Dear lloyd:
I am interested in singing and this exercise interest
me.
Do you offer your exercise as an alternative to
students who are unable to do the lip trill?
What is your take on the purpose of the lip trill?
I use the lip trill often and it certainly helps me to
appreciate the way the voice transitions as it moves
through different resonant chambers going from the
bottom of the range to the top.
Also, when i do a sirene using the lip trill I think I
understand what 'dropping the weight' as one ascends
the scale mean: there is a thinner emission of air
and sound(i think) as the vocal folds thin out and the
sound is continuous thought quite soft at the top of
my range.
Are the vocal folds approximating properly in doing
the lip trill?
Is your exercise designed to achieve the same
objectives as the lip trill?
Patrick
--- "Lloyd W. Hanson" <lloyd.hanson@n...> wrote:
> Dear Les and Vocalisters:
>
> I should at least mention what I use instead of lip
> trills. I ask
> the student to blow air through the lips which are
> loosely closed so
> that the cheeks puff out Once the can do this I ask
> them to add tone
> to this while maintaining the loose lip closure and
> the puffed out
> cheeks. Then I ask them to raise the pitch of the
> tone in a siren
> like manner and, rather quickly after a few
> attempts, to raise the
> siren sound to some of their very highest pitches.
> They almost
> always are able to make a smooth and continuous
> sound through all of
> the register changes both up and down. Once this is
> acheived, an
> octave arpeggio is tried singing on /a/ for notes
> 1, 3, 5, and going
> to the puffy cheeks/closed lips on 8. This is
> followed by the same
> exercise but with an /u/ vowel on 8 rather than the
> puffy
> heeks/closed lips.
>
>
> --
> Lloyd W. Hanson
>
>
> [Non-text portions of this message have been
> removed]
>
>
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