At 03:50 PM 10\4\2000 +0200, you wrote: >When you stay in the inhaling position, as if you kept inhaling while >singing, it will prevent the ribs to collapse and the epigastric area to go >in (that is, prevent the diaphragm to go up). > >Even if you agree with this mechanism (which I do), it does not address what >happens or should happen below. It probably depends on different elements: > >- the tessitura in which you sing at the moment, >- the amount of "sostenuto" required by the phrase, >- the volume of the orchestra or piano that you must "overcome", >- the vocal color that you want to achieve.
Dear Alain, A good summary and I've yet to explore further, but so far I've found none of the above represents a problem as long as the support is operating reliably. Now it seems we have to dilute the term 'support ' by trying to ensure that it's understood in terms of Professor Hanson's description. Not what some others may think it is!!!
My feeling is that physical concentration in the area he describes helps drain the tension from the upper areas and provided we're certain in our minds what the vowel is that we're trying to sing, and concentrate on it purity, the rest happens.
By the way I appreciated your reference recently to the Roger Quilter , Now Sleeps the Crimson Petal. My battle has been to make that opening phrase as legato with the words as I can on a vowel. Damn those all important consonants or are they fricatives? :) But what a wonderful composer and song. Regards Reg.
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