Lloyd,
See my response to Isabelle. I am literally running out
the door, but that post tells it like I hear it, and
that is corroborated by those who hear me sing (that is,
they prefer my sound, and it is more easily heard over
an orchestra, with the nasal resonance). Now I REALLY
have to run.
Good evening -
Robin Lynne Frye
Mezzo-Soprano
Voice and Piano Teacher
New York, New York
> Dear Robin and Vocalisters:
>
> You wrote:
> >- Having said that, I also teach, and practice myself,
> >the use of a judicious amount of nasal resonance, which
> >also increases ring. Nasal resonance and a gently
> >raised soft palate are not mutually exclusive, but a
> >hyperextended soft palate will close off the nasal
> >port. Please note that nasal resonance as I speak of it
> >here is NOT equal to nasality. And I was extremely
> >dismayed to see the recent article on this topic in the
> >NATS Journal. Dismayed, but not surprised, because
> >teachers and singers tend to be firmly in one camp or
> >the other on this one, and it is one of the most
> >controversial aspects of vocal technique.
>
> COMMENT: I must assume that what what you mean by nasal resonance is
> a resonance sensation in the nasal area. However,if you allow air
> through the nose as you sing then you are sing with a nasal tone or
> nasality. This latter process creates a negative resonance node that
> actually reduces ring in the voice even though it may feel to the
> singer that there is more ring. The former process, that is, sensing
> a nasal resonance does not, as you state, mean that you are passing
> air through the nose and is little more than a sensation.
>
> Sensations of tone or tone placing are common devices to improve
> singing tone. They are a kind of tuning device which allows the
> singer to adjust his vocal tract such that he/she can securely
> produce the desired tonal result. But it is important to keep in
> mind that these placement sensations are not where the tone is found.
> They are only conduction of sound sensations. The tone remains in
> the pharyngeal and mouth area where they are filtered by the shape of
> this vocal tract.
>
> Surprisingly, the concept of nasality in singing has not always been
> a controversial subject. This controversy is a rather new
> development. Not many years ago it was never a consideration in the
> teaching of singing. Nasal singing was simply a no no.
> --
> Lloyd W. Hanson, DMA
> Professor of Voice, Pedagogy
> School of Performing Arts
> Northern Arizona University
> Flagstaff, AZ 86011
>
>
>
>
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