The Singers Thread

[Voronwen]

Wow... I wonder why so sad? Many people like her can talk about things like that and not be so sad about it (you know, the old saying "don't cry because it's over, smile because it happened"?).

I'd have to wonder whether she was one of those who had given up the career path and have regrets.

There are still times when i ask myself why i am in the middle of nowhere when i can sing Queen of the Night. I guess there's a lot more to it than just being able to sing, though...

[Tessar]

Well, part of her story is that she and her husband were both wonderful singers and they were finishing up their masters at the same conservatory.

One day during a master class her husband, who was a high lyric tenor, was heard singing by Joan Southerland and Southerland invited the husband to go on a tour with her. He hit it big immediately and ended up singing with all of the greats of that time simply because he was a high tenor and could do all of the exciting top notes that not everyone can.

Meanwhile she was still auditioning and not getting hired because even though she was a wonderful soprano (and I know it's not just her opinion--one of the teachers said she used to be the greatest recital singer he'd ever seen) there are so many sopranos that she just didn't hit the big time.

Her husband's career was short-lived because he hit it big too fast and couldn't handle the pressure after a couple of years. She ended up having a good local and national career, although she said she always wished she had managed to have more of an international career... it wasn't really possible though because she was raising kids and because she and her husband couldn't support their family without one of them having a steady full-time job, and that person ended up being her.

I can understand her sadness though... imagine how you'd feel if tomorrow all of your vocal progress suddenly vanished and instead of your F#'s you were barely topping out at the B5 on a good day, you had a small uncontrollable wobble just because of age, and you were training singers who could do all of the things you used to be able to do.

She made a comment at one point that she could look back on her career as if it were yesterday. Can you even imagine being able to look back and remember everything but not being able to do it any more?


As far as I know there are tons of fantastic singers out there who are just like yourself and aren't doing much professional singing simply because they haven't really pursued it. The things they told us about are pretty strenuous just to get your foot in the door... and like they said, after that work of getting your foot in the door you have to already be so amazing that you get recognized and hired again and again. They said anyone can get a role in an opera company if they try hard enough, but most people only get hired once because once they get that role they're either not a strong enough actor, not a strong enough singer, they make someone angry, or they don't have enough money to support themselves as a rising singer so they have to drop out of the business to take a stable job.


Some of the suggestions they made included putting together your own chorus so that you get some solo opportunities, collaborating with local instrumentalists, staging your own operas with friends for local venues (i.e. "we've put together this opera, can we give a free performance of it at your church some Sunday evening?"), and aggressively pursuing soloist opportunities with already existing local groups.



What I'm starting to think I might do is finish my degree, get a job teaching for a couple of years and spend that time living as cheaply as possible while I pay off my student loans, go to acting/singing workshops, try to build a small local career, and study with the best coaches I can find locally.

Then maybe when I'm 26 or so I can try to start auditioning nationally/internationally once my repertoire list has been built up and I know that I'm capable of good acting and singing. By then, assuming I keep up with attending summer workshops, I should be able to make contacts with directors who would be willing to hire me.

I've thought about the Met. auditions before, but at this point I'm thinking that it would be a horrible, horrible idea to even try out for that till my technique is as good as possible and I have a lot of solid acting experience behind me. One of the things they warned us about was not to sing for famous singers/directors/coaches until we're already at a level where they might actually be impressed enough to help us out. A huge career killer is to sing for high level people before you're already at that high level because they remember you and even if you improve vastly they may never rethink their original opinion of you as a bad singer.

[Tessar]

Two things I need to think about that I learned at the camp are about posture and support.

My posture is still pretty poor, apparently. Two of the coaches (one was the acting teacher, the other was the movement teacher) ended up working with me separately and then briefly together to help me learn how I can fix my posture.

I tend to try to stand without the natural low curve in my spine (the lumbar I think) and then I try to hunch over the top of my spine and cave it forward instead of letting it have the natural forward curve. I also have a problem that typically girls have, which is my top ribs where they meet at the sternum lack flexibility. They're hiked up and can't stretch/expand the way they should. I think it has a lot to do with being home schooled, my dad being frequently gone on business trips/working late, and growing up for 16 years surrounded by two girls and one woman . Apparently my posture is very much like a girl's, and I also gesture like girls do with the back of the arm showing instead of the front of the arm like men do.

I also let my neck lean forward, which I suspect has a lot to do with the fact that for years (and even to this day) I really wanted to be short. I never really wanted to be tall, partially because I loved gymnastics so much and I outgrew it so quickly.

