Re: [vocalist-temporary] Vibrato QuestionsI think Lloyd should be cloned,
his mind copied into a super-computer and fed into the clones' brains as
they did with Superman on his way to Earth!
>And this difficulty is exacerbated by the tendency to lump everything
relating to the working of the breath under the general term "support". One
corrects vibrato problems with "support"; one corrects breathy tone with
"support"; one corrects neck and throat tension with "support"; and on and
on with the use of "support" to solve the all major concerns of singing.
My present teacher does that all the time. OK, I agree I have a problem with
support... but what about the rest?!
>But the inadequate or mismanaged breath support that is present may also be
a symptom produced by the cause of the original problem and simply
correcting the breath issue in such cases seldom corrects the original
problem.
>The original problem disappears and the assumption is made that the actual
cause of the original problem has been found.
I just didn't get that; how can you solve a problem, even momentarily, b
working on one of its consequences only? I can only conceive that if I think
in a systemic or chaotic ( order in chaos ) way: the change in breathing
affects the interaction of all the features in the system.
>It has been my experience that this is one of the primary reasons for a
student to remain with a teacher long enough for this process to be carried
out successfully.
It has been my experience that not doing that is one of the primary reasons
for me to "thanksgive" a teacher and say good-bye!
>When you create a gentle, warm and moist breath on the fingers which are
placed at the lips, (similar to the breath you produce when attempting to
clean your glasses), you are creating the ideal breath for singing. Very
little breath flow is used for singing.
My teacher says no blow of air must be felt on the hand ( of course, if it's
placed in front of the mouth ) when you sing vowels. My previous teacher
said the opposite. What do you ( Lloyd and everybody ) think of that? My
present teacher just doesn't say how to achieve that.
> This can be easily corrected by repeating the
warm moist breath routine which will reestablish our proper control of the
breath by the activation of the diaphragm during exhale.
That must be your answer to my question above. Isn't it?
>Occasionally, a choral director or voice teacher will instruct the singer
that the epigastric area should move inward during singing. When the
epigastric area moves inward, the diaphragm must collapse. When the
diaphragm collapses, the singer loses control of the breath. Although the
epigastric area will move inward near the end of the exhale cycle it should
not move inward too early in the cycle. When singing, the epigastric area
should maintain a sense of fullness, without being pushed out, during the
better part of the duration of the exhale cycle and should only move inward
toward the end of the cycle to obtain the last of the breath supply, if
necessary. Most musical phrases will not require the inward movement of
the epigastric because they do not require the final supply of air. To
repeat, once the epigastric moves inward, the diaphragm has begun to
collapse upward and the end of efficient breath control is begun.
My teacher says I must keep pushing the abs in throughout my singing and
evidently push in harder a slight second ( which is less than 1/60 of a
minute :-) ) before a higher note ( isn't that a definition of belting? ).
That ruins any support I have achieved by that moment. He says you must keep
pushing in in order to keep the same air pressure during the whole process.
I just can't!
>Low voices will have more breath flow when compared to high voices. The
amount of flow is determined by the mass of the vocal folds.
According to my laryngoscopy, I don't have much mucosa on my vocal cords. I
suppose, and I think that's what you meant above, that my vocal cords would
require less air pressure and won't withstand much air pressure. Does that
make sense?
Best regards,
Caio Rossi
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