If I feel like my tongue gets in the way when I sing does this mean I could have tongue tie? I feel like I make weird notes or its choking me. Looking into health issues as well. It just seems too much like it's blocking and restricting me from proper diction and placement? Thank you

Working on some music in Czeck, Dvorak Op 83: Love Songs. I can't find a proper IPA transcription anywhere online. If anyone has one, please let me know. I'm also willing to pay someone knowledgeable in Czeck diction to transcribe it for me. DM for details. Thank you!

Are true dramatic coloraturas really that unusual? What is the physiology needed for this face?

So first context. Started singing at 28 3.5 years ago, D2 lowest B3 in falsetto. After a few months I got down to Bb1 with C4 highest in chest but it was all extroardinarily breathy, decided to take lessons, fell in love with classical. Breathiness went away within a few months but I've always had a relatively quiet voice was accused of being a tenor on here. Was at Ab1 lowest (hum) A1(hum) bb1 (vowel) warmed up, up to F#4 highest as of a month ago.

I took extra lessons over the summer with another teacher (who I would still be seeing if I wasn't moving soon), and he introduced me to the "calling voice" 3 weeks ago on a "hey!" and suddenly my volume is insane compared to what it was, especially in the extremes of my voice. I've now hit G1 on vowel on 6 different days, my A1 is sometimes choir usable, and the volume increase on each semitone from A3-C#4 is insane and the loudest I've ever been. Also for the first time I'm cracking into falsetto, happening C#4-Eb4 on [a] (C#4/D4 with lowered larynx, D4/Eb4 without it), and I can't go higher than that in this coordination.

Now that I've given context, I firmly believe that I finally have accessed a "chestier" register and that my voice might be relatively weak. What prompted me to make this post was I was seeing slow steady improvements but I took yesterday off singing and warming up today was extremely hard, it felt like my instrument had gotten bigger and stronger and it was taking more to warm it up than previously. In your experience, is this a good thing? I've been doing 1 day of rest a week if that, should I do 2?

Other question, while I'm warming up in this configuration my voice is annoyingly breathy and relatively quiet within the range of D3-A3, and it just feels awkward. Once I'm warmed up it's better but still not perfect. It gets especially bad E3-F3.

Final question, my voice feels FANTASTIC after I get to a perfect level of warmed up after working the highs in this coordination, then taking a minute break. This is when I can hit G1, when the A1 is frankly surprisingly loud and my voice just booms. Is this my voice being properly warmed up? If so why does it last so short, will it get longer with time and training?

Inb4 "get a teacher" I have 2, 1 has no clue what to do with a bass voice and the other is online and has been busy so we haven't been having lessons. I will be getting a in person new vocal teacher when I move in October, currently asking around.

EDIT: A1 in case people don't believe me https://voca.ro/1eSaF2N33jUL

hey everyone! looking for some sopranos that are lyric coloratura sopranos that I can listen to. I'd also love some aria suggestions. I am struggling to find something that isn't too heavy and full lyric, but also not incredibly high and flashy if that makese sense. Something that would be comparable to Caro nome that balances the coloratura and lyric lines. Any suggestions would be must appreciated :)

I am thinking of these following pieces for auditions: Je suis titania- Mignon Spiel ich die Unschuld vom Lande- Die Fledermaus In uomini in solidati/ Batti batti/ Deh vieni La promessa L’heure exquise/ Nuit d’etoiles Schlagende herzen

Would this be an appropriate set of pieces for an undergrad audition? What other pieces would you all suggest?

You wake up in a wonderful, beautiful enchanted world where instead of a 5-6 aria package you have to present a song package at every audition - what do you present?

Mine would be;

1. Greig - Ein Traum (yes I’m a scrub who doesn’t know the Norwegian)
2. Berlioz - Sur les lagunes
3. Bridge - Love went a riding
4. Schubert - Nacht und träume OR Der Neugierige
5. Lizst - Pace non trovo
6. Moore - The lake isle of Innesfree

I’m a big lyric and schmaltz guy - I love this shit and it doesn’t go higher than my best notes - plus it’s got the balance of humour, drama (that Berlioz ooof), lyricism and breadth.

mountainous instinctive crown six dinosaurs steep lunchroom rhythm ask coherent

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View this banger on YouTube and subscribe to my channel please 🙏🥺🙏

I hear this term a lot - particularly in relation to how to approach singing above the passagio - what does that actually mean in terms of coordination? Is it literally the same (low larynx, tongue pushed forward, open throat, open jaw, trying to keep the pillars of fauces nice and open e.t.c.?).

