From
Robert J. Lunte
Genres
Duration
1 day 7 hours
Subtitles
Spanish (Mexico)
Availability
Worldwide

Availability

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Episodes

Welcome & Introduction

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
02:18
Rental period
1 year

Welcome & Introduction

Make a list of the things you need to get to develop the best vocal training space/facility you can realistically imagine. You do NOT have to get everything discussed in the lesson immediately. However the list below is the essentials you need, therefore make them a priority. Also, in regards to vocal gear, try to invest in products that Robert Lunte has already used and recommends. The Vocal Gear Store Was created for TVS students for this purpose.

1. Make sure you can access The Four Pillars of Singing ONLINE on all your web based devices.

2. Find a private environment you can use for practicing, with no distractions from family, neighbors, friends and people who don’t understand what you’re doing and might threaten you’re ability to concentrate. You cannot train properly when you are feeling self-conscious. Your training facility should have following:a. Your copy of “The Four Pillars of Singing”, launched and ready to go.b. A means to record your training, so you can listen back to your sessions.c. If you are taking private lessons with me, have your evernote.com notebook downloaded, installed and logged in so you can access your lesson notes, homework and additional notes. (Evernote is the system we use which provides you an online TVS virtual "HUB”).

3. Have a keyboard available. It is important that you train with a keyboard so that you can orient yourself to the vocal registers and give yourself cues for onsets and trouble-shoot your vocal problems effectively. A keyboard is essential to practicing effectively. You can purchase an inexpensive keyboard at a pawn shop or music store for a very low price. You can purchase a keyboard from The Vocal Gear Store.

4. Begin reading the book and watching all the lectures in “The Four Pillars of Singing”, you will familiarize yourself with the talk track of vocal technique a well astheTVS Methodology. Understanding the language of vocal technique is an important enabler to making rapid progress in your training.5. Consider purchasing Spectrum Software for Tuning Your Vocal Formant.

PC:"Voce Vista":

Click HERE >>> To Purchase

Apple (iPhone & iPad only): "Spectrum Analyzer” by ONYX

Click HERE >>> To Purchase

Settings:

FFT Size - 8192 / Window - Rect / Average - Fast / Graph - Mixed / Scale - Log

6. Make sure you have a mirror in your training space, as you will need it to keep an eye on your embouchure.

7. Schedule private lessons with Robert Lunte over the internet. If you can visit Seattle, WA for the TVS Training Intensive for the focused, high impact training program that many people around the world have participated in. Either way, it is critical to your success to take private lessons early on to ensure that you are doing the training correctly! As little as 3 - 6 private lessons will make a HUGE difference in your ability to understand this training content, the methodology and grow as a singer.

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Common Questions & Critical Success Factors

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
28:20
Rental period
1 year

Common Questions & Critical Success Factors

Watch Common Questions & Critical Success Factors immediately after the introduction video. The Common Questions & Critical Success Factors video will help you to understand what the most important aspect of your TVS training will be, especially early on during the critical Foundation Building Routine stage.

Be sure to review the "Common Questions About Training" and "Critical Success Factors" essays in the eBook. These essays tend to cover the most important thing to focus on if you want to hasten your progress and get the best results in the shortest amount of time. Here is where you will save time by getting advise from lessons that were learned the hard way through 30 years of singing and training voices.

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What is TVS Methodology?

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
30:28
Rental period
1 year

What is TVS Methodology?

What we identify as ‘TVS Methodology’ will always be changing. I intend to continue development of my personal understanding of how the voice works for singing, and how best to train singers in a way that gets the results in the shortest amount of time, as well as to test my own theories and ideas.

These are the current TVS Methodology Principles:

- Phonation “Mass”
- Specialized Onsets
- Bridging and Connecting Skills
- Training Work Flows
- Formant Tuning
- Vocal Modes (physical & acoustic)
- Associating Sound Colors (Vowels) with Visual Colors
- Detailed Vocal Training Routines
- Training with Amplification

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TVS Specialized Onsets Introduction

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
02:01
Rental period
1 year

TVS Specialized Onsets Introduction

TVS Methodology involves a lot of focus on calibrating and tuning onsets and then putting those onsets on the move (for example, with sirens). This tends to put both the singer and the voice teacher right in the face of any problems. Training onsets and sirens like we do at TVS is like getting under the hood of a car and really examining the details of the problem. The wonderful insights gained by training this way put me squarely in front of my student’s challenges.

The term “onset” means “the beginning”. If the onset is like a serve in the sport of tennis or the pitch in the sport of baseball. In the sport of voice training, our “serve” or “pitch” is called the onset. Similar to a tennis “serve” and a baseball “pitch”, if the vocal onset is good, then the phonation or singing that follows will be good, but if the onset is bad, then the phonation or singing that follows will inherit the problems originating at the onset.

The TVS Onset package is a term that is used to describe the sum total of technical components required at to ensure a high performance phonation for singing. When all the technical components at the onset have balance, calibration and tuning, the “onset package” becomes a high performance and favorable phonation suited for singing. Your onset in singing is the catalyst that determines the quality of the phonation that follows, whether you are training vocalizes, or singing songs.

The Key Technical Components of the Onset Package:

Frequency (Pitch) = Acoustic Component
Respiration Physical = Physical Component
Vocal Tract (Larynx Manipulation) Physical = Physical Component
Dampening the Larynx
Raising the Larynx
Vocal Compression Physical = Physical Component
The Embouchure Physical = Physical Component
Jaw
Teeth (upper bite)
Lips
Tongue
Tune Harmonic Color (Vowels/Formants) = Acoustic Component
Formant tuning
Acoustic Modes
Auditory Imagery = Psychological Component
Fear of Singing in Front of others
Fear of the ”high” or “hard” note
Fear of the passaggio.
Other fears…
Learning not only what the onsets are, but why we use each of them and how, is key to your success. The onsets are used for two primary purposes:

To isolate intrinsic musculature and coordinated movements to train the voice how to command and control the exotic physical configurations for singing.

To trouble-shoot problems when you are training and singing.

The onsets are categorized into two different groups:

The Coordination & Tuning Group.

The Resistance Training Group.

The TVS Specialized Onsets

The Coordination, Respiration, Compression & Formant Tuning Group

“Early Bridging” Onsets / “Top-Down” Onsets

Pulse & Release Onset

Track & Release Onset

*Quack & Release Onset

Wind & Release Onset

Messa di Voce Onset

The Strengthening, Endurance, Belting & Resistance Group:

“Late Bridging” Onsets / “Bottom-Up” Onsets

*Quack & Release Onset

Dampen & Release Onset

Attack & Release Onset

Contract & Release Onset

You cannot take a casual attitude about your onsets. They can, and will, make or break your training success with TVS techniques (or any vocal technique methodology for that matter). Be prepared to become an expert at calibrating and tuning onsets and understanding why and how we use them to build strength, coordinate, trouble-shoot singing problems and sing better.

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What is Bridging & Connecting?

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
02:44
Rental period
1 year

What is Bridging & Connecting?

Early on in this training program, we need to establish the importance of “bridging and connecting”. Bridging and Connecting is a term used at TVS to describe the two primary objectives of developing the coordination for seamless register bridging and strong, anchored head voice singing. Without bridging and connecting being one of the primary objectives and sole purposes for voice training, there would be no point in vocal training. The relevance of vocal training and programs like “The Four Pillars of Singing” are largely established by the fact that make bridging and connecting a priority.

All singers want to be able to “bridge and connect” whether they realize it or not. Bridging simply means to have the ability to train and sing through the vocal registers seamlessly without feeling constricted, pushing or blowing open the glottis to Falsetto mode. Connecting roughly means, once you have seamlessly bridged the vocal break or passaggio without constricting, pushing or defaulting to Falsetto mode, the voice then continues to sound ‘belty’ with sound colors characteristic of chest voice, continuing into the head voice.

Bridging and connecting serves the purpose of completing an illusion to the audience that your bridged and connected registers are the result of super human speech mode skills, when in fact, they are not. The process of seamlessly bridging the vocal registers involves strength training, timing elements, larynx dampening skills, vocal fold compression strength and to be sure, mastery of tuning formants with singing vowels. Connecting in the head voice to make your head voice sound full and “chest-like” is the result of exotic musculature strengthening and coordination, balanced respiration, control of the acoustic mass and again, the ever critical skill of keeping the acoustics of singing optimized relative to the frequency. Simply put pretty much all the technical elements you will learn about in this program that we call the “phonation package”. The phonation package is defined as, “the sum total of all the technical elements required to train or sing a high performance phonation for singing”.

In TVS training, you are going to become an expert at ‘bridging and connecting’. If you want to sing, nothing happens until you master bridging and connecting skills and these skills will continue to be a main focus of your training and singing throughout your singing career. With some sports, you score when you put a ball in a basket, kick a ball past the goalie or cross the finish line before anyone else. In the “sport” of vocal training and singing, you score when you seamlessly bridging your registers and connect in the head voice with a full, convincing sound color that turns your voice of two registers into “one voice” to the listener.

- Bridging – Training and singing with seamless connectivity between vocal registers M1 (chest) and M2 (head) voice, by mastering the passaggio, for the purpose of singing and presenting to the listener a “one voice” experience.

- Connecting – Training and singing with the purpose of building intrinsic musculature strength and coordination sufficient to make register M2 (head voice) sound like an extension of the chest voice to the listener to complete the “one voice” experience.

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Stop Hitting High Notes and Start Shifting Formants

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
17:24
Rental period
1 year

Stop Hitting High Notes and Start Shifting Formants

TheVocalistStudioStore.com. Students of singing spend a lot of time chasing the physiology involved in singing technique. This misunderstanding neglects the need to better understand the role that the acoustics play in training and singing, namely, the physiology of singing follows the acoustics. That is to say, if the acoustics, or formant is tuned properly, many of the physiological issues that occurs when singing such as pushing and constriction tend to go away.

Beyond the acoustics, there is another realm of consideration, the mental programming of singing that we refer to as "audio imagery" in singing. Audio imagery deals with how singers use visualization to tune the acoustics of singing, which then then calibrates the physiology of great singing. A balanced triangulation of mental imagery, acoustics and physiology eventually balance to enable the singing voice to have great range, freedom, agility and beauty. In short, a chain reaction that starts with proper mental imagery, moves to tune the proper acoustics for singing, which in turn, configures the physiology required for a high performance phonations, used in singing.

So long as a singer perceives frequency in an orientation of "up/down" and "low/high", the body will always respond with pushing and constricting. The body reacts to a struggle, that struggle too often is the singer's efforts to "hit a high note". When students view higher frequencies as something that is "up/down" or "low/high" and something that has to be "hit", they will never find great vocal freedom.

The solution is to train your auditory imagery to view frequency as something that exists in a horizontal orientation, instead of a vertical orientation. What used to be "high" is now "back", what used to be low, is now "forward". When the auditory imagery for frequency begins to change in this fashion, suddenly the body begins to lower the acoustic mass of the singing, modify vowels for singing more efficiently and essentially balance the formant in an optimized fashion.To learn more about "The Four Pillars of Singing", CLICK HERE: tinyurl.com/TVS-TheFourPillarsofSinging-DD

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The Embouchure

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
09:17
Rental period
1 year

The Embouchure

Embouchure is a French word that refers to one of the components in your phonation package that are visible from the outside, namely; the jaw, the teeth, the tongue and the lips, when referring to them as a combined set. It is absolutely critical that you learn early in your training how to shape your embouchure. In particular, drop your jaw and lift or bite!

No other phonation package component drives voice teachers crazier with frustration than when students across all countries, all cultures and languages, far too frequently fail to drop their jaws and lift/bite. When you lift the upper lip and expose the canines, you set in motion a chain reaction that lifts the soft palette and increases the resonant amplification to the forward hard palette. Amplifying resonant energy to the forward hard palette is essential for singing good edging vowels, amplifying your voice and being able to articulate lyrics on high notes.

Failure to set a consistent embouchure that includes a lift of the top lip that exposes the canines, will compromise your entire phonation package. Your ability to sing will simply be handicapped before you even get started. A bad embouchure, will prevent you from succeeding as a student of this program and indeed, as a singer in general. So do NOT make this mistake!

There are two kinds of embouchures that TVS students are aware of, the vertical embouchure and the horizontal embouchure. Both embouchures are correct, however, the horizontal embouchure is arguably more superior because it provides the following benefits:

Benefits of a Horizontal Embouchure:

1). Forces the body to lower the acoustic mass of phonations and stops the pushing.

2). Because it stops the mandible (lower jaw) from moving, it forces the body to shape vowels intrinsically, with “throat shaping” coordinations that make vowel modifications more efficient.

3). The physical space in the oral cavity is compressed which amplifies the resonant energy and makes the voice project more.

