Hi jamie i had a question on Pharyngeal voice
what is the difference between pharyngeal voice and reinforced falsetto

and how will i use pharyngeal voice to perform those high scream like in Judas priest songs.
the lugos withches do i blend or mix it with my full voice???

Yeah, I´ve got a very similar question going on forever here...

They are really the same thing. Pharyngeal is just adding that higher frequency like singing on a witches cackle. I just call it reinforced falsetto, because my coach, Thomas Appell calls it that and Jim Gillette calls the tone on the Eee scream exercise and power falsetto

Adding the pharyngeal sound is such a strange thing. Some people sing with it and you can hear it heavily. Some people you can barely hear it.

I tend to rely on it heavily to hit higher notes and sound powerful. I can't imagine not using it. Sometimes,when I'm having an off day (or week) my pharyngeal ability goes "offline" and I tend to totally force too much to get it working. Consequently on those days, I really sing badly and my placement gets messed up. Somedays, it just works very easily and loudly without any effort at all.

But I must say that developing and nurturing that pharyngeal sound has really made me a better singer...

I'm wondering though: Can you Jaime, or Oiselle, or any other advanced singer on this board, choose to use pharyngeal sound whenever you want...or is it ingrained in your full voice high notes???

For me, I can't hit many notes in my mid range without having that pharyngeal buzz for loudness, resonance and for doing grit if need be...

It is just me or it´s impossible to do the yawning sensation when you sing pharyngeal?.

In my experience, it is possible to keep the yawning sensation and have a pharyngeal tone. It really feels more like a squeeze from the sides that makes the pharyngeal more audible. Also a tighter chord closure seems to makes that bright sound...

Good topic!

I have no problem making the pharyngeal sound. I know what it feels like and sounds like and can even see the use of it. My problem is, I don't feel like I can "move freely" while using it. It feels like in order to make that sound I'm setting up my vocal track in a way that isn't as easily adjustable (pitch-wise).

Is this just a matter of getting used to it, and slow practice? I know it's possible because I hear that timbre in Tony Harnell when he does his most metal sounds and he still manages to pull off awesome riffs that way. Also he seems to use it a lot more live than on studio recordings. My guess is that it's less taxing and therefore a more prudent choice when on the road, but in the studio he just goes all out. Anyone else have thoughts on that?

-Paul

Dude so basically pharyngeal voice is just a loud falsetto , i thought those Judas Priest Scream were full voice.
any ideas???

Some of the older ones are full voice, most of the gritty ones aren't but "loud falsetto" is not really the right term for it anyway. It's mixed voice.

Isn't the purpose of developing this so that one can be able to reinforce full voice with the "witchy" overtones?

I´m starting to think that the term full voice on the upper register refers to the mixed voice (head mixed with chest)to give it a chest like quality.

Normally when we think of "full voice" we inmediatly associate it with chest voice because of its power and volume, so reinforced falsetto or mixed voice works much better than a light regular falsetto I guess...

On that note:

It's Full voice because it is Full voice.

Falsetto is where teh vocal cords are wide apart, in Full voice they are drawn together and will generate much more body.

Chest and Head are points of resonation, and at these pitches it would generally be seen as headvoice. I'm not sure how you could get your chest to resonate for pitches that high. I never thought to ask Jaime about it.

Here are examples of Full voice in the range where most other singers are singing in Falsetto. Some of the early Priest stuff IS in Full Voice, but most of the later stuff if Falsetto.... Probably due to all the years of smoking.

Tony Harnell singing 10,000 Lovers with TNT. It's my favorite example. but there are other guys who can get up there - Mickey Thomas from Jefferson Airplane could back during the "Find Your Way Back" days.





And Yes, Harnell can do it Live.




Listen to the resonance, overtones, and body in his voice.
Falsetto doesn't have that... that "thickness" to it.

- Some of the early Priest stuff IS in Full Voice, but
- most of the later stuff if Falsetto.... Probably due
- to all the years of smoking.


Actually, he went falsetto long before he started smoking. I think that the drugs he used to do in the early 80s did most of the damage. However, I have to say that my favourite performance of his is on the Painkiller album, where he was mostly falsetto, so if you truly are into what your doing and you put your soul into it you will produce results, one way or another.

The falsetto myth is based on some people who calls falsetto a register and some calls it a timbre.

when male singers get over the Tenor D-E they are leaning more against the falsetto than the chest.
I see they voice like a car, and your car wont last long if you max it out only in the second gear.

Well, I am always referring to the tone. If it has that feminine quality while lacking in overtones and there's a distinct change in timbre, I call it falsetto. I think what people are asking is whether the only way to get the high notes is to sound thin, or whether they can sound thick up there (see Dio and Dickinson for instance).

What "Falsetto myth"?
Falsetto is very much a reality that takes place when the vocal cords are open, Full voice is when they are drawn together - that is why you can go higher in Full voice than you can in falsetto.

I believe that Reinforced Falsetto takes place in between the two

In order to go to falsetto - the cords will have to fly apart - that is what gives you that "flipping" sound and feel.


Tim