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transgenderteensurvivalguide · 5 years

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I'm ftm (pre everything) and am in choir but I also want to sing and maybe pursue it later but if I go on hormones then I'm afraid I won’t be able to. Advice?

Lee says:

I like singing, how will T affect my voice?

We can’t tell you what will happen to your voice- people tend to be able to sing well (once their voice is done changing!) if they could sing well before, but there are instances of people losing their singing voices.

We’ve anecdotally heard of some people on T being able to keep their high notes, but it’s much more likely that you lose your high notes as your vocal cords thicken.

T will most likely deepen your voice so your range will change, but as long as you continue to practice and don’t overwork your voice into notes you cannot reach anymore your singing voice probably will be okay- different, but okay.

But we can’t guarantee this, and it’s your decision whether testosterone and passing/being comfortable in your body are worth the risks of losing your singing voice for you.

This post has a bit more on singing

The Changing Female-To-Male (FTM) Voice

The Changing Female-To-Male (FTM) Voice Pedagogical Notes

Testosterone And The Trans Male Singing Voice

Training the Transgender Singer: Finding the Voice Inside

Followers, any examples of trans singers on T for us to add? Or any personal experiences to add on?Followers, any personal experiences to add?

Followers say:

aeolianchemistry said: have a lot to say about this! i may not be the most coherent bc im half asleep lol, but anyone feel free to message me about this anytime and ask for more details!,

this was my biggest Thing when i was deciding to pursue hrt. ive been in various choirs for years, and its a very Important part of my life. but also my voice was my #1 source of dysphoria, and the #1 thing i needed to change. i searched for weeks to find anything about what to expect from hrt as a singer, esp bc ive heard stories of trans ppl losing their siging voice entirely. i was terrified, and couldnt find resources to shed any significant light on the topic.

and so, in no particular order bc im half asleep, here are some things to expect and things that i’ve experienced so far (almost six months on hrt):

- practice while your voice is dropping! feel it out every step of the way. get to know your voice while it’s changing, and try to maintain those high notes. i didnt do a v good job of this and my high range kinda just shriveled up. i cant be sure that it wouldve been hugely different if id practiced more, but ive heard it does help

- yoir voice will feel different. unfamiliar at times. you wont be using it the same way youre used to. technique will change, placement will change

- my speaking voice shifted downward after just a month or two (i had mild hyperandrogynism before, so this wont be as quick for everyone), before my singing voice did. i didn’t start getting new low range until later, but within my pre-t vocal range, my voice just sat a bit lower than it used to. my low alto filled out more. than i started getting new notes, slowly

- there will be periods of time where it cracks or breaks or is unreliable. dont push it, but dont despair either. keep practicing as well as you can

- my voice is somewhat fragile. if i yell (which i can only somewhat do currently) or push it or force it thru cracks/breaks/weak spots, it will get tired easily and take quite a while to recover. be nice to your voice. dont push high notes if they cause strain. dont push the low notes either, even tho im sure youre excited about them

- your voice will be weak while it’s shifting. this can cause frustration and anxiety. i’m two months into my choir season singing w two and a half choirs, and i’m dealing w lots of Complicated Feelings bc my voice just cant do all the things i want it to. i cant project much, and i certainly dont have the strength (yet) to audition for any of the solos i’d like to. Patience

- the Weird Spots and the Weak Spots will continue to shift around. i have this one area in the middle of my range (currently its about Ab3-B3, but a few weeks ago it was B3-C4) where its weird and weak and its kind of like a break in register but also a bit like a black hole, bc i Cannot Project there and theres no good placement for singing those notes, and notes in the vicinity of those are also Weird but Less So. it’s slowly sliding downwards, and i am learning to navigate it better. i’m hoping it will settle and go away soon, but we’ll see

- breath support is v important. as mentioned, your voice may be quite fragile, and putting strain on it could cause it to glitch out on you for a while. supporting your voice w lots of breath will put less demand on your vocal chords

- NEVER SING IN A BINDER or compressive garment. you need those lungs!

