| | From: "lestaylor2003 <LesTaylor@a...
Date: Thu Feb 13, 2003 3:52 pm
Subject: Re: Vocal Onsets, a study of an exercise
| Dear Lloyd et al,
Thanks for the excellent information. I teach many "first time"
singers, so the onset exercises I begin with are more elementary than
those you desctribe. I start with a single pitch (something
comfortably in the middle of their range away from a transitional
zone), then progress to scale movement after they demonstrate mastery
of that onset.
**************
Lloyd: If the glottal quality continues it is suggested that the
singer begin the tone with a slight "sense" of breath.
If the singer tends to begin the onset with a puff of breath he/she
is encouraged to use a slight glottal attack such as most of us do
when we give a disapproving "uh, uh" to a child who is misbehaving.
**************
Thank you for detailing these important distinctions. As Mark Twain
used to say "Moderation in all things, including moderation." From a
voice teacher's point of view, the idea is to first do no harm, just
as in the practice of medicine. They say: "The proof of the pudding
is in the tasting.", a natural extension of which is "The proof the
vocal technique is in how good the voice sounds and how healthy it
stays in the long run." The fact that Richard Miller still sings well
at his age (80 something?) is proof that he must be doing something
right.
**************
Lloyd: An easy natural inhale is encouraged before each onset which
resembles a partial inhale.
**************
Yes. That is exactly why I take lots of time helping those with whom
I work to get a feel for what's going on when they inhale just before
phonation. It is a very critical time and they have to know what's
happening if they want to manage breathing and onset.
**************
Lloyd: The epigastric area (that area between the bottom of the
sternum and the navel and the lower ribs, side to side) should
slightly expand for these inhales.
**************
Yes. Panting (but of course not to excess) helps us to sense this
component function of the system. Ingo Titze suggests that there is a
slight lengthening of the spine as well.
I have also noted (and this is merely a tentative theory based on
personal experience) that those who swim regularly tend to learn
about and understand the process of breathing more easily than those
who don't. Bjoerling, Caruso and many other great singers with
exraordinary control over their breathing were avid swimmers.
The reason I believe this to be so is that when we are breathing
after exertion, we can easily feel the system at work and this
experience sort of "soaks in" to how we go about managing our
breathing.
**************
Lloyd: The onset should be practiced with a sense of suspended or
holding of the breath. Each onset is of rather short duration.
**************
Yes. Akin to a drinking sensation or an open throated feeling. The
idea is not to shut off or seal the glottis as one does when one
dives in to a pool of water for example. The air comes in unimpeded
(as noiselessly as possible) and back out without any interruption or
sealing of the glottis.
You should post your offsets information all by itself. It is worthy
of reading by anyone who wants to understand singing technique
better. Unfortunately it comes toward the end of your very astute but
lengthy post where most short attention spans are not apt to stray.:-)
With regards and great respect,
Les
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