4). The closer proximity and amplified energy characterized by a good horizontal embouchure position adds sound color from the palette and in particular, the upper back molars.

5). The horizontal embouchure makes the body change its auditory imagery from perceiving frequencies as something that is “up/down” and “low/high”, deep or shifting formants.

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Falsetto is NOT Your Head Voice!

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
08:28
Rental period
1 year

Falsetto is NOT Your Head Voice!

One of the biggest points of confusion in the world of singing technique is the erroneous belief that the terms "Falsetto" and "Head Voice" mean the same thing. Sadly, far too many voice teachers also refer to the head voice as "Falsetto" and in doing so, are contributing to the confusion for their students.

Falsetto is a physical vocal mode that characterizes one of 8 physical configurations that the larynx can produce, to effect the stability and sound color of singing. "Head voice" is metaphor that is used often to describe the higher register for singing, typically above E4 for men and Bb. The term "head voice" is also ubiquitous and used so often, that this is a big part of the continuance and propagation of this erroneous notion.

The problem is, if students of singing conclude that Falsetto vocal mode is the ONLY kind of sound color they can make in the head voice, then they will never do the training or personal experimentation required to develop vocal twang in the head voice, another of the 8 physical vocal modes, which is required to sing with 'connectivity' in the head voice.

That is to say, if you want to stop sounding weak and windy in the head voice, the solution is not to avoid the head voice register, but learn how to train vocal twang in the head voice. Because Falsetto is the "primitive" vocal mode the body intuitively wants to produce in the head voice, people erroneously draw the conclusion that this is the only kind of sound they can make in the their upper registers for singing. This makes students of singing avoid the head voice strengthening and coordination work that needs to be done to develop the upper registers or, "head voice" to sound like the chest voice, full, connected, belt-like and pleasing to the listener. Learn more about vocal modes and how to make your head voice sound huge and 'boomy' with the TVS training program titled, "The Four Pillars of Singing": TheVocalistStudioStore.com.

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What Is Resonant Tracking

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
07:08
Rental period
1 year

What Is Resonant Tracking

Resonant tracking is one of several workouts known as semi-occluded phonations. They are popular with singing techniques and with voice therapists for their powerful vocal health benefits.

Benefits of Semi-Occluded Phonations:

- They balance the sub-glottal and supra-glottal air pressure (above and below) the vocal folds and thus help the singer to balance resonant pressure in the vocal tract and help the vocal folds oscillate more efficiently.

- They help the singer to get into a seamless passage through the vocal bridges, thus preparing the voice for effective resonant bridging.

- They produce laryngeal tilt, which is one of the main characteristics of the most important vocal mode and physiological configuration for singing known as vocal twang.

- They build the singer’s strength for vocal fold compression.

- They are great for vocal health! Not only is it used for singing, but semi-0ccluded phonations are also used by the medical profession for voice therapy.

Resonant tracking is conducted by “buzzing” through nasal consonants; /m/, /n/ & /ng/ and it is one of the modules in The Foundation Building Routine later in this book. Not only is resonant tracking supremely important as your primary warm-up, but it is also the best “singercizing” exercise you can do throughout your day. In the shower, in the car, as much as you possibly can, you should be buzzing nasal consonants! It is the most important thing early on that heals a tired speaking voice and prepares the voice for high performance vocal training and singing.

The Synonyms of Semi-Occluded Phonations:

- Resonant Tracking.
- “Buzzing”.
- Establishing The Resonant Track.
- Nasal Consonants.
- Lip Trills.
- Tongue Trills.

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Training Onsets & Sirens

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
23:22
Rental period
1 year

Training Onsets & Sirens

There is no better way to train your phonation package deep inside your muscle memory than a slow and controlled siren through every micro-tone of your voice. Practicing with sirens works directly to build super, high performance vocal coordination. Practicing slow and controlled sirens prevents you from cheating and skipping over the hard parts in your voice, such as the Passaggio and low head tones. Skipping over the hard parts and avoiding what is difficult is not what TVS is about. TVS training is about tackling the challenges of training and singing head on and putting yourself right into the “hard stuff”. “The Four Pillars of Singing” offers many radical vocalizes you can train, truly a luxury not quite matched in the history of vocal training systems. I do expect you to master each of these vocalize, as each has a unique objective to help you build amazing strength and coordination in your voice. But, at the end of the day, those are only relevant if the foundation is solid. The foundation you must build which will become the core of your vocal health, coordination and strength begins with several key approaches to training early on. These primary issues are defined in “The Foundation Building Routines”. Inside those routines, you must train and master onsets and sirens.

A “Siren” is a vocalize that smoothly varies the original fundamental frequency in a continuous ascending, or descending movement. So a Siren basically lacks melodic intervals of any kind. Like a police siren that produces sound on an infinite number of micro pitches, a vocal Siren forces the student of singing to phonate every microtone. In traditional Italian, Classical singing terms a siren is more formally referred to as a “glissando”.

When you look at the Geography of Vocal Technique (GVT) graph, you can see that the green phonation package line is a balanced, straight line ascending in 45 degrees from the x/y axis intersection. If we were to graph a vocal siren, this is what it would look like on the GVT. (In contrast, if we were to graph vocalizes with scaled, melodic intervals, we can imagine that the green phonation package line would illustrate something that looks more like stair steps).

It is not a coincidence that the GVT graph illustrates a vocal siren, instead of melodic intervals. This is because, unlike scaled vocalizes that have melodic intervals, the vocal siren is the great equalizer for building the core foundation of your vocal strength and coordination. The vocal siren is all encompassing. The vocal siren knows all. The vocal siren prevents the student of singing from cheating by unconsciously skipping over the hard notes in their voice, forcing the student to sing straight through the Passaggio and beyond.

The vocal siren is uncompromising. There is no escaping the hard notes when training vocal sirens. The vocal siren also makes the body learn the calibration settings of each component in the phonation package as it moves through changes in frequency and forward in time.

When all is said and done, after training your sirens constantly, what emerges is a voice that is able to phonate any phonation package configuration, on any pitch, in any resonant placement, at any given moment of time. Training vocal sirens will build a level of coordination in your singing that very few in the profession can ever hope to achieve. The importance of training vocal sirens, and the vocal power that arises from them, are why TVS has chosen the siren to be the core of your vocal training. So it is really critical to train your vocal sirens. Did I make my point clear? Good!

More detail, demonstrations and explanation on onsets and sirens are provided later in this course as you start your training with The Foundation Building Routines.

Sirens or “Glissando” Vocalize in The Foundation Building Routines:

- Onsets & Melodic 5th Sirens.

- Onsets and Octave Sirens.

- ANY interval on a siren is equally effective!

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TVS Sign Language

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
05:45
Rental period
1 year

TVS Sign Language

When training private lessons with TVS students, I will use a sign language that is used to help illustrate and communicate the abstract concepts of vocal training more clearly. The TVS sign language came from the necessity to communicate with students in real time, while they training over skype with me.

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The Intrinsic Anchoring Set

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
13:34
Rental period
1 year

The Intrinsic Anchoring Set

“Intrinsic Anchoring” involves the small inside muscles that need to be engaged and contracted to stabilize the laryngeal configuration so you can successfully bridge the Passaggio and connect in the head voice. This assumes that the desired result is a laryngeal configuration and formant that produces a full, “boomy” head voice tone quality above the Passaggio, as opposed to Falsetto. In other words, Intrinsic Anchoring involves the set of muscles you must engage simultaneously to make your register-bridging stable, and your head voice huge and amazing. The intrinsic muscles that need to be strengthened and coordinated to provide anchoring of passaggio bridging and head voice connectivity are listed below. Understand, this is by no means a complete list of every muscle involved, but only those muscles that need be discussed relevant to your TVS training.
The Intrinsic Anchoring Musculature Set:

- Cricothyroid (CT)
- Thyroarytenoid (TA)
- Vocalis
- Interarytenoids
- Tongue (Leveraged)
- Vocal Fold Adduction
- Larynx Dampening

We discover that the Intrinsic Anchoring Work Flow is actually the “connecting” story in regards to musculature. Below is a the Intrinsic Anchoring Work Flow. You will note that the Intrinsic Anchoring Work Flow is the same as The Messa di Voce Onset Work Flow.

Intrinsic Anchoring Work Flow

- Establish Placement
- Open Glottis Position (Falsetto Vocal Mode)
- Engage Isolated Compression (Quack Vocal Mode)
- Shape Embouchure for the Training Vowel
- Leverage Tongue Forward. (One of two leveraging techniques)
- Dampen the Larynx & Tune Your Formant/Vowel
- Maintain the Training Vowel

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Mixed Voice is Dead!

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
08:10
Rental period
1 year

Mixed Voice is Dead!

The term "mixed voice" creates confusion for thousands of singers around the world every day. The main problem is that it is often misunderstood by voice teachers and therefore, it is not explained properly. The result is, it makes students think there is a mystery, 3rd register between chest voice and head voice, but this 'mystery 3rd register' does not exist. When this confusion persists, it leads to students developing a lot of confusion and frustration about how the singing voice really works and even worse, this confusion creates doubts in the students ability to sing. Students that train with confusion in regards to the term 'mixed voice' have a high risk of getting all 'mixed' up because they are chasing phantom vocal registers that do not exist.

There is in fact a "mixed" resonant sensation that singers do feel as they bridge the vocal registers, primarily, from formant 1 to formant 2. The sensation is similar to feeling a light pressure, low and in the back of the head and in fact, as the formant shifts from F1 to F2, the resonant energy shifts will begin to amplify more in the pharynx region of the vocal tract. The idea of a "split" sensation or registration is real, but the term "mixed voice" and more importantly, the inability for some voice coaches to explain what it really means, is a source of a lot of confusion. In order to explain what "mixed voice" really means, a voice teacher has to understand formants in singing and some science about the acoustics of singing. Given that the acoustics of singing and understanding formants is the most difficult concept to grasp in regards to vocal technique, there unfortunately is a high percentage of voice coaches that just cannot explain it.

In summary, students get confused about what a "mixed voice" is and assume, or are told that it is a mystery 3r register, which is wrong. The source of this mistake is typically the fact that the voice teacher responsible for introducing "mixed voice" into the students training vocabulary, also does not and cannot explain what it means because they do not understand what singing formants are.

An alternative term for this split formant and registration sensation is called "covering". Enjoy this lecture, it has proven to be a very popular lecture and stirred up some 'chatter' when it was first posted.

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Bridging Early VS Bridging Late

The Four Pillars of Singing ONLINE & MOBILE

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Duration
10:03
Rental period
1 year

Bridging Early VS Bridging Late

There seems to be some debate about the merits of bridging the vocal registers early vs bridging late. So let's have a better understanding of what this really means and why it is important. Referring to vocal register bridging in the context of time, "late" & "early" only tells a small part of the story and really has a lot to be desired in helping students to understand what is really going on. It in fact, misses the more important point students of singing really need to understand in order to remove the confusion that is being created in the market place regarding this issue.

There is a question that needs to be asked to begin this discussion and that is, "what is late and what is early"? What is early or late is the engagement of the intrinsic musculature involved in maintaining a full, connected voice in the head voice, specifically, the muscles required to maintain vocal fold closure above modal voice or M1. Those muscles include the cricothyroid, interarytenoids and vocalis, all used to help lengthen the vocal folds and aid in vocal fold adduction, assisting in the increase in vocal pitch. Maintaining engagement of this primary modal voice/M1 (chest voice) musculature when ascending in pitch, leads to great endurance, agility and strong belting capabilities. Simply put, these are the primary muscles that help you to extend your chest voice higher to sound more chesty on higher frequencies when singing. So the issue really boils down to how much musculature you decide, as an artist, to engage or maintain through the vocal registers. If you engage more M1 musculature through the vocal registers, you are bridging "late", if you are engaging less, you are bridging "early". Sometimes these two different approaches to register bridging are also referred to as, "bottom-up" training and "top-down" training when discussing training techniques that either encourage more M1 strengthening or more M2 (head voice) coordination work. With the TVS Methodology, both "bottom-up" and "top-down" techniques are taught.

A critical lesson to learn from this is that both "bottom-up" and "top-down" training techniques are important for singers to train. Students need to train the body to be able to engage the intrinsic musculature of the voice with many different levels of musculature to enable their voices to have many different sound colors to use as artists.

Although there are other training programs that would focus on one or the other, at TVS, we insist that you understand and train to do both so that you can have more stylistic options and colors to use as a vocal artist.

Refer to The Foundation Building Routines and the specialized onsets in this training program to get a good understanding of what onsets and vowels are preferred for "bottom-up" training and which are preferred for "top-down" training. For now, here is a short list of the TVS specialized onsets grouped into two groups; coordination onsets and resistance onsets.

