Posts Tagged ‘singing’

Imitative singing

May 20, 2009

Imitation is natural to singing–that’s how people naturally learn. To stop this, the first is to recognize that this is a natural process. Next, one should interpret the lyrics and music, and put your own feelings into this. How would you feel sing this particular lyric?

Next, is a bit more challenging–when singing, you have to replace the “original’s” sound in your head with your new interpretation.
To help in this, you may want to incorporate the way you talk into your singing. Talking has numerous years of experience of nuances that is inimitable and has a great deal of subtlety. So, when you incorporate some of the talking acquired nuances, you’ll definitely sound original.

Chen Sun

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Can yoga serve as vocal warmup?

May 20, 2009

I haven’t found success at this. Yoga’s stretches are valuable to enable capacity, but it is difficult to stretch the vocal tract or vocal cords as for warm-ups, that I know of.

The first three steps to get started on learning how to sing

May 20, 2009

Learning how to sing is inexpensive. Here are several items VocalPosture.com recommends to start out with.

1. A Creative XiFi sound card (approximately $40 on sale) and a hifi audio cable to tie your computer into your stereo’s speakers. The XiFi has an audio processor chip that makes music, including downloaded music sound great!

2. An Internet connection to websites such as www.SingSnap.com  and www.MySpace.com’s karaoke section; both sites have free karaoke music plays and tens of thousands of songs.

3. A supportive person or audience. Find the most supportive karaoke bar crowd you can find.

That’s all you need. Everything else can be figured out.

Western authors supporting VocalPosture’s philosophy

May 20, 2009

There are some Western singing instructors who also teach compatible approaches to VocalPosture.   Alan Green’s “The New Voice”, and Mark Baxter’s “Rock and Roll Singer’s Survival Manual”, both published by Hal Leonard, both advocate first establishing vocal structure and posture.   Both don’t believe that the usage of learning to sing by hearing one’s singing is productive.  VocalPosture’s difference from these is that VocalPosture suggests that once the posture is correctly formed, the vocal structure will automatically form, then self-hearing is correct, and for most people, then their divine singing capacity will emerge (as Zen Buddhism would suggest).

Zen and bondage

May 19, 2009

Zen Sayings:

Zen in its essence is the art of seeing into the nature of one’s being and it points the way from bondage to freedom. D.T. Suzuki (a famous Zen teacher).

What is bondage and what is freedom?
Bondage is usually some form of repetitive behaviour, a circular behaviour that yields the same negative results. Freedom is the ability to choose behaviour preferred.

The clearest examples of bondage are compulsions, also frequently known as addictive behaviour. For example, certain forms of compulsive eating, depression, sex addiction, resentment, the world is filled with compulsions. Indeed, VocalPosture believes that it is compulsions, more than any other emotion, that drives the world.

If compulsions are driving so many of one’s actions, what makes you think that compulsion isn’t driving your voice? Indeed it is! All kinds of contrary compulsions prevent you from reaching your vocal capabilities. Is this true? VocalPosture will follow up with a description of hearing, which is needed to  explain how compulsions prevent your great singing from blossoming, like the lotus flower.

Chen Sun
www.WebAndNet.com

Lotus flower and restoration of divine voice

May 19, 2009

The lotus flower is symbolic in Buddhist art. The idea is that the lotus rises through the mucky muddy waters, to have a straight stem and then a large, beautiful blooming flower. If you’ve ever seen lotus flowers in bloom in a pond, particularly lotus flowers blooming about 4 feet or higher in air, you’ll understand.

The symbolism is that the flower is inherently beautiful; and that it simply needs to rise up straight through the mucky muddy pond water to express its beauty. Similarly, in VocalPosture’s Zen-derived analogy, the divine voice is in itself beautiful, and the objective of VocalPosture’s singing pedagogy is to allow the divine voice itself to arise from the muddy waters of past emotions, bad habits, tensions, to straighten its spine (stem) such that the beautiful flowering (the singing) can be heard.

Zen (actually Buddhist and Hindu-derived) philosophy enables VocalPosture to make all its speculative claims on how posture is able to create a beautiful blossoming voice.

The significance is that VocalPosture’s view is that most of learning how to sing deals with how to restore-straighten the spine to enable the voice to express its innate beauty. This is a vastly different approach to singing pedogagy than practicing scales to polish-up-create a beautiful voice.

Chen Sun

www.WebAndNet.com

Mouth and voice

May 18, 2009

The idea here, in the mouth region, is again, to release the tension, but after it is released, the objective is rapidly moving, freer mouth structure, not a great resonanting vocal structure (as suggested by Alan Greene). This will sound more natural.

Zen and the imperfect

May 17, 2009

Ancient Japanese Zen art, architecture, pottery, etc. frequently have imperfection built-in. A tea cup that is not symetrical, a house with an irregular window, etc. The Zen way of looking at life realizes that life has imperfections, and builds this into art, and admires imperfection as part of the living experience.

Western art strives instead for perfection–symetrical, balanced, geometric. These arise from Greek ideals of perfection.

In singing though, audiences frequently prefer the living life and its imperfections.

Until one reaches perfect singing (very difficult for most), it is actually better to acknowledge one’s imperfections in voice, understand the audience frequently wants to hear this imperfection, and utilize this.

Chen Sun

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question on yoga stretches

May 17, 2009

What is the best yoga stretch for the sides of throat muscles?

Singing emotions and microexpressions

May 14, 2009

To better understand how microexpressions (which I claim the name doesn’t explain its causes well, as are many terms in the “subconscious” terminology) affect singing:

To sing an emotion, basically the vocal structure needs to be formed in a certain way…. whether it is sadness, anger, happiness.   This means that there are large muscle movements that cause a sad face, an angry face, an enthusiastic body, etc.  

Microexpressions are frequently subconscious reflexes, and my claim is that these are imbued within the tonicity of muscles and the myofascia tissues.   This is less of a nerves issue, but is instead a failure in the nervous system complete circuit.

What happens with the microexpressions is that they prevent the larger muscles from fully extending itself.   Hence, if one has suppressed sadness, the imbued sad tissue-tension counter the happiness gestures.   So, if one tries to sing happy, and is feeling sad unconsciously; yes it will work, but not nearly as well as if the microexpression sadness wasn’t there.

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