.
I apologize for the confusion- the ideas explained here are basically the same, it's just the words used that are changing.
-Gregory West
Can you produce the " whistle" voice ? Have you ever met other male singers producing the whistle ?
Greg I want to thank you from the bottom of my heart, because, stumbling upon this video, some years ago, is what finally helped me become a singer. I believe, at least this is what I feel in my own voice, that we can actually engage this "creaking tension" in both M1 and M2 separately. I think all good or "natural singers" aplyy this tension either conciously or without even realizing , and that's why their registers sound so unified and they are able to "bridge into" their high range or thin out their chest voices without losing that much power or resonance, provided they pick the correct vowel depending on the intensity of the sounds they are producing, or in CVT terms , provided they use the appropriate modes.
I always struggled trying to belt above E4 (the E above middle C), it would feel either super tight or I would use some kind of reinforced falsetto/super twangy M2, anyway it didn't have enough TA activity to call it a true belt.
Later, I was taught how to actually navigate the passaggio releasing unnecesary tension and using a specifc vowel or vocal tract configuration to add resonance, however that kind of "mixed voice" was not my singing goal, the themes or ballads I wanted to sing weren't sung using that coordination, most of the time the singers were using lots of TA or chest voice. I would complain about that to my teachers and they all would tell me that, eventually, my head voice would get stronger and my "mixed voice" would start sounding like chest, that was completely and absolute bullshit btw, and I was so limited because I could only use one vowel, practically all of my vowels were a modified "UH" or "OO", and whenever I tried opening a bit, my" mix" collapsed.
I had even lost the abillity to properly sing in chest voice below an E4. All of my teachers told me that I had to start " thinning out" and letting go almost entirely of my chest voice, when approaching an A3. All of that useless advice frustrated me so badly, that I eventually quit singing lessons and went back to my old habits of "pulling" chest voice and just "muscling through" songs.
After watching your video for the first time, I started working on my flageolet and THAT WAS IT, IT'S LITERALLY THE MISSING LINK OR SECRET PRACTICALLY NO VOCAL TEACHER TALKS ABOUT. Yeah lots of teachers acknoledge the existence of the flute register or flageolet , some even incorrectly refer to it as whistle register, but no one is telling you that training and developing that thing is what's going to make your voice strong.
I've been training my flageolet register for 2 years, I felt its benefits only after 2 weeks. My usable range is now C3-E5, I'm finally able to apply messa di voce in that range, I can sing soft or loud without "flipping" I only need to make tiny adjustments to the vowels and I feel I can open them, like your belting video, I get it now.
Thank you so much Greg, you've helped me achieve my dream. Perhaps one day, if I get the money, I'll be able to afford some lessons wih you.
@@cyclophonica I can, friends of mine can, and there are lots of male singers in UA-cam who can do it. Look up for male covers of Mariah Carey songs. And watch male singer Dimash, whistling a D8, live. I think you need to be a Tenor though, but I read that some people , regardless of gender or voice type, can't produce those kind of sounds.
@@aionlover3981 Would you say there is a difference between flageolet and falsetto? That's the one thing I've never been able to determine.
yo... my jaw has been wide open for 12 whole minutes of watching this video because you are literally describing in perfect detail EXACTLY what’s happening to me😂
Me too
BRO, YOU REOPENED MY UPPER REGISTER! NOW, I'M ONLY JUST BEYOND THE CREAKING STAGE, BUT IT'S GETTING MORE OPEN, AND I CAN'T WAIT TILL I GET SMOOTHER, THEN LOUDER
I studied counter tenor for a while in college. Every once in a while during voice lessons my voice would do this weird thing where it'd crack, get breathy, small, feels like the voice "goes back", gets really high... every thing you described as the flip into flageolet. My voice teacher told be exploring that sound would do nothing but give me nodes. I'm realizing while watching all these voice lessons online that all the "vocal instruction" I've ever received was shit :(
yeah dude, totally agreed... I've experienced this as a failure or some weird soud that my voice wasn't supposed to make... Astonishing that it would be the ground technique for high fuller mixed voices... Can't seem to understand how it's possible to take this sound so low and pratice with it, because for me this sound is very very unstable, can't believe i'd be able to tame it
It is the falsetto, it can't be mixed with normal voice, hence the "crack."
