Semi-random London walking

London in 2011 is an enormous ant-world flowing with never ending streams of all kinds of human. I want to go to every bit of it and mill around with every one of them but there probably isn’t enough time.

1. I choose a train station which is well out from the centre of the city (usually beyond the Circular but inside the 25).

2. I go early and want a hot day if possible (even though I hide in shade the rest of the time, during a Random-explore I want to walk in heat for hours).

3. I take sandwiches for later but get breakfast near the chosen station which is when I start thinking about where I might go today (using my early 90s hardback A-Z).

4. Start. It is exciting beyond reason. This is something to do with knowing you have no reason to go anywhere but you are going anyway. I do have vague targets and also I always want to join places together for my London memory. Unusually for me, I move quite fast at first, then I slow down soon.

5. In a general way I am heading back to the centre of London but I don’t always go in that direction at first. I zig-zag using dog-in-a-zoo techniques.

6. I don’t really want to record the details of the walks with descriptions and all that. They are unforgettable somehow in my visual memory. The places stay for years. I can see that you want to make your own routes.

7. I also really see PEOPLE when I do this and can see their faces for days later.

8. As I go I can feel places which I have been to previously. I mean that I know they are just over there in a certain direction and I am always right. I am a pigeon/man.

9. I want to see the rich parts and the ugly parts and the sensible parts and the beautiful parts and the futuristic parts and the neglected parts. I feel fine in them all.

10. I even stop hating cars on these walks. More and more I start to realise that London is massive beyond comprehension. Millions of streets and trees and roads and people.

11. This is an activity which gives back far more than you could expect anyone to believe. It is like emptying out your whole insides on the pavements of London. Ha ha ha haa ha.

12. London is my brain. Ho ho ho ho ho ho.

Places I joined together on 23 April 2011:
Finchley Central station, Mill Hill viaduct, Hendon golf course, the Great North Way footbridge, Golders Green, Hampstead Garden Suburb, The Bishop’s Avenue, Hampstead Lane, Highgate High Street, Hornsey Lane viaduct, Holloway Road, Highbury & Islington station.

SO: IF YOU WANT TO FEEL GREAT, WALK RANDOMLY IN A MASSIVE CITY.

ALSO: There is no also.

ALSO: Very good, although disorganised writing method.

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Breathing moments

To make it possible to sing any long phrases you need to have taken a breath.

I suggest learning the breaths as well as learning the notes and rhythm and vol etc.

I mean make the breaths-in eventually become auto.

Write out the words and draw a small turquoise cloud (for instance) after the word before the breath. It is not so helpful to put the clouds before the phrase for which you have breathed them. They are much better as ends to a phrase.

When they have become auto you can think about something else. Drinking-in vowels perhaps.

Singing a piece becomes much easier after this stage in learning a piece. This is like when you breath in time while doing bends. You can go much longer.

SO: DECIDE AND LEARN WHERE THE BREATHS-IN SHOULD BE.

ALSO: Good idea.

ALSO: Make those breaths gentle.

ALSO: Very confusingly written.

ALSO: Do not write a blog anymore.


Quietness

I don’t want to write a blog, so here we go…

This is my drawing of how to use quietness to make singing work:

What I mean is that if the gold line at the top was your shouting volume then for singing you might stay really low within the volume range. And use drinking-in as much as you can.

The blobs at the start are the hard consonants and short vowels. You keep these down, leaving you somewhere to go. Like a weighted keyboard.

The big blob is the long vowels which is what you are heading towards.

The long vowels are where you can more easily do the drinking-in allowing a bit of an increase in power.

SO: SING QUIET WITH THE INTENTION OF FINDING LONG VOWELS TO ENJOY.

ALSO: Try to make this more clear.

ALSO: Quietness is not a problem because people kind of zoom-in to hear quiet stuff.

ALSO: This does not mean you can not be strident. That comes from somewhere else.


Tongue positions

I don’t want to write a blog, so here goes…

I found this diagram of where the back of the tongue sits when singing vowel sounds.

This is really useful. I had no idea. There are other positions too. In between etc.

That “ahh” position is the best position. Some vowel sounds can be improved by using a disguised “ahhh”. (I mean that for instance you start as”eee” but subtly move the sustained sound towards an “ahhh” then finish as “eee”).

Keeping the jaw low improves the tone of vowels. If you try both high jaw and then low jaw you can hear the difference.

SO: WHERE YOU CAN, IMPROVE A SUSTAIN BY FINDING “AHHH” POSITION

ALSO: I expect that it would be better not to overdo this.

ALSO: Used in conjunction with drinking-in it gives you much better long notes.


Drinking sound = mod. lever 1

The drinking-in-the-sound thing is a big help especially on long vowels.

Pretend the sound is going back in and you find more power.

This is like a treatment that you can apply particularly to long vowels. I mean like on the synth where you very often push the lever on a long note.

SO: IF YOU PULL LONG NOTES “BACK IN” YOU GET MORE SUSTAIN.

ALSO: Use this in conjunction with quietness.

ALSO: I will become not a blogger.

ALSO: Very good. Full marks.