@@VIDEOHEREBOB I appreciate that -- and I'm very glad you're here. Honestly I'm grateful to have a manageable number of folks watching because it enables me to interact and answer Qs. And it's a whole lot more than the 70 this channel had last June :) any questions I can answer or clear up for you, always feel free to reach out and ask.
I think a large part of it is that people are comfortable with surface level (and often wrong) info because it’s comfortable. But I’ve been spamming Reddit singers with this channel coz it’s so hard to come by actually great information 😭
Mate, this is wonderful. I’ve been singing my whole life (teaching too) and I was convinced this magic “mix” space wasn’t real, but everyone around me has always said it is. I’m gonna pump these exercises and see what happens. Thank you!
I'm so glad this was helpful -- It makes a lot of sense why we'd perceive a mix space since we're noticing all kinds of overlap -- qualities of different functions blending, so yes, of course, you'll feel a mixture of resonant feedback depending on what you're singing, but it's not another magic land. Let me know of the exercise frameworks do anything for you.
I too am so glad I found your channel. I am 76 years old and had private voice lesson with classical teachers for decades. In high school I was placed in 2nd Alto, in college I was considered a spinto soprano, high Bs were not a problem for me then. I mostly sing sacred music but I love all styles of music. I have also had a couple of decades as care-giver for my parents and now my sister. Mostly I sing in the choir at church. I would like to sing solos again. I used to have good control of my chest voice but now it is like my brain has never been there. My chest voice is usually pretty loud and my head voice after the transition is very quiet; but my head voice over all is stable. High G is my top now. How you explain the "mix" is helping me understand when and how to approach the change in passaggio. Thank you. One problem I have a with going down to Mode One is I feel as though I have flem under my vocal cords and sounds very raspy. I don't have that feeling or sound in Mode 2. I imagine my age is the colpuret. Thank you for your channel, you are an excellent teacher!!! Sandra Taylor
I'm so glad this has been helpful for you, and thanks for sharing some of your story. I love that you're singing and enjoying it -- sacred choral singing comprises some very precious memories and experiences for me. For your mode 1/chest, you might want to play with all kinds of different acoustic shapes to see if that affects the presence of rasp or noise -- vocal tract shape has a powerful retro effect on how your registration behaves. Again, very glad to hear this video helped you -- happy singing.
thanks, oof -- I did think it would demo what technique can do for you when you're still a lil under the weather. the frustrations and the built-in noise indicator of impending mode switch.
Amazing insight as always, Dan. "Continuum" must be the best single word to sum up the voice, mix included. Also, I absolutely love your exploration of various tract shapes. I was wondering if you could confirm/debunk/alter an anatomical view I have. As I currently understand, chest voice/mode 1, the folds are coming together and touching. Your diagram and explanation at 5:00 of the body and cover of the folds enlightened me further as to why the chestier it is, the fuller it really is, not just louder. (what I've learned is sometimes referred to as 50/50 closure, where the folds actually seal 50% of the cycle). Head/mode 2, they never seal. However, this magical mix is the aryepiglottic muscle compressing the false folds together, bringing the true folds apart, resulting in them just "kissing", not connecting for as long. Perhaps explaining why we get more body over greater range. This info-assuming I'm not missing the mark- has lead me to think of the mix as essentially a same-but-different function of head/mode 2. It seems to be the way you think about it in your explanation, do you agree? What'd I miss? Everything? Please let me know. This probably isn't the best approach to understanding the practical application of it, which you most *certainly* provided in this excellent, university-tier truth-bomb. I just thought you may indulge my nerd brain, as you have done before. You rock!!
