My voice teacher in graduate school sometimes used the low palate approach.  It usually happened when I was having trouble in the 2nd passaggio.  He'd tell me that I had 2 choices.  I could raise the palate or I could drop it.  I always sang better when I dropped it.  I suspect that in so doing I eliminated a lot of tension which accompanied my "trying too hard" with the lifted palate.  I do use it with my own students from time to time.  Only time will tell if the suggestion to drop the palate will become a permanent part of a particular stuent's technique or a tool to use on the journey towards a good, dependable technique.

BTW, I'm a lyric mezzo or as someone on the group refers to herself, a 'soprano mezzo.'  The teacher was a baritone who played with heldentenor rep and could always sing a good Bb.

regards, Cindy Donnell

>i have yet to check out alan greene's book but, i plan to.   what is
> his background?   and why does he say lowering the palate is good?