TMV World Team

Perhaps I should title this "Lack of Acceptance..." as I'm pretty sure I'll find other vocalists who have had the same problem as I have. This probably applies more to those who have had a measure of success in other parts of the country and/or world, whether it be with their recorded music or performances in other cities or coutries. TMV a very unique site and I've invited most of my extensive email list to check it out. I'm pleased to have been featured several weeks ago. Those of you who read it will know that I do have that measure of success mentioned above. Ever since I started being heard on worldwide radio with my original songs, I have had a difficult time getting not only these songs, but any songs period, heard in the various communities in which I've lived, and especially at my home church. I've heard that even Amy Grant was not permitted to sing at her church, after the success of her first hit single, "Baby, Baby". When I lived in FL, I had to change churches several times before I found a small one, where I was a bit more accepted. Since moving to GA, I have found the same problem, but refuse to change churches. I'd most likely find the same problem at another church and I really do like the one where I belong except for the lack of acceptance of my music. I attend the comtemporary service there and do feel the type music performed is not unlike what I do best. There seems to be a rule that one does not perform original Christian songs, which is unusual since new songs by other comtemorary artist/songwriters are sung quite often. This makes one wonder if those same artists and/or songwriters also had a difficult time being heard at their churches. It's not only the churches, but also local radio stations and newspapers. I once promoted other artists and songwriters, but now have others promote my original songs. My media promoter has tried to get press for me in our local newspaper, but to no avail. Both she and I thought what she sent was really newsworthy, especially for a small city. For instance, they not only didn't write it in the paper, but never responded to her email. For example one of these stories concerned my being # 1 on the Roots Gospel chart for 18 weeks. This is an international chart and that was a record for any artist of any genre. I had also been as high as #19 on their Top 100 chart which included the likes of Carrie Underwood any many other artists everyone has heard of. More recently they learned that I've been # 1 in the country pop - christian country genres at www.numberonemusic.com. (http://www.numberonemusic.com/judywelden) for a year. I'm still amazed about this, but blessed just the same! There is only one radio station here, which happens to be a Christian station. I hand-delivered my two Christian CDs when I first moved here 6 years ago. Soon after my promoter started to send them PR, but they have yet to play a song of mine. I have always given the Lord credit for my original songs, both Christian and secular; I'm blessed to have been able to get them heard worldwide, but do wonder about this. It would be great to have one's music and voice accepted in one's own community, especially when travelling to perform is not as easily accomplished at this time. I'm wondering if other members at TMV have had these or similar experiences. I suspect they have because my promoter once asked her vocalists this question after I was rejected at church once more (July, 2007) and many of them wrote to us they'd had these as well. Since then I've just learned to accept the fact, but thought I could help others with this article. I think the best thing to remember is that even Jesus was not accepted nor respected in His own locale, so we must grit our teeth and deal with it. I'd love to hear from others who share this adversity. Misery loves company, you know!! : )

I'll relate this to singing I promise And I'll even make singing exercise out of it! If you haven't guessed by now, my teaching methods can be, well outside the box. For me, anything is fair game when it comes to learning and growing. I'm teaching a few groups of young students at a summer camp for the next few weeks and what hit me as I was teaching was how many negative things some of them have to say.. about singing.. about what they can and can't do.. about life in general some of the things they didn't even have to speak out loud.. I can read it in their body language a heavy sigh, a roll of the eyes.. looking away If we start talking to ourselves this way from these very young ages, no wonder we have difficulty getting what we want from life or what you can do when you sing Teach yourself to speak positively and give our youth the same gift. The anchor to every action is a thought. If you want to anchor yourself to negative thoughts I can't hit those notes I'm not that kind of a singer teachers will take all my feeling away and make me sound like everybody else, so why study.. or this crowd is dead tonight, this is gonna be a rough one. I'm not making near enough money to be here or this travel schedule is terrible why am I here I don't need this or I wish they'd quit telling me what to do any of these negative things sound familiar you probably notice those kinds of negative things, for some reason.... keep happening to you. If you keep focusing on what you don't want guess what you'll get more of it, all the negative stuff will keep showing up. What you focus on you enlarge. As you think, so shall you be you wanna miss that high note. Worry about it as it's coming up and 9 times out of 10 you'll miss it's Fear is a strong emotion so when you attach fear to a thought like I don't think I'll be able to hit that note it makes it that much more powerful. And you have done it to yourself. Here's a way to help break that cycle and put yourself on the road to achieving all of your dreams! Here the exercise: First take any negative thought out of your speech and that includes you private talk to yourself and change it to a positive statement then write down on note or recipe cards positive thoughts that inspire you start building a whole deck full of cards place them where you can see them each morning mine are in my bathroom I have a set in my office and some in my wallet each morning read them out loud when you see them in the afternoon or evening.. read them out loud before you go to bed read them out loud. Out loud for two reasons, one I think it helps you put more passion behind the thought.. so it will help draw it to you faster. And two, for the singer I want you to also notice all the consonants notice how forward they are on your mouth, teeth, or face if you can learn to keep the voice in the very forward placement all of the time, you will never vocal issues. Let's look at the one that's in front of me right now, it says: Keep fresh goals in front of you The K and the ee force the sound forward in the mouth, the f should be made by letting the air pass over the lips, very forward.. the sh, of fresh is also forward, the g and the o in goals are or should be toward the front of the mouth, the n in the word in is forward on the teeth, another forward f and another n in the word front. of, most people pronounce this word like ov with the v sound forward on the lips and the y in you should also pull the sound forward. If you are supported correctly and use the consonants, like my teacher used to say, let your consonant be your guide! You'll be amazed how much projection you will have and how easy singing will feel. Remember, whatever passion or emotion you put behind a thought that's the future you're building. Make sure it's really what you want!

It's no secret to those who know me that I love studying anything and everything related to the voice. My latest pursuit is through the New York Singing Teachers Association. They offer live courses and webinars on a variety of topics. My first foray into the world of cyber study is anatomy and physiology of the voice which is presented by Dr. Scott McCoy of Westminster Choir College in Princeton, N.J. I've studies anatomy and physiology of the voice several times in the past, but I have to admit that Dr. McCoy's enthusiasm as he teaches makes it the best class I've ever had. The last lesson addressed lung capacity with students blowing into a baggie and then into a more accurate measuring device. Now hold onto your hats, folks, it seems that one can get more air into the lungs with clavicular breathing---HORRORS!!!! It's not so much how you take in the air as how you manage it on the exhale/sound production. Who knew? I knew that part, but CLAVICULAR BREATHING--my first teacher is rolling over in her grave. I can't wait to find out what happens next in our little cyber-classroom. Oh, and men and women are different! It seems that women use their lower abs in addition to the upper and men do not. It has something to do with the difference in pelvic structure. Recess is over----back to class!

"Let the beauty of what you love be what you do" - Rumi As an image, live performance, and career coach for artists, my work has many levels. Please let me share with you some thoughts from a recent trip to Peru. It was pure heart. I had so many realizations from Spirit that it's hard to know where to begin to articulate it all. One of the biggest is that my life's work is meant to show others how to open the hearts of others. I'm here to share my path with you, so that you may get some inspiration or some thought that helps you along your own journey. We all want to have a life of meaning. Somehow though, the "life" part of life often gets in the way. I've been back from Peru for nearly three weeks now and have yet to move forward with the clear vision that I received there. Why is it so hard for us to simply "follow our bliss"? Maybe it's because we are constantly being pulled away from our center. We turn on the news, we look at a billboard, we look down the street, and there it is - Drama. Human Drama. The drama of our minds. I've discovered that our center is not really a "mind" thing. It's a "heart" thing. The things that pull us away from our purpose are all issues of the mind, not the heart. Another way of putting this would be to say that all suffering occurs in the mind. Mostly, anyway. When you experience heartache, it may feel like your heart is breaking, but I would challenge you on that. How much of the ache is created by your own mind? I've been doing a lot of thinking lately around Purpose. True Rockstars live a life of purpose, where they are clear on what they are here to do. What does it mean to be in line with your soul's purpose in this lifetime? Or how about your soul's purpose this hour? We don't live in terms of a lifetime. We live right now. So how about your soul's purpose today? What is it? Do you know? Is your mission to touch someone with your art? Is it to help someone in a capacity of their business? Is it to affect the well-being of the people in your community? Is it to find freedom for yourself? Is it to be a contribution to others in some way? If you get clear on your purpose, chances are, it will have something to do with AFFECTING OTHERS. We're really not here solely for our own benefit. This may seem contrary to the ego-centric, fast-paced life that most of us lead. But if you think about it, it's not just about you. It's about what you can give. When are you most fulfilled? Probably when you're helping others, whether that be a family member or the elderly lady to cross the street. Help others. How can you use your unique gifts to help others? That's really the million-dollar question, isn't it? Can you deepen the work that you do so that it has a greater impact on people? Do you need to transition from your current work to something else that would influence others in a more meaningful way? How could you expand the scope of your current thinking to create a bigger vision for your life? How can you open the hearts of others? It is my ambitious purpose to help you find the answers to these questions. So Join Me Join me in my free upcoming video call where I'll be leading a discussion around these topics. I'll also perform a ten-minute coaching session with one lucky participant to help that person follow their bliss. If you're curious about how to expand your mind or your heart, then please feel free to join me. Here are the details: The Rockstar in You Free Video Conference Call Date: Tuesday, July 21st Time: 7pm to 8pm, Eastern Standard Time Link: http://videocallroom.oovoo.com/room/rockstarcoach/room/1 Once you click the link at 7pm on Tuesday, July 21st, you'll be joining a live video chat room, where you will see and hear me lead this one-hour workshop on how to let the beauty of what you love BE what you do. Specifically, this free, live workshop will cover: - How to find a more meaningful existence - Ways to find your unique gifts - How to transition to do more of the work that you long to do - A masterful process of how to open the hearts of others - Ways to create a bigger vision for your life - And a whole lot more! Please feel free to invite anyone that you care about! I'd like to get an idea of how many people to expect on the call, so if you'd like to attend, please email me at john@rockstarinyou.com with RSVP in the subject line. I hope to see you there!