Another reason I think I've avoided those things is because when I do them right I look totally self-confident. I'd even go so far as to say that it makes me look cocky. I've never really tried to express myself as being 'above the level' before, but I think I'm just going to have to reconcile with that look now because if I can look that way for auditions I'm more likely to get hired...

One thing they have me doing is learning to balance myself better over my hips, and then to center my hips more over my ankles so that my body falls into a better alignment. I am also working on taking shorter strides when I walk because I take such long, long strides that I end up throwing my balance way off.

To fix my neck, I look up at the ceiling so that my ears are centered over my shoulders, then rotate my head to level out without my ears moving. It feels very strange, but that just goes to show how used to craning my neck forward I am. I know it's healthy because despite it being a little tiring to do and feeling a little odd, it makes my back feel better and I have no actual discomfort whatsoever in my neck. It also makes me look MUCH more confident.



The support thing is much more complex and I have a feeling I'll be struggling with it for a long time :-/. I'm going to work diligently to fix it though because when I get it right even for just a second my voice is SO, SO MUCH BETTER. Like, tons and tons more even and the top notes just float out effortlessly.

My problem is that although I can expand my ribs pretty well at the sides, the front expansion was lacking slightly (because of the hiked-up front/top ribs) and so I wasn't keeping the pressure entirely off of my lungs. So I'm working on floating the ribs further out and just slightly higher up... that really makes a difference when it comes to singing long phrases.

My big problem though is that I seem to be unable to support with my low abs. I've been tightening my stomach for years thinking that was a sort of support, but in fact it isn't helping me at all. I can't seem to get a very good constant hang on using the low abs.

The way I was shown to sense them is taking a deep breath, curling up your index finger against your thumb to make a tiny hole, and then gently blowing out through that hole. I can really feel my lower abs take over the 'work' when I do that, and it allows my stomach to relax but remain flexibly firm like it should be.

The only way I've been able to actually engage that for singing is to start with the blowing exercise and then mid-exhalation start singing a phrase. I haven't tried to sing very high using it (because it's incredibly difficult to do an attack in the middle of an exhale!!!) BUT I've taken it up to a D4 and that D4 was totally effortless and beautifully placed without me having to expend any other effort.



It's going to make me months, or most likely years, to be able to put it all together not only effectively but automatically... but now that I have these tools I'm actually headed in the right direction to make those things happen.

However, like they said, right now I'm doing those two things at 0%. Once I can do those things at even 30% my singing will be at a professional level, and if I can ever get them to 100% I'll be a world class singer because the posture and the proper support lead to incredible vocal longevity and allow you to perform under strenuous conditions that other professional singers can't.

I'm so glad to know about all of that now so that I can go about fixing it.

[Voronwen]

Originally Posted by Tessar

Her husband's career was short-lived because he hit it big too fast and couldn't handle the pressure after a couple of years. She ended up having a good local and national career, although she said she always wished she had managed to have more of an international career... it wasn't really possible though because she was raising kids and because she and her husband couldn't support their family without one of them having a steady full-time job, and that person ended up being her.

Her story sounds amazing, though. But, yes-- so many career aspirations end because the career life and family life just don't mesh...

I can understand her sadness though... imagine how you'd feel if tomorrow all of your vocal progress suddenly vanished and instead of your F#'s you were barely topping out at the B5 on a good day, you had a small uncontrollable wobble just because of age, and you were training singers who could do all of the things you used to be able to do.

... Can't a voice like that be 'fixed', though? I have heard many times about things like that being remedied by adjustments in technique, etc. I am sure that there are things that can't be helped, though But i knew a mezzo who sang at our church, who had evidently done some professional singing in her youth, who still had all her high (for a mezzo) notes. Her voice was pretty stable, too (no wobble), for a 70+ year old woman. I wonder if there would still be hope for this person?

Of course she could not have her career back now but it might be possible to recover her voice...

She made a comment at one point that she could look back on her career as if it were yesterday. Can you even imagine being able to look back and remember everything but not being able to do it any more?

I can't even imagine her pain! My heart definitely goes out to her, though. It's my instinct to want to think that there is some kind of hope for people like that. How sad indeed!

As far as I know there are tons of fantastic singers out there who are just like yourself and aren't doing much professional singing simply because they haven't really pursued it ...

or they don't have enough money to support themselves as a rising singer so they have to drop out of the business to take a stable job.

