May 22, 2014
"Sing to express, not to impress."
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"Sing to express, not to impress."
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1. Always put it all in 2. It's always simpler than it seems. 3. Do it right or do it twice.
Translated from an Ancient Sanskrit behavior modification pamphlet I dug up in the back yard while putting in a new sprinkler head. Didn't know they made it this far west. It was carved in stone—so you know that they really meant it.
Union of Word, Tone and Breath p.100
Never pull the voice away from its focus, nor push the breath up from its foundation, nor let diction leave the lips. Never disassociate these three - word, tone, and breath. The feeling of focus is like the touch of a feather within the head. The sense of breath support is like the satisfaction of a good dinner in the stomach. The sensation of good diction is like the tickle on the lips while "playing on a comb." The union of this trinity is like three children playing in a ring, holding hands. If one lets go, all are helpless. Should any one become too energetic the others are embarrassed. Word and breath are generally the guilty ones. The vibration that comes from the focus always seems small. The resonance that is started by the word usually feels large. The energy that streams from the body appears inexhaustible. When energy ceases, the union dissolves. The throat feels "open" only when diction controls vibration, resonance and breath-energy as a unit. Good diction alone excites the pneumatic action in the throat, causing it to feel "free," at the same time it commandeers the energies throughout the whole body and mind. Then singing is easy, and a pleasure to both artist and audience. Technique must touch the "quick" of your being. The voice is pneumatic. (Ventricular pouches in the larynx inflate when both false and true vocal bands (vocal-cords) approach and meet like two pairs of lips when kissing). Ventricular action is as necessary to the singing voice as the pulsation of the glottis. Therefore the voice needs both regular vibration, and full resonance before it can be controlled. This is what a "natural singer" does. The rest of us must learn to do it. The hollow feeling in head, throat and chest is an indication of ventricular preparation to sing. Why are the high tones of the majority of singers pinched and small? Because the throat is made to do double duty - control the breath current and furnish pitch of vibration. As the voice ascends to higher tones, control of breath should descend toward the pelvis. On low tones this gauging is felt at the diaphragm, and even higher. When breath is held and controlled abdominally (from waist to pelvis) the voice is free to expand on any tone high or low.
Bloom and Song p.77
From the trunk descend the roots of the rose tree into the ground, while from the same stem the branches are lifted into the air, and bloom.
From the waist descend the roots of breath into the abdomen while from the same place the branches of breath rise upward, and sing.
Blossoms open to the sun.
Tones open to the air.
It takes time for a tree to grow and bloom.
It takes years for a voice to unfold and sing.
Blossoms seem self-unfolding.
Tones feel self-producing.
The desire to bloom makes the tree grow.
The desire to sing makes the body develop.
The tree must wait for bud and bloom.
The voice must wait for word and tone.
The vigor of the blossom comes from the vigor of the tree.
The energy of the tone comes from the energy of the body.
Laws of nature controls the tree that blooms.
Laws of physiology control the body that sings.
The first tone of a song must commence like spontaneous combustion; not like striking a match.
Anticipation of the next tone is the flame that leaps to ignite its pitch.
This makes sure the line of melody.
Then the voice rides on its own vibration.
The flame must have energy to burn to leap the many intervals.
The energy to burn is furnished by the compressed breath co-ordinately managed.
As the iris adjusts itself to light vibrations, so the epiglottis moves to suit the vibrations of the voice.
This cartilageneous muscle is raised to open a tone, lowered to close a sound.
(The epiglottis is the door to your "Sunday throat").
If your song does not "take possession of you," before you start, you are subjectively not ready to sing it.
If your song does not go easier and easier as you advance, you are objectively not capable of singing it.
Cell intelligence (sensation in nerve and muscle throughout the body) and atomic power (reactions that pervade the whole body and produce co-ordinated energy) are the two main factors in singing.
All else is "gymnasticating."
A song must gather intensity of emotion and energy as you advance from word to word and phrase to phrase.
It must excite a higher quality of voice and a lower control of breath with each succeeding syllable.
The last word of a phrase must find you stronger than the first.
Though the song come to an end, the sensations and re-actions continue 'til the curtain falls and the audience has gone.
It is the inherent quality of your tone (not your sputterings, gaspings, hiccoughings, gruntings, wheezings, rattlings, smearings, tremblings, scoopings, slidings, sobbings, cacklings, raspings, bellowings, etc.) that makes the beauty of your song.
You cannot be sure of the effect you intend to produce until you are conscious of the reactions that prepare you to make it.
Therefore the necessity of team-work of your subjective and objective powers.
A "natural voice" indicates a "good ear for music," a well poised and advantageously adjusted throat and body, adequate lung capacity, and an insistant desire to sing.
You know how the throat is behaving only by the distinctness of diction, the intensity of vibration, resonance of words, the volume of tone, and the ease in singing.
The desire to realize all these, and the effort to control them, trains the breath and the energies of the entire personality. The throat finally feels "open," as when speaking.
A constant bouyancy in head, neck and upper chest is essential to free tone production and good diction.
Some have called this a "fixed high chest," which is a misnomer.
There is nothing muscular about it, and it is not stationary.
It results from a desire to pronounce well and to give volume to the voice.
It causes no displacement in the body.