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Where bro lmfao Chris Cornell was something else

@@nicolot4652 damn bruh take that shit somewhere else I was giving someone a compliment

I see this as a high praise, to be honest

Yup high baritone mixed voice is gonna sound the same

Why do you need to respond? :) Just like yeah yeah I won't hit that note in an opera setting as I'm not a tenor, but I'll hit it in my microphone over a wall of guitars and sound how I want to sound, rocking bright, and sing my rock genre thank you

Even operatic tenor isn't necessarily locked off for you. Michael Spyres is a natural born baritone who trained his mixed voice to be able to sing some crazy high tenor roles.

It's the classic!

“most common and overused example”

Hey, I find its a matter of just getting the placement a little more forward into the hard palate instead of soft palate, but until you have proper mixed voice technique this doesn't make sense, when you get the right technique then it comes to you naturally, so I find it that trying to put distortion techniques out there out of context could be harmful for people that are not there yet, I hope it makes sense

Glad you like it! 🙌

The EE and OO vowels are what you should work on connecting head and chest, softly first. I have a couple shorts about connecting OO through vowel modification. Once you get that the resonance shift is what connects head and chest, it all clicks! Its the basis for mixed voice

@@LeoMaiaProg Thank you so much for the answer! I'll definitely work on that!

Hi! Reach out through instagram or Tiktok or Facebook 🙌

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You should watch the other videos that I wear the Yusuke one!

Uniqlo find, cheers!

Hi there, I respect these teachers as they are clearly successful in their own ways. Singing it's interesting as people can achieve the right coordination through different instructions, different "feelings", it's called false kinesthesia and that's why different teachers say different things from each other but they all appear to get success, just with different people with their own different false kinesthesia For my case, I thought exactly like you. I wanted nothing but chest voice and take it all the way to C5. That mentality had me yelling (thinking it was belting) huge vowels up to a B4. It didn't sound great (I thought it did, but when I listen back now I can hear the strain) and I ended up hurting my voice after singing for hours multiple times. Clearly wasn't working and I wasn't able to get my dreaded C5. And my head voice that I switched to at like D5 sounded SO different from that yelled B4 that I couldn't sing well songs that were trailing this 4th and 5th octave border. Also I couldn't sing at all EEs and OOs on that high 4th octave range Now, I learned what I was doing wrong and what worked for me. Now I start to apply head as early as C4, a whole octave down. That's where I start to mix. I know thinking "roaring chest voice up to C5" sounds very tempting, especially when people say that's what they do online, but I'm of the belief that it is not what they do, it's just what they "feel" through false kinesthesia. If you're on pure chest voice, meaning thick vocal chords in that range, you need INHUMAN amount of air pressure to get there which is obviously unhealthy and yelly. You need to stretch the vocal chords to get there, and stretching means applying CT (head voice) muscles, which means mixed voice I do agree that having a solid chest voice foundation is a good first step on learning to sing and I don't recommend starting with head voice before you have basic airflow and projection concepts in a sustainable chest voice (so let's say until like E4), but it's really hard (took me too much time) to undo these bad habits of yelling and straining that gets built into your muscle memory if you think that you can just yell and power your way to a C5 and still think you'll be able to sing EEs and OOs for hours and hours without straining. I wish someone said what in saying to you earlier in my singing learning journey, but I get how tempting the concept of "singing in chest voice up to C5" is. But for me, that's my story, that's what worked for me (a baritone), that's what I teach: learning to mix and narrow vowels incrementally and starting very early (C4 for me), where my C5 us basically all head voice now, but to me it sounds really good and it's sustainable and I can sing like that for a long long time without feeling tensions or getting hurt, and I can finally sing EEs and OOs. Cheers Ps: I reject the premise of voice atrophy, the vocal muscles are tiny and thin and they're built for talking and occasionally screaming to people. You do t have to build it like a gym, the talking all day is enough exercise to have them as strong as you need them. It's about muscle memory and coordination, it's not about getting more and more strength in voice muscles or diaphragm (diaphragm for example only contracts when you inhale. When you exhale, but anatomic definition, the diaphragm relaxes)

