Hi all,
My experiences lead me to pose this question
in the hope of nailing down once and for all the views
for and against support and the bogy man of tension.
** If easy singing is good and difficult singing is bad,
how do you describe in words the degree of effort
essential to good singing and vocal survival? **
I have found that freedom from tension in the
immediate emission areas equate with substantial
tension in the motor areas: good singing: and easy
singing.
It seems to me that to sing on natural ability
usually leads to bad singing and vocal difficulty.
So how can we impart verbally why tension
is essential to good singing, where that tension is,
and its degree? Dismantling the incorrect tension
system is counterproductive.
Credit to Colin in his reference to this and the potential
for Alexander Technique interactions.
Although it's a little off the theme, I don't want to let
go without reference to the need to mentally focus on
the pure vowel. That is to _not_ anticipate the word closure
which, if we allowed it, would unconsciously transmit tension
to the tongue and lips. But then...can we artfully think of
the words but aim at the vowels? Alright...alright I've done
it too. Thinking of the words in the next verse as I sing
quite correctly the one before. Am I unique? ;)
Regards Reg.
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