@@clmasseit can 100% be mixed with the normal voice. don't know how told you that
@@Celatra Don't tell it because it is wrong.
@@clmasseare you a singer? cuz literally every singer, including opera singers, will tell you that falsetto can be connected and mixed with the rest of your voice lol there is even name for it, mixed voice/ reinforced falsetto.
Before my vocal coach, I didn’t even know mixed voice existed 😂 it’s been a process but we’re getting there
Same even though I already had access to it 😂
Are u there?
@@tehextra3907 I am
As someone who discovered flageolet around a year ago, I totally agree with your approach.
Phenomenal, I think its your best *how to sing in mix* video and I watched all of them
Oh my god finally someone is talking about flageolet.Before i was stuck in F5 with falsetto along with a lot of neck tensions, and a very high larynx.It took me weeks to get the feel of it and a lot of practice, and finally my range has increased hugely! Thanks for the information Greg, u the best!
It's so inspiring to see people like you who first were unable to achieve flageolet, to now that you're capable of it!
Similar situation for me, falsetto stuck at F5 (at most G5 if I give my abs the ultimate push), though I'm able to keep a neutral larynx for most of the time. I feel like I couldn't get over this roof.
Difference is that I'm still exploring my mixed voice, so maybe that's why I couldn't find flageolet...
Oh man! I am just experiencing this confusion these days! I keep practicing my falsetto to the upmost but always fail at F5 with horrible tensions. I saw some videos talking about using the vocal fry to BRING out the Flageolet but it doesn't work for me. They all forget to mention what you are saying: keep that creaky tension! apply the tension to vocal fry and bring it higher, then adding some sound to it to make Flageolet works! enlightening!!
Found something I did not know I had, this is truly game changing ! Keep those tips coming:)
I used to do flageolet when laughing, and anyway you're videos are very good, you're good at explaining
this is one of the most useful videos i have seen because this has been a struggle for me since ever
This is crazy that you put a video out about this. I just started figuring this out about my own singing two weeks or so ago. Feel this is such an important topic!!
Yo!! I found my flaglet using the creak so easily, in maybe three minutes. I never knew it existed before then. Thanks so much Greg!
I first started out doing mixed really lightly and discovered that I could hit all the notes in my favorite songs. I thought this was amazing. I didn't know it was mix or called flageole back then. I had to be very relaxed in order to it and only concentrate on the sensation in the back of my throat.
Exactly! Thought I was a baritone until I found it
@@Brandonreneeofficial i’m literally at this point rn and astonished at the new notes i’m able to hit without hurting myself
@@hedreamt9455 it’s so freeing ! Use this technique on every song you have struggled with. Record yourself use it as a warm up to find that placement every time!
Hi, what i hear is you have better cord closure when you use the flageolet tension! imo it improves your tone by like 20%
So far you’re the best one who can explain the flageolet good for you you have my respect
Hey Greg! I'd like to thank you for still giving us such indispensable advice as you always do in the ways which have never been described before by anybody else! I did notice this what you call Flageolet Tension even in my lower range but was really not able to explain it... I would like to raise the topic of applying one's mixed voice to actually singing songs. I've recently faced this problem when you already have learnt how to sing sirens and/or sing schedules in the region from say C4 to C5, you have learnt how to manipulate your first and second passaggio but cannot move any further towards singing a real song because as soon as you apply CONSONANTS you throat gets stuck and overly tensed. You either break into falsetto or your vocal chords simply stop vibrating...even though when you just sing vowels you feel perfectly free... so I should be very much obliged if you would make a video lesson about maintaining the air pressure and flow and also keeping your throat open during the articulation process while singing something as high as "Death of the Bachelor" or "Separate Ways" for instance (bc ima rock fan)/ You have touched upon this issue briefly in your interview with a CVT - teacher, so if you consider giving an explanatory respond to this comment that would also be great!
@@StudioWestLessons you are awesome
I have the same problems with consonants, still looking for a solution
So this is how Dimash can sing very high and powerfully. Thanks a lot for sharing, man! You rock! I am definitely trying this out 😃
Omg.. I have been wondering about this for like 7 years. Asked so many vocal coaches about it and no one knew what the heck I was talking about. Thank you.
