jonpall Posted July 6, 2011 Share Posted July 6, 2011 Does anyone know if cord compression is a good idea or even possible on very open and loud vowels in the tenor range? Perhaps it's only possible, or a good idea, to do it on "medium" open vowels (like I, O and Uh)? The CVT book states that if you want to sing a very open vowel like f.ex. Eh (as in "stay" or "egg") or Oh (as in "so") on a note in the tenor range AND have it resonant, thick, powerful and loud, you can't have the hold/cry/cord compression that you have in curbing. You have to let go of the hold and go into a kind of shouting throat configuration, similar to when you shout at someone across the street. (Note that twang will increase the volume even more.) The book very much equates cord compression to medium volume, meaning that you simply can't get to extreme low or high volumes with cord compression. But - I'm just not sure if this is true. It seems that it's possible for me to sing a few "medium" open vowels (I, O and Uh) in the tenor range, with compression/hold, with medium volume ... and then kind of "open" up to a bigger vowel (f.ex. Oh) - and NOT lose the cord compression. So that kind of contradicts the CVT book. No wonder I've always had a love/hate relationship with that book. But what's most likely, of course, is that I'm simply doing something wrong and I THINK I'm doing cord compression/hold on those Oh vowels in the tenor range - but I'm really not. Or what do you think? Here's an example: When I sing Journey's "Open arms", in the chorus there's the line "come to you". I sing the word "come" with a very open vowel - Oh with an Ah-type open throat configuration. And I feel that I have some cord closure/compression/hold. And when I sing the words "to you", I sing vowels that are not as open, but STILL I don't feel that anything has really changed in my throat, except I've closed my mouth a bit compared to the Oh/Ah vowel - and I STILL feel that I have the hold/compression. So to sum it up, when I'm singing a song in that style, I kind of have a CONSTANT cord compression going on and the ONLY thing that's different for me when I sing those biggest vowels (like Oh) is that I open my mouth a bit more and realize that the sound will get slightly louder (because of the vowel change and the lowering of the jaw). Some of you guys know a whole lot about these things so it would be cool if you could comment a bit. Cheers. Link to comment Share on other sites More sharing options...
Jens Posted July 6, 2011 Share Posted July 6, 2011 Most rocksingers keep the compression through out their range ive heard many good rocksingers sing without amplification and most(the ones with the fuller voices) keep the compression through their whole voice That way they can pass through all the modes without Anyone talong notice. And yes it is covered in the book, it is called greyzones, any note That dont directly fall under the given modes are considered greyzone. Nothing wrong with singing in the greyzone but it Will require more support Than if you have the modes centered. Link to comment Share on other sites More sharing options...
jonpall Posted July 6, 2011 Author Share Posted July 6, 2011 But I don't really feel an increase in support when I do this. I just sing while holding my breath (back - a lot) and for big vowels, my mouth opens a bit more. That's it, really (I think). Link to comment Share on other sites More sharing options...
VideoHere Posted July 6, 2011 Share Posted July 6, 2011 jonpall, all i can say is when i sing open vowels up high.... g4 up in full voice, there is less of a sense that the folds are closed or compressed compared to closed vowels. i go by the resonance as an indicator actually. hope that helps. Link to comment Share on other sites More sharing options...
jonpall Posted July 6, 2011 Author Share Posted July 6, 2011 Cool stuff. One thing I find interesting is that Steven Fraser has often talked about using resonant vowels and breath support in the past, as a way to get power in your high notes, but he rarely mentions the hold/cry - even though he has said that it's a great tool. But the fact that he (and many other good vocal coaches - Vendera comes to mind) doesn't emphasise it makes me wonder if coaches like him want their students to kind of discover the hold/cry/cord compression on their own, or that it kind of happens automatically if you sing with the correct vowels, relaxed throat and very little air. Link to comment Share on other sites More sharing options...
VideoHere Posted July 6, 2011 Share Posted July 6, 2011 Cool stuff. One thing I find interesting is that Steven Fraser has often talked about using resonant vowels and breath support in the past, as a way to get power in your high notes, but he rarely mentions the hold/cry - even though he has said that it's a great tool. But the fact that he (and many other good vocal coaches - Vendera comes to mind) doesn't emphasise it makes me wonder if coaches like him want their students to kind of discover the hold/cry/cord compression on their own, or that it kind of happens automatically if you sing with the correct vowels, relaxed throat and very little air. a lot of people would say you really won't feel cord compression, but i sure feel something like it at certain times. also there are so many levels of it. Link to comment Share on other sites More sharing options...
jonpall Posted July 6, 2011 Author Share Posted July 6, 2011 CunoDante, what do consider to be the difference between the hold and cord compression? I for one think it's the same thing because you can have little hold or a lot of it. Same with cord compression. Link to comment Share on other sites More sharing options...
analog Posted July 6, 2011 Share Posted July 6, 2011 Learning how to really dig into the cords or get into the "squillo spot" as my friend Gioacchino LiVigni calls it, ... ~~Dante~~ I love Jack's blog. Part of my "vocal porn" collection :) Link to comment Share on other sites More sharing options...
analog Posted July 7, 2011 Share Posted July 7, 2011 Mine too! His writings way back during his Grandi-tenori and NFCS days helped me to understand SOOO much about how the tenor voice works and how to sing chestily. He was a ray of light for me amongst all of the confusion of those that don't really understand how to sing in this manner. I could never thank him enough for all that he's taught me. ~~Dante~~ He seems like a great guy and is ONE HELL OF A COMMUNICATOR. Man. The way he weaves old world traditions with modern science with years of perceptive experimentation is priceless. I bet he is a phenomenal teacher. Link to comment Share on other sites More sharing options...
VideoHere Posted July 7, 2011 Share Posted July 7, 2011 I love Jack's blog. Part of my "vocal porn" collection did someone say "porn?" my store features titles from 1910 to yesterday. but things have changed...much less is being shot these days. the industry is hurting...hard to believe huh? Link to comment Share on other sites More sharing options...
jonpall Posted July 7, 2011 Author Share Posted July 7, 2011 Aren't there any regular videos in your store? Link to comment Share on other sites More sharing options...
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