At
>
>Ed brings up a point that I have often wondered about. I have heard
>countless folks advocate the dropping of the jaw for various reasons in
>singing but have found personally, that this actually pulls me out of
>position and distorts the vowel and tone. Instead, I prefer a sense of
>moving the jaw more toward the back (creating a sense of
>"overbite")which seems to create more lift in the palate and a nicer
>sense of space where I seem to need it for higher notes. Any thoughts
>on this from the peanut gallery?
>
>Sharon Szymanski
>
>Mere pleb that I am, but I have it strongly engraved in the front of my
mind that to drop the jaw also kills the upper partials. Second I think
that if you need to do this, drop the jaw, then you have jaw tension
in the lower range also.
In my opinion you need to work on support and the noble position
combined with minimal lower body tension and probably a little
more air flow. With this relaxed support, jaw tension evaporates.
Now I have a question. I find that only on the higher notes do I need to
engage a certain increased degree of tummy tension. This would be
from about G or G# up. As everything works so well without tummy
tension until those notes, why is it so and HOW MUCH is too much?
Pictures and graphic descriptions welcome. :)
Reg.
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