Regulación del metabolismo del hierro

~~~~(Speaking)~~~~

Did I not promise you that this method, by training your voice in this new age tuning, would give you more love in your relationships with others? I sure did, and I promise you here again for the sake of your

happiness that you will reap massive amounts of abundance and joy in your relationships from simply training your voice in the tuning of A=432Hz. I want you to think of your speaking and singing as similar like walking and running. I don’t teach speech level singing, the act of singing at the same volume you speak. However, singing at the volume you speak does have a place and is the natural progression to high resonance and powerful voice production, and it does serve a purpose.

The volume may start at speech level when you sing and exercise in 432Hz with the scales if you’re a beginner, but resonance and volume will build in a gradual fashion, and there will come a point where you can decide and discern whether to sing a song or phrase at the volume you speak. You

must be ever mindful of how you’re using your speaking voice in your daily life.

Speaking and singing use the same vocal muscles, but for our purposes, we’ll differentiate your speaking voice and singing voice for clarity and ease of communicating. You speak way more than you could ever possibly sing in your daily life, so you must take care to joyfully use your speaking voice as colorfully as you would your singing voice. That includes using more volume and melody, which I will explain shortly.

To start developing your speaking voice, you must first hear your voice objectively to find out what qualities you don’t want and which ones you want to create. The best way to do that is to first record your speaking voice. So go to middle C at 256Hz and speak/sing a word: This is all that is needed to place your speaking in the correct tuning of A=432Hz, until it becomes habit, and soon your voice will be naturally placed in this tuning without needing to refer to middle C or any other note in this tuning.

Do you sound breathy? Nasally? Or worse yet, monotonous? Make sure you’re honest with yourself; honesty about your voice will lead to rapid development. The biggest and best thing you can start to do to develop a great speaking voice, which will help develop your singing range and freedom faster, is to use more melody and tone inflection in your speaking. Speak high, speak low, and move around until you realize you’re jumping all over the place. This is fun! And you must let go of what you think you

should sound like when you speak and sing in the tuning of A=432Hz. If all you did was focus on using more melody and volume variation in your speaking, you wouldn’t need to read anymore from this chapter.

is that you begin to record your voice reading any book, preferably this one, and play the recording back and see what you can spot. Look for signs of excess breath, monotone, nasality, an unruly tongue rising too high, high voice box sounds that choke off your sound, or maybe even a voice that really isn’t you. Many people speak with a voice they think may be acceptable to others but isn’t representative of who they are deep inside.

Many women often speak with a breathy, sexy voice with the idea that if they do, they will garner more attention from the opposite sex. Many bass singers often speak in their low ranges and think that’s how they must sound, but this isn’t true. If you were to hear me speak, you would never guess that I was, by natural placement, a bass singer who rings in his midrange at the D4.

For this exercise, I want you to let go of what you think you need to sound like and have faith that speaking, training and singing in this tuning will give you not only a more powerful singing voice but also a speaking voice that represents your true higher self.

Another great piece of advice is to speak in your midrange as often as possible. So constantly record your voice, get your speaking voice in tune with C=256Hz by speaking a single word at this note and then speak a phrase or passage to record and analyze. If you abuse your speaking voice or have never thought it may impact your singing excellence, consider this: As a power lifter, I know that how I use my muscles outside the weight room affects how my muscles work inside the weight room. Every athlete understands this basic concept, which is why they take their time off very seriously, just as seriously as their training time.

singing and speaking excellence. How you use your speaking voice, and whether you know it or believe it’s affecting your singing time, affects your singing development rate in 432Hz. Why not make the most out of the time you use your vocal muscles to propel you forward?

When I first started getting into speaking, long before the thought of singing came to my mind, I knew that using my voice in new ways would lay a foundation for my ability to influence others. And unbeknownst to me at the time, I was actually laying the foundation for the singing I would use later. I truly believe my accelerated voice development related to my good speaking habits.

Start to see your speaking and singing as one and start to use the melody, range, and freedom that you sing in with your speaking. Record your voice at least on a weekly basis for the duration of your singing excellence lessons. You don’t have to play the middle C at 256Hz all the time you’re speaking, just sing/speak at it for a second, turn away from the keyboard, and go about your speaking, knowing that nature is guiding you in your speaking. Once this becomes habit, you’ll never have to do this again since nature will guide your speaking from that point forward every single time in the tuning of A=432Hz.

Let’s tackle speaking development from all the angles we can in A=432Hz with all the parts of our voice. A common problem with most speakers is a high voice box/larynx. The best thing to do with this issue is to first relax, since this is a symptom often associated with psychological stress, and the main reason many speakers and singers choke, crack, or lose confidence during a speech or performance. So, first check the three basics, posture, natural breathing, and correct activation of the solar plexus and

heart center.

Don’t forget to put your entire hand on your throat center with a slight hand placement emphasized on the voice box. Don’t hold the voice box down, though. You put your hand on your voice box to create a

psychological assurance that everything is okay, much the same way

someone puts a hand on your back to assure you that everything will be all right. Placing your hands lightly will serve you well when you start to do your exercises in the bottleneck octave when your larynx and tongue might rise and block off your sound. So remember, you simply put your hand on the throat center to reassure yourself that your voice box doesn’t need to rise, and that it’s okay to stay relatively center.

