Wow! Dan rocks! I finally get the difference (not just the vowels, but also WHY and the rounding of lips to blend - so good!!!!)... and I love that he demonstrates EXACTLY what he just taught us. This is brilliant! So helpful!
Finally a really fabulous explanation on this mysterious topic! Thank you so much! Yours is a chanel well worth subscribing! You're at the top most tier!
It's just because I'm around musical theater, kids all the time and I pick up these crazy words :-). Thanks for the kind comment -- hope this was helpful
I'm so glad that i discovered your page. U gained a loyal subscriber. Please do you know why i often lose my voice after a major church concert where i either functioned as a lead singer or a backup singer which lasted for like 2-3 hrs and possibly how i can avoid that whilst still doing long repertoires like that
I'm so glad this was helpful to you. Re: voice loss, singing for 2-3 hours will be fatiguing for anybody. I'd have to hear what you're doing, but most of the time the culprits for that are excess of dynamic support which forces a lot of air pressure for your folds to manage. Then your folds may be working overtime and vibrating with a lot of muscular engagement and closed phase ratio (meaning they're slamming together more than they need to.) If that goes on for a prolonged amount of time your folds will get inflamed and need to recover. When that happens, you lose a lot of vibrational flexibility because the thin membrane around your folds swells and can't vibrate efficiently. Track through your songs and ask phrase by phrase -- how much breath do I need and how much support? And see how efficient you can make it. Also, it could depend on what you're hearing in monitors. If you can't hear yourself well, that's a big problem if your' shouting to compete with amplified music. Not all worship services are mixed equally :)
Thanks so much for this explanation, Dan! Only now I understand that vowel modifications depend on the mode. Unknowingly, I've been only using the Edge-modifications and I found that I can only sing with a very harsh sound in the higher range. Do I understand you correctly that I can take away that harsness by practicing Overdrive with the modifications you gave in the video?
thanks for this question -- if you're experiencing a harsher sound in the higher range, it might not be an edge/overdrive question -- may be other tract factors. You might want to experiment with where your soft palate is (higher will add warmth) and what your lips and cheeks are doing -- a more relaxed and narrow embouchure will also warm things up. Overdrive works for a lot of things, but there's a definite pitch ceiling. So f you're singing /ae/ as in cat, that vowel will promote an edge/twanged mode, but you can alter other factors that affect your vocal color. I hope this helps -- hard to be completely accurate without hearing what you're doing, but understanding there are a lot of levers for color change in your vocal tract is useful and fun to play with.
@@dancallawaystudio Thank you for your answer. Based on that, I've experimented with more yawn to raise the soft palette further. That takes care of part of the harshness. Also, keeping the jaw a bit looser at the hinges improves the sound, probably because of impact on the cheeks you mentioned. Now I also notice I use a lot of force for cord closure. A lot of ingrained habits to discover and work with in the coming weeks. Thanks for pointing me in this direction!
@@KingSaiz67 terrific that this led you to examine how you're bringing your folds together -- also look at how much support you're using or need. It's a very chicken or egg situation. But I often say -- if you just ask yourself "How much air do I actually need for this phrase?" and listen to your body's answer, that solves a lot of vocal issues. So glad to hear the tools are helpful -- keep exploring and reach out if you have more Qs
@@dancallawaystudio Thanks again! Over the last days I made my support better match what is needed, instead of having it full on all the time. This also improves the sound. I will re-watch some of your video's where you talk about "asking the body what is needed". Please, keep up your great work!
@@KingSaiz67 So glad to know this is helping -- the "how much air do I need?" question always helps, and it's the first one I forget to ask myself as well as students. Wishing you well with your singing!
I absolutely love the way you explain things, and man you can get up there! Are you a countertenor? And is Stevie Wonder in edge or in overdrive ? His older stuff sounds like overdrive and newer stuff sounds like edge.
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.
@@dancallawaystudio I have found with Journey songs, there's an audience bias, (they may not even be cognizant of) an expectation they have of you sounding like Steve Perry. I can cover a few Kansas, Toto, Boston, but Journey I have never had much success with.
