I wrote: "It seemsto me that male classical singers go as far as their "mix register", shortening their cords without thinning them up ( or much ), so as to keep producing overtones and project their voice above the orchestra while still portraying a typical male timbre."<
Lloyd:>COMMENT: The vocal folds produce the complete overtone series in any form of phonation short of being partially opened. Projection of the male voice above the orchestra is possible only when there is a peak in the vocal spectrum at around 2800-3200 Hrz (the Singers Formant) and the production of this peak is little dependent on the presence of all of the fundament's overtones. It is more a matter of emphasizing particular overtones.<
Ok, I've learned that here, but the peak waves projected above the orchestra without the bulk of the other overtones and the fundamental "thickening" the sound "on the background" wouldn't sound appropriate, would it? But I think I'll make my question clearer below.
>Me:>Asit's not distorted, experts wouldn't say they belt, but if you take into consideration that there's more effort involved than that necessary to produce the pop singing sound you yourself equaled to classical singing, even if that extra effort is completely managable by and not harmful to the cords, and only under that point of view, they're COMPARATIVELY belting.
Lloyd:>The extra effort of which you speak in regard to the male high voice is, in terms of actual energy, only slightly greater than the singing in other parts of the range.<
But my point was that it's greater when compared to those pop singers you mentioned, not to their own high voice. Don't you think there's more energy/air/breath support involved in opera than in that kind of pop singing?
Let's put it more clearly: although you say both groups use classical technique, what exactly do you think makes them different ( ops... or do you think there isn't such a big difference between the sounds they produce )? You said "It is the efficiency of the voice that makes it sound classical, not the attempt to match a given quality or color. This is the elusive, almost intangible quality of classical singing that so often eludes the listener as well as the singer". Too elusive a differentiation for an expert like you! :-) When you said to Mike you classify them all under the broad category of "classical singing", did you mean you wouldn't place them under any differentiating subcategories? Do you think the only difference is that opera singers work on their resonators so as to achieve that projection, not constituting a technical subcategory? All I can say is "Wow"!
Best wishes,
Caio
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