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 Singing, Vocalists, tips?

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PostSubject: Singing, Vocalists, tips?   Sat Oct 25, 2008 1:39 am

for any singers out there, how do you hold and sustain high note which take more air to hold?
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PostSubject: Re: Singing, Vocalists, tips?   Sat Oct 25, 2008 12:02 pm

Using the diaphragm and sternum to strengthen the voice takes more effort, but requires less oxygen use then using the throat to strengthen notes over an extended period. Working on lung-strength and the means to exult the notes from your core, can keep the length of notes no matter what range.
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PostSubject: Re: Singing, Vocalists, tips?   Sat Oct 25, 2008 1:33 pm

Yes this know but doing this sitting down (drumming) is alot harder than it sounds
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PostSubject: Re: Singing, Vocalists, tips?   Sat Oct 25, 2008 3:14 pm

The correct use of the diaphragm muscle is the universal method. You may have to practice singing as you lay down and in a seat. If you don't learn to use it, you will just harm your throat, and vocal range will be poor.

Here are some tips from a nice site

"The larynx is the big bump in the middle of the neck just below the chin. This houses the vocal cords and controls the process of swallowing. When the larynx moves up, the muscles around the cords act as a sphincter and closes so as to prevent swallowing down the windpipe and into the lungs. This is a very important process when you need to swallow, but it is a very poor process when you are trying to sing. If you place your hand on your larynx and yawn, you will find that you can bring your larynx down as well. This is a good way to learn what it feels like to have the larynx stay down. Our objective is to keep the larynx from moving neither up nor down. It should stay completely still as you ascend and descend.

The vocal cords, also known as vocal folds, are a pair of soft tissue cords that are joined at the front of the larynx and extend back. When they close, the back end of the cords come together (connect), and the airflow is temporarily stopped. When the air pressure from the diaphragm overcomes the pressure of the muscles holding the cords together, they are blown apart and sound is made when they close again due to the resonation created. Then once again the air pressure overcomes the muscle pressure and the process begins again. If a singer is singing an A above middle C, this process happens 440 times every second. (In other words, those suckers slap together FAST to make a pitch...220 times per second to produce A below middle C, 440 times for A above...orchestras tune to A440 as a general rule.) It happens so fast that it is somewhat difficult to see this process happen even if you can see down the singer's throat. Since the invention of the stroboscope, it has become easier to view the vocal cord resonation process.

As long as the vocal cords stay together (adducted), a full vibration can occur without strain or difficulty. If the cord is slightly apart, and a breathy tone is produced, often other muscle groups not associated with singing get involved, and create a "constricted phonation", which is bad for the voice.

There's a lot more that really goes on in the singing process, but this short explanation should help you understand it better. As you sing, pay attention to these two factors:

1. Is the larynx stable and level?
2. Are the cords really closed?

Are you able to accomplish this with little effort? It gets pretty weird when you hit your 1st bridge...

Defining Bridges

A bridge is a place in your voice where you either "walk across", "flip over", or "slam into the hellish brick wall of singing" grin . Another term for a bridge is the Italian word for passage, passaggi (passaggio when plural) that is merely an area in the voice where resonance shifts from one place in the body to another (chest to head, for example). When you hear the word passaggi, you are hearing a reference to bridges.

Knowing where your bridges are can really help you sing through these tricky areas in your range. Bridges take place in different spots for men and women, but they are fairly universal within a gender. There are exceptions within a gender when a singer has an especially thick or thin voice (examples like lyric tenors or dramatic baritones), the result is that the bridges shift up or down slightly. Here we’ll just deal with the good old garden-variety voices in men and women, where we find 4 basic areas of resonance:

1. chest voice;
2. mix voice (some call it a middle voice, we call 'er a mix voice, mm-hmm...);
3. head voice;
4. super head voice.

All combine to create one full voice.

Men's Bridges

Men, with the exception of basses or dramatic baritones, start their first bridge at E-flat above a keyboard's middle C. (Chest range is typically from A110 to the D below the mentioned E-flat.) This is the first note in the mixing or blending area of the voice (a blend of chest voice and head voice), and each chromatic move up will transition the voice toward a headier position and sound. This is the most critical bridge to learn to sing through, because rock, pop and other styles LOVE to camp here. The male vocalist will not feel completely in his head voice until an A or B-flat. This is where the second bridge is.

This second bridge goes from A or B-flat above a keyboard's middle C to D above the keyboard's high C.

Throughout this bridge, the male voice is transitioning through head voice and thinning to super head voice, which starts on E-flat. This is the third bridge in the male voice. We've only addressed three bridges for men, but theoretically, there can more. If a male singer is able to keep his larynx down and balance the right amount of air against his vocal cords, he could potentially reach a whistle range and have to deal with a few more bridges.

Women's Bridges

Women generally have a much shorter chest range, generally from A220 to their first mix note, where a man's second bridge is. That means, generally speaking, a woman's first bridge is on an A or B-flat above a keyboard's middle C.

Once a female vocalist hits an E-flat (or sometimes an E), she is in head voice. Strictly on a technical level, a woman shouldn't sing completely in head voice until an E-flat. (There are stylistic reasons for wanting to find head sooner when you're ascending, but that's another discussion.)

This area of resonation will continue up to an A or B-flat below a keyboard's double-high C. This third bridge puts the female singer in a super head voice, and she will stay in that until she reaches an E-flat above a keyboard's double-high C. When singing most songs, women don't need to go much past this fourth bridge, but there are a few more bridges beyond this fourth bridge. Once again, they are at intervals of an augmented fourth above the E-flat above a double-high C: the fifth bridge is on A, and the sixth is on the E-flat above that. These last two areas of resonation are known as the whistle range, and as I stated, most women don't use these areas, but they do exist and can be developed.
Crossing Bridges

As the pitch ascends, sound traveling from the vocal cords shift paths. Chest voice travels to the hard palate and out of the mouth. (Its "chesty" or "mouthy" feeling) As the pitch rises and goes over the first bridge, the sound begins to split, going behind the soft palate as well as to the hard palate. This is a balancing act of sorts. If too much sound is traveling in front of the soft palate and out of the mouth (you'll begin to tighten and feel like you’re "forcing it"), the result will be a wide vowel and what is called "pulled chest". A residual result will be a high larynx. Ideally we’re looking for a balance of these frequencies as they split over the palate without straining, without the larynx "trying to help". The right balance depends on which note within the mix is being sung, and what the shape of the vowel is. Narrow vowels tend to aid in the cord’s ability to remain closed and relaxed, wide vowels tend to activate too much outside muscle. By the time you're completely in head voice, much of the sound will be traveling behind the soft palate before exiting the skull.

Each time a singer reaches a bridge, more sound must pass behind the soft palate and more resonation within the skull should take place. Singers resist letting sound pass behind the soft palate for a couple of reasons: The first is that they hear the tone bouncing within the skull and feel that it sounds too ringy. They don't realize that the sound they're hearing is not what the audience is hearing. They're picking up this sound through the skull, not from within the room they're singing in. One way to deal with this is to record yourself passing into mix and head voice; then play back what you've recorded. You will hear the difference between how you really sounded and the sound you heard resonating in your head"

It's actually right, all that. The game with hard palate and vowel shapes is extremely important. Good luck! Smile
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