>how many of you A) actively discuss mechanics and work on breathing
>exercises with that approach, versus B) don't get specific about the
>mechanics with the idea that many students only use this information to try
>and control muscles and get in their own way in the end?
In my teaching, I start by giving students a framework for understanding
the mechanics of voice production. This is anatomical and physiological
but still dealing only with broad concepts.
For example, in discussing breathing, I will describe and demonstrate
expansion in the region of the lower ribs, rather than referring to ext and
int intercostals. Movement of the abdominal wall is complex - different
bits move in different directions. We can have excruciatingly conscious
control over this movement. Like controlling tongue movement by thinking
of specific muscle group actions, I have only found such conscious control
detrimental. In my teaching, I have only ever come across paradoxical
abdominal movement (abdomen goes out during phrase and/or in crescendo) in
two singers. As with all my students, I ignored the abdomen and
concentrated attention only on lower ribcage expansion and only during
inhalation; in both cases, the paradoxical movement fixed itself and
neither singer ever knew there had been a problem.
For another example, I describe the partnership of CT and TA and how they
impact on the mucosal wave and on singer's formant.
It has taken me many years to establish a mechanics framework which
contains all, and only, the constructs I want them to use as the logical
basis for evaluating critically any instruction or imagery they are given
or develop. Nowadays, it takes about one hour to deliver.
Over time, these constructs are refined and elaborated as suits the
individual singer's *artistic* development. That's not a typo. We work
both mechanically and interpretatively at the same time: the *application
of* science requires imagery. The work might run, for example, as follows.
"You are running out of breath on this phrase. Subglottal pressure is
essential for vocal function; it is not the amount of air but how it used
that matters. Pressure is a function of the amount of air put up and the
force with which it is put up, and the amount of resistance the vocal folds
put up. You are putting up too much vocal fold resistance: your vocal
folds are too tight. As you perceive that you are running out of air, you
try to reduce the airflow: the vocal folds tighten even more and the cover
becomes taut. A floppy ribbon held between your fingers takes little
breeze to make it vibrate; a ribbon held tautly between your fingers takes
a lot of breeze to make it vibrate and much effort is wasted; any ribbon
starved of airflow will not vibrate. So, two things please:
1. Let the breath go out at the rate it wants to go out. Sing the phrase
may times on a rolled 'r' - if the 'r' stops, you are stemming the airflow.
Observe, and override, the desire to increase laryngeal resistance: don't
tighten at the throat. When the phrase runs freely, notice what happens.
When the phrase doesn't run freely, notice what happens."
'What does the stomach do?'
"Whatever it wants.
2. You're not giving me any indication, as audience, of the shape of the
phrase. Determine where the climax of the phrase is - or is this phrase
part of a longer phrase, which requires multiple breath-limbs which must be
shaped as a complete unit, as must the song/aria at a larger, Schenkerian
level. Exaggerate that shaping, with dynamic, rubato. Move your torso in
great sweeping shapes to experience the phrasing; and don't assume a rest
means 'end of phrase'."
'But I'll be slaughtered if I try moving around like that in performance.'
"Freedom of movement of your body will translate to freedom of movement of
voice and expression. Then your body can be stilled - or directed to other
staging - and the effects of such freedom on your technique and
interpretation will remain."
It is very difficult to convey a multi-media entity such as a singing
lesson in a single-media format such as email, but I hope this gives some
indication of one approach to one narrow issue.
Kind regards
Sally Collyer
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