curtis☆experience.net

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!

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.