by Michael Mayer | Dec 30, 2010 | Coup de Glotte, Glottal/Cord Closure, Glottis, Q&A
Do you have some suggestions about how to get proper closure at the larynx? ———————————————————— This is a very important question to get correct....
by Michael Mayer | Sep 6, 2010 | Coup de Glotte, Lamperti, Larynx, Manuel Garcia, Perfect Attack, Q&A
Thank you for your response! I appreciate you taking the time and effort to help me. Being a string player since a young age, I can associate with the eloquent image you presented of “switching strings” at appropriate places. “So make sure your...
by Michael Mayer | Jul 31, 2010 | Coup de Glotte, Glottis, Perfect Attack
I was studying your website, and I came upon the idea of the Coup de Glotte. The paragraphs at the end of this e-mail are the extracts from your articles which I am referring to. Concerning the vocal cords, it seems clear that one should not allow the glottic air...
by Michael Mayer | Mar 3, 2010 | Coup de Glotte, Glottis, Larynx, Perfect Attack
I was reading Richard Miller’s Structure of Singing, and he’s down on the phonation style Swedish-Italian uses. Are you familiar with what he says on it? I’m not trashing it, but curious. I was reading about types of onset, and there...
by Michael Mayer | Jan 29, 2009 | Coup de Glotte, Perfect Attack
Perhaps the most important component of the whole singing act is the start of the vibration of the vocal folds. The vibration of the vocal folds (or cords or bands or lips) is the source or the sound we produce. It causes disruptions in the air pressure inside the...
by Michael Mayer | Dec 12, 2007 | Articles, Coup de Glotte, Manuel Garcia, Perfect Attack, Phonation
This is the Appendix from the book A Guide to Good Singing and Speech by Julian Gardiner. It explains the meaning behind this often confused concept in the most complete manner that I have found. The book is out of print so I am copying it in its entirety. It should...
