Bratt's NG
You read it, right? You went to the Members page, signed up, and downloaded Forrest’s 1984 doctoral dissertation—An Analysis of the Vocal Teaching Techniques of Allan Rogers Lindquest.
What was Lindquest’s contribution to vocal pedagogy?
The use of “ng” in tandem with inhalation as a vocal technique.
I want to add my understanding of the use and misuse of this technique.
Let’s address use first.
Forrest states Lindquest used “the ng position” for the development of head resonance and “the resonance of the mask.” (p 52). We are immediately thrown into a point of controversy Why? It’s been brought to my attention that some teach Linquest’s method today and discount “the resonance of the mask.”
We can discuss how the awareness of "mask" is obtained, but suffice it to say, for all that I have learned in my study of historical vocal pedagogy, "mask" is a real thing. To discount it is to deny tradition.
To those who want to throw “mask” away, I say: Knock yourself out. But don't claim to be teaching Lindquest.
Now for misuse.
To put the matter in a manner easily remembered: positions are for fools!
Why do I make this statement?
Anyone can adopt a position. However, singing demands a lot more than positioning. It demands great listening ability.
Speaking of the ear, if you practice inhaling in an “ng” position as described by Forrest for any length of time, you will find that the ears lift towards the vertex (crown) of the head. Many other feelings arise as well. What do you think that's about?
(Tomatis would tell you that lifting the ears signals the ear’s ability to search for high frequencies. What does the audition of high frequencies bring about? The opening of the ear and subsequent depth and ring in the voice.)
Feelings are better than positions, what is subtle is strong, and trying to keep the tongue in a specific position while singing is a misuse of a very fine technique.
Photo Credit: Gillis Waldemar Bratt, Genie.com
