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From:  Bart <bart@l...>
Date:  Thu Jan 3, 2002  4:49 pm
Subject:  Re: [vocalist] Barytenore in B flat

Hey ! Barytenore is not such an exotic species in this huge vocal zoo of
ours ! It's a lush one, best favored by the Belcantist Masters, a true
blessing of a voice ! Enrico Caruso was one. Yet it means extra work for
the happy endowed, since its hues are so manifold, the Xtra large stream of
richness demanding a lifetime of damming and sifting to yield its various
gems. Indeed, hastily going panning for tenor gold is far less rewarding.
The wonderful lower range potential, with its unique natural blend of
warmth and clarity, simply deserves proper heeding. Absolute range is not
so relevant, the subtle spectral variations in the "pastosa" texture (plain
"vanilla"?) throughout registers being the true trademark here. On the
other hand, this overly flexible instrument lacks the rigidity say, a
"Wagnerian tenor" role, though covering a similar extension on average,
would require. Perhaps this accounts for the strikingly limited use of the
barytenore voice in a classical context, let alone The Great Napolitan
Songs where it works wonders. No doubt its character is unmistakable. I am
proud to be one of them ! (in B flat)
Regarding my vanguard vision of the human voice as a natural transposing
instrument (see first Bart mail), I shall be more precise, playing guinea
pig myself (some, among which Karen Mercedes, think I am a pig, period),
though my own voice is far from being the only convincingly usable sample :
As I said, I am a "Barytenore in B flat". The barytenore feature having
previously been elucidated, we can now discard it, and focus on the range
itself. ON ANY VOWELL (absolute prerequisite to the experiment), my high F,
G, A flat, B flat are pure effortless jewels, whereas F sharp, A and B
sound naturally harsh (even... shrill, or squeaky, yeaks!) and require
awareness to be improved. Amazingly enough, my counter D flat is easier
than my counter C. Similarly, in my "medium" range, B flat, high D and high
E flat sound fuller than B, C and high E. And the bottom of my resonance is
normally low F (exceptionally E flat when I am smashed), my low B flat and
medium F being mostly trouble-free. Now, I am NOT raving, this is
safe-as-houses, solid-as-a-rock, ascertained fact ! What's more, my younger
brother, having a different type of voice (rather a high breathy baritone
than a barytenore), nevertheless displays identical note by note
characteristics... So I am inclined to think a serious study conducted on a
large number of subjects may not prove my hypothesis all that wrong.
Besides, I have also tried setting the highest proper frequencies of my
home doorbell (located in a corner of the ceiling in my entrance hall) into
vibration, using different bi-formantic vowels (such as "eh") : well, only
a couple of "B flat notes" did the job..
As a direct consequence, I have noticed that applying conscious technique
to the notes where it is not needed, the way I have no choice but to do it
for the "bad notes", only ruins them. In absolute, the only option thus
suitable to "good notes" is...to let go. Now imagine the difficulty of
smoothly welding it all together...
And now, these conclusive poem dedicated to Karen Mercedes, one of my early
Vocalist misconstrueresses !
Is it because your surname is... Mercedes
Like the car constructor Benz
That you were speeding when you chose... to read us
Braking far too stiff and tense ?
Is it because they christened you... Karen
That you think it's making sense
To show the world a mind that's too... barren
To discern what's not offence
And wrongly accuse me of a "rude...screed"
In a manner of defense ?
What if I did instead read "screwed"... 'ndeed,
Would a raging war commence ?
Gleefully yours,
***Bart***






  Replies Name/Email Yahoo! ID Date  
16183 Re: Changing TeachersLaura Ruiz   Thu  1/3/2002  
16197 Re: Changing TeachersIsabelle Bracamonte   Fri  1/4/2002  
16202 Re: Barytenore in B flatIan Belsey   Fri  1/4/2002  

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