TVS Methodology Overview - Part 2

Robert Lunte
A free video tutorial from Robert Lunte
Founder of The Vocalist Studio & courseCREEK Consulting
4.4 instructor rating • 15 courses • 56,000 students

Lecture description

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.

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BECOME A GREAT SINGER: Your Complete Vocal Training System

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23:18:38 of on-demand video • Updated January 2021

  • The MOST Successful Singing Course on Udemy.
  • Chris Cornell, Layne Staley, Geoff Tate and Ann Wilson all trained THESE techniques. You will be part of that legacy of training.
  • Extend Your Vocal Range.
  • Learn How To Hit The High Notes! Guaranteed.
  • Learn Vocal Distortion & Vocal Rasp Techniques.
  • STOP Pushing and Squeezing Into The High Notes, GUARANTEED.
  • Develop Your Head Voice for a Four Octave Range.
  • Learn How To Get Your Voice Into Cry Vocal Mode.
  • Customize Your Own Vocal Workouts To Fix YOUR Unique Vocal Problems.
  • Learn About Singing Vowels & Onsets... Famous in The TVS Method.
  • How to Train The Voice for Contemporary Styles. NOT Classical.
English Singing formants or tuning your forment in singing and vocal training is probably the most complicated and complex concept to understand when it comes to vocal training. And what I've tried to do with the four pillars of singing in the training system is to keep it as simple as possible. Believe me you can go deep and even I would be lost on some of the deep information regards to formants and acoustics at that scientific level. I've got books on it but that's not my job is it my job is to understand enough about it to help you learn to train and become a better singer. But obviously it's important if we have acoustic modes and I'm making a big deal about vowels. Everybody who is a good voice coach is making a big deal about vowels in my opinion you can't have acoustic modes and discussions about vowels without understanding just a basic level of what forment is now formit and that's a fancy voice also talk. What does it really mean. Forment in singing is not the not the physical dimension of your vocal track. When I say vocal track I mean the resonance space OK where the sound waves are vibrating and resonating inside of. So forment is not the measurement of the physical tissue of the vocal track but it's really more the measurement of energy resonant energy in the vocal track in the resonance space. A nice metaphor to help understand that better is if you take a bell and you gong a bell and it vibrates and you put your fingertips on a bell it's going to vibrate and tickle the tips of your fingers. That energy you feel in the tips your fingers is the resonant energy. How much of that resonant energy if it's strong or weak or what have you. Is the formant right. When are we seeing and we train we are producing forment formants and resonant energy in our vocal track. Now what happens is that resonant energy inside the vocal track needs to be stabilized. It has to be balanced and aligned. And as we go higher in frequency or lower in frequency in a sense as we take our nation package and we move it through time. And that change and shift of frequency the resonant energy inside your resonant space the format of your body tends to become unstable. That energy stops being synergistic and begins to be chaotic when that resonant energy becomes chaotic inside your vocal track. It feeds back to the physiology things like your vocal fold compression your larynx positioning your Ambu sure and other things and it makes us grip and push. So one of the things I'm saying to you here is when you're singing or training and you're pushing and having a problem with it. All of us we tend to blame it first on the physiology. But that's not always the case. Nine out of 10 times it's not a problem with the physiology. That's not the source of the problem. That's only the effect of the problem that's a symptom of the problem. Really the source of the problem is the form format the resonant energy and therefore the vowels the singing vowels are not tuned properly for that given frequency. OK. So forment resonant the measurement resonant energy in the resonance space of your voice to that resonant energy needs to be balanced and synergistic. 3 As we move the voice either training or singing through the change of frequency that resonant energy wants to crap out wants to bounce out and create problems. And what that does is it then transcends to the physiology and makes you choke and push. So what do we do. How do you keep the form and energy aligned and balance as you're singing and training. Through different changes of frequency you modify the vowel back to the vowel the vowels the singing vowels are kind of like a steering wheel that's guiding the resonant energy in your body to keep it aligned and balance. If the vowels the singing vowels or the forment is tuned properly you can bridge your passaggio you can bridge and connect smoothly you can sing a super high C5 and go on and on and beyond in your voice if you're using the right vowels and you've balanced and aligned your forment energy. Now it's not everything you need to worry about but it's a big part of the story of good singing in TV as in regards her methodology. We are certainly going to talk about forment tuning balancing that energy from time to time in the context of the acoustic modes and the vowels. Now let's talk about training content. One thing that I'm particularly proud of about the vocalist studio and the work that we do and the four pillars of singing is in some sense unlike any of the other vocal training programs and some of them are great. I own them and I've been inspired by many of them but there's