This video helped me so much. It's still helping! You are right about staying away from closed vowels in flageolet. That can make your full voice not work. "HAH" is amazing. It raised my second harmonic substantially.
Did some research and found flageolet in old opera books. It was referred to as the "voice of a ventriloquist", "la voce finta", and "coperta". It has historically been used to blend the voice by slowly closing the gap at the front of the glottis.
Granted, it's not a new concept, but you are teaching it better than aaaaanyone.
At the very least, it seems that flageolet takes the airiness out of falsetto. It also stretches the vocal folds so that the thyroid cartilage can tilt easier. It probably does other stuff too, but it's just great. If any opera master has ever called it "falsetto", suddenly centuries of Classical books would make sense why they focus so much on developing it and bringing it lower. Especially given that what we generally think of as "falsetto" is pretty useless for that because it would just make our voices really airy in the first passaggio.
A couple of questions: Is it safe to sing in flageolet at a loud volume? CVT used to say that it causes splitting. Did they change their mind on that?
@@StudioWestLessons It is really cool that you got to see flageolet on an endo! Always wanted to have that experience. The reason I thought flageolet induced closure at the front of the folds above the trachea, is because practicing falsetto with air makes me choke on and positively drown in saliva, and flageolet exercises make it possible to sleep on my back without choking. If it closes the posterior of the true folds, why would that help with swallowing? Sorry for sounding dense, the anatomy stuff is just a bit confusing to me. It is possible that the flageolet coordination with high larynx moves the epiglottis, which might be getting stuck otherwise (due to dehydration)? I just want this dysphagia stuff to stop, whatever it takes. Would even consider surgery to stop choking and gagging on everything.
Sounds like flageolet is present in metallic modes. Isolated by itself, could it be "pure metal"? This seems separate from twang.
@@StudioWestLessons I don't have any more opinions to put forward, but can only say that swelling the OO vowel in flageolet from a quiet volume to as loud as possible has been huge for me. My full voice is more solid, resonant easier, clearer, and less airy. Thank you forever, Greg.
Oh Greg you are a fucking god, ive never seen nobody getting this practical and specific on how to do mix!! Cheers and merry christmas everyone!!
Great discussion, demo and essay- I heard Pavarotti describing a 'tourniquet' experience in upper passaggio- I think that's related In other centuries the terms voix feinte (feigned or deceptive voice) and voce finta (again, 'pretended' voice) were used to describe some of the sounds you're demonstrating IOW- a developed voice that sounds like one thing but is actually a developed version of other things- I think it allowed them to do very subtle and artistically expressive singing. When looking at the scores, you see markings that indicate this was an expected skill set-
Thanks- More, please
This is easily the most important video on flageolet, ever. Really excellent work!
I got curious about what was happening in flageolet tension, and started looking for information about the swallowing reflex. When you swallow, it brings the arytenoids together to close the vocal folds and keep liquid or food from getting into the airway. I'm not sure what your larynx height is when you do flag tension, but for me it is almost a swallow height. So, I believe that the tiny OO in flageolet improves vocal adduction via semi occlusion with back pressure, as well as stretches the vocal folds longer and thinner, making them more agile.
Outside of chest voice, I think flageolet is the only thing that really grows in the voice. As has been pointed out before, falsetto never grows into anything. In fact, it can weaken every sound you make, especially if you take it down into chest voice because it doesn't have much compression and can teach the vocal folds not to come together all the way.
To clarify, relaxed fry is what I have been missing in both warm-ups and vocal workouts. Forgot that I used to emulate Marilyn Manson and spent a lot of time messing around with fry, not realizing that it was strengthening my chest voice in the process.
It is really, really nice to know how to fix your own vocal imbalances and I owe it to you, Jens, and Salman for inspiring a re-examination of my technique. So, fry is flageolet! The mystery has been solved. :D
Your channel is literally the best, even for theater singers like me who need a refresher!
HOLY SHIT ! This is EXACTLY what I needed ! Thank you so much man !
Been watching a dozen vidéos , and first one that allows me to do it !! Thanks a lot
I think I gave this video 300% watch time lol. Thanks Greg, honestly.
