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Showing content with the highest reputation since 08/11/2019 in all areas

  1. 2 points
    Hi Marvin, Why make a comment that makes sense and then put in a link that has nothing to do with singing? If you are a real person and want to improve your singing. Look into "The four Pillars of Singing" Taught by Robert Lunte. Binny90, I like the song. It has as much potential as any other song. Keep up the good work. If you do want to improve your singing, The main thing is to practice scales to get your voice used to changing pitches and recognize when you are singing off pitch. Sing a little louder with feeling.
  2. 1 point
    @Felipe Carvalho Yes, sounds right. And it's interesting if you feel a difference in the cricothyroid visor. It would be great to see an MRI study in regards to the "tilt". They also mention this in the study I cited earlier: "Another potentially important finding is that the laryngeal tilt mechanism is independent of pitch production and can be related to a variation of density or “weightiness” of a sung note. This is a line of inquiry that warrants further investigation, such as studies of women, across various pitches, and from methods such as MRI or EMG." https://www.jvoice.org/article/S0892-1997(18)30040-7/abstract
  3. 1 point
    I am not discounting the practice. Or lowering the importance of practical aspects on the contrary what I am suggesting is that the elements or aspects that are practical are overlooked sometimes because we use something unrelated to trigger them. If they are not triggered then we use something else as a trigger. The trigger becomes accepted as the cause. And I am far from looking at things scientifically. The same problem occurs with the science. You run down the rabbit hole seeking formants and chasing numbers or how things line up with the spectrograph.....The numbers say you have more energy in this area or that.... But what causes the energy you don't know because you are looking at numbers not listening to the sound. By using it. If it worked as suggested....there you go. It is not so much the Science I am going for but the practical information. An example is the Tongue root thing on the video of Squillo vs Twang. Let's break this down and see why it is practical and important. 1 '"Twang" has been used for quite a while now to build the voice by almost everyone. 2 The "i" Vowel already has an element of "Twang" it is used to FIND "Twang" along with the "Aa" sound. 3 The term "Twang" is used by the contemporary singing community to mean the same as "Squillo"(they are not). The similar element of "Twang" that has the "SOUND" that is noted as important and "Squillo" is the High frequency energy. That Buzz that everyone says to feel in your mask. 4 That high frequency "Sound" the "Buzzing" is the same that CVT calls Metal. It is the same sound as Robert Lunte uses in his Foundation onset exercise as the "Mee" when you Keep the Buzz. 5 The AH vowel does not naturally Have the "High frequency" energy. 6 Tamplin advocates the "BRIGHT Ah" for training. The Bright Ah is the Ah vowel along with the high frequency energy of "l" that creates the "Buzz" that you feel in the mask.7 in classical singing you have "Covering" and you have Chiaroscuro(dark and bright, A balance of Low Frequency and High Frequency).Covering is also using dark tones and adding clarity by adding the High frequency of "Twang". 8 At least one classical Tenor has stated the the problem people have with "Covering" is that they have a hard time keeping cord closure with the supposed "Low larynx" of the darker vowels. This movement helps close the vocal folds. The point is that the high frequency sound is a result of a movement of the root of the tongue. And that this movement Helps with cord closure, not only that but IF you have the sound you know you have cord closure. The sound can be made regardless of the vowels being used. The sound can be added to and taken away from the over all sound of the voice. It does not rely on Larynx position. It does not rely on breath pressure. It adds pressure to the breath because of the closed position of the vocal folds and the tighter space in the throat. Adding more or closing the gap more creates distortion. Because it is a conscious and independent movement it can be adjusted without causing any other ill effects to the sound. This allows the higher frequencies. It is not that singers have not already been using this. It is that they didn't know they were using it and being convinced NOT to use it but instead activated it through other means like "Make the tone brighter" ""add more twang" "Bring the tone forward" ''"Lean the voice" "use more support". This one is interesting, when you "use more support" and "Lean the voice" you create more breath pressure that you are then told to resist. The tongue root is used to help resist the pressure of the breath. Setting up a condition where the tongue root is brought into the coordination without the conscious knowledge of the singer. You could have purposely used the tongue root and done away with all that pressure. The Knoedle is another coordination that has this tongue root movement but it also raises the larynx causing its own problems. The knoedle seems to be something that many people recognize and can produce rather easily so they end up using this, not knowing how to isolate the cause of the Bright sound from the raised larynx position and the somehow deeper sound caused by it. I have not had a chance or circumstance to create a new audio file to demonstrate what I have been writing about. But I have a file I created 3 or so years ago about a similar thing about using a different voice. In it I use the knoedle, at that time I did not know about the Tongue Root but I do make the sound of the '""pharynx narrowing'" which may or may not be the same as Epilarynx narrowing as opposed to the "tongue root" which gives the Buzz to the voice. I had believed that I was using the false folds but it may not be what I am doing. I am not saying this sounds great. I am saying that it demonstrates the difference between The Tongue root sound and the Pharynx/epilarynx narrowing sound. I try to joke about things, and be light hearted and friendly. That is why I mispronounced the Thyroarytenoids. It was for those people who hate sciency terms.
  4. 1 point
    @kickingtone my previous reply on intention: Already covers the aspect of "intended" application. To make it more clear. It does not matter if a given technique was developed by the bedouin with the intention of calling a camel in the middle of the desert, if it sounds appropriate and on par with material that is considered high quality on the style being performed, that's what will matter. Just a perception matter, intention is slave to the achieved result. And the same applies to cultural or social history, it is irrelevant unless it leads to practical insights. Example: If something was used as a "call", you can infer it was loud. The relevant information you can derive is that it was "loud". A sound sample is still much more effective when available. @MDEW I would say that if you want to bring the discussion to practical ideas: such as sensations and references of execution, then yeah not having the ability to execute what you are talking about makes your argument very frail. Which is not a surprise to anyone, it's just that people don't talk about it because it's more comfortable to pretend everyone is being taken seriously on all aspects, aka being "nice". However, mechanical aspects that can be verified with visual information and, to some degree, perceptual evaluation, are less dependent on the skill to execute something.
  5. 1 point
    Hello I think you actually can sing but if you are not really sure if you do everything right while singing you can check out some Youtube videos about singing