Siren, Transcending tone application

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Siren, Transcending tone application

Postby mikeylikesit182 » Tue Nov 11, 2014 7:16 pm

Glad I found this forum, this is great! I'm going through Jaime Vendera's Raise your voice, doing the Siren and Transcending tone(mesa di voce) exercises. I'm not exactly sure how you apply exercises like these to songs you are learning. When you reach the top of your unstrained chest voice, are you supposed to start mixing back towards head until you are strong enough to just do chest? I don't really do any maroon 5 type stuff(where I guess this would be valuable to switch around from chest and head) I do sing more stuff like the strokes and kings of leon where it is mostly high chest. Any insight on how to develop this part of the voice would be awesome. Exercises( as of now) posted below. Thanks! ... oud11-7-14
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Re: Siren, Transcending tone application

Postby SilasP89 » Tue Nov 11, 2014 10:57 pm

Hello Mikey,

it would be helpful if you could be a bit more precise of what exactly you wanna learn.

In terms of "chest voice" and "head voice", what is the difference between those two for you?
Those apparently clear words mean different things to different people. To you it's probably a difference in sound, but maybe also a difference in pitch.
CVT doesn't categorize into those two words, but uses 4 different modes (neutral, curbing, overdrive and edge). I guess most singers use all of them at times, partly depending on the volume and pitch they wanna sing.
You can use all modes in low and high pitches. In the 1st third of your example you are in neutral mostly, I think, whereas in the 3rd third you start in neutral and switch to overdrive which is way louder.
The theory is that your voice only "breaks" (unintentionally) when you switch/are about to switch a mode the wrong way (e.g. wrong vowel or pitch).
You can gain a quick overview of the modes on this page: ... cal-modes/
and more details on the research page.

I couldn't find your guy's siren.
I suggest, you post a link (e.g. part of a song on youtube) of the sound you wanna achieve.
Other than that I can really recommend the CVT book. :-)

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Re: Siren, Transcending tone application

Postby highnotemaniac » Sat Nov 15, 2014 2:51 pm

In the ascending siren/glissando I hear Neutral until you smoothly switch to Flageolet (partial vibrations of the vocal cords; "zipping up") around 0.05.

In the descending glissando you star with Flageolet, switch to Neutral around 0.16 and to Overdrive around 0.20.

In the crescendo (gradual loudening of the sound) you star with Flageolet, switch to Neutral with air around 0.31 and finally to Overdrive around 0.34.

You use mostly the vowel "EH" throughout the clip.

Since you're looking for a bigger (metallic) sound I suggest you to practice louder volumes. Using Flageolet in the high part of your voice won't get you anywhere. It's also important to notice the difference between partial vibrations of the vocal cords (Flageolet) and a quiet sound in full vibrations (Neutral). Otherwise you might get into trouble (vocal split or involuntary breaking). But at least it seems you're in good control when it comes changing between them.

You can practice with the crescendo exercise taking it a semitone higher each time. Do it relatively slowly making sure you can control the various volumes. You can also experiement with different vowels, but it's vital you know the limitations of the modes. Also, you should be aware of the three overall principles (support, necessary twang, avoiding tension in the lips or the jaw). I also suggest buying the CVT book. Vendera's book is anatomically incorrect.
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Re: Siren, Transcending tone application

Postby Kaare » Wed Dec 03, 2014 10:27 am

Hi there.
Yes I agree: read about the modes.
At 0.19 and 0.32 you are changing mode (from Neutral to full metal)

We dont use chest/head/mix voice as you can sing all of these in many different ways (modes/sound colors/volumes etc) and also due to the fact, that they mean different things from one part of the world to another.

The changes of mode is what you hear when the sound is changing or when experiencing a vocal break.
This is not a theory but readable in laryngeal gestures/wav form of the vocal cords and overtones.

Makes sense?
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