Randy wrote:
> Another way is to decrease the vertical depth of the folds used, which is a > method Titze has described, which also involves a coupling with the vocal > tract that produces supraglottal pressure induced on the leading (superior > portion) of the folds. I think we'd all agree that unless an unusually large > voice exists (which Titze attributes to stronger than average TA muscles and > thicker mucosal cover, which allows a much chestier production can be used) > some form of production which produces a decreasing of vocal fold mass has to > be used. Dampening is the form SLS prefers.
Obvious question from a layman: what are other options to do that and what are their downsides?
> > As far as some of the other question raised like singing into the mask, SLS > deplores a deformation of the vocal tract which attempts to guide the > resonance into a particular place. Most informed pedagogies at this point > (such as Miller) refute such devices as does SLS.
A second question from a layman: what is the deformation necessary for that and how harmful would it be? That's really important. I think I've mentioned that here before: my teacher says Broadway singing careers are generally short due to that kind of thing. But what exactly is wrong about it?
And how about raising the soft palate? I know SLS is against engagement of any extra muscles in the production of sound, since it would lead to extra tension too. However, something I always here is that opera singers do that as standard practice in order to reach the typical operatic voice. How can opera singers have always done something if that's harmful ( supposing they have actually always done that )?
As far as lip trills being > carried up into whistle tone early in the training, my students have been > able to do so on a regular basis. Maybe it comes down to the ability of the > teacher to help the student do so.
You're probably right. I'm in contact with an SLSer who may come to Brazil for some workshops and then I think I'll have a better idea of how to get there, but one thing I'm sure is: it's impossible for me to do that with the book only, and my teacher has not been much helpful in doing that. She has adapted the exercises to include my chest voice range only.
According to my wide...ly short :-) experience and reading, what differs SLS from what I hear around is this:
SLS: larynx is not supposed to move up or down. others: larynx should not move up, but it's OK to move down in order to open up room to reach higher pitches.
SLS: soft palate relaxed. others: soft palate rises for higher pitches for the same reason as the larynx goes down above.
SLS: no projection of voice to the mask. Question: doesn't Michael Jackson do that? others: voice in the back for some, voice in the mask for others, voice 'back and forth' for a third group ( my former teacher belongs to this one. )
SLS: use head voice for higher pitches. others: I've never been able to find clear answers about that from others. It seems to me that SLSers are for using the head voice after a certain tone regardless of your being able or not to do that in your chest voice, just like saying: It's better to avoid possible future problems, because you can never know how your larynx will react to that.
Question: supposing my comparison is correct, how does it affect sound production and quality? Do those opera singers listed before sound any different from other opera singers?
Best regards,
Caio Rossi
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