MimeTroupe

God, story of my limited time on this forum. I didn't think my terminology was weird at all until I got here haha.

I think I just use the terms differently. Ping is a spectrum of how resonant your voice is. Ring is full optimal resonance. I've heard ping used in a classical context that way before. I mean, resonance is a spectrum after all. But if that's your definition than yes, you're totally right.

It totally can be called a vocal color. Ping is a spectrum. It's not something you either have or don't.

Yes, Chen does have more ping than Baekhyun. =)

I agree. I really do want to stress that what I'm saying is my own opinion on how I like to view registers. Opinions differ and that's fine. Just use whatever helps you sing better. I consider them different registers because there are some falsetto notes you cannot sing in head voice. Scientifically, there is a break between my definition of the head voice and the falsetto. I've seen some people get confused by the two terms, but it's not hard to just say "sing more in your mask" Instead of "sing in your head voice" if someone is confused.

Hi there! I know I'm not Josias, but I think I can explain. Operatic ping is what makes it so a classical singer can be heard in a gigantic theater without a microphone. Most pop singers don't actually use it much, so it's kind of hard to say. A voice with a lot of "ping" is bright and very loud. Look at Sixth Sense by the Brown Eyed Girls at their very very high note towards the end. That's the best example I think.

I'm only 20. My voice situation is kind of unusual, most people have an easier time fitting in one category or another early on. It's actually pretty freaky for me since there's a strong possibility I'll have to learn an entirely new set of repertoire in a year or two. If you're doing pop-style singing, it's fine to stay away from voice parts. You don't have to put that on a resume like I do haha. Michael Jackson is not for everyone, but man do I respect what he could do with his voice. Now I want to stress that it's unusual for pop singers to sing mostly in their head voice like MJ. His chest voice is unusually high, but it is clearly a chest voice. What I call a middle/mixed voice sounds smoother, and less pingy. More of a mix between the ping of the head voice and the rich chest voice. The head voice is that bright pingy sound he sings with through most of the song. His falsetto in contrast is light and airy. So this is what I figured would happen, a LOT of people call the falsetto the head voice. A lot of what you would call a high "belted" mixed voice is considered head voice. For a kpop example, Jonghyun and Taemin of SHINee sing in head voice a lot. And that's why I think they gave Taemin all of Jonghyun's parts when he was out of commission. Notice how when Jonghyun "belts" high notes, it sounds very different from when he sings the chorus and when he goes down into chest. It's more pingy and resonant, correct? That's the head voice.

That was once she got popular. It's a luxury not afforded many singers. In fact, in hear early career, she was told she would never become big because she was a mezzo. When Bartoli made her 1996 debut at the Metropolitan Opera in New York singing the role of Despina in Così Fan Tutte, Herbert Breslin, Luciano Pavarotti's manager, said waspishly: "She can't sing Mimi, she can't sing Tosca or La Traviata, and she can't sing Aida, Manon Lescaut, or Desdemona. There is not one major role she can sing. You can't be a major opera singer without singing the bread-and-butter repertoire. Big, big, big things don't happen to little Despina!" -from http://www.theguardian.com/music/2010/dec/23/cecilia-bartoli-mezzo-soprano This is still the attitude of a lot of directors. A lot of young singers get stuck in a certain voice part, even one that isn't right for them, because they started doing roles for a certain type and nobody would ever hire them for something else. It happens all the time.

Well sometimes that just happens unfortunately. I'm young and between voice parts, so I have to deal with this a lot. Since my voice hasn't matured yet, we have no idea whether I'll be lyric mezzo-soprano or a lyric coloratura soprano. I have the notes and resonance of a coloratura, but my voice fits most naturally in the middle. I have a very good teacher, and she has opted not to place me in a part until I've developed more. Wherever my voice ends up, I know there will be a part of my range that I just won't use much. Alright, it's Michael Jackson time! One of the few pop countertenors. Most of this song is in head voice. When he get's to "And the world has got no shame", he switches into middle/mixed voice. The very end embellishment is in chest voice. For his falsetto, look at the chorus of smooth criminal.

I think you misunderstand what I meant. Of course very low notes are not usable because of the lack of resonance. But let's take an example of a singer like Cecilia Bartoli. She is a mezzo-soprano who is perfectly resonant up to F#6. But because she's a mezzo-soprano with a darker tone, she is limited to mezzo-soprano roles that never utilize the upper part of her range that is perfectly serviceable.