I really like continuum - the flexibility and option of it all. Sets you free in so many ways Re: M1/chest, your thyroaretynoid, the body of your vocal folds, engage. They’re an isometric tensor which means they can engage without shortening. Amazing. So, chest/M1, these muscles are engaged, so you have the vibration of the TA and also the independent vibration of the layer over the folds. And yes, the more thickness of fold you engage, the more robust the vibration, the deeper the contact and vertical phase, and therefore usually a larger amount of sympathetic resonance. 50/50 closure refers to the open-to-closed ratio of the folds how long they’re together and how long they’re apart. You often see the 50/50 event in what’s referred to as flow phonation or the myoelastic aerodynamic theory of phonation, where the folds come close together/approximate (the myoelastic part of the event) and then the velocity of air moving through vacuums the folds together because of the decrease in pressure. You the singer can then calibrate, if you want, a more closed phase like you hear in belting or a very open phase like you hear in breathy crooning or breathy head voice. In head voice, the folds do still vibrate together. Varying degrees depending on the instrument and age of the singer. Young singers often have a small opening in the back of the glottis until the intrinsic muscles of the larynx develop and strengthen. In M2 the body of the thyroaretynoid is not engaged like in M1, so you have a thinner, not so deep contact of the folds, therefore the lighter, thinner sound. I don’t know enough about the false folds narrowing together and affecting the true folds themselves, but a narrowing of the pharynx in one spot like that will often produce an acoustic boost that will affect the vibration happening and sound like what we call mix. There are all kinds of narrowing you can do - front-to-back or side-to-side and in different parts of the tract. I think the most accurate and groundbreaking work on understanding this is being done by SLP Kerrie Obert - search for interviews with her on here if you want terrific, clarifying info. I think of what we call mix as a function inside both modes - Each mode has a vast range of density possibilities, so like you saw me demo in the messa di voce, as my M2 thickens toward M1, that coordination is making the vibratory pattern more robust while staying in M2. And it’s sharing some characteristics of M1 in its resonance production. Then there’s that change where the thyroearetynoid muscles engage to move into M1/chest, but there you see there’s a whole range of possibility from that point. That range of possibility is also a mix, where you might sense lighter chest voice production sharing characteristics with the thinner nature of M2. All that to say, what we call mix exists in both M1 and M2. Thanks for the question, Nick - I hope this answer clears things up for you and anyone reading.
It took me years to learn this. Thank you! I did find one thing - there is a thing called subharmonics that people like David Larson (davidwiththelonghair) and Geoff Castellucci do which I don't think you would ever hear in a musical theatre context (at least, not the way they do it), and I thought that was something that only happened in mode 1, but I heard it happen briefly in mode 2 in your voice and in my voice while I was messing around with it watching your video. That mode 1 mode 2 flipping on the same pitch is really quite tricky! I must do more of that.
@@robynrox whoah I'll have to check out subharmonics. I've only recently been introduced to these singers via TH-cam comments, and their voices are terrific to hear. Thanks for the comment -- and I hope this was helpful
@@genereybradley straw is totally helpful by providing back pressure -- it could make the transition very bumpy because of the static acoustic shape the straw makes, but could be a fun experiment -- i experience much more pronounced wobbles and transitions with straws for this reason, but could be a fun experiment.
@@genereybradley Straws are great for therapeutic vibration, providing back pressure, helping us feel a slow flow of air while the Messa di Voce exercise in this case is to help you notice the continuum of possibility through modes 1 and 2 and to just keep witnessing the hand-off as the thyroaretynoid muscles engage and release. I'd say adding a straw to the situation might prove more frustrating than instructive right now since they make it harder to shape the vocal tract to manage the transition. But again, you're not doing anything harmful, it's just an abrupt mode change. Like yodeling
Very informative video, though it has confused me on some things😅 You talk about shifting from M1 to M2 and back, and demonstrate this at about minute 15:00 by moving from a G4 in M2 to your M1. I am so befuddled by this, I am currently training as a classical tenor, and pushing my M1 up to such a high pitch would be borderline destructive to my voice, yet it doesn’t really sound like you are pushing that G4? I have had a lot of problems with that sensation of „pushing“ M1, that uncomfortable tug or pull on the voice as we ascend and not let M2 take over, but for me it seems to appear already at about an A3, and singing notes around C4 has made me extremely hoarse for many years. I commonly hear men „push“ their M1 when talking about high notes, anything starting at around F4 and up, but those notes have never been a problem since at that point I would be screaming so much that I just learned to let it slip into M2 anyways. What are your recommendations on that area around C4 (which I have come to call „too high for chest, too low for head voice“), for someone who appears to be experiencing pulling chest voice at such an early point?
Hey there -- thanks so much for this question. From what you're describing, it sounds like you might be trying to maintain the same muscular contact around C4 as you would around G3. As the folds stretch and vibrate higher frequencies, we need to let them thin, and as we go higher, M1 begins to share some muscular and vibrational qualities with M2. Mode 1 has a ton of variation and density possibilities, so it's a matter of exploring the robust vibrations as well as the gentler ones. The Mode 2 to Mode 1 transition exercise just demonstrates how the modes operate along a continuum. If you'd like me to take a listen, I'm happy to. Just go into the description and click on work with me and you can book a free 15 minute chat. I'll be back in the swing mid- January.
