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From:  John Alexander Blyth <BLYTHE@B...>
Date:  Thu Apr 13, 2000  3:23 pm
Subject:  Re: [vocalist-temporary] "Warming" tones


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
>
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>
>
>
John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada


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