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From:  "Alain Zürcher" <az@c...>
Date:  Mon Apr 10, 2000  2:50 pm
Subject:  Re: [vocalist-temporary] Support V Tension!


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



  Replies Name/Email Yahoo! ID Date Size
440 Re: Support V Tension! Reg Boyle   Wed  4/12/2000   3 KB

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