I am asking why it is so quiet here? This should be a busier and more lively place shouldn't it? Where are all of the singers?

Probably all retreated after the number of massive fights there have been on this subforum!

Did I miss something while I was on hol ??

*warbles a few bars to keep the quiet away*

It's a pity...being a singer with a lot to learn, I used to enjoy reading the tips given by the singing teachers on here. Hopefully, they'll come back....

With all your experience, perhaps you can take the baton for a while, Henry...

*Very nice warbling, maggiemay!*

It's not that nobody's here

However, starting or participating in extensive threads about vocal technique etc. has in the past proven to be a bit of a minefield, so some people might as well have the feeling that they can put their little spare time to a better use than getting into unnecessary arguments - that's at least how I felt every now and again ...

I'm with you there Daisy. I don't post very much but I find it extremely useful and informative reading the comments from singing teachers (or just singers - never sure!) on here.

Is it safe here?



I don't want to be eaten alive...

I'm here!

The romantic tenor is never far away!

In a previous thread I have mentioned how much I have picked up just by reading the posts, and I have been singing in one guise or another for well over 40 years. Even when the knowledgable contributors disagree on potential solutions to problems etc, there are always gems of wisdom to be gleaned from all sides of the argument.

Get posting, folks!

I'm here too!

Let's talk about something fun to get things goin!

How about projection techniques? What does everyone have to offer on that front?

I'll start the ball rolling - I'm a huge fan of working the twang rather than the voice and keeping the pharynx nice and wide - that usually lights up a lovely band of harmonics right where the human ear is nice and sensitive and makes the voice carry well at all volumes.

What do you guys all do?

You have the advantage of the more scientific approach! My way of working on projection is to use the singer's imagination, and place them in situations where they need to raise their sound levels - calling for help, speaking in a noisy room etc. Incidentally, I noticed something similar in "The Choir" tonight, when Gareth works with the soloist.

I'm here!

I've learnt a lot from this forum too, and prefer it when it's active.

Incidentally, just from this thread I've learnt that The Choir has started again! How far in is it?

Halfway, lucky. We've had two or the four programmes; they're on Tuesday at 9pm on BBC2.

It's a bit different this time - Gareth was invited to go to a town with little community spirit and start up a choir to try and bring the people together. In the first programme we saw him going around the town drumming up support for the idea, and then followed the community choir through its first rehearsals and concerts.

Tonight we saw Gareth starting a children's choir from the 7 primary schools in the area, which included a special needs school. There was a bit about the community choir too. It's been very interesting so far.

Whatever gets the job done, that's what I say!

Calling out for help is a great way of thickening the chords so you'll get extra volume that way. Try throwing in some duck quacking exercises too - you might be surprised !

I'm really jealous about the Choir - I can't view it here.

I cannot quite relate to the "wide"-sensation when I use Twang in contemporary singing. I can relate to it though in Opera/Classical, and I can also see why so many people have problems with the sort of antagonistic set-up here - pharynx wide, larynx lowered, but aryepiglottic area tightened. That's probably the reason why so many people starting classical singing either sound hooty without projection, or completely constricted ...

I take it however, rosfrog, that we are probably doing the same

im here!

im here!

Whatever made you think that?

I stopped using the pre-yawn for FVF retraction ages ago for that very reason - I want people to be able to deconstrict without lowering. Especially important when twanging (although Estill is now a little cagey on whether full FVF retraction is required at all times, apparently... we'll have to wait and see what happens).

I now usually use silent laughing, biting a lemon or good support and big enough twang - that usually opens it up too.

Estill's opera quality, interestingly, is defined as full twang dropped into sob - quite a tricky thing to pull off as you said! It's also a bit middle of the road for my taste.

I'm all about the twang (in case that hadn't come across cleary ) - quack quack etc.

Thanks BM! I've found the last two on iPlayer.

It's gone quiet on here again!

Mind you, I won't be active myself for a few days - off to the Loire tomorrow for a week

Henry jumps around singing Der Vogelfanger Bin Ich Ja at the top of his voice to keep the quiet away!

Have a good holiday

ooh, have fun. We were there in August for a couple of nights - near Saumur.

Give us a wave if you pass through the Brittany part of the Loire !

We'll be motoring down the A1 via outskirts of Paris, so it will need to be a big wave!



Thanks Maggie. We'll be near Selles sur Cher this time, but we stayed near Saumur a couple of years back - delightful town and chateau!

We've had four or five wonderful holidays in the Loire Valley over the years. I'm sure you'll have a great time. (Any room in the suitcase?)