This will be an on going article that will keep the community updated on the development, promotion and benefits of The Directory of Experts service. The Modern Vocalist has made a commitment to our Subject Matter Experts and companies that have listings on the Directory of Experts to actively promote the service inside and more importantly, outside of the TMV web site. As many of you already may know, the "DOE" system provides HTML embed code and URL links that enable us to have the ability to "embed" the directory code into other social media web sites and systems so that the directory is actually "seeded" on multiple web sites on the internet. Today we would like to let you all know that we have negotiated a new benefit for our DOE clients with our new friends at Vocals Magazine. Every issue of Vocals Magazine will feature "The Modern Vocalist - Directory of Experts" in hard copy! Now readers of Vocals Magazine will be able to find you in Vocals Magazine in hard copy, as well on the internet and here at TMV. Here is an idea of what it will look like! We just want you to know how we are fulfilling our commitment to promote the Directory of Expertsand make sure that the industry knows where to find the top subject matter experts on voice. Respectfully, The TMV Team The Cover of the next issue of Vocals Magazine

Hello and Greetings to Everyone, If you're anything like me, you live from your mobile device. Whether it be an iPhone, iPod, MS Zune, or just a phone, we tend to take everything with us. We sync messaging contacts, e-mails, and notes to out PC's and Mac's constantly. Being one who hangs about and does most of my online experience from a mobile, I thought about testing out TMV. Apple saw fit to include the full Safari browser on both the iPod and the iPhone. For the rest of us, we aren't as blessed. What I came up with was slightly disappointing. TMV has no WAP friendly system. I don't blame TMV at all. Doing so would take from the experience, and take quite a lot of effort. Down the road, it may happen. But for now, we need to work around this for non-Apple users. For Symbian and Java based mobiles, the solution is incredibly easy. Simply download and install Opera Mini. It runs from Java, and supports this heavy scripted interface. It loads pages with a compression technology that makes loads seem insanely fast. For us Windows Mobile users, it gets more complicated. Microsoft's Pocket Internet Explorer (PIE) is strictly WAP to this point. It does not use scripting. Randomly, button clicks will do nothing on TMV. I have experienced this, and been forced to copy/paste an e-mail to myself to retry from home. As a matter of fact, I had to do the SAME thing today with this posting. There are quite a few browsers you can install on your Pocket PC (Windows Mobile 6.1 Professional) or Smartphone (Windows Mobile 6.1 Standard). However, not all of them work for both versions of the OS. I'm going to outline the top 3 that work for either OS. 3. Opera Mini - This works just like it would for a Symbian or Java based phone, however on most WM phones it requires you to manually accept each send/receive request (like clicking a link) every time. This draw back makes me not like it as much. It does support ALL scripting, along with ultra fast loading. 2. Opera Mobile - Opera Mobile comes in a PPC and Smartphone builds. Each has its own attributes. A SM is a non-touch device, so it relies on key presses. PPC is touch, so Opera Mobile operates off of "touch-to-scroll" technology. PPC users can use the newest Beta build for free. If you want to use a stable version (for either OS) it requires a 29.99USD license fee after a 30 day trial. That's the negative side. On the upside, Opera Mobile is a FULLY functionable web browser. All scripts are supported, and so are Opera Widgets (if you install the widget manager application). It's as close to the PC version as possible. 1. Skyfire - My favourite by far is Skyfire. It uses a proxy to connect you to a server which does the tasks for you. So you are using a FULL browser and letting a pc do all of the workload. No other browser supports such a feature. This is perfect for either OS. It's worth mentioning that Mozilla has a mobile has a browser. It current is fully Fennec functionable on specific phones, but can be found in alpha form on all other phone types.