- you’re going to miss out on some of the nostalgic singalongs of old choir songs, bc you no longer have the range to sing your old parts. this is possibly the #1 consequence of transitioning that im the most sad about lol

- i have a very weird quality to my high range rn. it seems to be caught midway between the head voice it used to be and future falsetto or whatever it’s moving toward. for now its just Strange to listen to

the current state of my voice is this:

low range is down to almost the bottom of the bass clef. i can sing down to Bb2, A2 on a good day.

from there up to F3ish is quite comfy and possibly the strongest part of my singing voice, but i do find that if i spend too much time down there it can strain the rest of my range (i used to have this problem before too: if i sang in my low alto range too much or too enthusiastically, my sop range would get tired).

from G3-C4, it’s Awkward. the Awkwardness shifts around, and some parts of it can be more comfy than others sometimes, but it’s all v inconsistent. i cant project much here, and placement is veryvery Weird.

D4-F4ish is typically comfy but has a bit of that Strange quality to it. these notes are a bit floaty, but not bad.

G4-B4 are unreliable. somedays i can get up there. some days it’ll blink out or crack or break or just Not Be There. i am predicting that once my high range settles into a proper falsetto, i’ll be able to work on this range more and it’ll have less of that Strange quality to it, but only time will tell

again, apologies for being Scattered, it’s 1am and ive had a long day. any of yall are welcome to message me for more details ☺

there is a lot of weirdness and weakness and Awkward in the transition period. but while i’m frustrated at times, i’m not worried. everything i’m dealing w is temporary. now i can’t be 100% sure how my voice will settle or when, but i’m not afraid i’ve lost it forever. as far as i’ve heard, the stories of trans ppl who lose their singing voice on t are very rare cases. youre going to go through weeks or months where singing is Weird in constantly shifting ways, but itll keep on moving and developing, and personally i’m so excited to see where it goes.

i’m currently singing tenor2 in my choirs, and occasionally i get to take a trip down and sing baritone. im not even 6months in! that has transformed my choir experience to be even better than before, even w all the awkwardness. it was so weird and beginning to get verg uncomfy to be in a place like choir, which is so important to me, which i love dearly, which has had a significant impact on my life, but which revolved around the use of my one most dysphoric feature. but now i don’t have to worry about that. now i can sing the parts i’ve been wanting to sing for years.

i do occasionally miss some of my old voice. i miss soaring soprano lines, i miss all the old alto parts in songs i used to know. i miss the confidence and strength of a familiar, complete voice. and im allowed to miss those, i dont feel bad about having that longing or sadness, bc i have zero regrets. i also occasionally miss playing with and styling my super long hair, but in five years i have not once regretted cutting it all off. i own those memories and that nostalgia, but i keep moving forward to new and better things

pinesboi said: If you keep working at your voice and take lessons to make sure you never let it get out of practice, everything should be okay. I’m on T now about 3-4 months, and I’m still singing high tenor musical theatre

#Lee says #testosterone #ftm #caps briefly #Anonymous #transgenderteensurvivalguide #trans #transgender #nonbinary #lgbtq #lgbt #transgender teen survival guide #TTSG

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brucearnold · 4 years

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Playing Off The Melody Stella

Playing Off The Melody Stella 50% off until March 10th using melody promo code

Playing Off The Melody Stella

Add digital copy to cart - $19.99 Status: In stock, Digital book is available for immediate access.

Melodic Rotations Learning to Improvise More Based on the Composition

Playing Off The Melody Stella is a course that teaches you how to bring more compositional elements into your improvisation; in other words, playing more off the melody of the song that you are improvising over. Improvisers frequently create these kinds of compositionally related melodies through permutation or rotation. There are three previously published books on permutating 2,3 and 4 note melodies in the Modal Sequencing series. Permutation problems arise when you have a melody in which the main theme is more than four notes. In this situation the use of permutation gets out of hand pretty quickly. For instance, a six note melody has 720 permutations (or 8640 permutations if we consider octave transposition). In order to work with larger themes, rotations are used. For a six note melody there are only 6 rotations. This is a much more workable number for a musician to practice and gain fluidity with. Even with only six rotations the amount of exercises that can be derived is enormous. Exercises are given using treble and bass clef plus there are bass clef versions for 5 and 6 string bass. Factor in all 3 different types of exercises, and you get a whopping 8016 pages of exercises!

