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notes and breath placement

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bigmike092

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so i've been looking a lot into support and i read that if the stomach isn't constantly moving then there's no support going on. and some specific articles say while keeping the ribs expanded you should pull in your stomach and that resistance created between the two is support. so my question is if that is something i should focus on doing because i notice with my current support method even though im not focusing on tensing my stomach it hardly moves. so should i do pull in the stomach while at the same time push out around the ribs/solar plexus, or with proper support does the stomach move in on its own?

mike, if you try to follow these kinds of instructions without a teacher you'll get it all wrong. it's better to go with what feels the most natural and efficient to you even if it's not "by the book"

The belly really doesn't have to move a great deal anways...it moves very slowly and subtly most of the time.

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big mike don't worry about the "support" thing so much just make sure you sing in a nice confident secure sound meaning not breathy or airy or falsettoee. Say the vowel AH on a comfortable note and work from there, below it and above it. If you start to strain don't go so high just get what you got good. then move on from there. you may just figure it all out on your own.;)

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yea so i stopped sucking it in, and i think my two problems were too much support for just singing softly, and secondly i was pushing my ribs/solar plexus out a lot and it felt like the opposite of drinking in the breath. so instead im focusing on compressing downward on my ribs/lats and not as hard.

hey dan for thanks for the advice. also when you say then move on from there, are you referring to moving up range wise or some other thing involving technique such as jaw,tongue, ect.

also open to question to anyone, do you think its practical to practice hitting a certain note. for instance on my guitar tuner practice getting to the point where i can hit a c or some other note right on pitch. or would it be useless without getting further along technique wise?

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To echo Felipe, some what, you don't exactly aim air or the note. As I have learned, I just get out of its way.

Now, for some, it's only a legitimate note if they are doing it in a way proscribed by someone else. But, for example, for me, a really high note, say D5 and up, is less close-quotient, Lower air pressure and yet, greater air speed. And allowing the resonators to open so that it finds a place in the head where it rings so loud that my ears hurt afterward. Only the outer layers of the membrane are vibrating (modern definition of falsetto) and so there are little to no overtones. It's another reason notes that high sound and feel different. And some guys think they go into pure head voice there, when they really entered headvoice somewhere above C4 and just don't want to admit it. Based on how they are describing this or that. What they are really feeling is a tonal shift from the overtones dropping out and only being able to resonate the fundamental.

And some might say, well that's reinforced falsetto, or, your just screaming, or your amplifying whistle register. Or some other description that fits neatly in to some box of analysis. I find, these days, the less I think about the technical aspects and the more I think about the artistry, the better I like it. And I am not afraid of technical things. My job is very technical. So, I don't know if my seeking simplicity in singing is an escape or a result of what I must do in my job of taking a complex technical thing and explaining it to a non-electrician person, such as a client. Such as yesterday, explaining why a low voltage lighting transformer of a certain type can make a perfectly function GFCI outlet trip. It's quicker and easier to say to use an isolation type transformer instead of a buck-n-boost or balun type.

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thanks for the reply ron. perhaps i do over analyze technique in singing, but at the same time im trying to be very aware of sensations everywhere when i sing and how it feels when i do this verse that since i don't have a teacher. but maybe i should simplify it more, as well as sometimes just sing instead of always "practicing".

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Cool beans, Mike. And, while singing, it's okay to feel higher notes in places in the head, and lower notes in the mouth area. These are sympathetic vibrations that can often be a sign that the right resonance is happening.

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so i was watching the estill video posted in the estill thread, and at around the 9 minute mark he has them do sucking in noises with the lips which i assume to be drinking in the breath. then tonight i was practicing drinking in the breath and singing, but then i did it on a whisper and im pretty sure i felt the air in my throat. im not completely sure though, but before this thread i would focus on aiming the air at the back of the mouth, but as you guys said really no aiming, making me think even more so im in the habit of singing too much from the throat and maybe why theres so much tension under my chin and maybe the cause of my wobble (or partly so)?

so i think i need to practice drinking in the breath more from the lips/above my throat, and not as hard.

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