I’m just very curious, as my attempts to find this sensation on my own feel like I’m singing very throaty, open and with too much air coming through, not the refined tone I would be hoping to achieve? I find this even trying to do it piano 🤷🏼‍♂️

Countertenor here, slim bodily frame and composition.

For some reason, my body gets crazy tense while singing. It’s almost as if my ribs collapse too soon, and then I have no choice but to squeeze tighter in order to make it to the ends of phrases. Like I get too close to “empty” too fast. But I don’t sound breathy, so I doubt I’m using too much breath in my phrases.

Specifically, it’s my lower abdominals, the QLs in my back, and the surrounding muscles.

It happens both in chest and head voice ranges.

It causes way too much subglottal pressure upstream, hindering my middle to upper range, and really limits my ability to sing long legato phrases. It also feels painful and I’ve been sore from it for a while. I get there’s bodily engagement necessary, but this is extreme.

I’ve been trying to “soprano on her head” my way through this problem, but it just doesn’t seem to get better.

I’ve tried gently resisting against it, pushing out as hard as possible, taking in less air, encouraging more breath flow, less breath flow, and singing in a variety of postures and bodily movements as a means of circumventing the issue. None of which really seem to do it. I even got checked out by a physical therapist to make sure there wasn’t an anatomical issue.

This seems to be the last real hurdle to my technique. Otherwise, I am pretty happy with where my voice is at, and I can tell that this is really holding me back.

What does this issue sound like to y’all?

I organized themed opera concerts in New York City and Chicago between 2012 and 2020. My last concert was in Santa Barbara, CA, before covid shut down everything. Look up Clef Note Productions on YouTube. I want to begin organizing more to do in Illinois, California, and New York City. I'm in the middle of officially incorporating a 501c3 non-profit. Message me if you're singers looking for performance opportunities in the future so I can get to know you and your voice when creating concerts . I'll explain how I create my programs. I rarely do standard duets trios or other ensembles because you can do those anywhere. My approach is quite different

My interpretation of an old African-American spiritual in a classical style.

I know this is a common singer's bane, especially during their first years of instruction, but i'm having issues keeping out of nasality, and find myself unable to lower and raise my soft palate on command reliably. When singing and holding my nose, I can't get it to not vibrate as my teacher has instructed, and this is my main issue before this year's competition. What should I do?

So I had previously been a baritone, and moved to tenor about two years ago - but I’m still having big issues with the top of my voice literally popping off my support and just staying in a very head-voice-y place disconnected from the body of my sound. I did an experiment a couple days ago where I sang some of my old baritone rep, and then tried to sing one of my current arias with the same kind of technique and it was far more stable (although yes I hear the little bit of tongue depression happening). What do you think - is this something that would be conducive to helping keep some of that colour unity at the top, or is it just going to hold me back?

Hey, one thing I've been wondering about: how much do you discuss what you need to work on, and what you feel is working better vs what's working worse with your teachers?

I've got a background in powerlifting and some other sports (although not as extensively), and when I worked with one on one coaches I always kept much more of a dialogue regarding what I believed worked for me and my experiences in my training with my coach, than I do with my voice teacher. It should be noted that I was already experienced coaching people in powerlifting before I had a coach, so my competence level there was much greater than my competence level when it comes to voice training.

Anyways, I've recently been a bit more vocal about what I feel seems to work well for me, and it seems to have accelerated my growth by a lot.

This made me wonder: How do you work with your teachers, and how do you make the most out of your lessons? Do you bring up ideas and discuss them with your teacher? Do you place all your faith in his/hers hands and just follow?

It seems a bit strange to me to rely solely on someone else, even if they're really good, and as long as you're not actively overiding their judgement then I don't see why that wouldn't be a better use of your time and money, "no one can think of everything"

Hey everyone! Does anyone have any art songs by a woman composer (any time period) that you would recommend? I am a graduate student with a larger soprano voice and I would really like to have some more women representation in my repertoire! Thanks!

Hi! My name is Helena. I’m 26 and I’m trying to find some 20-something friends who are into opera and classical singing. I’m not at a music school, so it’s hard for me to find my people.

Please comment if you are a 20-something into classical singing!

Hi. I feel as if I have gotten into some bad singing habits. As I began working with a new teacher she pointed out she can see my neck working too much while I’m singing. I try to be super aware of this while practice, but I can feel it working too. Many people say it is an issue with support, but I can assure you this is not a support issue. If not an issue of support, how can I target this? I have developed a thicker sound , it never used to be like that, sometimes there’s even a slight wobble. It is a result of not being corrected when working with my past teacher. I don’t think there is any damage, however I am seeing an ENT just as precaution soon. Any tips?