http://www.ncvs.org/ncvs/info/singers/use_low.pdf


Talks about the head voice, falsetto ...."light mechanism" and stuff...


plz, everyone check it out and give me your views on it ! I read it and though some things are more clear now, I'm a bit confused...



for example, are there any exercises for strengthening the thyroarytenoid muscles???


plz ... everyone comment it on it as I find it covers a lot of what those of us interested in higher notes should know

Is this article stating that only certain singers can use the entire vocal chord in higher notes? Thats kind of what it seems like.

I myself really want to learn how to nail those high notes with full voice, but still keep it rounded this article is making me wonder if thats possible?

Yeah, I also wanted to know if someone could shed a light on that.... hahaha an explanation by Jaime would be great but if anyone else can give it ashot plz do so :D

Thanks for sharing this article. Some of the wrods were a bit confusig but once you get the idea of what they are saying it makes good points

Don't have time to breathe right now. I'll read the article when I can.

JV

I read it again, and I think basically all its stating is that more closed vowels such as and . Are good to get a singer into his vocal tract, this will make the voice go into a lighter register and should help keep the voice connected from high to low.

I think they mean people who work enough to thicken this light head voice will then be able to use full voice.

I think I've found what their talking about, this is also used in Speech level singing. I think I understand now why its much harder to develop an operatic voice as opposed to a yell type voice.

The IH and U vowel type modification are what SLS is all about. An operatic voice isn't necessarily harder to develop than a yell type voice. It's all about how you approach everything, key word being approach.

If you like that article, you should check out this one. It's a bit more intensive, but well worth it once you understand everything that's being said. http://www.ncvs.org/pas/2004/pres/thurman/thurman.htm

Cuno, the article you linked is also very interesting... I like its approach.... I'm reading it now... :D thx :D

So far I'm on page 19 some very intense reading, but I'm learning a decent amount however some of it is confusing me.
I forget what page it was on but it mentioned something about narrowing your tubes then generated some kind of overload? Doesn't this mean vowels like and can be a bad thing for the chords?

It depends on how you do it. I think you're probably referring to stuff about the epilaryngeal tube. You might want to look up some info on acoustic impedance, acoustic loading and acoustic overloading. (Some may call it vocal fold overloading.) Basically, all it's saying is that whatever vowel you choose and how you position your vocal tract has a direct effect on your cords and the musculature that will resultantly engage.

I see. Is there anyway you could get on aim sometime? I have some things I wanted to ask you about. :)

Sure.

Anything can be a bad thing for your cords, depending on how you do it. Every vowel could affect you as well as every consonant. Just strengthen your instrument, then sing your ass off. If it hurts, then stop. Don't sweat learning all of this vocal anatomy, vocal tract, vowel shape changing stuff. When I first really got into singing, I studied every possible thing I could until it drove me nuts. You can never learn too much but you can drive yourself crazy with it all. I have probably forgotten more than I learned. Point is, unless you are writing a masters thesis on vowel pronunciation, don't worry about it. When I wrote RYV, I wanted to throw in as much useful info as possible, while keeping as stupidly simple as possible, that way you couldn't get real hung up on any particulars. Just have fun man and you'll sing great:)

JV