(This text has been sourced from the eBook "Just another day at the office...How to get better results in auditions and other high pressure performing situations"). Introduction Throughout the course of your performing life, opportunities to audition for jobs or perform in solo recitals don't usually come along too often. If you're an active job-seeker, you may have the chance to attend four or five auditions per year. As a student, you might perform one or two sixty-minute solo recitals per year. And as a full-time professional orchestral musician or choral singer, solo performances may be very few and far between indeed. Auditions and other solo performances are under the spotlight events, and are often experienced by many performers with high levels of performance arousal. Performance arousal? What's that? You've no doubt heard of or even experienced feelings of anxiety before and at times during performances. This anxiety, or performance anxiety as it is commonly referred to, is the negative form of performance arousal. Performance anxiety can affect you negatively in performing situations. Excitement on the other hand, or the feeling of looking forward to a performance, is the positive form of performance arousal, and can have a positive effect on your ability to perform. But this is only true if the level of excitement you experience is appropriate for your particular performing situation. In other words if the level of excitement you experience is inappropriate (i.e. too much or too little) for your performing situation, then this excitement will have a negative effect on your ability to perform. So in short, the term performance arousal describes the excitement or anxiety you may feel before and at times during performances. Performance arousal can be particularly strong in under the spotlight events, or other performing situations that you perceive as high-pressure. Ok. So how much positive performance arousal (excitement) do I need to get the best results? As a classical musician or singer performing in a recital or audition situation, high levels of excitement may make you feel like you are out of control. Likewise, performance anxiety can also make you feel out of control, and in addition may be accompanied by unpleasant physical sensations such as muscular tension, hyperventilation, sweaty palms, nausea, and so on. So, in traditional recital or audition situations, a moderately low level of positive performance arousal (excitement) will in most cases allow you to achieve your best possible results. That sounds like it should work in theory. But how do I actually make it happen? In this eBook you'll be shown the simple yet powerful technique of Intense Positive Visualisation . This technique has been specifically designed to help you obtain an ideal state of mind for your performing situations, regardless of your field of performance. Using Intense Positive Visualisation, you can achieve better results in auditions, and see how other high-pressure performance situations may be perceived as easy, comfortable, and dare I say, even a joy to experience! Familiarity To begin with, let's take a situation quite apart from a musical one. Let's imagine for a minute that you are an office worker beginning your first day at a new job. As with a recital or audition, this is a situation that can put you in the stressful position of not knowing exactly what will happen throughout the course of the experience. You might have a certain amount of information, but there are still many variables and details that are either unfamiliar, or completely unknown. You are also quite naturally aware that the outcome of the actual event is significant, especially given the importance placed on first impressions. What are some of the physical and mental responses that you might experience before and/or during your ever-important first day at the office? Perhaps you might have sweaty palms, shallow breathing, a churning stomach, or possibly mixed feelings of excitement and anxiety. However, after experiencing your new environment for a few days, you begin to perceive being at the office as no big deal. When this happens, the heightened excitement or anxiety (performance arousal) you experienced on your first day starts to disappear. Now, compare the number of times you've heard of the phrase I'm starting my new job today. Wish me luck! with the phrase It's my 30th day at the office today. Wish me luck! and not to mention It's my 2,623rd day at the office today. Wish me luck! It starts to sound ridiculous, doesn't it? So therefore, and this really is the crux of the matter, what is the difference between the ever so slightly ridiculous sounding 2,623rd day at the office and the 1st day at the office? The answer is familiarity! And it is a special sort of familiarity that helps us feel at ease, calm, confident and in control. This sort of familiarity can be referred to as positive conditioning. Riding the Roller Coaster To explain positive conditioning in plain English, picture this. You are at a theme park and are very nervous or anxious about riding that big, scary roller coaster for the first time. Even thinking about taking the plunge starts you off on a serious emotional roller coaster! Should I? Shouldn't I? I don't really want to after all. But I do want to try it, and all my friends are doing it. I can do it. I can't do it. It might be fun!? But what happens if we crash? Maybe I should have just stayed in bed this morning! Eventually you decide to board the roller coaster, and experience the ride. Riding the roller coaster turns out to be a positive experience you survived and even enjoyed it in some weird way! This makes your brain suddenly say Hey! That wasn't so bad after all! The next time you think about riding the roller coaster, you are perhaps only a little nervous or anxious. You make the decision to ride the roller coaster again, and again it turns out to be a positive experience you even had your eyes open this time! Your brain now says to you Hey! That was actually kinda fun! I wanna do it again! And so the next time you think about riding the roller coaster, you are looking forward to it, because you know it will be a fun, enjoyable experience! This is basically how positive conditioning works. However, what if your experiences are negative? For example, what happens if the first time you ride the roller coaster you get stuck at the top of the ride and are forced to dangle upside-down for 6 hours because of a technical problem? If this happens, your brain is probably going to say to you the next time you think about riding a roller coaster, Oi! Remember that last roller coaster experience?? It was horrible! I don't ever want to go through that again get me outta here! This is negative conditioning in action. The Routine Part 1 So, how do we ensure your brain tells you that auditions, recitals, and other high-pressure performing situations are easy and fun? How do you achieve positive conditioning when you only get one shot at something??? We'll answer these questions very soon! But for now, it's back to the office! After 30 days at the office, you know the routine... Wake up with the alarm clock, hit the snooze button, and sleep for an extra 10 minutes Get out of bed when the alarm rings for the second time Eat breakfast Have a shower and get dressed Brush teeth Shoes on Leave the house after locking the door Walk to the bus stop. Aim to arrive there in time to get on the number 85 bus that you know always leaves 2 or 3 minutes earlier than it's supposed to Board the bus Get off the bus at the appropriate stop Walk up to the building and in through the main entrance The Routine Part 2 A Greet the receptionist Sign in Walk up the stairs, bidding a fellow colleague a good day on the way Greet the other office workers as you pass them on your way to your desk Arrive at your desk, sit down, and start the day's work Lunch break for 45 minutes Work through to the late afternoon When it's time to leave, walk back down the stairs, out of the office, and out of the building All of these small but necessary actions are completed each day as part of your routine. Thinking back to your first day at the office, you didn't have this routine your first day was completely unfamiliar! This is the reason why you may have been feeling anxious or even over-excited (high performance arousal level), and the reason why you asked your partner, flatmate, friends, or family to wish you luck. Now, if it feels like we have wandered from the path of an under the spotlight performance situation, read the bullet points in The Routine Part 1 again, and then skip directly toThe Routine Part 2 B below. The Routine Part 2 B Walk around to the stage door of the venue Greet the receptionist at the desk Sign in Walk up the stairs and along the corridor to warm-up room marked ‘Soloist 1’ Take out your instrument, and begin your warm-up routine After some time, your accompanist enters the warm-up room With 15 minutes until your audition is scheduled to start, you rehearse entries and certain problem passages The stage manager knocks on the door, and asks if you are both ready You follow the stage manager to the wings in the off-stage area You walk confidently on stage, with your accompanist following closely behind You acknowledge the audition jury You begin the audition calmly, and confidently The performance begins, and continues in the most musical way you can possibly imagine You finish the last audition piece, acknowledge the jury, and finally walk off stage So, if you're a performer, and get the chance to be at the office for 30 days (performing in recitals or auditions every day for 30 days) you can get to know the routine, and become quite comfortable and familiar with it. But wait a second! You might be thinking: Ok, but the office worker has the opportunity to learn the routine and get familiar with it as they are in reality at the office every weekday. I'm not doing a recital or audition everyday. I only get one shot at this! What?!? You're right! You're not performing in a recital or audition everyday but you should be! What?!? Auditions and recitals don't come along everyday! In reality, no they don't! But in your mind, you can perform auditions and recitals as often as you wish! What do you mean?!? How does this work?!? By using specially designed visualisation techniques, you can use your mind to rehearse any one-shot performance as many times as you wish! Therefore, you can become familiar with your one-shot performing situation, well before it even happens! So, if you practise visualisation techniques, when you walk into your performing situation in reality, you're just like the office worker going to work on their 30th or even 2,623rd day at the office! In other words, you can feel, calm, confident, and in control in any performance situation! The Proof But wait just another second! Surely there is a vast difference between experiencing an event in reality and experiencing the same event in your imagination? After all, the office worker actually is at the office every day, and if I use visualisation, I'm only going to imagine myself being at the office. Can this really be the same thing? The short answer to this question is YES! According to many studies on visualisation in the field of sports psychology, the subconscious mind doesn't know the difference between actually experiencing an event, and simply imagining an event in vivid detail! Look at this example: One study on visualisation in sports psychology involved the members of three basketball teams of approximately equal skill level, practising shooting 3-pointers, for a period of 30 days. One of the teams practised neither physically on the court, nor in their minds during the duration of the study. Their improvement at the end of the study was not surprisingly 0%. Another team practised physically that is, on the basketball court for a period of one hour each day. After 30 days, their improvement was measured at 24%. The third team did not practise physically at all but was told to mentally visualise the game for one hour each day. At the end of the thirty day period, their improvement was a remarkable 23%. What was the reason for this? The sports scientists concluded that the subconscious mind cannot differentiate between what is real and what is imagined. Therefore, since the subconscious mind has a large influence on how you perform, positively conditioning your subconscious mind using Intense Positive Visualisation can have a huge effect on your success as a performer! Find out how to practise Intense Positive Visualisation in the next chapter! Intense Positive Visualisation Visualisation techniques can help you positively condition yourself to achieve an ideal state of mind, helping you to gain optimal results in your performing situations. In short, when visualising, you train your mind by entering a relaxed state and imagining the exact results you would like to achieve. By regularly practising visualisation techniques, you can condition yourself for success! In the book Performing in The Zone, three different types of visualisation techniques are explained: Snap Shot Intense Positive Visualisation The 5 Sense Visualisation Method Here in Just Another Day at the Office you're going to see exactly how the simple yet powerful technique of Intense Positive Visualisation can help you in your performing situations! Read on! Different points of view Intense Positive Visualisation can be carried out in the 1st person or 3rd person perspective. Using the 1st person perspective, you put yourself in the centre of the visualisation. For example, if you are a concert pianist, you would imagine yourself performing on stage from your own eyes, seeing your hands and the piano keyboard in front of you, taking in the experience as if you were actually carrying it out in reality. In the 3rd person perspective, you would see yourself from a distance, possibly from a seat in the audience, the back of the room, or even a position up in the ceiling somewhere above, behind, or beside you. Some performers find a 1st person visualisation to be more powerful and real, whereas others may find a 3rd person visualisation to be most effective. Experiment using both viewpoints, and discover which one works best for you. Intense Positive Visualisation explained To practise Intense Positive Visualisation, you will need to be undisturbed for a period of anywhere from ten minutes to an hour, depending on the length of the performance you are about to visualise. Intense Positive Visualisation is best carried out lying down on your back with your hands resting gently on your solar-plexus. You may choose to lie flat on the floor or on a yoga mattress. Lying down on a bed can be an acceptable alternative, and is at times preferable if practising this exercise just before sleeping. It's important to keep the body at a comfortable temperature throughout the duration of the visualisation, and therefore covering yourself with a blanket might be necessary. To begin Intense Positive Visualisation, gently close your eyes, and lightly touch your tongue to the front part of the roof of your mouth, just behind the teeth. This is a Qi Gong technique which forms an energy bridge to allow freer flow of energy in the human energy system. Try to keep the root of your tongue relaxed at all times. If you have trouble with this, simply let your tongue sit in its natural position and come back to this Qi Gong energy bridge technique at a later stage. Whilst in a horizontal position, allow the floor to take your weight. Feel your limbs becoming heavier the more relaxed they feel. Trust the floor it will hold you. Give in to the support from underneath. Trust, relax, and let go. Breathe gently through your nose. Allow your body to breathe as it needs to. The next section is designed to help you understand how Intense Positive Visualisation works. It is an example of one possible visualisation, taken from the perspective of a musician giving a recital, requiring a performance arousal level of +1 before the performance, +2 for the majority of the recital, and +3 for the climax of the concert. After reading the following example and understanding the process of Intense Positive Visualisation, you can then create your own personal visualisation to meet your specific needs. When creating your visualisation, remember to visualise events exactly as you want them to be Start of Intense Positive Visualisation example: You begin by imagining yourself at home, taking your performance clothes out of the wardrobe. You check to see that everything is in order with your clothes and your performance shoes. You put your performance clothes and shoes in a suit bag, pick up your instrument case, check to see if you have your keys and wallet, and leave the house, locking the door behind you. You walk down the stairs and out on to the street in a relaxed pace. Arriving at the metro (underground train/tube) station, you use your ticket to pass the barrier, and board your train. It's going to be a great show. Your performance arousal level is at +1. You feel relaxed, positive, and calm. Getting off at the right stop, you stroll towards the recital hall, taking in the scenery on the way. Perhaps a seagull is calling in the distance? How do the trees look? Are there other people out walking? You take out your Cue Card and slowly read over your key words. Your performance arousal level is at +1. You feel relaxed, positive, and calm. You arrive at the venue and greet the receptionist on the way in. After signing in, you head to your warm up room where your accompanist is already waiting for you. You ask your accompanist for 15 minutes by yourself so that you can prepare yourself and warm up. You unpack your instrument, and begin your warm up routine. It feels fantastic to start warming up. You know your accompanist is going help you put on a great show. You know that the venue has a warm acoustic. Your performance clothes are ironed and your shoes polished. You are ready. You are about to share part of yourself with some people who want to hear you they want to be touched by you. It's going to be a warm, giving, rewarding experience for both them and you. It's going to be great! Your performance arousal level is at +1. You feel relaxed, positive, and calm. After 15 minutes your accompanist walks in to the room. Before you begin to rehearse, you check your Cue Card again, and go through your Pre-Performance Ritual, C3 calm, controlled, confident the C3 and +1 on your Cue Card gives you a familiar, friendly reminder. You rehearse the beginning of the first piece with your accompanist. It's easy and free. The acoustic in the practise room is dry, but you know that out there in the hall the space will take care of you the warm reverb will beautify every nuance and add to the experience for everyone. Your performance arousal level is at +1. You feel relaxed, positive, and calm. When it is time, you are called to the wings of the stage. You take one final look at your Cue Card and go through the C3 exercise again. You can hear the chatter of the audience, and see the stage in front of you. You walk calmly, securely, and with purpose on to the stage where you are greeted by applause. They like you and you haven't even done anything yet! This is going to be a fun performance! Your performance arousal level is at +1. You feel relaxed, positive, and calm. Whilst your accompanist adjusts the piano stool, you look out into the audience and make visual contact with the people you are about to touch with your performance. Your body language exudes confidence and assuredness. You greet the audience, introducing yourself and your accompanist, and begin to talk about the evening's programme. Your voice is stable, powerful, and reflects the perfect +1 state of performance arousal that you are currently in. Your voice resonates effortlessly to the back of the hall. You are in The Zone. After your brief introductory talk, you look to your accompanist who is ready to work with you. This is going great! You begin your performance, and your performance arousal gently rises to a +2. (At this point in the visualisation I strongly suggest that you visualise your entire performance that is, see and hear yourself giving the most musical, fantastic, controlled, inspired, moving performance you can possibly imagine. Use either 1st or 3rd person perspective. In your visualisation you are doing everything right it feels fantastic and sounds amazing. You are at an ideal level of performance arousal for this performing situation, and totally in The Zone.) Just before the climax of the final piece, you turn the page, and see the familiar figure of +3 that you wrote earlier at the top of your music. You step it up a notch, and raise your performance arousal level to +3. The music takes on a new life and energy and this is felt by you, your accompanist, and the audience. Finishing the concert at a +3 level your audience erupts in cheers and applause. You did it! It was great!! You were in The Zone!!! You acknowledge the audience, and walk off stage. End of Intense Positive Visualisation example. When you feel ready, slowly begin to move your body again. How did it feel to give that amazing performance? You were great! Everything just clicked. You were totally and completely in The Zone throughout the entire process. Intense Positive Visualisation can be practised every day before a performance. By doing so, you can condition yourself to perform in The Zone. Intense Positive Visualisation is highly recommended to all performers about to give important performances, auditions or recitals. The earlier you begin Intense Positive Visualisation the better, but at least one week prior to the performance event should be the minimum. In your own visualisations, remember to assess how much positive performance arousal you need at various moments: +1, +2, +3, +4, or +5. Do you need to be at the same activation level for the entire event, or does your performance arousal level need to modulate at various times? Remember that imagining yourself calm and relaxed probably isn't going to give you the best results if you are preparing for an intensely physical, fast-paced performance situation. Likewise, visualising getting yourself psyched up and exploding out of the gates isn’t going to help you if you are preparing for a more delicate +1 situation, such as a slow movement of a concerto. Visualising performing with an ideal level of performance arousal is important! By using Intense Positive Visualisation, you are using positive conditioning to become familiar with as many elements of your performance day as possible, and become used to experiencing these always in a positive light. Notice also that Intense Positive Visualisation goes into as much detail as possible, both before and during your performance. This is to help take away as many surprises and unknown factors on the day of your performance as possible. It may help the accuracy and intensity of your visualisation to do some reconnaissance by actually visiting the performance venue prior to your performance event. This is easily possible for students giving final recitals for example, or sportspeople playing at a local venue. Try to also incorporate some variations in your visualisations. Perhaps the audience isn’t ready and takes an extra 5 minutes to get seated? Perhaps your accompanist arrives later than expected due to traffic problems? Maybe the stage curtains are blue and not red? Perhaps the warm up room is bigger or smaller? Regardless of what happens, you are prepared, and you stay in your ideal level of positive performance arousal. You are completely stable, and in The Zone, always. By using Intense Positive Visualisation every day over a period of one week, you have in effect carried out your performance successfully 7 times. Practise this visualisation 3 times per day for a week and you’ve completed 21 successful, positive, great, fantastic, easy, ideal performances, and have been in The Zone every single time! Remember that your subconscious doesn’t differentiate between what is real and what is imagined. Therefore by using Intense Positive Visualisation diligently, you are conditioning yourself for success by becoming familiar with performing in The Zone! By using the technique of Intense Positive Visualisation, you can experience your next audition, recital or ‘high-pressure’ performance as just another day at the office! Conclusion Intense Positive Visualisation is just one of over 20 effective techniques fully explained in the book Performing in The Zone. These techniques can help you to become secure, confident, comfortable, in control, and successful in your performing situations. With the book Performing in The Zone, you get more than just techniques. You get: To find out what really goes on inside your mind and body in performing situations To learn about The Zone, what it is, and how you can get there A complete explanation of performance arousal, and how it can affect you positively or negatively in performing situations Over 20 techniques specifically designed to help you get better results in any field of performance The 12 Week Performance Success Programme to help you incorporate the techniques from Performing in The Zone into your performing life An introduction to additional sources of advice and information to further aid you in your journey to The Zone! By reading Performing in The Zone, you can: Perform at an optimal level Achieve better results when under the spotlight Become a master of yourself and your performance environment Realise your true performing potential Become a better performer by learning to perform in The Zone! In addition, at http://www.thezonebook.com you can subscribe to: The very latest techniques for controlling performance anxiety and over-excitement A personal email support service One-on-one coaching services – in person, via chat, or via video conferencing (limited number of places available) What should I do now? 1) Visit www.thezonebook.com 2) Sign up for a 20% Pre-Release Discount on "Performing in The Zone!" 3) Read Performing in The Zone, apply the information in the book, and enjoy the results! 4) Keep visiting www.thezonebook.com (as well as the blog, at http://www.thezonebook.com/blog) regularly for news updates, the latest techniques for getting better results in performing situations, and special offers!