@@dancallawaystudiohey, thanks for the response! I have had a lot of lessons on how to thin out the sensation of M1 as we approach higher pitches at around C4, in a effort to stop pulling and straining the voice, but it only ever allowed me to strain less, which is good, but ultimately I was still straining😅 And going hoarse after 15min instead of 5min of singing didn’t really feel like a victory, so for now the only approach seems to be to switch to M2 at around A3, which feels kind of low. I would love the opportunity to chat with you about this, especially as I am approaching learning smaller roles as a stand-in at my house, but I am unsure if you are able to take calls from someone currently living in Germany😅
Hey man. This is pretty awesome. I'm finally developing my mix by working on that M1/M2 transition through messa di voce. It is the real deal. Very underrated training. I noticed you were doing the exercise in Bb5, and the transition was audible due to the inflammation. I was "always" able to make the transition not audible too sometimes and have balanced tones at Bb5, but what is "new" is that I'm working on the messa di voce exercises way bellow, like G, F#, F, E, or even D. On those notes, the training seems to bring extraordinary benefit to both the M1 and M2 registers, even though the transition is always audible (and often violent) starting from F# down below. I'm wondering if it is possible to bridge the gap and sing right in the middle between M1 and M2 on any of those notes (say, between Eb to A), or if there is a region around the passaggio where that is literally impossible and you need to choose either M1 or M2.
Thanks for this question -- first thing that I find very helpful is that you are either in M1 or M2, never a mixture of the two -- there's just a very wide range of densities available within the modes. They share a lot of sensations and resonances with each other, so that's why we call so many things a mix. I think it is possible to create a smooth modal transition in the lower notes, though it's tougher because there's a thicker contact when you're in mode 1, so it makes it hard not to make the transition clunky. But even if you don't accomplish a smooth change, it's a terrific exercise to show you that modes happen along a continuum with all kinds of possibilities for degrees of density. You hear good countertenors blending these areas beautifully all the time -- better than I can. I'm so glad this exercise has been helpful for you.
@@dancallawaystudio That's soothing to hear, because I do have this strong feeling that I'm either in M1 or M2 and it feels impossible to ever have an actual blend of the two (meaning, being in both at the same time), but with the messa di voce exercises I am learning to have a lot of the musculature and sensations of M1 activated on M2 and vice versa. So while I felt I had progress, I felt too that there was a long way to go before "actual blending", but that sounds like I am closer than I thought, if it is ok to stay on M1. Still regarding that, I heard something that I still don't know if it is true or not, which is that "pharyngeal voice makes the distinction between M1 and M2 disappear". That info came from Cornelius from Studio East, but there are lots of information there that I find questionable. Obs: I actually re-arrived at messa di voce exercises while trying to understand CVT, especially the concept of density, and theorized that the boundary between low-density curbing and high-density neutral is the "mixed voice". This is something else that I liked in your video, that you confirmed that theory so to speak.
That’s great info right there. People don’t want to admit but the mix everyone talks about lives mostly in mode 2, and playing with the acoustics will determine the color of it and the listener will mistake you for singing in mode 1 while you’re just chilling up there in mode 2. Does it make sense?
