Today I started my practicing with mindfulness, as I’ve started doing the last couple of months. I focused on affirmations that encouraged me to be grateful for what my voice was currently able to do and excited about the problem-solving process (rather than absolutely terrified). Focusing was a little difficult today as I kept getting distracted by a lot of other thoughts that had nothing to do with practicing. I came up with a strategy to help with this. I put my planner (or other notebook) within easy reach so that if my brain did remind me of something I needed to do or worry about, I could quickly write it down. This way, I could save it for later.
Then I actually started into
singing.
· Warm
Up Discoveries
· 54321
on a lip buzz, focusing on feeling any jerking or tension in my throat.
Realized that as I get up to the higher notes, I engage the root of my tongue
just slightly before I start singing. Focused on hearing the pitch and then
just trusting the air move the folds.
· 54321
on [a] I decided to try something similar to the exercises we read in the book
this week. I recorded myself so that I could really hear my onset and offset
tendencies. I definitely found that I had a glottal onset and offset the first
couple times. I continued my recording and added an [h] to beginning of my [a]s,
and tried to feel my entire throat releasing for the offsets. It was tricky because
I either added too much air and things were unstable in my middle range since my
folds weren’t closing all the way or I sometimes added a glottal after the [h].
I definitely felt like by the end it was approaching more balanced place, and
the idea of the silent [h] was helpful. Still, if anyone has any ideas, I’d
love to hear them!
· 132435421
“Why not” with exaggerated diphthongs. I remembered this exercise from a teacher
a while ago and how they had me start with a puffy [wh]. I realized it was for
the same purpose as the [ha] exercise; to get the voice and air in a ready place.
· 123454321
on [ʒ] making sure the tongue was against my hard pallet and the pitch changes
were happening on air. Also noticed a tendency here to involve my tongue in stabilizing
my larynx. When I focused on feeling one line of air with the throat still
released it helped a lot.
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[fa] and crescendo as you go down. I focused on keeping the sound feeling like it
was outside of my body, this helped it stay energized and kept the sensations
from sitting in my throat. It also helped the breath flow without me having to consciously
control it.
· Repertoire
· Laurie’s
Song: paid attention to my onsets and offsets in the first section. Started
them with a silent [h] and took a little extra time to feel if my throat released
between phrases.
o
Is there a better way to practice this?
· La
Spectre de la Rose : focused on a tricky melody in one section by hearing
the phrase in different chunks, and guessing the next note before I played it.
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