​​@@LeoMaiaProg First of all I wanted to thank you for such a detailed response, you seem like a very kind compassionate person - you didn't need to do that. You have given me a lot to think about, I'm shocked that you say you mix so low! that's fascinating. Personally the only time I lost my voice was due to really bad reflux I went to the ENT and he didn't see nodules or anything. I want to clarify that I do like how I sound and am excited for my future, just wish it would come faster. But above all, I want to see if I can incorporate that type of mix into my singing - I wouldn't want to abandon what I'm doing though unless I stop making progress. Cause that's the thing, it's one thing to hit a wall and not progress - or worse get injured. But I get better everytime I practice, so I'm pretty happy with that. Anyways point is I definitely see the value in your mix given that you sound pretty awesome, thanks a lot for your response! I will start looking to incorporate that, will check your other videos etc I hope other people get value from your response as well, since it was so informative

@@CrimsonHeart3 my pleasure, hopefully the other videos can help you, a lot of them are different ways to approach it like what I described in this response so it may become easier to understand with those short videos as demonstrations Cheers

That was an awesome explanation for the both! Recently I starter to reach those high notes and I found that is falsetto that we need to singer high, like for me the sensation is use falsetto and just try to close the vocal chords making the pressure. But do that in a lower sound(that’s what I need) is very difficult the real big deal here is to train the airflow. Falsetto and head voice for me is the same register, falsetto is just breathier goes a little higher too. There is another KZfaq that I follow that says what we need is to get te completed mixed voice. I agree with him. I’m probably a baritenor, I can hit the C2 but like lower than A2 the voice doesn’t sound great. And think for the most rock singers, even on the low notes around F3 they are also mixing on the low chest, but it’s have a little of head voice (you can see because the harmonics are higher and the voice starts to be a little breathier on F3 in the most singers). I think as low as you could mix your voice that is the way to connect everything, the pure chest voice doesn’t connect even on the low notes, try to sing A2 and F3 those you can hit on the pure chest voice, but if you stay on it, the max will be around Bb3 B3, as you go higher you will need more volume if you stays on chest, I think that because the muscle of chest doesn’t compress and probably you are trying to compress with air. Like that’s my way of thinking, but I’m not a good singer

Hey, I'm glad you like the videos! I can try picking up some songs and explaining what's behind the way I approach singing it. I usually do technique first and pick a song that is good to explain the specific technique rather than picking a song first and risking explaining the same techniques I've explained before For tout le monde I don't think there's anything too different there, same mixed voice technique between first and second break that I've covered here, changes from person to person as the breaks location are an individual thing (see the 2 shorts videos about finding the breaks, noting them down and using vowel modification based on the pitch. Also watch the example of vowel modification applied on stratovarius black diamond). For my voice, it's between first and second break so I use some UH vowels in it, but there are quick stabs above my second break so I change to a EH vowel and resonance placement on those quick notes (similar to wintertide that I go head voice in the C5s in that chorus, which is explained in details on my full video about chesty mix) Hopefully it helps?

Thank you very much! I perform the song tomorrow, so hopefully I can apply this. I’ve been working on it as much as I can, but i’m not exactly confident in it haha

That starts to be just head voice, narrow vowels close to EE and OO. There's still some cry to achieve chord closure, but the placement is more inwards on the head / soft palate rather than forward (so it's less twang less nasal)

Lol

You say that like it's a bad thing.

Existe funkeiro bom e funkeiro ruim tb, assim como metal bom e metal ruim, são estilos diferentes com intuitos totalmente diferente, tenho certeza de que quando o hard rock apareceu a maioria das pessoas nos anos iniciais, principalmente as mais tradicionais, achavam uma bosta Eu acho que, pelo menos falando da minha parte, eh mto mais uma questão de estudo dedicação e prática do que talento, pq por muita anos não chegava perto de cantar metal preso na range dos barítonos Valeu!