Ah, I think I'm understanding you a bit better now. Right, so what I'm talking about really is a lot more obvious in countertenors so I'm going to explain what I mean that way. Forgive me if I say some things you already know, I'm sure it'll happen. So a "true countertenor" basically has the same sound as mezzo-soprano with a huge range. He will have a more masculine chest voice, a very high falsetto, and a head voice range. The head voice range is still extremely full and is the same as a mezzo-soprano's middle voice but tends to be higher than the middle of a man's range. The reason some people call it the head voice is because the sound feels like it's resonating more in your head. A high belt for most tenors would have to include some head voice or your voice would crack, but usually belts aren't mixed. Really what I'm saying is that men have an extra register. And that some people confuse that extra register with falsetto or underestimate how powerful head voice is. I should have mentioned that before lol, my bad. Registers are really contentious. Some teachers don't acknowledge the middle register as existing and call it mixed, some have different definitions of what a head voice is, some don't include falsetto in a man's range, it's confusing. I'm glad what you were expressing was confusion and not dismissal. I also kinda hate that any classical vocalist only uses a limited part of their range, but that's true of most vocalists. No matter what, there's always going to be a certain range your voice sounds best in. Why not just hone your craft in that area?

Look, the term is just another way of looking at it. It may work for some people, and not for others. It's just another way of saying that you're using a full, resonant sound that you feel more in the mask of your face. It helps me personally to think of the middle of my voice as produced in a different way than my voice at the top and bottom of my range rather than treating it as a mix of the two. It's fine if you want to think of it as mixed if that works for you. You can call it middle voice. You can even call it a vocal color if it makes you feel better. It's just a name, just a different perspective. And from a physiological perspective, it makes sense. No, I would not call any sort of belting head voice. In fact, I would call that mixed voice, mixing chest and head voice. If that's needlessly complicated to you, fine. Calling it stupid and limiting honestly shows that you have a more limited view of pedagogy than I do. There are differing methods and opinions. I could explain to you why men have three registers, why the middle isn't mixed, and why it could be beneficial to think of the way I do, but that would be silly if you've worked well with your method. And hey, maybe my professors are just wrong. But I'm inclined to believe they know their stuff.

You could call it mixed I suppose. I was taught to treat a man's head voice and a woman's middle voice as a separate register rather than a mix, but I don't think it really matters that much what it's called. I'm probably totally over-analyzing because I've seen so many young singers screwed over when somebody told them their comfortable vocal range was wrong. It's just a personal pet peeve of mine.

I think I need to rephrase lol. Neither of those are probable ranges, it's way too small and in a weird place. But it is the tessitura of most tenors, so it makes sense if he's only using his head register and not his chest or falsetto. It's possible that he just stops when he gets to a passaggio instead of working through it. Some people just have major issues with that. I'm sure his actual range is larger. And there's the possibility that he has an abnormal voice type. It happens, voice types aren't as rigid as it's usually suggested. I won't pretend I'm an expert, I just thought you may have dismissed it too quickly. Then again, this thread isn't really about encouraging new singers I suppose.

I've been having some trouble finding kdramas where the girl does not end up falling in love with a rich, douchey guy. Not that this is always a bad thing, I just would like some recommendations that might add some variety. I've really liked Shut Up Flower Boy Band, Coffee Prince, Heartstrings, and City Hunter if that helps.

I wonder if he really meant is F2-F3? I know when a male is asked to repeat a melody a woman sings, often he will sing it an octave lower without even realizing it, especially if he's inexperienced. That would put him squarely in baritone range. That being said, F3-F4 is a small but perfectly reasonable tenor range if falsetto is not included. F3 is suspiciously high for a lowest note, but not as outrageous as it seems like you're suggesting. That octave lies pretty comfortably in a tenor range.

I'm not sure if this will help because I'm a classical vocalist and not a pop vocalist, but I use the Vaccai "Practical Method Of Italian Singing". This book is just vocal exercises designed to improve specific techniques, such as coloratura, octave jumps, etc. This way you can pick and choose which exercises to use based on what you are struggling most with. It's no substitute for a good private teacher, but it has helped me improve immensely.