Writing songs can be a way to express your deepest feelings. Almost always it reveals the state is the composer or sees life. If you like writing, You can talk about many things that happen to you. It also depends on the time of your life and maturity, You are going to be changing your lyrics.

I tell you something?, between the 🤐
When I see the lyrics of my songs I did when I was “younger”😜 they had another meaning for me, He needed to express anger and pain, as a tod @ s ever happened to us. Today when I come to write sentences I realize that all that has changed, and my letters have no maturity. I no longer want, or rather I do not feel that anger and that pain, with which my letters are addressed to other subjects.

What I mean by this, It is that it's okay to express, you say what you need. It is also a way to heal what to wear inside, It is a way to express. And it's okay to feel the need to say. Everything is perfect, depending on the stage of your life.
I think the important thing is not to be ashamed to show up as really one is, our imperfections, Doubts, fears, pain. It is our life learning
It's wonderful what we want to express through our songs 😍

I'll give you a tip to write canciones🔝: Did you know that depending on the number of lines in a stanza, combining them with the length of each sentence ( but cuts but wide), You can give a different feeling?
🌟Si certainly want to sound or forcefulness in a stanza, make them all of the same length. 🌟Pero if you want to create doubt or confusion, You can make the sentence last a little longer, and perhaps as a question.
Try it and veras😉

Being aware of our hormonal changes is a way to accept our cycle.

Formerly it to our foremothers the menstrual cycle is considered a wonderful source of creative energy, spiritual, sexual, emotional, mental and physical. It is therefore important for us to accept our cyclical nature and connect with each of the powerful energies enclosed in the four phases of our menstrual cycle.

Today I want to talk specifically about how our hormonal changes affect our voice, and what aspects we consider to be the singers.

The menstrual cycle is approximately 28 days, so we spent 4 week with different hormonal changes.

In the first week, our voice becomes more severe, deep and even hoarse due to water retention, whereby in the membranes of the throat there is a high liquid content. But nevertheless, as we go week, increased estrogen causes our body remove this excess fluid and our voice becomes clearer and more alta.⁠

In the second week, we are in the day 8 and our body is preparing for ovulation. ⁠
Estrogen keeps increasing day by day until the day 14 which it is when ovulamos.⁠
Our voice is becoming increasingly clear and have a wider range of notes in speech, especially the sharpest. ⁠
For example a singer, it will be easier to reach high notes difficult these days compared to weeks in your ciclo.⁠

⁠Un curious fact, in the days before ovulation our voice sounds more feminine and atractiva.⁠

In the third week, after ovulation. Strong decline begins in estrogen and progesterone increased, this causes you to use a range of notes somewhat narrower and slightly flatter sound. ⁠
As progesterone causes water retention in this week of their cycle, in addition to the physical changes that occur in Lasa vocal cords and surrounding tissue that make these areas swell and sink. Then we can go noting that our voice becomes a little deeper, guttural as he did during his menstrual.⁠ week


In the fourth week there is a sharp drop in estrogen and feel the symptoms premenstruales.⁠
It is normal that we may be difficult to achieve sharp notes to singing and voice may sound a little shaky up without fuerzas.⁠

Now that you know this, You can keep you more account. It is normal that happens to us changes.

Something that can serve you if you have to sing and you find yourself in one of the weeks in which your voice may not work as you want, your voice is warm for longer so, with more patience for your brain understands that there is a change and will adapt to the new. But the most important thing is that you accept.

