tag:blogger.com,1999:blog-75804713202665096732024-03-19T14:58:37.662-07:00Sing TodayDewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-7580471320266509673.post-16513245813106620332012-05-28T23:24:00.001-07:002013-12-28T09:30:04.099-08:00<object width="420" height="315">
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</object>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-4416757309461610572012-03-05T21:10:00.003-08:002012-03-05T21:20:33.545-08:00Cornell MacNeill<iframe width="420" height="315" src="http://www.youtube.com/embed/hgBCBJZALSw" frameborder="0" allowfullscreen></iframe>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-58129125759075775262012-01-24T06:52:00.000-08:002012-01-24T06:53:08.793-08:00Don't "place" the tone!<iframe src="https://docs.google.com/document/pub?id=1hUkWbdUAMuPvhi6ZFNZiJ7wjzv0IBBErbAXzqzxgN_4&embedded=true"></iframe>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-5429927768125810462011-09-28T21:37:00.000-07:002011-09-28T21:37:06.109-07:00Charlie Shavers "The Man I Love" 1956<iframe width="459" height="344" src="http://www.youtube.com/embed/vfgJx9b1T1E?fs=1" frameborder="0" allowFullScreen=""></iframe>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com1tag:blogger.com,1999:blog-7580471320266509673.post-50047229916809304612011-04-02T21:33:00.000-07:002011-04-02T21:36:57.390-07:00Manuel Garcia/John Sargent<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPCXfhAeZ4Oo9Ble5sewg9SRuqsb02z0k0QWPpw3jH3NLwmdnt3pDuhdXxKOiNuPsRVhgVWyU8DLYMSF2o1nTiE1Ant9vBm3PnUvS77bq0Jj-ut3MYORdID9-AiZWZib7CuYVs21v5No5S/s1600/Manuel+Garcia_John+Sargent"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 229px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPCXfhAeZ4Oo9Ble5sewg9SRuqsb02z0k0QWPpw3jH3NLwmdnt3pDuhdXxKOiNuPsRVhgVWyU8DLYMSF2o1nTiE1Ant9vBm3PnUvS77bq0Jj-ut3MYORdID9-AiZWZib7CuYVs21v5No5S/s320/Manuel+Garcia_John+Sargent" border="0" alt=""id="BLOGGER_PHOTO_ID_5591211050755364434" /></a>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-51679335043934114922011-01-03T16:13:00.000-08:002013-12-28T11:08:12.048-08:00Primary and Secondary PassaggiWhen many voice experts refer to the "passaggio", they are commenting on the last bridge before entering the high voice; e,f, and g. This concept is applied for roughly all their lower or higher voiced singers. I was taught in my vocal pedagogy class, that there are two passaggi, a primary and secondary passaggio. I have found it interesting that the relationship could actually have some bearing on the concepts of developing the voice and is representative of the way the voice really works. It has brought me to what I think are interesting conclusions. For instance, how to dependably tell whether a student is a tenor or a baritone, or soprano or alto. Many singers after years are still wondering about whether they are a this (low) or a that (high) vocally. Understanding the passaggi in the voice can completely draw definte and applicable lines of determining the voice part or fach of a given singer.<br />
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To make application you have to accept the concept of the thyro-arytenoids as behaving like a vibrating string; having nodes, and harmonic interplay based on the frequency or pitch/mass relationship and the cavities of the human body (thoracic, laryngeal, pharyngeal and sinusoidal). With the help of the crico-thyroids, our voices are capable of producing all pitches in our 3 to 5 octave ranges. In light of this, every voice has natural weak points based on genes and ones particular body type. This in combination of the individual's genetics as worked out through the vocal cords add to these varieties. Take for instance the varying lengths of peoples necks, how tall or how long or short waist-ed, or how low might ones larynx seat, the size of tongue; the width of the cheek must affect the interior dimensions of the pharyngeal spaces. All of these variations make up the individual voice of ones particular whole body. Based on all of these variances, and in combination with the size and thickness of the vocal chords, the voice will develop around its own string behavior and harmonics, causing a weak spot that will coincide with a particular pitch in the middle of the voice; the lower passaggio, This naturally weakened pitch is the fulcrum of the individual voice's harmonics, it behaves in an unpredictable way due to its uniqueness. It is sort of like a node on a vibrating string (not to be confused with the vocal malady, I refer to the point on a string where a violinist or guitarist gently rests their finger to access the harmonic series of the instrument). This string behavior in my opinion has bearing on how the voice effortlessly moves from pitch to pitch, and shifts octaves and registers with speed and accuracy.<br />
