Karaoke Forums

Something I just recently became aware of is that when opening your mouth to sing the first note(s) in a phrase, we often will produce too much airflow because we naturally have more of it before emptying our lungs/diaphragm. This really will stick out in recordings so unless that is the desired effect, I've learned to "hold back" a little on those first one or two syllables of the lyric--

how you placed for a foot massage next thursday then?

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"Be who you are and say what you feel... Because those that matter... Don't mind...And those that mind... Don't matter."

I chip teeth frequently cos I get upclose n personal wiv my sm58

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"Be who you are and say what you feel... Because those that matter... Don't mind...And those that mind... Don't matter."

My biggest prob is I forget to inflate my diaphram enough to get through a longish phrase without breathing. It could be due to the smoker thing or it could be that I am so used to voicing ads where you take little breaths and have to finish the script in 30 secs yet still find the right amount of feeling

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"Be who you are and say what you feel... Because those that matter... Don't mind...And those that mind... Don't matter."

Yes,  I am willing to open my mouth to have my foot massaged.  As I've stated, I'm not willing to open it to sing.

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Northeast United States runner up for the "Singing Hall of Shame".

ok i know this thread is getting sunk down to the bottom again .

when i was taking voice lessons my teacher would tell me to practice my breathing while i was lying down flat and always breathe from my diaphram. i do try to do this most of the time but it can get really hard to remember to do . he also told me to practice singing while lying down , you know running thru my la la la la la la la's and that if i could hit my notes while lying down it would be much easier to hit them once i'm standing . also if you are having a problem with hitting notes you can with practice broaden your range with . . . wait for it . . . practice lmao. when you're getting ready to hit a note imagine someone is pulling your head up with an invisible thread as the note grows higher. the more you do this the more used to the note your voice will become and the easier it will be to perform.

god i hope i don't sound preachy and if someone already mentioned these things i apologize.

~~HUGS~~ Angie.

as for the vibrato thing i don't know where i get mine, sometimes it's there and sometimes it's not. i think it's mostly a natural vocal ability  eg: http://www.esnips.com/doc/0831a535-97d2 ... eights.mp3  

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I'm in my own little world,but it's ok they know me here.

http://www.myspace.com/faile_x2

You falsettod Kate Bushes Soprano there correct ?

I recently accompanied a woman who sang her songs,  and we did "The Man with the Child in his eyes",  also "reaching out".  Kate Bush has an amazingly strong soprano.  Her use of timing is very tricky. IE..  The song you did which I also have done on Piano (I learned the full album "The Whole Story") has very tricky time signatures. Reaching out of course is simple timing-wise.  But, even "Man with the Child in.."

Ooh, he's here again,
The man with the child in his eyes.
Ooh, he's here again,
The man with the child in his eyes.

She strays a bit from conventional time signature.. and hesitates, even jumps the pickup prematurely time-wise  :shock:

VERY tricky... Because a pianist must fill in with frills as well if the only instrument, and not clutter the song,  her timings in her verses make this tough to recover from as a sole accompanying instrumentalist..

just as she throws interesting hesitations and premature starts in her verses of Wuthering Heights

Heathcliff,  It's me---Kathy
It's cold, I'm so cold
Let me in..In your window...  (or whatever she sings there)

Tricky timing to follow a vocalist on.

I think that's her original Key too... A

Not sure how many key signatures she goes thru in this one song either, But to sing her strong in her actual key signature is very tough.  She's a powerful Sop  

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Northeast United States runner up for the "Singing Hall of Shame".

I absolutely love kate bush, she is amazing! i actually did man with the child in his eyes for a highschool recital lmao. AND i have a friend who is working on a piano backing for me so i can make my own karaoke file to sing with when i'm out.

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I'm in my own little world,but it's ok they know me here.

http://www.myspace.com/faile_x2

When Kate Bush released "THe WHole Story" around 1986 many females liked her, but we traditional male rock musicians had a tough time taking to her style because she was such an unconventionally loud pronounced pretty frantic sounding soprano..  A few of us got used to her...... I never like Minnie Ripperton, however I can now appreciate Kate Bushes genius.  She does all the orchestrating, and is now into more of a jazz-style. She's exceptionally talented.  I certainly can't take that away from her.

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Northeast United States runner up for the "Singing Hall of Shame".

[quote="Faile @ Wed Oct 18, 2006 3:30 pm"]ok i know this thread is getting sunk down to the bottom again .

when i was taking voice lessons my teacher would tell me to practice my breathing while i was lying down flat and always breathe from my diaphram. i do try to do this most of the time but it can get really hard to remember to do . he also told me to practice singing while lying down , you know running thru my la la la la la la la's and that if i could hit my notes while lying down it would be much easier to hit them once i'm standing . also if you are having a problem with hitting notes you can with practice broaden your range with . . . wait for it . . . practice lmao. when you're getting ready to hit a note imagine someone is pulling your head up with an invisible thread as the note grows higher. the more you do this the more used to the note your voice will become and the easier it will be to perform.

~~HUGS~~ Angie.
I have always found laying on my back to sing a real benefit which has come in really handy of late whilst being laid up with a fractured spine. It certainly helps with the breathing possibly because of gravity on your diaphragm or just that you can totally relax and just sing the song. an other quirky little observation was that I always used to sing in the car so learned to control the vibrations of bumps etc. I realised this made me able to still control my vocal whilst moving about on stage ( I would have said dancing but there must be some honesty here)  I only realised this was why, when practising with others in the car on the way to a gig and they were sounding like they were being patted hard on the back ( the machine gun effect)  :dancin:  I don't know if this will help anyone but helped me pass a few minutes  Dofa

Interesting you mentioned breathing technique.  I had the strangest dream about a vocalist who was able to inhale thru his nose while singing hence he never had to pause for a breath. It was a strange dream.  In the dream I was asking if he learned from Dizzy Gillespe's "circular breathing" technique while playing the horn.  To that the vocalist exclaimed..

"Nope,  Gillespe doesn't actually inhale while he blows out,  he utilizes the pouches in his cheek to store air, and has a very tight embechure so he doesn't really need to exhale as much as many horn players as he blows the horn, hence his respiratory system can function more easily since he has more lip control, and the "Gillespe pouches" storing air..  I however have somewhat of an abnormal physical nuance, since reflex makes my ability impossible for most to do, there's a quirk in my brain that over-rides the autonomic nervous systems reflex making it impossible for most to inhale while simultaneously exhaling.  I can take air into my lungs thru my nostrils as I exhale   "


End of dream:

(and you folks thought I had a life ...  With dreams like this ??  )

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Northeast United States runner up for the "Singing Hall of Shame".

I've never figured out this "circular breathing" ascribed to some musicians.  One of the most recognized practitioners of this was trombonist Tommy Dorsey (listen to his "Song of India"--he goes for nearly 18 bars without seemingly taking a breath on his legato trombone solo).  I saw an oboe player on the old "Tonight Show" (Doc Severinson's band) that played "Send in the Clowns" without seemingly pausing for a breath.

How they do this is a mystery to me! I've heard all kinds of explanations:  taking in air while blowing (which just sounds nigh impossible to me), taking extremely quick breathes through a small pinhole of room through their mouthpiece to just having extremely powerful lungs (also sounds implausible).  I do know among musicians it's something of a freak ability of sorts.