Mirko, Leslie, List,
First, since the larynx moves in response to
*something-else-you're-doing*, you shouldn't try to move *it*, just try and
correct any problems one by one, either of pain/discomfort or of vocal
timbre/ease/agility. I think you'll find that a lowered larynx is a *sign*
of a kind of resonance which is desirable in most performance situations,
but perhaps less so in practice and learning.
Adequate, but not excessive breath supply will help the larynx to be where
it should be. If you explore the resonant capabilities of your voice you
may find a kind of resonance where the larynx lies fairly low. Your teacher
will tell you if it sounds good, but you still have to explore yourself.
I suppose we have so much attention on the larynx's position because it is
the one thing that we can actually see down there.
I think it is normal for the larynx to be mobile, and certainly it will
rise in certain types of quite healthy vocal production as you move into a
higher range. Also a young singer (I'm out on a limb here, being someone
who learned late how to sing) whose vocal muscles and cartilages haven't
completely developed may not be able to produce a healthy, 'lowered larynx'
sound. In which case you may want to go with a lighter, head tone option
for your higher range, which many of us find quite beautiful and in no way
inferior in intensity or carrying power. As you continue to practice, and
do appropriate excercise, and as you mature, your voice will become more
capable of painless dramatic sounds.
One of the great things about the voice is that it does change, and when
skin gets wrinkly and hair fade to grey, a good voice is only just getting
underway! Ouch. john
At 01:26 PM 4/16/00 +1000, you wrote:
>>Is it normal for the high soprano/tenor larynx to raise in the upper
>>register? I have a very small larynx, in fact, I am a very small person.
>>Could this have anything to do with it?
>
>It depends on the style- i think some choral styles- especially shrill,
>straight certain renaissance styles (such as marenzio) call for a slightly
>raised larynx. But then it depends on the conductor. I think a raised
>larynx is the cause of an unstable voice style, no matter how 'right' it
>sounds. Most rock singing is with a raised larynx, a sign of a constricted
>throat and tension (i've been there), especially as a lot them emulate other
>voice types- and most rock singers i know couldn't care less if this is
>incorrect.
>
>But in opera, the raised larynx is out the door for light tenors.
>Fritz Wunderlich certainly wouldn't have raised his larynx. And he is the
>ultimate high tenor model in my mind.
>and you'd never catch high sop. Edita Gruberova raising her larynx. It's
>all *big open throat and go, go, go,* for those singers.
>I think if you were a bass, faking a tenor timbre, you'd be inclined to
>raise the larynx, in order to shorten the vocal tract so you could get the
>notes- but that's a bit of a guess, since I'm not a bass. I've only seen
>them do it (my current choral director when he tries to instruct our tenor
>section).
>
>Mirko
>
>
>
>------------------------------------------------------------------------
>You can win $1000!
>Time-limited offer. Enter today at:
>http://click.egroups.com/1/2864/3/_/843894/_/955856700/
>------------------------------------------------------------------------
>
>To unsubscribe from this group, send an email to:
>vocalist-temporary-unsubscribe@o...
>
>
>
>
John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada
|
|  |