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If you are a baritone, and this note is b flat, you are a bass-baritone, or a mezzo-soprano if female. One whole step higher and you have spinto tenore, and soprano dramatica, both exhibiting a break at a c sharp in the middle. This application is obvious. A flat; contralto, or basso profundo, A natural; lyric bass, and alto, B flat; bass-baritone, dramatic mezzo soprano, B natural; mezzo or baritone, C; lyric baritone, lyric mezzo, C sharp; spinto soprano/tenor, or dramatic (some may believe their is a distinction between the two), D Lyric Soprano/Tenor, D; E flat; Coloratura/ Leggiero, and so forth, we have all varieties of coloraturi.<br />
<br />
A-flat ; basso, contralto<br />
A natural; lyric bass, alto<br />
B-flat; bass baritone, mezzo<br />
B natural; baritone, mezzo/lyric mezzo<br />
C lyric baritone, lyric mezzo<br />
C-sharp; dramatic tenor, dramatic soprano<br />
D; lyric tenor, lyric soprano<br />
E-flat; leggiero, dramatic coloratura<br />
E; leggiero, coloratura<br />
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This is all very tedious to attempt writing or to say the least to read, but its dependability is very helpful as teachers search out the proper voice classification for their students; especially if you teach young developing singers. The primary passaggio is not easily found until the leverage of diaphragmatic pressure against the voice is completely eliminated. If the note is pressed or over-blown it will negatively impact the development of the vocal cords at this juncture buy distorting the natural flexing of an undeveloped but registration that now presents itself in voice of an adult or adolescent singer.<br />
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This is the case with most singers; as it is a note low enough to dependably hit. It is then often used as a leverage point for the upper voice and never quite working as a dependable means of getting across the secondary passagio that is exactly a perfect 4th above the primary. Abdominal breath pressure disguises this fulcrum note that is an individuals lower passagio, or the primary passagio. Diaphragmatic leverage creates too much air pressure and will develop into an overly thickened primary passage as it develops into a mixed registration, as coined by the late Cornelius Reid, God rest his soul. Once properly exposed and isolated, and while the student learns to not crescendo to ascend the scale (using to much diaphragmatic leverage), you will begin to notice that the perfect fourths above and below the lower passagio, have similar characteristics that create an inconsistent scale (even natural sound that has an unchanging tone thought out the full range), a note that is fuzzy. The student will usually press this "easy to get to" note to try to overcome its natural dullness, (which is why diaphragmatic pressure is so sinister, it makes the not feel a more secure but simultaneously distorts the harmonics of the singers instrument. The incorrect gesture will dig in and will require serious and tedious work to overcome. Even with no inappropriate pressure on the voice the primary break is difficult for singers to keep on pitch, it is a little slippery in both directions, it is like the vocal continental divide the sound wants to slip to either side up or down. Causing cracks and sharping of pitch while it releases too much air or causing flatness of pitch or muddiness of sound and rhythm.<br />
These passagi throughout ones range and exist as divisions in the voice that are in perfect fourths. They behave largely the same way. The half step above the break is breathy or falsetto(y), the passagio itself is slippery and weak in fundemental or fuzzy, the half step below is too chesty and weighty.<br />
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To develop these weak notes I use spoken sounds as glottal strokes (no diaphragmatic support at all, as if spoken casually). A student of mine will sing the letters of the vowel series. Singing as if speaking the vowels as letters a, e,i o, and u. What singing vowel sounds are these? (a) Day, may, spade, (e)see me the eve, Lee. (i) My by Thai spy, (o) go know stove grove, (u) you Sue,too blue.<br />