Wow this is like a vocal hack to end all vocal hacks!!! This truly is like magic. When I tried, I was shocked to see how it worked instantly. I’m still wrapping my mind around the scientific vocal pedagogy behind this between the TA and CT coordination!
This is the best tutorial I've come across on flageolet, hands-down. The creak exercise is what I was missing. Dimash notes, here I come =)
any progress?
@@memedemon9206 No; I haven't been singing. I am overcoming trials and tribulations so I can go back to singing asap
@@LynnXternal good luck buddy
@@memedemon9206 Thank you so much! Update: I started practicing again as of last week! It feels so freeing to be able to sing again. It brings me so much joy that I cry haha
@@LynnXternal why don't you upload any videos of yours ??
Omg this is so helpful and resonates with me! I'm so grateful for your video and you are right, flageolet tension is not discussed by voice teachers. 👍🏾
Pure gold, thank you so much from the bottom of my heart
This is the first time anyone has really talked about the creeky gritty super high fry thing I do. I feel like what it its that allows that fry to go up high is the area above the primary cords holding back air. I use these sounds and feelings when I'm doing James Brown, Wilson Pickett, Bobby Womack or Prince style screams
I'd say bless you one more time but, you a living blessing. Best of life🙏🏿
i think utaite Eve started to use this technique especially recently. it sounds so good when he uses it, and i can notice it especially in his live perfomances
yours i can clearly hear and it's great too, and you've given really good examples to make me understand what it is
thank you so muchhh
i'm training this Eve's way of singing and it's the only one i have discovered to sing high notes so far on my own voice
i agree so much on this video and so far the experiences you're talking about regarding flageolet tension i can definitely feel myself at least in a minimum degree
A clear example of this flageolet thing can be clearly heard on Stuck in a Rut by The Darkness around 2:43 minute. I really like how you explain things. If there wasn't language differences and so difficulties to communicate with you because I can't speak correctly and might not fully comprehend what you'd trying to explain in a lesson, I would definitely love to have one!
6:43
13:30
14:27
14:45
15:20
15:45 *
16:40
17:05
17:20
18:00
18:35
18:45
19:15
19:47
21:54
22:23 * (kind of)
22:40
24:18 *
26:10 *
26:44
27:23 * (examples of good vowels)
Rounded vowels
Best video on flageolet ever
Very well thought out man. I’m impressed. Your content is getting really good. Keep up the fantastic work. I’m enjoying following this channel.
Awesome! I was experimenting this low exercise a few weeks ago and I gained more cord closure and realized that I could have more closure that I thought I could (without hurting my instrument). My whole life struggle is to sing at least a good G5 (comfortably). I will study the flageolet exercises to help me with that. My other struggle is to gain more vocal agility. I studied with metronome but there is a bpm level where I lost all the clearness of the notes that I had with less bpm.
I also want to hit a good G5 or somewhere around there, comfortably. I'll keep following along with these videos.
My goodness.. this is very very interesting... and you are a very very.. very good teacher!
That's a very interesting... Especially flageolet helps me to reach the whole tone, chest, mid, and surely up higher... that's cool dude, really like another register. I'll play with it more! Thx for sharing!
Thank you so much, Greg! I discovered my flageolet months ago but didn't know what it's called and how to implement it in my voice, this video cleared my confusions. I can't thank you enough! Also, I can't transition my chest voice to falsetto smoothly, it always either break or go to flageolet tension and I noticed that there are people who can naturally do it while speaking. I also want to sing high softly with a falsetto tone but everyone always seem to only teach powerful mixed voice. I've strengthened my falsetto in the past months but I can't understand how it can transition from chest smoothly.
@@StudioWestLessons That's great! I'm sure that video will be as incredibly helpful as this one. You're saving many singers from frustration! I'll surely book a lesson with you someday.
I usually break into flageolet like around f5 if I'm lazy with falsetto lol
Been watching this for 17 minutes and just noticed I have a can of flageolet beans in my cupboard. It’s a sign!
K, son
Done! Enjoy. 😁😎
They’re flatulence beans!
Greg any advice on how to connect flag tension below C5 with your chest voice/ M1?
