I found that the best explanation on the web are actually Marnell's video on his site vocalliberation.com. You get six step by step videos on this exactly for FREE when you sign up for his mailing list. I highly recommend it.

I decided to watch that cord closure video again - definitely helped me a lot. Good call Adam.

OwenKorzec said

Sounds good Alberto!

This is a bit of a tangent, but, question for Adam (or Phil or Dante):

Speaking of efficient cord closure, do you subscribe to the idea that inefficient cord closure involves using excess tensions (neck, tongue etc.) to create a kind of forced cord closure, and do you believe that because it's external it causes friction in the vibration of the cords which if done very repeatedly will cause damage?

It's interesting because I notice the less I can get my neck muscles contribute, the looser my closure gets (which can be solved by proper cord closure obviously). But I'm pretty convinced they used to helping out. I am just curious to why tensions like that are a problem - in my experience they do seem to be very limiting to vocal freedom but on the topic of how they impact vocal health, I've always wondered about that. I've also wondered why so many times I hear a singer sounding absolutely amazing, crystal clear closure, and yet it often seems like their neck muscles are working pretty hard.

Dante would be best to ask because he has done extensive research in this area. But I will take a stab at it since I have learnt about this with him and in my own research.

I would say it is ineffective cord closure because you are using exterior muscles to close the cords instead of using the muscles within the larynx to close the cords (these are all that is necessary) which results in over squeezing and over compression which rubs the cords together and makes them swell. Which is why straining a lot will lead to throwing out your voice because your cords swell due to the friction.

Now, the idea of support is to offset that pressure to the lower abdominals, the pelvic muscles and lower back muscles. That way those
muscles do the work so your throat can stay nice and relaxed while you sing.

I am speaking in broad stokes here, but, in my experience, SLS and classical each focus on one side of proper cord closure. SLS or SS focuses on cord function and they believe that proper support and breath management will come automatically. I have found by and large that this is not the case. It leaves the voice without power. And classical tells students who have little training to support their voices and engage the right muscles but their cords have no idea how to hold back that air pressure so they end up sounding airy.

Dante was the first one who brought these two concepts together for me and told me that the cords and the support need to work together in order for good closure to happen. He got me doing it using the " oh my stomach hurts" line which gave me the pressure from my lower muscles and allowed my cords to simultaneously resist that air pressure being sent up.

Now as far as singers who you see with their neck muscles engaged. What you are seeing is the singers neck muscles anchoring their larynx down in a neutral position. When I singer engages proper closure there is this anchoring feeling that happens where the neck muscles are engaged slightly and there is a sensation of anchoring of the larynx downwards.
I hope this helps please let me know if you need clarification.

This is a bit of a tangent, but, question for Adam (or Phil or Dante):

Speaking of efficient cord closure, do you subscribe to the idea that inefficient cord closure involves using excess tensions (neck, tongue etc.) to create a kind of forced cord closure, and do you believe that because it's external it causes friction in the vibration of the cords which if done very repeatedly will cause damage?

It's interesting because I notice the less I can get my neck muscles contribute, the looser my closure gets (which can be solved by proper cord closure obviously). But I'm pretty convinced they used to helping out. I am just curious to why tensions like that are a problem - in my experience they do seem to be very limiting to vocal freedom but on the topic of how they impact vocal health, I've always wondered about that. I've also wondered why so many times I hear a singer sounding absolutely amazing, crystal clear closure, and yet it often seems like their neck muscles are working pretty hard.

On the technical side, I feel like your voice lacks proper cord closure which gives your voice a bit of roughness on sustained tones. I think that proper engagement into the body and cord closure should clear that right up. Check out Marnell's or Phil's videos on YouTube. They explain and demonstrate how it should be done very clearly. I found that the best explanation on the web are actually Marnell's video on his site vocalliberation.com. You get six step by step videos on this exactly for FREE when you sign up for his mailing list. I highly recommend it.

quentin said

Welcome! It sounded great, good production too, the mix sounds very polished. I was even more interested as you mentionned Dio
You are compelled to stay on this forum until you have posted a Dio cover!

Hahaha! Don't worry, you made me take a decision! Dio will be next but I'll try not to cover one of his typical covered songs. A good one (all his songs are awesome lol) but not one covered as hell

Thanks for your comments!

Next one will be a rock or heavy song. Maybe Dio or Russell Allen. It will be tough to sound good compared to this two great singers but if I don't try...

Thanks for listen and please, comment. Any help will be appreciated!

http://youtu.be/2Tg4CXGTPaA