Dear Barry and Vocalisters:
You wrote:
>2) Is there a difference in the style or degree to which
>the pharynx is stretched upward or expanded in diameter (apart from the
>closure of the VP port). Lloyd indicates that there are differences.
>I, however, cannot tell that there is any difference in sound or
>sensation that I would not more readily attribute to the lowered larynx
>rather than any difference in how the pharynx is treated. (We may have
>to agree to disagree on this one unless there is more substantive
>proof available).
The difficulty here is in the ability to make adjustments within the
pharyngeal space.
Many singers are taught to enlarge the pharyngeal space, period. It
is the belief of this approach that the larger the space the better,
and the enlarged space must be continuously maintained. The effect
of this technique is a pharyngeal rigidity which precludes the subtle
adjustments necessary to match vocal tract resonance to pitch and
vowel.
But if such flexibility of pharyngeal adjustment is available, then
great changes can be obtained in tone quality with little or no need
to lower the larynx. Raising the larynx is another matter because
once a raised larynx is present the available pharyngeal adjustments
are hampered. A raised larynx begins the peristalsis process
(swallowing) and, although through training it is possible to
circumvent a completion of this process and retrain the coordination
of the muscle systems involved, it has been traditional to avoid this
procedure because of its unnatural qualities. Clearly, the present
singing demands of pops and Broadway prefer this less natural
approach in the name of being more natural! (my opinion).
I have purposely described the traditional teaching method of
"raising the palate" as a combination of palate adjustment and larynx
lowering, not because it is necessary to lower the larynx to obtain
the desired classical tone but because the two movements are
naturally coordinated. The lowering of the larynx so obtained is not
excessive and feels easy. The combination of the two contrary
movements occurs without a need to analyze them nor learn new muscle
coordinations. The adjustments made in the palate area of the
pharyngeal space are flexible and easily re-adjustable. The jaw is
not directly involved and remains released and flexible. There is no
need for excessive facial contortions but, instead, the mouth and
lips are able to make any adjustments necessary to achieve a desire
vowel or vowel color.
The velopharyngeal port can be either open or closed within the same
posture of raising the palate as I have described it. The fact that
the degree of palate raising between achieving an open velopharyngeal
port or a closed one may be slightly different does not belied the
fact that the palate is adjusted upwards for either port position.
As Mike has pointed out, it is the classical hum position if the hum
is to feel released and resonant.
Such an interesting discussion
--
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011
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