question: What explains the phenomena us being able to play songs flawlessly in our minds but fumble when we're trying to sing it out?
comment: Imagine if someone told you "Hey dude, here is a sound, and sheet of paper, please write down all the muscles that have to contract, and by how much they have to contract, in intervalls of 0.05 seconds in order to make that sound" . "Oh and then act out these instructions". I would not call failure to do so instantly a phenomenon. Eli5 : Lack of muscle memory. If you train to sing anything from s sheet of paper for ~10-25 years, you can probably do that. Sidenote: Just talking takes small kids ages to learn, even when they know the words, and can use sign language. Moving your mouth/throat is complicated
passages: Although these four processes are often considered separately when studied, in actual practice, they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.
   Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:
  
  BULLET::::1. Extending the vocal range to its maximum potential
   Madison Bloom, writing for "Pitchfork" gave the album a 7.9 out of 10 saying the album "requires absolute stillness. It’s too jarring to score mundane activities, and too interesting to be relegated to playlists like “Hanging Out and Relaxing” or “Wine & Dine.” “two_beautiful ways of moving_your_hands” may be fabricated with gorgeous strings, but their incomplete, looped phrases arouse an intense yearning for them to fully bloom. It is a sensation I can only liken to the blushing tension between a “good night” and a first kiss. The anticipation escalates when the audio cuts out for a full four seconds, an eternity in song time. As a listener, you are hanging on every note, or lack thereof."
   There are eight components of the ideal singing posture:
  
  BULLET::::1. Feet slightly apart
  
  BULLET::::2. Legs straight but knees slightly bent
  
  BULLET::::3. Hips facing straight forward
  
  BULLET::::4. Spine aligned
  
  BULLET::::5. Abdomen flat
  
  BULLET::::6. Chest comfortably forward
  
  BULLET::::7. Shoulders down and back
  
  BULLET::::8. Head facing straight forward
  
  Section::::Vocal pedagogy.:Breathing and breath support.
   "Eric Hutchinson was touring with me in Australia and I was in my dressing room and all of a sudden I heard this song. I was like, what is he singing?! And I ran out of the dressing room – I looked like a hot mess! I was in the middle of getting my hair and make-up done. He had just surprised the audience with a new song. He came off the stage and I was like, you need to write me a song like that! And instead, he gave me that song so I could have it on my album. It's a very relatable song to me."
   Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.
   . Singers must also read and sing the correct lyrics, which adds another layer beyond pitch and dynamics. However, difficulty is related both to the instrument and the difficulty of the piece itself. For instance, sight-reading on a polyphonic instrument, such as the classical guitar, can be more challenging due to the fact that the guitarist has to read polyrhythms and polyphonic passages that can often be played in different positions using different frets.
  
  Section::::Terminology.
  
  Section::::Terminology.:Sight-reading.
   A bout is a stereotyped repetition of one to five notes which are called a phrase. Between two and 20 phrases are sung are short bursts which are called strophes. In-between strophes are periods of silence, and this is referred to as the inter-strophe pause. Therefore, a great tit sings several strophes of one song type before switching to a bout of another song type from their repertoire.
   BULLET::::1. In India, the Tamil show "Y this Kolaveri" is loosely based on "Killer Karaoke"/"Sing If You Can", as it deals with participants having to sing while avoiding challenging situations. Unlike its American counterpart, the obstacles in this show are far less severe and are restricted to conditions like "standing on a two-tonne block of ice" and "walking blindfolded through a cactus maze".
   "[...] Typically I’ve had difficulty in the studio. I don’t sing as raw, it’s just a bit more tame. I’m a live singer who’s always fed off the energy of the audience. In a studio, you’re just looking at a wall—it feels very odd to me. I’ve been a live performer since I was six years old. The reason I recorded the album live with the band was so that I could play guitar, which I usually never do in the studio, while I sing at the same time. The band was accustomed to following singer-songwriters and feeling for me slowing down and speeding up. It has a real ebb and a flow and a naturalness that didn’t inhibit my singing or performance."
   Section::::Compositional history.
   Section::::Reception.
  
  "Idolator" found that Keys "may have rushed it out — ”Speechless” comes off as a little generic, despite surely heartfelt lyrics and the rock-guitar fuzz under Alicia’s piano. And the verse from the typically tough-talking Eve doesn’t add much." Jocelyn Vena of "MTV News" said, "the piano-heavy tune gets funky once the chorus kicks in", on which Keys expresses her joy over the new love of her son, and in her verse Eve "shows her soft side".
   Dusten Carlson of "The Inquisitr" described the song as having a "slightly more mature and less-nasally sounding Black" and that "Unless it’s been seriously tampered with by a producer, the girl proves she’s got some pipes, at least ones that’ll satisfy the pop-niche she’s going for." Robbie Daw from Idolator said: "... the sunny guitar-pop jam really doesn't seem to employ much Auto Tune at all. Well, maybe only about 45% of her vocals are worked over here with studio wizardry".
  
