A drop of water in an ocean isn't a drop anymore. It's making up a synergism. It's singularity is temporarily extinguished, until and if it is extracted from the whole. Imperceptible as an entity, yet in existence, nevertheless. Are we drops or oceans? Do we fit in and disappear, or break free of the bonds of the strong force and/or of gravity? How can we stand out if we are going to just fit in and merge into the whole. If the sum of the parts is greater than the whole, it looks like fitting in is the best option, but is it? One drop plus one drop equals but one drop, which is a larger drop. Still, it's one. It seems like we must stand out to be noticed or even seen. You cannot see single drops of water in a body of water. Singers must fit in, to be accepted. They must fit in to the parameters of music and follow some things like tempo, rhythm, pitch, melody, harmony, chords, chord progressions and not vary too much or clash too much to the point of breaking the reality of the listeners. At the same time, singers should stand out, to be heard and seen. One foot in the ocean and one on the sand. If you're on the beach in The Netherlands, be sure you fit in and stand out with orange polish. Red is for those who don't love the royalty, I've heard. Ik ben bang! Stand out by being great. Be great by learning and doing. Let's fit in and stand out, then we don't have to choose. OK. Gather up your courage and press onward.

Practice does not make perfect. Perfection may be a delusion or a confusion or simply a concept that cannot really be defined. Why do we practice, then? To get good. To get better. What is good and what is better or even best? It's subjective to a large degree. Some things are quantifiable, nevertheless. Rhythm, pitch, timing, dynamics, tone, and timbre can be mathematically analyzed or programmed. Midi and digital audio recording, with all the plugins have proven this to be alterable using mathematics and computers. If we practice from the viewpoint of having an idea of what we wish to hear in ourselves and compare and contrast our ideals with our performance, we may approach the state of practicing with a purpose. What is the purpose? It comes down to the endeavor of an exact duplication of matching the physical performance with the mental concept. In your mind, you can sing flawlessly. Getting your body to duplicate that is not always easy. It can be frustrating. Maybe we practice in pursuit of the pleasure of perfect art versus imperfect art. Will it ever happen? The compromise is made by understanding what professional artistry sounds like. Also, there are levels of artistry in singing. Each can be a bar to reach and to then be consistent and stable, as one advances. Not recognizing improvement or "taking a win" at the new echelon one has reached is a mistake of a perfectionist. It's not good or bad any more than thermometers which only measure freezing or boiling of water with nothing in between. The near infinite gray area must never be ignored as the gradients within it are vital to seeing your progress. Practice doesn't make perfect. Practice doesn't make permanent. Practice makes observation and duplication of concept potentially possible.

Use the one voice to express, rather than to impress. Authenticity and honesty are alive and well in minds of artists. When we express, we are likely to be ourselves. Seeking to impress may leave an impression of inauthenticity. Seek truth. Speak truth. Reality beats banality. Okay, make something fun.

Hoarseness is not the same as horse-ness, or even a horse mess, but it can be a mess if you have to sing or talk, but you're hoarse.. What does hoarseness mean? It's a symptom of having swollen vocal cords. A doctor might call it edematous vocal folds, or hoarseness, of course-ness. It's a good idea to not yell, scream, sing loudly or beyond your trained range because you can smash your vocal folds together too hard (hyper-adduction) and cause irritation from friction. If you're dehydrated, it can happen faster or be worse. If swelling is very bad, you lose the ability to make any sound because mushy vocal folds won't make much sound. Wait a minute. What is "trained range"? Properly professionally trained singers usually have a lot more range and flexibility than non-trained or badly trained singers. These same things apply to speaking, so if you use your voice, it's a good idea to take care of it! More on care of the voice here, free PDF, physician reviewed (click).

I was walking down the hall, more like a corridor; it was wide. The floor was gray and shiny, a light gray. My own footsteps echoed as I walked. Up ahead I heard voices. Just off the hall in a room, they were talking, but I couldn't make out what they were saying. As I got closer, I noticed that I recognized one of the voices. It was my voice, as I heard it in my own head. As I entered the room, I saw someone I didn't know and he was talking to me. I couldn't understand how. But there I was, sitting in a chair in a serious conversation with someone I didn't know and this version of myself was confident and it was obvious that the other person was hanging on every word. The other me, sitting, looked up and saw me standing there with little or no reaction, not surprised. All of a sudden, I felt panicked, realizing that some way somehow I had split apart from myself and there were two of me, neither being a clone. I couldn't figure out how to merge and become one, the one person, the one voice, the complete singularity. I was terrified. I awoke in a state of a duality of sorts, realizing that somewhere along the way I had lost myself and have been on a quest ever since to find the elusive truth that is split apart, yet permeates the universe in many times and places hitherto unknown.