TVS Specialized Onsets:

Coordination Training Group:

"Early Bridging" Onsets / "Top-Down" Onsets

Pulse & Release Onset

Track & Release Onset

Quack & Release Onset

Wind & Release Onset

Messa di Voce Onset

Resistance Training Group:

"Late Bridging" Onsets / "Bottom-Up" Onsets

Dampen & Release Onset

Attack & Release Onset

Contract & Release Onset

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The Most Difficult Notes

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
10:37
Rental period
1 year

The Most Difficult Notes

The most difficult notes to sing and to train are typically the low head tones in the vocal range. Generally, people tend to conclude that the higher the pitch, the more difficult it is to sing any particular note, but this has proven to not be the reality of the situation for anyone that trains vocal technique or sings professionally. The most difficult notes to sing, train and teach are the lowest head tones, the reason for this is it is difficult to coordinate the intrinsic anchoring musculature required to engage vocal twang to compress the vocal folds, anchor the larynx and balance this musculature. Training all the TVS specialized onsets with sirens and mastering your riding and connecting skills through tireless training and practice is the only way to build the strength needed to engage a full tone on the low head voice notes.

It is important to point out that the resistance training onsets below are very well suited to strengthening this area as well, since they build strength of the M1 musculature for belting.

The Resistance Training Onsets:

- Dampen & Release Onset
- Attack & Release Onset
- Quack & Release Onset
- Contract & Release Onset

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Singing With Appoggio

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
06:18
Rental period
1 year

Singing With Appoggio

The term Appoggio comes from the Italian verb appoggiare, meaning ‘to lean on’, ‘to be in contact with’ or ‘to support’ – is a learned breathing technique that involves slowing down the ascent of the diaphragm for better breath management, resulting in the elongation of the breath cycle during singing. Unique to Appoggio is the physics of an unending, resonation from all the resonant cavities of the body, in particular, the chest and trachea that are engaged in back pressure resonation. When great Appoggio physics is engaged, the singer will feel a subtle resonant “drone” in the chest and lower vocal tract. The result is a much bigger vocal sound color due to more chest resonant sound colors.

Appoggio seems to be slightly more relevant to the Classical voice sound color, but if mastered, any contemporary singer can reap its benefits as well. Primarily, a darker, more stable “full body” resonance and more ease singing with Legato. Appoggio and open throat techniques, (see the “3 Tongue Positions” lesson that discusses the “open throat” position benefits), are critical to achieving a great vocal performance, it offers a compelling argument for efficiency, freedom and power in singing. In all sincerity, great Appoggio coordination or close to it, represents the ideal respiratory command and control for singing.

Success Factors for Training Appoggio:

- Assume an extrinsic anchoring position with your dominant leg back, into a stance that centers your gravity.
Work to feel a “full body” resonation that includes a subtle “drone” vibration in the chest and trachea.

- Assume the ‘open throat’ tongue position by resting the tongue atop the bottom teeth, extending to the bottom lip and taking care to put your tongue into a semi-curled position when training.

- Begin by using the ‘wind & release’ onset, which is the most favorable. Usually a windy “Hey” or “Huh” produces a great start for good respiration. Messa di Voce onsets are also a good choice.

- The singer needs to engage the ‘down & out’ push and support, and engage the oblique’s or ‘core’ musculature.

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The Vibratory Mechanism: A Scientific Definition for Vocal Registers

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The Vibratory Mechanism: A Scientific Definition for Vocal Registers

The more familiar metaphorical register definitions of “chest voice” and “head voice”, one thing that they are not is good science. Therefore, at TVS we embrace another, more scientific set of definitions for vocal registration that enable our discussions to include the closer reality of what is really happening in and around the laryngeal region at a physiological level. This system is known as the “Vibratory Mechanism” definitions.

This system has its origins in France. Our French research team of Roubeau, Henrich, and Castellengo have developed a simple and accurate description of our laryngeal vibratory mechanisms. It is based on what the vocal folds/cords are doing, and how they are vibrating and making sound when singing. The very real “registration” changes we all feel are very much to do with what is happening inside the larynx. We will expand again on the vibratory mechanism definitions later. But know this: it sounds a lot more complicated than it really is.

With TVS, you don’t have to make a choice on vocal register definitions. The classic ‘chest/head’ metaphor is fine, so long as you understand that it is referring to imagery, or “picture-words”, to help singers. However, it has the risk of students thinking about singing high notes as something that is a struggle of “up & down” and “low & high”, which encourages pushing and constriction. The “chest voice” and “head voice” definitions also tend to make students perceive the voice in two registers, instead of one voice with seamless registers.

The Vibratory Mechanism definitions are not any more difficult to understand than the ‘chest/head’ metaphor definitions, they are just new. But they offer a better path for more exploration into the physiology and acoustics of singing, in particular a stronger appreciation for how the voice can be trained to be “one voice”, without any registration to content with. Since bridging and connecting is one of the primary objectives of vocal training, any understanding of the voice that helps us to perceive our training objective to be the development of “one voice” is helpful.

The ‘chest/head’ metaphor is merely adequate, but the Vibratory Mechanism approach is excellent and opens new doors of understanding because it actually refers to the real function of the vocal folds.

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Vocal Fold Adduction Forces: Twanging VS. Bernoulli Physics

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Vocal Fold Adduction Forces: Twanging VS. Bernoulli Physics

There are two major sources of support in the body that engage vocal fold compression. The Vibratory Mechanism, or otherwise referring to the laryngeal region that includes vocal fold compression is a system that achieves vocal fold compression with the contraction of the aryepiglottic sphincter (AES) for twanging. This kind of compression is produced with a muscular contraction. Sometimes this compression can also be referred as “active” compression, referring to the fact that a muscle contraction has to be engaged.

The other influence on vocal folds compression comes from Bernoulli physics. The Bernoulli effect is a phenomenon found in fluid physics, (respiration is considered to be a fluid) in this context. The following is quoted from Johan Sundberg’s ‘The Science of the Singing Voice’ Published 1987 by Northern Illinois University Press. Johan Sundberg is widely considered to be one of the top research scientists in the world regarding the human voice, especially for singing.

When an air stream is forced through a sufficiently narrow glottis, the vocal folds start to vibrate. In this process, the so-called Bernoulli force plays an important role. The Bernoulli force is activated when an object prevents a flowing substance, such as air, from streaming freely, so that certain layers of the stream have to travel a longer distance than the rest of the stream. Under these conditions the velocity is greater in that layer, which is forced to travel the longer way than in the freely streaming part. Such a difference between the layers’ velocities generate an under-pressure, which is greatest in a direction perpendicular to the direction of the freely traveling stream. In the glottis, the middle later of the air stream goes undisturbed through the slit. The lateral layers of the air stream are deflected by the vocal folds, so that they have to travel a longer distance than the middle later. Thus, the condition for generating the Bernoulli force is met, and hence an under-pressure results along the vocal folds. This under-pressure strives to move the vocal fold tissues toward the midline of the glottis slit. This is equivalent to saying that the Bernoulli force strives to close the glottis as soon a there is a transglottal air stream.
I recognize this is a fairly deep scientific explanation. If I may take a try at it, essentially what Dr. Sundberg’s quote is saying is, when the respiration for your singing flows through the glottis (the opening in the vocal folds), the air that is passing through the glottis that is in the middle of the air stream, passes through uninhibited. However, the air that is on the edges of the air column that are interacting with the tissue of the vocal folds, becomes obstructed or slows down because it has to strike and move around the tissue of the vocal folds. The vocal folds are in the way, and it slows down the air on the edges of the air column. When this happens, the Bernoulli effect takes place and a vacuum ensues, that adducts the vocal folds. Getting vocal fold closure by producing a vacuum in the glottis from Bernoulli physics, without having to contract the twang muscles as much, makes vocal fold adduction more efficient and less fatiguing. This is why Bernoulli or vocal fold closure is sometimes referred to as “passive” fold closure. So long as you have a steady column of respiration through the glottis, the folds will adduct naturally from the vacuum that is created. This is the same physics that make wings on airplanes lift.

The lesson to take from this is, if you have great respiration, you should not have to work as hard to adduct the vocal folds with muscular contractions. If you find yourself sounding too “quacky” because your squeezing the glottis too much, or the glottal compression is preventing you from getting more range in your voice, you can relax the compression of your glottis and compensate with more Bernoulli vacuum physics. The singer has to constantly balance these two forces.

The Risks Of Too Much Glottal Compression:

- It is fatiguing and pulls on the constrictors, resulting in physical discomfort.
- It makes singers sound too “quacky” like a duck, which sounds awful.

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Buzzing & Octave Sirens

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Buzzing & Octave Sirens

To “singercize” is to do vocalize and workouts outside of your regularly scheduled vocal training sessions with the purpose of reinforcing your muscle memory and techniques. When you are working on slow and controlled sirens sitting in traffic or in the shower, you are “singercizing”. When we singercize we don’t have the benefit of a perfect environment, but we typically have time on our hands to still put the body into motion to reinforce the techniques you are trying to work into your muscle memory. Some of the best things you can singercize are;

1). Resonant tracking, "Buzzing", on the three nasal consonants; /m/, /n/, /ng/
2). Onsets and Sirens.
3). Work on the "lift up / pull back" technique.
3). Practicing the 7 TVS Specialized Onsets and their work flows.
4). Practice dampening the larynx and tuning your formant with quack & release onsets.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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The TVS Specialized Onsets.v1

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es (MX)
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The TVS Specialized Onsets.v1

The term “onset” is defined as, “the beginning or start of something”. In singing, the onset is like the serve of a tennis game or the pitch in a baseball game. In the sport of singing, our “serve” is the vocal onset. The rule is, if the onset is good, the phonation or singing that follows will be good, but if the onset is bad, the phonation or singing that follows will be bad. Therefore, we make a big issue of learning about and training high performance onsets at TVS. We are serious enough about the power and benefits of having good onsets that we actually developed eight specialized onsets. The onsets are used for isolating muscles and coordination work as well as troubleshooting problems when we are training.

The onsets are also categorized into two different groups:

The Coordination & Tuning Group.
The Resistance Training Group.

The TVS Specialized Onsets

The Coordination, Respiration, Compression & Formant Tuning Group

“Early Bridging” Onsets / “Top-Down” Onsets

Pulse & Release Onset

Track & Release Onset

*Quack & Release Onset

Wind & Release Onset

Messa di Voce Onset

The Strengthening, Endurance, Belting & Resistance Group:

“Late Bridging” Onsets / “Bottom-Up” Onsets

*Quack & Release Onset

Dampen & Release Onset

Attack & Release Onset

Contract & Release Onset

The TVS Specialized onsets are one of the most important ideas that define TVS Methodology, it is critical that you understand these specialized onsets and practice them early on as part of your Foundation Building Routine. The PDF below offers you the training routines for practicing these eight singing onsets.

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The TVS Specialized Onsets.v2

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The TVS Specialized Onsets.v2

The term “onset” is defined as, “the beginning or start of something”. In singing, the onset is like the serve of a tennis game or the pitch in a baseball game. In the sport of singing, our “serve” is the vocal onset. The rule is, if the onset is good, the phonation or singing that follows will be good, but if the onset is bad, the phonation or singing that follows will be bad. Therefore, we make a big issue of learning about and training high performance onsets at TVS. We are serious enough about the power and benefits of having good onsets that we actually developed eight specialized onsets. The onsets are used for isolating muscles and coordination work as well as troubleshooting problems when we are training.

The onsets are also categorized into two different groups:

The Coordination & Tuning Group.
The Resistance Training Group.

The TVS Specialized Onsets

The Coordination, Respiration, Compression & Formant Tuning Group

“Early Bridging” Onsets / “Top-Down” Onsets

Pulse & Release Onset

Track & Release Onset

*Quack & Release Onset

Wind & Release Onset

Messa di Voce Onset

The Strengthening, Endurance, Belting & Resistance Group:

“Late Bridging” Onsets / “Bottom-Up” Onsets

*Quack & Release Onset

Dampen & Release Onset

Attack & Release Onset

Contract & Release Onset

The TVS Specialized onsets are one of the most important ideas that define TVS Methodology, it is critical that you understand these specialized onsets and practice them early on as part of your Foundation Building Routine. The PDF below offers you the training routines for practicing these eight singing onsets.

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Lift Up Pull Back - Interim Step for Bridging The Passaggio

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Lift Up Pull Back - Interim Step for Bridging The Passaggio

Lift up / Pull Back has been a very popular technique with TVS for years. It is a simple technique that teaches the body how to shut down constriction when bridging the registers, engage the head voice and begin to build a smooth bridge between the chest voice and the head voice.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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Breathing Exercises

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Breathing Exercises

One of the Four Pillars of a fantastically balanced voice is strong, consistent respiration habits and coordination. The Voice is a wind instrument and it takes wind to play it. More accurately, the voice requires sub-glottal pressure that is balanced with the measurement of vocal fold compression, or the vibratory mechanism.