  Section::::Music video.
   However, while the open strings of a standard-tuned guitar (or any single-stringed instrument like ukuleles, banjos, etc.) can't produce any chorus effect, it can also be obtained by the use of alternative tunings (such as the unisons-and-octaves-only "ostrich tuning" by Lou Reed); by playing chords or fingerings with "redundant" notes (like playing the open high E string and the same "E" note on the 5th fret of the B string); and/or by using extended techniques like bending while playing a note (like playing the 5th fret on the 2nd string and, simultaneously, playing a full-tone bending in the 7th fret on the 3rd string).
   Mariah Carey, Whitney Houston, Christina Aguilera, Kelly Clarkson, Ariana Grande, and Céline Dion are well known for their heavy use of melisma and belting, and the term "oversinging" is applied to them by people who do not like the style. This criticism is mainly focused on too much "vocal gymnastics" which some feel degrades the artistic merits of the song, and not necessarily that they strain their voices too much.
   “I was nervous at the start, feeling just like I do before I go on stage to play for a huge crowd. There's a lot to compare between playing on stage and racing. Once the race started I just wanted to perform as best as I possibly could. I always want to be the best at what I dedicate myself to doing. A lot of people have helped me get to this point with my riding and I couldn't let them down. So it felt as though my riding was a lot like doing a performance.”
   "He was able to listen to the songs and come in with the right arrangements, bring in the right players for the songs and the right gear for the performances. You don't always have a magic moment in the studio," he continued, "but you want those moments to happen. I remember when we were tracking 'Soldier,' in the second verse I was digging in hard, the groove was so good and everyone was jelling. I heard Butch go, 'Woo!'-a primal scream that said, 'This feels so good.' You can't fake that. We kept it because you can't re-create the performance that makes you do that." 
   There are a number of pieces which require a singer to lean over a (sometimes amplified) piano and sing directly into the strings. If the strings are not damped, the effect is to start audible sympathetic vibrations in the piano. By far the most famous piece to use this technique is "Ancient Voices of Children" by George Crumb.
  
  Section::::Notable performers using extended vocal techniques.
  
  BULLET::::- George Corpsegrinder Fisher
  
  BULLET::::- Laurie Anderson
  
  BULLET::::- Gelsey Bell
  
  BULLET::::- Cathy Berberian
  
  BULLET::::- Iva Bittová
  
  BULLET::::- Thomas Buckner
  
  BULLET::::- Jill Burton
  
  BULLET::::- Jan DeGaetani
  
  BULLET::::- Paul Dutton
  
  BULLET::::- Diamanda Galas
  
  BULLET::::- Roy Hart
   Some consider that singing is not a natural process but is a skill that requires highly developed muscle reflexes, but others consider that some ways of singing can be considered as natural. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Voice teachers instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.
   Section::::Challenges for future studies.
  
  Even though many studies have proposed the possible neural mechanism of music therapy for non-fluent aphasia, many crucial questions are still unanswered. For example, in contrast to the idea that non-fluent aphasic patients’ ability to sing is due to their undamaged right hemisphere., other studies suggest that speaking and singing words are based on the same neural mechanisms. Therefore, patients’ better performance on singing words might result from their long-term memories for familiar lyrics
   Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing, there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension); a controlled exhalation period (phonation); and a recovery period.
  
  These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.
  
  Section::::Vocal pedagogy.:Vibrato.
   Professional opera singer Sarah-Jane Dale on Whitney Houston's use of melisma:
  
  "You can't do it without proper breath control, and that's the one thing that Whitney Houston had bags of. Let's face it, singers like that do not come along every week."
  
  Section::::Vocal damage.
   BULLET::::- The ear
  
  "Of course the ear is the most important factor, our greatest ally. It helps us imitate. Imitation forms a large part of our study. We hear a beautiful tone; we try to imitate it; we try in various ways, with various placements, until we succeed in producing the sound we have been seeking. Then we endeavor to remember the sensations experienced in order that we may repeat the tone at will. So you see Listening, Imitation and Memory are very important factors in the student's development." Edward Johnson
  
  BULLET::::- Bel canto
   I had to sing "Just Perfect" for like four hours in the studio until he got the take he wanted. I said "Dude, I’m really hungry. Let’s take a little break and I’ll come back to it." He comes back with this big Snickers bar, tapes it to the other side of the glass and says "When you’re done you can have it!" I’m like "Oh my god, are you fucking kidding me? Alright, fucking push play."
   Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:
  
  BULLET::::1. Extending the vocal range to its maximum potential
  