Lloyd wrote:
> The act of attempting to raise the soft palate is usually not effective
> because the attempt itself tends to tense the muscle in the region of the
> soft palate. This tension is counterproductive to any attempt to improve
> the tone quality of the singing. It tends to produce either a very hard
> tone quality or a tone quality that sounds excessively swallowed.
I've noticed that: many times, when I stop thinking about raising the soft
palate and start thinking of the quality I want to hear in my voice, it
lowers and raises automatically ( sometimes, unfortunately ) adjusting to
the sound quality I want to get.
> Any system
> of teaching which encourages a set position of the resonating space will
> only match the resonance demands of the phonated pitch on a very few
> selected pitches. However, a flexible resonating space is capable of
> making whatever adjustment is needed for any pitch that is being sung.
>
> A flexible resonating space is achieved only through a practice regimen
that
> examines each vowel with each phonated pitch until the maximum resonance
> for each vowel is achieved. The physics of sound requires a resonating
> space that is very flexible and in the total control of the singer.
That makes a lot of sense! It's, BTW, what my teacher thinks to be true.
Best regards,
Caio Rossi
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