Melodic Rotations for Stella By Starlight Melody

This course works with the first six notes of the jazz standard Stella By Starlight. You will find from playing through the three different types of exercises found in this course that the melodies created are really useful and sound great! This course is comprised of three main exercises. First, the exercises concentrate on one rotation at a time and starting it on every eighth note of the measure. Second, you work with changing between the six rotations throughout the song, again on every eighth combination. Third, you change the rhythm and the rotation throughout the song. Working on these three levels will change your playing almost immediately. Playing the melody through minor 2nds, major 2nd, minor 3rds, major 3rds and augmented 4ths are also included. All exercises are presented in all 12 keys. This gives you the "old school" approach to learning a jazz standard. Learn it in all keys and then you REALLY know it.

Examples from the Playing Off The Melody Stella Course

All exercises found in the Playing Off The Melody Stella course have midi files. This will allow you to not only hear the melodies but also check accuracy as you practice. There are also MP3s with piano, bass and drums, at 3 different tempos, and in all keys, so that you can play the examples with real music. A PDF is included that talks about each exercise and how it is organized as well as practice tips and application ideas. Whether you dive head first into these exercises right away or not, it is important that you understand the power of rotations which this course will supply. You will be really surprised by how just a couple of minutes a day reading through these examples will affect your playing. Seriously folks, rotations will change your playing dramatically and quickly. Here are a few examples from the course. A complete list of the different types of exercises can also be found below. 6 Rotations for Stella. Book contains these rotations in every key.

Exercise One: One Rotations moving through Stella Chord Progression with same rhythm.

Exercise Two: Random Rotations moving through Stella Chord Progression with same rhythm.

Exercise Three: Random Rotations moving through Stella Chord Progression with changing rhythm.

Exercise Four: Rotations moving in Minor 3rds.

Exercises Found in the Playing Off The Melody Stella Course:

How to Use This Course 6 Rotations of Six Note "Stella By Starlight" Melody in Bb 6 Rotations of Six Note "Stella By Starlight" Melody in Bb Bass Clef Rotations Starting on Every Eighth Note Further Application of Consistent Rotations Rotations Starting on Every Eighth Note Example Rotations That Vary Throughout Each Exercise Further Application of Inconsistent Rotations Inconsistent Rotation Example Varying Rotations and Rhythm Throughout Each Exercise Further Application of Varying Rotations and Rhythm Example of of Varying Rotations and Rhythm Rotations through Cycles Rotations Moving in Minor 2nd Ascending and Descending Stella Rotations in Minor 2nds Rotations Moving in Major 2nds Rotations Moving in Minor 2nd Ascending and Descending Stella Rotations in Major 2nd Rotations Moving in Minor 3rds Rotations Moving in Minor 3rds Ascending and Descending Stella Rotations in Minor 3rds Rotations Moving in Major 3rds Rotations Moving in Major 3rds Ascending and Descending Stella Rotations in Major 3rds Rotations Moving in Augmented 4ths Rotations Moving in Augmented 4ths Ascending and Descending 6 Rotations in Augmented 4ths in Stella Melody Alternate Melody Using Same Six Notes Other Melodic Combination Using Same Six Notes Other Note Choices for Rotations Major Chord Rotation Choices Minor Chord Rotation Choices Dominant Chord Rotation Choices Dominant 7sus4 Chord Rotation Choices Minor 7b5 Chord Rotation Choices Conclusion

Get Playing Off The Melody Stella Today!