If you think this article has served you, I invite you to share it with more women who may be interested.



www.myhormonology.com
Gives life. Puts, et al., "Women's attractiveness changes with estradiol and progesterone across the ovulatory cycle," Hormones and Behavior, 63 (2013): 13-19
Philip M. B. La, et al., "Effects of the menstrual cycle and oral contraception on singers' pitch control," Journal of Speech, Language and Hearing Research, 55 (2012): 247-261
Challenges Shoffel Havakuk, et al., "Menstrual Cycle, Vocal Performance, and Laryngeal Vascular Appearance: An Observational Study on 17 Subjects," Journal of Voice, 32 (2017): 226-233
Julia Fischer, et al., "Do Women's Voices Provide Cues of the Likelihood of Ovulation? The Importance of Sampling Regime," PLOS ONE, September 21, 2011
Gregory A. Bryant, March G. Haselton, "Vocal cues of ovulation in human females," Biology Letters: Animal Behavior, 5 (2009): 12-15
Sung Won Chae, et al., "Clinical analysis of voice change as a parameter of premenstrual syndrome," Journal of Voice, 15 (2001): 278-283

Firstly, we must understand that to have a mixed or mixed voice calls is necessary to work “bridges” (passaggios) between our two records (chest voice and head voice).

We must keep in mind that the muscles responsible for each record are antagonists, ie opposite, therefore it can cause great frustration singer.

Most importantly soften the bridge between the two records, and so the singer's voice may sound mixed, That makes your voice heard unified.

When the mix is ​​obtained the free and powerful voice sounds.

A good vocal coach should be able to give the student specialized exercises according to the specific vowel trend that has; This will help you develop your mixed voice and thus unify their vocal bridges.

This usually takes time, patience and lots of practice, that is wrapped neuromuscular memory and singer will absorb this new concept putting to work the muscles.

On bridges, the vocal folds change a short thick condition to a long, thin. This configuration occurs at the time that the singer is undergoing modification resonance in your body. However, combining mechanisms changes and changes resonance, often makes the singers voice experience interruptions.

The first thing to understand is that in your first bridge you experience a feeling that is not pure falsetto voice nor chest, but a voice “mixed”.

The goal is that you spend your chest voice to your head voice while keeping the larynx in a relaxed posture and neutral (that is not high as swallowing, nor low as yawning). On the other hand, the vocal folds must maintain a balance between adduction and airflow.

However, what really happens is physiologically very different from what the singers often feel. Whereby what is called "scientific approach" in song it can not be what you really feel.

Therefore it is not necessary that the singer knows all the terminology, because they probably want to control part of its mechanism, which really is involuntary.

A qualified vocal coach who has studied how to solve the different vocal trends, know guide you from your own perspective and not telling you should feel or imagine, because feelings, sounds and images are the "effect"The experience of a proper function, but not "cause”.

It seems obvious to say that a good vocal teacher should have a good ear, and I do not speak of a musical ear which allows him or her to sing a song tune.

Although it seems strange, This is one of the big problems that makes a singing teacher knows not to give the key when you want to develop your voice. The reason is that it is not trained for it.

He vocal coach You must have the ability to hear, evaluate and diagnose trends and habits of student. This is extremely important.

You have to understand that is what is missing, you need the voice at all times and how to solve. Why make a good diagnosis exercises are correct and the most effective.

However, each exercise is given to the student it must be carefully designed so that student progress.

The knowledge that has to have a voice coach is crucial, because the same exercise can be used differently to get a different result.

There are many times I have encountered students in his class says "... .I did this exercise (I give the example of liptrill, also called liproll, lipbubble) I used it with my old / a teacher / a ... " .

It is true that specific sound can help us achieve certain goals, but there are vocal tendencies which would be strongly discouraged use. And the mere fact that is often used to start warming, It does not mean that exercise is effective. Why the previous diagnosis in each class.

Today on internet you find everything concerning how to sing well, but I say, be careful, because many people hanging tips are not trained to do. Perhaps that person has worked, or he has taken singing lessons and then shares. But the fact that someone has worked for you does not mean it is right for you. Nor does that person see that sing well mean that it is qualified to teach. They are very different aspects.

I put a simple example: if my head hurts me and I prescribe an effective medication for me, it is logical that I pass quickly. But what if one day you tell me, “….Sol, it really hurts my head .. "and for the simple fact that it worked for me, I give you. What if you have rejection of that medication and is strongly discouraged for you? It is likely that you do not know, but your doctor if, or maybe he'll send some kind of review that is specific, because it believes it is not a simple headache, and using all that information, gives you the right medicine for you.

