In a message dated 12/31/2000 3:00:53 AM Eastern Standard Time,
lloyd.hanson@n... writes:
<< With this knowledge of real vocal tract shaping for
each vowel, we can add a knowledge of which adjustments of the vocal tract
will emphasize which portions of the overtone spectrum for the chosen vowel
so that we can more easily choose the tone quality we desire for each note
or phrase or style of music we sing.>>
this reminds me of those golf coaches who use high-speed still
photographs to teach the golf swing as if it were a series of positions.
the follow-through of golfers who learn like this ends up looking like a move
in itself rather than the result of having taken a good swipe at the ball.
i think far too much emphasis in the teaching of voice is placed on the
construction of tone and almost none placed on the 'action' of the voice.
the latter is often left to coaches who are, mostly, only capable of
suggesting what to do rather than how to do it.
if you want to look at specific vowel construction as a 'place to sing
through', that's fine but, not at the expense of the action.
<<This is not difficult to teach and learn. But we must remove the
inaccurate
concepts of tone placing, raised palate, open throat, etc which exaggerate
and distort the formation of the resonance space in the vocal tract and
obstruct our ability to assume a more flexible and reflexive response to
vowels and vocal tone.>>
i love 'flexible' and 'reflexive' but, 'reflexive' since when?
childhood? or, since starting lessons with the most recent voice teacher?
(and yes, let's dump the silly stuff.)
mike
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