Vocalist.org archive


From:  wadijedo@a...
Date:  Mon Apr 3, 2000  6:47 pm
Subject:  Re: [vocalist-temporary] Does tension in the nostrils affect the sound of the...


In a message dated 4/3/00 9:33:55 AM !!!First Boot!!!,
colin.reed@e... writes:

<< During the last lesson, she
>discovered that whenever I want to achieve a better placement for my
>voice, especially in notes that are high for me, I blow up my >>
Hi Jan,
It is funny that you should mention that about your nostrols, I just read in
a book called "How to sing" by Lilli Lehmann and she said (this is a long
explanation from the book) and please anyone if you feel this is incorrect or
too old, as she died in 1928 feel free to respond.
"One of the most important positions closely connected with the first
breath-jerk is produced by the dilation of the nostrils, the lifting and
pushing of the backward nasal wall toward the so-broadened nose which in turn
widens the pillars of the fauces and enables them to cooperate. the soft
palate and the pillars of the fauces have a firm hold at the nose and a point
of resistance upon which they can continually, according to necessity,
heighten and lower themselves without having to change the position given
them by this support." She goes on to explain the different positions of
vowels.

Then " To this continually held or renewed position of nose and palate, it is
necesary to join and shut off all that concerns tone and word. This form must
also continue to exist up to the completion of the tone. The hearer has
distinct sensation of this, because the unceasing vibration of the breath
Vibrating even after the completion of the tone, continues to suggest the
vital sound both to singer and listener. The connecting muscles of this form,
which must fit very firmly and elastically one to the other, must never for a
moment neglect to give the tone-vitality and tone-coloring. this they do by
making the larynx articulate unceasingly." "On this the most wonderful of all
tone-forms, which the nose chiefly creates and teaches us to sense, and in
the cooperation of all contiguous muscles lies that which binds tone and
word---"
"By distending the nostrils the pillars of the fauces inflate. The nose
therefore effects this function. Without the action of the nose it would
remain inactive. The energetic drawing up of the tendons at the nose toward
the eyes and forehead, and toward the temples and beyond to the ears while
singing is an exceptionally important help"

Can anyone give any feed back on this? I have never read this anywhere else
but I did have one teacher that stressed opening the nostrols while singing.

Sincerely,
Janis

emusic.com