mike said...
as example, that linear connection i spoke of above is in evidence in
william pearson's performance of henze's 'el cimmaron' (you might have to
hit
a great library for that one). natacha atlas demonstrates how moaning and
singing can be one and the same. tony bennett goes so easily from speaking
to singing (if he were asked if he were a baritone or a tenor, i bet he
would
say "i don't know. i'm just a singer."). so, perhaps i am wrong to even
make a distinction between fry, modal and falsetto.
David here...
Mike, you stumped on the William Pearson reference. I am sorry, but I have
nothing with him on it. A short search seemed to indicate that sang
(sings?) opera, but not having heard him, I am at a loss there. Your other
references are to non-classical singers, who use microphones. I have
nothing against using microphones, but when you do use them, your voice has
to be more like speech, or you run the risk of "blowing out" the mic. I
would say it is very possible to connect the speech patterns with the
singing voice if you are going to be using a mic. I was only talking about
(and I tried to make it clear) classical singing, which requires the ability
to sing over an orchestra with amplification, which I am not sure Tony
Bennet could do.
Apparently, we are talking past each other on this one. I think I have said
all I can (want to) on the subject. I have enjoyed the discussion, though.
Thanks,
David Grogan
Marshall, Texas
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