Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Thu Apr 13, 2000  1:55 am
Subject:  Re: [vocalist-temporary] "Warming" tones


Dear Leslie and Fellow Listers:

The most common source of a colorless or hooty or choir boy sounding
high tone is an incomplete phonation. If the vocal folds are not
properly or completely adducted excessive air will pass through them
and the edges will not oscillate sufficiently to produce a phonated
tone that is rich in upper partials. This kind of phonation is most
common in young boys voices when they sing in their upper range and
is a natural result of the immature qualities of the unchanged voice.
Usually boy choirs are encouraged to use a high rate of breath flow
for their high notes because this is a quick method to obtain a
secure tone that is sufficiently loud.

In any voice, be it an unchanged voice or an immature changed voice
or an adult voice that is new to singing in an upper register, the
vocal folds are not well coordinated nor strong enough to maintain a
complete adduction or closure. For this reason it is most important
that the flow of breath be not excessive for these high tones. High
tones use the least breath flow of all the tones in the singing voice
but they oscillate with the highest breath pressure. However, if
that breath pressure is greater than can be resisted by the vocal
folds the folds will simply remain slightly open and the tone will
become breathy and colorless.

The best solution is to learn to better control the breath flow rate.
This is done by maintaining the appoggio breath condition of a
sustained inhalatory mode of singing. The natural return of the
lower rib cage back to its at rest position during singing must be
resisted by using the inhalation muscles so that breath flow is
always carefully controlled. Although I mention it many times, the
best method I have found to experience this balanced breath flow is
to practice the warm, moist breath flow one uses when attempting to
clean ones glasses. In the process of breathing out that small
amount of warm, most breath one can notice that the inhalation mode
is maintained and that the epigastric area and a bit of the area
below the epigastric feels firm a and supportive.

It is not necessary to "do anything" with this epigastric and below
area but only to notice that it is rather firm and active. However,
it does not move substantially nor is it required of the singer to
tense it, or push or pull on it. Awareness is the key. The voice
will call for the breath it needs and in sufficient quantities when
the breath mechanism is proper balanced. The conscious mind needs
only to be conscious of what is happening; it should not attempt to
make it happen.

All of these breath ideas must be present to achieve a good onset of
tone. That is the reason the onset exercises are so effective. If
all the elements are not properly taken of, the onset will be poor.
The onset of tone is clear guide to all singers and teachers that the
fundamentals of breath and phonation are working or or not working.
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011

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