Chapter Summary: Free-flowing air helps us to find the oscuro part of the sound. In this exercise we learn to minimally engage our VF so that air can flow freely and consistently.
Phase 1 -- The downward sigh. Both men and women begin in their falsetto voice. For women this should feel hooty, breathy, and fluty. We want to avoid overadducting the vocal folds. All "vibration of the VF should be passive. We do not consciously engage the cords at all." On the [o] vowel we sigh downwards with a sensation of falsetto to the lowest pitch.
Phase 2 -- The Siren. On the [a] vowel, we move from low to high and then descending again. We should maintain the gesture of the sigh through the entirety of the siren. The VF should feel loose a flabby so the air can move freely, and sound is passive. We begin on the [a], and when we arrive at the high we switch to an [o] vowel. "The key is to make sure there is no feeling of resistance to the airflow in the VF at any point in this exercise." When we arrive at the top feel as if the space is opening up and back near your top molars. This opens up resonating space. When descending back down keep the sound heady and breathy till the end. We must maintain a consistent flow of air throughout the whole exercise. You should feel a breathy sensation. This will mean that the VF are loose and flabby.
Phase 3 -- The Descending 5 tone scale. In this phase we keep the articulators loose, and vowel renergized, as to not give out on the airflow. We begin on the [a] vowel ascend, and then instead of descending to the low again, we descend in a 5 tone scale on [o]. Keep the feeling of the high resonating space on each downward note. This exercise again is completely passive.
With time we will learn how to maintain constant stream of free-flowing air, and resonating space to help the sound reach its full potential.
Key Terms: falsetto, vocalis muscle, articulators.
Key Concepts: free-flowing air allows the voice to be carried. When our bodies/minds give way to the flow of air, our voices are able to come to their full potential of sound. Hot air balloon sensation is when you open back and upwards to create more resonating space. "It's not how high you get that matters -- it's how you get high."
Making Connections: This is something that I worked on in my lesson with Laurie yesterday. I feel as if my air is able to soar, and sound becomes passive when I maintain the up and backward space near my top molars. When I did it right a few times in my lesson, the top note on the ascending phrase had a sound I had never made before. I think it is because I let it have the space it needed to bloom.
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