I totally agree that everyone feels like that with whatever passion they have. I see the same tendencies with athletes or actors where there's times when we question if it's worth it and if it's really what we want and need cause at times it can seem so difficult. Truly successful people never let setbacks divert their path and they fight and pass through the difficult times. Sometimes we need to try things different ways but we must never lose sight of our goals and dreams because that will just harbor regret and disappointment which is far worse than those rough patches.

I'm glad you found new focus again.

HAPPY BIRTHDAY MILKMAN!!!! Have a good one.

Thank you!

Have you tried the dog whimper sound?
It's like vocal fry in mix voice. If my voice is in normal shape, I can use that to find the mix everytime.

TeeHee, I get hung up in the exact same spot. It is not an issue of having poor cord closure on one note. That's like not even possible, as the thinning and the adjustments that you make as you go up are progressive, and we pick back up on the other side like it is no big whoop. Also, who can vocal fry that high? Edgy head voice or something with a cry, but fry? That is a register below chest voice, and you can carry that sound up into chest, but not usually once you cross into head voice.

This is going to sound crazy, but I had a big breakthrough recently with trying to sing breathy up high. It's compatible with the style of my band and so I got in the habit of singing everything with a lot more air. I was scared to do that at first, thought it might "undo" all the sharp closure I had worked up. But, guess what, it actually helped me to close on those stubborn notes. We shoot a blank there, or break there because we are trying to hard to squeeze the cords together in a place where the transition from singing in one coordination to singing in the next necessary coordination is very, very tricky. If you try to sing airy there, and don't worry so much about "closing on it," I think you will see that your cords just come together there with a good seal. And then you will get a feel for how delicately you have to play the A flat. I am pretty sure that with time, we will get a more and more robust closure there, once the finer points have been assimilated. As a matter of fact, my dexterity with trills and things in head voice is reaching that automatic, you don't have to try to do them, they just fly out of you stage. The whole thing started with a lighter touch and a breathy tone. Once I went back to square one and embraced my almost falsetto like head voice, it started to really behave and come into line. Doing otherwise is, without knowing you are doing it, is trying to be a singer you are not, or at least trying to approach singing in a way that's bound to fail for you.

Just my 2c. Try it: Breathier not sharper. Lighter, not squeezier. Just as an experiment.

Hey brotha! You're scared of going into your head voice. Don't be!

well... i guess i am
now when i think about it
i guess with time i will get it done

why thank you

My state was incorrect. I mean that when you have a loosen jaw you may have little problem with pitches because of your loose jaw. That's because the sound is changed if you change the size and shape of the wave. It is a physics thing.

If you can hit the sounds with edge, move to a pure 'oo '. Then go to a lip roll directly afterward. See if that works.

What I'm doing is allowing anything to happen... if it breaks, I don't care... I let it break. If it is airy, I let it be airy...
The results are coming. I can feel the voice getting better. I found finally the right placement of the pocket: the resonance isn't felt at any place of the mouth, head, nose but the sound comes very solid in the front, right under my nose. It's weird how strange it feels the release. But I'm still at the lip rolls and mums. And very excited about the new discoveries.
So, light and right REALLY WORKS. Trust it!

And... next step is to add edge sound.

Thank you for the tip from personal experience!

What do you mean exactly by "total release" with regards to lip rolls? and how did you go about doing that?

How long do you have to work on singing before you stop fatiguing quickly from being new to it?

So if I am singing with quite a bit of strain that I don't know about and bad technique and I can still squeak out a C6, then does that mean with proper technique I could go higher?

And finally just out of curiosity for down the road... How high can you go in mix? Like can you go almost as high as you can in head voice, or does your mix end like half an octave down from that or what? I'm just wondering this because it seems like a number of singers (adam lambert comes to mind) can go right to the top of their range in a powerful mixed voice....

Anyhow... that's all for questions from me, and I hope to start lessons in the new year

Yes, you can go higher than C6.
I haven't really been trying to mix yet. Since I just started singing more freely, I want to become more comfortable first. I'd still consider myself quite beginner/intermediate. I can hit notes connected if I've warmed up, but that's not a full mix, so I'm not happy with that.

I worked for about a year and a half, where I got stronger, but I never did stop losing notes the more I sang. (though my overall range did increase, I hit a roof). I worked purely by myself though, so the going was slow.

It took me just a week to improve dramatically, so it all is really subjective. It's about whether or not you go about it the right way the first time, or spend half a year trying to figure it out.

To get more freedom recently, I told myself, "singing with any strain at all will help you sound better now, but will do absolutely nothing in the long term. I want my cords to become stronger so I can be more consistent." ie. my cords should be able to create that same pitch without my having to "help" my voice by doing anything. Then I relaxed my jaw, worked a bit with it (see Brett's latest video), and did lip rolls keeping that same feeling.

Be aware however that throughout my time with SS, I've noticed different stages of vocal freedom. Each time I reach a new level, I felt like I got as free as I could possibly be, but the more I sang the more I unlocked. I'm sure if I have lip rolls down, I would have to work on eliminating bad habits in the other exercises I do as well.

Hope that helped you out

okay! thank you you dont know a webpage that can teach me something like the scales they use in the program? :O

anyway thank you!

no sorry, just search on youtube or google

Yeah, okay, they are both a little off. Well, they both end up in the exact same place on the top. In the first one, you are singing on a slightly raised larynx and then it raises a lot at the top, and on the second, you lower the larynx and yes, possibly raise the soft palette a little to create more air space at the back of your throat, so your tone is deeper and a bit throaty, but then as you ascend the scale you shift to the exact same placement that you had at the top of the first scale.

So, the solution is: Don't raise your soft palette, let it completely alone in the early part of your training. If you want to raise it later for a certain effect in singing then go for it, but you need to develop the coordination to sing without manipulating it at all at first. Stay at your lip rolls and tongue trills. You have a little way to go before you are to where you can get good, sharp cord closure on a neutral larnyx throughout your range. You are still employing a bit of raised larynx squeeze to close on those top notes, and maybe even a bit at the bottom of your range, too, out of force of habit. The main exercises that will help you to break that habit are those boring but, effective, lip rolls and tongue trills.

Best wishes, LL

Alright, thanks!

just wanna make sure of this.
what's his most popular and official "nickname"


and btw, I think it's rude to give me that thumb.

I don't see why anyone would thumb down, in general-discussion you can talking about any topic.
But I either call him by his full name or just Da Vinci, I think I never really say his name alot. If I were to say his name I would probably say his full name. Ha

Cheers