In the case of voice, although it may not seem, the issue is very delicate, because in the best case, a teacher does not know how to diagnose your student, it will not progress or do an insufficiently. But in the worst case, you can end up with nodules, polyps or until bleeding. So look well when choosing your vocal coach. Finds out that knowledge is founded, He asks if you are qualified to do so, seeks comment, See if your students are progressing well. If any of these things does not convince, still looking, is at stake your vocal health.

(in another article I'll talk more about why we should be careful what we see or read)

Doing the same exercise class after class not make best. Depending on how you are that day, Once you've practiced since your last class, and your neuromuscular memory, the exercises will vary for correcting your voice and bring you ever closer mix.

Having the ability to understand how it works bridges your voice is very important to know your vocal coach, because only in this way you can give you not only the proper exercise, they will tell you "how" to do it. An exercise can be used in different ways, depending on how you use, the result varies. Not the same thing a soprano contralto, its tessitura is completely different with which its bridges, as well.

It is also very important to be a good teacher, because often the student feels locked as it moves from your comfort zone, and that's where a good vocal coach will help you get ahead, because he understands the learning process and because he knows what's what at the moment is happening to your voice, thus you know how to react.

A vocal coach has to keep training his voice continually, otherwise it will not show the student how to do it. And never use descriptive phrases like "... places the sound here or there, Put it in the mask, tightens the diaphragm, and etc ... "because as I explained on other occasions, "Sensations, sounds and images are the effect a proper function, not the cause”. Each person has a different feel, so it is not right to teach through sensations.

And finally a vocal coach not only teaches you. But trains you to achieve your own goals. Because one thing is to learn and another is to achieve concrete achievements. And that's where a coach encourages you, accompanies you, You understand and many times you “carries” where you want to go. It is aware of your weaknesses, but also enhances your strengths. Sometimes it makes you to be careful and sometimes gives you a small boost to move forward. you are stimulated, but also takes care of you. And this is mainly so, because before, You have been where you are now 🙂

How many times have you heard people say ... “I do classical technique” o “I modern technique "? This is very common. But is there really classical technique and modern?

See the following, in the first instance we must identify what is style that is technically.

So that you may know me, The technique is the "backbone" holding the whole body and the style are the "moves" you can do with your body, knowing that your spine will always stand it and at the end of the movement you'll never have good posture.

"A good technique should give the singer access to all dynamic with a clear and flexible tone. It also helps you improve your vocal range, their endurance and stamina, breath control, resonance, power and voice quality through all styles of music without fatigue and without damaging her voice

The technique can be good or bad and this will lead to fruition or not. Why not really exist “classical or modern art”, rather he is referring to a classic or modern style, but not the technique itself.

If the student wishes to learn a specific style, you must first learn vocal technique, and then to have this flexibility that allows you to access a particular style.

There are teachers who specialize in styles music like Lyrical, where in the case of women her head voice is lighter and men have a chest voice much heavier. The voice is usually darker in this style. He R&B where used riffs and runs (sometimes called melismata) where the singer uses a rapid succession of notes with one or more vocal and have to know how to move very smoothly. Also in the Rock and Pop the mixed voice is stronger and more powerful treble. At Metal (black, trash, death, etc) more vocal effects like screaming growls or used, but this does not mean it is Screamed. YOU MUST NEVER CRY.

Although it may seem a “good singer” is crying, It is very far from what really makes. What you're hearing is projecting a balanced voice, which gives the impression that it is doing very strong.

A good technique will teach you to shout NEVER. Rather you will have vowel balance and only then You get to have that power what do you want.

If your vocal technique is well established and your neuromuscular memory is already well trained, then you will know how to apply the different styles (movements) healthfully, because always the art (spine) will make you return to your starting position.

