This helped a lot. It also shows why its sometimes important not to under explain things. I've heard the words "think down when singing high" many times but never got something out of it. I think ppl learning singing fresh without another physical background might naturally understand that it's a throat thing, but as someone who previously took several different physical arts, i always translated it wrongly to a ribcage or diaphram action, or even focusing on a low point in my body while expecting something to esoterically fall into place. Thanks for the C shape at the back of the throat thing
Well... When I open my mouth I find I'm still either in pure head voice or pulling chest. It's weird because I can slide through the whole range without a break, but it feels and sounds like your pulling chest demonstration rather than free and easy. Is it possible to do that and never actually be in mix?
I can slide from chest to head without a break, but it doesn't feel or sound free and easy like that. Is it possible to do the slide and not be in mix at any point?
This exercise helps quite alot with staying in the right place for sure, but I break like crazy when I hit a certain note, roughly around an F4 to which I break into falsetto You have any tips to break past this?
This thing is very natural to me, maybe because in the middle east it is very common to sing like that in more ethnic songs, I hate how it sounds and the buzzing sensations it creates on me, but I like it on others... :/ it doesn't sound like a mix like me, just a nasally chest, like someone with a cold, or an old lady. When I'm doing it I feel shouty even when I try to sing quiet, on spectrogram al three harmonics go crazy, is there a way to use it with lower intensity?
Holy shit. I think this is it I think this is the piece I was missing. All others were saying its something to do with the soft pallet, but going from E to A and then rising on the A into the soft pallet, I almost did it. This video is being saved, and this is being added to my daily practice. Thank you
about the nose exercise, it lowers my volume, there for first harmony and second get lower, and the third become the dominante, but if ill try to push for higher volume im in belting again
interestingly, my natural tendency was to keep my mouth static and not so open, i guess because of low confidence. but many of the vocal coaches instruct people to open their mouth vertically or smile, so i followed it, and it tend to work in allowing me to go higher with less strain.... now you advice me to go back to neutral :x this hold the sternum trick is amazing! i got from G2 to C2 only by holding the sternum down! where can i see more about how it works?
i dont understand man, when you direct your voice to your uppercheeks your larynx stops moving? at all? something very strange happens to me when i try this thing. I'm a baritone, and i can use head voice near to C6 in good days, but definitely above C5 in any day. when i do what you suggested the larynx moves but more slowly, and i just cant go into head voice at all, i got near c5 and my voice get choked. i need to release the configuration, reset it to what i know, and then i can get into head again, and by that my larynx hits the sky. maybe its not a true head voice what i got? maybe its what people calls "flageolet". is this tip will work also for flageolet?
a very good exercise, it immidietly increase breath support and closure to all register, i hope someday ill have those without priming myself with this method. one think i would like to add, this built pressure can be dangerous in head voice, it need to be modified before you switch to voice produce because head voice not build to deal with so much pressure and it can get hurt.
if a creating vibrations in different places of the head called placementing, then that comes naturally to me (at least one skill that comes easy, so I'm not a total failure).. the problem there is, although that according to the spectrogram i get amazing number of over tones, which should be a good sign, in practice i seem to perceive my voice as nasal, arrogont, unnartural, made of, and it feels embarrassing to sing like that.. althought i noticed that most known singers use it all the time. so maybe my work here is more psychological? or maybe in my case it comes less pretty to "sing from the mask"? i dont know.
great, if i focus on chords closure i get spectrogram configurations that fit to mix between to a very small range before C5, in C5 it turns to head. the question is how to make this closure a easy habit that works on its on whenever you want it to without thinking, and most importantly, how to overcome the difficulty and strain happens when you use closure fitted to mix in your head voice. you need to immidietly tune down when you enter to head, otherwise i get air and pain instead of steady sound
It does make me produce different kind of vocal quality, it is a high easy produced voice, sounds like a voice coming from somewhere in the back, and all chest resonance is gone. In spectro it looks like soft belting
I think I’ve been practising with quiet mixed voice almost for a year now, because it is always connected. This video made me realise it. It has been a game changer.
That's not what everybody does in high notes? I can't at all project high head notes to my forehead, it makes the hard to a point they crack with too much volume
i really like imagery instructions, it works for me wonderfully so keep bringing instructional vids like that <3. what i noticed that if i imagine I'm directing it only upwards, the first harmonic takes control and the overall voice has less force\becomes more quieter. if I'm directing it downwards and upwards i get the "open throat" sensation just like when I'm trying to imitate opera singers. it keeps the voice around the same volume but spreading the force across all overtones, but the voice color changes to a more deep, like it comes more from the back of the head, and in most music genres it doesn't really fits. another thing, because this is not about mix voice but only for strain less, if someone can only belt, this tip will give him a bit more of high less strainfull notes, until he will hit the line when it need to flip to head, near this area the strain will come back, even if you try to stick with this intruction.
