Archive for the ‘how to’ Category

Breathing

September 30, 2012

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=5183

To breathe, one has to first gain the full breathe. Without gaining this, it is difficult to feel the diaphragm’s and ribs sensations.

To gain the full breathe involves straightening the spine, up to the throat. This requires several steps in posture changes, and may require some time.

After one has gained the full breathe, one’s sensations of the diaphragm will naturally tell one what to do, as breathing is mostly natural.

One can enhance still further with deliberate exercises.

To gain freedom in breathing, have to have lower chest support in front abdominal muscles and lower lumbar

 

9-5-12 status

September 5, 2012

Still side of throat muscles pull down a frown.  Unable to use straight head to sing well, because too much tension on throat.   Smile, which loosens the frown, helps in singing highs.   When get head posture straight, should be able to sing even better highs.

Smile and higher note

August 31, 2012

Steve Gillette of Nitro

Smile with extreme highs

August 29, 2012

See Gillette’s Youtube video.   This works because the contrarian muscles of sorrow aren’t interfering.

Diaphragm

March 3, 2012

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3718

The diaphragm needs to be thought of in relationship to the spine and the area underneath the diaphragm.

Try this trivial exercise to understand extremities of this.   Crunch yourself up in a ball, and try to breathe using the diaphragm, and notice its difficulties.  Then go into a military stance posture and breathe noticing its effects on the diaphragm.

When one crunches up, it is extremely difficult to get the diaphragm to exert pressure.   In military stance, notice that the area immediately underneath the ribs and its lower back is strongly supported by the viscera and muscles underneath, and by the upward thrust of the lower back.   But military stance has greater diaphragm movement than the crunched up position, even though, because the ribs are taut, breathing is harder.

Now, slightly back away from the military stance, while keeping the “support” from the lower back and viscera to keep the upper chest (and hence also the diaphragm) uplifted. You should now have a freer to move diaphragm, in a simplistic explanation.  (The complicated explanation further involves the pelvis, neck-throat, upper chest, gravity, emotions, and head.)

Most of the postings here involve how one breathes, the vocal cords, the sounds.   I suggest, instead, to focus on the primary anatomical parts (head-leg, pelvis, ribs, etc. and not the ones with Latin names) and determine freedom of diaphragm based on these.

Head uplifted

December 19, 2011

Head uplifted continually pulls on taut front of throat muscles and also stretches side of jaw muscles.

Also continually adjusts the tongue resting position.  Until this is done, tension will remain constantly.

Extended breath and diaphragm

April 9, 2011

One perspective at extending length of breath is to exercise its expansion, as you’ve done.

Another perspective is asking why the length of breath is naturally extended?   Usually, the answer, I believe, comes in that the diaphragm is too tense, and thus, not only doesn’t fill fully, but moreso, wants to return to a taut state.   Hence, you are unable to control its release, because it was too tense to begin with.

So, the question next comes, why is it so tense?   If we look at the diaphragm, the apparent answers will be that the lower back isn’t extended straight and that the chest may be concaved in.   This leaves the diaphragm easy to retain its tense state.  

Hence, the objective here is to first release this tension.

Releasing tension can be accomplished, in part, through exercise, which is what you’re presently doing.   But usually, this approach is partial in its effects.   One has to do all kinds of methods to relieve the excess or insufficient muscle tone throughout the diaphragm, usually beginning with ergonomic posture changes.

hyperacusis, tinnitus, posture, resonance, vocal shape

October 20, 2010

It is not necessarily the vocal shape that directs all the sound, and obviously, the posture initially affects the direction of the sound.   If posture is not straight, it is possible that the sound starts going toward the ears, from starting at the vocal tract and then resonating within the skull.

The straight alignment can better assure that the sounds emit through the mouth.

Result is lesser volume of sound to ears and reduced tinnitus and hyperacusis.

This returns to the concept of Maya and also Alexander Technique.   Hearing is never right or accurately established, until the vocal apparatus is sitting in a regular vocal sound pathway–which in our case, is a detensed throat and inner mouth pathway.  This begins the cause of Maya in hearing.

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Full voice idea

September 28, 2010

It would seem that a full voice can be achieved by:  1. reducing the tension on the soft upper pallet, which gives the vocal tract a slightly longer tract, as the soft upper pallet can then be more concave upwards.  This gives bassy sounds a longer path.  2.   Then, send (push) the sound more to the sinus mask to increase higher frequency resonance as well.   Curious as to whether this idea is correct.  Love to hear your thoughts!

This is not to say that it’s easy to detense and push at the same time, while there’s still vocal tract tension.   Vocalposture’s view is that eventually, detensing will make the full sound the natural, innate sound.

Head position

September 28, 2010

Is your head pulled back (not tilted up)?   Upper chest forward?    Back upper shoulder blades closed?  Front and upper chest lifted upwards?