It is the balance of vocal fold compression and the musculature that activates that vocal fold compression, and the vocalis muscles balanced with respiration, that becomes the primary balancing trick we train for every note on the frequency spectrum.

The primary musculature involved in the respiration of singing are:

1). The Diaphragm

2). The Obliques

These exercises are used to build the extrinsic coordination and strength of the primary respiratory musculature used for great singing. They will help develop Appoggio balance, as well as the diaphragm and the oblique muscles. These exercises should be practiced at least 3-4 times a week. The objectives are to strengthen coordination so that responsive inhalation and exhalation can be developed, and to build the muscle memory for the kind of respiration you need to support your singing.

1. Inhale deep and low through the nose or mouth. Hold the breath for 60 seconds. As it becomes easier, increase the hold time.

2. Inhale deep and low through the nose or mouth, and then exhale completely. Hold still for 30 seconds. As it becomes easier, increase the holding time. But do not exceed 60 seconds.

3. Inhale deep and low through the nose or mouth, and then exhale completely. Begin to count out loud very quickly so that there is no break in the airflow.

4. Inhale deep and low, and hold the air. While holding your breath, recite the alphabet at a controlled rate. Work to get through the alphabet as many times as you can.

5. Inhale deep and low through the nose or mouth, and then exhale completely. Strengthen the abdomen by pulling the stomach in (flexing), and then back out (relaxing). Continue this movement as many times as you can until you feel real muscle fatigue. Repeat this exercise three times.

6. Do some abdominal crunches or sit-ups. Three sets of ten.

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The TVS Onset Package

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The TVS Onset Package

The primary reason we must train onsets is that the quality of your onset, or how you start your phonation, will greatly influence the quality of the phonation or the singing that follows. If your onset has problems in it, then the phonation and singing that follows will be full of problems. In contrast, if your onset is great, then the phonation and singing that follows will be great. If you want to be an amazing vocalist and consistently sing without problems, then the journey begins by consistently being able to phonate a perfect TVS onset.

The TVS Onset package is a term that is used to describe the sum total of technical components required at the beginning of a phonation to ensure a high performance phonation for singing. When all the components are activated in the beginning with balance, it becomes the “Onset package”.

There will be more focused detail on each of the specialized onsets later in the course, this lesson is designed to simply point out the components that are present in any onset package or phonation package. We have to differentiate the difference between an onset package and a phonation package, because the onset specifically means, ‘the start’ or ‘the beginning’. Once the onset package is on the move inside of a vocal workout or singing, it is no longer an onset, it is no loner ‘the start’. To avoid any undue confusion at TVS, we define a phonation package as “the technical components required to produce a high performance phonation ‘on the move’”. In other words, once the onset is calibrated, tuned and balanced and you are then proceeding to the vocalizes or melody in a song, it no longer is an onset. Therefore, we have to give a different name to the same group of technical components ‘on the move’. You will note that the technical components exist from three categories; physical, acoustic, and psychological.

- Physical

- Acoustic

- Psychological

There are many technical components that make up the onset package required to produce a high performance phonations. However, some may be less important than others or better stated, some are a priority before all others because with the primary components understood and practiced, all else fails. Below are the most important technical components of the onset package.

The technical components exist in an outline like this so that you can handle the multitasking that can overwhelm a beginning singer. Additionally, when we train an onset package, instead of chasing individual technical components (ideas), we save time and hasten the progress of vocal development and training. It is easier for the singer to learn one movement with consolidated components as a ‘package’, than it is to train each individual component separately. When we train all the technical components that make up our highly specialized phonations at the onset we are, in essence, training one consolidated muscle memory movement comprised of all the details we need to sound great. A student does not have to train and master every technique one at a time; they can learn them all at the same time, at the onset, and dramatically accelerate their progress!

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TVS Vocal Modes Introduction

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TVS Vocal Modes Introduction

We live in a time of great innovation with respect to new techniques for teaching people how to improve their singing. In fact, I believe we are experiencing a kind of “renaissance” in vocal technique around the world. No longer do students of singing have to train exclusively with a traditional voice teacher on Classical techniques. And the advent of the internet, as well as the emergence of highly rhythmic genres like rock, metal, pop, and the like, are combining to “push the envelope” in terms of what the human voice can do.

One revolutionary innovation in voice instruction developed during the last few decades has been what I would call “vocal mode pedagogy”. Roughly speaking, as it depends on what teacher your discussing this with, vocal modes are a way to categorize specific physiological and acoustic configurations for singing. It involves identifying a physiological or acoustic element of singing that is unique, studying what makes it unique, giving it a name and putting it into a group of “modes” for the purpose of organizing the elements of the singing voice. When physiological and acoustic elements of the singing voice are identified, named and categorized, it makes teaching and learning about the voice easier. Vocal mode pedagogy appears in different forms. Some vocal training programs focus primarily on physiology to achieve the desired result. Others tend to focus more on the acoustics. TVS vocal modes include both physiological and acoustic groups.

Two Kinds of TVS Vocal Modes:

Physical Modes - Unique laryngeal configurations that produce a unique sound color and have unique benefits. The eight TVS physical modes are; speech, opera, sob, belt, twang, quack, distortion and falsetto. Each has unique characteristics in regards to the larynx and glottal positioning.

Acoustic Modes - Groups of singing vowels or formants, that share similar resonant placement characteristics and therefore, sound color. The three TVS acoustic modes are; edging (forward resonant vowels), Neutral (central resonant vowels) and curbing (backward resonant vowels).

Vocal modes may seem a bit overly detailed, but it really is a great way to learn more about how the voice works and when you understand theses vocal modes, what they can do for you, you can apply your knowledge of them and trouble-shoot singing problems and sing better. They are particularly important for other voice teachers.

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Developing Twang Compression

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Developing Twang Compression

Twang mode is one of the most important concepts and the ability to do it is one of the more critical skill sets any singer must understand and master to become an amazing vocalist. The universe of singing, all genres, all styles, every great note that has ever been sung, apart from windy phonations, have had twang properties. Few topics in this entire training system could be more important than the understanding of and ability to twang. Twang reigns high on the list of priorities to concern yourself with, it only takes a back seat to the ability to bridge registers, the understanding of vocal formants and your the commitment to practice. Your ability to twang and build strong command and control of your glottal compression will make or break your success as a vocalist. It’s that important.

Twang does not refer to “country twang”, a North American term that refers to the dialect of country singers and Americans that live in the southern states. In voice technique, vocal twang is a physical vocal mode. As it relates to TVS Methodology, twang vocal mode is one of eight physical modes that are used to identify, unique physical configurations of the laryngeal region that, as a result of the configuration, have a set of unique characteristics which includes sound color. The eight TVS physical modes help teachers and students better understand how the singing voice works, what its potential is and how to use it. If you understand the physical modes, you can do more creative things with your singing voice. The physical modes, like the acoustic modes help categorize vocal technique ideas, but they account for physiology, instead of acoustics.

To be sure, there are other physical modes that are important in singing and training, but again, twang might be the most important since most singing of any kind, with a few exceptions, is likely a twanged phonation. Sometimes twang characteristics are present while characteristics of other physical modes are also present. To clarify my point however, all other vocal mode phonations have twang characteristics, but not all twang phonations share the other vocal mode characteristics. You can give and take the other physical modes when singing, but rarely is vocal twang not involved.

Characteristics of Vocal Twang:

A tilt of the thyroid or cricoid cartilage.

A narrowing of the epiglottis funnel.

An amplification of the formant at 2000 – 4000 KHz spectrum.

Induced vocal fold adduction (compression), and a longer closed quotient/CQ.

Strengthens the intrinsic musculature, in particular the AES and vocal fold closure muscles.

In the above illustration, the neutral larynx on the left illustrates what your larynx may look like, when phonating speech mode or falsetto vocal modes. The larynx on the right illustrates the physical configuration of vocal twang, the most important vocal mode for singing. When twang is engaged, a contraction of the AES muscle makes the epiglottis narrow the upper vocal tract (the epiglottic funnel), and then tilts the thyroid cartilage. This chain reaction makes the vocal folds compress while amplifying the sound energy simultaneously.

Benefits of Vocal Twang:

Induces vocal fold closure.
As a component of your intrinsic anchoring set, helps stabilize the larynx for better bridging.
Amplifies a 2000 – 4000 KHz frequency, which amplifies the voice.
Establishes a resonant track between the vocal registers, to aid in register bridging.
Is great vocal health and is often used for voice rehabilitation in the medical industry.
Singercizing & Techniques to Develop Vocal Twang:

Any of the Specialized onsets will have twang in their configuration, however the following onsets tend to isolate and focus more on vocal fold compression, therefore are great techniques for working on twang vocal mode.

– Quack & Release Onset

– Track & Release Onset

– Messa di Voce Onset

Edging vowels and their supplemental onsets tends to engage more vocal twang.

– ɛ/eh

– ae/a (“cat”)

– “Yeah” & “Ya”*

* /j/ lateral consonant + Edging Vowels.

– “Nyet” (“No” in Russian).**

** /n/ nasal consonant + Edging Vowels.

– “Quake” & “Quack” or quacking like a duck.***

*** /q/ voiceless uvular stop consonant + Edging Vowels.

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Stop Hearing Pitch & Start Listening to Pitch

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Stop Hearing Pitch & Start Listening to Pitch

The inability to not match pitch is a very rare situation. Most people can match pitch, or have the potential to do so, but are failing to do do one of the following:

One of the technical components in the phonation package are out of balance. These elements are; respiration, compression, vowel, embouchure, larynx dampening and well trained auditory imagery. The technical components in the phonation package all move dynamically, relative to frequency and are balanced when training or singing is good. If one of these elements, such as respiration, singing vowel or embouchure is not correct, it will influence your intonation.
A lack of focus and concentration sometimes is the simple cause of why some people are singing out of pitch. Learning to hear pitch at a deeper, more focused level takes practice. It is a great idea to use the piano when you are singing songs, so you can find the notes of the melodies you are singing, to be extremely accurate. Also, get into the habit of hearing the frequency and the formant (singing vowels) a second before you sing. Use your auditory imagery skills!
For most people, until the voice gains more experience singing, the ear tends to favor intervals from the major scale. This contributes to training and singing out of pitch when students transition to vocalize or songs that are in a modal key, or minor key. Songs and scales that are in a minor key present exotic intervals that are difficult to hear for beginning students at times. The reason for this is because the minor scale has a minor 3rd interval, different then the major 3rd interval when training or singing in major keys. Because the minor 3rd is a lesser interval then the major 3rd, students and singers tend to over shoot the minor third. This means, when ascending, they tend to sing sharp (#), and when descending, the tend to sing flat (b). Remembering this rule and paying attention to not sing sharp when ascending in the melody and flat when descending, will do wonders for your ability to not lose your intonation when singing scales and songs in minor or modal keys.

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Extrinsic Anchoring

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Extrinsic Anchoring

Extrinsic anchoring is the opposite of intrinsic anchoring. There is a lot of discussion regarding intrinsic anchoring in this training program. It even has its own work flow and onset. The Messa di Voce Onset work flow is essentially the same as the intrinsic anchoring work flow in the book. But, there is another kind of anchoring, and that is the extrinsic kind. "Extrinsic" is related to the word, external, therefore extrinsic anchoring is anchoring that helps your singing by the use of the external, or broader, larger muscles. This would be, the same musculature you train when you go to the gym.

When singing, the extrinsic muscles include the buttocks, thighs, obliques, back muscles and the outside neck musculature. When singing, if you engage these muscles in a strong, balanced position, it can help you to sing better.

The photo above is a great example of extrinsic anchoring. You will notice that the dominant leg is back and I am sitting into the phonation by slightly bending the legs. This creates a chain reaction of support of the back and neck that help give you more stability. The right hand is there for balance. Generally speaking, any position with the dominant leg back, is a decent extrinsic anchoring position.

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The Three Tongue Positions

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The Three Tongue Positions

The tongue is the master articulator of a singer’s formant. It is also a muscle that can give a singer a lot of valuable leverage to hold the larynx into a favorable position for “bridging and connecting” in the head voice. Skillful use of the tongue can provide huge benefits to stability, as well as favorable shaping of your vocal tract and tuning of your formant. Both the tongue positions described below are legitimate and useful for anchoring, or stabilizing the larynx to maintain the shape of the vocal tract, vocal fold compression and larynx dampening. You should be aware of their unique benefits, so you can decide where to put your tongue when you are singing.

