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VideoHere
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hi folks,

i came up with this really cool observation/visualization i'd like to ask you to try to possibly help you with your singing.

i'm giving this you in my own "street language" so here we go.

try to imagine the following, it's a little weird but just hear me out...

you are going to sing and you imagine you have no throat, no larynx, just your head, and inside your mouth are your vocal chords situated upside down, located where your soft pallette is. instead of a throat, you have your head resting on a empty cylinder.

now when you go to sing, you maintain the yawn shape, (like when you go to yawn) and your tongue stays relaxed at the bottom of your mouth...try to not deviate from the yawn position whenever possible (critical).

now the key is to strongly know and believe that you have given the vocal folds exclusive responsibility for the notes and the sound....and you visualize the folds working for every single note. remember the vocal folds are inverted, in the top of the mouth, at the back..now, make believe below the cylinder is a bellows situated so that the part where the air comes out is facing the head and the handles of the bellows are facing front to back.

now the last part.... for every single note produced by the vocal folds higher or lower than the preceeding note, you must include a very slight squeeze of the bellows per note. you can't skip a note without a very slight squeeze of the bellows.

remember, for every vocal fold-made note, you must match it with a (very slight) bellows squeeze.

before you think i've lost my mind, try it and see what you think.

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Hmm I do and don't understand this. Could you maybe describe any feelings or production of sound that is supposed to happen. Maybe a picture?

i'm no artist lol!!! but it's basically holding to the yawn mouth configuration, and training your mind to focus exclusively on the vocal folds to make pitch changes which we should be doing anyway.

visualize the folds upside down in your mouth where the soft palette is instead of your throat. you've got to concentrate to originate tone right at that spot.

you should try to condition yourself to regard the throat as empty. the air from the bellows passes totally unobsructed.

did that help?

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i'm no artist lol!!! but it's basically holding to the yawn mouth configuration, and training your mind to focus exclusively on the vocal folds to make pitch changes which we should be doing anyway.

visualize the folds upside down in your mouth where the soft palette is instead of your throat. you've got to concentrate to originate tone right at that spot.

you should try to condition yourself to regard the throat as empty. the air from the bellows passes totally unobsructed.

did that help?

I think I kind of understand.

In a way we disregard the larynx as being there, which in turn can prevent a high larynx when attempting to reach notes.

So we think of manipulating the vocal folds to hit the notes we wish to achieve, obviously there is other actions we must do alongside the feeling of having only vocal folds and lungs.

The lungs are the bellows right?

EDIT:

For me personally it gives a weird feeling. Its like I've added power to my voice and making the roof of my mouth vibrate.

Not sure if this is the correct feeling I should be having. I not used it fully yet but would like to see how I can manipulate this feeling in my exercises and singing.

I would note that how I am doing it though is using a large amount of air which I must understand how to control and lesson.

But yet again thank you very much.

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Videohere - I think for some, this is a great mental picture. It may help in keeping "free." If you find a way to sing without feeling/worrying about the larynx, digrastics and all the other pain in the ass vocal inhibitors, then it could help keep tension away. Good idea.

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I think I kind of understand.

In a way we disregard the larynx as being there, which in turn can prevent a high larynx when attempting to reach notes.

So we think of manipulating the vocal folds to hit the notes we wish to achieve, obviously there is other actions we must do alongside the feeling of having only vocal folds and lungs.

The lungs are the bellows right?

no, the abs are the bellows

EDIT:

For me personally it gives a weird feeling. Its like I've added power to my voice and making the roof of my mouth vibrate.

Not sure if this is the correct feeling I should be having. I not used it fully yet but would like to see how I can manipulate this feeling in my exercises and singing.

I would note that how I am doing it though is using a large amount of air which I must understand how to control and lesson.

But yet again thank you very much.

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I think I kinda understand the whole thing. It's pretty strange, yet I gave it a quick try. Well...

This has to be the fastest vibrato trigger I've ever encoutered. I'll have to toy around this a little, there was some pleasant feelings.

*tips hat*

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I think I kind of understand.

In a way we disregard the larynx as being there, which in turn can prevent a high larynx when attempting to reach notes.

So we think of manipulating the vocal folds to hit the notes we wish to achieve, obviously there is other actions we must do alongside the feeling of having only vocal folds and lungs.

