Vocal Technique :Part 1/2 and now part 3!!:)

[Farrell Jackson]

...You really have to FEEL the music..the passion!!! Glory comes later:))well self satisfaction
It just came to me..It really is paramount to feel the harmony (almost subconciously), because if you think about it too much, it aint gonner work..well that's my first point on trying to explain...eeeerrr
and it's always easier to sing with your own voices..because you know them...It's like being surrounded by a bunch of Clones ha ha ha..multi tracking that is...)

byeee

I agree with you Nick in that it's best to feel the harmony....if you can get it there naturally then you will get a good take that feels and sounds right. One mechanical technique I use to hone in on the harmony notes  and patterns is to listen and look at the chords I'm singing too. After all, the strings or keys that make up every chord are just harmonizing with one another. Once I grasp that basic idea a light went on in my head. Here's my technique to finding the harmonies: First I find the lead melody string/note. From there the next higher string/note of the chord is the start for the high harmony. Same thing with the low harmony. The next lower string/note of the chord is the start of the low harmony. Now all you have to do is follow to the next chord, staying on the same string/key, and that is the landing note for the harmony. Do this for each chord change that you want to add harmony too. Once you've identified all the notes then all you have to do is connect the dots and you will have found the harmony pattern or scale. Sometimes the harmony note is the same note through several chord changes. That's the technique I use to develop my natural harmonizing. Most times I just sing the harmony without thinking about it but when I'm having trouble I use this process to get me back on track....it always works for me.

Thanks for posting this vocal topic up. I've gathered some good info from it...especially the vocal warm up.....something I don't do much but I'm going to try it before I step up to the next mic.

Farrell

[vigwig]

I hark back  to a comment you made that "no amount of effects can mask a bad singing voice."   This is so true!  What sounds you can make in your head and how bad those sounds sound when they actually play back.   Those of us who can't sing will need a course on making nothing sound like something.  You mentioned singing in your own "range" but that only works f you HAVE a range.  If you mumble, that makes it even worse.  Enough rambling.  Thanks for listening.
Vic

[Pipes]

Hi folks:)...

Thanks ever so much for reading and adding to this subjective, subject.

I really pleased that my comments are making some sense and helping SC's out there:). Thanks again also, for adding your personal, gained knowledge to this emotive subject (emotive meaning we use our emotions to portray a song or melody in the vocal sense:).

I'm a nieve bugger sometimes..but i strongly believe if we can make a note, any note with our voice, then we can make another note and so on>>>> then it's just a matter (ha ha)...i don't want to waffle on...so i'm gonner give this matter some further thought and get back to you good folks...ie...

Part 4 which i promised:)..gee i have to read my notes again to see where i am.. he he he

Thanks again for your input folks:)

cheers
Nick

[Glenn Mitchell]

...I sometimes use a capo to find a more comfortable key too.

I can't seem to fit my capo around my throat.

[Nelson]

...I sometimes use a capo to find a more comfortable key too.

I can't seem to fit my capo around my throat.

I'm having the problem.
I thought it was just me.

[leighelse]

This advice is right on the money: thank you.

I often find that I hit my stride recording the third verse of a song. The reason, of course, is that my voice is by then thoroughly warmed up and I'm "in the zone". If I immediately return to the start of the song and re-record verses one and two at that point it usually turns out well.

Oh - and I'm trying to sing more quietly. At least, to sing using less breath. Listening closely to Annie Lennox, Tracy Thorn and Karen Carpenter has been instructive for me. It's possible to produce just as big a sound with less breath and less effort; the bonus is that you can sing a longer phrase on a single breath. The best example I can think of is the Carpenters' "Goodbye to Love", although the live version of "Hocus Pocus" by Focus is stunning too.

::Leigh

[guitarron]

I'm giving this a bump
My attitude about vocal (mine in particular) has changed over the years.
This is a terrific post that was updated and edited over a period of time
Thanks Pipes