lloyd,
i had wondered if riggs were the originator of the 'door creak' or if he had gotten that from his own training (he does say it is his intent to make the principles of 'bel canto' available across all styles). as you mentioned lindquist, i wonder if this is the 'secret ingredient' david jones refers to on his website.
<< I must add, however, that it requires a refined skill and some patience to achieve and it seems to be more difficult for the low men's voice than for the higher men's voices and the female voice. >>
as i have found that any moron can do the 'door creak', you must be talking about the refinement of its use. i have found that most students have a difficulty isolating phonation down to the area of their folds and tend to flex all, or part, of the rest of their necks in trying to produce the 'door creak'. they also have a difficulty believing that the 'door creak' can be useful in any way without sounding 'squeaky'.
i don't know how extensive your collection of 'heavy metal' cds is but, most of those singers use the 'door creak' for their high range (robert plant of led zeppelin fame and axel rose of guns 'n' roses being the most obvious practitioners. it might actually be worth it for you to check one of these guys out just to see how far removed usage of similar ideas can be).
mike
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