My voice teacher in graduate school sometimes used the low palate approach. It usually happened when I was having trouble in the 2nd passaggio. He'd tell me that I had 2 choices. I could raise the palate or I could drop it. I always sang better when I dropped it. I suspect that in so doing I eliminated a lot of tension which accompanied my "trying too hard" with the lifted palate. I do use it with my own students from time to time. Only time will tell if the suggestion to drop the palate will become a permanent part of a particular stuent's technique or a tool to use on the journey towards a good, dependable technique. BTW, I'm a lyric mezzo or as someone on the group refers to herself, a 'soprano mezzo.' The teacher was a baritone who played with heldentenor rep and could always sing a good Bb. regards, Cindy Donnell >i have yet to check out alan greene's book but, i plan to. what is > his background? and why does he say lowering the palate is good?
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