Yeah a lot of mode 2 sounds can sound very mode 1 indeed -- also why the term mix can get so mixed up for folks. I have one student who I still have a hard time discerning when she's left mode 2 for this very reason. On the flip, though, mode 1 can share a lot of characteristics with M2 in its lighter densities, so this is why it's so helpful to get to know your voice in this continuum framework, opens up a whole range of possibilities. Since mix refers to where a singer may be experiencing sympathetic resonances, it does happen in both modes 1 and 2, though what you're observing is accurate -- a rich and boosted mode 2 can sound very bright and like a mode 1. There have been fights in pedagogy class over this :)
Thanks so much Dan for the clarification. In one of your videos, you mentioned about Complete Vocal Techniques’ research on vowels and to read it. I have problems finding it. Could you provide help on this. Thanks
The CVT research site has some terrific info about their basic concepts. Here is the one with vocal modes: cvtresearch.com/vocal-modes/general/ There's also an app, a free version and a pretty affordable paid version that has ALL the stuff
So, if I understand...someone should be able to have seamless transition from M2 and M1 (and vice versa) without any gravel, right? I thought that was the case when I do this higher up...around A4, or G#4. I can go back and forth, and I can feel when M1 engages or disengages. And I don't think it's audible. However, doing this around E/F/F#4 without gravel or an abrupt shift if near impossible for me. I either have to shift to M2 very, very low (A3 or lower), and shift to M2 well above E/F/F#. So I take some weight off my M1 voice as I get higher, but if I want seamless, then I'm taking M1 much higher. (Or I just make an abrupt shift to M2 in that tricky area.) How does this passagio transition area come into play as we talk M1 M2? Adds an extra wrinkle. For my music, I would rarely use M2 in the E/F/F# area, but I am keen to maximize the capabilities of my voice and understand what it SHOULD be able to do. Very good video.
Thanks for the question, and I hope this video was helpful. Yep -- you're absolutely right the transition for a tenor or baritone voice around E4-G4 can feel a lot trickier. You'll even notice in the video I opted to demo on the A5 because I knew G4 could be wonky with my recovering voice. Because the folds vibrate more thickly at the passaggi than they do at higher frequencies, the M1-M2 transition is objectively tougher. And other factors contribute to being able to execute a smooth transition like acoustic shape from larynx position, tongue orientation, and vowel, etc. I find a very helpful exercise is to bring M2 down as far as you can on descending scales and playing with density possibilities on lower pitches -- D4 down to G3. This helps the M2 coordination take on some thickness and relate to M1 more readily. With that said -- I can't always execute a seamless mode transition below passaggio, so that's a good project for me. I think the most important thing is to let your folds experience the different modes on the same pitch in all their variations just so you show yourself the range of possibilities -- rarely is a same-pitch mode change called for in rep, but it's a great skill to know you have so you see your own menu of choices.
Knobs: Track shape, Layrax Position, Jaw Condition , Phringal Openness, Tongue Placement, armbushire All physiological things that you can control are there any other things that we can physically control or we can center before we sing?
Yep, those are the main levers. Of course, there's how much air you're taking in, and what kind of support you're using. Your registration choices -- mode 1 or 2 and what level of density you're choosing. Then yep -- Where's the larynx, what's the pharynx doing, the tongue, soft palate, mouth opening, use of lips and cheeks, overall style world. When you're in pedagogy class, you learn body use/alignment, respiration, phonation, resonance and articulation -- basically in that progression, though there's a lot of chicken or egg you encounter along the way.
@@dancallawaystudiothanks for opening up your model. I am a golf pro it turns out handling pressure is dependent upon the correctness of one’s model and how familiar one is with it
@@chutechi absolutely -- #1 want to share what's made things clearest for me, and #2 yep -- mapping your system into procedural memory so it's there when you're adrenalized and don't have conscious contact to it.
Thanks for asking -- in this case I'm talking about the amount of vocal fold touching from top to bottom. A light mode 2 head voice sound would have very little vertical phase whereas a mid-range mode 1 shouty sound would feature a lot of vocal fold contact, therefore more vertical phase. Also, here's a link to an article summary about vertical thickness in vocal production. pmc.ncbi.nlm.nih.gov/articles/PMC10514229/#:~:text=This%20vertical%20phase%20difference%20means,closed%20during%20phonation%20%5B17%5D.
Why is it that great voice teachers like you have lower levels of subs? Glad I found your channel.
@@VIDEOHEREBOB I appreciate that -- and I'm very glad you're here. Honestly I'm grateful to have a manageable number of folks watching because it enables me to interact and answer Qs. And it's a whole lot more than the 70 this channel had last June :) any questions I can answer or clear up for you, always feel free to reach out and ask.
@@dancallawaystudio I will take you up on your offer, but not abuse the graciousness...lol!
I think a large part of it is that people are comfortable with surface level (and often wrong) info because it’s comfortable.
But I’ve been spamming Reddit singers with this channel coz it’s so hard to come by actually great information 😭
@@ks-hb2jt appreciate this comment :) and your sharing -- hope it's helpful to the reddit-sphere!