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With unpressed development the natural huskiness of the primary passaggio begins to grow amber; and make the voice drip deep dark honey, because its middle note is vibrating intensely while not being pressed has been strengthened to bright fundamental that is hyper efficient and wastes no air. This perfect equilibrium allows the vocal cords to vibrate like a string in the balance of poised physics. It is optimized because of the dynamic play of tension and relaxation as the vocal folds vibrate in tone-breath flow loop of something similar to a cat's purr. This is when you can know what proper breath support <span style="font-style: italic;">is</span>, the Italians called it appoggiare You just lean gently on and pulse this vibrating tone loop that is in balance between your vocal cords and the top of the diaphragm. Wild vocal power is accessible while hardly having to stir the body. All registers are accessible with perfect ease; wildly variant timbres are instantly brought into the tone. The singer learns not to get louder to go higher unless the dynamics call for it. You simply excite the harmonics. Then the overtone harmonics of the voice begin to present themselves and strengthen the sympathetic ressonance of the variant register of ones voice. This perceptible harmonics of octaves, dominants, the thirds, drawn off the fundamental pitch. Rather like the variable registrations of a pipe organ. The human voice, properly trained, has massive power and flexibility, unique faceted beauty of tone with breadth, volume, and perfect intonation.<br />
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Working these concepts out will give you full control of your voice allowing you to play the voice like a trumpet in three octaves on any vowel sound (no modification whatsoever). You will also have dazzling vocal power; a very clear light tone to ppp while still being clearly understood and present in any hall; agility; and vocal freshness after performing.<br />
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If you get through all of this, your a real trooper.Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-43116649237136759312011-01-02T17:09:00.000-08:002011-01-02T17:09:00.050-08:00Abide With Me - Old Hymn - on a Berlin reed (pump) organ<iframe width="425" height="344" src="http://www.youtube.com/embed/CXxDuC_LQWo?fs=1" frameborder="0"></iframe>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-79993429849793856242010-04-05T07:21:00.000-07:002011-07-16T12:43:20.238-07:00Understanding Double Formant Vowels<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_R8yQ4g13-R3LJkn2dLBgTm5nDq6UBJ4waC62WLGBrvYJ41C9LjF8JydoJl5QigBhK9-TeDa8ipJYdizwziUqsiFaoysga6iVMgMehwYzAoINWkIMEOaebF7V3J-nBCfsskMIwFiQJaB1/s1600/doubles.jpg"></a><br />The primary understanding that double formant vowels are derived from the single formant vowels is fundamental for one to achieve their successful exploitation in developing the perfect tone. An [u] is present in the [i]. This assertion that [i] and [u] are primarily the same sound is evident in French and German where this relationship is demonstrated commonly. For example the [y] sounds used in French <i>tu, du,</i> and the German u umlaut; English only uses this sound in the pronunciation of the letter <i>q</i>, and words like<i> cute, </i>or <i>puke. </i>Therefore, the use of this sound in English is fairly rare by comparison. <div><br /></div><div>When we teach the [y] sound, we tell the singers to form and [u] and to say [i], juxtaposing the two sounds to create the [y]. When we tell a singer to introduce the [i], the singer will raise the tongue and excite the acoustic phenomenon of the <i>double-formants</i>. So, the employment of the tongue must be embraced if a singer wants to learn how to sing [i], [I], [e], [ɛ], and [æ]. The laryngeal position of the [u] must be maintained. Approaching the bright vowels in this manner will give the singer the ability to warm all bright vowels and brighten all warm vowels without disturbing the steady employment of <i>benoulli's principle</i>. This physical reality gives me the impression that the teacher or singer who introduced the concept of <i>chiaro-oscuro</i></div><div>to the vernacular of singing was dead on. Try out these vowels if you are sure you can eliminate abdominal leverage before the tone, and know how maintain the laryngeal position of a non-lipped [u] sound ("coke bottle [u]" as Cornelius Reid has coined it).