The Leveraged Tongue Positions

Leverage Into The Bottom Teeth

As a component of the intrinsic anchoring set, the tongue plays a crucial role in helping to dampen and stabilize the larynx. With the back of the bottom teeth position, a singer pushes the tip of the tongue against the back of the bottom teeth to help guide the larynx to a dampened position and anchor it for stability while bridging the passaggio and singing inside of M2.

Leverage Into The Lingual Vestibule

Another powerful tongue leveraging position is leveraging into the back of the bottom teeth, but lower, below the roots of the teeth where the root ends and the fleshy lower gums begin. In medical terms this is known as the lingual vestibule. This position tends to create more leverage then behind the bottom teeth and I have found this to be particularly useful when bridging and anchoring inside of M2. In regards to the larynx manipulation required for formant tuning, as you get stronger and more coordinated, you will learn to dampen your larynx to achieve your formant without tongue leveraging.

Benefits of the Leveraged Tongue Positions:

They are helpful for guiding the larynx into a dampened position.
They are helpful for producing twang vocal mode, because they engage sympathetic contractions that assist in vocal fold compression.
They help create stability when bridging.
They add stability to sustained singing inside M2 (head voice).
They keep singers from pulling tongue back, which is a common habit for beginners.
The Open Throat Tongue Position

The open throat position is one of the major components of great Appoggio technique. Appoggio requires singers to engage the respiratory support more effectively for the purpose of achieving vocal fold closure, instead of relying too much on twanging to gain vocal fold closure. First addressed in the section regarding Appoggio, the open throat tongue position is one of my favorite techniques to help students make great strides forward in their training in regards to balancing respiration, trading musculature contractions for Bernoulli fold closure physics and lightening the mass.

The open throat tongue position is created by resting the tongue behind the teeth in a rested position, instead of pressing or leveraging it behind the teeth or into the lingual vestibule. The advantage of the open tongue position is it opens up the vocal tract by making more space in the pharynx. When this happens, the body intuitively kicks in more respiration to fill the increased volume of the vocal tract. This chain reaction produces a slightly darker harmonic and relaxes the intrinsic musculature contractions.

From a physiological perspective, open throat takes more physical exertion to maintain. While you will have to work harder using open throat, especially as a beginner, it is less fatiguing once you get used to it, because there is less manipulation of the musculature for twanging.

The best thing about open throat is how wonderfully it gets your respiration going in your singing! When executed properly, your phonations will feel more buoyant, as if they are floating on a fatter column of air, since indeed that is exactly what is happening.

Benefits of the Open Throat Tongue Position:

Excellent for engagement of Appoggio technique.
Creates a slightly darker or warmer sound color.
Less fatiguing.
Is favorable for singing with legato.
Offers vocal fold closure with more Bernoulli physics, instead of contracting muscles.

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TVS Training Work Flows Introduction

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1 year

TVS Training Work Flows Introduction

A “work flow” is defined to be, “the sequential steps for any process”. Training work flows could be one of the most efficient methods to help students of singing learn more accurately in a shorter period of time. I came to believe that one way to radically accelerate progress of voice training students and simply helping people to better understand the elemental components that make a great singing voice, would be to put all the technical components required for singing, both physiological and acoustic, into neat, orderly, sequential work flows, and then coach students on how to practice these work flows.

The Benefits of Training Work Flows:

Training work flows organize the key technical components found in singing and put them in a “step 1, step 2, step 3, …” approach to learning which focuses the singer on the issues that need to be understood and practiced, and what issues that do not. It makes the abstract nature of singing technique training, easier to understand.

Training work flows build accurate coordination for the body to configure the voice for singing, especially for movements that are going to be repeated. In doing so, it offers the most efficient results in the shortest amount of time and therefore, it reduces the student’s risk from training mistakes.

Training work flows tend to “bundle” or group relevant elements together. This helps make the methodology more cohesive.

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The Colors of Singing Vowels

The Four Pillars of Singing ONLINE & MOBILE

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13:26
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1 year

The Colors of Singing Vowels

It is said that a picture is worth a thousand words. One of the key innovations of the TVS Method is the association of visual color with the singing vowels. By associating the formants or singing vowels with designated colors, for the first time in history, singers can actually “see” the ever important acoustics of singing in an entirely new way. This innovation enhances the auditory imagery for students and makes it easier to visualize how to better tune the formant and modify singing vowels. “The Sound Color Method” is pending a patent with the US patent office and enjoys a trademark.

Sound Color to Visual Color Benefits:

It has been proven that learning with visual aids greatly increases the understanding and retention of the ideas being taught.

Visual color for singing vowels allows students the time they need to process the concept because the idea of singing vowels does not disappear to be forgotten as spoken words.

Visual color for singing vowels can be categorized into groups for the Acoustic modes and can be sequenced into vowel modification formulas that show gradients of color from one vowel to the other.

Visual colors for singing allow for identical rehearsal and consistent memory pathways to be created when training.

With this rehearsal and memory of sequenced singing vowels comes increased confidence and self esteem.

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What Does Vocal Formant Mean?

The Four Pillars of Singing ONLINE & MOBILE

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05:57
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1 year

What Does Vocal Formant Mean?

The term “vocal formants” is a term that can be intimidating for singers. Even the most knowledgable and informed singers and teachers can easily get lost in the understanding of vocal formants. Indeed, study of the topic can get pretty complicated. But “The Four Pillars of Singing” is not about making things more complicated, or exceeding the necessity toward the goal of helping singers sing better. It is our job as voice teachers to try to make the complex and abstract, easier to grasp, if not fun for students. It is with that goal in mind that I offer a simple explanation of vocal formants, just enough, so that the understanding can help you to sing better. Nothing less then you deserve, nothing more then is necessary.

First, the more formal explanation of formant. Formant is used to mean an acoustic resonance or peak in the sound envelope and/or to a resonance in sound sources. In singing pedagogy and phonetics, it refers to the resonance of the human vocal tract or the resonant space. Formant is measured as an amplitude peak in the frequency spectrum of the sound, using a spectrogram (a special instrument or software that maps vocal frequencies) or a spectrum analyzer. Peaks in the harmonic spectrum define the tone quality of sound color in a voice, distinguish the vowels and provide vocal ‘ring’, ‘presence’ or ‘quality’.

In the simplest terms, the formant is not the resonant space itself, but the measurement of amplified resonant energy in the resonant space (for our purposes the vocal tract). Most formants are produced by “tube” and “chamber resonance”, which the singing voice is also classified by. For example, when singing, the upper vocal tract, the resonators, the pharyngeal space, soft palette, the throat, and the mouth combine to create this chamber resonance.

In practical, every day application toward vocal training and singing, the term “formants” is often interchanged and synonymous with “singing vowels”. Although they are not exactly the same thing, it is the singing vowel that defines the formants measurement of amplified harmonics and other aspects of its nature. The reason a basic understanding of formants in singing is important is for this very reason, it helps singers understand better how singing vowels can be used in singing, and trouble-shoot different problems and expand their singing capabilities. For example, an understanding of formants for singing, can help you to stop constricting around the passaggio, or release the voice to expand your vocal range. And understanding of formants can also help you to articulate lyrics better when you are singing by the use of vowel modification with lyrics. Therefore to understand formants, is to understand the singing vowels more deeply and that means, you become a better, more knowledgable singer. Below are the four elements to keep in mind to better understand singing formants, in a practical way.

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See Your Voice With Spectrum Software

The Four Pillars of Singing ONLINE & MOBILE

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20:00
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1 year

See Your Voice With Spectrum Software

One of the biggest challenges that singers face when studying the acoustics of singing, is the fact that sound cannot be seen. The in ability to use the eyes blinds the student from the most powerful source sense to take in information and learn. Human beings take in the majority of their information for learning through vision. I believe this may be the biggest obstacle to understanding the acoustics of singing more effectively. Fortunately, there are two innovations that do exist specifically for singers that enable to them to see the sounds they are making, at least metaphorically, if not literally.

The first means to see the acoustics of the voice was innovated by Robert Lunte at The Vocalist Studio with “The Sound Colors of Singing” idea found in this very training program! As you will learn in “The Sound Colors of Singing” lesson, all of the primary singing vowels have been assigned a color which has enabled me to create useful illustrations that explain the singing vowels in an intuitive way. Below is one of many illustrations in “The Four Pillars of Singing” that utilizes this innovation.

Primary singing vowels are each assigned a color so that students and “see” the vowels – The Vocalist Studio.
The other innovation that allows singer to see the acoustic elements of singing is a software program created by Dr. Donald Miller, one of the world’s leading research scientists on vocal formants. He invented a software application called “Voce Vista” that comes with a book he wrote regarding singing formants titled, “Resonance in Singing”. This software has become the leading spectrum software for measuring the acoustics of singing. It is also available for sale as a download from from HERE: tinyurl.com/spectrumsoftwareforsinging. if you are interested in purchasing it. (Please note, Voce Vista ONLY works on PCs).

The video above provides a good presentation on how to use this software in a very basic way. If you can use the software to simply help you to tune to an amplified first formant/second harmonic or “F1/H2″, you will begin to learn how to dampen your larynx better and tune more “warmth” into your voice. Cutting to the chase, “Voce Vista” software is great for larynx dampening training and helping students to learn how to get more sonorous color in their singing voices.

Using spectrum software with your training can also help you to tune to your primary singing vowels better and it can help you to see what harmonics are being amplified that give you your sound color and what levels of distortion or noise are in any given note.

Lastly, if you train onsets and sirens or any of the vocalize in “The Four Pillars of Singing” and keep your eye on “Voce Vista”, you can train to keep F1/H2 in an amplified position through the frequency spectrum of your voice. This helps to train even and consistent sound colors between bridges and steady respiration in your singing.

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TVS Acoustic Modes Introduction

The Four Pillars of Singing ONLINE & MOBILE

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Duration
07:17
Rental period
1 year

TVS Acoustic Modes Introduction

TVS Acoustic modes are specific groupings of vowels that are characterized by similarities in their resonant position and the sound colors that are produced because of their resonant placements. These sound colors are also important for creative options for singers. Like the previously mentioned physical modes, the acoustic modes are categorized singing vowels that make singing vowels easier to understand and easier to know when and how to use them.

Although these vowel groupings are presented in their primary resonant energy and sound color orientation, it is important to note that with the right balance of vocal fold compression and respiration, it is possible to “edge” a cubing vowel. Likewise it is also possible to “curb” an edging vowel.

The 3 TVS Acoustic Modes Are:

Edging = Forward Resonant Vowels = Brighter Harmonics

Curbing = Backward Resonant Vowels = Darker Harmonics

Neutral = Central Resonant Vowels = Mid Tone Harmonics

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TVS Edging Vowels

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04:15
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1 year

TVS Edging Vowels

The edging acoustic mode consists of vowels that tend to resonate more forward in the palette, namely ɛ/eh or ae/a (“cat”). You can feel the resonant energy vibrate in the forward, hard palette region of the mouth when training or singing these with a predominance of these vowels. At times, when the formant is balanced just right, you can feel your upper molars vibrating with a good edging vowel resonance. Edging vowels are also characterized by brighter harmonics in the overall sound color as well which gives Edging vowels more “metal” or “bite” in the sound color.

Due to their nature, Edging vowels are great for resistant training, because when you are maintaining a great edging vowel, you can feel an increase in the intrinsic contractions in and around the larynx. In particular, when a good edging vowel is amplified into the forward hard palette, you can feel an isolated contraction and compression of the vocal folds. When training edging vowels, if you feel a subtle squeeze in the glottis, this is a good sign that you are amplifying a great edging position. Therefore, edging can build strength and coordination for twanging. When engaged in great edging configurations in the head voice, the necessity to modify vowels is often reduced.

More then curbing vowels, the resonance of edging vowels must be maintained as the singer increases in frequency, in particular, around A4 for men and Bb4 for women, generally speaking. Training great skills at edging seems to be a bit more challenging then the backward resonant, curbing vowels. Therefore, great attention and care should be made toward getting very good at edging to these forward, hard palette positions.

This ability to amplify the forward hard palette inside of edging vowels can make or break your progress. If the formant color has too much ʌ/uh in the sound color, it is the most powerful symptom that the singer needs to articulate more of an edging vowel, either ɛ/eh or ae/a (“cat”).

Edging Vowel Characteristics:

- Vowels = ae/a (“cat”), ɛ/eh, I/ih, i/ee
- Resonant Placement = Forward
- Primary Articulators = Hard Palette, Upper Bite (embouchure), Tongue, Vocal Tract
- Harmonics = Brighter, “Metallic”
- Metaphor = Treble Knob

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TVS Curbing Vowels

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04:16
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1 year

TVS Curbing Vowels

The curbing acoustic mode consists of backward placed vowels that tend to resonant more in the pharynx. When singing the curbing vowels we tend to use most frequently are ʌ/uh, oʊ/oh and ɣ/ou. You can feel the resonant energy sit low and in the back of the head, or sometimes referred to as a “covered” position when training and singing these vowels. Curbing vowels are also characterized by darker harmonics in the overall sound color.

