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- Опубликовано: 6 сен 2024
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How do I avoid feeling squeezed in my larynx as I go higher in flageolet, which you appear to identify as head voice in your classification system? By the way, I'm extremely impressed with your total mastery of English and your marvelous vocabulary, not to mention your stunning knowledge of vocal pedagogy.
What a great video! 🎉
You are super 👌👌
This is my favorite video so far in your series.
I'm curious why it is often taught to bring the spacious head voice whoop down, and noticed that teachers don't tend to say to reconnect to chest at any point in the exercise, but to stay in head voice. What is the benefit of that, if you are a belter?
Also, what is a squeezing spiral?
This particular coordination is not very suitable for reconnecting to chest voice, but it does have greater agility than all the coordinations that are suitable for this purpose. It would be very difficult, for example, to sing a countertenor or soprano aria in pharyngeal voice.
The purpose of dragging down the spacious head register is to develop clarity and power in the falsetto / middle voice. It provides no direct benefit for belting, although it could potentially be useful on account of relying on very similar vocal tract shapes to beltoing, thus giving you a way of "scouting out" the shape/vowel you need before trying to do it while belting.
A squeezing spiral is a gradual increase in compression and stretching of the vocal folds, typically also featuring a gradually increasing narrowing of the pharynx. Simply put, a tendency for mixed voice to get thinner and thinner. It is covered more extensively in episode 5 of this series
Thanks! @@VoiceStudioEast
Dragging spacious head voice down makes me able to belt, because my voice isn't all crunched up like it was when it was squeezed in flageolet. My mood also seems to be improved, as well. Practicing head voice makes me slightly dizzy, but much more relaxed than practicing flageolet. There are shapes I can do in head voice that I can't do in flageolet, distortion included. So, while it may not help most with belting, it gives me the ability to after not being able to do it because my resonance was strangled off.
Hey Cornelius, just for future reference when I come back to the video and may forget. Is it possibly to do RD in m2 coordinations like the ones demonstrated in the video?
and if so, what are some tips to get out of RD?
It is possible, yes. To get out of it, the easiest way is to do some loud, loose whooping with a large mouth opening and fairly low larynx.
Thanks Cornelius! @@VoiceStudioEast
Hello, thanks for the vid! I believe your definition of falsetto and head register is more acoustic based,that head register is F1/H1 coupling and falsetto is not? Or there is also distinction of laryngeal mechanism, that head voice has active TA engagement while falsetto not? Because some define headvoice as this, and it's why their headvoice and be seamlessly conncected to chest voice. However, if I am understanding correctly and my ears are in good conditions, your headvoice is also M2.
The non-curbing hold is insightful, I wonder the two different holds just vary in degree of medial compression, or there are some fundemental differences, like different kinds of involvement of LCA and IA muscles?
They are both M2, but I suspect both of them feature some TA engagement as well except maybe for the lowest volumes. What sets apart head register from upper middle register is not just whoop timbre, which may be present in either one, but also that there's a larger distance between the tongue and palate in head register than in upper middle register. Close vowels however are identical in head register and lower middle register, but in upper middle register, they usually become a bit less spacious in order to make the shape more similar to other vowels and so make articulation easier.
Medial compression refers to decreasing the area of the glottis during phonation by squeezing the folds more tightly together. This presumes a closed glottis. Holding your breath with an open glottis has basically nothing to do with the CVT hold, not even a similar mechanism achieved through different laryngeal muscles. The curbing hold is created with laryngeal muscles, whereas holding your breath with an open glottis does not involve the LCAs, IAs, TAs, or any other laryngeal muscles. The glottis is open. The air is being held using inspiratory muscles only.
@@VoiceStudioEast I see! Thank you again for the explaination.
Can you please explain regarding flageolet ?
I might make a video on it some day :)
In the meantime, here's a little pointer: if you get really good at twanged head register, and use quite a bit of compression with it, you might be able to use it to find flageolet.
1:30 keep diaphragm stable
hi，These registers of yours feel more complex than CVT, like chest register can't hit high notes. To divide up the seven sections is to say that the bass register is chest register and then similar logic goes on. Again, sound quality and pitch go hand in hand, although pitch changes, sound quality also needs to change. You need to switch to cry register instead of chest register when you reach the high notes.