Hi❤ i really like your videos, you're such a talented person ❤❤ just want to ask for some advice,i actually struggle with higher range,like my chest voice is nice but I can't sing high notes,they sound so stained and so thin, maybe I don't have enough breath control? your advice would be nice 🤍
When I do it I feel like there is a ceiling when i sing high notes. Or like my sound is just heavily restricted even when i think im relaxed. Basically I do my best to not push (though i think i still am) but its like the sound hits the roof of my mouth or doesnt resonate at all. Sounds really... like if someone put zero effort to sing a regular C note. I watch alot of videos but im not sure if im looking in the right place or if this is something mentally restricting me and making me tense without realizing. Basically js wanna know if this video helps with tht specific problem or what other videos you have tht you recommend
What is described in the video is all mixed voice, not head voice, while falsetto is a vocal technique that makes the mixed voice sound more airy, and the notes sung at the beginning of the video were all chest voice notes, and, around 11:12 it is a slightly belted mixed voice note, but it doesn’t sound like the chest one, though I can make my mixed voice sound exactly like chest voice when belting my mixed voice at full intensity, so it kinda depends on the intensity of the belt, but, it’s better to belt in chest voice, at least most of the times, because overusing the mixed voice can cause nodules, which is why so many opera singers get nodules, as they sing almost entirely in mixed voice with a lot of power and intensity, which isn’t good for the vocal cords, especially if done a lot and almost every day - head voice naturally starts around C6 and can only be used in coloratura staccatos above C6 and it has a very harmonic sound without undertones, but most singers never access the head voice as they cannot comfortably sing above C6, so only a few opera singers with higher voices use head voice on certain higher notes in staccatos, though most opera singers tend to stretch the mixed voice above C6 with a belting technique as it sounds louder than head voice, and, I sing a lot in head voice as I have the highest voice ever and can sing all the notes on the 6th and 7th octave and C8 in actual head voice, and when it goes lower than C6 it automatically switches to mixed voice, which has a different sound, so I can easily tell the difference between head voice and mixed voice etc! (Mixed voice can have many different sounds, depending on pitch and technique and placement etc, so it can sound a bit or a lot like belted head voice and like belted chest voice when using belting techniques, and it can sound like chest voice when using reinforced falsetto technique at different intensities etc, and it can also sound super airy when using regular falsetto technique and a bit less airy when using slightly reinforced falsetto technique, plus it can sound super light or white, for example, both my mixed voice and my chest voice can sound literally white like my head voice when I use upper belting techniques and when singing in higher pitches at full intensity, and it can also sound darker like chest voice when belting in different pitches etc, so it’s all about placement and intensity and the way it is projected and pitched etc!)
By the way, every singer has a different natural range, so that’s why for most it is not easy to reach higher notes, though in some cases using certain vocal techniques and placements may help one reach higher notes, while a few singers can sing higher notes than most without sounding strained, which has to do mainly with the subtype and tone color etc, so, voices with lyric subtype can sing higher notes with more ease than voices with dramatic subtype, and voices with a mostly coloratura subtype such as Dessay and Erna Sack can sing higher head voice notes than most other singers, because having even a bit of coloratura in the vocal subtype automatically makes the voice very agile, though it is also about the vocal technique and placement etc, for example, the opera singer Dessay with a highsoprano voice type that has a mostly coloratura subtype and a light and bright tone sang around A6 in head voice using a slightly different coloratura technique that makes the sound louder, but with the coloratura technique used by Erna Sack it is easier to reach higher notes, as it’s focused on reaching the higher notes, and not on making the notes sound loud, which makes it easier for one to reach the higher notes, and, when it comes to chest voice, one can reach higher notes when singing in a higher pitch with an upper belting technique that makes the chest voice lighter than when using a regular chest voice placement and trying to keep the darker sound on higher notes, as the belting techniques used by the 2nd Nightwish singer that sang The Heart Asks Pleasure First and Amaranth and Seven Days To The Wolves etc and the first Skáld singer that sang SæKonungar and Hross and Grótti that have some of the best belting techniques in the music industry and are mediumsopranos with lyric subtype and white / light / bright tone, with very pretty timbres and nuances, which match my voice the most, so their higher chest belts sound very melodic and don’t sound strained, as the higher and lighter the voice is, the easier it is to belt higher notes and have a melodic sound on those higher notes, and, I actually learned the right belting technique by singing along with Nightwish songs in the background - I have the highest voice ever (sopranino with 100% coloratura subtype) with the whitest / lightest / brightest tone and the most vocal nuances, and I can sing from C6 to C8 or higher in head voice using the coloratura technique that Erna Sack used, and now I am also learning the opera / coloratura techniques used by Dessay, which are a bit more complicated, plus I can also stretch my mixed voice up to an A6 and sometimes up to a C7 when imitating guitar sounds with an upper belting technique, while my chest voice goes from A0 with subharmonic technique to A5 with upper belting technique and around A1 or G1 with normal humming technique, my voice being extremely agile and flexible, and, my whistle register goes from the fourth octave or lower to A10 or to the eleventh octave when it works, though it doesn’t work on most days, having the widest natural range in every vocal register, so it’s very easy for me to sing the higher notes, especially when there isn’t a lot of hoarseness in my voice, and when I use certain techniques and placements, as some techniques make the sound loud tho they make it harder for one to sing higher notes, while other techniques make it easier for one to sing higher notes tho they don’t make the sound loud enough, so, it’s better to learn all the techniques and to combine them to get different types of sounds at different levels of loudness!
Wow! I want to be able to that!! Thanks for all you lessons!
