Martti wrote:
> I got quite differing responses to my letter considering rising
> larynx. I myself think I just get vocal fatigued if I care too much
> about the hobbies of my larynx... :( I've noticed that singing
> without forcing it to stay down is much easier. So, should I just let
> my larynx do what it wants to do? Is it true that when I learn to
> sing relaxed it won't rise anymore?
Mine stopped bouncing up and down so much after I started doing some
exercises aimed at that. Assuming that's really important ( NO ONE ON THIS
LIST HAS SHOWN IT'S NECESSARILY HARMFUL... I'm picking a fight here, hehe ),
I think the best way to do that is by learning how to control it and than
'memorize' how you sound when you sing with it at rest and try to reproduce
that sound, rather than control your larynx, when you sing. I noticed that
when I looked in the mirror while trying to imitate an opera singer: my
larynx went down and my soft palate went up whenever I tried to imitate an
operatic sound ( regardless of a real operatic sound coming out of my mouth
or not ). If I tried to control that, it was always a big problem. I can
remember when my teacher tried to explain to me that I had to lift the soft
palate and I could never get the idea, until one day when I tried to 'do a
voice' and my soft palate necessarily rised. Maybe this is the idea: raise X
rise, look at X see, listen to X hear, I'm thinkING about her X I THINK
she's nice. Conceptual ( the subject as an agent ) X perceptual events ( the
subject as an experiencer )... Oh, I'm so philosophical today!
Bye,
Caio Rossi
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