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 daniel430lee |
disconnect/ falsetto problem |
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Posts: 25 (06/30/09 1:55 PM) |
I go into a falsetto everytime I come to my bridge with dopey liprolls, should I just keep trying over and over again until I get it, or is there a better
more effective way?
or will I reach higher after doing lip rolls/tongue trills for a long time |
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musiciano |
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Posts: 1125 (06/30/09 2:48 PM) |
How about stop trying to not disconnect. Be open and willing to disconnect. There is nothing wrong with disconnecting, so be open to it and welcome
disconnection.
I know seemingly every cell in your body has something against disconnecting, but that's exactly why it's happening, there is no collaboration, only resistance. So let it disconnect and laugh everytime it happens! It's fun to disconnect! It's cool! And it's the only way to get better at it too! So have fun at sucking, because one day you won't suck anymore and you'll miss sucking. Be playful, have fun, take it easy. This isn't a life or death thing, it's a fun journey! ENJOY IT! |
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daniel430lee |
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Posts: 25 (06/30/09 7:42 PM) |
lol i like your optimistic attitude. I want to have fun, but at the sametime, i would like to improve also.
Btw i meant going into falsetto not disconnect (sorry, i got confused between the two terms). Is there any way i could go into clear head voice after i pass my bridge instead of going into some airy falsetto voice? |
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musiciano |
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Posts: 1125 (06/30/09 7:55 PM) |
It takes time. It's not "my optimistic attitude" it's reality. The falsetto thing is the same.
I want to stop you on your tracks right here and tell you that frustration and impatience don't work well at all in this. If you really love this and want this you must keep it real. You will learn to bridge chest with head, but it is going to take exploration and trust. There is no advice I can give that I have not already given on the forums. Find out for yourself. That's what we all end up doing anyway. |
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strike123 |
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Posts: 533 (06/30/09 10:03 PM) |
trust me. musiciano is right. the worst problem to get stuck on during singing is the head voice vs mix vs falsetto. In the end, it doesn't matter. You
will use all of them in your singing. As you learn to relax, to use less air, engage your vibrato, that breathy airy falsetto will become head voice. Don't
worry about going into head voice or falsetto. Beginners always come on the board and ask how to go into head voice instead of falsetto. I'll tell you now
that it doesn't make a difference. Focus on using as little air as possible and staying as relaxed as possible. If your voice spins in vibrato, let it.
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Napilopez |
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Posts: 655 (06/30/09 10:52 PM) |
I agree with Musiciano and strike! Really, what they are describing is EXACTLY what kept me down for such a long time! As much as I love SS, I do notice a lot
of people get concerned with cracking and stuff and trying to avoid certain coordinations and stuff. Although i guess it's understandable because I mean,
it's pretty hard to explain EVERYTHING on those CDs lol. But yea dude, don't fret. The division between headvoice and falsetto exists, but its a blurry
line. Its basically about closure in the vocal chords. Head voice has more closure, and thus, it is easier for you to connect chest with head voice rather than
falsetto. But there isn't like, just a pure head voice coordination and a pure falsetto one, there are different levels in between with different qualities
to them.
You are actually suffering from the sameee exact problem I had at the beginning of my training, when I was using Seth Rigg's "Singer's Advantage" program. It was actually Brett's program that made me realized I was too concerned with cracking, when I should have been focusing more on the ease of the sound. My problem was always I would try SOOO hard to connect with a dopey sound, but no matter what I tried I couldn't. So, stop worrying about it! Each exercise has a purpose, and the dopey sound isn't really meant to connect, at least not when going from the bottom up. The dopey exercises are there to help you relieve tension, but sometimes relieving tension can come with more cracking until your vocal ability develop more. The dopey lip rolls and tongue trills I believe are actually the exercises you should worry the LEAST about cracking! Those exercises, along with the humming, are supposed to be the easiest, most relaxed ones. Crack all your voice wants on dopey lip rolls! Don't try to prevent it during those execises, because if you do, you're simply masking the problem rather than actually solving it. As you practice, it will happen less and less. Dopey sounds work by lowering your larynx, so that if your larynx does rise, it doesn't go above a neutral position. Practicing with dopey sounds trains your muscle memory to be more neutral during "normal" singing, and it also eases tension overall by lessening the use of the swallowing muscles. Funny story, i worked so hard on removing cracking, that now that I actually want to crack/flip for stylistic reasons, I had to "relearn" how to crack XD. For getting head voice as opposed to falsetto, try singing with "ooo" like in "moo" sounds. It should be a very easy sound. So yea, to summarize, you don't need to be able to go through your bridge with a dopey sound I think. The dopey sound is a tool, so that in your normal singing you are more relaxed. Think about it, are you ever really going to sing with a really dopey sound? So then why worry about if you are cracking with the dopey sound when you're normal singing is fine? I've been working on SS for a long time, and have made huge progress, and I STILL can't connect perfectly with a really dopey sound, but I don't really care because when it comes to actually singing as opposed to vocalizing, I don't crack. If it concerns you though, you can try being a bit less dopey. Sorry for this long and unorganized post lol. |
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daniel430lee |
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Posts: 25 (07/01/09 6:53 AM) |
Wow!!