</div><div><br /></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238);"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_R8yQ4g13-R3LJkn2dLBgTm5nDq6UBJ4waC62WLGBrvYJ41C9LjF8JydoJl5QigBhK9-TeDa8ipJYdizwziUqsiFaoysga6iVMgMehwYzAoINWkIMEOaebF7V3J-nBCfsskMIwFiQJaB1/s320/doubles.jpg" alt="" id="BLOGGER_PHOTO_ID_5456715411418952978" style="float: left; margin: 0px 10px 10px 0px; cursor: pointer; width: 320px; height: 294px;" border="0" /></span></div><div>Say these sounds in a speaking tone with quick gestures of utterance, freeze while silencing the sound before initializing the final consonant. Then, note the position of the tongue.</div><div><br /></div><div>Keep checking the [i] to see if you can say [u] from the same laryngeal position by dropping the tongue for the [u], and visa-versa for the [i].</div><div><br /></div><div>[i] has the highest tongue position</div><div>[ɛ] is medial</div><div>[a] is at the bottom, flat and slightly grooved</div><div><br /></div><div>Some teachers teach the tongue to be in one position, and will argue that a flat tongue is tense because it suggests the employment of the milo-hyoid. This is wrong. The tongue <b>has</b> to be flat for [a]. <br /><br />To the contrary and perhaps more appropriately, any method that calls for the support of the tone with diaphragmatic leverage before the onset of sound will create tongue tension (milo-hyoid). It very likely will impede the development of these vowels sounds as it to some extent locks the tongue's position and introduces the detrimental gesture of stabilizing the larynx with the employment of the milo-hyoid (swallowing) muscle. Hence, support gestures impede the free movement of the tongue, making it problematic for the student to learn to sing pure vowel sounds in the middle voice. Remember Newton's third law states that for every action there is an equal and opposite reaction. Singers shut the door on the use of double formant vowels by assuming that common support techniques are correct and irrefutable. You can ask anybody how to sing, and they will tell you that "you have to sing from the diaphragm". If this approach to singing is correct and in that it is so well understood to so many, why are there so few "very good" singers? And why don't we have the quality singing today that was prevalent in the mid-twentieth century? </div><div><br /></div><div>Give up support rhetoric and learn how to use the tongue like a rudder in the stream of flowing tone. Develop all of your vowels inside of this stream. This way you can teach yourself a tone that is equally responsive to warmth as it is to brightness; as the concept of effort and leverage dissolve, and acoustical realities, and vocal ease emerge.</div>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-87388148833433032112010-04-02T07:16:00.000-07:002010-04-02T13:58:15.037-07:00The Leap to Double Formant VowelsDouble formant vowels are rich in resonance and therefore "fundamental". They make the voice easy to tune, and give the carrying power to allow the voice to fill any acoustic space. When used correctly, they cultivate in the singer's voice the ability to rise clearly and easily above the orchestra in all the registers and volumes. They allow for delicate articulation and give the singers a presence and energy in the delivery that literally allow the voice to fly off the stage and fill any crevice in the space. This poise and precision gives unique clarity to the relationship of diction and vowel energy to such an extent that the language is consistently and clearly understood. The many benefits of learning how to use these vowel sounds properly are easily accessible if the singer is able to make some conceptual leaps in the approach and embrace the power of these acoustic phenomena that exist in the timeless physics of our natural world.<br /><br />Newton's 3rd law states that for every action, there is an opposite and equal reaction. What kind of physics are we trying to engage when we sing? Are we calling on principles of aero-dynamics, acoustic energy, or gravity resistance. The human throat has so many functions; swallowing, protecting the lungs from foreign objects, sound, and the assertion of strength. One of my teachers referred to the throat as a valve, allowing air-flow freely in both directions with the ability to close or open to any degree based on our needs for a given moment. I like to think of this miraculous organ as having two basic functions; let air out to exhale or make sounds, and hold air in in moments of extreme physicality allowing us to assert our strength and will against gravity.