On top of ‘drinking-in’ you have the option of renewing sustains with quick pulses from down below.
It is a bit like filling a sustained note with many smaller renewed notes.
This is the ball of power inside your chest from which you sing and which can be called up when you want it.
It might be best though to keep the sustain renewals subtle enough to be un-noticed (if that is what you want). Or you could hide them behind the rhythm (if that is what you want).
Think of it (as you did with ‘Drinking-in’) as being a treatment like the modulation lever on a synth.
SO: IF YOU PULSE INSIDE A SUSTAIN YOU GET EXTRA POWER.
ALSO: Maybe think of this as secret notes inside a sustain.
ALSO: Renew notes generally.
ALSO: Not bad, but try to explain this properly for once.
I don’t want a blog, so here goes…
In doing ‘Dangers’ and then the first version of ‘Hole In The Pavement’ you found you kept tensing up in the throat and becoming unable to sing.
I think this is about your confidence level in the moment. It is about confidence phrase to phrase.
When you are inside the singing and you start to believe that bits are coming up which you may not be able to handle you seem to get into a panic mode which affects your voice.
This could be a signal that the piece you are trying to sing is written unsingably (for you).
One solution is to rewrite. Make phrases which flow better. Come down from too many high notes. Use high notes yes but limit their number and make them more easily singable.
You know about flowing phrases. Watch out for too many big jumps (put these in places where they will be possible).
You did that with Hole and it makes all the difference. Your voice believes it can sing the new version so you don’t slip into tension.
THE EMERGENCY RESPONSE if you DO find yourself in tension is to go to the following tools:
B: PULSING EVERY SYLLABLE YOU CAN
B: Stridents only here and there.
C: Ramps-up here and there
SO: QUIETNESS + PULSING ARE THE MOST IMPORTANT IN AN EMERGENCY.
ALSO: Don’t re-do old songs.
ALSO: Stop writing a blog.
I don’t want to write a blog but here are 2 more primals for the primals-list.
1 Pick out certain notes and make them ‘strident’. These need not be the obvious syllables. This creates an up and down dynamic in a line. You might shake your fist at these moments.
2 Choose syllables and whole phrases to give a ramp-up to. Especially useful on long end notes when you want to be ‘up’.
SO: NEVER FORGET PRIMALS.
ALSO: Don’t overdo these effects.
ALSO: Use a half-strident sometimes.
ALSO: This means remembering to begin quietly so you have somewhere to go.
ALSO: QUIETNESS is the primary primal.