Well, I do sing all kinds of music, but I don't have any real formal training and my 40's decided Musical Theatre was a way to unleash my inner actor. But of course, ya gotta sing for that, so I've been trying to raise my game, but it's mostly been through books like Jaime's. I'll be honest, I sorta skimmed some of his stuff that's more 'rock screamer' oriented, thinking, "that's kinda irrelevant", but the fact is, I hear people sing Musical Theatre songs and deliver wonderful full voice in tenor notes, and I really really want that. I also never had a vibrato and have been going about working like hell at trying to make that happen, too. (I must also point out I married an amazing Soprano Vocal Performance major who teaches voice lessons, and she's been working with me, though most of the work has been on breathing, posture, and rounding my vowels, and she's helped a lot, too, but I have a looong way to go).

Anyway, I really appreciate your kind words. I'm so used to hearing all the flaws, the parts that sound strained, the bad vowels, etc etc that I get discouraged. Your response was very encouraging! Thank you!

Looking forward to hearing Jaime's 'falsetto/head voice' analysis of it.

Cheers,
Randy

Hi Randy,

It is all one voice, and it is all worth learning to do - the goal is to have the widest range, most power, best tone, fluidity, etc that we can each have. Forget genre's or styles of music. Learn to do it all.
The stronger and more powerful your voice is, the easier it is to deliver a flawless performance full of character, passion, emotion, and drama so that you can move your audience on an emotional and spiritual level.

I LOVE Broadway/Theater-style material. One of my favorite vocalists is Michael Ball.

One of my favorite pieces is Gethsemane from JCSS performed by former "Little River Band" vocalist John Farnham. years ago I'm read that he would cry when he first performed this, and I think that is awesome.




Another example, is Eric Adams of the heavy metal band Manowar, who has appeared in both Phantom and Cats (as well as performed a duet with Sarah Brightman). Tell me these don't have Musical Theater written all over them.

Defender (with Orson Wells narration)










So don't think "genre", think " I'll add this ability to my toolbox.



Tim

I think your key sentence was right here:

"The stronger and more powerful your voice is, the easier it is to deliver a flawless performance full of character, passion, emotion, and drama so that you can move your audience on an emotional and spiritual level."

Since Jaime's response, I've been doing my sirens, but wow, no matter how slow I go, I get to the G#-A and the voice does that little immediate flip into another 'register' or whatever you want to call it. URGH. I definitely agree with the power standpoint. If you don't have it, you can't make it, but if you have it, you can back off of it.

I just want to hit that A in something that doesn't sound like falsetto. It should be noted the vowel is also involved here. "oo" goes into the hooty more falsetto town. If I went AAAAAYYYY I could keep keep it from doing that, but since the lyric isn't "how sane they fly", I've got a bit of a problem here :)

Thanks!

Yes, just stick with it. And know there is nothing wrong with using falsetto, like keeping the end in falsetto for a different coloring. And with the Sirens, it may take a few days, weeks, or months to get that note, but keep it up and you'll get there;)

Out of curiousity, how long should I do sirens each day?

I am soooooooooooo proud of you, Randy. The first step has been taken, getting over the fear of posting your voice for a critique. So, if you remember in RYV I talk about how the voice can change from falsetto to a mix to full voice in varying degrees on a scale of 1-10. So, these are my thougts without actually working with you and just listening:

Many of your words like PEACE and JOY are much lighter, not pure falsetto but more of a mixed sound.

Soon- more towards falsetto like a 3 1/2-4 on my scale.

If I die, sort of a falsetto/ moixed voice variation.

LET (me die)- LET was leaning more towards falsetto.

Last "Bring Him Home" at the end is definitely falsetto.

BUT, none of this matters! It doesn't matter what tone you use as long as you're happy with the sound. Now, if you DO want a more full voiced sound, it's going to take more downwards supports from you, aka the Power Push. Please note, this does NOT mean brute force. I've heard a couple of people over the years claim my power push approach is "brute force" to get those upper notes. To that I say they have no friggin clue what they are talking about. Downwards support is like a gas pedal. Push down to go faster in your car/higher in your voice. Doesn't mean you're using more wind or have to get louder. When you finally understand it, you'll realize you can use less air and even less volume if you like. Now, to get those notes, it's time for tons of Sirens, and if it were me, I'd be stair-stepping those Sirens like I mention in RYV2;)

Jaime,

First, THANK YOU for listening! I chose this piece because although I can do rock and other kinds of music, hearing a more 'belty' sounding high note from other people has me saying, I WANT TO DO THAT! But pulling up chest voice is a recipe for disaster...and it won't sound good (and it'll kill me).

"Soon- more towards falsetto like a 3 1/2-4 on my scale."

"Soon" and "Let" are the two notes in this song I want to be in full voice. If you listen to just about any professional sing these, they don't jump up into that light tone..It's that powerful blast the room manly belt with vibrato. I feel like Julia Child singing Soon! ("I've cut the dickens out of my finger!")

"If I die, sort of a falsetto/ moixed voice variation."

Okay.

"LET (me die)- LET was leaning more towards falsetto."

Yes, it was :( :( :(

"Last "Bring Him Home" at the end is definitely falsetto."

Stylistically, I'm okay with finishing the note in the purest, sweetest falsetto I can muster, because I feel like that's what the song calls for. I'm great with that, when I'm doing it because I *want* to. But SOON and LET are meant to be powerful, and I can't seem to find the power there.

"Now, if you DO want a more full voiced sound, it's going to take more downwards supports from you, aka the Power Push. Please note, this does NOT mean brute force. I've heard a couple of people over the years claim my power push approach is "brute force" to get those upper notes. To that I say they have no friggin clue what they are talking about. Downwards support is like a gas pedal. Push down to go faster in your car/higher in your voice. Doesn't mean you're using more wind or have to get louder. When you finally understand it, you'll realize you can use less air and even less volume if you like. Now, to get those notes, it's time for tons of Sirens, and if it were me, I'd be stair-stepping those Sirens like I mention in RYV2;)"

Thank you! I'm going to do a lot more sirens, then, and I guess especially in the F4-C5 range, just rip up there and hold them. I have always had problems figuring out your power push (what it should feel like). I'll re-read the portions of RYV2 that deal with this and see what I can accomplish. I can definitely hear when I listen to it how my voice has 'uneven' strength. Sometimes difficulty holding vibrato, or keeping the intensity of the note, so I guess I have some muscle work to do here!

But the main takeaway from you was what I was hoping for, that a) SOON and LET are too close to a falsetto for what I want, and b) you think I *CAN* get a more powerful full voice on those notes with lots of sirens.

Thank you again!
Randy