The Four Pillars of Singing book is the companion book to the full course. It is available as a Hardcopy and an eBook (PDF). The book is a 616+ page, companion book that will serve to help you understand the TVS Method, training, and concepts regarding singing technique.
The hardcopy book is hardbound and full color. In particular, it offers important training illustrations that illustrate the anatomy of the singing voice, important training tables, and singing vowels with the unique color associations that are offered in the TVS methodology. It is highly advised that you purchase a hardcopy to make your TVS training more effective.
Justin Radomile was my cousin. He left us on July 1st, 2014. I have published this post with photos that friends, family and colleagues can enjoy. Additionally, you can leave a comment below in his honor and memory. I hope this virtual memorial will help people who want to take a moment to remember Justin.
This is a technique that is used to help train singing through narrowed vowels and improving the articulation of your lyrics when singing high. This technique is also great for resonating to forward positions and amplifying the “cup” of the hard palette.
A snile is a cross between a sneer and a smile. It is used in singing to help narrow singing vowels to maintain stability and intrinsic musculature support when singing with amplification. This technique is particularly useful when singing contemporary music above the passaggio.
Mastery of The SNILE will greatly train your kinesthetic feel for narrowing vowels, resonating forward into an “edgier” position, and amplifying while keeping acoustic mass low and balanced.
The way singers grip the microphone is a worthy consideration that is rarely discussed. At TVS, students are encouraged to train and sing with one of two TVS microphone grips. The primary benefit of adopting these microphone grips is the reduction of “tension creep” or unwanted musculature cramping and constriction that will take over a singer’s ability to sing more freely. In addition to these microphone grips, ergonomics is an important consideration when purchasing a hand held microphone. Microphones with ‘hour glass’ shapes to them as demonstrated in the following video are designed to fit the singer’s hand more comfortably.
Microphone proximity is the distance from the microphone element or diaphragm to the lips. Too often, singers hold the microphone too far from the mouth. When you sing with a microphone, make sure that the microphone is close to the grill or mesh of the...
Let’s talk about how we define vocal registers: having made a defense for the ubiquitous benefits of the ‘chest/head’ metaphor, one thing that it is not, is it is not good science. Therefore, at TVS we embrace another, more scientific set of definitions for vocal registration that enable our discussions to include the closer reality of what is really happening in and around the laryngeal region at a physiological level. This system is known as the “Vibratory Mechanism” definitions of vocal registration.
The French research team of Roubeau, Henrich, and Castellengo, have given us a simple and accurate description of our laryngeal vibratory mechanisms. It is based on what the vocal folds/cords are doing, or how they are vibrating and making sound when singing. The very real registration changes we all feel are very much to do with what is happening with inside the larynx. We will expand again on the vibratory...
I have had the opportunity to work with many voice feminization cases. I have found that my 15 years of vocal training innovation and experience for singers has proven to be extremely helpful when working with transgender clients. Many of the techniques I have developed to build the strength and coordination of the voice for singers, has given me the unique ability to apply similar techniques to helping transgender clients. Here are some techniques and ideas I have used to assist transgender clients.
Semi-occluded phonations or vocal tract postures are a kind of vocal workout. They are popular singing techniques with voice therapists. Their purpose is three-fold, as I have come to know them at The Vocalist Studio:
1) Semi-occluded phonations balance the sub-glottal and super-glottal air pressure (above and below) the vocal folds and thus help the singer to create more efficient phonation and balance with the increased velocity of air required for singing. Inherently, speech vocal mode is not efficient compared to phonations used in singing, so the semi-occluded vocal tract exercises increase the efficiency of the relationship between the singer’s respiration and vocal folds.
2) Semi-occluded phonations establish a resonant track. They help the singer to get into a seamless passage through the vocal bridges (breaks), thus preparing the voice for good bridging from the lower vocal registers to the higher...
The Passaggio (an Italian word meaning passage) is a popular term that denotes the mid-point between what is commonly referred to as the chest voice and head voice.
Commonly referred by untrained singers as the “vocal break”, the Passaggio is probably the biggest nemesis to singers. The inability to sing through the Passaggio without constricting or breaking the sound column is probably the #1 problem for all singers. Indeed, the entire industry of voice teaching and voice technique would not even exist were it not for the “Passaggio” and all the challenges it can give us as we try to navigate around it in our singing. Singing technique is a lot about, how do we win the battle of bridging the Passaggio successfully. The process of phonating from one vocal register to the other is referred to as “bridging the Passaggio”.
Bridging the Passaggio without constricting or experiencing a break in your singing is very difficult. It requires very excessive...