In a message dated 2/15/01 11:41:46 AM Central Standard Time,
bounousb@i... writes:
bounousb@i... writes:
> > > COMMENT: If it is not raised chest then some form of vocal fold
> lengthening
> > > is being used which would mean the CTs are involved. This is a mix at
> this
> > > point, the degree of the mix is dependent on such factors of CT Vs TA
> > > involvement and the degree of compression.
> >
> > Again, by what definition? CT involvment is the definition of mix?
> Vocal fold
> > lengthening is integral to all forms of singing including belt.
> > Sundberg, Estill, and Schutte all define belt in terms of sub-glottal
> pressure
> > and closed quotient of the vocal folds. The measurements of the closed
> phase
> > differ depending on the subject being measured but was between 50 and
> 70%. The
> > closed phase is most directly responsible for the unique glottal source
> signal of
> > belt. When a mix begins to exhibit closed phases in this range, the sound
> > becomes more like a belt. There may indeed be methods of approaching
> belt which
> > involve extreme pressures that result in unhealthy phonation but the same
> can be
> > said for the classical world. You are attempting to define anything
> unhealthy as
> > belt.
> >
>
Barry,
When the CTs become involved the cord structure changes affecting the
overtones. A hard mix, where there is long closed phase done via intrinsic
musculature, will still have a slightly different tonal quality than chest.
If it sound like pure chest above (bflat 4 or so) are the vowels start to get
splatty, and laryngeal elevation is evident (as in Dion's Titanic song at the
end), it is pulled chest and the increase in pitch is most likely being
accomplished via pressed phonation where the mucosa is abnormally stiff in
order to accomodate higher pitches. This is part of the reason she can't
make a connected line past a certain point and flips off into something
resembling falsetto. However, if you are indeed talking about a hard mix as
being belt, then you talking about a mix and that should not require
laryngeal elevation.
You can document and explain any behavior, but that does not make it healthy.
I could document Kerry Woods pre-surgery pitching motion where he can across
his body to gain more speed on his pitches and explain it as his technique
yet we all know where it led him... brilliant short term success and then to
a surgeon.
I know what you'll say... by who's definition? It's starting to sound like
Clinton asking someone to define the word is. The fact that you would ask
students to only belt occasionally makes me suspect that even you think it is
hard on the voice. Why even go there when you can serve the purposes of the
music without resorting to this.
Randy Buescher
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