In a message dated 2/14/2001 4:23:11 PM Eastern Standard Time,
lloyd.hanson@n... writes:
lloyd.hanson@n... writes:
<< In short, the /i/ vowel creates a
large space behind the tongue in the pharyngeal area (if the singer
does not collapse the area when producing the vowel) and a very small
space in front of the tongue in the forward portion of the mouth.
These two spaces resonate the two formants for the /i/ vowel; one
very high (small front space) and one very low (large back space). >>
lloyd,
this is exactly the phenomenon i took advantage of when i taught myself
tuvan throat singing. doing a noisy, low growl in the larynx and then
varying the vowel (from umlaut u to very squeaky ee) in that front pocket.
i confirmed the results through spectral analysis which matched humming and
whistling at the same time (i might just have a bit too much spare time on my
hands). both produced a low band on a constant pitch up to about 550hz.
and a thin wavering band (as i varied the vowel or whistle pitch) between
1400-2500hz. with absolutely nothing in between (of course, i am able to vary
the pitch range of the whistle more).
a more practical application (singing being more pratical than
sculpture, for example. when do you ever get asked to sculpt at a wedding
or funeral?), i have been having my students sing with pencils in their
mouths accomplishing two things; dumping excessive lip postures and allowing
them to notice the relationship between the tongue and throat and how that
changes from vowel to vowel. it also causes almost all of them to sing with
more focus as they tend to develope a gentle sub-glottal pressure rather than
'surf-singing' (sul fiato as opposed to col fiato). unfortunately, some
miss the point and end up singing like the tin man in need of his oil can
when the pencil comes out.
great post, btw.
mike
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