Unable to sing

December 20, 2011

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3229

 

One’s ability to sing depends on many factors working together (that is, your body is working in harmony).  Probably the biggest cause of not being able to sing is a malfunction of one of these factors (thereby causing non-harmonious sounds).

 

To name a few:

 

  1. The connection between your hearing and your vocalizing.
  2. Your mind’s perception of your singing.
  3. The control of your vocal tract.
  4. The understanding of your vocal tract.
  5. The audience’s hearing.
  6. The type of music.
  7. Body tensions.
  8. Understanding of harmony.
  9. Singing emotional interpretation.
  10. Imagination.
  11. All the other things mentioned in the above postings.
  12. The voice itself—this may be worth only 40%, in light of the above.  (So, yes, if one is genetically gifted, he is 40% ahead.)

 

Rod Stewart, Bob Dylan, and Louis Armstrong both have awful voice, as well as Nancy Sinatra—they did well though.

 

If you’ve tried all the other things mentioned in above postings, then this says you haven’t found the malfunctioning piece.   My guess is that what’s missing is somethings that is not well taught in standard singing methods.

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.

December 18, 2011

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3278

“I feel like I use too much air too quickly, and it takes me a while to warm up to a point where I’m not running out of breath on phrases all the time.

Any good practice routines I could try?”

 

Running out of air is frequently due to exertion– that is, one is making more effort to sing louder, more sustained, better sounding, more range.   To preserve air, relax more throughout the entire vocal apparatus.   When the muscles of the vocal tract are relaxed, they can resonate far better, and this automatically increases the volume.   Also, greater relaxation enables for greater range.

 

Smiling

December 5, 2011

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=2874

 

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.

Posture

December 5, 2011

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3130

Both are right in assessment, but neither described how correcting this.

A person tends to develop numerous posture bad habits, so by the time you’re learning how to sing, these postures AND their supporting muscles, myofascia, cartilage, glands, and perhaps even bones, tend to be set in patterns or taut in patterns. If one tries to quickly straighten one’s habitual bad posture, these pull on taut muscles and myofascia, etc., such that the tension is even greater, making singing worse. If one doesn’t straighten this, singing is always handicapped.

This is why one teacher is saying straighten your posture (she’s saying your posture is handicapping you), and the other teacher is saying if you straighten your posture, you will sing worse. Both are somewhat accurate.

The correct way, in my opinion, is to straighten out the long-term effect of bad posture. That is, your natural posture should be a singing posture. Seen this way, both teachers will say something like: 1. Your posture is good, we can proceed with how to sing. 2. Your natural posture is also your most relaxed posture.

How to do this will be described in my blog below.

Once your posture is good and natural, your breathing will be also good and natural.

Earplugs

December 5, 2011

http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3105

Question on earplugs

 

Consider also Musicians earplugs. Regular earplugs affect frequencies heard, even though covering one ear shouldn’t affect as much, because the mind compensates.

Both Musicians and regular earplugs cause an occulsion (sp?) effect, which will make you think you’re bassier. You’ll need custom made earplugs for singers (about $200 and a skillful audiologist).

One unusual way of solving this, is to adjust for the DJ, by possibly pulling out custom made earplugs, if he doesn’t play so that you can hear your voice.

Lastly, hearing your voice is a trained skill. If you practice a bit, you’ll hear your voice despite the loud music.

The wide variety of singing methods

December 5, 2011

From:  http://themodernvocalist.punbb-hosting.com/viewtopic.php?id=3164

By Nathan…

“So I know we all have our preference when it comes to singing methodology. Some use SLS, CVT, TVS, RYV etc. The problem is that all of these 3 lettered abbreviations we swear by have very differents methods and opinions on, often, the same area. Rarely do you find that they all unanimously agree on any particular thing. I’ve been encountering this problem all over the place whilst at music school. Different teachers, following different methods, will teach different things to the same students, which leaves us all dazed and confused….”

Instead of trying to figure out what the right technique is, start with determining the message you’re trying to deliver to the audience. Ask the question, what’s your singing worth without the audience’s hearing?  It is well known that people hear emotional messaging surprisingly well.

So, instead of trying to create specific tones, start with actualizing your emotional message.   Then, set the emotional in rhythm with the music.  Then make the message melodic (and a little poetic)    These are easier steps, and are difficult as is.   But, actually, you will probably do well, because you’ve had a lifetime of practicing this, as you’ve already expressed emotionally simply growing up, and your vocal apparatus know how to do these.

So, the first step, in my opinion, is to get to know yourself (as above).  (Isn’t it interesting how ancient philosophical ideas are so true?)

The next step, is to get rid of tension, and I believe this is accomplished by straightening body posture.  Tension makes it very difficult to sing properly.  Again, this is a view of “Know Thyself”– that is know by ridding what shouldn’t be with you.

The above two steps may take some time, maybe even a few years– to know yourself isn’t so easy.

After learning these two, it then may be appropriate to learn some methods to enhance.  But ask the question again, if know thyself is true, shouldn’t you be able to know your own produced sounds?   And also, know how these sounds are produced?   That is, If you can hear properly, you’ll be able to adjust your singing accordingly.   (Simple things can be very difficult).

Focus on the simple things first– know thyself, hearing thyself, straighten posture  — singing will naturally follow (isn’t this what Buddhists also says, in a way?)

In summary, sing to the audience an emotional message they’ll understand first, then learn what’s stopping your emotional message from being tonal.

