Dear Ciao and list:

 

Here is the quote from prof. Lloyd D. Hansons's mail. The other (different vowels having different resonances) I don't remember, I don't think it was one of my mails. By the way: could it be that your teacher - being a pop singer, probably used to sing amplified - worked out a technique that sounds well to you, listening from a close distance, and recorded or amplified, but that is not really suitable for singing in an operatic or classical way? The other explanation of his technique, is that he is actually doing something else than he is telling you. I can understand that very well: when I described a few weeks ago, I was trying to keep the room under my larynx filled with air, I was actually describing the feeling I had while keeping my larynx down, as I understood later. ;)

Now the quote:

 

(...)

But the best success I have had with discovering the high voice in
female students who have used mostly their low voice (and this seems
to be the universal pattern today) is a diatonic arpeggio on double
octave (1, 3, 5, 8, 10, 12, 16, and back down) on an [a] vowel but
with this stipulation.  Have the student find an easily produced,
resonant, chest voice for the lowest note of the arpeggio and point
out that the size and shape of the resonating space they have created
for this tone, on this note (the first note of the arpeggio) is also
the resonating space that will work for all of the notes in the
arpeggio with no need make changes in that resonating space except to
open the mouth slightly for the highest tone (the student will do
this automatically; it is just good to let them know that their
instincts are correct).

I also point out that they will be very aware of changes occurring in
the laryngeal area and they should allow these changes to take place
but should not attempt to make any changes in the resonating space
they have created for the well resonated, well produced chest voice
on the first note of the arpeggio.  They will also very likely find
that each of their register change points will be very obvious and,
sometimes, a bit embarrassing.  This exercise will not help in hiding
these register change points because it encourages a more or less
consistent resonating space and, therefore, does not allow
adjustments for smoothing over the register change points.

This exercise will help the student discover that most of the
alterations that they desire to make as they ascend into their high
voice are counterproductive and that their vocal folds will do
whatever function is requested of them by the mind if the singer does
not attempt to assist in any way.  The voice will automatically
change from register to register on the ascent and descent (the
descent is sometime more difficult) because as the vocal folds adjust
to each pitch in the arpeggio, there is already in place a correct
resonating space for that tone.  (Keep in mind that all notes of the
arpeggio are overtones of the first note).  The vocal folds will more
easily be able to make frequency changes without needing to adjust to
incorrect resonating space along the path upward.

Best wishes,

Dre de Man