Small notes: y is time, dashes should be at a slight diagonal (because the process obviously isn’t instantaneous), and 3rd and 4th pieces are to do with muscle. (I haven’t spent a lot of time thinking about how to represent the way muscle behaves in the back when it has detached itself from one side of the spine because it is so niche and frustrating.)
Curtis may have just discovered ‘reconstructing’ the back as of yesterday, the 2nd of July, 2022.
As of July 4th, Curtis is satisfied what he stumbled onto is deconstructing the back at a slower rate. I approximate I’ve taken roughly 4 years (conservatice estimate) of muscle off my back and neck, head area during this recent endeavor.
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If you meditate for long enough, you will become intimately aware of relaxation.
Now, press out from the lip. No! Don’t try to concentrate blood into your head! Simply press forward from the lip!
A year has passed, and you have become intimately aware of the sensation pressing from the lip creates.
Another year has passed. Redirect the pressing to the crown of the head—even a little higher! What is this? A hard wall! You feel this! Do you not? Yes! You have just discovered how to flex the muscle at the crown of your head!
Beware: Pressing down on this area will deconstruct the back. At a much slower rate will the back be deconstructed than if you placed concentration on the neck area, of course, but deconstruct it, nonetheless.
You will feel the cheeks tighten, the neck area tighten, and the crown of your head tighten should you proceed arbitrarily.
What does pressing up do? I will share something with you: a little more! I haven’t slightest! I am both too scared and too far gone to experiment any further….
This gets slightly complicated!
You must find the center! It is not reaching forward and up—no reaching forward at all! Never reach forward, for this is how you reverse! It is not quite pressing down and forward either.
A little more history
Originally, I was trying to speak as effortlessly as everyone around me; then, I became obsessed with singing like my favourite singers, but became scared of using my voice outside singing because I thought it would wear out; then, I did become fully immersed in my ‘work’. I was on a mission! I did feel I was on to something! Today I share with you the epiphany: The growth of VE can be accelerated to a great speed when the right force is placed upon it.
But I was so lost! I didn’t think pushing down and out was right anymore, simply because the forces you feel when singing really confused me. That’s when I lost it: in a conversation.
What does one with a superior mass of voice energy reap as reward?
• Penetration, i.e.: ability of the voice to vibrate molecules so that the sound passes through them
• Ease of use, i.e.: ease of uttering
• Ease to shift tone, i.e.: some of what you see in phonetics
• Ease of articulation, i.e.: more of what you see in phonetics, but more concerned with language
• Ease to control, i.e.: quite a hypernym to the previous three and more; ability to start and stop, change pitch, carry notes through interference, use vibrato
• Vocal range, i.e.: ability with respect to the ‘ability’ known to a singer
• Length of sustain per breath, i.e.: greater ability for a length of utterance for a time per breath
• ’Naturally’ ‘richer’ and ‘fuller’ in ‘sound’*
• Effect by growth algorithm, i.e.: states last longer making it less likely to be inhibited by the growth algorithm
• Feeling of VE, i.e.: both heavy and dense feeling at all times†
• Accessibility of texture, i.e.: texture added by the vocal folds
In every way, superior VE translates to everything.
On the opposite end of the spectrum, one with inferior VE will experience fluctuations in a sustained note because of the heartbeat, the natural growth pattern VE experiences, and other interruptions or intrusive events, e.g.: walking, running, taking steps, etc. It will be harder to utter, harder to talk, harder to have the voice reach the target, will have a very limited range of pitch (including no falsetto), vocal fry will be quieter, registers will be unreliable and one will have little ‘stamina’, i.e., vocal folds will become inflamed quickly from overwork; and, while the contrary has likely or absolutely likely been taken for granted, the voice isn’t felt. Basically, think of the opposite of everything mentioned above in the bullet points. The opposite of them, really, is a frightening thing!
Additional points when affected by weak VE (these are mostly for future reflections): (Because I’ve never learned the word for it) that phenomenon when two notes of the same pitch are uttered next to eachother does not happen.