It could be many things I don't know what you specifically are missing. Generally, pushing more air (what usually people think pushing more from support means) is going to cause more tension, unless you're not using enough air Tension often times can come from using the wrong vowels and the wrong resonance as a consequence. Trying to sing wide AHs very high for example, instead of narrowing the vowel. Look in the mirror, do you have a big wide smile? Try narrowing your vowel and get you mouth to open more vertically rather than horizontally But again, I don't know what you specifically need, tension is a consequence of several different causes and it's impossible to pinpoint which cause it is through a short KZfaq comment

You go through bridge / passagio when singing high, yes. You do it whether you're belting or not. The point here is that you still use mixed voice techniques (bridging the passagio and continuously transitioning and connecting head and chest voice) in order to belt. To belt you just hold onto wider vowels There's a misconception that belting means taking your chest voice up and through sheer pressure / yell / force / "support" and therefore ignoring the passagio or delaying it, which I think it's totally counter intuitive and builds bad habits. I belt by still transitioning and navigating my passagio properly as I would when singing without a belt, but then using a wider vowel which naturally requires a bit more pressure to sustain it at high pitches, but without abandoning my CT muscles / head voice engagement I hope this makes sense and answers your question Cheers!

@@LeoMaiaProg Thank you for all the details, I am really learning a lot from your videos, you're a great teacher and by the way I love your voice!

@@rababahmad9244 thank you! Glad it helps you

I did a couple classes with him before my lung collapsed, his style of understanding voice is one that makes a lot of sense to me for sure Kegan is awesome

@@LeoMaiaProg Cool man! Your voice and technique is VERY similar to his, and I mean that in a good way. You’re both great!

@@400_billion_suns we're both low voiced using lots of head voice to stretch and sing at the rock hight pitches! Cheers

@@LeoMaiaProgthx for saying this, I feel I have to relay on head voice aswell to really get those high notes but I’m still developing mixed voice. You sound amazing btw.

Lift your soft palate, focus on your vowels are usually the main things to look at!

Existe belting em qualquer registro! Não eh sinônimo de se esguelar na voz de peito

Só clicar o botão de CC do KZfaq pra português que o conteúdo tá aí, como rock eh cantado em inglês no âmbito mais clássico, o conteúdo em inglês tem um reach muito maior então não tenho planos de fazer conteúdo em português por enquanto Valeu!

Sim desse adolescente fui classificado como barítono por todos os professores de canto que passei. Quando adolescente eu chegava a alcançar um Si0. Por 15 anos eu não conseguia cantar a cima de G4. Esses agudos que vc está ouvindo eu aprendi depois de muito tempo quando finalmente aprendi a usar mixed voice e voz de cabeça, os professores anteriormente viviam dizendo que eu precisava apenas cantar na região de barítono e usar voz de peito Eu cantava coisa como fantasma da ópera que eh bem típico de barítono, tem bastante projeção minha voz grave sim, vc pode ouvir minha música sonhos que o verso eh mais grave um pouco. Próxima música que estou gravando no momento vai de E2 até A5, o início eh todo na segunda oitava bem grave Minha vida toda cantar grave com projeção foi extremamente natural pra mim e professores clássicos nunca me botavam em coral pra cantar fora da região de barítono Os agudos que eu faço não encaixariam bem em uma opera interpretando um tenor, eles são mais baixos em volume do que uma voz de peito bem projetada, as frequências dele são bem de voz de cabeça enfatizando o segundo harmônico e não seriam muito fácil de ouvir quando competindo com violinos e sopros numa orquestra sem microfone Falo um pouquinho sobre isso aqui até, difícil falar de vocal fach quando e tá falando de Freddy mercury, rock, pop, estilos contemporâneos, pq realmente vocal facha existe por causa de música clássica e opera, pra esse estilo de canto: kzfaq.infoZy0ECqnYZT0?feature=share Vlw obrigado pela inscrição Abraço