The 'financial' reality is a huge part of it, for many. I've read elsewhere that at a certain point, it just becomes too expensive for anyone to do it without sponsors. I don't know how true this is as i 'quit and got married' long before i ever reached that level, but just from what i know from experience, i don't think they were lying...

Some of the suggestions they made included putting together your own chorus so that you get some solo opportunities, collaborating with local instrumentalists, staging your own operas with friends for local venues (i.e. "we've put together this opera, can we give a free performance of it at your church some Sunday evening?"), and aggressively pursuing soloist opportunities with already existing local groups.

Some of this was suggested to me by my present teacher. I've thought about doing a local performance of Mozart's Impresario but we couldn't find a director, a venue, or a tenor! (You probably don't even want to know how rural a place i am stuck in, lol! ).

What I'm starting to think I might do is finish my degree, get a job teaching for a couple of years and spend that time living as cheaply as possible while I pay off my student loans, go to acting/singing workshops, try to build a small local career, and study with the best coaches I can find locally.

Starting 'small' is, i think, the best way to go. Going straight to MET Auditions could be a huge career starter for those who want an international-level career, but you got good advice regarding doing that sort of thing too soon.

There is supposed to be a film out there about those auditions, that was aired on PBS. Have you seen it? I haven't, but i'd love to. I read reviews about it. These contestants are under *immense* pressure. I think personally i'd implode under that kind of pressure.

[Voronwen]

Originally Posted by Tessar

Another reason I think I've avoided those things is because when I do them right I look totally self-confident. I'd even go so far as to say that it makes me look cocky. I've never really tried to express myself as being 'above the level' before, but I think I'm just going to have to reconcile with that look now because if I can look that way for auditions I'm more likely to get hired...

This is so true. It goes back to the whole idea of "stage presence".

You've gotten a lot of good coaching in this regard!

The support thing is much more complex and I have a feeling I'll be struggling with it for a long time :-/. I'm going to work diligently to fix it though because when I get it right even for just a second my voice is SO, SO MUCH BETTER. Like, tons and tons more even and the top notes just float out effortlessly.

You'll get it! It's *there*, now it just needs to become a good habit!

My big problem though is that I seem to be unable to support with my low abs. I've been tightening my stomach for years thinking that was a sort of support, but in fact it isn't helping me at all. I can't seem to get a very good constant hang on using the low abs.

Might it help to visualize that your diaphragm can expand all the way down there? It doesn't of course, but something like this might get you thinking/feeling what it's like to get your breath and support into a really low place. Talk to your teacher about it. My teacher has mentioned that we actually support, especially the highest notes, with our entire bodies. The thighs, the knees, everything. I know that when i am singing 'with my entire body', everything is practically effortless.

I've taken it up to a D4 and that D4 was totally effortless and beautifully placed without me having to expend any other effort.

Ah, isn't it a lovely thing when everything is alligned and it feels effortless!

It's going to make me months, or most likely years, to be able to put it all together not only effectively but automatically... but now that I have these tools I'm actually headed in the right direction to make those things happen.

YES! Honestly, "months or years" is exactly right. My own recent breakthroughs were based on concepts from lessons i had 6 months ago and 6 years ago(!) that i just was finally able to 'get'. That sounds so slow and dumb but it's not, it's actually just such an intricate learning process that it really does take that long. I've heard teachers say that building technique is like building something layer upon layer. It's so true.

However, like they said, right now I'm doing those two things at 0%. Once I can do those things at even 30% my singing will be at a professional level, and if I can ever get them to 100% I'll be a world class singer because the posture and the proper support lead to incredible vocal longevity and allow you to perform under strenuous conditions that other professional singers can't.

Keep it up! I can't encourage you enough!!!

I'm so glad to know about all of that now so that I can go about fixing it.

And you will, because you have that knowledge Now go forth and sing!

[Tessar]

.. Can't a voice like that be 'fixed', though? I have heard many times about things like that being remedied by adjustments in technique, etc. I am sure that there are things that can't be helped, though But i knew a mezzo who sang at our church, who had evidently done some professional singing in her youth, who still had all her high (for a mezzo) notes. Her voice was pretty stable, too (no wobble), for a 70+ year old woman. I wonder if there would still be hope for this person?

Of course she could not have her career back now but it might be possible to recover her voice...

I have a feeling her voice may be somewhat worn down. She had a full-time career as a teacher at the same time as she was taking night classes, raising three children, supporting her husband's career, directing a choir, and performing recitals constantly for years.

Don't get me wrong, her technique seems excellent. I think she's just really old, and used her voice so heavily when she was young that it's all just a little worn down now. It's not that she sounds bad, but you can never sound entirely 'young' again .

