I have a couple of questions, please.
First to Patrick: Can you describe how you move the sound into
different resonant
(resonance?) chambers as you go up and down? What resonance chambers
are used for what pitches and by what process the sound is directed
from place to place. This is something I have never understood and
you seem to be having success with this, so perhaps you can help me.
Second (to Mr. Hanson): When you use the puffy cheek exercise on an
ascending arpeggio, do your students sing the top note on a pitch or
just sing the 1-3-5 and then puff with an 'ah' shape or an 'oo' shape
of some kind? Could you please clarify this exercise? It would seem
difficult to puff and sing at the same time. I guess I am not getting
it. Thank you so much.
Lastly, to anyone: The only way I can do lip trills is without
singing, just making a baby noise. I cannot do this while singing.
Perhaps I don't have the right physical structure for it.But it seems
to me that if I can lip trill without pitch, then I do not see a
connection between lip trilling and anything going on with the vocal
folds. I can see that someone could lip trill AND engage the vocal
folds at the same time, but I cannot see how one influences the
other. Can someone help me with this also, please? I am always
looking to learn.
Thanks to all,
Katherine
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