fella
Vocal Novice
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Posts: 20
Likes: 8
Join Date: February 2022
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Post by fella on Feb 15, 2022 2:09:37 GMT
Hi guys I´m new to the forum, this is my first post. I believe I might be an interesting case, I am a Bass-Baritone (I couldn´t sing above E4 properly), but with time I expanded my tessitura and range alot and nowadays I can very comfortably hit, even using an operatic approach (which makes it much harder to do than the non-classical away) the tenor high C and above. I nowadays have a range of A1-A6, without counting fry, which I achieved with alot of hard work. If you guys want to listen to it, here is an audio of mine reaching A1 to A6 and some notes in between: vocaroo.com/1eJJndf7idRYHere me singing a little bit of Soundgarden: vocaroo.com/1i5VL7P9ZXg7 |
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fella
Vocal Novice
Offline
Posts: 20
Likes: 8
Join Date: February 2022
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Post by fella on Feb 15, 2022 2:58:20 GMT
Everything sounds good, you definitely have a deep timbre but managed to hit the Bb4 and B4 high notes very nicely. Wasn't as fond of the C5 and C#5 but they were still good. My only issue is that your G6 and A6 notes sound inhaled, so would not count towards your vocal range! Thanks man, but I must make one correction, the G6 and A6 were exhaled, not inhaled (I used flageolet register for them), I never make inhaled notes. |
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Post by Velsarie Vivardesque on Feb 15, 2022 5:50:33 GMT
Hello I like your username on the forum and range showcase, another one with nice deep lows, why no one's there bottoming at G2 or something
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fella
Vocal Novice
Offline
Posts: 20
Likes: 8
Join Date: February 2022
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Post by fella on Feb 15, 2022 17:27:03 GMT
damn, how did you get your Bb4-Eb5 area so girthy? You gotta do what singing teachers tell you not to do: practicing pulling chest high as as you can, but with big intervals, so you don´t hurt yourtself. You need patience and alot of knowledge of your own body. You start by finding where you last pure chest note is. You will find that you have a note that you can pull in full chest, but that is a bit weak, and the note right afterwards will be wobbly and not reliable, despite being somewhat possible to do, then the note after this one will not be possible to phonated at all in pure chest register. You will then focus on the first note I mentioned (the one you can pull in pure chest but sounds weak), and the note right before it. You will try to make those two notes as powerful as you can, and you will avoid being too technical at them. You will basically just shout them in your call register, and hold them as long as you can. Its tiring for the voice and quite hardcore, so thats the knowledge about your own body part enters. As soon as you feel your voice beggining to get hurt or get husky, you will stop, for at least 20 minutes, if possible to one hour. Then you will come back at it, and start just overpowering your chest ressonance at those two notes. You will be really forcing your primal chest mechanism at its limit, but always adding intervals, instead of doing one bigger training session. In my free days I do 10 minutes of exercise (including those) then rest 40-60 minutes, then come back at it, then rest for more 40-60 minutes, then come back at it, and so on, so in the end you will have done this 4/5x times in the day. You will learn that despite not being a healthy sound you are producing, the big intervals make alot of diference (some days I did 3 hours intervals between those), so your voice can endure it without getting blown out. Also remember that if you do intervals bigger than one hour, you should warm up your voice again for 5-10 minutes before going back into the shouting practing. After I kept at this, I noticed that after some time this last chest note that was weak sounding would become naturally powerful, and the next one that was wobbly would become more reliable (and take the place of the previous note), and the next note that wasn´t possible to be emited at all would suddenly just "appear" in my chest register. Then I keep the same process again, but shifting the two notes you train in pure chest a half step up, in your newly developed range. You just keep doing this, eventually you will notice not only your range but your tessitura will have increased, your second passagio will probably shift up (nowadays I have my second passagio at a G4, which is a lyric tenor territory, while maintaing my bass-baritone first passagio). Alot of singing teachers say you can´t increase your tessitura or passagio but I have found out that this is flat out wrong, the thing is that you need to expand your call register significantly so your tessitura and passagio go upwards, and by that you need to introduce in your training producing sounds that are not too healthy, and learn to manage the stress they cause on your vocal chords by really limiting that part of your trainaing to very small bursts of practice. Nowadays I can pull a D5 in my chest call register, without any technique or whatsoever, just shouting it: vocaroo.com/1hpmqn7V4hel. You will note it doesn´t sound good or healthy, because it isn´t. This is not going to be used in your actual singing, you are just strengthening the primal aspects of your voice, and from it you will find that you can pull healthy sounds in this range with much more ease you used to. Its also good to remember you cannot train only this way, this is supposed to be done always in small bursts, you still gotta use most of your practice time to develop your healthy vocal techniques. I basically do this, then in the notes I was able to produce with my primal shout, I try to practice using an operatice approach (chiaroscuro), so I can maximize both my bright ressonance and covered dark ressonance, so I can extract the most power and mass I can of them but in a healthy way, and from this I let go of the operatic approach and just use a contemporary sound. By going this way: primal shout > operatic approach > contemporary approach, I have found that in the end my high notes become much more powerful and in a well balanced way, with alot of chest mass into them. The downside is that I haven´t spent alot of time developing my headier mix, and when I try to sing some styles where you cannot pull too much ressonance or power, like some modern pop songs, due to my increased tessitura, too much chest ressonance gets in the sound and that doesn´t sound very good when singing things like The Weeknd or Michael Jackson, where you gotta sound more heady and not having that much TA mechanism turned on. In this moment in time I can pull a heavy amount of chest to my E5, after I get able to pull F5's in a heavy chesty mix I will start to work on my heady mix. |
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