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Martin Spencer – I was a professional
singer, and I’m now a clinical voice pathologist. A prime difference
in the fields is it was very important to have objective underpinnings
to what I was doing. The vocal function exercises - you had a brief
overview of them, but in fact, there’s very specific objectives,
and you were very loose in how you gave directions. In fact, in
order to derive maximum benefit to be efficient, it is best if the
exercises are performed with those particular instructions and the
research that underpins them in place. [….click on the audio
link for rest of comments.] Audio
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Kathy Kelton – Really glad to hear what you had to say.
I’m a singer, and I spent the 80s and 90s doing professional choral
work. I came up with a series of exercises that I started testing
on myself that were very much like this. I noticed in my own work that
it was very important that I make sure my lips and
my jaw were not involved in the production of the sound, that it
stayed completely head voice, that there was absolutely no edge
to it and that my larynx stayed very low on the closed vowels when I
was doing the sliding and that sort of thing. What it really helped
in the solo literature was being able to approach notes above
the staff, (I’m a mezzo), with more ease in a way that’s
not taught a lot. Audio link. |
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Audio link. |
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