Really... This is amazing! Finally someone is able to perfectly describe and SHOW everything I experience. You mentioned that "fry" thing in the area of passagio and experienced that too! Noone else said before that this thing is perfectly normal, and I thought i have something wrong with my voice.
In a matter of three days since you`ve uploaded this video i was able to succesfully sing legit high B and C almost effortlesly (though a bit shaky yet).
I still have uncertanty about lower range (c4-a4) because when I do glissando with flage tension i experience this fry effect through out this whole area.
Im able to somewhat belt up to the f#4 with my chest voice. But it is very difficult. (although I sing Opera and placed as a baritone)
Will I be able to smooth out the passagio area, so it would be fryless?
Again i have no words how to thank you... Literally saved my voice.
Cheers from Russia!
0:41 this made me chuckle
Hey Greg, thank you so much for covering this topic. It explains really well some things that made me confused about my own voice.
You know people that naturally transition their voice from chest to falsetto while just speaking. Do they use that flag tension or is it something else? My goal is to develop a coordination that resembles something effortless as that when singing.
@@StudioWestLessons Thenk you so much!! Looking foreward to that!
You have a bright future kid! This stuff is gold. How do you make your money? Do you give lessons?
thank you so so so much, always incredibly useful information well explained!!!
Interesting! A few weeks ago I stumbled onto something similar: I was starting with the fry and was trying to get clear notes "through" it, in the F#4-A4 range. And that resulted in a pretty bright clean tone, which to me sounded like mixed voice. Now wondering if that's the same thing underneath
You want me to creep my neighbours that there is a rake cave monster in my house 😂😂😂
I am back to leave my comment that i just found my fageolet my lowest range was C4 but i tried to lower it to B3 now, it is very strange. Like another voice very bright and super high, I did a siren from b3 to F5 efforlessly, i can go on but i think need to master lower voice first with this. I thought I was just baritone like you thought before but now I am like counter tenor. Thank you so much, you are doing very well.
My flageolet appears above F sharp for me. The only thing that confuses me is that I don’t use falsetto. I literally am just mixed belting and then anything above that point goes into flageolet. Of course that area of my voice doesn’t always work and it’s also a significant break between my mixed and flageolet registers. Normally when mixing that high I’m typically head dominant in my mixed but still maintain a grit to the sound.
@@StudioWestLessons Oh, I never knew that. Is falsetto something I should have though? Because mine is extremely underwhelming. That’s because I have never used it, so when I do it feels as if majority air is being released.
Thanks for the valuble informations, and can you please record a video teaching the flageolet and how to achieve it and improve it?
I still can't get past D5 but I think this technique has helped my Middle!
Nice one. Can definitely relate to the flageolet tension concept.I don’t think it’s a surprise that vocal fry was creeping in when you were going down with your flageolet into chest.
My issue is that there’s something wrong with my flageolet. It doesn’t extend as high as it probably should and it feels like I’m tensing and using too much air. Need to refine it.
Yes, good ear. It's not a coincidence :)
I've encountered a lot of people like that. They have some form of this compressed falsetto (what ive been referring to as flageolet in this video) but they don't have the upper extension. It comes with time. Keep the vowels very closed and small and the volume very low. Focus on the crying feeling and gradually stretch it. Hope that helps!
-Gregory
Wow with the creaking I was able to hit F5 at a lower volume. Normally I have to belt that falsetto out to reach F5, G5. Amazing. How often do you do the creaking, is there a possibility of harming the voice if you do it too much?
P.S. I love your videos. They are one of the things keeping me going through this UK lockdown.
I love this video !!! :))) You are the best!
Hello Studio West. May I enquire is the feeling of Flageolet Register or tension very near to the sensation of hiccups?
I am still trying my best to comprehend more on Flageolet Register. Thank you very much for your enlightenment West. 😊🤝
you're amazing!! it works awesomeeee!!!
Man, you are cool, thank you for this great explanation!
Thr singers who had the most struggles are the best teachers
I like singing with that kind feeling in flageolet tension but only in (A#4- C5-G5) so I've always stick with this technique but do you think I should let go of that flageolet tension in my upper register or mixed voice to get rid of the creaky sound like this in 25:00?
