Force to strike Vibrating Agent- Fingers
Amplification Chamber- body of guitar
2. Exhaled Breath
3. Resonating Zones; Chest, Throat, Mouth, Sinus cavities, Cranium
-Muddy thinking is a fundamental obstacle to clear articulation
-‘ The Pang’ signals the need for sustenance
-Breath and voice deployed for survival
– Need-Pang-Voice-Response-Survival
-Life or death need for cookie(breath)
-Punished for demanding the cookie
-Communicate “the pang” and you might die
-Pang is suppressed; breath is detached
-THE MESSAGE:
The child follows secondary neurophysiological impulse routes in order to survive.
-Defensive neuromuscular programming develops habits of mind and muscle that cut us off from instinctual connection between emotion and breath.
The voice CANNOT work to it’s true potential if it’s basic energy is not FREE breath
People must want to reveal themselves, be unafraid of openness, and believe that vulnerability in communication is strength.
2. The breath response to that impulse
3. The play of breath on the vocal folds
4. The vibrations are then amplified by resonators
5. Articulation: the rich stream of vibrations formed into words
-Bad posture limits are breath
-Large abdominal muscles we’ve learned to squeeze and hold, limit our breath
– The ultimate controls are imagination and emotion
-The aim is to remove your habitual muscular controls and allow involuntary processes to take over.
-Racing Heart
-Sweaty Palms
-Higher Pitch
-Unstable Voice
-Dry Mouth
-Racing Pace
-Mind Suddenly Blank
-Drop in confidence.
1. Intellectually
– One to one communication
-Prep= comfortable confidence
-Story-tell from the heart
-Reflective practioner (adjust)
-Be genuine
2.Emotionally
-Know yourself
-Recognize your inner child
-Only you can bring shame
3.Physically
-What is sound?
-Gain understanding of your vocal anatomy
-Learn that breath is life (3 breath centres, chest, shoulders, belly)
-Vocal exercises
(wants to hear the real you, not the voice you’re currently using)
2. Your voice must learn to be dissolved by the impulses of thought and feeling.
3. If voice is limited by habit & tension, it will limit the transmission of imagination.
(physical tension, and bad habits EX: bad posture, breathing limited to you chest, will limit the potential of your voice)
4. How do you teach relaxation?
5. How do you induce a new use of the voice?
6. This is difficult because it requires dealing with cause rather than effect.
7. Exercises are concerned more with rethinking usage than with redoing sound.
2. The breath response to that impulse
3. The play of breath on the vocal folds
4. The vibrations that occur re-sound off the nearest sounding board
5. Those vibrations are then amplified by resonators
6. Articulation: the rich stream of vibrations are formed into words
– tight abdomen shifts breathing responsibility to throat
-constricts free play of vocal folds
-limits range and exhale
Resonating System
-Tension in the throat blocks voice from throat and chest resonators
-tension in back of tongue and neck hinders free use of head resonators
Articulation system
-If breath not free, tongue provides compensatory strength
-Habitual psychological tensions often reflected in tight lips and jaw
-Maximum effect w/ MINIMUM effort
-Great art is rooted in TRUTH
-The voice will reveal truths most AUTHENTICALLY with certain effortless ease (when relaxed)
The spine drop let’s us
-Relax all of our tension out
-Picture our skeletal anatomy
-Focus on our deep breathing
-Helps us discover our natural belly breathing
–Confuses new with familiar or safe
-Or leaps to the end result by-passing the process
-Overall aim: to develop PHYSICAL AWARENESS through specific relaxation
Efficiency of your vocal apparatus depends on:
-Alignment of the body
-A strong flexible and well aligned spine is the essential starting point for free breathing and a free voice.
If your lower spine is weak…
-Abdominal Muscles provide substitute strength for the torso
-If they aren’t free, not able to respond to breathing needs
IF your upper spine abandons its job of carrying the rib cage and shoulder girdle…
-Your rib muscles take on responsibility of holding the chest up high
-So it’s unavailable for intercostal breathing
(Intercostal breathing= breathing into the upper third of your lungs, and then into the middle of your lungs, often seen in the midst of competition/sport)
If your Vertebrae of spine are not well aligned,
-The whole channel your voice travels through is distorted
-With a weak neck, jaw muscles, tongue, throat muscles, lips and eyebrows become supporters of the head..
-very little chance for a free passage for free BREATH.
-Skeletal Structure
-should counteract pull of gravity leaving muscles free fro movement
-Raw material for sound= BREATH
-You must remove EFFORT from the THROAT
– Helps to imagine sound and breath start from the MIDDLE of your BODY
-You are conditioned to believe you communicate from just behind the face
-Unconscious visualization of the passage way for the voice going simply from throat to jaw
(You are now challenged to drop it 50cm)
Antonio Damasio- Core Consciousness
-There is no elsewhere, there is no before, there is no after. Focus on the NOW
-First problem of consciousness: how we get ‘the movie in the brain’
-The business of making images never stops
• Natural breathing is reflexive
• To restore its reflexive potential, all you can do is remove restrictive tensions & provide a diversity of stimuli
• Can you observe without controlling?
• As long your breathing patterns are inflexibly held in habitual muscle usage, the hoped for transformation will only be skin deep.
• You must be able to let go of deeply ingrained breathing patterns & allow new behavior to govern breathing musculature.
• Incoming breath will happen automatically if you wait
• Relax- wait let the breath be replaced
• Breathing exercises should be done with the mouth open
• It’s important to focus on the casual, release point
• And merely observe the resultant, arrival point
• As you release breath you diaphragm releases upward through your rib cage
• As your breath is renewed, your diaphragm drops downward, opening the lungs
• “The sigh of relief is the first key to unlocking the doors to those primal impulse centres and reopening the primary neuro-physiological routes between brain and body.”
• “The force of gravity is one of the best allies we have for finding out what ‘letting go’ is.”
• ” this exercise begins reconditioning the body-mind to experience communication as release.
• & communication as a by-product of a need to speak that has freedom to do so.”
• Extremely important to be able to return at will to your relaxed natural breathing rhythm.
2) “Observe that the impulse moves the breath and the breath moves the body”.
– The ultimate controls for the breath are thought and feelings
– Take a breath
– Inhale; exhale
– Let the breath in; let the breath out
Most people try to force the lower jaw OUT
Also try to LIFT THE TOP JAW off the bottom, activating your neck muscles relieving your lower jaw muscles
the movement occurs naturally on the INVOLUNTARY level of the nervous system