In a message dated 4/3/00 9:33:55 AM !!!First Boot!!!, colin.reed@e... writes:
<< During the last lesson, she >discovered that whenever I want to achieve a better placement for my >voice, especially in notes that are high for me, I blow up my >> Hi Jan, It is funny that you should mention that about your nostrols, I just read in a book called "How to sing" by Lilli Lehmann and she said (this is a long explanation from the book) and please anyone if you feel this is incorrect or too old, as she died in 1928 feel free to respond. "One of the most important positions closely connected with the first breath-jerk is produced by the dilation of the nostrils, the lifting and pushing of the backward nasal wall toward the so-broadened nose which in turn widens the pillars of the fauces and enables them to cooperate. the soft palate and the pillars of the fauces have a firm hold at the nose and a point of resistance upon which they can continually, according to necessity, heighten and lower themselves without having to change the position given them by this support." She goes on to explain the different positions of vowels.
Then " To this continually held or renewed position of nose and palate, it is necesary to join and shut off all that concerns tone and word. This form must also continue to exist up to the completion of the tone. The hearer has distinct sensation of this, because the unceasing vibration of the breath Vibrating even after the completion of the tone, continues to suggest the vital sound both to singer and listener. The connecting muscles of this form, which must fit very firmly and elastically one to the other, must never for a moment neglect to give the tone-vitality and tone-coloring. this they do by making the larynx articulate unceasingly." "On this the most wonderful of all tone-forms, which the nose chiefly creates and teaches us to sense, and in the cooperation of all contiguous muscles lies that which binds tone and word---" "By distending the nostrils the pillars of the fauces inflate. The nose therefore effects this function. Without the action of the nose it would remain inactive. The energetic drawing up of the tendons at the nose toward the eyes and forehead, and toward the temples and beyond to the ears while singing is an exceptionally important help"
Can anyone give any feed back on this? I have never read this anywhere else but I did have one teacher that stressed opening the nostrols while singing.
Sincerely, Janis
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