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From:  Greypins@a...
Date:  Mon Jan 7, 2002  3:27 am
Subject:  Re: [vocalist] re: Raised larynx, Crowded throat

laura,

i'm happy to hear the 'duh' thing worked for you (i learned it from seth
riggs' materials and roger love's book. it's so simple, it's scary).
i can't imagine why you are so concerned about keeping the back of your
tongue low, though. it's not the tongue that keeps the larynx stable. so
unless you do something really goofy with it, i can't imagine letting it move
around, as you do in speech, would cause you any trouble.

on the subject of breaks: one cannot sing a wide range without a change
in the sound. if you look at the piano, for example, the keys at the end on
the right play a very different sound from the keys at the end on the left
and, appear unrelated. however, playing all the keys in between, reveals a
constant variation of timbre (you could think of the lowest notes as 'black'
and the highest as 'white' with an ever changing spectrum of grays, from
charcoal to off-white, in between). with the voice, by trying to keep the
timbre the same, we only increase the contrast between the sound we have been
singing in, to the sound we have to switch to, when we absolutely have to
switch. by gradually changing the sound over to what we will ultimately be
going to, we eliminte the break as the change was so gradual. this means
beginning that change earlier. that's the theory, at least.

one other thought on reclaiming lost high notes: if you think of changes
in pitch as a change in the sound, it is easier to see how singing every note
at the same level, is possible. remember, if a soprano falls down a well,
she's not a bass when she hits the bottom. she's a dead soprano.

good luck,
mike




  Replies Name/Email Yahoo! ID Date  
16258 Re: Raised larynx, Crowded throatImthurn Melinda   Mon  1/7/2002  

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