The "bridge" is a term I had heard before finding Rock Singing Success. I had been told there is one bridge, also called a passaggio and that learning to navigate the passaggio well (think of Chris Isaak singing Wicked Game) is the key to being able to sing with tonal consistency from low notes to high notes and not have your voice crack while you're doing it. By tonal consistency, I just mean being able to sing throughout your range and not sound like one person in mode one and sound like somebody else in mode 2. Navigating the passagio meant being able to transition from mode one to mode two seamlessly. That may be valid information. I learned it even before I ever met my first vocal coach, so since it didn't come from him, its certainly possible that it's an accurate description of how what the "bridge" is: The thing that you use to move back and forth between modes one and two and not have your voice crack, or sound like two different singers. As far as I know, unless you want to count fry as "mode zero", there are just two modes. Mode one is what you typically use to speak, unless you're Mickey Mouse, and then there's mode two, which is also sometimes called head register. The voice breaks if you're not skilled in navigating the passaggio. I had gathered that you could think of the passaggio as the "bridge" that takes you from mode one into mode two. This was my understanding of "bridge" before I found RSS. R.S. found RSS. Imagine that! Good thing too, since the way I was being taught to create grit was pulverizing my larynx. "Just imagine you're lifting something heavy" - No thanks! If I were deliberately setting out to create as much unnecessary muscle tension as possible, then that would have been useful, but otherwise, no. There had to be a better way. "Just use the least amount of constriction necessary." - OK, I'm paraphrasing, but essentially that was what made RSS different from the way I was previously taught to create grit. My first coach encouraged me to constrict until no air at all was coming out and then just release tension ever so slightly until a little air can finally escape and we have "Grrrrrit"! And Reinke's Edema too!

I wonder how much difference there is in the way that rock vocals are taught compared to how pop vocals are. Sometimes the line between pop and rock can get blurry. The Eagles had plenty of songs that must have appealed to a pop audience...and a country audience. Life In The Fast Lane is one of their few songs that doesn't sound country or pop; it is definitively rock. Overall, they appealed to fans beyond a strictly rock audience. Look at the album sales they did in the mid-70s. Their Greatest Hits (1971-1975) is still the best selling album in the U.S. after all these years. It is certified 38 x Platinum. That mark may never be broken. Towards the end of that same year, they just happened to release Hotel California. Talk about a good year for a rock band! The only reason Hotel California didn't win the Grammy for record of the year is that it was up against Fleetwood Mac's Rumours album. It has sold over 40 million copies by appealing to a very mainstream audience and being a tremendous piece of art. It was one of those few times when an album's critical acclaim and it's commercial success both got as good as it gets. Fleetwood Mac blurred the line between genres just as well as The Eagles did. More recently, on the pop side of things, Miley Cyrus has become known for doing some amazing covers of songs that venture well outside of pop. She's considered a pop star but her raspy voice and audacious stage presence fit rock music extremely well. I happen to think Miley is actually better suited for rock than pop! All this makes me wonder: Is there that much of a difference between taking lessons for rock vocals and taking lessons for pop vocals? For a rock vocalist who has the rock music fundamentals down, would transitioning into pop present vocal challenges their rock background hadn't prepared them for? Just as a hypothetical example, since George Michael is widely considered one of the greatest pop vocalists there has been, what kinds of things would a hard rock or metal vocalist have to prepare for to venture outside of their comfort zone and make the kind of album that George Michael might have made?

This is the introductions thread. Say hi, tell us where you’re from and what you’re all about! In your introduction, answer these 3 questions: ➡️ What is your name? ➡️ What is your current music project and vision? ➡️ What moment made you want to pursue being a rock singer? We can’t wait to meet you!

EXCITED TO JOIN THE SINGING JOURNEY HEY EVERYONE I"M REALLY EXCITED TO BE JOINING THIS GROUP I"M A BEGINNER IN MUSIC,I"M LOOKING FORWARD TO LEARNING FROM ALL OF YOU AND SHARING SOME GREAT SONGS HERE THANKS FOR HAVING ME

My God, I hadn’t listened to this song in about fifteen years, but when I finally heard it again today, it brought back everything from the Maryland/D.C. music scene of the 90s. Asylum is the title track of the debut album by Unorthodox, released in 1992. https://www.youtube.com/watch?v=BDBzwQE0HLA What other band had songs with arrangements like this? What band except Unorthodox could be so heavy and still play it so pretty? At 1:38 a breathtaking instrumental section begins. The atmosphere it creates...beautiful. You don’t write things like this without being something of a musical genius. Drummer Ronnie Kalimon does an outstanding job here. This would not have had nearly the same effect on the listeners without his stellar drumming. At 2:51 the music once again transcends to another level. This sound…this is what autumn in Maryland feels like. All conveyed with guitar, bass and drums. Then you add the charismatic vocals of Dale Flood and it takes you to that state of mind. “My child of love…the innocent one”