Author: ohsuzan
Date: 2007-09-03 14:01
This discussion of vocal tract resonance interests me a lot, since my first blush with lessons of any sort was as a vocalist.
I could never quite get it right as a vocalist, although the universal comment I got from teachers was about my unusually dark or deep tone color (something that is a fluke of nature, AFAIK. When I was in high school dramatics, I always got to play the role of the mother, because of my decidedly non-childish voice quality).
Where I had "issues" was with the mask resonance. When I would get things mask-y enough, I would get a shrill edge. Interestingly enough, that is pretty much the same critique I used to get on my oboe sound.
Which brings me to the present, post-Craig Matovich lessons on tone production. What Craig had me do was to open my back teeth (aka, "drop the jaw"), while maintaining the front focus, and create the tone on an "ahhh" -- much like what Judy and Mike are discussing here.
That, plus letting the air "find" the reed (rather than forcing it), has made a HUGE difference in how people respond to my playing. After my most recent concertizing experience (during which I had an awful lot of exposed, solistic lines), an experienced oboist from the audience came up and complimented me, saying that she just knew she would never, ever be able to have as "dark" a tone color as mine.
I was flabbergasted. Dark? Moi? I felt like I must have been given some sort of Midas touch.
But, putting it all together, I used to be told, as a singer, that if I could EVER get the balance right, I would have a very useable voice. I suspect the same thing obtains with instrumental playing -- the lesson here being that you need to not only know the character and tendencies of your (grenadilla/resin/etc.) instrument, but also the character and tendencies of your physical instrument, and how to make it all work together. In my case, it has been learning how to open and RELAX the throat, to not impede the air flow.
Lots of trial and error involved -- and the blessing of a teacher with a good analytical ear.
Susan
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