Hi all,
Mary Beth asked me to answer a few questions.
About dampening.... The question of dampening is part of the pedagogy of SLS
and I know Lloyd has brought this into question several times. As far as the
photos of dampening that exist, (Zemlin, etc.), I have read the majority of
those texts that show, or describe the phenomenon, and from my recollection I
do not remember the level of training of those singers mentioned at all.
Therefore I'm curious as to where that statement came from.
In dampening, the amplitude of vibration is not would contribute to a robust
sound in in my estimation. It would be the length of the closed cycle which
would lead to more compression of the airstream, hence more rarefaction
leading to more amplitude in the sound wave. I've witnessed dampening during
stroboscopic exam. The folds lack the elasticity to indefinitely lengthen,
so a reduction of vibrating length is a way to accomplish higher pitches.
Another way is to decrease the vertical depth of the folds used, which is a
method Titze has described, which also involves a coupling with the vocal
tract that produces supraglottal pressure induced on the leading (superior
portion) of the folds. I think we'd all agree that unless an unusually large
voice exists (which Titze attributes to stronger than average TA muscles and
thicker mucosal cover, which allows a much chestier production can be used)
some form of production which produces a decreasing of vocal fold mass has to
be used. Dampening is the form SLS prefers.
As far as some of the other question raised like singing into the mask, SLS
deplores a deformation of the vocal tract which attempts to guide the
resonance into a particular place. Most informed pedagogies at this point
(such as Miller) refute such devices as does SLS. As far as lip trills being
carried up into whistle tone early in the training, my students have been
able to do so on a regular basis. Maybe it comes down to the ability of the
teacher to help the student do so.
Randy Buescher
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