Karen wrote :
<<If the tension is below the navel and above the thighs, it's support. If it's anywhere else, it's just tension. :) >>
Reg Boyle wrote :
<< doesn't that conflict with Prof Hanson's description of the sense of retained epigastric distension and to me the more recent addition of the side intercostal consciousness. All above the navel >>
When you stay in the inhaling position, as if you kept inhaling while singing, it will prevent the ribs to collapse and the epigastric area to go in (that is, prevent the diaphragm to go up).
Even if you agree with this mechanism (which I do), it does not address what happens or should happen below. It probably depends on different elements:
- the tessitura in which you sing at the moment, - the amount of "sostenuto" required by the phrase, - the volume of the orchestra or piano that you must "overcome", - the vocal color that you want to achieve.
When you sing in a medium tessitura, without special dramatic requirements, I would think that keeping expanded all around the bottom ribs (and up) is enough. If the vocal phrase is long enough, the area below may go slightly in, but it does not matter.
When you sing in a higher tessitura or over an orchestra, you would need more subglottic pressure, but will not want to direct this pressure directly to the vocal folds without balancing it with some antagonist muscles.
Since you don't want anything above the sternum (and even above the navel!) to collapse (to go in), and since you will certainly consume air (and some part of your torso should therefore go "in"), I would suggest that the only part that can go in is the one below your navel and above your pelvis.
Fortunately, the diaphragm is an inhaling muscle, and since you need some antagonist action, it can be provided by the lower abdomen (arguably by the oblique muscles going from the pubis to the lower ribs?). In dramatically demanding situations, you can establish a balance around your navel, between inhaling muscles (above the navel) and exhaling muscles (below the navel).
This is a more "vertical" approach. If you apply this mechanism all the time, it may lead to some monotony in your vocal tone and to some vocal fatigue. But it can also allow you to sing a fully supported mezza-voce pianissimo, hence to achieve a head voice color, even if the tessitura doesn't ask for it. I think of the role of Lohengrin, which I cannot imagine without this color.
The more "horizontal", "expanded" approach is more relaxing, and allows your voice to sound closer to speech. For example, this approach would be easier if you want to sing "Mab, la reine des mensonges" or "Ah quel plaisir d'être soldat". But it could get dangerous if you kept this balance in more challenging moments.
Does it make sense?
| Alain Zürcher, Paris, France | L'Atelier du Chanteur : | http://chanteur.net
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