I, too, would like you to expound on that theory. As one who teaches both
from the top down AND a narrow air column, I find that the opposite
creates a vocal technique that is often wooden and unexpressive.
Mark
On Sat, 2 Feb 2002, Lloyd W. Hanson wrote:
> >I think the fact that it was distracting means that she wasn't mixing
> >properly, and had to cover up a hole there by using her chest in a way that
> >wasn't appropriate. That, to me, further illuminates my sense that she is
> >mixing from top down, which in my own personal experience, does create holes
> >in that lower middle voice area from not having the column open enough. One
> >has the dilemma of a hollow-sounding F that is too heady and weak, or a harsh
> >sounding F that is too chesty and disconnected from the balanced column of
> >real bel canto technique.
>
> REQUEST: May I ask what, exactly, you mean when you speak of
> "create(s) holes in that lower middle voice area from not having the
> column open enough." The words "column open enough" in particular is
> the phrase that I would like explained in more detail. Thanks
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