Jump to content

TVS Poll - Get in here!

Rate this topic


Guest
 Share

Recommended Posts

Hey everyone, I don't know why we don't have a poll function so we'll just do a thread. I hope some teachers and even students participate, this is not a thread to start debate... it's a thread to find out YOUR opinions and each individual opinion will be treated with the utmost respect.

In your opinion what do you rank the important of twang (or squillo or "cry) in your voice from 1 - 10. Although the necessary levels of twang will vary per song we are speaking about cry in "general" we are speaking in terms of helping the voice operate better... smoother... stronger.

What is twang!?

Here it the dictionary definition.

A strong ringing sound such as that made by the plucked string of a musical instrument or a released bowstring.

We know it as a narrowing of the epilarynx.... knowing the terms doesn't help much. So the 2nd voluntary part of the poll is to share your favorite way to build twang.

For me twang is like a 9.5 only behind support seriously. I like using nyit and nyet to wake up the twang muscles. Also the 'intention' behind the twang can greatly affect what happens to the sound imo... what does a baby think when its crying?

That's all folks! Have a good one.

- JayMC

Link to comment
Share on other sites

Great answer Geran, I was against lip rolls but twanged lip rolls seem awesome. SO you just mentally activate twang mode lol! im surprised someone said 10 hahaha.

Turning it on and off is freaking AWESOME lol!!!!

Link to comment
Share on other sites

Well, it depends on which system one is discussing. In Frisell's method, the witch's cackle is to create the right kind of adduction for high notes in the tenor range. Others, such as TVS might call that twang. But the TVS definition of twang is a narrowing the epigottic funnel, a matter shaping a chamber that provides resonance. And your dictionary definition also notes the resonance. And I am all about the resonance. Whether you call it that or twang or goosenfrabe. So, yeah, in the sense of ringing resonance, muy importante. Somewhere between 8 - 10.

How do I increase or maximize that? I see to it that whatever the note is, it feels like it is vibrating the juncture of the soft and hard palate, though I do not "aim" for that. I let it happen. Me likee less tension and strain in singing.

Link to comment
Share on other sites

Once I get twang figured out I'm sure it will be very useful. Thinking of a narrowing in the epiglottic funnel has helped a bit but my witches cackle leaves something to be desired(People rolling in the isles laughing at me when I try it). Quacking hasn't helped too much either, although I can imitate the Aflack duck to perfection.

Somehow transfering these things to training or singing has eluded me. :/

Link to comment
Share on other sites

MDEW maybe this thread will help you more than me, hopefully even Robert will chime in since he is big on twang... and videohere and DAN.

I remember times when I had to twang naturally.... whining about something as a kid... just straight out getting pure attention. When my parents were scolding me naturally the voice raises and becomes RINGY... look for it in the people around you.

I think we're about to find out what it takes to get to the point where you can turn it on like a button... instantly.

Get in this poll folks! Nyaaa-aah-aah-aah

Link to comment
Share on other sites

For me twang is like a 9.5 only behind support seriously. I like using nyit and nyet to wake up the twang muscles. Also the 'intention' behind the twang can greatly affect what happens to the sound imo... what does a baby think when its crying?

That's all folks! Have a good one.

- JayMC

No way could I put twang higher than 9.476! But definitely more than 8.35.

Link to comment
Share on other sites

10, like everything else.

what does a baby think when its crying?

haha lets say that someone gutted you with a hot knife, what would you think to produce the scream? I assure you, range would not be a problem :P.

Its a primal reaction of your body. And thats the best source of "parameters", thats why good and carefully constructed mental images are so important in my opinion.

Link to comment
Share on other sites

I'm going to be a bit of a rebel here.

I could say the level of importance is 10, but only if the level of importance of staying out of quack mode is also 10 :lol:

On the whole, I'd give it about an 8.

Do you really need squillo to be a great singer? I'm not so sure. You can just sing airy all the time. If it works for the style, it works. Or have a characteristically dark tone, nothing wrong with that if you can make it sound a way that you are happy with.

I don't believe in "necessary" twang as a technique thing. Okay sure a teeny bit is necessary but that necessary twang should just be a byproduct of having built the strength in those muscles, never a conscious thought. When it becomes more than a conscious thought it becomes more-than-necessary twang, and a matter of, I want my tone to have lots of squillo. Not, I need lots of twang in order to sing this note. You really don't...not in my opinion.

I am a darker-voiced singer though. I don't find myself clinging to twang with my life. Doing so tends to do more harm than good for me personally. For me it's all about getting the squillo happening indirectly...through placement, support, etc. Only then...when I stop thinking twang or squeeze or contract and just think about harnessing the desired sound...only then, do I really get true, beautiful squillo.

The bottom line is squillo is something you need to work at for a really really long time. You need to be a master at your witchy ee's and every other aggressive twang exercise you can possibly think of. Otherwise you will always be struggling to comfortably apply the quality to tonal balanced singing. It should never really be that hard, or feel like some kind of awful tension in your throat. That's how it will feel in the first year or so of training but ultimately when you go to sing you should be able to add or reduce it at will without having to feel like you need to directly manipulate your larynx or create tensions in order to do so.

Link to comment
Share on other sites

I think we're about to find out what it takes to get to the point where you can turn it on like a button... instantly.

I can do this, if I'm warmed up. I have to let the larynx raise a bit too, but if you give yourself a year of seriously working on twang with Rob coaching you along the way with skype lessons, you will get to that point. Currently, I feel like if I want to twang a lot I can just pop into a slightly different coordination and bam there it is.

Wait till your training really starts to pay off...you start to feel yourself headed in that direction of everything getting ridiculously easier than it used to be.

Link to comment
Share on other sites

Like I said, I find resonance very important. But I don't consider twang, as in the narrowing of the epiglottic funnel, a matter of intense concentration for me.

I concentrate on ringing my head like a bell. But others tell me I twang righteously.

Potayto, potahto.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

×
×
  • Create New...