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  1. Lots of excitement and fun, but forgive me if I don't respond quickly, as I have several deadlines to meet. Thanks,
  2. I think most responses are responding to "high chest breathing". My question was "high chest PORTION of breathing". In another word, if breathing is already proper at diaphragm and belly, WHY do many great singers have a proud peacock posture (that is, ADDITIONALLY, have a proud chest)? Is it coincidence, or are there other reasons? Some responses did answer "high chest PORTION of breathing", but said it's insignificant in its effects. If so, is the proud peacock phenomenon fully explained?
  3. Hi Owen, What I thought was interesting was the statement... "For everyday singing the problem with it is it transfers unnecessary tension up to the neck, where the larynx is. " I'm suggesting the neck tension decreases, when myofascia is released.
  4. Hi Daniel and Felipe, Pardon, if I didn't read your answer accurately enough. These discussions are exciting but distracting when I need to get real work done. Maybe one question-- Is it true or not true that a dropped larynx creates greater resonance space? Please simply answer Yes or No. Even after you answer this, we're going to be beating a dead horse. Thanks,
  5. Presently, I don't have time to respond all the above. Pardon, if I didn't read your answer accurately enough. These discussions are exciting but distracting when I need to get real work done. Owen, Thank you for a detailed answer. I disagree with some of your points. 1. "Plug your ears and sing to understand what I mean." .... When you plug your ears, you're hearing the occlusion effect. 2. About two years, we had extensive discussions about this topic--is it possible to get an audio recording and is it better to hear than to record-- you can search for this, but the ult
  6. That's interesting Owen. My impression with high chest positioning is that it relaxes the side of throat muscles (sternomastoids and others), thereby, enabling the larynx to move easier. That is, a high larynx actually uplifts the head, so that the throat muscles can relax more. My opinion is that the proud peacock posture laterally and vertically expands the ribs and this also affects the overall tone--creating a softer feel, with slightly more power as needed. This is true only if the myofascia has been stretched. Thank you for your references. Correction-- the ribs don'
  7. How about answering the questions? Mutations of words happen so often in various industries. The word "support", to me means physical support. In vocals, it could mean-- belly support, air support, diaphragm support, etc. My question remains-- what exactly does high chest breathing do? In terms of the overall tone, power, attitude, expression, etc. By high chest, I'm not referring to the mid ribs, which provide plenty of power. I mean the area immediately underneath the clavicles. Provides very little air power, but creates most of the proud peacock posture. Is it just a coi
  8. Hi Ron, So, are you also saying the high chest provides no support? And, are you saying lateral expansion makes no difference in attitude or sound? How about uplift expansion? I can relax my high chest, but if my belly support is still there, by your explanation above, the only difference should be a minor degree of air exhalation between proud peacock and a comfortable high chest. Is this true?
  9. We've heard all about diaphragm breathing and support. What does very high chest portion of breathing do? What about uplifting the high chest and laterally expanding the high chest? Why is it that many great singers have a proud peacock posture?
  10. Hi Ron, The Tenneli video Bob has above shows exactly what you're wanting to see. I don't like to record my voice (and said this prior): 1. Recordings are inaccurate. 2. I had owned an expensive large diaphragm condensor mic plugged into a Creative XiFi with mic board. Wasted tons of my time trying to get accuracy, so gave it up. Sold my condensor mic. When I get rid of my XP, I'll sell the XiFi cheap. BTW, the XiFi sounds far better than HP's Beat audio system. 3. So, I spent my time fooling around with my voice, and interestingly, learned how to hear myself somewhat accura
  11. What's that saying, we're beating a dead horse to death? Let's stop the "appoggio style" versus "free larynx" debate--this is something to be challenged in a singing meeting, not online.
  12. Tenneli doesn't claim it's a new technique; he is simply explaining in video format an established technique. Singing terminologies are confusing and sometimes contradictory. Tenneli is saying that a not-fixed larynx places the voice. What you are saying, despite different terminologies, is different in "placement position" and "larynx position" than what Tenneli's is advocating, and the respective reasonings are different as well. In Tenneli's video on history of western singing, he did say, somewhere in the middle, that "appoggio" means in Italian support and that an opera star some
  13. If Usan Bolt ran the 40 yards dash sideways and wore a 100 pound backpack, he would still outrun me. I don't believe Bob is saying, and I'm not saying that a singer can't do good performances without appoggio or fixed larynx. We are saying most can perform greater still using Tenneli appoggio (by analogy, run straight and lose that 100 pound backpack). I acknowledge placement method as one singing means. It is very difficult for those without appoggio Experience to deny its possibility of generating a superior tone. One can doubt, of course, but why not try to Experience appoggi
  14. I've avoided most antihistamines because they made me drowsy. Zyrtex much less so, and it took less than 1/4 tablet per day to stop my runny nose and itchy eyes. Recently, took an course (1/8 to 1/4 tablet daily) for only 20 days. Zyrtex continued an ache in my nasal cavity, close to throat, and felt a bit like sore throat. The initial ache was result of a cold. As zyrtex relates to singing, I did fine for about 12 days, except for the ache. Then, one day as I yelled at someone, I felt my vocal cords became sore and a bit raspy, and my soft palate acted funny. Rested a day, and
  15. Dan, you are correct you never said such, my error. I believe I understand what you're saying Dan--that with proper support, the sound will determine the level of the larynx. This is one placement methodology. Both Tenneli and Alan Greene are saying differently on the larynx. In the case of Tenneli, he is saying that appoggio creates a consistent timbre and a better and louder sound. In the case of Alan Greene, he is saying that the lowered larynx is required for the ideal vocal singing shape. If the larynx placement changes, the timbre has to change, simply due to acoustic sha
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