Add digital copy to cart - $19.99 Status: In stock, Digital book is available for immediate access. Additional Information for Melodic Rotations 012345: Digital Edition 978-1-59489-330-8 One 26 page PDF explaining exercises, 10 different types of exercises, 8016 pages of exercises in PDF format Midi files for all exercises. 36 MP3s backing tracks for Stella By Starlight in all keys. Piano, Bass and Drums. List of 180 possible melodic combinations of the Stella 6 note melody. List of other melodic combinations for each chord for the Stella 6 note melody.

What people are saying:

Man Bruce this is Dope! I never knew what rotations were before this course and now I see that they are the key to the kind of playing that I've always striven towards. These exercises are like perfect solos. By just improvising a few more notes in the rests I have a great solo that is so closely related to the song. Y. Songland I've been searching for a course like this my whole life. I hope Bruce puts out courses like this for many jazz standards! G. Idi Not only is this a great idea for melodies but my phrasing has changed within days. R. Bellham I'm a 5 and 6 string bass player and also have the Melodic Rotation 012345 book which I'm enjoying quite a bit. This Playing Off The Melody Stella book takes things in an entirely new direction. It makes me realize many new things that I can do with the Melodic Rotation 012345 book but also is really helping me to get the basics of soloing over jazz standards together. A. Newton Read the full article

#PlayingOffTheMelodyStella #StellaByStarlight #SoloingonStellaByStarlight

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thecycleista · 7 years

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Sneek Preview: Agdar and Iduna Backstory

For about a year or so now I have been working on an Agdar/Iduna multi chap back story with parallel Elsa/Anna/Kristoff. I still have a lot of work to do but the pieces seem to be coming together now. I wanted to put out a little tidbit of it to hopefully get some feed back.

So here is Iduna and Agdar meeting for the first time. There maybe some inconsistencies in name spellings and so forth. (I was trying different variations of their names) and of course this hasn’t been thoroughly edited. Adgar and Iduna Meet 924 words

Iduna was the middle daughter of five children. She was shy, quiet, and extremely close with her older sister Freya who was like a second mother to her. She was heartbroken on the day of her sister’s wedding because she knew that Freya would be leaving for a foreign land. She stole away from the joyous reception to weep privately.

It was Freya, of course, who found her and assuaged her despair. She wiped away Iduna’s tears and led her back into the ball room. Iduna had a sensitive nature, she felt the pain of loosing her sister just as strongly as the joy of seeing her married and happy. It was at this celebration that she encountered a lanky, fair haired 16 year old boy. He was awkwardly tall, all angles, as if his boyhood body was not prepared for a sudden and rapid growth spurt.

He was here with his mother to attend Freya’s wedding, Prince Agdar of Arendelle. They were both quiet wall flowers, it was Iduna’s mother who encouraged her reluctant daughter to befriend the bashful awkward boy, suggesting perhaps that she show him their family library. Iduna couldn’t have felt more mortified. The library was her personal sanctuary, and this boy was a perfect stranger whether or not was was to be the crowned prince of Arendelle.

But her mother, the expert persuader she was, somehow finagled the two down the hall and into the library. All of a sudden Idun was inviting Agdar into her haven, her private world filled with the books and stories she treasured. Only after passing through the threshold of the library did Agdar’s posture seem to relax. In this room there was more color to his face, his eyes moved over the volumes housed on the antique shelves.

He pulled a thin spine from the shelf of books. “This is my favorite.” he proclaimed Idun was surprised by his choice. “How sensational.” she remarked “I suppose out there in the crowd you thought I must have been a bore.” “No, of course not your highness I simply…. “ “It’s ok. And please call me Agdar or Ag is fine too.” “Iduna” she followed with a small curtsey. She cracked a smile. “Well, I’m glad at least one person in this whole party shares my tastes. Mother isn’t exactly fond of the romantics.” “Neither is my father” he said “It’s just surprising. Shelley is one of my favorites as well. Have you read this one?” She pulled another volume. “Yes, against my father’s wishes of course. He thinks the only suitable books are history and politics. He hates modern philosophy, despises novels, and abhors poetry. So of course I read everything that I can get my hands on.” Iduna couldn’t help the giggle that escaped her throat. “But my favorites are mythology and legends.” “Here take this one. I’ve read it at least a dozen times, and it sounds like you could use the distraction.” “Thank you” he said “Here, these are mine” she said pointing to the drawing table. I do them in pencil and water color. It’s too hard to sketch them outside. All the little birds and rabbits, they move too quickly thorough the meadow. So I like to practice drawing them from my books.” “They’re quite lovely.” “Thank you” “I mean it though, sincerely. They all have a liveliness about them. They all look so innocent, so happy.” His hand lingered over a drawing of a mother duck and her two ducklings.

