Leslie, and List,
I think that forcing the larynx into any position is going to create
undesirable tension. Me: learning unfamiliar music in a high tessitura I
don't worry about larynx position so much as a relaxed, unforced head tone
- in which the larynx may be high. When I'm comfortable with that I can
allow my throat to feel that it is widening, which allows more resonance
and warmth into the sound - and results in the larynx dropping.
I assume that, the more I sing higher notes, the shorter will be the
period between starting with pure head-tone and allowing the fuller
resonance. For mid-range and lower notes my larynx is low, not because I
put it there but because I look for full, easy resonance.
I'm not sure: either singing 'in the masque' or else people's attempts to
'sing in the masque' may make it hard to find that kind of resonance. But
already I digress. john
At 08:00 PM 4/14/00 -0400, you wrote:
>Dear List,
> Please forgive my harping on this subject, but I have one more stupid
>larynx question.
>The way I understand it, when you inhale the larynx drops. Then, ideally it
>should stay in that position through the entire phrase being sung. Is this
>right? Does it get to move up even a little bit? If not, then how does it
>manage to drop again with the next inhalation?
>
>If I really concentrate on relaxing my throat, feel my support very low in
my
>body, and visualize lengthening my neck, my larynx will not kick up like it
>wants to, however, it does move up a little bit at the onset of tone. I do
>this on a 5 note descending scale in my mid-range. As I descend, it does
>lower with the scale, but none of this movement is huge. If the larynx is
>freely suspended in the throat, then it seems to me that some movement would
>be inevitable. Am I on the right track here?
>
>I am not really all that wrapped around the axle about this, but I am
>curious and want to know just what is what.
>
>Leslie
>
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John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada
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