by Michael Mayer | Mar 25, 2010 | Glottis, Larynx, Perfect Attack, Singing
What puzzles me is…how does she [DiDonato] has control on her voice if she, in your opinion, sings with looseness of air? I mean, her voice would collapse because of the lack of air, or sound strained, and it doesn’t sound strained, nor she has any...
by Michael Mayer | Mar 4, 2010 | Glottis, Larynx, Perfect Attack
“The larynx as a platform of resistance”: I think I get that, rationally. But I can’t really comment until I learn how it works and feel it working. You said so yourself, it’s not a widespread concept – none of the other teachers I have...
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...