 thank you all for these tremendous answers! Haha, i'm actually relieved now. musiciano was right that i should figure things out by myself and let
it crack and go into falsetto since they are used in singing (thx nap). However, i would not only be able to sing notes in falsetto but in headvoice when
i'm in high voice, so after countless hours of research, i found this thread off of the singing success online forum, which i found would be very helpful
for anyone who would like to sing high notes in head voice also.
http://www.singingsuccessonline.com/forum/viewtopic.php?f=1&t=585 Hi, From what I could hear in the clip, it sounds like you are using falsetto. I can tell because you are using a lot of breath and the tone gets considerably more breathy as you go up. When you sing falsetto, your vocal cords have a gap in them and the larynx is in a higher position. The jaw/tongue tension is also a concern. It is probably due to inadequate support. I would address the problems in this order. #1. Breath support. Make sure the stomach goes out on the inhale and in on the exhale. One of my favorite exercises for practicing this is to lay on the floor with a book on my stomach. Pop the stomach and ribs out (make the book go up.) This will cause your lungs to expand and fill with air without thinking about it. If the book doesn't go up start over. #2. Work on discovering true head and mixed voice. (If that is what you are wanting to discover.) This is a little tricky to describe in a short response, but I'll try a little imagery. Down low, you should feel the voice buzz in your chest. As you rise in pitch, lighten up on the feeling in the chest and imagine the sound vibrating near your chin (or lower in your face.) As you keep ascending, imagine the voice going to your cheekbones, forehead and even into the top of the head. These sensations are different for different people. If you try to pull too much chest voice up into the higher notes (middle to head voice territory) you will feel yourself start to work harder and strain (or go into falsetto.) It is easier to play with this from the top down. Start high in the head voice (with as full a voice as you can.) and slide down, keeping the sound toward the front of your face. (Don't let it get lost in your head or throat somewhere.) Force it to slide slowly down without any major gaps or breaks. Imagine it moving down the front of your face to your chest. #3. Eliminate tongue tension. Hold your jaw with your hand. Try singing long tones and moving the jaw using only your hand (and not your jaw muscles.) This may help you to learn to keep the jaw relaxed. I put this third in the order of priority because jaw and tongue tension is largely due to lack of breath support or other more fundamental vocal technique issues. This is a very short answer to a more complicated problem, hope this helps. Amy Gould Voice Teacher |
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musiciano |
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Posts: 1125 (07/01/09 8:11 AM) |
Yeah, I don't want to hear any more whining and crying about not getting it. This is fun stuff! Not torture! So crack up when you crack, the authentic
laughter and will relax your throat. Feel embarrassed when you crack, the authentic vulnerability will open your body. Cry when you can't get it right, the
authentic tears will release toxic emotions.
Enough negativity -- it doesn't work! Positivity doesn't work that well either. Keep it real, that's all. This is fun, it takes time, it's like learning to walk. So relax and enjoy. No more self-torture. Only pure honesty. |
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Guffe666 |
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Posts: 271 (07/02/09 6:57 AM) |
Musicano,
Are you really a hippi? A flower power guy? 
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musiciano |
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Posts: 1125 (07/02/09 7:48 AM) |
Lol, no but you sure do look like one in your pic! I'm just an ordinary goof! I write like this to try and unhook the critical mind and have people give
themselves a much deserved break from the tyrannical mind!
I can't seem to help it! |
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