Randy,
Thanks for your reply. I agree that that it is important to get the correct
muscles of adduction working (and working well), and that other muscles
outside the larynx relax. I also agree that a slightly lowered and stable
larynx is important in the process. As you mentioned, a lower larynx is
associated with better adduction. I found an article by P Körkkö, published
in the Journal of Voice in June 1998, that has the following in its
introduction:
Summary: The vertical position of the larynx seems to be relevant to voice
function. As a high vertical larynx position is often seen in
hyperfunctional and strained voices, a lowering of a habitually elevated
larynx is sometimes a specific goal in clinical voice therapy and different
larynx-lowering exercises are used to achieve this goal. Earlier
investigations have shown that pitch and to some extent also vocal loudness
are relevant to vertical larynx position. In the present investigation, we
examine if lung volume affects vertical larynx position. Using a
multi-channel electroglottograph, the larynx position was measured in 29
healthy, vocally untrained subjects, who phonated at different lung volumes,
pitches, and degrees of vocal loudness. The main results were that high lung
volume was clearly associated with a lower larynx position as compared to
low lung volume.
Me again:
So, it seems to me that if a lowered larynx is useful (in that it encourages
better adduction), and higher lung volumes encourage a lower larynx, then it
might be a useful way to achieve that goal. In fact, many studios address
laryngeal position through their breathing drills (as you inhale, the throat
relaxes and the larynx lowers). I have found that some of my singers have
more success at relaxing the supra-laryngeal muscles when they focus on
their breathing, especially when they think about keeping the rib cage
elevated (more of an inhalation posture) during exhalation.
Thanks for this dialogue. It helps me to focus my thoughts, and makes me
rethink my assumptions.
David Grogan
Longview, Texas
-----Original Message-----
From: buzzcen@a...]
Sent: Wednesday, December 04, 2002 8:38 AM
To: vocalist-temporary@yahoogroups.com
Subject: Re: [vocalist] Consonants and breath flow
In a message dated 12/4/2002 7:03:47 AM Central Standard Time,
dgrogan@e... writes:
> I have read this same sort of thing before in many sources, and my
personal
> experience agrees. However, I think that breath can have an effect on
> laryngeal position and muscle tension as well. For the singer who gets
> very
> little adduction of the cords, taking in a larger amount of air can often
> get the cords to approximate better, as a natural resistance to the
> pressure
> built up in the lungs. For singers who adduct too much, taking in less
air
> can reduce their need to hold back that air.
>
Yes, too much air can cause the larynx to either excessively valve to resist
the blast (and usually requires extra help from outside sources to do so) or
the folds to part in order to ameliorate the pressure ... that is a client
where airflow should be addressed. But if a student has problems with too
little adduction, increased airflow is not the answer. A regimen of
vocalises that "build" the ability of the folds to adduct and strengthens
the
muscles involved to do so is a better route. Poor adduction naturally leads
to more airflow to engage Bernoulli and is a compensatory method used to
avoid the real issue which is in the larynx.
If they adduct too much, in which I'm assuming a glottal attack would be
present, achieving a balanced onset would probably be a good route to take.
Randy Buescher
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