<br /><br />The voice is ruled by the principles of tone: actuator, vibrato, resonator. This is not an idea or a conceptual image, it is the way tones behave in the physical dimensions of our world.<br /><br /> Actuator: Bernoulli's principle (http://en.wikipedia.org/wiki/Bernoulli%27s_principle)<br /> Vibrator: Vocal Cords (thyro-arytenoids)<br /> Resonator: Vowels (tuned spaces that reflect no noise, only pure tone)<br /><br />The perfect balance of these three principles will develop the singers awareness of acoustic ease and will greatly increase the dynamic energy of the vocal cords, resulting in the in the even strengthening of the thyro-arytenoid muscle in all of its potential registers. It does this in the vacuum that eliminating physical leverage allows.<br /><br />In any untrained voice (and many trained), a student will present with these principles out of balance, either minimally in the case of "natural singers", or grossly in the cases of singers who feverishly try to imitate singing sounds and the way singers tend to "think" it feels to make the sound rich and exciting. If a singer gets louder to go up the scale, they misunderstand the function of Bernoulli's principle and by singing in this way, they will only increase the divide between registers where their voice is strong and the registers where their voice is weak. When we speak the voice can go high or low, loud or soft, because we don't have the expressive burden of sustaining pitches. The little blips of vocal energy in the speaking voice reveal clearly the efficiency of human phonation and the simplicity that utterance can reveal about singing. Convention, and imitation has largely lead most singers in the wrong direction as singers try to imitate the leverage they think a sound has, or they are taught, when they are initially introduced to diaphragmatic support. Here's the leap. Singing from the "diaphragm" and "support" are grossly misunderstood, and leads many singers to their ultimate vocal demise. If one attempts to engage the function of double-formant vowels without eliminating the pre-leverage of abdominal and diaphragmatic involvement, it will eat you voice up, kill your middle register, and shut off the upper third of your potential vocal range. The books say the span of common human phonation is three octaves. If we look for evidence of this in the speaking voice, we will notice that all three octaves are mixed and have characteristics of both ends of the vocal range in any give sound; clarity (resonance) and ease (flow and warmth). Just listen to the way children use there voices when they are at play. If singers can get a handle on the very present energy the physical world offers us in acoustics and aero-dynamics we can fly. Do you think that the music of Rossini, Donizetti, and Bellini were written for singers who couldn't sing it? Did the original singers of Verdi's operas sing only until they were in there mid-thirties? Why is it different now?<br /><br />Take the leap! It is the key to using the double-formant vowels to teach the singer how to stay "on the cords", forgive me, but if you are frustrated as a singer or teacher and if you don't know what the expression "on the cords" means or feels like, you are on on the wrong track. Don't be afraid, if you can abandon the idea that the voice is fragile and the conventional rhetoric of support, placement, and raising of the soft palate, your best singing and teaching is right in front of you.<br /><br />http://www.josephshore.com/Hines/interview.htmDewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-54618070217827629722010-03-13T10:35:00.000-08:002010-03-16T19:33:02.063-07:00Single formants are the foundation of the double formantsLearning the [u] with a low larynx helps to effectively develop the musculature needed for anchoring the larynx into a low, fixed position. One that is effective for achieving efficiency and resonance. Rounding (without the lips) the [u] seats the larynx and induces air-flow through the vocal cords. The single formant vowels behave like a flue; working in perfect balance with the steady emission of air by means of Bernoulli's principle in