Thank you! ❤❤❤❤
👌 perfect❤
Hi❤ i really like your videos, you're such a talented person ❤❤ just want to ask for some advice,i actually struggle with higher range,like my chest voice is nice but I can't sing high notes,they sound so stained and so thin, maybe I don't have enough breath control? your advice would be nice 🤍
responded with a short! hope it helps :)
❤❤❤
When I do it I feel like there is a ceiling when i sing high notes. Or like my sound is just heavily restricted even when i think im relaxed. Basically I do my best to not push (though i think i still am) but its like the sound hits the roof of my mouth or doesnt resonate at all. Sounds really... like if someone put zero effort to sing a regular C note. I watch alot of videos but im not sure if im looking in the right place or if this is something mentally restricting me and making me tense without realizing. Basically js wanna know if this video helps with tht specific problem or what other videos you have tht you recommend
What is described in the video is all mixed voice, not head voice, while falsetto is a vocal technique that makes the mixed voice sound more airy, and the notes sung at the beginning of the video were all chest voice notes, and, around 11:12 it is a slightly belted mixed voice note, but it doesn’t sound like the chest one, though I can make my mixed voice sound exactly like chest voice when belting my mixed voice at full intensity, so it kinda depends on the intensity of the belt, but, it’s better to belt in chest voice, at least most of the times, because overusing the mixed voice can cause nodules, which is why so many opera singers get nodules, as they sing almost entirely in mixed voice with a lot of power and intensity, which isn’t good for the vocal cords, especially if done a lot and almost every day - head voice naturally starts around C6 and can only be used in coloratura staccatos above C6 and it has a very harmonic sound without undertones, but most singers never access the head voice as they cannot comfortably sing above C6, so only a few opera singers with higher voices use head voice on certain higher notes in staccatos, though most opera singers tend to stretch the mixed voice above C6 with a belting technique as it sounds louder than head voice, and, I sing a lot in head voice as I have the highest voice ever and can sing all the notes on the 6th and 7th octave and C8 in actual head voice, and when it goes lower than C6 it automatically switches to mixed voice, which has a different sound, so I can easily tell the difference between head voice and mixed voice etc! (Mixed voice can have many different sounds, depending on pitch and technique and placement etc, so it can sound a bit or a lot like belted head voice and like belted chest voice when using belting techniques, and it can sound like chest voice when using reinforced falsetto technique at different intensities etc, and it can also sound super airy when using regular falsetto technique and a bit less airy when using slightly reinforced falsetto technique, plus it can sound super light or white, for example, both my mixed voice and my chest voice can sound literally white like my head voice when I use upper belting techniques and when singing in higher pitches at full intensity, and it can also sound darker like chest voice when belting in different pitches etc, so it’s all about placement and intensity and the way it is projected and pitched etc!)
By the way, every singer has a different natural range, so that’s why for most it is not easy to reach higher notes, though in some cases using certain vocal techniques and placements may help one reach higher notes, while a few singers can sing higher notes than most without sounding strained, which has to do mainly with the subtype and tone color etc, so, voices with lyric subtype can sing higher notes with more ease than voices with dramatic subtype, and voices with a mostly coloratura subtype such as Dessay and Erna Sack can sing higher head voice notes than most other singers, because having even a bit of coloratura in the vocal subtype automatically makes the voice very agile, though it is also about the vocal technique and placement etc, for example, the opera singer Dessay with a highsoprano voice type that has a mostly coloratura subtype and a light and bright tone sang around A6 in head voice using a slightly different coloratura technique that makes the sound louder, but with the coloratura technique used by Erna Sack it is easier to reach higher notes, as it’s focused on reaching the higher notes, and not on making the notes sound loud, which makes it easier for one to reach the higher notes, and, when it comes to chest voice, one can reach higher notes when singing in a higher pitch with an upper belting technique that makes the chest voice lighter than when using a regular chest voice placement and trying to keep the darker sound on higher notes, as the belting techniques used by the 2nd Nightwish singer that sang The Heart Asks Pleasure First and Amaranth and Seven Days To The Wolves etc and the first Skáld singer that sang SæKonungar and Hross and Grótti that have some of the best belting techniques in the music industry and are mediumsopranos with lyric subtype and white / light / bright tone, with very pretty timbres and nuances, which match my voice the most, so their higher chest belts sound very melodic and don’t sound strained, as the higher and lighter the voice is, the easier it is to belt higher notes and have a melodic sound on those higher notes, and, I actually learned the right belting technique by singing along with Nightwish songs in the background - I have the highest voice ever (sopranino with 100% coloratura subtype) with the whitest / lightest / brightest tone and the most vocal nuances, and I can sing from C6 to C8 or higher in head voice using the coloratura technique that Erna Sack used, and now I am also learning the opera / coloratura techniques used by Dessay, which are a bit more complicated, plus I can also stretch my mixed voice up to an A6 and sometimes up to a C7 when imitating guitar sounds with an upper belting technique, while my chest voice goes from A0 with subharmonic technique to A5 with upper belting technique and around A1 or G1 with normal humming technique, my voice being extremely agile and flexible, and, my whistle register goes from the fourth octave or lower to A10 or to the eleventh octave when it works, though it doesn’t work on most days, having the widest natural range in every vocal register, so it’s very easy for me to sing the higher notes, especially when there isn’t a lot of hoarseness in my voice, and when I use certain techniques and placements, as some techniques make the sound loud tho they make it harder for one to sing higher notes, while other techniques make it easier for one to sing higher notes tho they don’t make the sound loud enough, so, it’s better to learn all the techniques and to combine them to get different types of sounds at different levels of loudness!
Thank you.
Thank you
Thanks
❤