Reg wrote:
>I feel that ex wind players have a certain advantage here.
>In a choir where I sing next to ' one of these,' the man has fantastic
>breathing control, stupendous sight reading ability but no tonal
>ability at all. I sometimes wonder how I could diplomatically suggest
>attention to lessening the 'control' and freeing the vowel.
>Diplomacy not being my strongest point.
Comment: I always have said (and this is how I was taught) that one has to
play wind instruments with an open reonating chamber in the mouth and
pharynx.
The difference from singing (as far as I can tell from my limited
knowledge)
is that while playing wind instruments one is almost forced into having
some
lip and jaw tension, because of the nature of the secondary resonators
(the lips
for flutes or brass instruments, or the reed(s) for other woodwinds).
> My teacher demonstrates the same support during
>singing as speaking but says also that she specifically uses it
>when delivering adjudications. I would dearly wish to have the
>support system function equally well in both modes but fear that
>bad habits become most prominent in every-day speech.
>Do you have an answer to this?
Comment: I'm not quite sure what this means. Certainly in everyday speech
it is
easy to become very sloppy about support habits. That's because we usually
do not have to project our speaking voices into distances, or over noises.
But most books on speech for actors emphasize the same things that books
for singers emphasize: support, clarity of articulation, relaxation, etc.
I love tongue-twisters for that reason.
I will list some of my favorite ones if people are interested.
Bless Your Heart(s),
Jeffrey Joel
JSJoel@c...
Circulation
Crone Chronicles: A Journal of Conscious Aging
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