A Quote by Cass McCombs
If you've ever sang in falsetto, you know that your throat is between your voice and your mouth. In a standard voice, you sing from your belly. And when you sing in a falsetto, you're blocking that. It gives it a filter. It gives it a character. It's less revealing.
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If you can sing, you never lose your voice. If you don't know how to sing, your voice goes away because you sing from your throat.
I always surprise myself with my voice. A lot of people don't get it, and they're like, 'You can't sing. Stop. What are you doing?' And it's funny to hear a lot people say I sing in falsetto because it's not falsetto - that's my voice.
I don't think you can sing about certain things when you're a teen-ager or in your early 20s, because you haven't lived long enough. So I think living gives you character and that comes out in your voice.
I'm a natural baritone, so I had challenges in that middle range, which would be that tenor area, singing in my natural voice. And I worked on that. But basically the falsetto thing, I didn't even know it was a falsetto until a music teacher commented on it, that I had a very nice falsetto. I didn't even know what it was. I said, 'Oh, OK.'
I think what education gives you is a voice. It gives you a way of talking to a judge. When a policeman pulls you off to the side of the road, you have a voice. When you cross a border, you have a voice. When you are writing to express your opinions, you have a voice.
If your body is not in shape to sing [from the diaphragm] you will push and push but keep falling back on your throat to make the sound. This will ruin your voice.
You can strengthen your leadership voice by finding what I call its Maximum Resonance Point and learning to pitch your voice there. That gives you the strongest voice and thus the one that people are most likely to want to follow.
You are born with a voice. And in a way, you don't choose what you want to sing. It's the quality of your voice that matches a certain repertoire, and that's what you're going to sing.
Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.
I just really need to sing and sing and sing and not worry about writing. Just by singing for pleasure, your voice takes you to what it wants to sing. And that is how the best stuff kind of emerges.
Your voice is not your instrument. Your voice is the character that you build, your innermost feelings, the things that you want to say, and your instrument is the vehicle that you use to carry the message.
I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voiceovers. You can be completely unconscious with the rest of your body and just concentrate on doing something with your voice, creating an entire character with your voice.
Sing again, with your dear voice revealing. A tone Of some world far from ours, where music and moonlight and feeling are one.
sasha growled low in his throat. "Send the wolf to watch them," he mocked in falsetto. His nostrils flared. "I swear Z, if I live, I'm going to rip that damned goatee off your face and stick your shaving cream in the fridge.
You don't need as much as some of the other artists but you do sing with your eyes close and it gives the illusion that you singing in your sleep and number one places around the country, you have to have your eyes open. You can close your eyes for a certain gesture or whatever but your eyes are the mirrors of your soul.
When you're young and you don't grow up with a silver spoon in your mouth, what do you do? You do stuff that you're positive about to help you better your family and your life. That's basically where I was. I wanted to sing, that's what I knew I could do. With that, I really didn't know what that meant. Along the journey I realized what that meant and why I wanted to sing.
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