Consistently singing higher

December 21, 2012

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=5791

“What I would really want is to be able to sing BUT sing in a higher key consistently. Alot of people always comment and talk about expanding your range and it seems to me they are talking about hitting higher notes NOT SINGING IN A HIGHER KEY.”

Agree in part with postings that singing consistently in a higher pitch CAN be same a few notes in a higher pitch.  But these can also be different.

One of several ways to attain higher notes is to force-strain the vocal cords, upper vocal tract muscles, and placing sounds through the upper roof of the mouth (bony).   The difficulty here is the continuous strain, but one can get terrific screaming types of sounds, for such desired effects.   Sharp highs too, as the bony roof of upper mouth doesn’t dampen sounds.   E.g. screaming for help gets terrific highs.

It is also possible to create a lesser strained, more melodic high, using resonance to replicate some of same sharpness, if so desired.   This involves in part by keeping the larynx low and placing some sounds through the back of the throat to the nasal-pharynx cavity, so head resonance occurs more easily.   Because the vocal cords and throat are also more relaxed in this technique, the cords-throat can also sing higher pitch.  Because this uses more resonance, cords and upper vocal tract muscles don’t have to work as hard for volume.

The SongBirdTree Youtube videos above are the Best I’ve seen.    Her swallowing tip temporarily forces the larynx to drop, and this opens up the back of the throat more, which in great part, enables the highs to be transmitted more out the mouth AND the nasal-pharynx.    Yet, I think there are better methods still.  Alan Greene’s book describes exercises to keep the larynx low.  My personal opinion is that posture changes will facilitate keeping the larynx low, and facilitate for the soft pallet to drop, such that the high sounds are additionally transmitted through the back of mouth, up through the nasal pharynx, for greater resonance.

Lastly, I’m uncertain of the initial question, as it relates to tone style.  It may be necessary change the mix.   For example, “The Lion Sleeps at Night”, it is possible to sing this using a full voice with on-pitch highs, but somehow, the bass just doesn’t sound right.   What one wants to do is to use resonance on highs, reduce lows, and use mic appropriately.

In short, singing highs consistently is sometimes same as reaching for highs, and change mix to create desired tone effects as well.

Yawning sing

October 31, 2012

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=5420

So I’ve been thinking about ways to get in more practice during the day, even at times I am not able to sing. My goal is super healthy, strain free singing, and I’ve had most success achieving (or getting close to this) when I focus on those yawny breaths. So my thought is to apply this kind of breath to every day speaking. Obviously, it will be a difficult transition at first, and people might think I’m a weirdo for pausing to take those breaths in speech. Ha, they might even just think I’m just a very a pensive person. Regardless, this is something I am going to experiment with over the next little while. I’ll update this thread with my thoughts as I have them.

>>>

Seth,

Innovative thinking on this. I had considered this option as well, but eventually decided against it. First, the nose does warm and help clean the air, so regular yawning intake isn’t healthy.   Second, it does look strange.   Third, one has to add pauses in conversation.

There are lots of things that can be done regularly, and these all basically involve posture.  Deep diaphragm breathing.   This is relatively easy, if you can keep the ribs uplifted.  If you can, deep diaphragm breathing will help attain easier power.

Incidentally, yawning breathing is useful for adding larynx drop while singing, but you may want to ask why singers can’t do this without the yawning breath, naturally.  In another word, why is yawning breath even needed, particularly if deep diaphragm breathing is already developed?

Larynx drop involves first a very good posture.   Afterwards it’s a lot easier and can be volitionally controlled.  Yawning breath can still help a bit more.  You can read about larynx drop in Alan Green’s book, and eventually, I’ll write about larynx drop and posture in http://www.VocalPosture.com.

Improve your posture regularly and your singing will naturally improve, and you’ll look great at the same time!

Excessive Mucus and phelgm and singing

October 31, 2012

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=5357

I seem to have a really big problem with mucous and phlegm, that gets worse the more I sing. There seems to be mucous in both my nose, throat, and lungs. How do you get rid of this without meds?

>>>

This doesn’t sound like the major contributor is allergies, as allergies generally produce a liquidy drainage, not heavy phelgm or mucus.   Allergies also produces sneezing and red eyes, so to self-diagnose it, look for other symptoms.

This does sound like acid reflux and/or improper technique that blows too much air into the nasal cavity.

To diagnose acid reflux, try any Over The Counter omeprazele med, such as zegerid or nexium for 4 weeks (preferably at double dosage–which is what doctors prescribe–and I recommend you ask a physician first) and see if your symptoms vastly improve.

To treat acid reflux, first incline your bed 6 inches at top; then even higher, if you can tolerate it.   This will stop nighttime acid reflux.

Acid reflux doesn’t reach your nasal cavity, unless– 1. stomach liquid can reach up to nasal cavity (which is unlikely, if you’re standing)    2. huge amounts of acidic fumes reach the nasal cavity (which is possible with improper singing technique and/or bad posture).

Whether you have huge amounts of acid reflux fumes or not, if a singer uses improper singing technique such that air is blown into nasal cavity regularly, symptoms such as you describe will result.

To treat:   1. resolve singing technique   2. fix posture   3. incline bed, if acid reflux.

What you’ll need

October 15, 2012

A large mirror at mouth height, that one can easily see the external and internal shape of the mouth, and the larynx.

Maybe even better– a trifold, full length mirror

Tongue depressors.

Bow tie with strap.

Primary moving parts of the vocal apparatus

October 10, 2012

Larynx– drop to create larger cavity.

Jaw–creates larger cavity.

Soft pallate— creates a smoothness and subtlety

Lips–creates smoothness, subtlety, and distinct vowels and consonants

Tongue– can block

 

These are the primary moving parts.   The role of the diaphragm needs to be further elaborated.

But, the basic idea in singing is to free these to do their things.

Each of these have supporting structures and organs that impact their freedom.

What is tinnitus?

October 10, 2012

Tinnitus, in many cases, is a warning that the ear has been negatively impacted.  Loud sounds, in particular.

But, what about the cases where tinnitus continue, and there’s no hearing damage?   Clearly, something is wrong with this tinnitus warning system idea.

I believe that tinnitus is more alike a tension.   When loud sounds are heard, the ear-mind hearing mechanism tenses up and produces the high pitched warning.  This is normal.   What happens in tinnitus is that the hearing tension is not rapidly released.   That is, once tensed, the ear-mind hearing remains (in cases of tinnitus).

The tension can be alleviated by all kinds of tension-release mechanisms for hearing.

Standing meditations

October 10, 2012

Focus deeply, not just a standing meditation, but continued deep reaching in of the tensions.

Self, thoughts.   Both thoughts and self can cause body actions.   Want the self, because thoughts are too many.

In my case, walking based on thoughts is such a body action.

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