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thanks so much Joe -- appreciate that

:) I'm glad you enjoyed -- you learn better when you play. Thank you!

I'm so glad these have been helpful to you (and smile inducing -- woot!). We learn better through fun. Welcome, so glad you're here.

@@dancallawaystudio thank you

Thanks so much for these suggestions. And I'm so glad to hear you're getting great answers for yourself from CVT. I've found a lot of their tools to be tremendously helpful. I'm putting your suggestion in my calendar. And the great thing about edge is that is has all kinds of possibilities for high or low density. I'm glad you landed on a way of understanding the voice that's so helpful.

So true -- I'm always discovering, and I think we're lucky because a lot of what was invisible before has at least become observable with singing, so at least our images can relate more to what were learning. And I know for me -- to believe and re-trust that the ineffable just IS and its a place we can invite folks into. I remember a teacher saying it's so hard to acknowledge or let through because it can feel a lot like nothing.

Full pumpkin haha

Sure thing -- would love to know what aspects of it are most challenging for you so I can make sure it's helpful. This is a good topic -- lots of pitfalls with softer dynamics.

Thanks for this comment. I hear you. If you just google the intrinsic muscles of the tongue, you'll see how many things you're dealing with and hopefully cut yourself some slack. These coordinations take time. There are so many sounds possible, so really it's about what song you're singing and what you want to convey, and then is that coming through with balance and efficiency. I'd have to hear you, but when you talk about adding power, it sounds like you might be hitting it with a lot of support, maybe more air pressure than you need, so then the folds and tongue root press down to manage that energy blast. I forgot to include this in the video, but try hooking your index fingers on your chin and then massaging your tongue root with your thumbs (under/behind the mandible), do some gentle humming ensuring that those muscles there at the root tongue are soft-ish as you sing. You're training the root of the tongue to be soft and nimble while letting the top of the tongue move all over the place for articulation, etc. Hope this helps.

You're very welcome! appreciate it

Thanks so much -- for real, though, I was a little self conscious when recording, so I couldn't sink fully into Kermit identity, and when I was editing,, I thought, "I sound like Jordan Peterson." :)

I'm so glad it came at the right time for you today. Thanks for your kind comment -- and glad you enjoyed the silliness. (Had to cut Chakira, though)

@@dancallawaystudio 😆I have to see the Chakira impression now

I'm so glad to hear this -- this is why I make these. So many of our life stories share so many similarities; I think if more of us knew that the world would be a kinder, more loving place. Thanks for sharing this. Keep floating the meat pillow on out of your pharynx :)

I love that this got to be part of some divine life pattern for you. I also love that you found this out; a lot of folks think something's changed on a holistic/unalterable level. Love your bottom teeth licking cue -- effective and silly, great combo. I'm very familiar with self criticism piling on to tension that's already trying to solve a problem -- glad to hear you're on this part of the discovery road. God bless you back.

I'm so glad these have been helpful. Thanks so much for your kind comment, and welcome!

Thanks so much -- I'm glad you enjoyed it

That's terrific that you're seeing changes in your flexibility and facility. Well done. If you're getting quickly fatigued, take a look at 1 -- how much air are you inhaling? Experiment with different amounts and ask your body how much you need for the particular phrase. 2 -- how much support are you using? My instinct is that you might be engaging more muscular energy in your torso than you need to which is delivering more air pressure below your folds than necessary. Your folds might be working way harder than they need to to manage all that support you're working to provide. If you're supporting at a 5 or 6 level out of 10, try a 2 or 3. See what that feels like. And you can always just schedule a free 15 minute chat with me if you want me to take a listen and offer some ideas. fons.app/@dancallawaystudio/book

@@dancallawaystudio x That would be amazing. I'll see what I can do.

She's terrific, always inspires me

So glad to hear this and derrrrng C6 :) Yeah -- for you, vocalizing Mode 2 as low as you can will be important as well so that you're always balancing. If you look at the place where I'm trying to do Gethsemane in M2 low, it's soft, but it's so important to vibrate both registers so you have an easy continuum. I've always been so impressed with countertenors who have that beautiful head dominant mix into their lows. Thanks for the comment and letting me know.

ay is indeed a diphthong and can have either /ɛ/ or /e/ as its primary vowel. So really, the difference you might be asking about is the difference between the /e/ you might say in pay /peɪ/ which has a higher, more forward tongue and the /ɛ/ you say in "bed" /bɛd/. The /ɛ/ is great for more open sounds and the /e/ terrific for more closed ones generally. There's always a continuum you can play with as well. Here's a diagram as well www.researchgate.net/figure/Diagram-illustrating-the-tongue-positions-for-the-front-cardinal-vowels-Wikimedia_fig1_312165145

