Summary: Eliciting pitch and breathing have a similar theme: think, let, and trust. Brown used the word "elicit" purposefully, because it implies a drawing of something forth. The sound is already within you, you just need to find it! At the beginning of pitch, the onset should be gentle and sudden, the sensation being that you almost start to sing before you finish inhaling. And when you release the sound, it's not an active effort on your part. It's the gentle release of the primal sound, motivated by thought. For beginning students, it's better to practice descending in the first pitches exercises. This is because it encourages sigh-like action, which is essential. In general, these exercises move from an unvoiced breath activity to a voiced breath activity. For example, transitioning from an unvoiced lip trill to a voiced lip trill. Once descending activities are simple, you can transition to ascending activities. The key is to ensure bounciness and floatiness throughout. At this point, vowel refinement comes into play. Brown just recommends that all vowels have a schwa, "uh", background (which I slightly disagree with...) If any of the exercises he recommends are done improperly, you will sense a rattle in the tone.
Key Terms
elicit
wobble (what exactly does he mean?)
coup de glotte
vocal fry
elastic recoil
Bernoulli effect
Key Concepts: Think, Let, Trust!
Making Connections: My connections in this chapter are actually just questions. I was a bit lost in pages 43-44. He seemed to be referring to subglottal pressure in a way that I was either not familiar with or not comprehending. Can we go over that in class?
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