Thank you, Dan. One of the most straightforward descriptions of the subject out there and I hope many find this little gem.
You're very welcome -- I hope this helps folks feel less confused about what's happening in Mixytown. Thanks for the kind comment.
Mate, this is wonderful. I’ve been singing my whole life (teaching too) and I was convinced this magic “mix” space wasn’t real, but everyone around me has always said it is. I’m gonna pump these exercises and see what happens. Thank you!
I'm so glad this was helpful -- It makes a lot of sense why we'd perceive a mix space since we're noticing all kinds of overlap -- qualities of different functions blending, so yes, of course, you'll feel a mixture of resonant feedback depending on what you're singing, but it's not another magic land. Let me know of the exercise frameworks do anything for you.
Great video
thanks so much I hope it was helpful
Thanks Dan
I too am so glad I found your channel. I am 76 years old and had private voice lesson with classical teachers for decades. In high school I was placed in 2nd Alto, in college I was considered a spinto soprano, high Bs were not a problem for me then. I mostly sing sacred music but I love all styles of music. I have also had a couple of decades as care-giver for my parents and now my sister. Mostly I sing in the choir at church. I would like to sing solos again.
I used to have good control of my chest voice but now it is like my brain has never been there. My chest voice is usually pretty loud and my head voice after the transition is very quiet; but my head voice over all is stable. High G is my top now. How you explain the "mix" is helping me understand when and how to approach the change in passaggio. Thank you.
One problem I have a with going down to Mode One is I feel as though I have flem under my vocal cords and sounds very raspy. I don't have that feeling or sound in Mode 2. I imagine my age is the colpuret.
Thank you for your channel, you are an excellent teacher!!! Sandra Taylor
I'm so glad this has been helpful for you, and thanks for sharing some of your story. I love that you're singing and enjoying it -- sacred choral singing comprises some very precious memories and experiences for me.
For your mode 1/chest, you might want to play with all kinds of different acoustic shapes to see if that affects the presence of rasp or noise -- vocal tract shape has a powerful retro effect on how your registration behaves.
Again, very glad to hear this video helped you -- happy singing.
@@dancallawaystudio Thank you!!! I will try!
Using a recovering laryngitis voice to teach us abt mix and vocal health is actually brilliant 😭
thanks, oof -- I did think it would demo what technique can do for you when you're still a lil under the weather. the frustrations and the built-in noise indicator of impending mode switch.
Excellent video dan!!!! I’m your biggest fan 😍😍😍
@@bryanchanyuhin love you, and thank you
Amazing insight as always, Dan. "Continuum" must be the best single word to sum up the voice, mix included. Also, I absolutely love your exploration of various tract shapes.
I was wondering if you could confirm/debunk/alter an anatomical view I have.
As I currently understand, chest voice/mode 1, the folds are coming together and touching. Your diagram and explanation at 5:00 of the body and cover of the folds enlightened me further as to why the chestier it is, the fuller it really is, not just louder. (what I've learned is sometimes referred to as 50/50 closure, where the folds actually seal 50% of the cycle).
Head/mode 2, they never seal. However, this magical mix is the aryepiglottic muscle compressing the false folds together, bringing the true folds apart, resulting in them just "kissing", not connecting for as long. Perhaps explaining why we get more body over greater range.
This info-assuming I'm not missing the mark- has lead me to think of the mix as essentially a same-but-different function of head/mode 2. It seems to be the way you think about it in your explanation, do you agree?
What'd I miss? Everything? Please let me know. This probably isn't the best approach to understanding the practical application of it, which you most *certainly* provided in this excellent, university-tier truth-bomb. I just thought you may indulge my nerd brain, as you have done before. You rock!!
I really like continuum - the flexibility and option of it all. Sets you free in so many ways
Re: M1/chest, your thyroaretynoid, the body of your vocal folds, engage. They’re an isometric tensor which means they can engage without shortening. Amazing. So, chest/M1, these muscles are engaged, so you have the vibration of the TA and also the independent vibration of the layer over the folds. And yes, the more thickness of fold you engage, the more robust the vibration, the deeper the contact and vertical phase, and therefore usually a larger amount of sympathetic resonance.
