I, too, would like you to expound on that theory. As one who teaches both from the top down AND a narrow air column, I find that the opposite creates a vocal technique that is often wooden and unexpressive.
Mark
On Sat, 2 Feb 2002, Lloyd W. Hanson wrote:
> >I think the fact that it was distracting means that she wasn't mixing > >properly, and had to cover up a hole there by using her chest in a way that > >wasn't appropriate. That, to me, further illuminates my sense that she is > >mixing from top down, which in my own personal experience, does create holes > >in that lower middle voice area from not having the column open enough. One > >has the dilemma of a hollow-sounding F that is too heady and weak, or a harsh > >sounding F that is too chesty and disconnected from the balanced column of > >real bel canto technique. > > REQUEST: May I ask what, exactly, you mean when you speak of > "create(s) holes in that lower middle voice area from not having the > column open enough." The words "column open enough" in particular is > the phrase that I would like explained in more detail. Thanks
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