Hello,
I cannot agree more with the excerpt of the message below. Indeed we need:
1/ "stabilized" larynx (I suppose you mean adopting a lower position for singing, or more accurately allowing the whole trachea-bronchial tree + the joined larynx + the overhanging hyoid bone not to rise)
2/ cord closure at all time (from top to bottom, bottom to top, between each notes of any range)
3/ "to develop the passaggi" (or more accurately to narrow passaggi and train the optimal opening of the throat associated with proper vowel alteration throughout the whole range)
The question and main difference is HOW to achieve these elementary principles of singing. This is the interesting part of a method. How do you deliver this information. That's the key and the whole difference in results. A large number of teachers know the basics. A large amount of teachers also DON'T know the basics and still teach. The difference lies then in basic teaching or refined approach.
Since ODivaTina mentioned Marilyn Horne... Marilyn Horne was trained in the Swedish-Italian School of Singing by William Vennard, student then colleague of Alan R. Lindquest, who later taught David L. Jones, who later taught me. One of the main ideas in training a mezzo soprano voice is indeed to teach the "Filling out the Middle Register" on the way down, and to learn how to drop the weight on the way up. This really is adding chest resonance on the way down without using chest mechanism (but by adopting a lower larynx position which allows richness of tone) and allowing high overtones to be present (by keeping an elevated soft palate). There is a series of exercises used for that purpose. One of them, largely associated to Horne, can be found on the website of my Teacher David Jones. I have found these exercises to be very effective for any mezzos, and I use them in my teaching and for my personal vocal training (even though I don't sing mezzos anymore...).
For those interested, the link is http://www.voiceteacher.com/female_passaggio.html
Sincerely,
Gilles Denizot baritone - voice teacher European Assistant of Maestro David L. Jones (NYC) http://gillesdenizot.com
----- Original Message ----- From: Domisosing@a... To: vocalist-temporary@yahoogroups.com Sent: Friday, August 03, 2001 6:41 PM Subject: Re: [vocalist] Riggs/SLS
In SLS, there are a few absolutes that we focus on in developing and maintaining a healthy voice. These are in random order. 1) stabilize the larynx 2) train the cords to stay "closed" from the top to the bottom of the range 3) develop the passagi's so that the sound is seamless, no flipping, no pulling, and no disconnecting.
No matter what style someone sings, these three things need to be in place in order for them to maintain a healthy voice. Further, if they really want freedom of expression, developing a solid technique is the best way to use their voice to its full potential. Once the technique is mastered, we move into style. The art of singing is to maintain a healthy vocal production, while still being true to the demands of the genre one is singing in.
Hope this clarifies, Mary Beth Felker Seth Riggs Associate
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