There is a direct correlation between good larynx dampening positions and curbing vowels. To get a good dampened larynx, tune to a curbing vowel. If you tune to a curbing vowel, you can engage a dampened larynx, in particular, ʌ/uh. Therefore, vowel modification formulas that utilize ʌ/uh are favorable for training the feeling and muscle memory for larynx dampening.

Unlike edging vowels, curbing vowels do not work the intrinsic musculature as strongly. While it does take a physical effort to anchor the larynx in a dampened position, for most people, the body seems to settle easier into curbing positions more then edging positions. This is an important point, because many students tend to “curb” their formants too much and not edge enough, resulting in the formant sounding too dark and feeling too heavy. Too much curbing will also lead to intonation problems related to singing flat and great difficulty bridging the registers, especially around A4, where a strong edging position has to be engaged. Keeping in mind, that all formants and vocal moments must have some “warmth” from the curbing vowels, otherwise the singer will sound too “shrill” or too “quacky”. Because of the warmth, romantic and bluesy sound color that curbing vowels produce, you will want to be able to master these vowels as well. They are essential for interpreting dramatic and soulful nuances to your singing.

Curbing Vowel Characteristics:

- Vowels = ʌ/uh, oʊ/oh, ɣ/ou, ʉ/oo
- Resonant Placement = Backward
- Primary Articulators = Soft Palette, Upper Bite (embouchure), Dampened Larynx, Tongue, Vocal Tract
- Harmonics = Darker/Warm
- Metaphor = Bass Knob

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TVS Neutral Vowels

The Four Pillars of Singing ONLINE & MOBILE

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Duration
04:28
Rental period
1 year

TVS Neutral Vowels

The neutral acoustic mode consists primarily of one vowel, a:/ah. This vowel resonates in a central placement compared to the edging and curbing vowels that resonant forward and backward. The edging and curbing vowels essentially “flow” from the “mother” neutral vowel.

It is interesting to note that even though the neutral vowel is the “mother vowel” from which other vowels evolve, a pure, neutral a:/ah vowel does not have necessarily have a pleasing aesthetic as the other two vowels do. Therefore, neutral or center resonant vowels tend to shade more toward the forward or backward spectrums.

However, a:/ah has a great importance for singing. Because a:/ah is the most difficult vowel to train, it is also the best vowel for resistance training (provided that it is voiced properly). The neutral a:/ah vowel is not a dark, warm a:/ah. Rather, it is a more compressed, almost quack mode in its sound color.

When using the neutral vocal mode for resistance training, the body will try to modify out of the centralized resonant position and try to resonant more into the edging or curbing vowel spectrums. This means as you ascend your vocalizes on a bright a:/ah, you must resist the bodies need to modify to the more resonant vowels. This resistance to modifying out of a:/ah, and working to “pull” it as high as you can, is great resistance training for your singing. From your work with a:/ah, modal voice (chest) or M1 musculature can be extended to great heights, and the result is a strong and stable belt quality that is healthy, powerful and can be extended into M2 resonant positions (head voice).

Neutral Vowel Characteristics:

- Vowels = :a/ah, ɔ/aw
- Resonant Placement = Central
- Primary Articulators = Central Palette, Upper Bite (embouchure), Tongue, Vocal Tract
- Harmonics = Mid-Tone
- Metaphor = Mid

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Vowel Modification 1

The Four Pillars of Singing ONLINE & MOBILE

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26:16
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1 year

Vowel Modification 1

Vowel modification is one of the most important concepts to grasp and master in singing technique. The ability to bridge the registers and maintain your physical configuration when singing high notes is largely predicated on what acoustic modes the singer is choosing to tune to. Vowels are used to maintain an optimal tuning of the formant, without a tuned formant, the voice will break and the sound color will not be powerful or pleasant to listen to. This lecture discusses how vowel modification is used in training and then applied to the coaching and preparation of songs.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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Vowel Modification 2

The Four Pillars of Singing ONLINE & MOBILE

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23:25
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1 year

Vowel Modification 2

There are three primary reasons why understanding how to use vowels in your vocal training is important;

1. Vowel modification is one of the key components to keeping the resonant energy optimized and tuned in the formant, which is critical to properly bridging the registers.

2. Vowel modification is a key to tuning the harmonic color of your voice to a beautiful and powerful aesthetic. Failure to train your ear to tune to the harmonic colors that are best for singing, will keep you sounding like an amateur.

3. When singing, vowel modification is used to remove the constriction caused by narrow vowels and enables the formant to continue to be tuned and therefore, enables singing through the bridge with the added benefit of a beautiful aesthetic.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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Consonants For Singing

The Four Pillars of Singing ONLINE & MOBILE

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Duration
10:11
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1 year

Consonants For Singing

In the world of phonetics, consonants are another important variable to consider when analyzing human phonation, linguistics and singing. Like vowels, there are some consonants that are singer friendly, and some consonants that are not as singer friendly in their nature, but if you know how to treat them properly, they can be a great advantage to your singing.

Nasals, Fricatives & Glides:

Nasal, fricative and glide consonants are singer friendly. They are singer friendly because they offer singers a voiced or vibratory mode, and generally do not interrupt or stop respiration when singing. In particular, the nasal consonants of /m/, /n/ and /ng/ are so singer friendly that we use them at TVS for the resonant tracking of the warm up routines, as well as in our foundation building workouts. (Without the nasal consonants, we wouldn’t really have resonant tracking warm ups).

Plosives

One kind of consonant we have to take particular care in modifying to ensure a smooth, uninterrupted phonation when singing is the plosive. Plosive consonants are, generally speaking, not singer friendly, unless you learn how to harness the energy of a plosive consonant to help anchor and dampen the larynx. Many of the workouts related to build chest voice musculature for strong belting skills are oriented with this idea. (You should review the “Dampen & Release” onsets in the TVS Training Routines in the back of the book. If you understand plosive consonants, they can be of real benefit; if you don’t, they can be a hindrance).

Plosives offer two challenges to the singer:

They force the singer to close the embouchure, impeding the body’s ability to shape an open formant favorable for bridging and connecting.

They stop the respiration and airflow needed for singing. If respiration, and the support benefits that come from a steady stream of respiration, are interrupted, the singer’s configuration can be compromised.
Plosives offer one important benefit to the singer:

A plosive is an oral occlusive (stop), a consonant in which the vocal tract is blocked so that all airflow ceases. The occlusion may be made with the tongue blade with the following consonants, /t/, /d/ or body /k/, /g/, lips /p/, /b/, or glottis. The plosive consonant has the unique benefit of producing a short burst, or “explosion” of respiration. This burst of energy has the ability to make onsets more targeted and powerful. They also help make the larynx dampen, in fact, one of the specialized onsets in this training program called the “dampen & release” onset, is designed specifically designed with the purpose of harnessing this plosive energy to train students to get their larynx dampened.

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Dampening the Larynx Formant Tuning & Intrinsic Anchoring Benefits

The Four Pillars of Singing ONLINE & MOBILE

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15:49
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1 year

Dampening the Larynx Formant Tuning & Intrinsic Anchoring Benefits

One of the components of the Intrinsic Anchoring Set is a technique we call “larynx dampening” or subtly lowering the larynx when singing. While engaging the Intrinsic Anchoring Set stops short at becoming an absolute requirement, those that fail to properly engage intrinsic musculature will not enjoy a higher degree of stability in the larynx and, without the dampened larynx, will loose some opportunities to sing with warm, soulful sound colors.

Failing to dampen the larynx can cause the singer to phonate a color of sound that is brassy, screechy and sometimes too quaky, all descriptive words for the brittle sound the voice can make when there is not enough pharyngeal resonant space when singing in the head voice. Learning to coordinate your intrinsic anchoring, which includes larynx dampening, is a path to helping to end a singer’s struggle with sounding to quaky, or engaging falsetto vocal mode when singing in the head voice. Simply put, larynx dampening warms the sound color and provides stability in the voice.

When you engage your Intrinsic Anchoring set, you put into motion a chain reaction that, among other things, creates more resonant space in the pharynx. When you create more resonant space in the pharynx, you amplify the 2nd harmonic in your first formant (F1/H2) and amplification of harmonics is one element that helps make the singing voice have more sound colors.

First Formant, Second Harmonic - The Vocalist Studio
First Formant, Second Harmonic. (F1/H2) is amplified by larynx dampening.
When I demonstrate the difference between a G4 with laryngeal dampening, and a G4 without laryngeal dampening, people consistently prefer the darker harmonic signature that comes from larynx dampening. It is just obvious when you hear it; it sounds a lot better. It is the preference for great theater and classical singers. In fact, there is a common preference in this darker quality in all genres. Thus you can understand why larynx dampening is so important.

The resulting singing vowel that comes from larynx dampening tends to hint at ʌ/uh. This is not an absolute by any means. But it is important to remember the influence the dampened larynx has on your singing vowels. It just so happens, when we dampen, the voice tends to tune to something shading into ʌ/uh. Because of this, at TVS we listen for the sound color of ʌ/uh to gauge the quality of our larynx dampening as well as gauging if there is too much larynx dampening! If you are not producing the sound color of something ʌ/uh, then your larynx may still be too high or dumped too low.

You can find a lot of singers who can twang in the head voice and screech. It may even sound kind of cool, if the singer is in a rock band or it is conscious stylistic choice. But again, the darker quality heard in a formant that is supported by laryngeal dampening and a tuning to F1/H2 is one of the undeniable marks of a trained singer.

There is a risk however. Beginning students tend to lower the larynx too much after they learn how to dampen the larynx. In their enthusiasm, dampening quickly becomes dumping and then a serious problem begins to set in. Too much lowering in the larynx, will add weight to the voice, make it nearly impossible to bridge past G#4/A4 and make singers sound flat in pitch. The larynx dampening maneuver must be balanced with brighter, forward hard palette, Edging vowel resonance as well. Do not over do it!

Training Larynx Dampening Skills:

- Training and/or modifying to Curbing vowels, namely ʌ/uh.

- The Dampen and Release Onset, which is specifically developed to train this coordination.

- Training Curbing vowel modification formulas, such as:
ɛ/eh < > ʌ/uh
ɛ/eh < > ɣ/ou < > ʌ/uh < > ae/a (“cat”)

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Belting Techniques : The Dampen & Release Onset

The Four Pillars of Singing ONLINE & MOBILE

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13:17
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1 year

Belting Techniques : The Dampen & Release Onset

Belting is characterized by a lifted larynx, cricoid tilt, an aggressive sub-glottal respiratory attack and a chaotic crash of the vocal folds. The configuration produces a strong pull on the cricothyroid muscle (CT) which is responsible for elongating the vocal folds as fountains rise in pitch. TVS has developed a set of key techniques and routines that are designed to build the strength of the CT and other related musculature required for belting.

With strong belting skills, singers can extend the musculature of the modal voice, or "chest voice" into higher notes that would otherwise not be achievable in speech mode. The resulting sound color is more full, more chesty in color and quite preferable by most audiences and styles of singing. Belt training also builds great strength, stability and stamina in the voice.

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Chest/M1 Pulling Set

The Four Pillars of Singing ONLINE & MOBILE

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12:45
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1 year

Chest/M1 Pulling Set

The M1 pulling set refers to the metaphor of "chest pulling". When we say "chest pulling" we mean extending the fundamental musculature prevalent in m1 or modal voice or "chest voice". These workouts lower the larynx, raise the velum, and open the mouth without letting the tongue interfere with the sound. Almost like the first third of a very active yawn. As the pitch rises, so seems this desire to make the vocal tract larger yet, thus greater pulling would be attempted and sensed. This process becomes a resistance training maneuver that builds great strength and coordination. It also builds endurance, stability and makes your high notes more "chesty" in sound color.

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Attack & Release Onsets

The Four Pillars of Singing ONLINE & MOBILE

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05:51
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1 year

Attack & Release Onsets

This is a demonstration of the Attack & Release onset or sometimes called the "Call Register onset. This onset is characterized by a raised larynx and a chaotic crash of the vocal folds. Acoustically, this onset has to be trained with a lot of forward palette resonance as well to prevent fatiguing the voice. Perhaps more then any of the "resistance training" techniques in the "Pillars" training system, this onset will produce the greatest amount of strength and endurance in the shortest amount of time.

