![]() I used the fact that two separate choir directors at different times at the United Church had invited me to be the Gift of Music after hearing me sing my original songs as a basis for hope. ![]() It was not so much the suggestion was that I was not ready that day (true, though the opinion was given BEFORE hearing progress I had made on the song) that was so soul destroying, but that I had no potential for the future! I was crushed and if not already so heavily invested and committed to performing at the two events, I might have walked away from the performance, the choir, music completely, and make a point of staying away from the side of bridges for a few days (incidentally, one of the motivations for Amos Lee to write "Flower" in the first place - check this out). To top it off, someone recently launched a surprisingly harsh critique that I should not sing "Flower" in public, was not really a singer, and perhaps should never really ever sing solo in public. Pulling the right note out of the air was also a challenge, though I have made it to the point where I can sing my own songs in key unless I am nervous. Ten years ago I could barely hear myself sing, let alone match pitches accurately. Singing in pitch and hitting the right notes are also not my strong points. The song was a huge stretch for my range and vocal styling as the lyrics float in and around the beat in a gospel kind of feel that does not come natural to me coming from a long history of drumming. I had not learned the words, had only found a tab online that I was not sure was correct, had some doubts about being able to learn to play the guitar parts well enough and be able to sing and play effectively. It was less than a month out and I had really not progressed beyond singing along with the recording. The main challenge was that I had my heart set on performing Amos Lee's "Flower" at both events. I helped organize a showcase with the Singspiration Singers and was asked to be the Gift of Music for a local church service, something of an honour and surprise given what I will describe in this article. I have seen many people who attempted the program and found little progress because they simply bypassed the passagio by singing too soft and going into a non airy falsetto/Pure head voice and that will never build the voice.It happened recently that two performance dates came up on the same weekend. ![]() The key is the shift in resonance, the thinning out of the vocal cords and a head tone that slowly it added into the sound as the voice goes higher. ![]() All exercises should be done in 'real' or modal voice where it feels in the same mode as your speaking voice. With regards to both and taking from the source material of Seth Riggs's SLS, it is important to do the exercises at your Mf (mezzo forte) volume and to do each exercises (unless stated to be a exclusively pure head voice exercise) without breaking into a lighter coordination. If you have not done so, please listen to the introductory CDs, do not jump straight into the technique onesĪnd one more thing, there are alot of (somewhat valid) complaints that bretts program causes voices to either get held back (cause he tells to sing light) or makes people sing too soft and bypass the bridge rather than truly learning to navigate the passagio. Do not dwell on one exercise or CD if you cannot fully get it, sometimes it is better to move onto the next one and the previous exercises will start taking form as well. And most importantly listen to the demonstration and explanation. Do each CD for about 2-3 weeks, practice at a comfortable frequency. As someone who has done all the singing success programs and found some decent success with them with my classical voice i would like to give my 2 cents. ![]()
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