action. Single formants build their ability to create dark sounds in a way that induces air-flow. Many who implore darkening of the tone, do so at the expense of efficiency, as weight is normally a result of darkening a "supported" tone. Learning the single formant vowels as being conceptualized primarily as a speaking tone will allow any student to warm the voice easily, as if opening and closing shutters. How do we say words like: you, new, Sue, do, flew, two, grew, stew? If you'll notice, there is also a ring or resonance to these sounds, in some words this ring is intensified by the use of the semi-consonant in words like new, and stew. This suggests to me that this [u] position could be a more natural position by which to approach developing the ring of the voice. One way to do this is by employing our ability to create double formant vowels as [i]s, [ɛ]s, and [æ]s. Further, a smooth connection between the fundamental qualities of both single and double formant vowels allows for seamless phonation through the multi-syllabic dynamic of singing. It does this by allowing the singer to change syllables without ever changing the airflow and disturbing the action of Bernoulli's principle.Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-77236495233124228632010-03-08T06:26:00.000-08:002010-03-08T07:00:08.297-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBAqYmzm7IVUevrpmoSH7w25esll2EAVQ0S-zTxOQpvAk5DkThU4i33EDpKiQDap_yysDTGXWtDIqw28LRLCMKEgezj410LR_8hc1zzRqKqPxc1dDSOI9deE7iGnxCo3p2jNVRVswuWzhk/s1600-h/double+formant.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 250px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBAqYmzm7IVUevrpmoSH7w25esll2EAVQ0S-zTxOQpvAk5DkThU4i33EDpKiQDap_yysDTGXWtDIqw28LRLCMKEgezj410LR_8hc1zzRqKqPxc1dDSOI9deE7iGnxCo3p2jNVRVswuWzhk/s320/double+formant.jpg" alt="" id="BLOGGER_PHOTO_ID_5446277287486939714" border="0" /></a><br />Lets go through the single formant vowels. These vowels exploit our voices ability to create warm vocal qualities. They are formed in the pharynx, starting just above a low seated larynx, and rising above mouth and upper pharynx with the tongue remaining flat. The most closed single formant being [u] and the most open being [ɔ] or [ə]. This is of course assuming that [a] is considered neither single or double formant, as it is fully open and demonstrates qualities of both types of vowels. The larynx should be low, and you should be able to make the [u] with no rounding of the lips, if you can't make this sound without your lips rounding, your larynx is too high, and you are off of your cords. If allowed to develop from the wrong laryngeal position and engagement of the embouchure, as you develop, your attempts to warm or color the tone will either be too breathy, or too pressed. This must be learned before you begin the development of the [i], or the most closed "double-formant" vowel.Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-28306860557568420062010-03-06T12:47:00.000-08:002010-03-08T19:09:07.723-08:00Eating an apple before singing will refresh your voice. It does this by restoring the ph balance of the tissue in the throat. Eat an apple, find the core (2800). <a href="http://en.wikipedia.org/wiki/Vocal_resonation">http://en.wikipedia.org/wiki/Vocal_resonation</a>Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-75663175990834059532010-03-05T09:16:00.000-08:002010-03-09T07:12:25.992-08:00Best time to warm-upWarm up in the morning the day of a performance, and brush the dust off again half and hour before you perform.<br /><br />Work on your [i] [ɛ] and [ae] in the middle, the e octave encompassing middle c for men, and an octave up for women. Very bright with zero abdominal action or support, mp initially to mf. Start on the lower notes and be sure and keep the core or buzz in the sound.<br /><br />Singers who wait to warm up just before a performance put themselves at a dis-advantage for achieving the best and most efficient resonance which usually ends up with one's over- compensating physically, and bringing on unnecessary fatigue and premature vocal exhaustion. You don't want that happening on the big night.Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0tag:blogger.com,1999:blog-7580471320266509673.post-41078346681561520732010-03-04T11:03:00.000-08:002010-03-04T11:05:35.756-08:00Welcome. Please post questions you may have concerning the voice.Dewin Tibbshttp://www.blogger.com/profile/13920873325654087838noreply@blogger.com0