*Sound, richness, and fullness are all dependent on the overall state of the mass of VE, i.e., some states make the voice have a more piercing or sharp effect, etc. Also, not to be confused with someone’s timbre. Naturally is scare-quoted for emphasis.
†There is no way anyone even realizes their voice has ‘feeling’ in this sense (except under very special circumstances). We do feel the voice when we utter, but we take for granted the feeling of VE as an unyielding presence!
Note: This may be the last in the ‘Favourite songs’ series. I am struggling to bring to the front what else I really enjoy. There are a handul of hip-hop and gangsta rap songs I simply cannot remember; if I ever track them down, I’ll post them to my Twitter (just to make it a pain for those that are curious).
Alt. rock > Surefire & Blunt or Wicked by Econoline Crush, The Messenger by The Tea Party
Metal > Pre-Ignition by Voivod
Rock > In the Gallery, Private Investigations, or Down to the Waterline by Dire Straits
Reggae > Higher and Higher rendition by The Pioneers
Pop > I Would Die 4 U by Prince and the Revolution
Hair metal > Rock the World by Kick Axe
Hello all and welcome!
Imagine a train sitting on railroad tracks. Now, rather than the tracks supporting the train, instead the tracks thrust out from underneath the train. This is, essentially, the vision someone may have to describe ‘skipping of the voice’.
(Ctrl + F > ‘skip’ here: https://curtis-experience.net/2022/08/23/vst-final-edit/. Refer back to this body of text for the little-more concerning data on skipping the voice.)
Don’t—and I repeat, don’t move focus away from the center of origin! The origin of utilization for the voice! The very place is natural to speak!
But once you are sure—once you are absolutely positive—after months, if not years of training (Ctrl + F > ‘glottal stop’ in the aforementioned body of text), try initiating the voice and pushing at the same time.
Remember all that I’ve spoken of in these relevant VST papers!
No! There is no guarantee! You must meet the criteria set by nature’s awesome law first (and I believe it high time to give it a name): ‘Copley’s Theshold’; that threshold that perhaps some of the population have already passed. (I say this without any true certainty).
Fear of voice – The makings of irony
I stood for a long time in the dark. The closer I [ultimately] came to understanding, the more I grew fearful. ‘THE VOICE!’, I scream. Terrified—with two conditions arousing, agitated and continuing whenever found to be in use or during my toiling.
I hated it, but I needed to know and understand! The persisting paid off; it also destroyed me. The back, in shambles from collateral discovery and some brand of stupidity. Undoubtedly, a topic to be revisited at a later time….
Just explain to me the significance of burning in the mouth, throat, and later, the eyes! It’s absurd how fright makes for the onset of physiological symptoms a real thing!
Well, forgive me. I don’t mean to put one over on you and lump them together!
One would arise in everyday speech; the other arising during my training, exploration sessions.
Yes; and it became chronic, the burning. I hated it, but I was terrified the voice wore out.
While this is definitely the reason for my breakthrough, it bothers me: the situation, however transparent [now], was a great source of fatigue – causing great strain and worry most of my 20th year. I’m sure if my memory was as sharp as it once was, I’d be able to tell you earnestly, ‘It was actually most my late teens and 20th year’.
The second condition was more of a ‘level’; you reached it with the help of music, the weight of the voice (its states), and drive during a walk.
I used to think, ‘This is getting mighty close multiple personality disorder’, due to how separate I felt from my own self during these times of labour.
Chalk it up to insecurity and known fears that I never attempted to achieve this level of concentration without music.
The weight of it all….
You’d be surprised how heavy the voice is; and you wouldn’t know unless you lost a good chunk of it.
Is it heavy, or is it thick?
Damn. I miss my voice.
EDITI: I realize now that this was already a rule in UK punctuation.
EDITII: Hoping no one noticed the mistake I made!
I intend to revolutionize punctuation! It is lacking! There are times when it falls short. Am I right or what? I will herein tackle UK punctuation because no one cares about American punctuation. These points will highlight my true gripes with the punctuation we have now. It shall all be corrected!
