In a message dated 12/5/2001 11:29:24 PM Eastern Standard Time,
lloyd.hanson@n... writes:
<< the sighing onset and glottal plosive
onset are less a sense of the two elements involved in phonation and
more the two extremes of phonational involvement. A correct onset
that is somewhere between these two extremes secures a proper balance
of breath management with initial glottal movement but it would be a
mistake for the singer to concern him/herself with any concept of
balancing a sighing attack against a glottal attack as you seem to
suggest. >>
lloyd,
what i was suggesting was a way to give an idea of the feel for breath,
while phonating, at two extremes, for a beginning singer. the problem i
encountered with the fogging the mirror idea was the lack of involvement of
the vocal folds. the people i tried the mirror fogging idea felt that, when
the folds were involved, the sensations of phonating were unrelated to the
mirror fogging. so, no, i wasn't suggesting balancing a sighing attack
against a glottal attack. instead i was suggesting something that is in
between rather than doing both at once.
also, although my training has been almost entirely with classical
teachers, i do not teach classical singers. i teach a variety of non
classical singers (pop, rock, crooners, etc.) where the sound itself is the
essential and not its efficiency. so, onset is probably a slightly
different issue for me and my students. for example, if i were teaching
someone to sing in the manner of someone like mel torme, as the sound is
essentially breathy, it requires a breathy onset. the problems that a
singer of this style encounters is wasting breath and creating too little
tone so, this type of singer still has to learn to vary the air pressure and
the resistance in the folds in order to produce the desired sound without
having to breath every syllable and crank the pa system beyond reason.
yup, this is fun.
mike
|
