Thanks for the clarification, Tako! I guess I've been doing something right that I didn't ever realize that I was doing. I was never "taught" in the technical sense to produce this style of sound. I was always just able to do it.
BTW, this choir that I've finally rehearsed with yesterday sounds like it has both trained & not trained voices but their sound is wonderful. The conductor emphasized blend throughout the entire rehearsal. The choir has made "cameo" appearances on a couple of CD's (one of Patricia Barber's & on the "American Girls Christmas") & are scheduled to make their own commercial recording in the spring of 2001.
It was truly a different experience for me yesterday as we were working without music in front of us...just words in the tradition of many gosel choirs. It sure forces you to watch the conductor! Apparently, this is the case for much of the music that they perform. Maybe I'll finally learn to improvise! Some of the established members who don't read music at all want me (LOL!) to help them when it comes time to work with sheet music (i.e. they did the English translation of the Lewandowski "Psalm 150" at their June concert). I find this particularily interesting, as my sight reading skills tend to be somewhat stunted because I don't have much of a grasp of theory. That's a new project on the agenda, which I hope will help me in auditions next spring for some professional choirs.
Pat
On Fri, 6 Oct 2000 09:50:05 -0700 (PDT) Tako Oda <toda@m...> writes: On Fri, 6 Oct 2000 09:50:05 -0700 (PDT) Tako Oda <toda@m...> writes: > > A well-trained gospel singer may also have a "sympathetic" jaw > vibrato, > which is not to be confused with a "tight" jaw vibrato. In the > healthy > case, the jaw is loose and is gently moved in concert with the > natural > pitch vibrato to give it a "timbral" element as well. It is a > coloring > effect to piggy back the pitch fluctuation, and is voluntary. > > IMO, it is a healthy way to do the "vibrato crescendo" which is so > popular > in modern styles... A gospel singer always has a vibrato, but can > draw > attention to it by virtue of adding the timbral vibrato, without > ever > having to use the "clench and release" of the larynx to control the > natural vibrato there. > > Like in most genres, there are many, many untrained singers, some > excellent naturally and, some hurting themselves. There are also > some trained singers.
> Tako >
________________________________________________________________
|
| |