I want to thank all who responded, privately and to the list. I especially
enjoyed your post, Ian!
Randy Wrote:
>Well, after the voice rest your voice may be a little weak and you may
>need to engage it with some vigor to regain muscle tone in the
>apparatus.
Yes, I am finding my voice a bit weak now. It is improving with more
vocalizing.
>Interesting you incurred this injury using a top down approach, which
>advocates of that technique will tell you is healthier.... Hmmm.
Well, I don't really do it correctly, yet. I trained for many years as a
baritone - I was a terrible baritone - I really am a tenor! My voice was
pressed and tight. This technique has really helped me to be much more
relaxed. It's just that I am passing so much breath through the chords. I
need to do this in order to phonate more lightly, but it is quite
inefficient. I understand that it gets less breathy as you go on, and
indeed, it it has been less so than when I started.
I think that all that breathiness, combined with the need to make a real
sound, did me in.
The idea of this technique, as I understand it, is to keep some of the
"light" mechanism engaged throughout the range. "Light" mechanism all by
itself would be falsetto - I am learning to have the "mix" instead. I find
the excersizes that begin in falsetto and crescendo into the "mixed" sound
(that is adding "modal" voice to the "loft" voice) to be very hard. My
teacher has said that it is harder for heavier voices than lighter ones.
When I get a full sound, I cannot always tell if the "light" mechanism has
dropped out or not! It is especially hard for me to add the "modal" (or
chest voice) to the "light" voice on pitches above my upper passagio which
for me is around F or F# (that is, the F# a tri-tone below the "tenor
high-c").
Anyway, now I have wandered beyond the subject of my bleeding chord! I
would enjoy hearing from singers who use this technique!
Thanks to all.
-brian s.
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