50/50 closure refers to the open-to-closed ratio of the folds how long they’re together and how long they’re apart. You often see the 50/50 event in what’s referred to as flow phonation or the myoelastic aerodynamic theory of phonation, where the folds come close together/approximate (the myoelastic part of the event) and then the velocity of air moving through vacuums the folds together because of the decrease in pressure. You the singer can then calibrate, if you want, a more closed phase like you hear in belting or a very open phase like you hear in breathy crooning or breathy head voice.
In head voice, the folds do still vibrate together. Varying degrees depending on the instrument and age of the singer. Young singers often have a small opening in the back of the glottis until the intrinsic muscles of the larynx develop and strengthen.
In M2 the body of the thyroaretynoid is not engaged like in M1, so you have a thinner, not so deep contact of the folds, therefore the lighter, thinner sound. I don’t know enough about the false folds narrowing together and affecting the true folds themselves, but a narrowing of the pharynx in one spot like that will often produce an acoustic boost that will affect the vibration happening and sound like what we call mix. There are all kinds of narrowing you can do - front-to-back or side-to-side and in different parts of the tract. I think the most accurate and groundbreaking work on understanding this is being done by SLP Kerrie Obert - search for interviews with her on here if you want terrific, clarifying info.
I think of what we call mix as a function inside both modes - Each mode has a vast range of density possibilities, so like you saw me demo in the messa di voce, as my M2 thickens toward M1, that coordination is making the vibratory pattern more robust while staying in M2. And it’s sharing some characteristics of M1 in its resonance production. Then there’s that change where the thyroearetynoid muscles engage to move into M1/chest, but there you see there’s a whole range of possibility from that point. That range of possibility is also a mix, where you might sense lighter chest voice production sharing characteristics with the thinner nature of M2. All that to say, what we call mix exists in both M1 and M2.
Thanks for the question, Nick - I hope this answer clears things up for you and anyone reading.
@@dancallawaystudio Immensely clarifying. Thank you so very much, Dan! Definitely gonna book another session with you soon.
@@CHEEFZ090 my pleasure
It took me years to learn this. Thank you!
I did find one thing - there is a thing called subharmonics that people like David Larson (davidwiththelonghair) and Geoff Castellucci do which I don't think you would ever hear in a musical theatre context (at least, not the way they do it), and I thought that was something that only happened in mode 1, but I heard it happen briefly in mode 2 in your voice and in my voice while I was messing around with it watching your video.
That mode 1 mode 2 flipping on the same pitch is really quite tricky! I must do more of that.
@@robynrox whoah I'll have to check out subharmonics. I've only recently been introduced to these singers via TH-cam comments, and their voices are terrific to hear. Thanks for the comment -- and I hope this was helpful
Messa de voce is one practice I rarely do, need to do it more often
I do find it super helpful -- especially as a way to explore and see where transitions are. Hope you see good results from it
@@dancallawaystudio hope so, is using a straw with messa de voce any better or harmful?
@@genereybradley straw is totally helpful by providing back pressure -- it could make the transition very bumpy because of the static acoustic shape the straw makes, but could be a fun experiment -- i experience much more pronounced wobbles and transitions with straws for this reason, but could be a fun experiment.
@@dancallawaystudio its a real bumpy transition, which is why I asked the question, am I doing more harm than good
@@genereybradley Straws are great for therapeutic vibration, providing back pressure, helping us feel a slow flow of air while the Messa di Voce exercise in this case is to help you notice the continuum of possibility through modes 1 and 2 and to just keep witnessing the hand-off as the thyroaretynoid muscles engage and release. I'd say adding a straw to the situation might prove more frustrating than instructive right now since they make it harder to shape the vocal tract to manage the transition. But again, you're not doing anything harmful, it's just an abrupt mode change. Like yodeling
Very informative video, though it has confused me on some things😅
You talk about shifting from M1 to M2 and back, and demonstrate this at about minute 15:00 by moving from a G4 in M2 to your M1.
I am so befuddled by this, I am currently training as a classical tenor, and pushing my M1 up to such a high pitch would be borderline destructive to my voice, yet it doesn’t really sound like you are pushing that G4?
I have had a lot of problems with that sensation of „pushing“ M1, that uncomfortable tug or pull on the voice as we ascend and not let M2 take over, but for me it seems to appear already at about an A3, and singing notes around C4 has made me extremely hoarse for many years.
I commonly hear men „push“ their M1 when talking about high notes, anything starting at around F4 and up, but those notes have never been a problem since at that point I would be screaming so much that I just learned to let it slip into M2 anyways.