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Overlay Distortion

The Four Pillars of Singing ONLINE & MOBILE

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Duration
05:39
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1 year

Overlay Distortion

The TVS “Overlay’ distortion might be the most intuitive form of distortion to produce, and fortunately, is the most versatile.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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Extreme Scream Distortion

The Four Pillars of Singing ONLINE & MOBILE

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Duration
07:04
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1 year

Extreme Scream Distortion

Extreme scream distortion is exactly what the term implies; it creates more noise than an overlay, and is the signature distortion sound often used in death metal vocal sounds.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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TVS Microphone Grips

The Four Pillars of Singing ONLINE & MOBILE

Released
Duration
06:27
Rental period
1 year

TVS Microphone Grips

The way singers grip the microphone is a worthy consideration that is rarely discussed. The primary benefit of adopting these microphone grips is it reduces the risk of “tension creep” or unwanted musculature cramping and constriction that will take over a singer’s ability to sing more freely. Squeezing the microphone too hard causes a chain reaction of tension that t”creeps” up the arm, to the shoulders and then to the neck, this is too close to the voice and the sensitive areas you need to keep loose and free when your singing. Try these unique microphone grips and improve your singing immediately.

At TVS, students are encouraged to train and sing with one of two TVS microphone grips that have an ergonomic benefit. The term “ergonomics” means, “industrial design of products that take into account the user’s capabilities and physical comfort and limitations”. This basically means, products that are made to be comfortable for the body. For singers, some microphone companies have designed their microphones with ergonomics in mind, others seem to be slow to the idea. Some microphones that sound great and have good ergonomics are listed below. They can all be found at The Vocal Gear Store.

Microphones with Ergonomic Design:

TC-Helicon MP75

Audix OM7 or OM5

Electro Voice PL80

Electro Voice ND767a
(Note, you have to pull off the rubber sleeve that comes with the microphone).

Electro Voice ND967a
(Note, you have to pull off the rubber sleeve that comes with the microphone).

Or any microphone that has a thin shank or contoured handle.

Three TVS Microphone Grips:

The Cradle Grip - The “Cradle Grip” works great with ergonomic designed microphones because it makes the microphone fit snug in the palm of your hand. When using the “cradle grip”, make sure that the thumb wraps across the top side of your hand, not wrapped below or anywhere over the mesh. Some people presume that this grip will cause feedback, but actually it typically does not, so long as you keep the thumb to the side of the mesh of the microphone. This grip has the added benefit of providing a subtle “cupping” effect, which means because of the position of the hand, the diaphragm inside the microphone is “cupped”, this tends to add more low end or “boom” to the microphone. The “Cradle Grip” is particularly well suited for microphones that are designed with ergonomics in mind.

The Rack Grip - The “Rack Grip” is similar to the “Cradle Grip” because it prevents a singer from squeezing hard on the microphone and instead, supports the microphone. It is a bit more elegant. Like the “cradle grip”, the pinky finger should go below the microphone and then place the microphone slightly out toward the tips of the fingers. The inside edge of the thumb should leverage into the mesh ring of the microphone.

The Rotten - The “Rotten Grip” is the grip you should not use! The “Rotten” is named after the lead singer from the punk band, the “Sex Pistols”, who would hold the microphone like this. Frankly, a lot of people hold the microphone in the “Rotten” grip. If you do, it isn’t going to prevent you from singing well, but it does increase your risk of tension creep and it does not look as good. In my view, the “Rotten” grip is how amateurs hold the microphone. Click HERE for more information: tinyurl.com/TVS-TheFourPillarsofSinging-DD

tinyurl.com/TMVWorldVocalGear. Click this link to see recommended vocal gear from Robert Lunte.

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Singersizing!

The Four Pillars of Singing ONLINE & MOBILE

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Duration
26:15
Rental period
1 year

Singersizing!

To “Singercize” is to perform vocalizes and workouts outside of your regularly scheduled vocal training sessions, with the purpose of reinforcing your muscle memory and techniques. When you are working on slow and controlled sirens sitting in traffic, or in the shower, you are “Singercizing”.

When you Singercize, you usually don’t have the benefit of a perfect environment. Nevertheless, you are productively using your spare time to reinforce the techniques you are trying to work into your muscle memory.

Great 'Singercizing' Drills You Can Use Throughout Your Day:

Creating powerful and beautiful onsets, followed by slow, and controlled, ascending and descending sirens.

Performing Resonant Tracking through the Passaggio, with the nasal consonants /m/, /n/, and /ng/. Includes “buzzing” to the melodies of the music you listen to in the car, smart phone, at work, in the elevator, etc.

Working on the "lift up / pull back" technique, to train the body to shut down the constrictors through the Passaggio, build command and control over vocal fold compression and orient yourself to the head voice.

Working on modifying your closed i/ee and u/oo vowels, by singing the modified version of “Me and You, You and Me” (“Meh-ee and Yuh-oo, Yuh-oo and Meh-ee”).

Training all the onsets; the primary coordination and resistance onsets as well as the supplemental onsets that help you to get into the different acoustic modes (vowels).

Releasing onsets, and modifying between the primary training vowels, ɛ/eh, ae/a, ʌ /uh, ɣ/ou & :a/ah, on one breath.

Releasing onsets and fine-tuning your embouchure, by looking in the mirror and tuning your formant according to “The Sound Colors of a Well Tuned Formant” training graphic.

Train both resonant vowel modification formulas as well as the resistance formulas that modify in and out of narrowed vowels so you can benefit from the strengthening and acoustic mass changes that come from practicing narrowed vowels.

Working on feeling a groove by counting the quarter notes to any song, then counting the 8th notes with accented, syncopated 8th note upbeats.

Slowly singing the parts of your songs that are giving you problems and paying close attention all the primary technical components in your phonation package; frequency, compression, embouchure, larynx positioning, tuning and balancing the formant and respiration.

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Final Thoughts

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Final Thoughts

Be sure to take private lessons with Robert Lunte to insure that you are getting off to a great start. Three to six private lessons with Robert Lunte will make a huge difference in your success. The Four Pillars of Singing is a great product that can take you a long way, but a private lesson with Robert will insure that you are training the concepts and workouts properly and not training mistakes. Click here for more information regarding private internet lessons with Maestro Robert Lunte.

thevocaliststudiostore.com/Private-Lessons-Internet_p_32.html

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00 The TVS Foundation Building Routine

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00 The TVS Foundation Building Routine

The Foundation Building Routines will fundamentally transform your attractor state from a person who can only phonate the primitive vocal modes (speech, falsetto & belting) into a specialist who can phonate all the components in the phonation package for singing, as well as maintain balance of the phonation package as you move it forward in frequency and time. Here is where the foundation of all your vocal capabilities yet to come will be forged. This is where you rehabilitate your speech-oriented voice into a training and singing system capable of moving forward into the rest of the training content.

For most people, before The Foundation Building Routine, the voice is not even ready to train. After The Foundation Building Routine is learned and executed well, the voice is strong and coordinated and ready for singing. More than any other phase in this program, your success lives or dies right here, in The Foundation Building Routine.

Specifically, the FBR will rehabilitate your voice, teach you how to use all the onsets properly for isolated strengthening and trouble-shooting, teach you how to tune your formant, teach you how to use the singing vowels and why and bridge your registers for one seamless voice. After you have mastered the Foundation Building Routine, you will emerge with most of the strength and coordination to sing great.

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00 Establishing The Resonant Track

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00 Establishing The Resonant Track

The key semi-occluded phonation used to balance the supra-glottal and sub-glottal respiration pressure to insure an efficient phonation. Resonant tracking also engages vocal twang by tilting the cricoid, a favorable position for singing and known to be great for your vocal health.

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00 Establishing The Resonant Track Guide

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00 Establishing The Resonant Track G

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00 Establishing The Resonant Track C

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01 Track & Release Guide

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01 Track & Release G

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02 Onsets & Melodic 5th Sirens

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02 Onsets & Melodic 5th Sirens

The melodic 5th sirens are core to The Foundation Building Routine and whether or not you are a beginner or an advanced student of TVS, the melodic 5th sirens will always be one of your most important workouts to rely on for calibrating and tuning your phonation package. Additionally, no other vocalize can train command and control over register bridging then sirens. Unlike the octave siren, the melodic 5th siren's smaller interval offers the best detail work in the entire program.

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02 Onsets & Melodic 5th Sirens Guide

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03 Onsets & Octave Sirens

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03 Onsets & Octave Sirens

One of the two mission critical sirens that make up the Foundation Building Routine, onsets and octave sirens is the core workout in all your training. No other workouts will stand by your side as your staple warm up and bridging workout as well as formant tuning. The siren forces students to maintain all the balance, calibrations and tunings crafted at the onset and put those refined technical components on the move with sirens. This is great mastery of coordination and muscle memory as the singer pushes the phonation package through the chaos of frequency changes. Nothing can develop a stronger muscle memory for great power and bridging then sirens.

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03 Onsets & Octave Sirens Guide

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04 Diaphragm & Vibrato Development

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04 Diaphragm & Vibrato Development

A workout designed to build the strength and coordination for strong, powerful respiration in your singing. This workout builds the strength of the diaphragm and the obliques. This is also a great exercise for developing diaphragmatic vibrato.

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04 Diaphragm & Vibrato Development Guide

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05 Bridging & Connecting 1

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05 Bridging & Connecting 1

The first and most basic workout, but don't let that fool you, this workout can really grab you if your not careful.

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05 Bridging & Connecting 1 Guide

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06 Articulation 1

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06 Articulation 1

The first workout that forces the student to begin articulating text. Here you begin to work on consonant and vowel modifications. In particular, modifying from "ee" to "eh". See the vowel and consonant modification tables in your copy of The Four Pillars of Singing.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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06 Articulation 1 Guide

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07 Bridging & Connecting 2A

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07 Bridging & Connecting 2A

The bridging and connecting workout set is one of the most important set of vocalize offered on "The Four Pillars of Singing". This workout is unique because it has three variants. This is the original Maestro David Kyle version that many singers have trained for over 30 years. Probably one of the top 10 workouts on the entire system, the B&C2 series will push your level of coordination forward. Likely through this workout, you will achieve new levels of coordination with vowel modifications, bridging and achieving deep resonant placements.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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07 Bridging & Connecting 2A Guide

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08 Bridging & Connecting 2B

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08 Bridging & Connecting 2B

Bridging and connecting 2b is a great exercise to further work on calibrating and tuning your highest notes. The sustained note at the top of the workout, should be calibrated and tuned for vocal fold compression, formant tuning, larynx dampening, vibrato and vowel.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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08 Bridging & Connecting 2B Guide

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09 Bridging & Connecting 2C

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09 Bridging & Connecting 2C

Bridging and connecting 2C is an excellent workout to coordinate wind and release onsets and work on your respiration. I recommend that you execute track & release and dampen & release on the first onsets and wind & release on the second onset.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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09 Bridging & Connecting 2C Guide

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10 Bridging & Connecting 3 (Minor Key)

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10 Bridging & Connecting 3 (Minor Key)

The first workout that introduces the minor key.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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10 Bridging & Connecting 3 Minor Key Guide

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10 Bridging & Connecting 3 Minor Key G

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11 Articulation 2

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11 Articulation 2

Articulation is the best vocal workout to prepare students for learning how to modify vowels in lyrics for singing. In particular, articulation #2 does a great job of offering several opportunities to modify the closed vowel, "Ee". See the vowel modification table in your copy of "The Four Pillars of Singing".

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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11 Articulation 2 Guide

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12 Bridging & Connecting with Calibrations 1

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12 Bridging & Connecting with Calibrations 1

Bridging and connecting with Calibrations 1 is not an easy workout. Make sure you pay special care to the intonation and know that this workout can be executed in one breath, or you can take a second breath and releasing a second wind & release onset before the last interval. This is a great sequence for this workout.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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12 Bridging & Connecting with Calibrations 1 Guide

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13 Bridging & Connecting with Calibrations 2

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13 Bridging & Connecting with Calibrations 2

Bridging and Connecting with Calibrations 2 features a series of intervals that can be very difficult to maintain good intonation. Again, make sure that your intonation is accurate on this workout and try modifying the vowel on the top interval. Ideally, this workout is best when executed in one breath, but feel free to take a second breath at the end of the top note, followed by a wind & release onset or track & release onset.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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13 Bridging & Connecting with Calibrations 2 Guide

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14 Octave Sweeps 1

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14 Octave Sweeps 1

Octave sweeps is simply a fast octave siren. Speeding up bridging maneuvers like this can sometimes build great coordination and strength from the shear inertia harnessed from the more aggressive movement. Be careful on the intonation as you descend from the top, this can be pitchy sometimes if your not listening closely. "Sweep deep", place your phonation package into deep, heady positions.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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15 Octave Sweeps 2

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15 Octave Sweeps 2

The same as octave sweeps 1, however you will sustain the top note and use that sustain to calibrate and tune your phonation. Listen to the sound color on the top note, make minor adjustments to your larynx, tongue, embouchure, respiration and vowel to tune your formant to the most balanced and beautiful sound you can create.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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15 Octave Sweeps 2 Guide

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16 The Nine Note Run

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16 The Nine Note Run

This run is another traditional Maestro David Kyle workout. Great for working on fluid vowel modifications through the passaggio and it is also a great cool down as well at the end of your training sessions.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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16 The Nine Note Run Guide

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17 The Hero

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17 The Hero

The Hero is a traditional Maestro David Kyle workout. Stay true to light mass phonations with deep placements. Also, consider modifying the "ee" in this workout to "mer-Eh".

