In a message dated 12/5/2001 12:06:13 PM Eastern Standard Time, lloyd.hanson@n... writes: lloyd.hanson@n... writes:
<< An awareness of the sensation of breath suspension that occurs during the process of providing a gentle warm, moist breath is the same sensation that a singer should have while phonating efficiently. >>
lloyd,
the last time you mentioned this, i had high hopes for trying it but was horrified to find out that the five or six people i had that day, all fogged up the mirror in my studio with different amounts of air going at different speeds. the other problem i had was that, after some adjustment to their wind speeds, as they tried to phonate in the same manner, as soon as their folds kicked in, their sensations for what they were doing were completely different.
however, i can see how, with adjustments, this approach could be useful. it is very similar to getting a student to alternate between sighing and glottal plosives, identifying the two as endmarks in a spectrum. using the sighing to get a feel for maximum wind with minimum resistance and the glottal plosive as a feel for 'reasonable' maximum resistance, the student then has a sense of the two elements involved in phonation, with the understanding that a balancing of the two is required to produce the desired results (whatever they might be).
<< The amount of breath pressure needed to begin phonation is not large. In normal speech we provide such phonation pressure without giving it a thought. >>
wouldn't you agree, though, that the feel of that pressure changes, as higher pitches, sustained for longer periods than are found in speech, are introduced?
mike
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