Im talking particularly about the song (Hope you're familiar with it) She's Gone "Forgive me, gi - iii - iii - rll" I can hit all the notes but I want to go for a clean sound throughout the whole transiton...
I always had that flagonent thing in my voice.
Wow! I’m so thankful because I managed to understand what is happening to my voice, since I’ve never found a video that literally described it ... I remember once experiencing the whistle register out of a whisper but I never got to access it again, only the flageolet. I want to get it back because feels less effortful than the flageolet... I even tried (and failed) to add the flageolet tension to the whisper mechanism to see if I would get to the whistle register again... So, is there a way I can go from the flageolet (M2) to the whistle register (M3)? Are their mechanisms similar?
I NEVER learned that u should PRACTICE making the creak go HIGHER! and I did squeek😊 IT'S WORKING!
I discovered the same thing by myself! but do you know when? When I was trying to sing quietly my highest falsetto notes (around G5/A5/B5) and trying to go to a connected quiet sound that wasn't falsetto.
I always called that "quiet mixed voice", because it sounded like my mixed voice sound quality but taken to the extreme, so very narrow and squeaky sounding and, of course, quiet.
@@StudioWestLessons one thing, do you do your super high and distorted blues squalls with flageolet tension?
Ty sharing. I think he sharing the secrets of vocal coaches.
YOU ARE MY GOD
You need to check out “One Voice” by Michael Maresca. You are discovering some things on your own that perfectly align with our view of the voice.
amazing explanation!
I felt this tension any time i tried to sing a bee gees song while showering lol
11:09 I must say, I totally relate to that sound, cuz I do it all the time...... that’s my cat voice.... I meow like a cat using that to sort of mimic a cat’s meow and then thought if I could use that to sing higher notes....... you are right about the tension and also thinking about my chest or mixed voice I do use that flageolet tension to kind of reinforce my spound a bit... yeah man it is wonderful to understand what I’m kind of familiar and have been using without completely understanding it, until now!!!!
he said magic and meant it
i think this will be life changing for me. for someone who hasn’t accessed their mix voice yet, do you think this is the way to go? (Also, i’ve watched your mixed voice video a thousand times by now. I believe a lot of things you were finding difficult to explain there are actually the topic of this video!)
That glide at 4:46 was almost surreal sounding
It was 4-5 years after my voice broke that any sign of Falsetto appeared (with quite a gap). Now decades after, I still have only about 60% of the range I had when I was 11 (between both chest and head/falsetto) albeit lower. Flageolet? Not here. I get to about half way through your falsetto with mine before I reach the limit. This is all in a different world to mine, but interesting none the less!
Do you actively sing with it and use that part of your voice? I find most students that have a limited falsetto don't spend nearly enough time in it to coordinate and develop it more :)
-Gregory West
@@StudioWestLessons I use falsetto at every single gig I play (6 or 7 a month). Doesn't guarantee I'll ever have your range or even close to it. I thought people weren't trying when I was young and had a much larger range. I now know they were.
Amazing video, you've helped me sing above an F#4 up to C6 without needing to 'push' - Thank you! Now how do I find my head voice?!
Whenever I look for anything above my 2nd break (F#4) I blend into Flageolet and my volume/ability to support plummets. It's fine in a quiet room, tbh You'd never know, but if I'm trying to sing along to The Darkness - I Believe in a Thing Called Love in a louder environment (like when I'm driving) I can't get anywhere near enough volume in this register.
Should I keep strengthening this register? Or is there another technique to find head voice without going straight into Flageolet?
This is brilliant omg
I think it's because of this tension that I can't use my falsetto/head voice. So I hit high notes in mixed voice or in whistle voice.
I thinked it was some kind of low whistle or a mix between whistle and falsetto. When younger I could sing in whistle and flageolet with ease and seamless transition and in choir often could sing with the sopranos (I could sing up to C7 with 16 years old). I just realized how to go from flageolet to mix recently. I can sing flageolet today (35 years old) up to C6, but whistle only in the morning sometimes.
This is fascinating. I’d like to hear this in context, like in a song 🤔
@@StudioWestLessons thanks, I’ll check it out.
thank's Gregory it's so good for me
My butt does flagella all the time, good to know there’s another source for this technique!
Great 👍 teacher !!!!!!!!