U creats a "mix configuration", i guess thats because the vowel mutes the second harmonic. but because the third stays around where he would in a different vowel, when i switch to open vowel the second harmonic takes control once more... i didn't really understand what was the goal of this exercise :\
i like the semi occlusion for training more force insertion to the voice by pressure, thats nice. interestingly, when i do the exercise you suggested with "MUM" + semi, i get stronger force in second to fourth harmonics, where the fourth overcome the third, while the fourth getting close to the second but still cant pass it. interesting... the third seems to be hard to manipulate, it seems like its getting stronger with all the others linearly, while the more upper overtones are easier to manipulate by vocal placements. that's ok, if someone had a golden trick for mix voice he would win a youtube award, its not that mix voice got a name of being a difficult skill for nothing, no one up to now managed to provide a straight forward foolproof tool that gets most people to be able to produce it. is it possible that some people just cant really produce it?
wow great idea, unfurtonatly you still sound loud even with it. it could help me a ton if ill manage to find something better for me. does such device have a proffesional name i could search at online shops?
about tongue position, i feel it promotes extra buzz sensation on the top of my "mask" and i can observe in the spectrogram it adds more overtones, no effects on the first harmonics though
wow im so impressed. i manipulated the mouth sensation and i saw immidate change in the strength of the second harmonic strength in head, and the third in chest + one more overtone :o i tried to use the same engagement in both cases and repeated it and the effect was consistent
i dont think im tend to imitate someone, maybe a feel or effects, especially when it comes to rock where they doing the sharp power notes. but ill tell you what, naturally i speak with very loose closure, but in singing I'm demanded to increase it, and when i engage my chords my voice turns to more "stressed sounding" emotional wise, dramatic, operaic, and of course it doesnt sound like anything similar to my speaking voice, nor convincing anyone emotionally. its like a psychological perception takes control and dictates my singing by how i "suppose" to sound like given this kind of engagement at the vocal chords and emotions i feel when hearing that song.
i didnt know about the semi occluded exercise, it worked like magic, i did it once and the vibrato came out steady out of a sudden. about muscle tensions, as i replied in previous video, this thumbs thing is only a diagnostic method, it isnt a treatment\fixing tool. i watched many vocal coaching videos i youtube, and i can say no one really solve this problem in any video, maybe it doesnt have a methodical fixing approach... if you will come with one i think you will be the first.
"if you can do it, you are on the way", if i could do it i wouldnt watch a how to video :') i get this muscle work when i go to head, near to c5, no matter if in legato or stecato (male baritone here). about opening the mounth, i noticed it makes the finger move further from the tongue muscles, falsly giving the impression the muscle work less, but thats an illusion.
another thing about this "trick", i see that when i use this puffy cheeks method, I'm much in my throat, and when i extract vocals from there i can get only 2 harmonics, in order to get all resonance i need to get it up to my nose and forehead, and this pressure in the throat doesn't promote that. if i do it with the spectrogram, i see that I'm in two harmonics and then shifting it up to get the others, but I'm not in the same configuration as i was anymore
im hot on this spectrogram thing right now, im doing the puffy cheeks, up to G4 where my mix should be (male baritone), singing roxanne, and it falls into belting by the spectrogram, higher not have third harmony stronger (ROX) and then the lower note (ANNE) automatically bring the energy back and only second harmony left as the formant. is it a must to shout everytime you practice mix? is it a shouty kind of voice? everyone i see teaching it always shout all the time
@@zaccelinder3344 Yes absolutely I teach online lessons. My schedule is pretty slammed at the moment but please reach out to bookingtylerwysong@gmail.com to either join my waiting list or possibly we can make something work if you happen to have availability at the same time as my very limited available spots.
Another question since you are so kind, knowledgeable and responsive. I see that when I use full closure of my voice I can observe steady over tones all across and up to 8000hz in chest and up to 10000hz when trying with the starting notes of my head voice. Is it what expected from male bariton? Does it have any meanings/applications? I feel i was avoiding this kind of voice all my life because it vibrates unpleasantly in my forehead/sinuses and ring/buzz harshly in my ears, although in records it sounds nice and somewhat impressive/operatic.
