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diphthong

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echoyjeff222
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So i had my voice lesson today and the problem I'm having is losing my pitch and doing diphthongs and also messing up on consonants. like for "meadow" and "feeling" or "day" i usually diphthong and lose the pitch, instead of having a clear driving note that I stay on.

does anyone have some drills or tips to try to get rid of this? My teacher was having me push my cheeks together to help the sound keep going forward ... i'm not sure if that's related or not.

thanks!

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if i may add a few more to dante's already great advice!

a lot depends on the note too. with higher notes, it helps to lessen articuation and focus more on maintaining breath flow, eliminating any breath-interrupting consonants. your goal is to ride the vowels whenever possible and pick vowels and vowel shades that work for your particular voice...so you need to experiment trying to create the least amount of tension.

meadow? experiment with mehduh or possibly "ah"you have 2 nice vowels to ride on. deemphasize that "d." when you sing this word in a mirror, look that the mouth stays open throughout it's pronunciation...u.o.w., don't move the mouth between syllables.

feeling? that lousy friggin' "f" ...i'm so aware of this when i do "feels like the first time" or "fooled around and fell in love." sing it lightly while thinking "v"

day? i would turn the dipthong into a single vowel (depending on the song) give deh a whirl, again deemphasiziing the "d."

hope i helped. in the american language there's much more consonants and breath-interrupting syllables have to be dealt with. that's one of the reasons why the italians have such beautiiful voices. there's so much less breath-interrupters in their language.

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yawning a bit? for the soft pallet?

oh about that -- does anyone know a surefire way of knowing whether your soft pallet is up or not? my teacher keeps saying to try to yawn and feel it -- i think i do but ugh it's frustrating not being able to have a concrete feeling down yet.

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what do you mean..?

and also for example for "sky" i would do something like ... "skaaaaaaa -- eye as an afterthought" ?

and UGH this is so infuriating -- i'm trying to hit a stinkin e flat above middle c and I can't seem to hit it with the actual words, but I'm okay if i just lip roll/ use a vowel like ahhh to hit it. What's going on?! it's for the "feel ---- ling" going from d to e flat.

i remember my teacher was talking about trying to sing "upwards and reach it" and instead keep everything laser like (the breath flow)

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what do you mean..?

and also for example for "sky" i would do something like ... "skaaaaaaa -- eye as an afterthought" ?

and UGH this is so infuriating -- i'm trying to hit a stinkin e flat above middle c and I can't seem to hit it with the actual words, but I'm okay if i just lip roll/ use a vowel like ahhh to hit it. What's going on?! it's for the "feel ---- ling" going from d to e flat.

i remember my teacher was talking about trying to sing "upwards and reach it" and instead keep everything laser like (the breath flow)

one thing to keep in mind just because you can hit a note during your exercises does not mean you're gonna hit it during the actual song....depending on the lyrics, amount and type of consonants, phrase length, type, whether it's statacco or legato can make things very challenging.

those passagio notes are your core notes, and they need to be worked on. hang in there.

bob

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dante, all your points are so true..

but in terms of support that works well for me, for real power notes, those high kick ass intense power notes, when i go to sing them i litterally lock down my total lower core. if i had to describe it, i'd say it's similar to when you're doing a crunch on an incline board, and you are just at the point where you are getting ready to lift off the board. you haven't gone into the cruch yet, you're just engaging your set up before you do.

but i guess it all depends on the singer. i have spent time with breathing exercises. i really think you can "lock in" on support, yet remain totally relaxed up above, but it takes an awful lot of focus and concentration.

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i just recorded myself -- haha, i'm probably not going to upload it quite yet ....

it sounds on the higher notes like I'm straining for them, but when I just sing the same note not during the actual song i can reach it find and it sounds fine...

EDIT: hmm, i was playing it off my ipod and now once i have it on the computer it sounds ... different! lol. but still straining a bit. debating whether to post it, since i just started this song like two weeks ago and it's def. not good haha.

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dante, all your points are so true..

but in terms of support that works well for me, for real power notes, those high kick ass intense power notes, when i go to sing them i litterally lock down my total lower core. if i had to describe it, i'd say it's similar to when you're doing a crunch on an incline board, and you are just at the point where you are getting ready to lift off the board.

Bob, you and I are doing the same thing. It is what I used to call the gut punch, which is certainly a misnomer and probably gives the wrong idea. It is also what I meant by saying that I use a modified kiai (from martial arts.)

That is, we are not pushing out all the air at once. But we are providing a consistent pressure. Frisell calls it an intensified breath stream.

And, again, to quote you, Bob. This coordination takes time to learn and develope.

And echoy, if one had to feel strain or tension, I would rather it be in the abs than the throat, which Dante stated better than I have. As time goes by and you develope the elasticity in your abs, it will not seem so much of a strain and you will, instead, feel a core strength that I think Bob was alluding to.

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Hi,

I am going to go back to the original question about prevention of dipthongs, and extend the thoughts already offered.

When learning to sing, one of the key challenges is to change the way of thinking about producing the vowel sounds in the word from a spoken concept to a sung concept. Key in this is to look at a word and pick the vowel that will be sustained for almost the entire length of the note... and then sing that vowel for as long as possible before letting the 2nd vowel in the dipthong appear briefly... as rapidly as it can be produced before going on to the next sound.

The key technique to accomplish this is mental, to keep the mind on the sound you are singing, and to not let the next vowel creep into your concept until it is time for it. For example, if the word is 'pine', with the ah-ee dipthong, ah is the principal vowel, and must be the focus of attention for the entire duration, save the final flash of the ee before the N.

I hope this helps.

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