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kickingtone

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  1. Maybe try a streaming service like soundcloud or even vicaroo (where you don't have to register). I ain't opening no downloaded file.
  2. The more of a classical technique the singer has, the easier I find it to assess the breath support. This is because the aim of the technique is to be relaxed AND sound relaxed. In other genres, particularly hard rock, the aim is often to be relaxed, BUT sound completely the opposite -- many listeners would be looking for rasp, distortion and signs of a stressful or tortured existence, lol -- life as a fight (or maybe I just don't get it). The more towards the hard rock end a singer is, the more difficult it is to distinguish what is and what isn't intentional in terms of good or bad breath support technique. The only breath support technique I can claim some understanding of is "appoggio" from the classical Bel Canto tradition. It can be an excellent underpining of contemporary singing, too. Proof that you are getting it right comes mainly from a sense of relaxation in the throat, mouth, jaw, upper body and diaphragm. All the anchorage of the breath is taken on the pelvic floor and in the trunk, with the diaphragm "floating" like a trampoline, as a suspension system. It is more than just "diaphragmatic breathing". It involves an opposition (or contrary/sandwich movement/pressure) of diaphragm vs trunk/lower abs. A sure sign that a singer has inadequate breath support would be something like the inability to hold a note for, say, ten seconds, or to do a siren (slide smoothly from one note to another) in ten second (as a standalone exercise). You have to be careful when listening to contemporary singers who base their technique on good principles, but then disguise the sound (usually because they don't want it sounding "clean" for whatever reason). It is more difficult to assess what they are doing, and care has to be taken if you try to emulate it. Bear in mind that they may actually have proper technique which they are disguising. I find listening to classical singers an easier starting point, even for contemporary singing.
  3. I'm too security conscious to download files. I only listen to streamed content.
  4. Definitely sounded in tune, to me. I don't know the original song, so I don't know how faithful you were to it. And I'm not going to check, because it really isn't my kind of music. But you executed it well enough to make it interesting and presentable. Advice? Yeah, go for it, man. How relaxed did you feel? I could definitely hear your breath support engaging, and I did wonder whether it was sufficient (not for sound quality, but for vocal health -- your breath seemed to me to be more anchored at the chest or diaphragm, than at the pelvic floor, but I can't say that it is an easy thing to tell from listening to a recording, or that it isn't simply a question of style.)
  5. What I like about these videos (especially concerning the Bel Canto tradition) is that I have come across many of the issues being discussed simply by listening to my own recordings, identifying problems and trying to find a solution by experimenting. Often, by time I see the same problem being discussed on YT, it is easily recognizable, I have already played with it, and I have a solid enough idea of what they are talking about. So, I can compare their recommendations with whatever I have found out through experiment. It makes those videos several times more valuable than if they were uncharted waters. For example, I have heard Tenelli, Trimble and LIVigni talk about how certain vocal configurations will not convert or "turn" correctly in certain situations where you have not prepared. There is a point at which you may be stuck with an inadequate mode or configuration while leading into a particular phrase. No amount of adjustment thereafter will solve the problem; you will only end up pushing. The key is "being in the right lane some time before you get to the intersection." That is why practising a phrase on its own may not fix the problem. As soon as you sing it in combination, what goes before may lead you subconsciously into the wrong configuration (which may work perfectly ok in another situation). I also realized that I was correctly following Tenelli's appoggio tutorials when he describing a particular diaphragmatic configuration. He mentioned in passing that, for the particular example he was singing, you can't do the action twice (you have to reset somehow, in between). I'd already discovered this myself, through experiment,. That indicated that I was following him correctly. When looking for videos online, I look for people who can describe and address issues I have noticed. That tends to eliminate the quacks and those whose approach is unnatural for me. (You need a lot of experimental material for this to work). For whatever reason, that seems to have left me with these really good classical tenors, even though I am not into classical singing, at all! (My appreciation of it has increased as a result, though.)
  6. Looking forward to listening to it. Your phone will automatically compress and alter the sound. They don't do very faithful recordings. May be an idea to buy a dedicated mic.
  7. Thoughts? You sound like someone casually singing while pruning the roses in the garden. But that might be because of the volume.
  8. Hi, and welcome to the forum, TheRoof. Almost everybody has a chance at singing. It just takes a lot more practice than a lot of people are willing to do. It is difficult for me to say a lot about your particular clip, because you are using falsetto and there is quite a bit of hiss and other noise on the recording. How did you record the clip? I think it is more important to get a clean recording with falsetto, because it easily gets distorted by noise. (The word "know" at 10 seconds has what sounds like a very distinctive autotuning effect. So I am also wondering if the clip has been altered by software.)
  9. Can an Italian speaker help me out please. In this video at 6 : 00 they switch rooms. Do they say why? If so, what is the reason? I can only guess from the sounds, actions and gestures. It seems to me as if may have something to do with the Italian 'e' vs the English 'e' (which can push the tongue back). Could it be that they changed rooms to help with the feedback and resonance? Did Fisichella decide that this would help LiVigni? Or did they simply have to vacate the room for someone else! Whatever the case, it seems to have made a big difference. (I'm guessing that it's not two separate videos stitched together to give a false time frame.) [video=youtube;DiYyY2Fhp8g]
  10. ^ It would follow that, to have your own individual style for a song (rather than mimic an existing artist), you need to be able to create the mood and sound in your head first. The better you can do that, the more successful your technique and expression will become. AS ALWAYS FOLKS, IGNORE THE TROLLS! STAY FOCUSED!
