Dear Lloyd, I agree with the need to replace all these terms with something more universal, but to me it appears that we're still restrained by how the individual can feel or image the described action.
For example: I integrate the idea and activity of upper pharyngeal space with forward production, by trying to gain the feeling of an inverted U narrowing at the top and placed somewhere in the upper palate. This appears to present the tonal balance I seek from my internal sound as judged by others.
>With this knowledge of real vocal tract shaping for >each vowel, we can add a knowledge of which adjustments of the vocal tract >will emphasize which portions of the overtone spectrum for the chosen vowel >so that we can more easily choose the tone quality we desire for each note >or phrase or style of music we sing.
Which is exactly what I feel I'm doing! Descriptive words to feelings and feelings to words? Which vowel + Which overtones + What tract adjustment + What pitch seems to greatly conflict with those who advocate non-interference!!!
Just using that as a test problem, how would you imagine such a group of sensations could be rendered to a logical minimum, within the comprehension of all?
Also, with respect and as devil's advocate, how could you know this....? > "The transmission of sound via conduction for each singer is amazingly individual and, consequently, different." <
So if "This is not difficult to teach and learn." what's the next step?
With greatest respect, Reg.
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