What are your recommendations on that area around C4 (which I have come to call „too high for chest, too low for head voice“), for someone who appears to be experiencing pulling chest voice at such an early point?
Hey there -- thanks so much for this question. From what you're describing, it sounds like you might be trying to maintain the same muscular contact around C4 as you would around G3. As the folds stretch and vibrate higher frequencies, we need to let them thin, and as we go higher, M1 begins to share some muscular and vibrational qualities with M2. Mode 1 has a ton of variation and density possibilities, so it's a matter of exploring the robust vibrations as well as the gentler ones. The Mode 2 to Mode 1 transition exercise just demonstrates how the modes operate along a continuum. If you'd like me to take a listen, I'm happy to. Just go into the description and click on work with me and you can book a free 15 minute chat. I'll be back in the swing mid- January.
@@dancallawaystudiohey, thanks for the response!
I have had a lot of lessons on how to thin out the sensation of M1 as we approach higher pitches at around C4, in a effort to stop pulling and straining the voice, but it only ever allowed me to strain less, which is good, but ultimately I was still straining😅
And going hoarse after 15min instead of 5min of singing didn’t really feel like a victory, so for now the only approach seems to be to switch to M2 at around A3, which feels kind of low.
I would love the opportunity to chat with you about this, especially as I am approaching learning smaller roles as a stand-in at my house, but I am unsure if you are able to take calls from someone currently living in Germany😅
Hey man. This is pretty awesome. I'm finally developing my mix by working on that M1/M2 transition through messa di voce. It is the real deal. Very underrated training. I noticed you were doing the exercise in Bb5, and the transition was audible due to the inflammation. I was "always" able to make the transition not audible too sometimes and have balanced tones at Bb5, but what is "new" is that I'm working on the messa di voce exercises way bellow, like G, F#, F, E, or even D. On those notes, the training seems to bring extraordinary benefit to both the M1 and M2 registers, even though the transition is always audible (and often violent) starting from F# down below. I'm wondering if it is possible to bridge the gap and sing right in the middle between M1 and M2 on any of those notes (say, between Eb to A), or if there is a region around the passaggio where that is literally impossible and you need to choose either M1 or M2.
Thanks for this question -- first thing that I find very helpful is that you are either in M1 or M2, never a mixture of the two -- there's just a very wide range of densities available within the modes. They share a lot of sensations and resonances with each other, so that's why we call so many things a mix.
I think it is possible to create a smooth modal transition in the lower notes, though it's tougher because there's a thicker contact when you're in mode 1, so it makes it hard not to make the transition clunky. But even if you don't accomplish a smooth change, it's a terrific exercise to show you that modes happen along a continuum with all kinds of possibilities for degrees of density. You hear good countertenors blending these areas beautifully all the time -- better than I can.
I'm so glad this exercise has been helpful for you.
@@dancallawaystudio That's soothing to hear, because I do have this strong feeling that I'm either in M1 or M2 and it feels impossible to ever have an actual blend of the two (meaning, being in both at the same time), but with the messa di voce exercises I am learning to have a lot of the musculature and sensations of M1 activated on M2 and vice versa. So while I felt I had progress, I felt too that there was a long way to go before "actual blending", but that sounds like I am closer than I thought, if it is ok to stay on M1.
Still regarding that, I heard something that I still don't know if it is true or not, which is that "pharyngeal voice makes the distinction between M1 and M2 disappear". That info came from Cornelius from Studio East, but there are lots of information there that I find questionable.
Obs: I actually re-arrived at messa di voce exercises while trying to understand CVT, especially the concept of density, and theorized that the boundary between low-density curbing and high-density neutral is the "mixed voice". This is something else that I liked in your video, that you confirmed that theory so to speak.
That’s great info right there. People don’t want to admit but the mix everyone talks about lives mostly in mode 2, and playing with the acoustics will determine the color of it and the listener will mistake you for singing in mode 1 while you’re just chilling up there in mode 2. Does it make sense?