I'm glad this was helpful. Thanks for the comment -- For that whoah section, if you're wanting to do it in a more open coordination, try letting your tongue do a bright /a/ sound like someone from Chicago would say ChicAAAgo or an Italian andiAmo. Then let your lips do a slight rounding to create the /o/. If you modify toward ooh sounds, it will tend to want to go to head voice, or it'll do what CVT calls curbing, a kind of held back hurts-so-good sound. The next video I make is going to be about the tongue, and I think that'll have some very helpful info about how that contributes to acoustic efficiency. If you're letting yourself sing the whoah section with a rather thick fold balance (and if it's a sustained whoah. moment, that makes sense) then that might give you the coordination you need to then sing the lower pitches easier. Hope this helps.

Thanks so much -- I'm so glad this helped you. God bless you back.

Also of course I am talking mode 1 here. I can go up to G5 in mode 2, but, well, that's mode 2. Not that mode 2 isn't awesome, it's just different. :)

We can often sense potentials that just need a different coordination like you say. A few things to try -- being conscious that you're letting your folds thin -- sometimes we try to apply the feeling from C4 to G4. Also giving your larynx permission to float up for higher pitches, experimenting with that. And asking yourself how much air you need, how much dynamic support. If you get in the lab with that and try things out, I bet you'll find your way. Also transitioning over from M2 to M1 on the same pitch, letting it crackle over just to show yourself the coordination is possible. I'm glad these have been helpful for you.

Hey there -- I've definitely found my voice affected by exercise. Ending weightlifting or other intense exercise with ample stretching would be something to try. Especially neck, pectorals, and shoulders, checking jaw and tongue. Also a good yoga series coupled with gentle cool down sirens from M2 to M1 into fry and back are helpful. And for the overdrive/edge option, maybe sing pitches higher than F#4 in your head voice/M2 with both edge (closed) and overdrive (open) coordinations just to layer in that change. Then bring an edge coordination lower, like D4 and slide up in hills keeping the edge. Then back down to D4 in overdrive and slide that up. Of course I can't hear what you're doing, but it may be possible you're trying to maintain the same vocal fold thickness for D4 as you are for F#4 and above -- bring some attention there and let your folds thin as you increase pitch --it may feel closer to mode 2 than you expect. Also, let your larynx rise a little as you ascend. I find a shorter tract tube helps me with higher pitches. And check how much air you're delivering. Play with different amounts of dynamic support. Hope this helps. One other thought -- you may be constricting more of the pharynx than you need to in the higher stuff. If you can twang mode 2 up there, the tract shape should be about the same, so try to feel what that coordination feels like, and then send mode 1 through the similar shape.

@@dancallawaystudio thanks! I have been doing all of the flexibility stuff! Gonna try those M2 to M1 sirens next time I exercise.

@@donrogg terrific -- I hope they help

Exactly. I always say these are the Cartman vowels :) -- though not all my students have South Park references as a given. In some cases, Moira Rose works great, too.

​​@@dancallawaystudio Do you have any tips on how to have your Edge mode vowels sound more natural?

@@Oleg_K. Thanks for the question -- the edge vowels /ae, I, e/ will, of course, sound super funny on lower pitches. There, we can use more speech-related vowels. It's when we get to higher pitches that the edge vowels help us. When we're there, we can then employ other tract shaping to make lyrics sound like we want them, brighten or darken the sound. That's soft palate location, tongue height, degree of pharynx narrowing, and also mouth shape. I'll often sing edge through soft, relaxed lips and cheeks, and that'll warm the sound into the vowel I want to make, for example. The tract gives us thousands of options.

