A Quote by Darci Lynne Farmer
Singing in multiple voices, especially Oscar's, can make my vocal chords tired.
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I've been diagnosed with what's called vocal tension dysphonia. The muscles around my vocal chords kind of constrict my vocal chords from doing what they should do. It's kinda like being a body builder and you have muscles that are so large that they don't allow you to have flexibility, if that makes sense.
When I was on the air a lot my throat and vocal chords got tired. If you don't vary your tones you can't get pretty tired of your own voice.
If you don't make those vocal chords work, they'll go dormant on you.
As a novelist, your impulse is toward multiplicity: multiple voices, multiple perceptions, multiple nuances, the ambiguity in human communication. Fiction really is the ultimate home for that sense of ambiguity.
I came from being a singer going into jazz. And that's one of the things that polio did for me is it took away my ability to sing with a range because it paralyzed my vocal chords, so that was when I started playing. But I hear the music as if I were singing even when I am playing.
I'm not very good at playing piano, so I usually hit chords with my right hand. And those chords came, and I was just singing a little bit.
If I am able to sing again it will be through some miracle operation. There's a lot of work being done to help singers regain their voices, but in my case I actually lost vocal tissue so it's very hard for my chords to rub together and I need to replace that tissue. I remain optimistic but not tremendously so.
I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.
At a certain point, I should start to pay attention and make sure I'm not damaging my vocal chords, because I enjoy using them a lot.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
With a track like 'White Christmas,' everybody has done that song in every format you can imagine, so I just looked at the chords at that particular song and what chords would make it work. That's kind of quite a sad song, and I had this idea of someone singing it in the subway, someone who is homeless, old and sad.
In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
I've had cysts on my vocal chords.
The total person sings not just the vocal chords.
I hear a lot of people singing in funny voices and singing like they're stupid. Singing in a deliberately fey and dumb and childish way. And I find it to be a disturbing trend.
I was tired of getting last or fifth or sixth. I was tired of falling multiple times in a program. I was tired of competing differently than how I trained. If I was going to do that, why train so hard? I took a step back, and I figured out what I wanted to change about myself.
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