(Detail from "Lenticular cloud") Given its structure and contents, the second part of Leftoverturned could have been entitled Inform lstrom II (ref: "1000 Radios"), but because of the undeniable influence of Modest Mussorgsky's Night on Bald Mountain the full title finally evolved into Atmospheric Disturbance Over Balkanian Mountain. Please don't ask. But you're welcome to enjoy the clip. (... continued from "Leftoverturned part 1") At first I blamed the offenders Until I came to recognize Playing our parts we were actors We had not written my demise Although that much had become clear Most of the mystery remained Of how I could rid me of fear And of all that which had me pained So on the path I walked along Sincerely seeking the answer Frequently deaf to my own song To hear despair and desire Arcane knowledge for you I yearned As I explored ever further The parts of me that had been burned The heart that had learned to wither And how often unwittingly I strove against the unfolding Of a process so fittingly That mostly needed allowing Onward I was driven by will Guided by natural justice All that time directing the bill So it could school its apprentice I scythe the sheaves and dig the roots In my garden of souvenirs The time has come to reap the fruits Of endeavors over the years On the threshold of a new life The world I sought sincere I pray One of love and of freedom rife Almost in reach won't go away The play complete the actors bow The school is out the lessons learned It has happened don't ask me how Countless questions leftoverturned The Music Of Poligraf series are reposts of writings and demo audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series. If you enjoy what you hear, you are invited to visit the Music section of our website and support our efforts by pre-ordering our first album entitled Samsara.

NEW YORK TIMES June 30, 2009 Television Review | 'Nova: Musical Minds' By MIKE HALE Musical Minds, the season premiere of Nova on PBS, is based on the neurologist Oliver Sacks's most recent book, Musicophilia a collection of case studies of people whose brains have unusual relationships to music, cases in which, as Dr. Sacks puts it, music gets them going to an extraordinary degree. A one-hour program can't approach the depth and texture of Dr. Sacks's book, but it does get at one question that nags the reader: What do these musical savants sound like? Or put another way: Are they really as amazing as they're cracked up to be? Music isn't my area, so I'm not going to hazard an answer other than to say that Derek Paravicini, an autistic and blind 29-year-old who is described as an astonishingly, almost bafflingly brilliant pianist, and Tony Cicoria, an orthopedic surgeon who began playing classical piano and composing after being struck by lightning, would be awfully impressive at your next party. Musical Minds, which with the season premiere of the newsmagazine Nova ScienceNow is inaugurating a Tuesday-night science block for PBS, looks at four cases. In addition to Mr. Paravicini and Mr. Cicoria, a third exceptional performer, Matt Giordano, uses drumming to help control his Tourette's syndrome. Anne Barker, however, sits at the opposite extreme: she suffers from amusia, an inability to hear or respond to music. The narrator, the BBC reporter Alan Yentob, mentions that Ms. Barker has the condition despite the fact that her parents own a store specializing in traditional Irish instruments. Viewers are free to draw their own conclusions about cause and effect. (Those who follow Dr. Sacks's dispatches in The New Yorker will be disappointed to hear that no mention is made of Clive Wearing, the British musician whose profound amnesia was the subject of a heartbreaking excerpt from Musicophilia in that magazine in 2007.) Dr. Sacks's trademarks as a writer are evocative storytelling and, just as important, a deep compassion for subjects coping with both the practical difficulties and the alienation caused by brain disorders. When those subjects are packed into 10-minute television profiles, an air of the carnival sideshow can set in, and Musical Minds is not immune to this, particularly in its depiction of Mr. Paravicini. His autism has caused speech patterns like those of a particularly loud talk-show host (an impression reinforced by his physical resemblance to the ubiquitous British presenter Graham Norton), and his hands, while striking the keys with impressive speed and precision, have a suspended look, as if attached to a marionette. Unfortunately, those are the impressions a viewer is likely to be left with. The best moments in Musical Minds tend to involve the program's fifth subject: Dr. Sacks, who not only is interviewed by Mr. Yentob but also enthusiastically submits to having his own brain tested. These scenes are diverting, if not revealing. In one Dr. Sacks is scanned while listening to his professed favorite, Bach, and then to Beethoven. A Columbia University researcher shows him the scans: many more areas of his brain light up during the Bach, which proves that he indeed prefers the Baroque master to the Classical firebrand. But does it? As the program acknowledges, science still has little idea what those red and green flashes on the M.R.I. screen really mean. Which, in the meantime, makes Dr. Sacks's work documenting the strange adaptations of our brains all the more valuable and mysterious. Musical Minds may barely scratch the surface, but it's still full of fascinating information. Like this: Mr. Paravicini and Mr. Giordano each first demonstrated his unusual musical abilities at 2 one by playing Don't Cry for Me Argentina on the piano, and one by playing I'm Just a Singer (in a Rock and Roll Band) on the drums. There's a dissertation right there. NOVA Musical Minds On most PBS stations on Tuesday night (check local listings). Produced for PBS by the WGBH Science Unit. Paula S. Apsell, director of the WGBH Science Unit and senior executive producer of Nova; Janet Lee and Alan Yentob, executive producers for the BBC; Louise Lockwood, producer; Ryan Murdock, producer for Nova; narrated and presented by Mr. Yentob. * For the Metaphysics of Music see the 6-part video series by Dr. Nelson Harrison on this network.

With so many great singers in the world, why bother to add your voice? Why not just listen and keep quiet? Why risk being criticized for a voice that isn't like those you hear on the radio, CD or stage? Of course, it's up to you. But remember one thing before you decide to withhold your voice from life. Each person's voice is unique, like a fingerprint. This is why a person's voice can digitally identify them. Each voice is special. Without your voice added to the mix, life is less colorful. Like a species endangered to extinction, if you choose to withhold your voice, the world has virtually lost the singular species of your unique sound. Indigenous cultures believe a day without singing is unnatural as a day without breathing. In a recent study conducted by brain researcher Prof. Manfred Spitzer of Ulm, Germany, new nerve cells were discovered to form by engaging actively in music. The study concluded that it doesn't matter if you sing in the shower or play concert piano- music de-activates those places in the brain designed for fear and stress. The climate of making music is the ideal place for these nerve cells to develop. What's important here is that it's not enough to simply listen to music- it's by actively participating that the new growth occurs! Have you ever heard kids playing with their voice, inventing songs by themselves or with each other? Or remember yourself doing it? Or perhaps you have made up songs for your own kids, when you thought no one else is listening. If you belong to this special band of voice rebels, those who didn't pay attention when the announcement was passed to stop singing and keep quiet, you are already ahead of the game. Many years ago I discovered the joy of spontaneous songmaking. Over time, I developed SongCare, composing and recording new songs on guitar and voice in the presence of the recipient. I discovered the quality of musical intuition led naturally to delivering a message in the lyrics which spoke directly to the heart and soul of the recipient. This method of spontaneous songwriting led me to a hospice ministry in 1992, singing songs of comfort, healing and reflection in preparation for a person's homeward journey. I produced the recording Graceful Passages: A Companion for Living and Dying together with Emmy-award winning composer Gary Malkin as a further expression of this intention- to reduce anxiety around dying, and support the meaningful conversations that want to occur. I further offered this spontaneous musical intuitive service for: pregnant couples and the birthing process people with chronic illness, creating medicine songs to help move through their condition with courage, faith and trust in the process. couples entering the initiation of marriage, celebrating an anniversary, or traversing difficult relational waters. seeking one's soulmate seeking one's vocation. Healthcare practitioners In 1998 I began offering these songportraits in groups, called SongCircles, and in 2008 began offering The Honoring: A Musical Ceremony of Empowerment, which combined spontaneous songmaking with group intention. What I also learned is that this experience of spontaneous songmaking is available to anyone, and only takes a little space and encouragement to experience it. Beginning in 1995, I began offering SoulVoice, a workshop for anyone to practice the art of spontaneous songmaking. This method, now called 'SongSourcing', is applicable for children as well as adults. The following is transcribed from an interview with Dan Siegel, MD, author of The Mindful Brain: Spontaneous singing is an incredibly creative act that may have correlations with what goes on in our nervous system. Part of a way of understanding what spontaneity may be about is how things in the nervous system actually begin to come together, how separate areas become linked as a functional whole. We call that integration, and there's a lot of reason to believe that integration may be a key to thriving, to flourishing in life, to well being, even to creativity. So let me just share with you one idea of how spontaneous singing may tap into the innate ability of our nervous systems to integrate themselves as they create wellbeing. When you are offered an invitation to create a spontaneous song, to come up with themes, to just feel the rhythm of the music, and then come up with a line that is your main line, and then also refrains- what happens I think in the brain is that the music itself begins to integrate in its rhythm the body proper, that comes up into areas of the brain that are in the skull, to match with the melody that gets created by your own words that you create- and that's happening in the higher parts of the brain, the cortex. So the first kind of integration that spontaneous singing may create is called vertical integration. Another kind of integration is that often the spontaneous songs we come up with have images in them, and describe emotions, and also are derived from autobiographical memory. All of those features actually come from the right hemisphere, but on the left side of the brain, the left hemisphere, what we have are words that are presented in a linear fashion, that are usually trying to find logical relationships among things that are being talked about. So as a song emerges you have a bi-lateral form of integration, where the stuff of emotions, of autobiographical memory, even of our life themes, comes into play and integrates with the language-creating left hemisphere. So that besides just the vertical integration of the music itself, the actual use of words to combine our memories and our emotions is a bi-lateral form of integration linking left and right. As if that weren't enough, you also have a form of integration called narrative integration. And narrative integration has this feature where you are creating a story. We are a story-telling species. And yet so often what so often happens in schools and business life, even in everyday living, is we don't have an opportunity to spontaneously come forward with a creative story that reflects not only what happened in our life, but also what our dreams are, what our hopes are, our disappoints- something that actually integrates lived experience, dreams and fantasies, with the themes of our actual life story. So a spontaneous song can create narrative integration by inviting the individual to participate, either by themselves, which is amazing, but also to participate in collaboration with one or more people. And then you go even from narrative integration to a fourth kind of integration, which is called interpersonal integration, where two minds become linked as one. So in interpersonal integration, the co-creation of a song, you have interpersonal integration- You're creating a story through the unfolding of the song which is narrative integration- You're linking left and right as words are put to the emotions and the non-verbal stuff of autobiographical memory, and even your whole bodily sense is encoded in that right hemisphere, so you're bringing them together. And then the rhythm of the music which comes from the body is linked with the melody which links the body itself with the higher areas of the brain which is a verticle form of integration. There's a lot of reasons to believe that integration is essential for health. So the spontaneity of a song, like the spontaneity of lights going out right here, can make you suddenly start to create new things. So here we are, you thought we just had the lights go out. We did! But instead we continue with the story that I'm telling you. So you have to improvise, and that invites the nervous system to integrate itself. Spontaneity goes along with health, creativity and a sense of vitality in life. What a wonderful opportunity Michael Stillwater is offering us with spontaneous song. Why is this good for children? In school settings, teachers of course are really busy. And they need to teach basic skills like reading, writing and arithmetic. We understand that, and those are really important basic skills. But one of the skills that we could add to the curriculum is the skill of reflection, of children going inward, of having a kind of internal education that honors the invisible world of the mind, feelings, thoughts, and memories. Yet when do children actually get the opportunity to explore their inner world- what's essential for social and emotional intelligence, what's a part of what I call mindsight? Well, spontaneous song is an opportunity in schools to invite children to go inward, to reflect inward on the energy and information flow that is the mind. To know what they're feeling, to allow memories to emerge, and to give themselves the freedom of creativity, so they begin to integrate their nervous systems in new ways. Now, they're not going to be told they're integrating things, they don't need to know that! They need to know they can have the fun and pleasure of bringing outward what is inside- and to be honored for that vulnerability, for the risk they take, and then for the sheer joy that can emerge by seeing what comes up. So a teacher can create an environment of safety, of honoring the internal world, and then allow all these different levels of integration to happen. And as they do, children will get more and more social and emotional intelligence. Studies suggest that when they're learning that even with other practices of reflection, they actually do better in schools. They're going to feel better about themselves, and they'll also learn to honor the internal world of someone else. Thus spontaneous song is a joyful way to create these integrative foundation of 'mindsight', and to have kids learn to honor each themselves and each other in schools. Michael Stillwater invites us to participate in this incredible experience of letting the inside out and promoting integration in our lives through spontaneous song. An award-winning musical artist, inspirational educator and co-creator of Graceful Passages and Care for the Journey. ChantWave, a community celebration in song.