I'm so glad to hear it -- and I hope these tools help you with the upcoming gig. Thanks for the kind comment

Thanks for the comment, and I'm so glad these are helpful. I did make a series of videos about vibrato last summer -- if these leave you with additional questions, just ask me. I can make a video with more answers as far as I understand it. Here's the playlist: ruclips.net/p/PL7249yStyGODT600auaUtchWAXC4rTfTL

@@dancallawaystudio Thanks a lot. I watched every single video. Working on it. It's really cool that you are intersted in our questions 🥰

@@birgithade5022 So glad -- hope they were helpful -- if they bring up more questions for you, feel free to ask -- It helps me to know what will help you

thanks hope it was helpful

you're very welcome -- hope this was helpful

@@mereterosenberg1897 thanks Merete -- I'm glad you got some good things out of it

@@jlyricsandkaraoke9636 thanks for your kind comment -- I'm so glad you found this helpful

@@donrogg yeah I find it a helpful way to hear what the bowel shapes are at a low frequency so you can tell your brain "this is acoustic vowel code" when you sing higher pitches

@@petersoar2886 I think about this all the time -- in fact I was sitting in church yesterday thinking -- I need to make a video about what to do with your tongue, so your comment is timely. The tongue and your ability to manage it is HUGE, so you're right on. The tongue can be a tremendous help in leveraging your acoustics and also a mystifying inhibitor -- I'm glad you're finding out how useful it is to know about. Thanks for the comment and question -- confirms I'm on track with the answers I want to provide.

I'm so glad this was helpful to you -- thanks for the kind comment. If I had to classify my voice, I'd be a tenor, but I've just had the chance to teach a lot of treble voices, so I've been able to figure out a lot of different sounds. Oh Stevie -- the best. Depends on the song and the part of the song. He uses all kinds of modes to my ears. The end of "Lately" would be a lot of edge. Beginning of "You Are the Sunshine" sounds like neutral (CVT's definition), and later in the song when he wails a little higher, I hear both overdrive and edge coordinations. I'd have to give a closer listen to something like "Signed Sealed Delivered" -- the vowels sound edgy, but there is a lot of openness to the sound. He's a terrific vocal model.

Thanks for the comment -- all of this sounds accurate to me. You're right -- ee and oo are great had voice vowels. Since this video is focused on head voice/mode 2, those are the ones I use to help you yodel up and connect. Closed eh, ae like cat, and ih like sit are terrific for chest voice/mode 1 that need a lot of twang, and uh, oh, and open eh are terrific for mode 1/chest sounds with more open qualities. I personally don't love nay nay nay exercises for my own reasons, but in a case like that, you can always modify the diphthong vowel from ee to ih, and on a word like boat, you'd modify the oo /u/ in the diphthong to the /ʊ/ as in book or put. You definitely have a teacher's curiosity and hunger for investigation. Thanks for sharing and reflecting.

@@dancallawaystudio thanks! And I hope it doesn't sound like I am knocking a well developed falsetto. It is definitely something I want to work on more so I can sing some of those 1970's Michael Jackson songs!

@@donrogg no lot at all -- and you're right on about what vowls help what modes

why thanks :) i have a 5 year old at home who's helped me nail that resonance pattern

@@dancallawaystudio I'm gagging 😆 but I really appreciated this video for real 🙏🏻

@@wsudance85 so glad it was helpful -- thanks for letting me know

I'm so glad this was helpful, and you're very welcome -- thanks for the kind comment.

I'm glad these are helping -- I find a lot of bass baritones have terrific access into high mode 2, and even more stretch than I do as a tenor. The more you play and let your folds stretch, you'll have more experience, evidence, and confidence with what you can do -- Take it slow and listen to your body, of course. It should always feel comfortable and repeatable. Appreciate the comment.

I'm so glad this helped you -- thanks for the comment

thank you and I'm so glad these have been helpful to you -- I have the video recorded, but I needed to divide it into 2 parts because it got quite extensive -- so, I'll upload one very soon with exercises and framework for mode 2/head voice and then I'll share the next one that takes you through mode 1/chest voice examples. Thanks again 🙏

You're very welcome -- I hope this was helpful

yep ih is pretty magic for that

@@pascalcreativedesign8790 thanks for the comment and I hope this was helpful. And if you just sing half a chorus of a song you enjoy today, you've officially not quit singing, just taken an extended hiatus. Wishing you well

@@dannystinnett2061 Noah says hi:) and thanks for the comment -- hope these are helpful

@@KarenKelly1111 I'm so grateful this was helpful to you -- thanks for taking the time to comment

You're very welcome -- I hope this was helpful

Super common thing to do. I still have to watch out for this, so we are in a large club. When there's a transitional zone in the voice, the brain and body want to find ways to stabilize it. The body logic it usually offers is muscle engagement in the area it wants to protect from instability. In the exercise video I'll make, I'll try to include some ways to soften these engagements so you can find out what the vocal results are for you.

Thanks so much -- I'm so glad this was helpful to you. Thanks for the kind comment