| First published in STATNews, vol. 4, no. 19, September 1997. |
It is easy to lose sight of the fact the Alexander Technique was originally rooted in the use of the voice. In the introduction to this 25-page booklet, Ted Dimon refers to the fact that “this aspect [of the Alexander Technique] is in many ways the most neglected, and most confusing”.
Having asked several questions about whispered ‘ah’ and how it links with our breathing and vocalisation, he then spends the next four chapters and conclusions in answering. This is very much a practical treatise on the whispered ‘ah’. There are definite stages and procedures that can be followed through to the conclusion of vocal production. From that point of view, I would say that this booklet is aimed at people well versed in the principles and practice of the Alexander technique (as it assumes prior knowledge of directing and lying down in semi-supine).
The first chapter is entitled, “Breathing” and covers some basic physiology of transfer of gases at the surface of the lungs between blood and air. The process by which air is drawn into and then expelled from the lungs is described through the movement of the diaphragm and rib-cage. At this point, I felt the quality of the diagrams let down both their accuracy and clarity.
The text then emphasises the importance of “use” in relation to breathing and that anything which interferes with the general state of freedom throughout the body will inevitably restrict the free movement of the ribs as well as reducing chest capacity.
Chapter 2, “Breathing and the Voice” explains the mechanism of sound production and how it “is related to and co-ordinated with breathing which provides the power source that vibrates the vocal folds”.
The author goes on to explain the whispered ‘ah’ in terms of being controlled exhalation and how it provides an opportunity for using the vocal chords without the usual habits interceding that are involved in speech.
In the next chapter he spends considerable time exploring the importance of the smile and how best to achieve an appropriate or true smile for the purposes of the whispered ‘ah’.
The final chapter makes the link from the whispered ‘ah’ to vocalising and covers with considerable detail the application of inhibition to this transition.
It would have perhaps been useful to have had some references or suggestions for further reading (particularly, relevant extracts from Alexander’s own writing).
This is a useful addition to writings on the voice and whispered ‘ah’.
© Mark Tolson. Reproduced with permission.
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This edition © Mouritz 2005. All rights reserved. |