From the inner world of music, innovative composer and recording artist Michael Stillwater explores the potential of singing as a spiritual practice for anyone, regardless of belief or training. Here Michael writes of the power inherent within music and song for expanding awareness, releasing conditioning, and opening hearts to a wider acceptance of self and others. The Power of Song Nearly two-and-a-half centuries ago, Plato wrote: Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything. This timeless passage reminds us how few remain immune to the power of music and song. Even the coolest demeanor can be undone by the impact of a well-crafted melody or soulfully-delivered tune. Neuro-Physical Effects While the power of music to touch the soul is both existential and subjective, its effects on our physical and mental activity have been well-researched. According to The Power of Sound, (Healing Arts Press), music triggers at least three neuro-physical processes: 1. Music moves through the brain's auditory cortex directly to the center of the limbic system. It can help create new neuropathways in the brain as well. 2. Music activates the flow of stored memory and imagined material across the corpus collosum (the bridge between the left and right hemispheres of the brain) helping the two work in harmony. 3. Music excites peptides in the brain and stimulate the production of endorphins, which are natural opiates secreted by the hypothalamus, which elevates mood and emotion. Brain Function is Enhanced Paul Hoffman, creator of Success Songs, writes The brain itself vibrates at four different frequencies. That's why musical vibrations can enhance your brain functions. It has be proved that music music can: Spark your creativity Increase your productivity Lift your emotional state Relax and calm you Inspire and activate that desire to succeed within you Create the mindsets needed to follow your passion When enriched with music, learning is exponentially easier- a proven phenomenon witnessed when working with children. How did we learn our alphabet if not by singing it? The infectious nature of music is evidenced in numerous ways- have you ever struggled unsuccessfully to unhook an advertising jingle, TV theme or pop song chorus that became looped inside your head? Finding My Song- An Artist's Perspective In sharing examples from my musical life, I hope to illuminate some of these qualities. I wrote my first song while strumming two chords on my mother's Silvertone guitar. Being left-handed, I flt it only natural reversed the strings within minutes of trying to play the right way. This temporarily quashed my mother's guitar playing- until I bought my own guitar and returned her string arrangement to normal! My first sing-along was in a high school hallway, during school hours- a song I had written about reincarnation and the journey of the soul- much to the consternation of the vice-principle. When I reported to his office to explain myself, our world-views couldn't have been more disparate- we had significantly different maps of reality. Moving from D.C. to California in 1970 for my senior high school year, I remember singing Neil Young's Down By the River (I Shot My Baby) for the umpteenth time in a local coffeehouse. In the midst of the performance it dawned on me that I didn't shoot my baby- and had no intention to! I made a conscious decision that night, simultaneously shaping my music and life path- to tell my story in song, and sing words aligning with what I wanted for myself and others. (I share this with full appreciation of Neil Young for his masterful songwriting!) Thirsty for spiritual and artistic development, I studied composition with W.A. Mathieu, arranger for Stan Kenton and director of the Sufi Choir, with further studies at the University of Oregon. I still wanted to impress people by playing speedy lead guitar, elaborate chords and clever rhymes. My momentum in this direction, however, was thankfully curtailed when my heart washed ashore upon the sweet coast of devotional chanting. My first experience of chanting in English was with the devotional songs of Paramahamsa Yogananda, author of Autobiography of a Yogi Prior to this encounter, I was only familiar with Sanskrit bhajans and Gregorian chant. To realize chants could be created and sung in English was a revelation I quickly adopted and began to share in small groups. The current widespread appreciation of chant was a rarity then- 1972 was an adventurous time of innovation in the world of contemporary devotional singing. Singing and Spiritual Awareness In bringing together singing and spiritual practice, it is essential that the lyrics reflect the clearest awareness that a songwriter is capable of. I ultimately realized that for me there were two recurring themes- a) the perspective of the individual soul in relationship with the Divine, with others, with the world; the perspective of the One, the undivided Self at peace with Itself. Contained in the first theme are songs of duality, relationship and journey, the yearning for returning, leaving and coming home, struggles and resolving struggles, all human conditions. 10,000 joys and 10,000 sorrows. Songs expressing the second theme are non-dualistic, advaitac, mantric, the acceptance in which there is no coming home because we're already home, devotional yet impersonal. While spiritual practice is predominantly an inward affair, shared practice fulfills the innate impulse for connection. A core motivator for my music has been to connect with others in a deeper way, leading to ecstatic immersion in choral harmony. Singing lyrics of affirmation and inner reflection became a practice for cultivating the remembrance of this connection. When practicing in an acoustically live environment, a space designed for singing in which all voices are naturally amplified with a slight echo (high ceilings, wood and glass surfaces)- the experience of chant, of singing into and from the heart, bestows a benign intoxication innately known to all cultures throughout the ages- transforming the mind from mundane to mystery, from linear thinking to spherical awareness of joyful wonder. Integrating Singing Into Your Practice If you are on a path of inner growth, I encourage you to integrate singing into your practice. When people gather to sing, join in. Don’t let anything, whether fear of other's judgment or your own self-criticism, keep you from cultivating your voice as an instrument for your own healing, joy and freedom. Be inspired. Whatever can help you open to the song inside of you, do it. Let your spiritual awareness and your singing voice unite. Listen to inspiring songs and chants. In summary, singing has been a major part of my life and spiritual path; I encourage you to consciously use your voice to open your heart. It is inspirational, healing, fun, and a great way of connecting to yourself and others. Michael Stillwater is an award-winning musical artist, inspirational educator and co-creator of Graceful Passages: A Companion for Living and Dying and Care for the Journey: Music and Messages for Sustaining the Heart of Healthcare. He lives in Zurich, Switzerland with his wife, contemplative psychotherapist, Doris Laesser Stillwater. He tours the USA twice a year, Spring and Fall. On his website you can listen to his music, download MP3s, order CDs, register for an OnSite or TeleSong session, learn about his tour schedule or contact him- go to http://www.innerharmony.com

I AM NOT a physician or otherwise, but often have repetitive problems with "ear problems", particularly during the winter months, or those times of the year when allergies are running rampant. This is a technique taught to me by my chiropractor, (who is excellent by the way), and has worked wonders for me on a number of occasions. It has helped me significantly with clearing the EUSTACHIAN TUBE : "Grasp the ear lobe, and pull out, back, and down, all at a 45-degree angle. While holding it in that position, breathe in, swallow, then breathe out. Do this several times. It drains everything down the throat. It takes some time to get used to the sequence and timing, but you'll get it down in no time. It's still effective if you go through it slowly, at first. I can "whip" right through it, and so will you after some practice. A second technique: Just behind the chin, there's the Hyoi bone. (The only bone in the body not articulated to another bone, and which supports the tongue). GENTLY apply some pressure with a couple fingers, and slide it over sideways, at the same time, breathe in through your nose. Hold it in place, and breathe out. Then swallow. Then work it from the other side the same way. Gargle afterwards (if you wish) with peroxide, in the event there's any bacteria in the drainage, to prevent any other problems. (Yeah, I know) The peroxide doesn't leave a very good taste....(Don't swallow the peroxide). Final tip: Place you hand over you ear (I do both ears) and lie down on it for a few moments. When you get up, you'll feel a "suction" type feeling as you remove your hand from the ear. It will also help to drain the eustacian tube." Hope this helps you as much as it does me... Adolph ~~~~~~~~~~~~~~ Adolph C. Namlik Executive Director, The Modern Vocalist World Edited : 11 September 2013

