Singing and posture–see Categories, About, Launch 4-2014

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Just an amateur, what do I know? And haven’t read CVT. But, may be able answer some of these.

Opening of the throat should be a “natural”, “subconscious” set of events, instead of process. Alan Green’s book, “The New Voice” describes physical manipulations to reduce subconscious tensions. My blog, http://www.VocalPosture.com” will later introduce more on this.  In another word, don’t spend your time trying figuring out the process of individually opening up the upper pallet, tongue away, through music means.   These will occur naturally and in synchronicity when tension is reduced.

To better explain.  Imagine a machine with a many bolts loose or too tight and a bit rusty at places.  It holds a diaphragm, ribs, air lining, throat muscles, tongue, soft pallet, etc.  Due to its inappropriate tension (tight or loose), it works, but not well. One can exercise its components, e.g. soft pallet, and perhaps shake of some of the rust, but this won’t solve the loose or taut bolts, and won’t get stop the rust from reforming.

However, if one finds a loose bolt in the understructure and tightens it, all its above structures move in sync better.   That is, it is not necessarily the process work on any single component that we’re looking for, but instead, an event, where all the related components are suddenly working in sync.

In another word, imagine many tension points as impediments to an open voice.   When a tension point is released, there’s a small realignment and better syncing of all open voice’s components (upper pallet, tongue, etc.).

Using the above philosophical approach, here are some of my responses:

1. Alan Green’s book describes an open throat as a foundation that can be used most of the time.  I agree.

2. See above.

3.  Effective, communicative singing is usually emotive, meaning one’s emotional muscular tensions express these.    The open throat is more of an amplifier.   One way singing differs from actual emotions’ vocal expressions is that in singing, we’re trying to amplify such emotion, while carrying a melodic tone.   Whatever emotion (and its “throat” name) works best to express is best, and open throat is an excellent foundation to start to express such.   For example, singer of “Sultans of Swing” is not an open throat but does emotionally expresses song.

4. See above.

5. Disagree.   Though not essential, lifting of the upper pallet even on low notes brings forth a fuller voice.  Also, it creates either a more ringing sound or a softer smoother sound (depending on one’s placement).   Lastly, take a look at the physics of this–if one lifts the upper pallet, even the long bass waves have more travel space, thereby creating more bass resonance.  Clearly, even lifting the upper pallet can create a fuller bass sound.

It is certainly far more noticeable on higher notes, because nasal resonance amplifies higher notes well.

6. What is “hold”

7. Don’t know.

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To smile or not to smile….

Singing is usually a sublimated emotion weaved into a story FOR the audience– singing is not about self-created tones.

Smiling certainly has a number of advantages– it usually engages the audience, it probably does a number of things to relax the vocal apparatus, etc.–but smiling definitely doesn’t help a tragic or sorrowful tale. Most rock song have happy melody and sad lyrics and many if not most country songs are sad, so smiling is appropriate when both melody and lyrics are happy; maybe when one is thus, and inappropriate when neither is.

For rock, sometimes you should growl, for stage, sometimes you should frown…. you get the idea.

Expression that matches the desired emotional effect for the audience– not only will this help the audience, but because the body emotional expression matches the song emotional expression matches the audience perception of such emotion, and most importantly, match the intricate muscles nature designed to make such emotion. Singing should match the emotion as part of the story told– smiling is just one of these emotions.

http://www.themodernvocalist.com/profiles/blogs/is-it-possible-to-sing-in-a

Also, I completely disagree with the view of singing in the head voice.   One should be able to choose whichever “positioned” voice he prefers.  If he wants to be a head voice specialist, fine.   But, one just can’t reach full height of singing by chopping off the body.

Also, raising or lowering the soft pallet has different types of effects.  If one lowers the pallet, the sound goes through the back of the head and comes out through both the mouth and the front of the face, both amplified– a very pleasant mixed sound.   The vocal cords are also more relaxed in this position, enabling for the vocal cords to emit higher highs. 

If one wants a screaming type of high, raise the upper pallet, and deliberately tighten the vocal cords and aim the sound toward the front roof of the mouth, to get more sinus resonance.   The problem here is that it is less total resonance, but more deliberate screaming power.

 To sing metal or rock really well, do all three– chest resonance, lower pallet front and mouth resonance, and screaming–simulatenously.   I’m sure it can be done, but don’t ask me how.   Just an amateur.

www.vocalposture.com