Now for the extreme high notes, the larynx will naturally move slightly up, and for the extreme low notes, it will move slightly down. But remember, the movement of the voice box either way will be so slight that you feel and think that it’s still neutral. A stable larynx produces a stable sound. So if you’re suffering from a high larynx, make sure you relax.

This is how I train all my singers: Teach them the fundamentals of posture, breathing, and activation from the seated lotus posture against a wall. It takes the formality out of singing, makes it more playful, and eliminates body tension.

So what about the tongue? When you sing in this tuning, you will find that for each vowel, word, or phrase you sing, the tongue will find its natural place. Telling you it should stay at the bottom of your mouth touching your teeth for every singing and speaking phrase is absurd because as you’ll soon find, the tongue moves around for different vowels and words ever so

touching the bottom front row of teeth the majority of your singing, but this varies.

This brings me into the soft and hard palate of your instrument. The hard palate is right behind your top front row of teeth, and the soft palate is right behind it near the uvula. As you sing higher in your voice’s ranges, this soft palate will rise naturally. And this carries over to another speaking trait the causes many speakers and singers distraction-nasality. If you sound nasal when you speak and sing, most assuredly it’s from letting too much air escape through your nose. To remedy this, focus on letting the air, most of it, come out through your mouth when you speak and sing. Nasality is not natural because the human breathing mechanism, when breathing correctly, places the correct air through the mouth. No one is born a nasal speaker or singer, you learn it, either consciously or subconsciously, and it’s fixable. Nasality is useful for an effect, so go ahead and experiment with it in this tuning, but too much of anything is a bad thing, especially nasal singing.

Many singers rely on nasality for volume, which could damage the vocal folds. Balance is critical; don’t rely so much on your nasality

resonance or vibrato when singing unless you want to. The movement of the tongue, soft palate, and all other things going on inside your mouth and body is a lot to think about during speaking and singing, so don’t think about it. You’ll soon discover how to use single tone and connecting voice excellence to know exactly how your instrument naturally places itself for each

respective note and vowel.

This is why I don’t teach vowel modifications. Let’s say, for example, you can’t sing a tenor high C in full voice, but you can sing it in half voice. Sing an Ah in half voice at the high C, then immediately connect to full

voice and let it ring for only a millisecond, if possible. How was the position of your tongue, palate, mouth, lips, etc? Make sure to make only clear

recollections of these things if, and only if, the sound was pure and not breathy.

From there start doing one-second vocal reps, realizing how much air you need, how the Ah felt and you maneuvered your mouth as it moved from half to full voice. I will get into this with more detail, but I just wanted to reiterate the biggest secret of this voice method: Do one-second vocal reps, truly growing the voice one step at a time. Knowing these parts of your vocal instrument will help you understand and appreciate your speaking and singing time. So you now use more melody, more volume, different

emotional inflections, and beautiful pauses to emphasize points in your speaking and singing.

Make sure you begin today to use your speaking voice with greater volume than you’re currently speaking. More volume is different from resonance. To achieve brilliant resonance like the great Mario Del Monaco, you must master the bright and, most importantly, the dark Ah vowel, which I’ll explain later. It wasn’t that Del Monaco was high in volume; he simply mastered resonance and made it seem as if he were using more volume.

Using too much volume in singing is easy to hear from singers who use it in an exaggerated, forced fashion. You can always spot true resonance and volume balance with singers who are high in volume but don’t sound as if they’re trying to sing loud. Using greater volume in your speaking is natural, and using more of it is easy to figure out. Just remember the times when you got very emotional, and your volume increased.

create powerful calls to action in speeches. Be ever mindful of how you use volume in your speaking communications with others and vary the volume as much as you vary the words you speak.

Concerning shyness in public speaking endeavors, the greatest advice I got was from a well-known and respected million-dollar speaker named Steve Siebold. I asked him in the lobby of a Nashville, Tennessee, hotel, after one of his seminars, “What can I do to overcome my shyness and fear of speaking in front of others publicly?” He looked me straight in the eyes with a smile and said, “Look, Daniel, you can’t control what other people think of you. You may have the ability to change how they perceive you with your actions, words, and communications, but in the end, you have no

control over their thoughts about you. All you can really do is control your performance, your mental attitude, and your focus on delivering your message to the world. And besides, what they think of you is none of your business anyway. You don’t want people to know you as a noisy person, do you? You can’t care what others perceive about you because at the end of the day, all you can say is did I get my message across effectively. And you will always know the answer to that question regardless of whether or not

anybody in the audience told you so.”

Speaking mastery precedes vocal exercises and singing for a reason. I’m not saying master your speaking before you do vocal exercises and singing. Do all three at the same time. However, since you speak more than you will ever sing, it’s important that you build this foundation strong and beautifully, in this tuning, before you venture to improve your range beyond the C6 in singing. This just may be the missing link that many singers need to grasp to propel their singing excellence forward in the tuning of

C=256Hz.

Maybe your ability to speak articulately and confidently is the underlying reason stopping you from not only talking to strangers and others, creating more loving relationships, but also delivering your message effectively when you sing. If you can’t confidently express yourself when you speak, what makes you think you can do it when you sing? Constantly record your speaking voice, and play it back to pinpoint the things you wish to change and think about what you would like to add. There’s no limit to who you can be or what you can sound like, so be creative, and let go of the need to know all the details. Continue to speak and sing in A=432Hz, and the details will show themselves in the right steps and in perfect timing for the unfolding of your new 432Hz speaking voice.

