Opening the nasal passages is something that singers work with,
and, I think (I'm not positive) flautists.
As Richard points out, the problem is in opening up these
passages on the inside while still closing them off from the
There is no change in pitch caused by opening up these passages,
as he suggests. The resonant frequency pheonomenon involved in
bending can only be effected when the end of the chamber is
defined, either by a solid wall or by a constriction. There is
neither involved with open nasal passages.
Actually, opening the nasal passages has the opposite effect - it
compromised the bending constriction created at the back of the
mouth which defines the back of the resonant cavity. The
constriction creates a certain amount of resistance. When the
nasal passages are opened, they create a path of least resistance
so that the main airflow bypasses the constricted mouth are and
flows instead through the nose. This is why it's so important to
have a good seal for bending and overblowing. I find that I can
still bend with my nasal passages open, but with a little less
control. I also find my tone is stronger and more focused with
closed nasal passages, although open-nosed playing does bring a
subtle qaulity that I can only describe as transparent - more
like "En" than "ed" if you will.
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