My heart definitely goes out to her, though. It's my instinct to want to think that there is some kind of hope for people like that. How sad indeed!

I think I gave you the wrong impression! She still has a big soprano voice, but it's just not what it was when she was young. I think she just regrets not having a big international career when she was young and in full voice.

The 'financial' reality is a huge part of it, for many. I've read elsewhere that at a certain point, it just becomes too expensive for anyone to do it without sponsors. I don't know how true this is as i 'quit and got married' long before i ever reached that level, but just from what i know from experience, i don't think they were lying...

Unfortunately I hear that as well . She was saying that even when he was very famous, her husband would go on two month tours and when all of the figures were tallied up they would be $2,000 or more in debt from his singing recitals daily around the country for two solid months.

Starting 'small' is, i think, the best way to go. Going straight to MET Auditions could be a huge career starter for those who want an international-level career, but you got good advice regarding doing that sort of thing too soon.

I think it might be my smartest bet. Because the fact is that once you get to the Met EVERYONE is an incredible singer with a great voice, so even if you have the voice and the technique... well so does everyone else. You have to be experienced enough, good enough, determined enough, and smart enough to stand out. Maybe I'll never have all of that, but I can sure try . And starting small will (hopefully) prevent me from crashing and burning.

YES! Honestly, "months or years" is exactly right. My own recent breakthroughs were based on concepts from lessons i had 6 months ago and 6 years ago(!) that i just was finally able to 'get'. That sounds so slow and dumb but it's not, it's actually just such an intricate learning process that it really does take that long. I've heard teachers say that building technique is like building something layer upon layer. It's so true.

What I've heard is that for instruments, singing, and generally just most things in life (unless you're just an INCREDIBLE natural talent) it usually takes 10 years of working with a great mentor before you have begun to master whatever it is you're working on, and I think that's true.




RE: the posture thing with positioning the head over the shoulders--I showed my sister how to do it and OMG!!!! O_o It was incredible. She suddenly looked confident, tough, her shoulders looked broad and strong, and (to be quite blunt) it made her boobs look bigger o_O. It was more effective than the 'noble' chest thing I had shown her before.

She did agree though that it makes me look kind of arrogant just because of the way my head naturally sits and because I'm tall enough (6'1") that I typically look 'down' at people.

I dunno :-/. There's a part of me that HATES that idea. I don't want to look down at people or look like I think I'm so amaaaazing that I'm all arrogant and self centered... just because I'm using good posture. But if that's what it takes to have good posture and to help my singing then I'm going to learn to embrace and love it.

But then again there's also a part of me that thinks maybe it's a good thing assuming I ever CAN become amazing. You know? So many people just don't have that naturally confident look just by adjusting their posture. I look VERY comfortable and strong when I stand that way... so maybe it will be part of my 'edge'.

[Voronwen]

Originally Posted by Tessar

I think I gave you the wrong impression! She still has a big soprano voice, but it's just not what it was when she was young. I think she just regrets not having a big international career when she was young and in full voice.

Ah, i see.

She was saying that even when he was very famous, her husband would go on two month tours and when all of the figures were tallied up they would be $2,000 or more in debt from his singing recitals daily around the country for two solid months.

the fact is that once you get to the Met EVERYONE is an incredible singer with a great voice, so even if you have the voice and the technique... well so does everyone else.

Indeed!

What I've heard is that for instruments, singing, and generally just most things in life (unless you're just an INCREDIBLE natural talent) it usually takes 10 years of working with a great mentor before you have begun to master whatever it is you're working on, and I think that's true.

That's probably about right!

RE: the posture thing

She did agree though that it makes me look kind of arrogant just because of the way my head naturally sits and because I'm tall enough (6'1") that I typically look 'down' at people.

There's a part of me that HATES that idea. I don't want to look down at people or look like I think I'm so amaaaazing that I'm all arrogant and self centered... just because I'm using good posture. But if that's what it takes to have good posture and to help my singing then I'm going to learn to embrace and love it.

Hmm.... I'm thinking that this is something you could at the very least utilize for certain characters. There are plenty of baritone roles that require that kind of 'attitude'... think Don Giovanni!

[Tessar]

My dad's funny. I was telling him about how one of the directors would just yell at people, even the high school students, if she thought they weren't trying or even if they were some times and she wasn't happy with the results.