Stress and singing

June 6, 2011

http://www.themodernvocalist.com/profiles/blogs/can-a-stressed-singer-learn

Stress tenses certain parts of the body, such that your vocal apparatus is misshapened, and singing becomes so much more difficult.  Being calm is easier to move into the next emotion in the musical interpretation.   But as any stressed out singer (any most major pros were at one time starving-stressed) can tell you, it is entirely possible to sing when stressed.

 Stress can even help certain types of singing.   For example, if you’re sad, and emote sadness, singing sad songs can sound better.   Of course, singing happy songs is more difficult.

 As for your instructor– she got it partly right.

Skype and latency

June 6, 2011

http://www.punbb-hosting.com/forums/themodernvocalist/viewtopic.php?id=1671

Where did the information Skype is half-duplex come from?  I did a quick search, and some people believe it’s half-duplex in sound card and full duplex in USB stereophones.   This information doesn’t make sense either.

Anyhow, Skype, like Voice over IP, suffers mostly from latency–an inherent problem with the Internet that is difficult to solve.   There is a lag time due to electronics relay and congestion delays (not the speed of electricity).   Echo is usually used in telephony to reassure the talker’s own talk– telephony without echo sounds funny for the talker.

Telephony is designed to carry principally the higher frequencies of normal speech, which is what is needed for speech understanding.  Bassy parts of speech are unnecssary for speech comprehension, so is truncated to reduce bandwidth requirements.   As such, if one listens carefully to a regular phone call, it sounds tinny.   Bell Labs probably spent hundreds of millions of dollars doing research on this one topic and designing telephony to fool our hearing effectively.

Our minds are very clever at reconstructing the intended sound, so even though the sound may be tinny, a hearer can actually reconstruct most of the true sound.   However, telephony does not capture the true sound.

Skype is worse than regular telephony for a number of reasons:

1. Latency.
2. Lesser bandwidth, which means greater truncation of sounds.
3. Inferior receiver sender equipment.
4. Lesser proven reconstruction technologies of initial captured sounds.

Cell phone usually have inferior microphones and can even be worse.

Land lines are what telephony technologies are designed for, and will sound best, if one buys the more expensive equipment.

It makes me mad to hear singing instructor who believes they are doing students a favor by saving a few dollars with Skype.   In addition to the problems mentioned above, the best way to use Skype is with a headset, and I haven’t seen too many expensive Skype headsets yet (which tells me that its receiving sound exterperlation and its sending mic is lower quality).   And if both sides are using headsets, the problem that comes about is occlusion effects in singing from wearing headsets.

In summary, telephony equipment is designed to create an illusion of the sender’s true send, and actual sound is vastly superior.  Then in the order of quality– 1. great land line telephony equipment both sides   2. great cellular equipment   3. great sound cards   4. great headset  5.  great Skype, 6. and mediocre and inferior equipment all under.    I’m aware that I’m bound to be attacked by Skype advocates who say, you can hear this or that well.   My response is– listen to it carefully and try to reduce the power of one’s own mind to reinterpret, and you’ll see that telephony including Skype is inherently inaccurate.

Talking and singing

June 5, 2011

Well, here’s my two contrarian cents worth on talking and singing, from an amateur.

Imagine returning to prehistoric times, well before sophisticated languages with consonants and vowels, where all kinds of apelike sounds were being made by man, and suddenly a human starts to sing melodies.   Must have been quite enchanting.   Soon, I’m sure there were lots of singers.   Yes, singing before rhyming, singing before sophisticated words, singing before full lyrics development, singing before Western sets of sounds, singing before Eastern sets of sounds, singing before prehistoric civilization’s sets of sounds.  You get the idea.   Just like prehistoric art found in caves were drawn before anyone knew how to manufacture a canvas for art, so singing was sung before a single song was written.   Before any set languages were established between tribes.   Lullabies were sung likely before words were formalized.

So, we can see how singing is more ancient than, and likely more fundamental than speaking.   That is, speaking is a limited form of singing.  If one can sing properly, one’s speech is a restrictive form.

The question, in my opinion, is not how is it speech and singing are different; the question should be, how is it speech resulted from singing, to the extent that natural singing is lost.   And the next question is, how is it possible to recover this natural singing?

How we learn speech, and not how we lost singing, is more researched, so let’s start there.  We know a baby has more sounds than the modern language he speaks has, and we know that over time, he loses many of these sounds.   He practices talking and learns to express his thoughts, his desires, his feelings, his fears through talking, and as he gets older, he finesses more of these, and loses more innate sounds.   He stores body tensions, and then sublimates certain sounds and lose others.  Over time, he loses his singing voice and acquires a different set of skills for his talking voice.   Yes, he with society placed limits on his innate sounds and became worse and worse as a singer.

So, no singing and talking arise from the same skills with talking a more restrictive form with a great deal of finesse built up.   Singing is lost due to societal pressures, tension, and lack of practice.

Can they be the same?  Yes, because talking can utilize the resonance, timing, rhyming skills that singing teaches.

Is there evidence on the above?   I know of anecdotal ones:   Elvis, Judy Garland, and Pavarotti.  Judy came from a family of vaudeville entertainers and was performing as a child.   Pavarotti was a singing instructor’s son who earned money as a child from singing.   Elvis, if I recall correctly, was praised for his early childhood singing.   It’s not because they had the best hereditary voice– it’s because they did not lose their innate voice.   Tiger Woods was not the best athletically gifted golfer, but he had parents who provided him an environment, such that he did not lose his innate golf-suited skills.

Having said all this mumbo jumbo–what does this have to do with speaking and singing, giving the evidence of the above study.  

1. Unless a singer has half a brain, the study makes no difference.   And as we see from above, one’s potential is far greater than one’s current skill set, and the objective is to restore one’s innate skills.