Also within different styles they exist vocal effects such as: Tearing voice, growls (growls, grunts, pig squeals) scream y los whistles. To access they need your voice is completely balanced.

La experiencia me dice que casi siempre esto ocurre por creer que gritar les hace tener una voz más potente. Creo que existe un pensamiento generalizado sobre el hecho de que cuanto más volumen despliegue alguien, mejor cantante es. Muchas veces habrás oído decir: es que tiene “un chorro de voz”. Posiblemente sea así en verdad y lo haga bien. Pero ¿en todos los casos es por hacerlo correctamente? ¿Cómo saber si un cantante en realidad está gritando?

(Nota: Hay cantantes que por su estilo, utilizan un alto volumen de voz, y sus canciones no suenan igual si no se cantan de esa manera. Esto no significa que no estén gritando, sencillamente gritar o cantar a un alto volumen es parte de su estilo. What this article seeks to demonstrate is that there is no need to shout to sing, a menos que sea voluntario).

Veamos lo que en verdad sucede detrás de todo esto:

Resulta ser que la mayoría de las personas cuando piensan en notas agudas, Next comes into their heads that they are "high" and notes that "high" means using larger volume of voice , que deben ir “subiendo” el volumen. Incluso observarás que suelen mirar hacia arriba. Puedes leer mi artículo clickeando aquí sobre –> ¿High Treble or?

Haz esta prueba: elije una nota grave con la que estés cómod@ y ve yendo al agudo usando la vocal A, por ejemplo. Ahora poco a poco comienza a llevarla hacia la nota más aguda que puedas.

Si notas que empiezas a subir el volumen al ir al agudo, te está pasando lo que te decía anteriormente. ¿Y por qué sucede esto?

Bueno, el hecho está en las “percepciones”, como en parte lo he comentado anteriormente.

Para explicarlo mejor, tengamos en cuenta que existen dos tipos de percepciones: una es la externa, que consiste en la manera en que el oyente nos escucha. La otra es la interna, que es como “nosotros” nos escuchamos.

Por ejemplo: si haces una nota aguda y la gritas, desde tu perspectiva interior puedes sentirla con fuerza, con potencia (aunque te aseguro que de esta manera te dolerá la garganta y lo más probable es que no llegues muy agudo).

Pero, y aquí está la cuestión, la perspectiva exterior, es decir el oyente, escucha todo lo contrario, siente como un sonido forzado, ahogado, sin cuerpo, y aunque pueda sonar con cierta potencia, se desluce, because your voice is not projected.

En cambio cuando haces notas agudas sin gritar, la perspectiva interna es que ese sonido está “proyectado”, es decir, como si lo hubieses disparado hacia afuera, y al hacerlo te resulta fácil, sin esfuerzo, (incluso algunos dicen que internamente lo escuchan poco). En este caso, desde la perspectiva exterior, el oyente, puede percibir una gran potencia, una voz con cuerpo, flexibilidad en todo su rango vocal, con dinámicas, both compressed and projection.

En realidad, eso es lo que debemos conseguir, proyección: lograr potencia sin necesidad de recurrir a un volumen alto. Y la única manera de adquirirlo es con una buena técnica, y mucha práctica. (Pronto hablaré en un artículo sobre el grado de incidencia de los ejercicios vocales)

Esta voz es la que todo cantante quiere y necesita tener, is the voice that good singers possess and that many confuse when they scream when trying to imitate.

Este tipo de voz es una condición vocal que solo se consigue con un buen entrenamiento, y se la denomina voz mixta porque mezclas las dos resonancias, tanto de pecho como de cabeza y por eso suena potente, proyectada y con armónicos, incluso en las notas más agudas.

Y realmente cuando lo logras hacer, resulta muy fácil, placentero y te da muchísima libertad vocal a la hora de cantar.

Aquí os traigo la segunda parte de este artículo, en donde os hablo acerca de la voz mixta:

Una reseña acerca de la mecánica de su funcionamiento, percepciones, y más importante aún: ¿Cómo poder conseguirla?