Oh he got ALL worked up and decided that not only is she a bully, but someone needs to yell back at her. I tried to explain to him that it's just how the musical/theater world is and he realizes that and agreed she's probably doing it (in part) to toughen up the students... but he's extremely unhappy about it and thinks it's very wrong.

I agree yelling is bad, and that it's never fun to be yelled at... but OMG. Get real. That's friggin' LIFE for you... no matter where you go, when you get to the top people WILL scream and yell at you if you don't do what they want. My dad doesn't understand the concept of meekly taking the yelling, either. He thinks you can be 'witty' or turn their argument back on them, but he just doesn't understand that doing that kind of crap is neither clever nor acceptable. When you get yelled at you just stand there and accept it, or you jump to do whatever it is they want.

I mean there are no absolutes... different situations call for different reactions, but I can promise you he wouldn't last a minute in the professional singing/theater world.



He HAS made progress as a singer though! I am SO proud of him! We had a voice lesson tonight and his voice has definitely improved.

His voice is getting more of that 'middle' placement now (with the open throat, wide back space and forward resonance) instead of slipping back and forth between a very dark throaty sound or a thin nasal sound.

He still isn't supporting very well, and I'm having to make him do his attacks 'too strong' so that he gets a good clean attack... but with time and guidance his voice will continue to open up. The harsher attack is something we can back off of to a gentle attack once he learns to do it automatically, and the support is just going to take time to develop.

He is, luckily, now past the phase where he has to sing everything at fortissimo to make sure that it's placed. He can sing at mezzo-forte now and keep it placed, which makes me happy .

He admitted to me that he's really astounded by the progress he has made, and I'm very surprised myself. It's still not a 'beautiful' sound but it's a very functional sound and (again, with time) it will continue to develop into that beautiful sound that he wants so much.

It feels good to know that I have the ability to teach to some degree. I think, given the evidence of my dad, I can safely say that I am an above average teacher and given further time and training from good teachers maybe some day I can be a truly great teacher.

I think what will, and to a small degree already does, set me apart is that I've had those two wonderful teachers (and now a handful of mentors!) who have given me real -technical- explanations of how things work and why they work that way. So now instead of saying, "You need to keep your voice bright," I can say, "If you feel your voice darkening to an 'uh' vowel then first speak the correct vowel till you feel it resonating, speak the word till you feel it resonate, and THEN sing it with the same resonance." You know? Little technical tricks and exercises that do a world more good than just saying, "Oh, think it bright."


I still have a long way to go, and only now am I beginning to truly see how long and narrow that road is, but I'm eager to walk it .

[Voronwen]

Tessar, it does sound like you have the makings of a good teacher! It's truly not for everyone. I couldn't do it!

[Tessar]

I am FINALLY getting it!

I had to use every trick I could think of to make my stomach relax and then I did variations on the blowing through a straw trick to engage my lower abs but I FINALLY am getting the hang of supporting from there without having to start the phrase in the middle of an exhale.

We'll see what my teacher thinks. Right now it's still too new for me to really sustain phrases particularly well, but my vibrato does seem more even and my voice feels more like it's floating... To be honest I'm having to focus so much on not tightening my stomach that I'm not doing a good job of floating my ribs, and my vowels are terrible at the moment.

For now I'm just trying to get the sensation of that low support though, because once I get comfortable with that I can start adding the ribs back in and then the vowels should be an easy fix once I'm not so 100% focused on my support any more.


I'm really having to rebuild from the bottom up... first the low support, then I'll get the ribs floating, then I'll focus on my neck position (I can't keep it straight up and still support... too many things to focus on at once!), and then the vowels can come back in .

I think I'm also misusing my tongue somewhat. I don't think it's horrible, but I believe it is getting somewhat tense particularly during held notes and when switching between some vowels. That's going to be something to fix AFTER the support/ribs/neck!!!

[Voronwen]

Originally Posted by Tessar

I am FINALLY getting it!

YAY!!

For now I'm just trying to get the sensation of that low support though, because once I get comfortable with that I can start adding the ribs back in and then the vowels should be an easy fix once I'm not so 100% focused on my support any more.

Yes, once you find that low support it's going to change your life! And when you add things back to it, they'll be easier.

I'm really having to rebuild from the bottom up... first the low support, then I'll get the ribs floating, then I'll focus on my neck position (I can't keep it straight up and still support... too many things to focus on at once!), and then the vowels can come back in .

This sounds like a plan!

[Tessar]

I'm irked. I wonder if my technique has slipped a little.

Tonight I tried to do some serious practicing (not just the breath support stuff and singing a few phrases) and it took me quite a while to warm up, and I just feel like maybe my placement isn't where it should be.

