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Go 3:43 (watch for a minute or so)

At first I was skeptic, then I actually tried holding my breath and singing. No break....

Can anyone explain to me the ideal breath flow for mixing registers? What is true breath compression and how can I use it to make my singing better... :cool:

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Go 3:43 (watch for a minute or so)

At first I was skeptic, then I actually tried holding my breath and singing. No break....

Can anyone explain to me the ideal breath flow for mixing registers? What is true breath compression and how can I use it to make my singing better...

JayMC: Practice this for a week, and you will be able to answer the question yourself. This is not an intellectual thing... its a body thing. For some, this idea (holding the breath) is what brings the breath energy into the proper relationship with the laryngeal muscle action.

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Yeah... unfortunately, this is not the answer either. Simplification is welcome, oversimplification will lead to overcompression and this kind of fake covering, which results in a lot of effort with very small results. Is it a mix? Of what? You cant mix chest and head, since both are just descriptions.

Its a way to start, but sooo far from the goal its kind of sad to see this person reiveinting a triangular wheel...

Doing this alone may allow you to do sounds above passagio. But to have quality and consistency... it will involve a little more of finesse than " holding back" the breath...

One more magical recipe to sing high lol, wonder how all the other BS came to be uh?

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Agree felipe singing high is Hard work, specialy if your à deeper voicetype... I sometimes feel like we overthink things though atleast i do. I tried à new approach that works quite Well, just train your voice strong. Also demanding great things of your voice.

Nothing more...

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folks,

watch out for the hold the breath strategy. it can get you into trouble if you don't know how to do it correctly.

it's really not that you're holding your breath in the literal sense, like you might do if you went to swim under water. it more better to say you are cutting your air flow back.... the flow, not the pressure.

basically, you achieve a balance between the air pressure and the fold tension that you feel like the breath is suspended or like there is no sensation of exhalation...you feel your voice as very balanced and efficient.

you're still exhaling, but at a very controlled rate. if the flow of the air is too great it blows the folds apart or the folds will overtighten to resist the flow and you end up over squeezing the folds to contain the air.

learning to sing long legatto notes are great to feel this suspension.....try singing an "ah" at a comfortable pitch for 20 seconds or more.

sing "too, wee, than "yah" and hold the "yah" for at least 20 seconds.

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folks,

watch out for the hold the breath strategy. it can get you into trouble if you don't know how to do it correctly.

it's really not that you're holding your breath in the literal sense, like you might do if you went to swim under water. it more better to say you are cutting your air flow back.... the flow, not the pressure.

basically, you achieve a balance between the air pressure and the fold tension that you feel like the breath is suspended or like there is no sensation of exhalation...you feel your voice as very balanced and efficient.

you're still exhaling, but at a very controlled rate. if the flow of the air is too great it blows the folds apart or the folds will overtighten to resist the flow and you end up over squeezing to contain the air.

Videohere, what you said just now was beautiful. I agree 100%, I'm going to incorporate what you just said into my training. Thank you so much.

One last question (for today lol), if I buy some candles and sing some songs/exercises without putting them out, would it be employing the same principal? Of cutting the air back but not the pressure :)

- JayMC

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jay,

i applaud your enthusiam, but i just need to warn you that there are simply, definitely not these magical keys or "that's all there is to it" answers to building and developing the voice.

you've got to do the work...the basics...day after day, month after month, and keep a log of your progress.

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I'm just going to jump in and say that do it however it works for you. If you want to write down what you did, what notes to could comfortably do on a particular exercise, do that. I usually make a recording of myself doing an exercise/song i'm finding really tricky, then when I look back a few weeks later I can see if i've improved. This gives me a gauge but also encourages me.

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log my progress?

not formally, just work on consistent improvement.

work on your weak points, keep your strong points strong

experiment, experiment, experiment!!!

record yourself, an absolute must!!!......

you have to keep working at it........the gains will come and some gains come to you that you weren't even working on!!!

there is a huge difference to be made in a few years.

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Funny, Estill is actually very notable for focusing heavily on relations to familiar sensations...but yes, they are definitely one of the least big-picture vocal techniques out there.

Even more ironically, I'm following TVS which is quite a technical method...but somehow I can easily comprehend it, and I think a lot of other people see it in the same light. It's technical in a good way.

I don't think the Estill program is actually designed to train singers directly. It's primarily designed to give a better understanding of the voice to voice teachers and speech therapists.

Vocal instructors, Gillyanne Kayes for example, then take what they learn from Estill and use it to create practical programs to train singers.

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