Austin — I sing late in the day today, having gone into the office for some meetings. I can feel the volume of the day’s conversation in my brain and my distraction reveals itself in my pacing around the studio, moving from one sing-thing to the next.
Once again, it’s when I land on an-over-tone-producing note that I start to calm down and focus. It’s the vibrating massage chair in a busy airport. I sit there a while and all my thoughts drift out further from my focus.
I look outside the window and see fresh black compost on top of gardens.
Lingering on the single room-vibrating note for a while, I then start moving between my head (falsetto) voice and my normal (modal) one. This is a meditative practice. The goal is to sing on the same note continuously, sliding from falsetto to modal and back again, striving to have the transition become less and less pronounced.
This is also good practice in focusing on feeling even more than sound. It’s in the feeling that I gain access to more smoothness in the transition. I make adjustments by playing with the shapes of my mouth and jaw. I listen to the wavering as I search for the other side.
At certain points, I can feel both voices engaged, like relay runners taking those few steps together before the handoff of the baton.