From: John Alexander Blyth
Subject: Re: different voice techniques
To: VOCALIST <vocalist>
Send reply to: VOCALIST <vocalist>

HV,
I studied a little of the Carnatic style with an excellent teacher
here, but ultimately had to choose between it and western classical (where I
live and breathe) singing. This may all sound *ex cathedra* but it's just my
experience. A few points:
I found the use of a drone accompaniment to be useful in practicing
in the absence of an accompanist;
also sa re ga ma pa da ni sa and do re mi fa so la ti do have enough
in common that one may discuss the differences briefly: the Indian system
changes the intervals, depending on the raga, but the names stay the same,
unlike the solfege systems. Since Europe has both a fixed do and moveable do
system, I assume there may be parallel disparities in India.
The Carnatic style is learned by rote, starting with a fairly
straightforward raga (some are different ascending from descending, somewhat
parallel to the melodic minor) and singing scales, then patterns of
carefully graded increasing complexity and speed. Students typically start
at a very young age, and being a musician tends to run in the family. To the
best of my knowledge developing and individual resonant tone isn't really
stressed: one imitates the teacher's syllables. The preferred tone quality
seems nasal to western ears, though this is mostly the 'i' vowel, the 'a' is
still rather bright. Master singers use the syllables and patterns when
improvising, which can be very exciting, especially when it goes into top speed.
Westerners usually learn some version of solfege when young, and
most children have some sort of choral experience in school, usually hymns
or folk songs learned by rote. Unless one is fortunately placed to go into
the school of a (mostly Anglican, and mostly in the UK) cathedral choir, one
will have school and church choirs and school productions. None of these can
really address the problems of classical vocal technique, which mostly
require a somewhat mature voice (at least in which the vocal chords can
adduce on some pitches and vowels), but general musicianship, sight-singing
and other skills can be developed. I don't know anything at all about choral
singing in India. I think the westerners tend to prize beauty of tone and
dramatic communication above other aspects of singing, though the old bel
canto repertoire requires considerable viruosity, and even a degree of
improvisational skill.
My 10c worth. John

... I'd be also interested in discussing the differences in vocal
>> technique between Western (European) and Indian classical music.
>
John Blyth
Bass/Baritone (as opposed to Bass-Baritone) etc.
Brandon, Manitoba, Canada