~~~~(Vocal Exercises)~~~~

Vocal exercising in the tuning of A=432Hz is the next step into this chapter, and is, of course, the same thing as exercising the body’s muscles. This is why I teach my 432Hz vocal reps method; it directly works the same way we train our bodies in muscle development. Vocal exercises build your voice very fast, faster than by just singing exclusively. If all you did was 432Hz vocal exercises and no “singing,” you could still sing just as powerfully or as beautifully as a singer who just sang exclusively or did both. All you have to do is to let go and let the muscles express who and what you are.

Yes, singing is an art in and of itself, and I recommend that you sing twice the amount of time you vocal exercise. At the same time, let me lead you to an awareness of an astonishing revelation: There’s no difference between vocal exercising and singing. Whenever you do your vocal exercises, see them as singing and no different.

A very reputable 1980s singer was coaching me one day through some vocal exercises, and he then stopped me and said, “What are you doing? Sing that #$%^& scale, dude! Stop holding back and trying to make it sound like a perfect scale, sing that damn scale!” It was a true wakeup call, and the experience immediately changed my perception on vocal exercising and singing. So, how often should I do the 432Hz vocal exercises? I recommend you do them for at least one hour a day, followed by an hour of original song writing for beginners and twice that amount for singers looking to go

But let’s face it, and I won’t lie to you, if you want to become a professional singer, one others pay handsomely or one who attracts everything they need by expressing themselves through singing, do two hours of vocal exercises, followed by four hours of original songwriting and singing. A good measure once again is to sing double your vocal exercises.

Some of you may not want to invest that much time, and some of you can easily fit that into your daily lives, but you need to look at this the same way an Olympic athlete does. You have to be willing to do whatever it takes to be the best 432Hz singer you can be. And if that means making this your life, training and singing in the tuning of a middle C=256Hz for six to eight or more hours a day, then so be it. I believe we need new age singers to take the power of this tuning to the maximum, and the only way to do this is by making a conscious decision to put in the time with your vocal exercises and singing in this tuning to accomplish that.

This new discovery of training your voice in this tuning will, again, propel you beyond anything we’ve ever heard the human voice produce thus far. Work on your speaking; do the 432Hz vocal exercises for at least an