The article below has been republished from my blog, www.findingmysingingvoice.com. I've been thinking a lot lately about what age is the best age to start singing lessons. I recently interviewed for voice teaching positions at several community music schools, and this issue came up in every interview. Actually, the question wasn't, What is the best age to start singing lessons? but rather, What is the youngest age you will teach? In past, I've always stuck to the conventional answer that a student should not begin formal voice lessons until after puberty (between ages 8-13 for girls and 10-15 for boys). But I'm beginning to think differently now. A voice lesson for an seven year old should be very different from that of an eighteen year old. However, as long as the lesson content and length - along with parental expectations - are appropriate, I think it's OK to teach younger students. So what exactly are the differences in how to teach pre- and post-pubescent singers? Here are some of the ideas I've come up with. 1. Shorter Lesson Length (20-30 minutes): Young voices don't have the stamina to sing for long periods of time. Any beginner should start with shorter lesson times (30 minutes max), but this is especially important for younger singers. 2. Simplified Explanations: A third grader doesn't need to know the function of the intercostal muscles during breath support or the location of the hyoid bone. Technical concepts should be described in simple terms. Your tummy should expand like a balloon when you take a breath. Vocal exercises should be fun, even silly! 3. Age-Appropriate Sound: Children's voices have a unique and beautiful sound. They are higher than grown up voices. Just like the rest of their bodies, children's voices are not yet mature. Their voice boxes and vocal cords are smaller than those of adult voices, and they produce sounds that are higher pitched and lighter in weight and color. (It's common for children to sing an octave above the staff.) Most parents would not want their children to have adult responsibilities, see adult movies, or use adult language. Yet people are often impressed when a child's voice sounds grown up. But adult sounds are unnatural for a child's voice and can cause poor vocal habits, physical tension, and even vocal disorders. A good voice teacher will respect the unique beauty of a child's voice without letting it mature too quickly. 4. Age-Appropriate Repertoire: Children need songs that are suited to their vocal, emotional, and musical development. When choosing vocal repertoire for any singer, it's important to keep several things in mind: A. Does the singer have the vocal sound the piece requires? I once went to a benefit concert that opened with two children singing opera arias. It was an odd experience. They both had lovely voices, impressive vocal ranges, and expressive musicality. And they could sing the notes. But they didn't have the right sound for that repertoire. B. Can the singer sing the piece well without straining or fatiguing the voice? Opera requires the voice to express a wide range of strong emotions - joy, horror, rage - over the sound of an orchestra. The children I heard sang with piano accompaniment. (Their voices could not have projected over an orchestra without amplification.) Even then, I could hear signs of vocal strain as the children attempted to sing musically and emotionally dramatic pieces written for much larger voices. C. When choosing songs for children, it's also important to find pieces that are appropriate for their emotional development. Passionate love songs and esoteric religious texts should be saved for later. This doesn’t mean, however, that children need to sing the kind of cutesy, simplistic songs that no one over the age of five respects. There are lots of quality songs that are appropriate for children: many folk songs, hymns, patriotic songs, and some Broadway tunes and Disney songs. 5. Expectations: Can you make my child a star? It's a common question - and a tricky one. Some children possess extraordinary vocal gifts, but many more have overly ambitious parents yet lack the talent or desire to succeed as singers (while they are young, at least). As a voice teacher, it is my policy to only teach children who love to sing. Whether we're young or old, we typically experience discontent when we try to follow someone else's dream for us, rather than discerning what we love and do best. I can expose a child to good singing and I can guide a vocally talented child, but I don't believe in imposing one person's dream on someone else. It is important for voice teachers to manage parental expectations. I do this by explaining from the beginning that learning to sing takes time, especially for children whose instruments still need to mature. I also explain to parents that there are many factors that contribute to “stardom. My goal is for each student to achieve his or her personal best - whether leads better shower singing or a life on the stage. Voice teachers are entrusted with the incredible responsibility of overseeing the development of singers and their instruments. This responsibility is especially great with young voices since habits - good or bad - learned young aren't easily broken. The very least we can do is to honor the voice that each student - whether he or she is 8 or 80 - brings to the studio and gently guide it towards healthy, wholehearted singing.

This article has been republished from my blog, www.findingmysingingvoice.com. I wrote in my previous post that finding the right voice teacher is the most important decision an aspiring singer can make. I included some ideas on what to look for in a teacher. But how do you go about finding that person? Here are a few ideas. * Ask singers you admire: Not all teachers advertise their studios, so word of mouth is probably the best way to find a voice teacher. If you go to a concert or club where a local singer performs, ask if the singer gives lessons. If not, maybe the singer can recommend a friend who teaches or even put you in contact with her or his own teacher. * Ask a musician: These people can probably recommend someone: your school choir/band/orchestra director or music teacher, the music director or cantor at your church or place of worship, your piano teacher, or your friend's piano teacher. * Find a community music school: There are thousands of community arts schools (nonprofit, non-degree granting, community-based institutions) in the United States. Many of their teachers are experienced performers with multiple degrees and years of teaching experience. Prices are often on the low end. Find a school near you at www.nationalguild.org. * Contact your local college or university: Many professors supplement their salaries by giving private lessons. You can also inquire whether any advanced students teach voice. (If cost is a concern, keep in mind that students will certainly charge less their professors do.) Ask for a graduate student, an advanced undergrad, or someone who has taken classes in vocal pedagogy or music education. Vocal pedagog means the study of teaching singing.) The downside to studying with a college student is that he or she could leave the area after graduation. * Ask friends and family: You never know who's taken singing lessons until you ask. * Check Craigslist: Teachers who need to fill spots in their studios often post on Craigslist. You might not find much information on the teacher's experience, but you can always ask questions by phone or email. * Call your local music store: Many stores offer lessons on site. Others keep a list of area music teachers on hand. * Visit www.nats.org: The National Association of Teachers of Singing (NATS) has strict requirements for its members. Teachers need to have a college degree or equivalent experience and must abide by a Code of Ethics. The NATS website allows you to search for members in your state or hometown. * Visit www.classicalsinger.com: Classical Singer magazine is a great source for anyone who wants to sing classical music or opera. You can search the site for a teacher in your area. * Visit www.mtna.org: The Music Teachers National Association (MTNA) is a professional organization for music teachers who are employed by a school or who teach privately. You can find members at www.mtna.org. Keep in mind, though, that MTNA doesn't screen its members. However, teachers can choose to go through the group's thorough certification process. * Visit other websites. Two popular websites list music teachers: www.musicstaff.com andwww.privatelessons.com. In my experience, however, there aren't many voice teachers on the sites, and those that are listed seem somewhat underqualified. * Ask a voice doctor: This may seem like an odd source, but laryngologists (voice doctors) often work closely with voice teachers to help singers who've had vocal trouble. A teacher with experience in vocal rehabilitation is a great choice if you suspect something might be wrong with your vocal cords. See my previous post on finding a voice doctor. Good luck in your search for a voice teacher! And remember - always ask about a teacher's credentials before you sign up for lessons!

This article has been republished from my blog, www.findingmysingingvoice.com. This is part two in my Learning to Sing series. Finding the right voice teacher is the most important choice an aspiring singer can make.Your teacher will guide you through the process of exploring, developing, and training your voice. The right teacher will help you grow in a nurturing yet challenging environment. The wrong teacher can harm your self-esteem, dash your hopes (or inflate them with false promises) and even damage your vocal cords! Some fields have formal training or evaluation processes to determine whether a person is qualified to practice that profession. Singing does not. That means anyone can call herself a voice teacher as long as someone is willing to pay her for lessons. It's up to you the student to decide whether a teacher has what it takes to teach you. So what should you look for in a voice teacher? * Training This is usually the first thing people look at when evaluating a voice teacher. You'll want to know that your teacher has received thorough training in areas such as music theory, music history, vocal literature (songs, opera, musicals, etc.), languages (if you want to sing classical/opera), and vocal technique. Look for a B.A. or B.M. in music or vocal performance. Many teachers will have master's degrees in voice or music education and may also have certification in some form of bodywork (usually yoga, Alexander Technique, the Feldenkrais method, or Fitzmaurice Voicework). While training is essential, keep in mind that degrees from top schools don't automatically make someone a great teacher. The best singers and teachers learn from a combination of formal education, private study, personal experience, professional development, and trial and error. * Performing experience Many teachers are also active performers. Others have given up performing to focus on teaching. Both types can be excellent teachers. Singers stop performing for a number of reasons: finances, health, family, lifestyle, etc. Often a singer will discover that his or her personality is better suited to the teaching studio than to the stage. Ideally, a teacher will have at least some performing experience. As with degrees, however, keep in mind that performing credentials alone don't guarantee great teaching. An opera singer with international performing credits may be better at communicating with a large audience than describing vocal concepts to a beginning singer. * Teaching success The number one question you'll want to ask about a potential teacher is whether that person's students are successful. Do the teacher's students win competitions, get accepted into good music schools, have performing careers, or become respected teachers? Whatever your immediate goals are as a singer, make sure your teacher has helped other singers achieve similar success. * Singing style Before you commit to a teacher, find out if he or she teaches the singing style you want to learn. If you want to sing pop, don't study with someone who only teaches opera singers. If your dream is to sing on Broadway, find someone whose students are successful in musical theater. Some teachers successfully teach a wide variety of singing styles. (I know of a voice teacher in NYC who has famous students in pop, musical theater, and opera.) Others prefer to specialize in one style. Be sure to ask about a teacher's experience with the style you love best. Or, if you're not sure what style you prefer, find a teacher who's comfortable with multiple styles. * Specialties Many teachers end up specializing in one or more areas, while others prefer to teach a variety of students and voice types. For example, some teachers prefer beginning students and others only teach professionals. Voice teachers with training in speech or voice pathology may work exclusively with singers who have a history of vocal trouble. Some teachers may even choose to only teach students of their gender or voice type. Singers also have similar preferences. Some sopranos, for example, only want to study with other sopranos. * Personality Maybe personality isn't essential for everyone. (I suppose if you're open minded, you can learn from anyone.) But I find it much easier to trust, connect with, and learn from someone I like, admire, and want to please. I've had several teachers who I never really connected with personally, and I didn't make great progress with them. Several times, I've declined to study with successful teachers I didn't connect with. As you search for a voice teacher, here are some thoughts on several types of teachers to avoid: * Anyone who makes unrealistic promises Become a star in 6 weeks! Sing like a pro in one month! Guaranteed to increase your vocal range! An honest teacher will tell you that learning to sing takes time. And no one can make promises about your voice without hearing you first. If it sounds too good to be true, it is! * Anyone who only teaches online. Online lessons are fine in some circumstances, but I wouldn't recommend them for a beginner or for the beginning of a new singer/teacher relationship. Some might call me old-fashioned, but it's essential that your teacher see you sing and hear your voice without distortion. Plus, you'll get to know each other better and establish a stronger rapport by meeting in person. * Anyone who's all about the money. Watch out for teachers who are overly keen on selling you their products (singing books, CDs, DVDs, pricey seminars, etc.). Everyone needs to make a living, but a committed teacher will put your interests ahead of merchandise sales. A few years ago, a friend suggested that I consider studying with a well-known opera singer. This singer had sung major roles all over the world, he took students at my level, he found performance opportunities for many of his students, and several of his prots were embarking on successful careers. His students spoke highly of him, and encouraged me to join his studio. I spoke to him on the phone, met him in person, and went to a master class he taught. I decided that he would have a lot to offer me. There was only one problem: I just didn't like him. As much as I respected his experience as a singer and his commitment to teaching, there were other things about him that turned me off: his loud humor, his disorganized manner, his rambling anecdotes, and his rather forceful personality. I felt that my quieter demeanor would be overwhelmed by this man's larger-than-life persona. I decided to keep looking for a teacher, and I eventually found just the right person. In your search for a teacher, remember to listen to your instincts. Never let anyone (or their impressive credentials) pressure you into studying with someone who doesn't feel right for you. If you begin studies with a teacher and decide the relationship isn't working, don't be shy about ending it. It's your money, your time, and your voice!

