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Most Important Resonantor

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I like to resonate within my vocal tract the most :D

To be honest: I have really given up on the idea of "sensation of resonance" because at least for me it often leads to me forcing the resonance to be in a certain place, which is really the wrong way to think about it.

It is much more about "letting the resonance happen" than "placing the resonance", so I just keep an ear on the sound I am producing and on the general feeling of not using unneccessary tension.

The sound is produced by your folds and it resonates within the vocal tract. That's the phyiscal reality and the "sensation of resonance" somewhere is just a side-effect of a well-produced note.

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I like to resonate within my vocal tract the most :D

To be honest: I have really given up on the idea of "sensation of resonance" because at least for me it often leads to me forcing the resonance to be in a certain place, which is really the wrong way to think about it.

It is much more about "letting the resonance happen" than "placing the resonance", so I just keep an ear on the sound I am producing and on the general feeling of not using unneccessary tension.

The sound is produced by your folds and it resonates within the vocal tract. That's the phyiscal reality and the "sensation of resonance" somewhere is just a side-effect of a well-produced note.

p

I am with you, Benny82, in this....

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I like to resonate within my vocal tract the most :D

To be honest: I have really given up on the idea of "sensation of resonance" because at least for me it often leads to me forcing the resonance to be in a certain place, which is really the wrong way to think about it.

It is much more about "letting the resonance happen" than "placing the resonance", so I just keep an ear on the sound I am producing and on the general feeling of not using unneccessary tension.

The sound is produced by your folds and it resonates within the vocal tract. That's the phyiscal reality and the "sensation of resonance" somewhere is just a side-effect of a well-produced note.

I semi-agree with this. I think you can "place the resonance" by "letting the resonance happen". I too tense sometimes when trying to place it to hard, but if I take a step back, relax, do all the basics with more focus and then "release" into the "placing" it usually happens with alot less tensions.

Can you relate to this?

Cheers!

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I semi-agree with this. I think you can "place the resonance" by "letting the resonance happen". I too tense sometimes when trying to place it to hard, but if I take a step back, relax, do all the basics with more focus and then "release" into the "placing" it usually happens with alot less tensions.

Can you relate to this?

Cheers!

Yes, I can. The "relax, and focus more on the basics" (which are mainly support and twang for me) is really what helps. Then, the switch of resonances really feels like "releasing" into a different resonance and head voice starts to feel almost as easy as chest.

But because of this the more important sensation for head voice for me is really the additional narrowing in the back, tension of the soft palate and the pillars of the fauces, and the sensation of "placement" moving towards the back of your vocal tract. The resonance sitting in the head is more a side-effect of that.

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Yeah, to me it feels like a constant "struggle of balance" to maintain control and stability without over manipulating and tensing. Usually focusing on the basics is what solves most things though :P That and relaxation exercises (for me personally).

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mivke, keep in mind depending on what and how you are singing, tension is going to occur. it is a complete fallacy to say you can sing without tension.....

you can relax and find the whole thing falls apart, or you won't even hit the note or sustain it.

three words i don't like in discussing vocal technique:

falsetto, tension, and relax........and i'll add a new one, effortless....lol!!!

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yes, but you see, no one tells you (unless you are lucky enough to afford a teacher) how to differentiate the two.

the way i see it if you are straining, your tone suffers...but you could be straining currently...on your way...to another step of growth. like working out with a higher weight, you go up a pound or two, and now you have to work at that new poundage till it becomes more comfortable...same with singing....

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I see what you are saying but can't agree 100% :)

Yes, having a teacher help you differentiate the two is extremely helpful. Having a teacher is extremely helpful, period :P There are some sounds, setups, vowels w/e that may be very very weird for you as a person due to native language, individualism etc that would take "forever" to find without guidance. My ee still feels extremely "exotic" higher in the range cause it's a vowel I'm very unused to.

I would however equal singing more to some dextruos activity rather than pure muscle building. This may of course be individual but I don't feel I gain control when "pounding" the voice. It takes unnecessary effort for me and makes my voice tired faster when I attack it from that angle. Rather for me it helps to find it in the most comfortable way THEN you can grow it into something alot bigger, raspy w/e but with much more stamina. Can you relate?

To me the gains feel much more like higher control of the muscles rather than the muscles getting stronger themselves. Which is correct I do not know, maybe both :)

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i don't mean muscle building in the literal sense.

but i do believe that a voice has to be developed. sometimes, you have to exert to get things to happen....get things to grow....get things to change.

pounding no......instigating, or provoking, or periodically stressing, yes.

there are going to be times where you are going to need to apply some stress to the vocal mechanism. some singers may need to apply more than others.

finesse and coordination is one attribute, but when it comes to singing powerful top notes, or sitting on top notes or launching top notes, you need air pressure and you need a vocal mechanism that can work with the pressure.

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