They spent the remainder of the evening pouring over the books comparing their favorite subjects and authors. Thrill absolutely filled Agdar’s face when Iduna showed him their collection of maps and atlases. It has been such a long time since either of them had made friend completely naturally.

Her mother had only stopped in on them once through out the entire evening, and was pleasantly shocked to see the two young people enraptured in their conversation. A man servant brought them a tray of desserts and glasses of milk. The evening ended at the piano. Watching Agdar play the piano was the most fascinating thing Iduna had ever witnessed. Seeing his long fingers move across the keys, his green eyes focused on the sheet music in front of him. After he finished he made room for her on the bench. “Do you know any duets?” “Oh yes. My sister Freya taught me to play, and all our favorites are duets.” He fingered through the sheets of music and pulled out a new song. “Well then, do you prefer the treble or the bass clef?” “I’ll take the high part.” she said sweeping her skirts aside to sit comfortably beside him. Somehow Agdar wasn’t surprised that Iduna matched his tempo note for note. He was however overcome at the sound of her sweet soprano voice carrying over the melody. His father would have scolded him if he saw the blush that flooded his face. The next hour flew by in a flurry. She had never met anyone like him before today. As the evening turned into the night their respective parents came to retrieve their children. Agdar looked nervous as they walked down the corridor to rejoin the wedding celebration. “May I write to you? he asked staring straight ahead “Yes.” she answered simply Only then did he turn to her and meet her blue eyes. “Thank you for this evening. It has been absolutely wonderful.” Her heart had been so despondent before. Tomorrow life would go back to normal.

#frozen #agdar and iduna

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transgenderteensurvivalguide · 6 years

Text

I like singing, how will T affect my voice?

We’ve anecdotally heard of some people on T being able to keep their high notes, but it’s much more likely that you lose your high notes as your vocal cords thicken.

But we can’t guarantee this, and it’s your decision whether testosterone and passing/being comfortable in your body are worth the risks of losing your singing voice for you.

This post has a bit more on singing

The Changing Female-To-Male (FTM) Voice

The Changing Female-To-Male (FTM) Voice Pedagogical Notes

Testosterone And The Trans Male Singing Voice

Training the Transgender Singer: Finding the Voice Inside

Followers, any examples of trans singers on T for us to add? Or any personal experiences to add on?

Followers say:

aeolianchemistry said: have a lot to say about this! i may not be the most coherent bc im half asleep lol, but anyone feel free to message me about this anytime and ask for more details!,

and so, in no particular order bc im half asleep, here are some things to expect and things that i’ve experienced so far (almost six months on hrt):

- yoir voice will feel different. unfamiliar at times. you wont be using it the same way youre used to. technique will change, placement will change

- there will be periods of time where it cracks or breaks or is unreliable. dont push it, but dont despair either. keep practicing as well as you can

- NEVER SING IN A BINDER or compressive garment. you need those lungs!

the current state of my voice is this:

low range is down to almost the bottom of the bass clef. i can sing down to Bb2, A2 on a good day.

D4-F4ish is typically comfy but has a bit of that Strange quality to it. these notes are a bit floaty, but not bad.

again, apologies for being Scattered, it’s 1am and ive had a long day. any of yall are welcome to message me for more details ☺

#singing #t faq #Lee says #trans #transgender

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