BECOME A GREAT SINGER: Your Complete Vocal Training System

IMPORTANT: Links & Passwords You Will Need.

The first thing you need to do in this vocal training system is to identify where you're going to practice. Without having a safe space, a place where you feel comfortable to vocally experiment and practice, you will not be able to get the most out of this course. This document provides thorough suggestions and steps for finding and creating a safe space for your vocal training sessions. 

Early on in this vocal training system, we need to establish the importance of “bridging and connecting”. Bridging and Connecting is a term used at TVS to describe the two primary objectives of developing the coordination for seamless register bridging and  strong, anchored head voice singing. Without bridging and connecting being one of the primary objectives and sole purposes for voice training, there would be no point in vocal training. The relevance of vocal training and programs like “The Four Pillars of Singing” are largely established by the fact that make bridging and connecting a priority.

One of the biggest points of confusion in the world of singing technique is the erroneous belief that the terms “Falsetto” and “Head Voice” mean the same thing. Sadly, far too many voice teachers also refer to the head voice as “Falsetto” and in doing so, are contributing to the confusion for their students. The term “head voice” is also ubiquitous and used so often, that this is a big part of the continuance and propagation of this erroneous notion.The problem is, if students of singing conclude that Falsetto vocal mode is the ONLY kind of sound color they can make in the head voice, then they will never do the training or personal experimentation required to develop vocal twang in the head voice, another of the 8 physical vocal modes, which is required to sing with ‘connectivity’ in the head voice.

The term “mixed voice” creates confusion for thousands of singers around the world every day. The main problem is that it is often misunderstood by voice teachers and therefore, it is not explained properly. The result is, it makes students think there is a mystery, 3rd register between chest voice and head voice, but this ‘mystery 3rd register’ does not exist.  Watch this lecture to find out more.

Traditional classical voice classifications ( vocal Fach ) are not relevant to contemporary singers and techniques. Baritones, stop worrying! You CAN sing high, but you have to have the right vocal training techniques available. This lecture will explain further.

The most difficult notes to sing and to train are typically the low head tones in the vocal range. Generally, people tend to conclude that the higher the pitch, the more difficult it is to sing any particular note, but this has proven to not be the reality of the situation for anyone that trains vocal technique or sings professionally. Here is why.

Embouchure is a French word that refers to one of the components in your phonation package that are visible from the outside, namely; the jaw, the teeth, the tongue and the lips, when referring to them as a combined set. It is absolutely critical that you learn early in your training how to shape your embouchure. In particular, drop your jaw and lift or bite!  This lecture describes in detail how to shape two embouchures that will help you immensely in your vocal training. 

The way singers grip the microphone is a worthy consideration that is rarely discussed. The primary benefit of adopting these microphone grips is it reduces the risk of “tension creep” or unwanted musculature cramping and constriction that will take over a singer’s ability to sing more freely. 

TVS Methodology within this vocal training system focuses hard and fast on teaching students the skills they need and want the most; learning to seamlessly bridge the vocal break and sing high notes with convincing, full tone. TVS is recognized as the world leader in developing techniques and training routines to develop these two critical skills.

Recognizing that the singing voice is actually a system, comprised of four major “pillars”, or components, is the first step to understanding the primary physiological resources that need to be trained and coordinated for singing. Here are the four pillars of singing which we will focus on in this vocal training system. 

TVS Methodology involves a lot of focus on calibrating and tuning onsets and then putting those onsets on the move (for example, with sirens).  The term “onset” means “the beginning”. If the onset is like a serve in the sport of tennis or the pitch in the sport of baseball. In the sport of  voice training, our “serve” or “pitch” is called the onset. Similar to a tennis “serve” and a baseball “pitch”, if the vocal onset is good, then the phonation or singing that follows will be good, but if the onset is bad, then the phonation or singing that follows will inherit the problems originating at the onset.

When physiological and acoustic elements of the singing voice (aka Vocal Modes) are identified, named and categorized, it makes teaching and learning about the voice easier. There are two main types of vocal modes that we focus on in this vocal training system. Watch this lecture to continue.

There is no better way to train your phonation package deep inside your muscle memory than a slow and controlled siren through every micro-tone of your voice. Practicing with sirens works directly to build super, high performance vocal coordination. In this lecture you will learn how to train sirens, an important part of this vocal training system. 

I will start this lesson by saying, training with amplification is not a necessity, it is a luxury. It is not absolutely required that you train with amplification, but it is absolutely beneficial and advantageous if you do. Training with amplification can add a lot of benefits and advantages to your training. In this lecture you will learn the benefits of training with amplification and how to train. 

In this vocal training system course we have already covered in an overview, what the specialized onsets are and why they are important. In the following module, we will examine on closer detail each onset and seek to understand the unique benefits of each onset and how to use them in your training and your singing.

The Track & Release Onset (T&R) is otherwise known as a semi-occluded phonation, which translates to “partially-closed phonation”. It is probably the easiest onset to learn, and is also characterized by great vocal health benefits. In some sense, it is the first, most fundamental onset to learn. 

The Quack & Release Onset (Q&R) is characterized by a hyper compressed closure of the vocal folds by utilizing quack vocal mode. The quack & release onset is primarily used early on in a student’s training, in particular during the Foundation Building Routine. Quack and release is used to build good vocal fold closure/compression across the entire range of the voice, including the chest voice and head voice.

The Wind & Release onset (W&R) is the most advantageous onset for releasing constriction and improving respiration support. As I work through these onsets myself, and with my students, I have discovered the wind & release onset fixes more problems, more often, than any other onset (probably because it simultaneously releases constriction while engaging the respiratory system).