• A period inside the second single quotation mark when a quote is being delivered in its entirety; for instance, ‘ “How they all sat.” or “How they were seated.” came to be their motto’ should all have periods ending the quote because they were written that way!
Why is it necessary to place periods inside the quotation marks? Because this is how it was written. Yes, I agree! It is essential information! When there is no full stop, the context becomes confusing. Was this person referencing a memory, something they heard… ? No! They were referring to specific written text. This example is gibberish because of ‘or’, however, that need not matter! Also, I recognize there is laziness at play here. In a perfect world, this person or exposition would make note of the quotes being written. Let’s ignore this. Full stops inside quotation marks is more important.
Let’s come up with more gibberish! I’ll try to come up with a more intricate example.
《They spent all their ‘time’ hunting and gathering at ‘Jerry the Winter’s.’ place, writing ‘who was the right one for the job?’; ‘Let there be rain..’; ‘Give it up for “Whose Boss.”, hanging on the edge’.》
In this example above, punctuation is important! We would not have garnered much of anything had the periods been excluded. Now you see! Yes? Gibberish is beautiful! Fun fact: My 9th grade English teacher pulled me aside to tell me my journals were full of gobbledygook.
But let’s be honest, if you can make gibberish, you can conversely create comparatively creative, sensible narratives as well. You won’t see that here though.
Ellipses never fail to be an enigma. ‘… [I]t …’.
As it turns out, I have possibly been using ellipses incorrectly. For this, I apologize; yet, at the same time, I believe I will continue to use them incorrectly, regardless.
What was the supposed mistake?
I read on English stack-exchange four dots were required when suggesting pause at the end of a sentence. Three dots for the ellipsis and one dot for the full stop. (Change of tone can necessitate the ellipsis too, apparently.) I’ve made use of this where I go since reading about it. Then, here is this conflicting source explaining instead one dot is used for the full stop followed by three dots for the ellipsis. So, maybe it is more informal? I haven’t the slightest. Either way, I feel that it is a nice little thing to believe in the former. And I am just the person to harness both readings. That’s probably what I’ll end up doing just to cause readers to hesitate; antithetical to the progress infused by a punctuation revolution., yes. Antithetical and impreding; but that’s progress. It always has a cost – and I am at the center of this revolution, after all. I must set an example!
Let us reminisce of the period–quotation mark problem
Everything written therein is probably already a rule someplace. I know not where one would go outside Chicago to find these answers. Honestly, it’s a little silly, but I must blame my eyesight for the untapped deluge. It is unbecoming of a man who has dedicated himself to punctuation and grammar; it’s just that it tries my ‘patience’….
Hello all,
I hope this message finds you at a pleasant time.
I had a thought: Why not make a small ‘update’? Not necessarily an update, per se. It is more of an attempt to confront something I’d speculated in the past, to the applicability of measures to measure the impact or more specifically, the strength of a voice. And while that’s all good and dandy, leaving everyone off with ‘burp or inhale’ is a little silly. I’ll answer the question right now. It is possible! It must be! Yes! I realize I wasn’t really asking the question to begin with, but that doesn’t change the fact that this is of highest importance. Well, next to spreading the message, of course. More need to read and be aware; however, let’s not try to be off-topic here.
Back on track!
What news has been circulating in my head for however long now? It is that ‘edging the voice’ is a fantastic indicator of voice strength. That is all!
I don’t know that edging the voice will stick because it may not mean exactly what you think it does. I do mean ‘edge’ as in its verb form meaning ‘advance slowly, as if by inches’. Thank you, TheSage version 6.10 from 2016! (By the way, as a small aside, TheSage sucks now (or it may still suck) because the search field used to automatically be activated following a word search. That functionality was done away with in the next release… which was so dumb! I reverted instantly!) The only condition being usage of the voice is not actually fully initiated. Edge kind of works. Let me think of a perhaps-better way to express this action…. ‘The sustaining of loud whispers’? Maybe not quite there, but maybe it’s closer.
I don’t have anything else to add. This was the tidbit of information. Let loose! Go out there and compare your whispers! See who can whisper louder without the use of the voice! See who can whisper the loudest when using the very faintest of ‘sound’!