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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17 The Hero Guide

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17 The Hero C

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18 Twang Contractions & Calibrations 1

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18 Twang Contractions & Calibrations 1

This is a very interesting workout. The voice sweeps an octave and then intervals up one half step. I find that this half step movement is great for vowel modifications. On the top chromatic movement, modify your vowel and instead of pushing the half step, set it deeper into your resonant placement.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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18 Twang Contractions & Calibrations 1 Guide

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19 Twang Contractions & Calibrations 2

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19 Twang Contractions & Calibrations 2

Twang contractions & calibrations 2 is another aggressive registration workout, be sure to work on your vowel modifications.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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19 Twang Contractions & Calibrations 2 Guide

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20 The Tormentor

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20 The Tormentor

The Tormentor is great for training your Appoggio and respiration techniques. Work to maintain an even and consistent respiration through the entire workout. Feel your obliques pushing down and out and the twanger relax as you increase subl-glottal respiration pressure.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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20 The Tormentor Guide

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20 The Tormentor C

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20 The Tormentor G

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21 The Tower of Power

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21 The Tower of Power

The Tower of Power is great for working on intonation and calibrating and tuning because it moves slowly with small intervals. Use this workout to further tune to the "dampened harmonic", F1/H2.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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21 The Tower of Power Guide

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21 The Tower of Power C

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21 The Tower of Power G

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22 Close Encounters of the 3rd Kind

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22 Close Encounters of the 3rd Kind

I don't know how exactly, but it dawned on me one day that the alien melody used in the famous academy award winning film, "Close Encounters of the Third Kind", might be an interesting vocal workout. Why not? We discover that the workout offers a tricking descending interval which helps with ear training for lower interval movements, and its fun.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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22 Close Encounters of the 3rd Kind Guide

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22 Close Encounters of the 3rd Kind G

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23 Extreme Scream Pitch Training ESP

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23 Extreme Scream Pitch Training ESP

Extreme Scream Pitch Training is one of the most interesting vocal workouts that originated in the studio of the late Maestro David Kyle. The vocal workouts features a very light, wind and release onset that is used to establish excellent, very deep and light, head register placements. Provided that the student maintain a light mass on the aspirate onsets, this vocalize has the potential to really open up your 5th octave and flageolet screams.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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23 Extreme Scream Pitch Training ESP Guide

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24 TVS Solfege

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24 TVS Solfege

Arguably the most iconic, traditional vocal workout is Solfege. Solfege does a great job of working many of the vowels you will need for singing. Expect the TVS Solfege to challenge your reserves of respiration to support these long sustained lines.

The workout typically trains as follows;

"doh - reh - mi - fah - soh - lah - (t)si - doh"

Be sure to modify the consonants on "Fah" & "Ti", this video will teach you how to modify out of the plosive nature of consonants /F/ & /T/. These consonants are modified as follows:

/F/ - unvoiced plosive < modifies to > /F/ voiced fricative.
/T/ - voiced plosive < modifies to > /S/ unvoiced fricative.

Modifying these vowels will result in better register bridging, less engagement of the constrictors, and light mass phonations that are balanced for performances and singing.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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24 TVS Solfege Guide

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24 TVS Solfege C

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24 TVS Solfege G

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25 Endurance Strengthening

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25 Endurance Strengthening

Endurance strengthening is a workout that is primarily about Appoggio vocal techniques. Building great extrinsic strength and coordination is the focus when building a powerful and responsive respiratory system for singing. The primary muscles that need to be coordinated and strengthened are the lower obliges, diaphragm and other important muscles. Think of your exhales as if they are a billow, that supports ad steady and consistent volume of respiratory pressure and volume. Balancing the sub-glottal reparatory pressure against the compression of the vocal folds in a high performance, twang configuration, is the end game. Singers need to be able to throttle the compression of the vocal folds and sustain great respiratory support. The four success factors in Training Appoggio are listed in the ebook, "The Four Pillars of Singing".

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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25 Endurance Strengthening Guide

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25 Endurance Strengthening C

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25 Endurance Strengthening G

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26 Pentatonic One

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26 Pentatonic One

The Pentatonic one workout is the first of six original pentatonic blues workouts in "The Four Pillars of Singing" training system. It is important that students of singing train vocal workouts in keys and harmonic modes that are not in the major key. There is far too much vocal training done in the major key, a bit more in minor keys, but branching out to pentatonic blues workouts is a rarity. Training these pentatonic blues workouts will teach your ear to hear the minor third, which can be tricky until you tune your ear.

One tip regarding singing minor and blues scales, when ascending, the tendency for all singers is to sing sharp. When descending minor and blues scales, the tendency is to sing flat. In both cases, the singer over shoots the pitch. Think of the tricky minor third interval as a smaller interval. A simple auditory image in your imagination is enough to sing the minor third accurately. Blues scales seem to be a bit more fun as well, breaking out of major scales, the singer begins to feel and hear more profound tension in the intervals and therefore, stronger resolutions which is where most every good melody will end.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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26 Pentatonic One Guide

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26 Pentatonic One C

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26 Pentatonic One G

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27 Pentatonic Run

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27 Pentatonic Run

A "run" is a melodic scale that typically moves fast with smaller intervals. There are two 'runs' in The Four Pillars of Singing, "Nine Note Run" and the "Pentatonic Run". Runs are great for working on throat shaping vowel modifications. Throat shaping is discussed in detail in the ebook, but essentially, throat shaping vowels is the practice of minimizing the lower jaw line in the formation of vowels for the purpose of forming all vowels and vowel modifications more efficiently with a predominant use of the tongue and larynx manipulations. To get the most out of these runs, make sure that you experiment with the different vowel modifications indicate in the TVS Training Routine in your ebook.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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27 Pentatonic Run Guide

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28 Pentatonic Call & Response

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28 Pentatonic Call & Response

The Pentatonic call and response is a workout that provides a typical melodic, "call and response". A "call and response" usually means that the first melodic phrase resolves on a deceptive cadence, or any note other then the root of the key or "doh" in relation to solfege. This creates harmonic tension in the melody that needs to be "resolved".

The following phrase resolves to the most stable note in the scale, the root or "doh" or "one". This resolution of the previous melodies deceptive cadence produces an inherent feeling of tension release, resolution or comfort from harmonic tension. In a sense, the 'foreplay' of melody in music, followed by the climax or resolution.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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29 Pentatonic Call & Response Guide

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28 Pentatonic Call & Response C

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28 Pentatonic Call & Response G

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29 Pentatonic The Staley

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29 Pentatonic The Staley

"The Staley" is a continuation of the pentatonic minor series of workouts. This workout is named in honor of Layne Staley, the former vocalist for "Alice in Chains". Layne Staley had a great ear for blue notes. Like all the pentatonic blues workouts in "The Four Pillars of Singing", "The Staley" requires that you really pay close attention to the minor third. Given that this workout stops at the top and then turns around with a 2nd onset from the top down, it is great for practicing dampen & release onsets, wind & release onsets and vocal distortion at the onsets. Regarding the second, top down onset, cue into the onset early so that you can grab the scale as it passes through to the descending pattern. In other words, do not try to anticipate the cue of the top down onset, its too tricky and will just trip you up for no apparent value.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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29 Pentatonic The Staley Guide

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29 Pentatonic The Staley C

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29 Pentatonic The Staley G

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30 Pentatonic Swinger

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30 Pentatonic Swinger

The pentatonic swinger is one of the most powerful workouts in the entire training system, "The Four Pillars of Singing". I have tried to figure out why so many students get such monumental gains when training this workout and I think it has something to do with the onsets. Absolutely great for practicing dampen & release onsets and wind & release onsets. In regards to this workout and indeed, all the pentatonic and groove workouts, the student of singing can take melodic liberties and search for an alternative melodic pattern to train. I encourage you to find your own melodic movements, you are not required to always sing the melody I present in these demonstrations, after you have mastered the workout with proficiency.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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30 Pentatonic The Swinger Guide

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30 Pentatonic The Swinger C

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30 Pentatonic The Swinger G

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31 Pentatonic Teaser

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31 Pentatonic Teaser

The last in the pentatonic minor series of workouts. These slow intervals are great for careful harmonic and sound color tuning.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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31 Pentatonic Teaser Guide

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31 Pentatonic Teaser G

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32 Groove Improvisation 1 in G

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32 Groove Improvisation 1 in G

Groove Improvisation 1 is in the key of G. This is a fairly straight forward 12-bar blues jam with a whole band in accompaniment. At this point in the vocal training system, feel free to find your own melodic choices when improving over this blues jam. Use all the techniques you have learned up to this point. Modify your vowels and vocal modes to learn how to sing overdrive and curbing vowels in any pattern.

While it is not necessarily improvisation, follow the instruction in this video initially to train your ear to hear all the available notes you can use. Scale in a linear fashion up and down, then followed by triplets in both directions and finally playing with sustaining individual notes to feel how each note creates a unique harmonic tension in the key. Beyond this three step practice formula, begin working on breaking out of those patterns and trying your skills a improvising your own melodic ideas.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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32 Groove Improvisation 1 in G

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33 Groove Improvisation 2 in B

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33 Groove Improvisation 2 in B

Groove Improvisation 2 in B, is the same as the groove improvisation in G, but this jam is in the key of B.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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33 Groove Improvisation 2 in B

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34 Groove The Rock Ballad

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34 Groove The Rock Ballad

Groove Rock Ballad will teach you a lesson about light mass singing. There is no way you can succeed at this difficult workout singing in a light mass configuration. Remember to "sing deep", feel the resonant energy low and in the back of the head, placed in a "covered" position. Curbing vowels, "O", "Uh" & "i" may prove be advantageous on this workout at the top notes or IPA "Ae" (fat cat). Regardless, all vowels should be trained on this workout and all should remain in a 'floaty' configuration with strong sub-glottal respiration pressure.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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34 Groove The Rock Ballad Guide

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34 Groove The Rock Ballad C

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34 Groove The Rock Ballad G

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35 Groove Anthem of Reverie

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35 Groove Anthem of Reverie

The Anthem of Reverie is possibly the most beautiful vocal workout in the entire training system, "The Four Pillars of Singing". The top note that sustains should have a very "heroic" interpretation. From a technical perspective, you can modify into different acoustic mode vowels on the heroic note. Like "The Rock Ballad", this workout must remain very deep in the resonant placement and mass should be light. If you don't keep the mass light, it will constrict you. This is a very challenging workout, but extremely rewarding and beautiful to sing and feel as you begin to master it.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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35 Groove Anthem of Reverie Guide

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35 Groove Anthem of Reverie C

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35 Groove Anthem of Reverie G

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36 Groove Piano Man

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36 Groove Piano Man

The Piano man has a nice jazz voicing. Play with it, have fun with it, do what you may with this fun workout. The mission doesn't change; bridging and connecting, modifying acoustic mode vowels, managing phonation mass to the lighter side and feeling an interpretation. Coordinate a new high performance attractor state for singing beautiful and powerful.

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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36 Groove Piano Man Guide

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36 Groove Piano Man C

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36 Groove Piano Man G

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37 Groove Hans Bendy Jazz Voicing

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37 Groove Hans Bendy Jazz Voicing

A vocal workout that is dedicated to Hans Bremer, who helped me to create and record all the vocal workouts in "The Four Pillars of singing".

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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37 Groove Hans Bendy Jazz Voicing Guide

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37 Groove Hans Bendy Jazz Voicing C

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37 Groove Hans Bendy Jazz Voicing G

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38 Groove Finding the Not So Obvious Note

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38 Groove Finding the Not So Obvious Note

Finding the not so obvious note, another jazz voiced workout, enjoy!

VIEW THIS VIDEO AND READ THE E-BOOK, "THE FOUR PILLARS OF SINGING" FOR MORE DETAILS.

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38 Groove Finding the Not So Obvious Note Guide

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38 Groove Finding the Not So Obvious Note C

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38 Groove Finding the Not So Obvious Note G

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38 Groove Finding the Not So Obvious Note G