Voice technique training can be an experience that has a lot of mystery and ambiguity to it for everyone involved. This mystery in large part is due to the fact that when working with vocal technique, we are working with an instrument we cannot see, hold in our hands and until very recently, could not examine closely. Fortunately, advancements in vocal training pedagogy has led us to the idea of vocal modes which has greatly improved the ability to understand what and how the voice works. Watch this lecture to continue.

Some of the primitive modes are very helpful during the training process because they are easier for a beginning student to feel and configure. In this lecture, you'll understand what the primitive physical modes are and how they can improve your singing voice to become a great singer.

In this lecture, you will understand the difference between primitive vs trained physical modes and how this understanding can help you improve your singing voice to become a great singer. 

Twang mode is one of the most important concepts and skill sets any singer must master and understand to become an amazing vocalist. In the universe of singing, including all genres and styles, every great note that has ever been sung, apart from windy phonation, has twang properties. Few topics in this entire vocal training system could be more important than the understanding of, and ability to, twang.

Great singing, is command and control of the cry reflex.

These techniques will teach you how to develop cry vocal mode with TVS training techniques.

This lecture is an integral part of this vocal training system. In this lecture you will learn that there are three kinds of vowels in singing. As many students of singing of all levels of experience can tell you, when the lyrics of songs take the singer into narrowed vowels, the singing voice begins to become troublesome if they are not executed properly. In fact, the inability to sing narrowed vowels are one of the major reasons why the singing voice does not cooperate when singing, especially in the higher regions of the voice. 

Here you will learn the three types of TVS Acoustic Modes. TVS Acoustic modes are specific groupings of vowels that are characterized by similarities in their resonant position and the sound colors that are produced because of their resonant placements. These sound colors are also important for creative options for singers.

Vowel modification is one of the most important concepts to grasp and master in this vocal training system. The ability to bridge the registers and maintain your physical configuration when singing high notes is largely predicated on what acoustic modes the singer is choosing to tune to. 

Vowel modification is one of the most important concepts to grasp and master in this vocal training system. All the vowel modification in your training will have to be applied to the art form of singing (with the expectation that your singing will sound better and you will experience less stress and constriction). Indeed, this will be the outcome provided if you are successfully applying these techniques. This lesson will point out how vowel modification is applied to the art of singing.

Vocal effects are vocal sounds that are produced outside of an already established, stable and clean phonation. They tend to not be immediately associated with melody, text or a pure, trained phonation. They are wholly creative in spirit, and can represent interpretation, or simply underline a singer’s expression or style. When mastered well, vocal effects will transcend the singing from something that is only good, to something that stands out and is extraordinary. Here are the 7 types of common vocal effects.

A detailed lecture on what is and how to train vibrato. 

There are two kinds of overlay distortion in the TVS distortion training methodology, the compressed overlay distortion and the decompressed overlay distortion. TVS Overlay distortion might be the most intuitive form of distortion to produce and, fortunately, is the most versatile. And there is better news! Your vocal twang mode, respiration techniques and larynx dampening ideas you will train in this vocal training system, are a major component of these kinds of distortion. Watch this lecture to continue learning about the compressed overlay distortion.

ESP is a highly compressed, twang-like phonation that typically resides in the head voice above A4 and produces a “scream” aesthetic by phonating a super high pitch into and beyond the 5th octave. Extreme scream pitch is typically clean, but it can also be distorted. Here is how to train the extreme scream pitch.

The Track & Release Onset (T&R) is otherwise known as a semi-occluded phonation, which translates to “partially-closed phonation”. It is probably the easiest onset to learn, and is also characterized by great vocal health benefits. In some sense, it is the first, most fundamental onset to learn. In this lecture, you will learn exactly how to train this onset properly.

The Quack & Release Onset (Q&R) is characterized by a hyper compressed closure of the vocal folds by utilizing quack vocal mode. The quack & release onset is primarily used early on in a student’s training, in particular during the Foundation Building Routine. Quack and release is used to build good vocal fold closure/compression across the entire range of the voice, including the chest voice and head voice. In this lecture, you will learn exactly how to train this onset properly.

The Wind & Release onset (W&R) is the most advantageous onset for releasing constriction and improving respiration support. As I work through these onsets myself, and with my students, I have discovered the wind & release onset fixes more problems, more often, than any other onset (probably because it simultaneously releases constriction while engaging the respiratory system). In this lecture, you will learn exactly how to train this onset properly.

It is the change of frequency that threatens to destabilize your phonation package! Thus, here is where we begin to learn how to maintain a high performance phonation through the spectrum of frequency, and not let our voices begin to weaken, push or destabilize.

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

Just a friendly reminder to SINGERCIZE! This vocal training system is useless without your practical application of the methods taught here. 

To “Singer-cize” is to perform vocalizes and workouts outside of your regularly scheduled vocal training sessions, with the purpose of reinforcing your muscle memory and techniques.  When you are working on slow and controlled sirens sitting in traffic, or in the shower, you are “Singer-cizing”. In this lecture you will learn the benefits of singercizing and why this is an integral part of this vocal training system.

To get the most out of your training routines, it is important to train smart and efficiently. In this lecture, I share with you some major tips on how to have the most productive training sessions so you can get the most progress out of your time & efforts.

Resonant tracking will always be core to your development, warm ups and ongoing training. Learn more about this topic here.

Resonant tracking is one of several workouts known as semi-occluded phonations. They are popular with singing techniques and with voice therapists for their powerful vocal health benefits.

Take this vocal training system and your voice to the next level: here you will find intermediate vocal training demonstrations so you can continue improving your singing voice and become a great singer.

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

You can also access this video and all the related training files for this workout out at the training page at www.TheVocalistStudio.com/udemy. Find the password in lecture #2

A great video that explains a lot of the problems singers have in regards to making progress.