Wow... So this is what it's called, I always thought that this was a Falsetto version 2 that allows me to sing higher falsetto notes. And the way that you described it, I immediately knew what you were talking about, especially the part where you said it kinda feels like another register, because to me it feels that way too! But I never knew what it was called. I'm midway to strengthening my mix thanks to your vids and I feel like this is the last piece of the puzzle to make my mix sound not shaky when I sing. So if I understood this correctly, when using flageolet tension, I should try to bring that down and blend it to my falsetto and chest, am I correct? Then add a little weight for belting quality? Thank you in advanced.
Yes. Look at this as a "mode" your voice can enter that can be overlayed onto any register. The "tension" causes you to enter that mode and the tension is very useful for stabilization of your mix (whether or not you enter fully into the "mode").
Ive updated some of these terms and will be releasing a video on it soon!
-Greg
Thank you so much for making these type of videos!!! I have a thing when I’m trying use mix voice and I’m really confused of what could it be. When I’m singing high notes, for example like a F5, it doesn’t sound strong like it would if I use head voice. So, how can I fix it? I would really appreciate the help💙
very usefull, thank you very much... just a couple of questions:
1) once i've carried this flageolet tension down to chest voice, how to apply that into a song? i mean how do i activate this mechanism?
2) how can i make my voice more resistent, in a song with middle-high notes F#4, G4, G#4?
@@StudioWestLessons i mean, just vocal resistance, right now I am able to sing in mixed voice but, after I sing a song with long parts with that kind of notes (not very high), I feel hoarseness in my voice
this is very hard for me to learn as 1 my natural falsetto goes up to a C#6 and 2 my voice just flips to whistle register when doing this
err chest straight to falsetto. What happened to head voice? Male voice - order Chest, Head, Falsetto, Flageolet, Whistle agreed? and mixed voice between each to blend two voices (in order). Each voice has a useful vocal range? with blending (mixing) from one to another?
awesome and interesting!!!
Just to clarify, what you call here falsetto is in other methods such as SLS referred to as head voice, right? (given the full cord closure sound, whether as falsetto is often referred to as an airier sound with low dynamic control)
I am currently at a point where I am learning to use my flageolet tension to help me bridge over my passagio. Currently it is the only coordination with which I can freely bridge over my voice break. However, the "mixed voice" I am able to achieve with this tension does not quite sound like the one I am aiming for (a bruno mars style mixed voice). This might be because i dont have enough practice in this coordination (my current mixed voice does sound quite shaky after all), however you also mentioned in the video how you had to unlearn flageolet tension to achieve another type of sound which you liked more. Would you know if this also applies in my case, and if so how I could start learning other mixed voice coordinations?
So I have a question: is the flageolet tension achievable by increasing the vocal folds resistance but without increasing the air pressure by squeezing more with support, right?
Also, is it useful if I'm using this creeky sound to slide through my passaggio, starting in a very light but bright chest voice, almost like a sight? (It's an exercise I saw you teach in the livestream with your student blake)
It's been useful for me
Hi!
Yes you've got that right. Tho you can certainly push the air pressure while also increasing the folds resistance simultaneously with the flageolet tension.
And yes, but if you are sighing with more airflow then you are probably not in this tight, compressed, "flag mode" and rather are just engaging the same tension without getting enough resistance to be fully in this "mode".
Hope that helps!
-Gregory
Would you accept the term superhead voice to describe this? It seems like falsetto, as you describe it, is precluding the strong connectedness of true head voice. Is it not possible top keep the chords connected throughout the range?
Thank you so much. I was able to discover my mixed voice just today.
However, it feels a little bit shaky when I try to bring it down to where my passagio is. And it also gets unstable when I try to sing with it. Any advice on how to work on that?
It is possible to access that „flagolet“ by yawning your falsetto.
How do you relate flageolet with inhale fonation? For me it's been súper helpful... do you know why is that?
Love this video sm!!! I found my flageolet. But I'm struggling to go higher and to have easy access to it. It's like there's always a bad tension going on blocking me to go higher. What should I do? :)
i have to use as little air as possible to do it, almost feels like i’m inhaling whilst doing this voice so i wonder if this is what is meant by “inhalare la voce” in vocal pedagogy