From: "Lloyd W. Hanson"
Subject: Re: weight lifting and balanced onsets
To: VOCALIST <vocalist>
Send reply to: VOCALIST <vocalist>

Dear Randy Buescher and List:

On Jan 5, 2000, I wrote that I found onset exercises work best to obtain
correct closure of the vocal folds for singing and counteracting the
effects often found with singers who lift weights.

I also suggested that the best description of the correct onset exercise
procedure and examples of exercises for their use could be found in Richard
Miller's book, "The Structure of Singing".

You wrote on Jan 17, 2000, and expressed some concern that onset exercises
are not always the best answer (as a first step) especially when the
student either habitually under or over compresses the voice. You also
stated that if over compression exists, you would prefer to shape the
behavior towards something that is not so hyperfunctional (using lip
trills, tongue trills, etc.) and then use a
balanced onset. (Please excuse me for not using quotes. I did not want
this e-mail to wind up on Marko's desk awaiting approval).

I certainly would, in no way, disagree with your analysis. It was for this
reason that I made reference to Miller's book because Miller gives
alternatives, via various forms of onset, to correct what you describe as
hyper or hypo closure function.

I have used lip and tongue trills because they can be achieved only with
sufficient air flow which presumes that the glottal closure is less likely
to be excessively 'pressed'. However, I have also found these exercises
can cause undue stress in the jaw, and often tend to raise the larynx
during phonation. It has been my experience that lip and tongue trills
must be monitored carefully and are not within the abilities of some
singers without creating new phonation problems.

I encourage a similar monitoring of onset exercises such that the singer
becomes aware of his/her ability to produce a continuum from a glottal
onset to a breathy onset and the more desired 'balanced' onset found
somewhere at a mid point between these two extremes. The singer is then
able to make a choice that will best serve the needs of both his/her voice
and the music and is able to self correct tendencies that may occur toward
over or under compressing the beginning of phonation.

I prefer to work directly with onset rather than use intermediary devices
such as lip trills and tongue trills because onsets are a fundamental skill
necessary to good phonation and singing. But, as you so astutely point
out. this may not always be possible and the intermediary methods might be
necessary for some singers. If I use them, I always try to explain that
they are intermediary methods toward a more efficient, and more direct,
onset procedure.

Thanks for your comments. They always make me think through my process.


Regards
--
Lloyd W. Hanson, DMA
Professor of Voice, Vocal Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011