Si no lo has visto, This is the first part of the article: how does it sound mixed voice?

En la primera parte os mostré una serie de videos en donde cantantes con diferentes estilos vocales la utilizan, pero como sé que este tema es un poco complejo para muchos, I will try to explain a little bit more.

Repasamos el concepto: la voz mixta como su propia expresión lo indica es la mezcla de dos tipo de voces: la voz de pecho (notas graves, hablada) y la voz de cabeza (notas agudas. No confundamos, estas no son falsetto).

De esta manera conseguimos que nuestra voz suene potente, con cuerpo. Si te menciono algunos cantantes que la utilizan quizás entiendas a que me refiero. Por ejemplo: Beyoncé (pop), Etta James (Jazz) Alicia Keys (R&B) Ronnie James Dio (Heavy metal), Pavarotti (Opera). Son solo algunos de muchos buenos cantantes que podría mencionar.

Si observamos detenidamente, todos ellos comparten una buena dosis de potencia en su voz, porque todos ellos tienen un correcto equilibrio vocal independientemente del estilo que utilicen. Esto es importante a tener en cuenta. Una cosa es tener una buena “mezcla” en la voz y otra es el estilo que vayas a utilizar. Con lo cual, good technique takes you you can sing like that you most want, pero también te permite abarcarlos todos, sí, todos.

Pero sigamos en cómo poder conseguir una voz mixta:

Para que me entiendas mejor, en nuestra laringe hay unos músculos que son responsables de que podamos hacer las notas graves y agudas. Si se coordinan este grupo de músculos, entre otras cosas lograremos que este sonido sea potente.

Entonces, ¿qué le suele pasar a la mayoría de las personas que no logran esta voz mixta?, que cuando pasan de una voz de pecho (notas graves) a una voz de cabeza (notas agudas) se les produce un quiebre o flip, y comienzan a tener una voz aguda dulce, suave y “sin potencia”.

Pero esta coordinación muscular, se puede lograr con el fortalecimiento de dichos músculos mediante ejercicios específicos y con la correcta repetición de ellos (y en el momento adecuado) para que nuestro sistema nervioso lo grabe (memoria neuromuscular) y luego podamos ponerlo en práctico de una manera inconsciente a la hora de cantar.

What if you have to bear in mind, e insisto en esto, que aunque estos ejercicios son efectivos (incluso puedes verlo en videotutoriales, leerlos en libros, o escucharlos en CDs), siempre deben estar guiados por un profesional que haya estudiado acerca de cómo actuar con cada caso o tendencia vocal y que evalúe en que “momento vocal” se encuentra el alumno, porque no todos los ejercicios son adecuados según el momento de la evolución del alumno y podrían estancarte, creando vicios vocales y lo peor, harm you.

He thinks not professional singers to sing learned through books, DVDs, or videotutoriales, they have left their voices in the hands of professionals who have studied to find out correct voices and recondition.

It is therefore important that when you go to a singing teacher you make sure you really know what it does, y que cuenta con una formación real y completa para asegurarse el alcance de los objetivos del alumno pero sobre todas las cosas, para garantizar su bienestar, su salud vocal y psicológica.

Note something, the fact that someone can sing very well, It does not mean you have actual knowledge to teach properly.

Estamos hablando que está en juego nuestras cuerdas vocales, laringe, y no podemos permitir que nos causen daño, e incluso nuestra parte psicológica se vería afectada, because if you feel you do not you go, es muy probable que te frustres, and you think you are no good to sing or do not have that gift.

(Si alguna vez has pensado así, te invito a leer este breve artículo, ¿y si no tengo el don de cantar?

Bueno, I will begin by saying something that we all know: hay personas autodidactas (who have learned on their own) as in many artistic areas, either by imitation or because they have the ability to perceive things more easily, or a talent inherited through DNA.

