There are many ways to help a student connect to the emotion of a lyric or of a melody. I don’t have room to go into those things here. It is possible to come from either direction — you can use the emotions to help free the throat to carry the feelings or you can work to release the throat so that feelings can pass out in the sound with no fatigue. In both cases, it is important that the breathing be as deep, full and easy as possible and that the exhalation is controlled by the volume and the quality of the sound itself.
It does change the resonance (harmonic/formant configuration). It is not necessary in most CCM styles but it may not even be necessary in some classical literature. Research indicates that some world class singers have the palate lifted and others do not. It isn’t meant to be something you lift like you would lift an arm, but it can actually stretch up and out like a proscenium curtain over time if the person singing goes toward a surprised happy feeling and mouth shape.
If you listened to the recorded examples on the Somatic Voicework™ website, you wouldn’t have to ask me if it got back to professional levels. It is obvious that it did, but the vocal fold is still not functioning normally and I am singing anyway. Something to think about, no?
You can’t advocate for a gag reflex. Releasing the swallowing muscles allows the throat to open. This is done indirectly through vocal and breathing exercises. Your throat is “open” if you are not dead. Open is relative. In a yawn, the larynx rests low. In a swallow it rises. You can sing in either position but trying to deliberately move anything in the throat on purpose is always wrong. It happens in response to other stimuli.
The classical community paid little attention. They should have, as it was a great thing. Their bad.
There are many ways to help a student connect to the emotion of a lyric or of a melody. I don’t have room to go into those things here. It is possible to come from either direction — you can use the emotions to help free the throat to carry the feelings or you can work to release the throat so that feelings can pass out in the sound with no fatigue. In both cases, it is important that the breathing be as deep, full and easy as possible and that the exhalation is controlled by the volume and the quality of the sound itself.
Bravo, Craig! Impressive to know your eyes and ears were so alert.
It does change the resonance (harmonic/formant configuration). It is not necessary in most CCM styles but it may not even be necessary in some classical literature. Research indicates that some world class singers have the palate lifted and others do not. It isn’t meant to be something you lift like you would lift an arm, but it can actually stretch up and out like a proscenium curtain over time if the person singing goes toward a surprised happy feeling and mouth shape.
If you listened to the recorded examples on the Somatic Voicework™ website, you wouldn’t have to ask me if it got back to professional levels. It is obvious that it did, but the vocal fold is still not functioning normally and I am singing anyway. Something to think about, no?
Thank you. I agree. It was confusing. I write late at night and I think I just got lost. I have revised it.
No estoy seguro de entender ” instrumentistas de canto ” . ¿Puede explicar más acerca de lo que desea investigar ?
You can’t advocate for a gag reflex. Releasing the swallowing muscles allows the throat to open. This is done indirectly through vocal and breathing exercises. Your throat is “open” if you are not dead. Open is relative. In a yawn, the larynx rests low. In a swallow it rises. You can sing in either position but trying to deliberately move anything in the throat on purpose is always wrong. It happens in response to other stimuli.
I can’t wait to be there, Craig. We are going to have a fantastic time! jeanie
Thank you, Billy. People like you make me smile!