Hey Jaime,

I’ve just read your review of Catherine Sadolin’s Complete Vocal Technique (CVT) and have a question.

It seems like you hold Catherine in high regard as a vocal teacher, but I couldn’t go past one of the fundamental differences between CVT and RYV or even SS for that matter.

Basically, CVT teaches that the larynx must lower for low pitches and rise for higher pitches, which is the opposite to the low or neutral larynx doctrine that you represent.

Personally, I’ve noticed that my larynx begins to rise on Eb, all the way to C5 and higher, yet without constriction and any drastic changes in the tonality.

So, what gives?

Cheers,
PopVlad.

Overall, I thought the book was very good. I think you should search out information and ask question. Cathrine is not saying that the you should swallow on the top note. I believe the onbly proer way is to allow the larynx to remain neutral. But,the larynx does make small adjustments, and I'm pretty sure I mention that in the book. If I didn't I'm very sorry for the confusion. But, it will only b minutr adjustments, so it might rise a bit on the highs and might lower a bit on the lows, but I don't think it shopuld be extreme in either direction or you'd sound like Janice of of Friends on the highs and Yogi Bear on nthe lows, haha

JV

Yeah I know your position on the high larynx and you did mention it several times in your book.

It's just I am knowledge thirsty and found her approach interesting.

The following are the two case studies posted on her web-site where she tought the two singers how to sing properly with the high larynx.

http://sadolin.net/uk/sangteknik/casestorys/case25.htm

http://sadolin.net/uk/sangteknik/casestorys/case24.htm

Thanx again

Even though you can controll the larynx, you should allow it to move upwards for the high notes. A neutral position only prevent the sound from overflowing steadily.

I have CVT book too. But she says that there's a high
larynx that is cool to use and a HIGH larynx that is
not cool to use. Its like two high positions and two
low positions for the larynx. (too low is not cool too)

Jaime says that the best position is neutral in RYV and
helps a lot, specially in Transcending tone exercises.
At first the larynx will rise but later you'll control.
At least, this happened with me =]

Please dont mix CVT with RYV... Each teacher sees
the voice from a different point. This can give
a lot of confusion. (just my point of view)

Just realize that the larynx isn't some animal to be controlled, but shouldn't be allowed to run wild either ;)

JV

Paul, I too have the book (just not on me right now), but what references did she make to a "bad" high larynx and a "good" high larynx? If I remember correctly, she said you can lower or raise the larynx a certain degree for each respective pitch. For instance, if you lower the larynx on a Bb4, it will never be as low as it would be on say a D3. In the same sense, if you raise the larynx on a D3, it will never be as high as you can raise the larynx for a Bb4. Maybe I just missed something.

you're right. its just my way of understanding the things . There's a cool diagram showing the larynx's
positions. I just understood that if is too low can
be bad and if is too high can be bad too.

Also.. welcome to the board. i know you from the
virtual convservatory of singing.