This article has been republished from my blog, www.findingmysingingvoice.com. A lot of people come to my blog looking for information on how to sing. So far, my posts have focused more on my journey as a singer or on tips for people who are already singers or students of singing. Look for that focus to change somewhat in the coming months. Learning to Sing series I've written before that one of my goals is to eventually teach singing. I've taught voice lessons before (though not recently), so it seems like a natural topic to writing about here. After all, this is a site about finding the singing voice - not having it, not showing it off, not becoming famous for it. It's a site about the process of improving as a singer. So why not start at the very beginning? Why you need a voice teacher I'll give specific singing tips in later posts. For now, you should know that the best way to learn to sing is with a teacher. Yes, you can pick up some knowledge online, watch American Idol, listen to recordings, and sing along to your favorite songs. But here are a few reasons why you should consider finding a teacher if you're serious about singing. * A voice teacher can hear things you can't. It's tempting to think that nobody knows your voice as well as you do, but it's actually not true. Your vocal cords are located in your throat, and the sounds they make resonate in your throat, mouth, head, and chest. Your body is a musical instrument, and your ears are attached to it. That means they can't possibly hear your voice like others do. They're too close! Singers have to learn the sensations of good singing and rely on the expert ears of a teacher. * A voice teacher can see you sing. No, a teacher can't see your vocal cords, but he or she can see a lot of your vocal instrument: your face, jaw, tongue, neck, ribcage, and abdomen. Good posture is essential for singing. A teacher can also spot signs of physical tension that can affect your sound. Another common problem teachers catch are distracting movements or tics like rocking back and forth while singing, clenching your hands, or standing on your toes for high notes. * A voice teacher can guide your learning process. You could read a thousand books on singing and never improve as a singer, but a teacher can guide you in a way that knowledge can't. A teacher, a book, or a DVD can all tell you how to breathe, but only a teacher can tell you if you're doing it right or not. Also, a teacher will tailor lessons to your specific needs. Is your breathing fine, but your neck is tense? Do you have a huge vocal range, but places where the voice breaks? A wise teacher will determine what you need to work on and in what order and will match his or her teaching to your learning style. * A voice teacher can help you work towards your goals. Do you want to join a choir, audition for a musical, become a pop star, or sing opera? Or maybe you just like singing and want to improve your voice. Whatever your goals are, a teacher can help you move in the right direction. He or she can also give you feedback on whether your goals are realistic. If they aren't, your teacher can help you set new goals that are within your reach. * A voice teacher can open up a whole new world! A lot of people start singing lessons without knowing quite what to expect. Singing seems simple enough, but it connects so many other areas. The best singers and teachers draw on knowledge from so many fields besides music: anatomy, bodywork (like yoga), health, psychology, speech and language, history, poetry, acting, theater, etc. You might get into singing for one reason, only to discover a new passion. Have a question about singing? Send me an email. Look for more posts in the Learning to Sing series on topics such as: * What to look for in a voice teacher * How to find a voice teacher * Deciding when to start * What to expect at your first voice lesson * How to stand while singing * How to warm up the voice

I've recently appreciated how the consonant [p] might help in building compression. I've seen one of Kevin Richards' recent posts in his Youtube channel and he seems to dissect how [p] can be of great assistance to singing through the bridges. The only problem I've encountered is sometimes I loose the "cry" in the "uh" vowel in the sound pup-pup-pup... I think "mum" is easier and the nasality of [m] however miniscule a segment it might be once mum is sung rapidly may aid in developing pharyngeals or what SLS calls the Mix. But "pup" helps in figuring out the pressure that you shoot through that glottal opening and consequently through the mouth... I think "pup" and "bub" feel like open staccato lip rolls in a way. Since a lip roll is done rapidly.

My first exposure to Estill Voice Training was in the summer of 2000 in Mars Hill, NC at Mars Hill College. After teaching standard classical technique for 27 years, I was exploring other possiblities. Most of my students were involved in Musical Theater and needed more than I felt adequite to give. My vocal world opened big time when I bought my first computer and discovered the "WEB." One of the first things I did was to joined a yahoogroup called Vocalist.org. I was primarily a lurker looking for information on singing that I didn't already know. Then one day someone brought up a very evil word-BELT. It was also about this time I was able to join NATS. It was in The Journal of Singing that I saw an ad for Estill Voice Training System as it was known then. I had read about Speech Level singing, Lisa Popeil, Jeanie Deva, Dena Murray and the list goes on. Two of the systems training programs were in California but that was just too far. The Estill program was in North Carolina only a one day drive from my home near Baltimore, so EVTS won the toss. I have to admit, that I was skeptical. I could hear my first voice teacher saying, "You'll ruin your voice and so and so ruined so and so's voice." I was scared and my mind was still a bit closed, but not for long. Here was a room full of curious, open-minded teachers desperate to find a way to address commercial singing in a safe way. this is not to say that Lisa, Jeanie, Lis, Jeannie LoVetri, Seth Riggs, Dena Murray etc. had not also found a safe way, they were just too far away for me to drive there. I did have a background in Anatomy and Physiology of the Voice, so I was not completely in the dark. Although Estill addresses all voice qualities and styles, everyone was there because of the evil word--BELT--shhhhh! In 2000, Estill had identified 11 structures that could be moved/adjusted then mixed together to make 6 different basic voice qualities. (This is highly simplified-more detailed explanation is elsewhere on my section of the site.) After one exhausting and intense week of learning and making wonderful friends, I came home with one compusary figure that I really could do and understand--false vocal fold retraction. I used it in warm-ps for all my students and each was able to add 3-4 notes to the top of their range without feeling it coming and thus without fear . There was no difficulty in getting jaws dropped that week. This week, I am heading back to Mars Hill to do a little review with two of the most wonderful teachers in the world. They and their Estill colleagues opened a door for me that I thought was closed forever to me. They also led me to a life of voice nerdery. Thanks!!

There are a lot of aspiring singers in the world today. You can just turn on your television and see American Idol or Britain's Got Talent. We are surrounded by them. Sadly though not everyone can sing. A lot of embarrassment could be avoided if people actually knew the basics of singing. There is no guarantee of becoming a mega diva or a male powerhouse singer, but you can at least learn how to carry a note. You will find some quick tips that you can use to learn the basics of taking singing lessons in or around the house. First, You will need to find a spot where you won't be bothered. This could mean going to your den or sneaking away to the bathroom for 30 minutes or so. You should take this time to record yourself and then listen back to it. This can be very difficult thing at first. We often have a preconceived notion of how we sound. In reality, this can be very far from the truth. So take a listen. Then decided if you really want to put in the effort to sound better. . Next, once you have taken the first steps toward taking singing lessons in. You can now start practicing on a regular basis. Just take out time 3 to 4 times a week to focus on your singing. When you take out this time you will want to start off by taking several deep breaths. This will relax you. Then stand straight with shoulders rested and chest out. Then begin by humming the alphabet song to get started. After humming through it 3 times. Take a break and sip some room temperature water. Then go thought it again another 3 times. This is called doing vocal warm ups. This will prep your voice for real singing. You will find when you actually start singing words that you will feel more comfortable and sound better. Learning how to sing doesn't have to be difficult or expensive. You just have to be willing to take the time out to put in the effort. You can learn more about singing lessons in here!

CHAPTER 4 - REHEARSALS: WHO, WHERE, WHEN, WHAT? SO, YOU WANT TO BE A SINGER? by Diva Joan Cartwright Practice, practice, practice! is the rule for professionals. However, scheduling rehearsals can be frustrating. Once you've found the musicians you enjoy being around, work up a rehearsal schedule for once a week or every other week, until you've gotten a tight show of about ten to twenty songs. Rehearsal can be held at someone's home, at a community center or school, at a church or any place where you will not disturb others or be interrupted. It is common to rehearse in the daytime because most musicians work at night, but many have day gigs, too. So, figure a time when everyone is free. Sometimes, you can rehearse with the pianist or guitarist, alone, just to get the tunes down. But it's better if everyone in the band is present. Getting a feel for one another is very important. Some musicians require payment for rehearsal, especially if it's for a recording session. But if it's for a gig and you're new to them, rehearsal is a must in order for you to hire them or if they are hiring you. It's just the professional thing to do, so don’t be intimidated by musicians who try to con you into paying them to rehearse. If the music sounds bad, YOU, the singer are usually the one that critics point the finger at, so demand rehearsal so your show will be great! First, rehearse the songs you are familiar with. Then, work on the new material. Don't wait until rehearsal time to learn the lyrics. Know them beforehand. Ask if anyone has original songs that they want you to sing or tunes that they want you to write lyrics for. Do your own songs as much as possible. Make sure you do up tempo songs. You don't want to bore your musicians or the audience with too many ballads. Sambas and Bossa Novas are lots of fun. My experience is that everyone loves the Blues. So, learn three or four that you can interchange from gig to gig. Some common ones are "Stormy Monday", "Route 66", "Sweet Home Chicago", "Bye Bye Blackbird", Mustang Sally�, Let The Good Times Roll, "Dr. Feelgood" and "In The Midnight Hour". There are hundreds of blues and you don't need sheet music. You simply need to know the lyrics, tempo and key. Most blues are sung in the key of Bb, C, F or G. It all depends on your vocal range. Source: SO, YOU WANT TO BE A SINGER? by Joan Cartwright available at http://stores.lulu.com/divajc. See Chapters 1-3 on my BLOG.

(Detail from "American quilt" ) When I complete a composition there are often unused ideas left. Some of those I find actually pretty good but if I can't see how to fit them into the piece then there's not much choice but to discard them. For a while. I rarely delete stuff, I archive. Once in a while I browse the archives and listen to such ideas in no particular order, and sometimes I get to see a way to combine some of them. Then I have the seed of a new composition. Leftoverturned is a rehash of Countless Questions, Informа lstrom and ideas discarded from the 1000 Radioа writing sessions. The origin of the leftover part of the title should be obvious by now, and the overturned part refers to the countless questions which have been vanquished, and have now vanished. I had set out to understand Which thoughts were best to be untwirled Which lines were fit to make the strand Which words were apt to free the world As I advanced onto the quest No issue left me unconcerned No question was left unaddressed No single stone was left unturned Just driven on by a feeling Proverbial mental splinter I never knew needed healing Explored ahead ever faster The hands of time were overruled Future and past blended and burned Nobody could have had me fooled The learned became the unlearned Until one day I encountered Round a corner of my psyche Childhood events that had triggered An invisible injury And there and then I understood My quest had been for disclosure Of the wound that I had withstood That robbed me of my composure To be continued... The Music Of Poligraf series are reposts of writings and demo audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series. If you enjoy what you hear, you are invited to visit the section of our website and support our efforts by pre-ordering our first album entitled Samsara.

