Mike:>however, there are just as many people who are led away from 'head
voice' by the use of nasals.<
I agree with you wholeheartedly. I even cited them as an example of how
misleading using nasals to "get there" may be if the teacher and the student
don't know the difference.
>let's take the singer for whom a yawn might neurologically trigger 'head
voice'. as the velar port is closed during a yawn, this experience is
least likely to resemble the nasal sensation you are so fond of.so, for this
singer, nasals would take them away from that very trigger they need.<
That's why singing classes should be, and generally are, individual! And
that's why teachers must be flexible and adapt their teaching to their
students, not the opposite.
>in the case of both trigger examples, while both might trigger 'head
voice', they create a problem at the next level when encountering words that
are formed by the opposing configuration. obviously, if the use of a
trigger is necessary for a singer to find 'head voice', the work must
continue in abstracting that which is 'head voice' away from its trigger so
that 'head voice' may be used without a trigger and may be applied in
situations that are opposite to the trigger.<
That's what I meant when I called it a "crutch". But, you see, that may not
even be a problem: the idea is that that nasal vibration they continue
getting once they develop head voice, mostly at its lower tones, is not "air
friction" anymore, but "resonance".
Caio
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