Source

• Alexander Yanai Vol 1 Lesson #5
• Reel 1, Track 2, Lesson 1
• Duration 42 min.
• For German see AYnmal täglich: Die Nasenlöcher angleichen

Synopsis

Differentiates nostrils, palate, teeth, lips and tongue in speaking and making high and low sounds.

Lesson Outline

• Measure: count out loud
• Low tone through mouth, nose, alternating nostrils
• High tone trhough mouth, nose, alternating nostrils
• Alternate high tone/low tone through mouth, nose, alternating nostrils
• Read/speak a paragraph: no mouth, lip, and teeth movement, gradually make it louder
• Read/speak the paragraph: close lips, teeth and tongue can move
• Read/speak the paragraph: teeth can’t move, lips can
• Compare low and high tones: eeee and ah for each

An alternate lesson outline

1. Lie on your back. We’ll start with counting. Softly, in a very light voice, count & find out how far you can count on one breath. No pushing, just easy normal, counting on the exhalation. Do it a few times so you get an average.
2. Inhale and make an ahh sound. Now make the lowest ahh sound you can make (in pitch). See where you feel the vibration with that.
3. Now do the same thing with your mouth close. Feel what happens in your low belly, your low back. It’s like a fog horn.
4. Do the same thing, but close one of your nostrils. You can really easily feel the vibration of sound in the other nostril.
5. Change nostrils. Is one nostril different from the other? Can you sense or hear a difference?
6. Take the nostril that is the weakest and make the low sounds out of that one.
7. Go back to both nostrils now and make a few low sounds. Sense if you have more sound coming out now.
8. Go back to making the sound out of your mouth. Listen to that sound and see if it’s any easier. Rest. Come back to your breathing.
9. Through your mouth make the highest sound you can make. Try to relax the tongue as you do it. Imagine the dome of the mouth lifting and expanding, the tongue staying relaxed.
10. Do the same thing with the mouth closed.
11. Close one nostril and do the same thing.
12. Compare the difference with the other nostril.
13. Come back to both nostrils.
14. Come back to the mouth open. Rest and listen to your breathing.
15. Sit up. In sitting, a few times, come back to the low sound, through your mouth.
16. Now with the mouth closed, both nostrils open.
17. Then closing one nostril. The sound in the room is more even now about the way the air comes out. You’ll hear later how it influences the counting.
18. Change nostrils
19. Now both nostrils open again. Lie on your back and rest. Listen to your breathing. Notice the different directions that your breath spreads as you breathe in and out.
20. Come up to sitting. Explore in sitting the higher note with the mouth open. Explore how you can stay down in your pelvis even as you make a high sound.
21. Now with the mouth closed. Reduce the force a little bit. Maybe make a few shorter ones.
22. Close one nostril and continue.
23. Change nostrils.
24. Now with both nostrils.
25. Now with the mouth. Rest.
26. Sit up and make a low sound and then a high sound, alternating.
27. Do the same thing with the mouth closed.
28. One nostril and then the other.
29. Both nostrils.
30. Mouth open.
31. Lie on your back and rest. Where inside do you feel the resonance of the resonance? Is there something that continues to vibrate? Listen to your breathing.

Focus of Moshe’s Teaching

We don’t notice what we are habituated to. Using nostrils while speaking keeps sinuses open and can prevent sinusitis.

Related ATMs

 

• Amherst 1 – Week 8 – 07/28/80 AM3 Voice
• Also see Theme Breathing
• See Theme Voice

 

Nostrils:

• Amherst 1 – Week 8 – 07/28/80 AM3 Voice
• Amherst 1 – Week 8 – 07/29/80 Voice

Resources

• Richard Corbeil’s Vocal Integration has four related lessons
• Sharon Starika audio recording

• Ruth Knill

Share Your Insights (ideas, principles, strategies, experiences, …)

• Adding constraints to get adjacent parts to contribute more
• Alternating sides to equalize

Typical Results

• Sense of openness in sinuses and nose, relaxed longer neck, deeper more resonant voice, improved breath control (can get more words in a single breath), breathing deeper, back lies flatter, calmness, lips move more, clearer articulation of sounds

Advice for Teaching or Turning into an FI

• Good for working with people with sleep apnea, singers, public speakers, shy people, people with anxiety, breath-holders

Personal Comments

• Lesson doesn’t say what position is recommended. I prefer sitting, though it would be interesting to try it lying,

 

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