From my perspective this is completely true: this post of Dr. Hanson would repay the most minute attention. Thankyou. john At 17:55 12/04/00 -0700, you wrote: >Dear Leslie and Fellow Listers: > >The most common source of a colorless or hooty or choir boy sounding >high tone is an incomplete phonation. If the vocal folds are not >properly or completely adducted excessive air will pass through them >and the edges will not oscillate sufficiently to produce a phonated >tone that is rich in upper partials. This kind of phonation is most >common in young boys voices when they sing in their upper range and >is a natural result of the immature qualities of the unchanged voice. >Usually boy choirs are encouraged to use a high rate of breath flow >for their high notes because this is a quick method to obtain a >secure tone that is sufficiently loud. > >In any voice, be it an unchanged voice or an immature changed voice >or an adult voice that is new to singing in an upper register, the >vocal folds are not well coordinated nor strong enough to maintain a >complete adduction or closure. For this reason it is most important >that the flow of breath be not excessive for these high tones. High >tones use the least breath flow of all the tones in the singing voice >but they oscillate with the highest breath pressure. However, if >that breath pressure is greater than can be resisted by the vocal >folds the folds will simply remain slightly open and the tone will >become breathy and colorless. > >The best solution is to learn to better control the breath flow rate. >This is done by maintaining the appoggio breath condition of a >sustained inhalatory mode of singing. The natural return of the >lower rib cage back to its at rest position during singing must be >resisted by using the inhalation muscles so that breath flow is >always carefully controlled. Although I mention it many times, the >best method I have found to experience this balanced breath flow is >to practice the warm, moist breath flow one uses when attempting to >clean ones glasses. In the process of breathing out that small >amount of warm, most breath one can notice that the inhalation mode >is maintained and that the epigastric area and a bit of the area >below the epigastric feels firm a and supportive. > >It is not necessary to "do anything" with this epigastric and below >area but only to notice that it is rather firm and active. However, >it does not move substantially nor is it required of the singer to >tense it, or push or pull on it. Awareness is the key. The voice >will call for the breath it needs and in sufficient quantities when >the breath mechanism is proper balanced. The conscious mind needs >only to be conscious of what is happening; it should not attempt to >make it happen. > >All of these breath ideas must be present to achieve a good onset of >tone. That is the reason the onset exercises are so effective. If >all the elements are not properly taken of, the onset will be poor. >The onset of tone is clear guide to all singers and teachers that the >fundamentals of breath and phonation are working or or not working. >Lloyd W. Hanson, DMA >Professor of Voice, Pedagogy >School of Performing Arts >Northern Arizona University >Flagstaff, AZ 86011 > >------------------------------------------------------------------------ >Win $1000 this Friday! >http://click.egroups.com/1/2860/3/_/_/_/955587253/ >------------------------------------------------------------------------ > >To unsubscribe from this group, send an email to: >vocalist-temporary-unsubscribe@o... > > > > John Blyth Baritone, inter alia. Brandon, Manitoba, Canada
|
| |