Those who started our profession as in my case, learning to play instruments from very small, We have built musical ear, and this results in a great advantage, I agree. But having studied music at a conservatory does not automatically facilitates the ability to sing, even if it is a skill "musical", I can say from my own experience. This is because singing is not only hitting the notes, not only to refine.

In the case of the "song" There's something important to keep in mind, something peculiar and distinctive that does not happen in any other matter: almost all other disciplines are visible, and exemplifying, es decir, you can "see" what you're doing and compare with the view based on an example. However when we sing, we can not see what happens inside our body fonador, we can not see what happens in our larynx, and of course, in our vocal cords.

So how can you tell if you're doing well? Who is able to "see" what happens in your voice when you sing?

It is only able to get one who has studied, exercised and experienced. Anyone who has trained his ear to tell you what happens when you use your voice, to help you optimize and enhance your vantage points, and if you have a weak spot, help you correct.

But there is more. When you sing, You perceive the sound of your voice being modified by your own resonators. This means that you, and only you, you sound that way. Anyone who is in front of you, perceived differently. It is why many students who ask me recorded, After listening say: Is that my voice?

So how can we make can correct yourself?

That's why almost everyone in any artistic discipline, autodidactas o no, ever we need a professional to guide us.

In this article I address primarily those who have a great desire to sing, but out of fear or shyness do not.

There are few people who believe that singing must be born with a "gift" and if you do not have, Maybe it would dismiss it out of your life. And sometimes these negative thoughts are the result of the messages received from the social environment around us. This is because we hear all the time in different media (either on the radio, CDs, Youtube videos), recordings of singers with voices perfectly achieved, and where TV programs but are good enough for the show, kick you off.
You know cycling? Have you ever taken a dip in a pool or in the sea? Te responderé a estas preguntas y aprenderás en qué consiste cantar.

Many people simply are inhibited to sing shame to be heard and to be judged by comparing them with professional singers.
Unfortunately, all they do is that his expressiveness and spontaneity go out.

As children sing, We laughed and cried without inhibitions, so it is sad to lose something so natural. Many say it is an innate talent that we carry all and not just a gift of some. It is scientifically proven that singing helps us emotionally and physically. We do not worry about what others think (often the judgment of others is only in our imagination). We must simply try to experience that desire, which often becomes a necessity..

Singing brings many physical and mental benefits and of course contributes to our happiness. Pero para poder encontrar esa alegría, Sometimes we need to help us make better use our vocal instrument, as with any other instrument or tool. Everything is learned, If you have the desire.

Previously you asked: You know cycling? Have you ever taken a dip in a pool or in the sea? Lo más seguro es que no necesites dar la “Vuelta a España” para disfrutar de un paseo en bicicleta. Nor need swim spring to spring to have fun in water. But you learn to swim enough to experience the pleasure of it, and to feel safer. Can gradually do better, perhaps much better if that's what you want.

If you want to sing, you can hacerlo. Let us guide you to get a good grasp and balance of your voice. You need only "focus" to express and enjoy the pleasure of singing.

Probably the most sought voice for all singers because of his vocal wealth.

The mixed voice, as its own expression says, is a mix chest voice and head voice. But when we hear, It gives the feeling that it is a chest voice, but more acute. This type of voice compression requires greater voice. There are singers who possess naturally, but most do not; so I will explain what it is.

They say an example is worth a thousand words.

Here is Christina Aguilera, as you know you have a powerful voice. Take his mixed voice:https://www.youtube.com/watch?v=rh2Yxp6q2h0

For those of you who like rock or heavy, I leave this example. A great singer with mixed voice, Bruce Dickinson

It is not easy to get this kind of voice, and the truth is you need a good deal of work. It requires coordination voice different from chest voice and head. But that does not mean it's impossible to get it. If you try it and see that then you have a sore throat or you stay disfónico, it's because you're not doing well. Better take classes with a trained teacher, to train your voice and help you get what you want.