@@VIDEOHEREBOB I hear this -- we've got Steve Perry so in our ear, interesting how that sound seems so required for the whole Journey package -- I'm forgetting the guy who took over the vocalist spot several years ago, and the general praise was how much he sounded like Steve Perry. That said, I've heard vocalists cover journey and really enjoyed them, but yep, that's a thing
Thanks for the question -- Edge is CVT's word for this narrowed pharynx event which does indeed boost and intensify sound waves in the tract. While the sound waves do compress, this creates a very efficient vibration event, therefore your dynamic breath support will usually require less - this is a tricky thing to balance sometimes, but once you feel how they work together it’s pretty magical. So, YES - sound waves compress, but that means less air pressure is necessary from your support strategy. For latest research on twang and such, look up Kerrie Obert SLP - fantastic stuff that’s changing how all us voicey people teach.
Hey Dan, I stumbled upon this video and it made me think why i can't make it in some parts of the songs even when I'm doing everything technically "correct", i was in the wrong vowel for the modes! Also, since you mentioned some contemporary artists like whitney and tina turner, how would you analyse this singer's approach. He sings Bb5s like nothing ruclips.net/video/XptvMu8Mg2c/видео.htmlfeature=shared (at around 2:10 mark)
@@Theprogressivemusician thanks for your question -- I hope this video helped clarify some things for you. Thanks for sharing the vid -- I don't think I've ever listened to King Crimson (and known it, anyway). That part is all /ae/ (like cat) vowel --- aem ae daenaesae(r) for "I''m a dinosaur" -- that vowel supports the pharyngeal narrowing he needs for that mode and pitch. hope this makes sense
@@Theprogressivemusician also because it's that high, he's letting the vocal folds thin, too -- with the vowel and tract shape you'll find that there's not a lot of vocal effort required at all. It's trippy
Great Video about Metallic Modes, Subscribed!
thanks so much -- hope it was helpful
Wow! Dan rocks! I finally get the difference (not just the vowels, but also WHY and the rounding of lips to blend - so good!!!!)... and I love that he demonstrates EXACTLY what he just taught us. This is brilliant! So helpful!
Thanks for the kin comment -- I'm so glad to know this helped you. Very fun to know what levers do what on the EQ board, right?
Looking at your other videos next :: great teacher ❤
Finally a really fabulous explanation on this mysterious topic! Thank you so much! Yours is a chanel well worth subscribing! You're at the top most tier!
Thanks -- I'm so glad this was helpful
Screlting, interesting concept. Nice explanation of these two modes from CVT. Thanks.
It's just because I'm around musical theater, kids all the time and I pick up these crazy words :-). Thanks for the kind comment -- hope this was helpful
Wow // so great thx ❤
I'm so glad that i discovered your page. U gained a loyal subscriber.
Please do you know why i often lose my voice after a major church concert where i either functioned as a lead singer or a backup singer which lasted for like 2-3 hrs and possibly how i can avoid that whilst still doing long repertoires like that
I'm so glad this was helpful to you. Re: voice loss, singing for 2-3 hours will be fatiguing for anybody. I'd have to hear what you're doing, but most of the time the culprits for that are excess of dynamic support which forces a lot of air pressure for your folds to manage. Then your folds may be working overtime and vibrating with a lot of muscular engagement and closed phase ratio (meaning they're slamming together more than they need to.) If that goes on for a prolonged amount of time your folds will get inflamed and need to recover. When that happens, you lose a lot of vibrational flexibility because the thin membrane around your folds swells and can't vibrate efficiently. Track through your songs and ask phrase by phrase -- how much breath do I need and how much support? And see how efficient you can make it. Also, it could depend on what you're hearing in monitors. If you can't hear yourself well, that's a big problem if your' shouting to compete with amplified music. Not all worship services are mixed equally :)
I am your 36th subscriber! Just found you in my recommended!
thanks for subscribing! Hope these videos help you out 🎵
Incredible explanationa and demonstrations very enlightening thankyou so much
@@LauraHelenMowforth-oe4lm so glad this helped you
Very helpful details! Thank you.