(Ratha Yatra Festival in Puri, India / Painting by James Fergusson) Juggernaut. Lots to say about this one. Make sure your seat is confortable... I've started the writing for this singular piece on November 2, strangely enough beginning with the epilogue. I completed it over the following weekend, on November 9. The lyrics, and thus the vocal melodies, remain to be addressed, mainly because I'm not sure which approach is best: the symbolical, the theoretical, or the experiential. The vocals will be accompanied by the alternating organ and guitar arpeggios vamps, the first of three beginning at around 1:10 of the clip embedded above. In its totality, the composition clocks in at a little under 18 minutes, and is made up of the following six parts: 1. Prologue 2. Heedlessness / Status Quo 3. Procession 4. Steamroller 5. Resilience 6. Epilogue The clip presents the second part, the title of which I'm not quite sure at this point, but it will probably either be Heedlessness or Status Quo. The clip starts with the end of the prologue, and the section ends on the timpani signalling the beginning of Procession. Juggernaut has originally been inspired by a most painful experience that took place in the spring of 2000, if my memory serves me right. At the time, I was living in a huge rented house with five other persons. There was a problem with mildew accumulating on the ceiling of one of the bathrooms, so we asked the owner to fix it by installing a fan. But he had other plans. Although he was renting the cottage, his intention was to sell it, and since he had received no offer over the course of my stay there, which meant two and a half years at that point, he decided that a makeover would improve his chances of getting rid of it. So he went ahead and made plans, without consulting us, for revamping the building, while we were living in it. In theory it must have seemed like a good plan, but in practice it meant among other things : almost constant noise, moving our stuff around for a few days and then back in their original place, not having access to certain rooms like the bathrooms or the kitchen for extended periods, and dealing with the workers and with an overbearing and not-totally-honest designer-team-leader. And let me remind you that we were six mostly human beings living under that roof. In other words, a suffering experience of high quality. Yet it generated its fair share of musical inspiration, ten MIDI sequences or so, more than enough for a suite, along with a concept to tie it all up, the idea of a juggernaut running us over. Heedlessness / Status Quo, presents the situation before the traumatic experience, where the protagonists aren't aware of what could come their way, although the signs are definitely there. The situation is characterized by its frailty, following incidents that remained unresolved either by sheer ignorance, lack of courage, or a poorly implemented ideal of tolerance that trod upon some of the needs of some of the protagonists. Since errors have been committed and signs are being ignored and/or unrecognized, life, being what it is, constantly bound by the synchronicity principle, has no choice but to respond with an experience strong enough to insure that errors are rectified, communications take place, and incidents are resolved, so that everybody involved is redirected on their proper course. From David Bohm 's Unfolding Meaning : Bohm : you see, there is the word sin, and apparently there was a Greek word in the bible meaning Q. : Harmatia, missing the point. Bohm : Missing the point. Yes, hamartia which meant missing the point, missing the mark. Now that got translated as sin. And repentance was metanoia, meaning a transformation of the mind, and got translated as pain, right? Penitence, repentance. The point is that repentance is merely to understand that you missed the mark, you see? (laughter) Therefore evil is missing the mark, basically. It is confusion, right? Its ultimate source is the kind of confusion I described about thought. Also found on the net: In Greek, the word hamartia was used to signify sin. It means missing the mark. This was equated with ignorance. In effect, an individual would not sin if he understood what he was doing. It may be true that some sins are due to ignorance, but it does not follow the Christian concept of deliberate sin. John Eberts So basically, in the chronology of the song, at the time of Heedlessness / Status Quo the mark has been missed, the harmatia has been made, and so life responds with a metanoia in order to change the mind of those involved who needs their minds changed in relation with the incidents under consideration. And thus the advent of the juggernaut. By the way, in our case the incidents were on their own innocuous house-sharing frictions, but as they accumulated led to communication breakdowns, cliques, and a dangerously inharmonious living atmosphere. The situation had to be rectified, we needed reharmonization. In practice, the pain caused by the makeover process was stronger than our differences, enough to get us working together against our “common enemy, and thus reestablishing communication, respect, and the overall harmony in the house. One last juggernaut-related point, while writing the present post I had the following insight : Things are not what they seem. Things are what they mean. The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.

FOOTWORK When needing to stand in place use a modified ballet third position which is similar to the Scottish Dance first position. In Scottish dancing, when you "set", your feet should make a "T" figure. To begin with, your right foot should be pointing at about a 45-degree angle from your body. The heel of your left foot should be at the arch of your right foot with the left foot pointing 45 degrees from the right toe. This is the position if your first step is to the left. In the opposite stance your left foot makes the 45-degree angle from your body, and the heel of your right foot should be at your left arch with right foot making the 45-degree angle from the left toe. A singer can stand like this for long periods of time tirelessly without strain on the legs and without swaying. It turns the audience off when a singer appears drunk or high. WALKING Gliding actually. Singers should move slowly, gently, not clomping across the floor. Choreograph your movement with each song in advance. Some of you might say you don't want planned movement but even in planned movement there is variation in how you do the moves. When you walk don't walk the full width of the stage before stopping. Plan to take three to five steps, then stop for a few bars and look at someone in the audience before moving again. Movement of more than five steps detracts from a singer. Your audience should be looking at you and listening to your voice, not wondering how far you are going to travel of if you are going to fall off the edge of the stage. ARMS The worst thing you can do with your arms when holding them out is to keep your elbows touching or too close to your body. We call this, in the business, "the broken wing effect", mostly done by amateur performers. You don't want to look like an amateur, even if you are one. Similar to walking movements, keep your arm actions in tune with the song; ergo gentle movements for love songs and ballads and quicker for songs that are more exciting and upbeat. HEAD You often hear someone say, "Never turn your head away from the audience." Unless you plan to keep your back turned to the audience for the duration of the song it's okay to move your head when you're singing. In fact, your head should move (not spin) but move with the meaning of whatever song you sing. Beside looking natural and making you look totally at ease, head movement relaxes your vocal folds, helps you to sing better and keeps you from tightening up. EYES Look at the audience eye to eye briefly, then move to someone else. Don't look at their nose or over their head. Agents and producers can recognize where your eyes are looking. In fact, when you first enter the stage and between songs, glance around the audience and pick out the guys whose wife or girlfriend has dragged, kicking and screaming to the concert. Then, every so often, sing to these guys eye to eye. In effect, bring them onto the stage with you. Practice all these hints to your kid, your parents or dog or cat or ghost until you feel comfortable with them. You will become a better singer and you will not have to toss your cookies before a concert from nervousness. In fact, if you are nervous or scared remember this: If you have followed my suggestions, after you sing the first few notes your nervousness will disappear and you will be able to present the performance of your life! Really!! [Dr Dean-Agent:Cirque du Soleil]

OK, You Can Sing, but - How do You Look? By Jeannie Deva A performance is a multifaceted creation. Many singers will learn the songs but approach the actual performance (the show) in a haphazard way and just hope that it works. On the pro level, there is much about the actual show that is pre-planned and developed prior to arriving in front of an audience. If you haven't already, take the lead from the pros and learn how to do this yourself. Focus on Your Performance Objectives Contemplate the effect you want to have on your audience as a result of your songs. What is the mood; emotion; sentiment of each song you plan on performing? Aside from how you vocally sing each song, the visual performance needs to carry the message of the song as well. Does Your Group Work Collectively on Stage? Your energy from the stage to the audience is dependent not only on how well you sing each song vocally but on how the group works together. The key word here is: Together. You need to LOOK like an ensemble with no one player appearing to be left out. If you are performing with other singers or musicians, include in your practices how you as a group are going to work together on stage, song by song. As a frequent judge of many battle of the bands I've seen this important aspect too often omitted. Choreography can be included but is not always necessary. However, you can plot out specific movements and staging (whether or not you're playing with other musicians) that would add to the excitement, drama or boldness of the performance of your songs. Here's an example: I began coaching a 3-girl group. They had excellent energetic songs and wonderful voices. However, in performance two of them had a tendency to play off each other but rarely interacted with the third. Adding to this separatism, the third performed as though she was on stage by herself. They did not perform as a united ensemble. This reduced the quality of the show and the power of the songs on the audience. You Must Command the Space Twisting or playing with the microphone cord in your hand, hanging onto the mike stand throughout the song, continually putting your hands on your stomach (some misguided singers have been told to do this by teachers to check their support) or any other physical movements or positions that have little or nothing to do with the performance of the song itself are distracting. Your movements including eye direction must be deliberate. Don't let your eyes dart around without purpose as you sing. This would make you appear amateur and as though you didn't really mean what you're singing about. Practice singing a song totally engaged in the meaning of it. Make it YOUR communication. Let your movements flow from the feeling and meaning you give each phrase of the song. If you feel self-conscious at first, just keep practicing until you are comfortable being the song and showing it. Remember: A performance works when the details of your visual and audio line up. This alliance is powerful. It makes your song believable and brings it to life. Vocal Shortcomings Will Hold You Back If you have any uncertainties about your voice; about whether or not you'll hit the note or go off pitch, you'll hold yourself back in performance. Some singers sound great but lack vocal stamina and so suffer the punishment of singing for more hours than their improperly prepared vocal muscles can tolerate. This can result in feeling more reserved about really giving it your all for fear of losing it. I have spent most of my life researching how the voice works and how to work with it without compromise. I've looked for and found the most simple, factual and superior techniques that quickly help a singer pro or beginner - to advance and find freedom of expression, find and maintain their own unique vocal identity. If you have vocal inconsistencies, if there is anything you want to do with your voice that you can't; if you think you have more potential as a singer and want a faster way to reach it, you will find the steps to quickly advance in my course: Contemporary Vocalist Volume 1 as well as my Deva Method Vocal Warm-Ups and Cool-Downs. © 2009 Jeannie Deva. [NOTE: This article is an excerpt from Jeannie Deva's soon to be published, downloadable book on Performance Technique for Singers. To be first to receive the publishing release date as well as other free vocal tips by Jeannie Deva, go to: www.JeannieDeva.com and sign up by clicking Vocal Tips at the bottom of the navigation bar.] Jeannie Deva is the Originator of The Deva Method ®, A Non-Classical Approach for Singers and of Jeannie Deva® Voice Studios network (in the USA and Australia) now celebrating 35 years of helping singers be outstanding. Author of the critically acclaimed vocal home-study course: "The Contemporary Vocalist" and "The Deva Method Vocal Warm-Ups" CD, Jeannie a renown vocal specialist and is flown to recording studios internationally to handle album vocal production. She is endorsed by producers and engineers of the Rolling Stones, Aerosmith, Fleetwood Mac and many others. Clients include: members of the J. Geils Band, Foghat, the Lion King, Fame and Color Purple, Grammy Award Winners and Idol Finalists, singers for Pink, Christina Aguilera, Stevie Wonder and many more. Jeannie teaches in-house in her Los Angeles studio and to singers around the world by Internet and web cam. For more information on her voice enhancement products and services: www.JeannieDeva.com

What Are Your Tips For Practicing Vocals? A Singer's Guide: Different Practicing Strategies, Practice makes Perfect by John Nix, UTSA Greetings, Here's a preview of the upcoming issue of Vocals Magazine. This is an article about the importance of practicing. I have a question for TMV members. What are your tips on practicing vocals? Side note: Are you a struggling writer? Looking to get published to maintain credentials? Then get with Vocals Magazine, The Modern Vocalist's proud magazine of choice. Vocals Magazine has aligned with TMV, only to bring top-tier goods (what else would TMV and VM put in front of you?) Also, dont forget, Vocal Magazine is offering members of The Modern Vocalist an exclusive discount for a subscription to VM. Go to the Vocals Magazine profile page and you will find information and links to take you to the special TMV offer. Enjoy Vocals Magazine