one consistent thing that I've noticed in a lot of these other programs that are good in their own right is it's interesting to note that you get a great book you get some good ideas and and technique ideas are discussed but there's no training content. There's no content for you. The student of training is the person that wants to put a microphone in your hand and train for an hour everyday and get stronger. It's in some strange way it's something that other schools and programs and products have missed. Not with TV. And the four pillars of singing. And because of that I believe it's part of the methodology similar to bridging and connecting it's not really that's not really a technique in itself but it's an attitude it's a principle it's a value statement that says not only are we going to present to you techniques and ideas like specialized onsets and training workflows and all of that but we're going to provide for you content to train the four pillars of singing. Training Program is like a piece 90 x for singers. Now those of you that know what 90 acts is then you get what I'm saying. Those of you that do not in North America. We have a product that's sold on TV that's very popular called p. 96. And in 90 days you can work out and build a beautiful body a beautiful strong body. And it's a lot about having a unique training program for working out the four pillars of singing is the piano itx for singers. Now currently at the date of making this video this book is almost 500 pages long. I'm looking at page three thirty eight and almost a quarter of the book is training routines. Now this. This is the the methodology the onsets the you know explanation of all of that in the history of singing and science and that's all in here. But twenty five percent of this book over a hundred pages is the training routines. Here here is an example of the specialized onsets broken down into the training workflows both elements of the methodology that I've referred to earlier right here in the back. Not just talking about it but actually showing you how to do it in regards to the ever important acoustics of singing and the acoustic modes that I referred to earlier. Specialized groups of vowels that share resonant energy and sound color characteristics. One thing that we've done in the training routine is we have assigned every one of the principal key training vowels that we work with for your training. In the dream routines a color so the sound colors of seeing which is can be kind of abstract to imagine sound colors because you can't see it had been assigned a color as a visual metaphor. Now for the first time students of training can better understand the vowels and vowel modification by looking at each of the training vowels assigned a specialized color. Here are a couple examples of how we put those valves together inside of vowel modification formulas. Now to clarify when you change in the four pillars of singing after you get done training your specialized onsets and you begin to put the phone nation package or the onset package on the move. You'd then need to keep the formant aligned in tuned so you're going to have to understand your singing vowels. This is how you do it. If I show you an x y intercept graph that has from red to blue you're going to understand that that's going to be a valid modification formula or a movement of a to Ishan this in you're seeing vowels. Frankly that's a great idea. That's the best idea I personally have ever seen in terms of understanding bows and singing and the whole concept of modification and keeping your format tuned beyond that in the back of the book. We have tabled every single vocalise which has a fancy voice lesson talk for vocal workout that's in the program. The program has about 64 different workouts. Actually it's a 33 different workouts but each workout comes in a different speed and different key which is pretty cool. So if it's too fast for you you can train initially on the slower version until you get better and then you go to the faster version that's all laid out for you. Each one of those workouts have been summerize and tabled in the back of the book. So in these tables you will build your own training formula that consists of choosing your acoustic mode choosing which onset you want to use and then putting those vows from the acoustic modes together into a training routine. This is concrete tangible content that you can use to practice so you will never have the frustration of saying I understand the techniques I've read the book but what do I do. I practice. How do I train with me and the TVA certified instructors and the TV program methodology in this prog for people singing. You never have that problem. Training is important. I was just talking about theory. You've got to actually get out there and it so those are what I believe to be the most important elements or principal concepts that make the TVSM methodology what it is. If you're a teacher and you train with me you're going to become an expert in that and the ability to teach those concepts to your students. If you're a client and a student of any technique and you work with me or are you a certified instructor. Those things are going to be what you'll become an expert at. And believe me when I tell you the combination of the vocal modes the onsets the training workflows and the comprehensive routines in the back all funneled and channeled towards the primary objective if you will of learning to bridge the registers and connect in the head voice is exactly what you need now. Sorry I didn't want to make the sound too much like a marketing pitch but it's all in here and that's what the devious methodology is about. And I look forward to helping you guys continue on with this. Let's move through to the program.