Hi, Mike, It might be worth your while to take a level I course to find out how
it works. Jo has done extensive research with videostroboscopy, videoendoscopy
and the use of the CSL (computerized speech lab). The "air of ecrecy" as you
call it is meant to protect singers from trying to execute the figures (physical
tasks) without proper guidance. Singing for the Actor by Gillyanne Kayes is an
excellent book and very user friendly, but hands on with a licensed teacher is
ideal The Estill Model is used quite extensively in the West End in London. It
is growing in Denmark, Australia, and Italy also. Many of Jo's directives come
right from classical training except that you control the movements of the
thyroid and cricoid, you learn to change the mass of the vocal folds, etc. Then
you piece these various movements together to achieve different voice qualities.
A lot of emphasis is placed on effort and the close monitoring of effort to
prevent constriction at the false vocal fold level. That's all I have time for
right now. Try EVTS.com for some background.
Anne aka the Belting Broad
----- Original Message -----y
From: Greypins@a...
Sent: Thursday, August 08, 2002 12:03 PM
To: vocalist-temporary@y... controls
Subject: Re: [vocalist] belting
anne,
i'm glad you brought up the estill approach to belting. from what i
have been able to figure out from gillyanne kayes' book (the title eludes
me), is that belting, ala estill, adopts a rather rigid posture: tilted
cricoid cartilage, neck more perpindicular to the ground (which, i believe
the estill school refers to as 'anchoring'), tongue position, etc. it is my
guess that this rigid posturing is exactly what leads to so great a need for ing
to
such vigorous 'support'. i also find it odd that clavicular breathing is te
ext
suggested when belting.
in my view, the term 'belting' has always been used primarily in
regard to female singers, making a distinction between the more 'head'
oriented singing of the female classical singer and the more 'chest' oriented
singing of the pop/mt/jazz/folk/whatever singer. in the male singer, the
distinction tends to be more stylistic (and how the use of the voice supports
a given style) rather than funtional. and in this sense, i find no unusual
need for more support than the standard.
additionally, i am bothered by the air of secrecy adopted by the
estill school. (i also find this troublesome when hearing about 'maestro'
jones.) it all smacks of marketing ploy.
mike
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