Individuals are different, and in particular, vocal tension patterns can be very different.
I had read so often here to raise the soft palate. Yet, in Alan Greene’s book, the New Voice, he says– to billow out the pillars of fauces and RELAX the soft palate.
I’ve experimented with both and believe Alan Greene is right. Here’s why.
The pathways to the cavities that resonante high frequencies (nasal cavities and sinuses)–is through the nasal-pharynx pathway or through the bony part of the upper mouth (hard palate). The soft palate, together with the position of the throat-neck and larynx, control the “mix” of the sounds going out to the mouth, the hard palate, and nasal-pharynx.
Deliberately lifting my soft palate has consistently produced too bright of a sound. When I tried to billow out the pillars of fauces (sides of soft palate) and relax the soft palate, this enabled the soft palate to freely move, providing a great deal subtly because the mix is now fast in emotional adjustments. The widening of the pillars of fauces enables adequate air-sound to reach the nasal cavities.
I just don’t think this idea of raising the soft palate is right. Even if someone has lots of downward tension in soft palate, the idea should be to get rid of this tension to enable for a free soft palate, as its significant voice mix capabilities determine much of the vocal quality.