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Singing Progress

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Jun. 19th, 2007 | 07:37 pm
mood: accomplishedaccomplished
music: Me singing

Well, it's around 6 months since I started singing lesson. And I finally have a voice that I am proud of! Here are some recordings, dates are in the filenames.

I'm aware of my sometimes nasal voice :( Sometimes I overcompensate, like in the driftwood chorus and end up with a dark voice. Practice will make perfect!

Another major flaw is my pronunciation. A lot of my words sound "funny".

The clips are here

The songs are:

Driftwood, by Travis
Drive, by Incubus
Lucky, by Radiohead

The things I've learnt about singing are:


  • Larynx must not rise too high or drop too low, otherwise vocalising doesn't happen at the higher and lower notes. A steady larynx allows greater range.
  • Vocal chords can be pulled together by muscles at the back of the throat. This is necessary for good singing! Too loose vocal chords allow air to rush through, and don't give a nice sound. Well connected vocal chords gives a lot of mid and treble in the voice.
  • The upper chest needs to be relaxed. I believe it's the solar plexus in particular. This gives a huge amount of resonance and bass tones in the voice. AND it lets the air get up to the vocal chords in a different way, which seems to work better.
  • Air going through the nose gives an unpleasent high-pitched aspect to a voice. You can hear this clearly in the first chorus of 2007_06_19_Driftwood_Nasal.mp3, "You're driftwood, floating underwater.."
  • The lower chest is both pushing air AND pulling back. Too much air pushed through will strain the vocal chords as they try to cope. So the air must be limited to a nice equilibrium, where the vocal chords stay together and the air trickles through, but it also pressurised at all times.
  • Lifting the soft palette (like what happens when you yawn) gives greater resonance, and also pulls the vocal chords together. Plus, it sends air through your mouth instead of your nose. So many good things from one action! But controlling it is difficult. I heard one experienced singer say that full conscious control of the soft palette is impossible, and it can only be controlled indirectly.


Something that amazes me is that so many of these things serve multiple purposes. Adjusting one part affects many aspects of the voice in a positive way.
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