@@LeoMaiaProgSim vc ta anos luz nos estudos doque eu! Bom eu oque sei é somente por assistir e leitura. Eu cantava na igreja porém sou tenor leve. O melhor grave que eu faco é um R3! Meu passagio é F4/G4 e meu limite vocal é G5. Nao consigo passar de G5! N sei se tem mais um passagio antes do G5. Mas continuo treinando

@@JorgeTodt0910 eu detecto 3 breaks na minha voz onde se eu não mudar a ressonância eu perco a voz completa. No caso eh em B3-C4, G4-G#4 e B4-C5

All of my examples are in full voice. You can have all registers in full voice. What I mean is that belting is not pushing and using sheer air pressure to "take chest up" into the range you wanna sing. It is sticking to wider vowels and slightly lower resonance. You can belt in chest voice and you can belt in head voice and everything in between

Well, terminology is a real problem in singing, every school has different definitions. A healthy belt is different from pulling chest / yelling. It's just applying wider vowels to give the sensation of more power, but still sticking to the right coordination or resonances and registers. Both the more powerful and less powerful examples in the video are mixed voice, but the more powerful has a wider vowel, wider smiley mouth, requires a bit for "leaning into" compression, which is what a healthy belt is, at least on my terminology and the ones used by teachers that actually helped me get there.

@@LeoMaiaProgyour belts are very healthy and powerful.

I have to reply to all of these Jesus comments saying that Jesus was most likely not blue eyed and white skin given that he was middle Eastern Cheers!

I don't look very middle Eastern

Really depends on which style of distortion and the pitch. If you're saying chest voice, I'm thinking low notes, but I'm not sure if you're referring to fry, just slight texture, false chords, etc... It's honestly something that needs to be done only after properly singing effortlessly without any tension, otherwise it will be dangerous to your voice so I don't like to give such isntructions on KZfaq

I mean to add a little bit of rasp and growl too

@@dancersuji01 little rasp Cornell style is through placing the resonance slightly on the hard palate and that will slightly distort the sound and give that texture without putting any change in pressure into the vocal chords

Lmao, Uniqlo FTW

You gotta get the mixed voice through vowels down, plenty of short videos on it on the channel Once you understand it, then this will click further -- holding back to a wider vowel a little longer before modification is what belting is

Belting is not yelling, shouting or getting your chest voice higher through power Belting is taking your mixed voice (and mixed voice is achieved through vowel modifications as a big part of it) and using vowels a bit more open and delaying the modification That's the message. It's not a choice between mixed voice and belting, you need mixed voice to properly belt that high Cheers

@@LeoMaiaProg I appreciate this. Thank You

Preach

Lmao, I bought it at Uniqlo!

I do try to for a few people if the schedule fits Cheers

@@nakotablue you can reach out to me through instagram, Facebook or Tiktok whatever you'd like and we can discuss

@@LeoMaiaProg I’ll hit you up on insta

Hi Leo Maia , I’m from Brazil and I’m high baritone and when I start to study vowel modification my life changed!

@@GabrielBelozi foundational indeed!

TLDR: Can't belt healthy without mixed voice. Belting is being on mixed voice but sticking to slighter larger vowels and not belting is narrowing the vowels as you ascend. You still narrow the vowels with belting, just less, you modify the vowels a bit later than when not belting That said, this only makes sense if mixed voice through vowel modification is something that makes sense to you Cheers!

@@LeoMaiaProgThanks for explaining 😊 I've never tried to modificate vowels while singing with mixed voice. I'll give it a try.

@@sonja_rademacher lots of content about it in the channel! Vowel modification / changing the vocal tract in order to create the right space for resonance to occur in the right placement is the key to have a good mixed voice for me

Maybe you have a preconceived idea of what belting is. Both are full voice but one is a belt the other is not That said, there's 100s of ambiguity with singing terminology so different schools gives different meanings to same labels

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Leo Maia is my real name