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John Nix – Berton Coffin some years
ago wrote an article "Articulation for Opera, Oratorio and Recital" and he talked a lot about this substituting/using more
like the voiced cognate (using a b more than a p) for I think some
of these very reasons. I think from a pedagogical stand point, that’s
what a number of teachers, either by experience or by having worked
with people who’ve done a little reading on this, find singers
doing or pick up from listening. Audio
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Don Miller – I had a question: this mask, this is interesting
stuff for singing. Don’t you have something that makes that
now available, so it’s not terribly expensive and you can do
it in a simple way? Audio link. |
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Linda Carroll – It’s always wonderful to hear you
speak, and I think that so much of the work you have done over the
past decades has been wonderful and continues to keep reminding
us that there’s so much more that we can get from small data
like "this spot", the spot. Getting back to the consonants, I think
that one of the things that I think beginning singers are sometimes
fraught with is overworking everything. I think that include the
amount of subglottal pressure they use, certainly we see this in
flow. They either under use it or over use it [….listen to
audio link for remainder] Audio
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Irene Feher – I’m very interested in this relationship
with the singer’s proper use of their inspiratory muscles,
too, and this goes along with Professor Pettersen’s study that
I wonder as well, that while we’re working on engaging these
inspiratory muscles to create a proper flow, whether, in any way is this
assisting this extra pressure that we need to do these consonants
that are heard? This is in the form of a question, because I’m
really wondering about the relationships of the two. Audio
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