I wouldn't be surprised if my technique has gotten a little off track considering the amount of singing I was doing and trying to do other things at the same time. I'm sure I picked up a few bad habits again, but I'm confident it's nothing that wont get worked out at my lesson tomorrow .

I think I got my placement a bit back in place, but we'll see what happens at my lesson.

[Voronwen]

I wouldn't be surprised if my technique has gotten a little off track

That would make sense. With everything else you've been doing, you might have slipped back just a bit into old habits (it happens to the best). Try some light humming, placed nice and forward. Keep us posted as to what your teacher says.

[Tessar]

It occurred to me yesterday as I was falling asleep that I haven't done any 'serious' singing since Sunday, and that was just to sing for the one 10 minute scene I performed that day. So in a sense I haven't sung heavily since Saturday... so that's 4 days without much singing, so that might explain my rustiness yesterday.

Fingers crossed my lesson goes well today .

[Tessar]

Aww, boo no lesson today. My teacher had to go out of town on Wednesday (our originally planned day for a lesson) and he thought he would be back today but wont return till Saturday. I guess we'll have a lesson next week.

Mixed blessing... More time for me to try to get the breathing techniques down and see if I can fix my own placement issues .

Plus I can keep memorizing my Pirates music, go run my errands, and generally take my time getting things done because I don't have a two hour chunk carved out of my day now for driving/lesson time .

[Voronwen]

Originally Posted by Tessar

Aww, boo no lesson today. My teacher had to go out of town on Wednesday (our originally planned day for a lesson) and he thought he would be back today but wont return till Saturday. I guess we'll have a lesson next week

Aww Don't feel bad, mine has been away *all summer*! She doesn't even know yet that i've finally figured out my extreme top (she'll be happy, she's been waiting for this moment, heheh!).

But it's really important to be able to 'fix our own problems' at these times. Once you get to a certain point in technique, it almost comes naturally. You get a certain feel for what is natural and good, and what is "Oh no, that doesn't feel right". Honestly my breakthrough came when i realized i had fallen into a bad habit that was the near cousin of oversinging - i basically realized that i had been relying too much on the muscles that govern the chest voice and bringing too much weight, almost like a belter does (but not really), into my upper registers. Once i 'fixed it' by singing lighter and in a much healthier placement, and giving my voice permission to be as light as it is, i had high F's coming out of my ears!

Just get yourself back to that wonderful feeling of proper placement that you were describing before the workshop. Perhaps go back and re-read a few of your own posts about it to refresh your memory, if that would help? I think you can do it!

[Tessar]

I've been working since Tuesday on the speech program, and I think I'm figuring out how to speak correctly . Tuesday and Wednesday I worked on the neck/jaw tension release exercises, and today I did those and the breathing exercises... I didn't realize that I was breathing from my chest when I spoke, and that even when I take a 'deep breath' to speak I let the ends of words/phrases come from that chest area.

Now when I speak exclusively from the ribs/stomach my voice doesn't get that hint of gravel that most people have when they speak, and which is something I always hated about my speaking voice.

We'll have to see how I continue to progress with the program, but I'm very hopeful. I don't think I could've made half this much progress so quickly without all of the singing work I've done, because I already knew how to do the rib breathing, I just didn't know how to speak from there.

[Tessar]

You know, after practicing tonight, I'm starting to think that my technique isn't particularly better or worse, I'm just hearing things that I didn't notice before and I'm aware of how poor my support is. I think my placement is in good shape for now... i.e. I haven't lost it like I thought I had, I think I've just gotten used to the sensation.

I really am having trouble... anything above an A3 and my support starts to cave in. That's what it has always done, I've just never really noticed it before.

Sooooooo I'm -really- going back to square one. Sustained notes to insure the support doesn't collapse. I'm starting low in my range and I'll spend the next couple of days/weeks/years/LIFETIMES () slooowly inching my way up towards that A# till it's not collapsing any more, and then I'll keep moving up.

It's so frustrating and extremely disheartening, but I know in the end it will all be worth it .

[Voronwen]

Originally Posted by Tessar

I think my placement is in good shape for now... i.e. I haven't lost it like I thought I had, I think I've just gotten used to the sensation.

This is good to hear!

It's so frustrating and extremely disheartening, but I know in the end it will all be worth it .

Yes, it will.

[Varnafindë]

It's interesting to hear, Tessar, how you're identifying your own problem areas and planning systematically how to work on them! I think you will do well