  11. Discovered this dude. I find that the best coaches have excellent psychological insight. That is a very difficult thing, and why I think good coaches are so few and far between. Like Franco Tenelli, Jack Livigni mentions the psychology behind technique. If follows from one of the points he makes in this video that your mind must hear the correct sound before you can develop the technique to produce that sound. That is to say that your technique will try to produce what is in your mind -- what your mind's ear hears -- either consciously or subconsciously. That is a really important point, because there are so many just-do-as-I-say coaches out there who instruct their students without really discussing the desired adjustments in sound, and making sure that the student is on board with it. Jack Livigni predicts that what happens in these situations is that the student will try to continue to make the same sound with the adjusted technique, rather than adjust the sound! Anyway, he gives much food for thought, and raises some excellent points.. [video=youtube;RnSTjqVDAA4]
  12. Somebody with real pitch issues tends to go out of tune randomly, or to be monotone, which is obviously not where you are. So, don't worry that your "guidance system" is somehow not working or will limit you! It's clearly fine, otherwise you wouldn't have been able to sing those songs anywhere close to the way you did. I totally get your concern, but the fact is that your ears are silently doing their thing, faithfully and efficiently taking you in the right direction, and only letting up their secret when you look back a year later. It's a blessing in disguise, your critical ear leading your voice by just the right amount. They'll probably stay doing that graceful tango, forever. But there will come a point where nobody is talking about that catch-all, "pitch issues", any more. (They'll be complaining about something else, instead! ) I am not an expert, but I have learned an enormous amount by taking a lot of interest in the progress other people make in singing, comparing it with my own progress and incorporating new ideas. It really pays off. So, I get to see a lot of patterns and "strange things" that are actually normal and expected. Personally, I strongly recommend AGAINST using any app or doing any exercise to try to "recalibrate" your sense of pitch. People will call just about anything a "pitch issue", including when your pitch sense is fine, but pitch is being affected by a subtle side effect of some other issue. I have come across people who have taught themselves to sing half a pitch lower than their perception!! I think that, when their technique improves, and the real problem goes away, they are going to be stuffed! A messed up psychological perception is not a genie that goes easily back into the bottle!! Kinda like an actor who learns to stutter for a particular role, and later discovers that he can't stop! Anyway, I am glad to hear that you are taking heart. I don't really want to interfere with what your teacher is teaching you, but I can't resist posting the following vids. I just get the sense that your voice will take off with the right breath support method, given that it sounds strong in other areas. Michael Trimble nails it when he says that "the breath moves everything"... [video=youtube;rrqZAp5gWAE] [video=youtube;wfMpvbYFO-U]
  13. One of the things I did yesterday was to find Dusty Springfield's "Son of a Preacher Man" on YouTube, and compare, note for note. Broken down like that, it is obvious to me that you are following the melody just fine. I think that you are past that level. It is not about being a tone or half tone off. It is more subtle. For example, in the second half, where you had to lift your voice, I think that better breath support would have helped a lot. Of course, we don't normally "stare" at songs note for note. The sense of the "whole" comes into play. I just think that you need stronger cueing of your pitch in places -- Is your pitch centre consistent? Which notes are your pitch sustain emphasizing? Are you "swallowing" (inadequate pitch sustain) some key notes (quite often things like prepositions which we swallow in normal speech but which land on key notes while singing)? Does the timing of the sweet spot of the note gel with the beat, etc. These things can give different pitch sensations to different people, even if the correct pitch has basically been attained. Many of these things you may be subconsciously intending while singing, but your technique may not yet be delivering them purposefully enough. When we listen back, I think our psyche can "correct" all those things, or "add them back in" if they are missing and we are not monitoring them. We may not be monitor them if our particular stylistic interest is on other aspects of the song. So we may have to actively learn to listen more broadly to be able to assess our own vocals. It is so common, that it is normal, and nothing to be surprised or concerned about. You certainly don't sound anything like those wanabes you referred to. If you are one of those singers who "hones in" on a melody as a whole, everything will correct naturally as your technique improves. You will automatically find yourself listening deeper according to your ability over time, and instinctively improve a host of complex factors. Nothing to worry about. Top singers say that the process and improvement never ends. If you are a more mechanical singer who likes to take everything to bits first, note by note, singing slowly, I think that correction can be a bit more tedious because of the complexity.
  14. Three questions/questiony things... 1. How did you record your vocals? Through headphones? One earpiece off, so you could hear yourself? etc. More detail would be useful. 2. How relaxed did you feel when singing, and did you find the songs easy enough to sing? Was the range comfortable? 3. When you say you can't hear if you are off, do you mean while you are singing, when you listen to the playback, or both?
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