| 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
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