Dear Vocalisters:
Although I have never met a singer who can raise the soft palate without simultaneously lowering the larynx I would not suppose that it could not be done. However, why would one want to avoid lowering the larynx in such a natural way?
To Christine I would say that raising the palate is possible while yet producing a nasal tone which means the velum is open. I think it is a mistake to assume that raising the palate is the only way to close the velum, if that is what you are suggesting.
To all who have indicated that they can raise the palate without the larynx moving down, I would ask how they know for sure that they are, truly, raising the palate. Often singers feel they are raising the palate when, in fact, they are merely tensing the muscles that extend backward from the zygomatic arch. Such tensing creates a harder surface in the soft palate area which is usually not desirable. Raising the palate normally does not create this tense, roof of the mouth feeling.
The "dog eating peanut butter" metaphor describes a method of raising the palate that is not desirable but is closer to the above description of the tensing the roof of the mouth.
Randy has often said that he feels the attention to this "raising the palate" is not necessary and, basically, I would agree with him. Choices of vowels and the awareness of how vowels are produced will often achieve this same goal. That goal is to achieve the correct resonance space which varies for each tone sung such that the vocal tract is matched to the sung pitch to provide the phonated tone with resonance space that enhances the tone and makes clear the language. There is no one correct vocal tract space adjustment that will work for all, or even most of the pitches required of the singer. A flexible process of adjustment of the vocal tract is the hallmark of every accomplished singer.
-- Lloyd W. Hanson, DMA Professor of Voice, Pedagogy School of Performing Arts Northern Arizona University Flagstaff, AZ 86011
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