In a message dated 01/22/2001 6:45:35 AM Pacific Standard Time,
Greypins@a... writes:
Greypins@a... writes:
> the thing you are talking about, kayes calls (ala estill) the 'twanger'.
> for those of you who do not (and will never) have the book, it is
> described
> as the aryepiglottic muscles squeezing the epiglottis into a tube that is
> narrower than the rest of the throat. according to kayes, estill says
this
>
> creates a...uh...er...'ratio effect' (and i make fun of corelli?) that
> creates the 'twang', ping, singer's formant, "tickles my nose", etc.
>
> as i understand it, the perception of placement is the result of the
> voice behaving in a certain way and not the cause of it. can you imagine
> being a little league coach where your only instruction during batting
> practice was "just aim for that blue car in the parking lot"?
>
Good grief, this is getting bizarre...............
From reading all of the previous posts, I'm assuming that the "twang"
that we are talking about is more commonly referred to as the singers
formant. More, if my understanding is correct, the singer's formant is not
caused solely by the posture of the vocal folds. The folds themselves only
produce the fundamental frequency of the tone, the formants are caused by the
shape and surface of the resonator; which in a singer's case is the throat,
but primarily the mouth and the lips. THerefore, the singer's formant or
"twang" is caused by the coupling vibrator and the resonator.
I know very little about Jo Estill's work, but when referring to a
"twang" in the voice, I've only heard it referred to in a negative way as it
relates to country singing.
Another reason why it is so imperative for voice teachers to understand
the anatomy and physiology of the instrument they are trying to train.
Mary Beth Felker
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