Laura B SS Chapter 5

Laura B
Chapter Summary: In free flowing air, we focus on minimally engaging the vocal folds so that our air can flow freely and consistently. Through using our falsetto voices, we are able to disengage our vocalis muscles, which will allow the voice to move without resistence. Through allowing our body's to surrender to free-flowing air, we will discover that we will be able to create our biggest and most beautiful sounds. In finding free-flowing air, we begin with a sigh. In a sigh, we are able to release the air freely while vocalizing. The downward sigh, starts in the falsetto part of the voice on an 'o' vowel and then descends gradually, trying to keep the falsetto sensation as low as possible. We should stay in a comfortable range and not try to sing too high. The next step is the siren, where we vocalize from low to high and then descend. During the ascension, an 'a' vowel is vocalized, and then round the lips into an 'o' for the descension. As we do this, we must think of space opening up and back and allow the air to do the work for us. We need to remember that it's not about how high in our range we get that matters, but about how we get high. We must only go up to a pitch where our voice can continue to be free and open. While doing the siren, we must remember to keep a consistent air flow all the way through the exercises and not have any surges of air. The third step is the five-tone scale. In this, you begin as you would the siren on the 'a' vowel and ascend up to the peak, and then descend on a five-tone major scale on an 'o' vowel. It is important to maintain the sense of space and expansion by continuing to let the air flow up and high into the space. This exercise helps to keep the larynx low and relaxed. A good indicator of a free and relaxed voice is a voice that can speak and vibrate at lower notes. Even though we will not use these notes in performance, this is an important skill to develop that will effect our voice throughout our whole range.
Key Concept: It's not about how high or low you can go, but about how you get there.
Key Terms: Free-flowing air, vocalis muscles, falsetto, downward sigh, adduct, sensation,
Making Connections: I tend to have more tension in my high and low range. I have always thought that breath was important and would help me release that tension, but I didn't realize to what extent until reading this chapter. I look forward to applying this invention into my own personal practice and see the difference it will make in my vocal freedom.