Best Of
Re: Being a frontman/frontwoman - what does it take to be a good one?
One comment that I have here is that if you are singing the lead vocal part, whether you know it or not, and even if you are behind a drumset, bass, guitar, or keyboard, you ARE the front-person at that moment. You need to connect with the audience when it is your turn to sing.
Some musicians don't want to acknowledge that, because not all musicians sing lead vocals. It implies that the Lead Vocalist is the Leader of the Band. Those Lead Vocal duties may be shared by different band members, but at the moment they are the lead vocalist, they are leading the other musicians.
The audience, whether we admit it or not, focuses on the lead vocals, whether live or on recordings. The vocals are the human element in modern music, and that's what HAS TO sit right with us when we decide whether we "like" this band or that, and whether we "like" this song or that.
Ken Tamplin, who is an amazing MONSTER GUITARIST, has a much brighter spotlight on him when he SINGS!!! It's that much better when he Sings and blazes on the guitar simultaneously.
Bands really need to invest themselves in Great Singing. It will make them or break them. A great band with mediocre singing will have a much harder time getting by than a less-stellar band backing GREAT VOCALS, delivered with Passion and Fire.
Frontman/Frontwoman IS a different position than Singing Musician or "Singer". That is where the Frontperson is actually THE Focal Point of the ensemble. They may share the spotlight with great musicians, but most of the time the audience is waiting to see what the frontperson is going to do next. And often, what they do next may not necessarily be "to sing".
Good Lead Singing to YOU!
Bob
highmtn
Re: Feedback on sliders to build head voice
In the first 30-seconds you are singing the silders passively. It's as if you've worked on your chest and head to the extent that they should now connect themselves in the exercise. That is not the case. You have the ingredients to create the mix but still must actively perform the mix.
Connecting chest and head with octave sliders is not a passive exercise. They are among the most demanding exercises in the course and Ken has put vol. 5 last, for good reasons.
Let's say you've developed your chest voice and head voice well and thoroughly over some years. Even then we have to be actively thinking and adjusting pitch, volume, and intensity in the sliders. One of the many things I enjoy about the course is that Ken has left some of his "carbunkles" in the recordings. They are rare, but even with Ken you can hear what happens when he loses the mental connection to the tone he's after for the exercise.
In the first 30 seconds, you're not optimally setup in chest prior to attempting the bridge. A better vowel, more ping, and a more open-throated posture must be in place from the beginning and then maintained all throughout.
In general, there are times when your connection is very smooth which seems to happen when you are bridging higher in chest. Are you being more intentional on those or are you forced to be more intentional just to get to that higher chest note which in turn makes the bridge more smooth?
Regarding your head voice development, focus on building strength and ease on every vowel from D5 down to as low as you can go in head only. Every other day when you do head exercises, try to stretch and only touch very briefly beyond your current max. On most days, you'll merely be touching on your current max (or just below) but that keeps your head in shape. Then, occasionally, you'll be able to very briefly go a bit higher. On those days, hit that note maybe three times and try to back off on the air when you do. Then quit for the day and warm down. This is the long process of stretching head voice.
Regarding your comment about C5 in head being "nothing" it's unwise to think everything is smooth sailing because you're in head. Somewhere in the area of B4 to D5 it's time for me to be aware of vowel mods (yes, even in head voice only.) Where that may be for you, I don't know, but it's a phenomenon to bear in mind so you're not splatting head voice while trying to stretch it. You should be closer to an OOh vowel at the top of head voice.
Terence
Re: Supreme Speaking course review
Posture
Breath Management
It's the Law! Ah!
Breath Management Part 2
Intro to Vocal Exercises
Humming Exercise for Guys, Girls
The Ah Vowel for Guys
The Ah Vowel for Girls
...
The above continues with 16 more Modules.
The course starts out laying a General Base and then addressing specific Speaking topics.
The above continues with 16 more Modules.
Yes, I've taken the course. One of the take-aways and benefits for me is that I no longer make a hard distinction between singing and speaking. As a result, the teaching I do that requires speaking for seven hours in a day no longer interferes with my vocal development. After a full day's teaching, I will gladly do a two-hour vocal session.
Terence