Mike:>however, there are just as many people who are led away from 'head voice' by the use of nasals.<
I agree with you wholeheartedly. I even cited them as an example of how misleading using nasals to "get there" may be if the teacher and the student don't know the difference.
>let's take the singer for whom a yawn might neurologically trigger 'head voice'. as the velar port is closed during a yawn, this experience is least likely to resemble the nasal sensation you are so fond of.so, for this singer, nasals would take them away from that very trigger they need.<
That's why singing classes should be, and generally are, individual! And that's why teachers must be flexible and adapt their teaching to their students, not the opposite.
>in the case of both trigger examples, while both might trigger 'head voice', they create a problem at the next level when encountering words that are formed by the opposing configuration. obviously, if the use of a trigger is necessary for a singer to find 'head voice', the work must continue in abstracting that which is 'head voice' away from its trigger so that 'head voice' may be used without a trigger and may be applied in situations that are opposite to the trigger.<
That's what I meant when I called it a "crutch". But, you see, that may not even be a problem: the idea is that that nasal vibration they continue getting once they develop head voice, mostly at its lower tones, is not "air friction" anymore, but "resonance".
Caio
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