I'm so glad this helped you -- thanks for the comment
Thanks so much for this explanation, Dan! Only now I understand that vowel modifications depend on the mode. Unknowingly, I've been only using the Edge-modifications and I found that I can only sing with a very harsh sound in the higher range. Do I understand you correctly that I can take away that harsness by practicing Overdrive with the modifications you gave in the video?
thanks for this question -- if you're experiencing a harsher sound in the higher range, it might not be an edge/overdrive question -- may be other tract factors. You might want to experiment with where your soft palate is (higher will add warmth) and what your lips and cheeks are doing -- a more relaxed and narrow embouchure will also warm things up. Overdrive works for a lot of things, but there's a definite pitch ceiling. So f you're singing /ae/ as in cat, that vowel will promote an edge/twanged mode, but you can alter other factors that affect your vocal color. I hope this helps -- hard to be completely accurate without hearing what you're doing, but understanding there are a lot of levers for color change in your vocal tract is useful and fun to play with.
@@dancallawaystudio Thank you for your answer. Based on that, I've experimented with more yawn to raise the soft palette further. That takes care of part of the harshness. Also, keeping the jaw a bit looser at the hinges improves the sound, probably because of impact on the cheeks you mentioned. Now I also notice I use a lot of force for cord closure. A lot of ingrained habits to discover and work with in the coming weeks. Thanks for pointing me in this direction!
@@KingSaiz67 terrific that this led you to examine how you're bringing your folds together -- also look at how much support you're using or need. It's a very chicken or egg situation. But I often say -- if you just ask yourself "How much air do I actually need for this phrase?" and listen to your body's answer, that solves a lot of vocal issues. So glad to hear the tools are helpful -- keep exploring and reach out if you have more Qs
@@dancallawaystudio Thanks again! Over the last days I made my support better match what is needed, instead of having it full on all the time. This also improves the sound. I will re-watch some of your video's where you talk about "asking the body what is needed". Please, keep up your great work!
@@KingSaiz67 So glad to know this is helping -- the "how much air do I need?" question always helps, and it's the first one I forget to ask myself as well as students. Wishing you well with your singing!
I absolutely love the way you explain things, and man you can get up there! Are you a countertenor? And is Stevie Wonder in edge or in overdrive ? His older stuff sounds like overdrive and newer stuff sounds like edge.
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.
Dan, may I ask which mode would you say would be the predominant one in Steve Perry's vocals?
Steve Perry's almost always in Mode 1 with a lot or tract narrowing. When he' s higher, the folks at CVT would call that edge.
@@dancallawaystudio I have found with Journey songs, there's an audience bias, (they may not even be cognizant of) an expectation they have of you sounding like Steve Perry. I can cover a few Kansas, Toto, Boston, but Journey I have never had much success with.
@@VIDEOHEREBOB I hear this -- we've got Steve Perry so in our ear, interesting how that sound seems so required for the whole Journey package -- I'm forgetting the guy who took over the vocalist spot several years ago, and the general praise was how much he sounded like Steve Perry. That said, I've heard vocalists cover journey and really enjoyed them, but yep, that's a thing
Does it means that edge sounds require more compression
Thanks for the question -- Edge is CVT's word for this narrowed pharynx event which does indeed boost and intensify sound waves in the tract. While the sound waves do compress, this creates a very efficient vibration event, therefore your dynamic breath support will usually require less - this is a tricky thing to balance sometimes, but once you feel how they work together it’s pretty magical. So, YES - sound waves compress, but that means less air pressure is necessary from your support strategy. For latest research on twang and such, look up Kerrie Obert SLP - fantastic stuff that’s changing how all us voicey people teach.
@@dancallawaystudio Thanks so much
Hey Dan, I stumbled upon this video and it made me think why i can't make it in some parts of the songs even when I'm doing everything technically "correct", i was in the wrong vowel for the modes! Also, since you mentioned some contemporary artists like whitney and tina turner, how would you analyse this singer's approach. He sings Bb5s like nothing ruclips.net/video/XptvMu8Mg2c/видео.htmlfeature=shared (at around 2:10 mark)
@@Theprogressivemusician thanks for your question -- I hope this video helped clarify some things for you. Thanks for sharing the vid -- I don't think I've ever listened to King Crimson (and known it, anyway). That part is all /ae/ (like cat) vowel --- aem ae daenaesae(r) for "I''m a dinosaur" -- that vowel supports the pharyngeal narrowing he needs for that mode and pitch. hope this makes sense
@@dancallawaystudio Thankyou! I'll approach the phrase that way and see if it helps!
@@Theprogressivemusician also because it's that high, he's letting the vocal folds thin, too -- with the vowel and tract shape you'll find that there's not a lot of vocal effort required at all. It's trippy