The lungs are the bellows right?

EDIT:

For me personally it gives a weird feeling. Its like I've added power to my voice and making the roof of my mouth vibrate.

Not sure if this is the correct feeling I should be having. I not used it fully yet but would like to see how I can manipulate this feeling in my exercises and singing.

I would note that how I am doing it though is using a large amount of air which I must understand how to control and lesson.

But yet again thank you very much.

the bellows are the abs,

yes! nothing wrong with a vibration in the palette, might be desirable resonance!...would have to hear.

do not inhale huge amounts of air for singing....that's a good way to tense up the throat...steve fraser taught me this....you want short quick "efficient" inhales....nothing at all like blowing out birthday candles! lol.

too much inhaled air puts the folds under excessive pressure as they fight to keep the air from blowing out!

do you know you can initiate tone without inhaling?

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Videohere - I think for some, this is a great mental picture. It may help in keeping "free." If you find a way to sing without feeling/worrying about the larynx, digrastics and all the other pain in the ass vocal inhibitors, then it could help keep tension away. Good idea.

thanks jeran, hey, we keep tryin'.

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OK so now I kinda understand it further.

Each note you got give a small pull on the ribs, but not to great that you expell too much air.

Think I've heard of this before, with the use of the abs, I just feel that I'll probably be doing it in excess.

Guess you have to experiment with what your comfortable with.

Yet again thank you for enlightening me

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OK so now I kinda understand it further.

Each note you got give a small pull on the ribs, but not to great that you expell too much air.

Think I've heard of this before, with the use of the abs, I just feel that I'll probably be doing it in excess.

Guess you have to experiment with what your comfortable with.

Yet again thank you for enlightening me

i'm sorry if i misled you....don't get this wrong...the push with each note is ever so slight----very subtle of the abs.

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I was totally confused but that is because I was approaching it from a different perspective. The mental image that Vendera gives is landing on top of the note. That is, you imagine that you are slightly above the note so that relaxing on to it is easier to do than fighting your way uphill to it. But, you have a neat visualization, nevertheless.

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I gave it a shot and actually thinking the vocal folds in the roof of the mouth actually made a difference the second I tried it. I use Venderas tip too for pitch and it's working fine. I think I have more trouble with his image of feeling the resonance elevating like a rocket out the top of your head.

I can't seem to raise the soft palate in a yawn, make it stick, and relax the tongue at the same time though. Always this tension on the soft part under my chin. Darn impossible.

Thank you!

Fred

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At first, I could raise the soft palate with a smile. After a while, the smile doesn't have to be so drastic to elevate the palate and I'ev realized to that various positions of the palate change the resonating space, sort of like the slide on a trombone.

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I gave it a shot and actually thinking the vocal folds in the roof of the mouth actually made a difference the second I tried it. I use Venderas tip too for pitch and it's working fine. I think I have more trouble with his image of feeling the resonance elevating like a rocket out the top of your head.

I can't seem to raise the soft palate in a yawn, make it stick, and relax the tongue at the same time though. Always this tension on the soft part under my chin. Darn impossible.

Thank you!

Fred

fred, the yawn will raise your soft palatte...the yawn position can be very resonant.

here's something that will help.

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i'm so happy today. last night i took my imagery of the vocal folds being situated upside down in the soft palatte theory and tested it on foreigner's "urgent" a demanding vocal for me to say the least.

as i sang it, i resisted the tendency i had to punch out the lines (as it sounds) but stayed relaxed, and focused every note up and into the palette and concentrated on making the vocal folds totally responsible for the pitch. i kept a touch of twang to brighten it up and just kept directing the compressed air to the folds and palette never letting the singing drop into the throat. you have to actually draw back on the vocal, to get his punchy effect

i gotta tell you folks, that helped me so much and left me with an ability to drive it without blowing out my folds or squeezing for the screaminess of the vocal. the gentle support and shallow inhales gave me the kick i needed to make that vocal drive.

another takeaway from this i learned is i now realize the importance of relaxing the throat, the jaw, and not forcing to create a sound that actually seems what you need to do to produce the sound....hey, we keep tryin'

also, instead of these major inhales i inhaled quick and short and supported gently each "pushy-sounding" note.

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