Yeah a lot of mode 2 sounds can sound very mode 1 indeed -- also why the term mix can get so mixed up for folks. I have one student who I still have a hard time discerning when she's left mode 2 for this very reason. On the flip, though, mode 1 can share a lot of characteristics with M2 in its lighter densities, so this is why it's so helpful to get to know your voice in this continuum framework, opens up a whole range of possibilities. Since mix refers to where a singer may be experiencing sympathetic resonances, it does happen in both modes 1 and 2, though what you're observing is accurate -- a rich and boosted mode 2 can sound very bright and like a mode 1. There have been fights in pedagogy class over this :)
Thanks so much Dan for the clarification. In one of your videos, you mentioned about Complete Vocal Techniques’ research on vowels and to read it. I have problems finding it. Could you provide help on this. Thanks
The CVT research site has some terrific info about their basic concepts. Here is the one with vocal modes: cvtresearch.com/vocal-modes/general/
There's also an app, a free version and a pretty affordable paid version that has ALL the stuff
So, if I understand...someone should be able to have seamless transition from M2 and M1 (and vice versa) without any gravel, right?
I thought that was the case when I do this higher up...around A4, or G#4. I can go back and forth, and I can feel when M1 engages or disengages. And I don't think it's audible. However, doing this around E/F/F#4 without gravel or an abrupt shift if near impossible for me. I either have to shift to M2 very, very low (A3 or lower), and shift to M2 well above E/F/F#. So I take some weight off my M1 voice as I get higher, but if I want seamless, then I'm taking M1 much higher. (Or I just make an abrupt shift to M2 in that tricky area.) How does this passagio transition area come into play as we talk M1 M2? Adds an extra wrinkle.
For my music, I would rarely use M2 in the E/F/F# area, but I am keen to maximize the capabilities of my voice and understand what it SHOULD be able to do.
Very good video.
Thanks for the question, and I hope this video was helpful.
Yep -- you're absolutely right the transition for a tenor or baritone voice around E4-G4 can feel a lot trickier. You'll even notice in the video I opted to demo on the A5 because I knew G4 could be wonky with my recovering voice. Because the folds vibrate more thickly at the passaggi than they do at higher frequencies, the M1-M2 transition is objectively tougher. And other factors contribute to being able to execute a smooth transition like acoustic shape from larynx position, tongue orientation, and vowel, etc.
I find a very helpful exercise is to bring M2 down as far as you can on descending scales and playing with density possibilities on lower pitches -- D4 down to G3. This helps the M2 coordination take on some thickness and relate to M1 more readily. With that said -- I can't always execute a seamless mode transition below passaggio, so that's a good project for me.
I think the most important thing is to let your folds experience the different modes on the same pitch in all their variations just so you show yourself the range of possibilities -- rarely is a same-pitch mode change called for in rep, but it's a great skill to know you have so you see your own menu of choices.
Knobs: Track shape, Layrax Position, Jaw Condition , Phringal Openness, Tongue Placement, armbushire
All physiological things that you can control are there any other things that we can physically control or we can center before we sing?
Yep, those are the main levers. Of course, there's how much air you're taking in, and what kind of support you're using. Your registration choices -- mode 1 or 2 and what level of density you're choosing. Then yep -- Where's the larynx, what's the pharynx doing, the tongue, soft palate, mouth opening, use of lips and cheeks, overall style world.
When you're in pedagogy class, you learn body use/alignment, respiration, phonation, resonance and articulation -- basically in that progression, though there's a lot of chicken or egg you encounter along the way.
@@dancallawaystudiothanks for opening up your model. I am a golf pro it turns out handling pressure is dependent upon the correctness of one’s model and how familiar one is with it
@@chutechi absolutely -- #1 want to share what's made things clearest for me, and #2 yep -- mapping your system into procedural memory so it's there when you're adrenalized and don't have conscious contact to it.
I think order of events has its place in mastery but structure itself is king
I have a golf model with 30 years of development
@@chutechi I agree -- because you have to travel different directions within the structure. Not always linear or one direction
What do you mean by vertical phase?
Thanks for asking -- in this case I'm talking about the amount of vocal fold touching from top to bottom. A light mode 2 head voice sound would have very little vertical phase whereas a mid-range mode 1 shouty sound would feature a lot of vocal fold contact, therefore more vertical phase. Also, here's a link to an article summary about vertical thickness in vocal production. pmc.ncbi.nlm.nih.gov/articles/PMC10514229/#:~:text=This%20vertical%20phase%20difference%20means,closed%20during%20phonation%20%5B17%5D.