Dear Caio, Mike and Vocalisters
Mike wrote: regardless of what one decides to do with a voice, the study of how it works and which action equals which resultant sound, can be helpful. what has been unfortunate in the past has been the application of classical singing techniques for the purpose of singing styles that are actually very different. if one wishes to make a sound or, series of sounds that are in opposition to classical technique, studying classical singing is not a very good way to achieve that goal.
Caio wrote: >Randy mentions Stevie Wonder, but then we have that "turbo falsetto" >question. Mike has sometimes compared Steve Perry's (ex-Journey ) passagio >and upper register to that of Pavarotti's, and you can read similar comments >about Perry's and Geoff Tate's (Queensryche ) usage of chest and head voice >on SLS websites. Should Perry and Tate be listed as (somewhat) contemporary >examples of non-classical singers with classical-singing-like technique? I >must confess I'm puzzled!
COMMENT: Perhaps it is not possible to compare singing technique between classical singing and amplified singing, especially if one attempts to do so from recordings only. (Actually, it is not possible to accurately compare singing techniques between only classical singers if one attempts to do so from recordings only). Some of the techniques taught to pops singers by voice teachers who specialize in this area of performance are not applicable to classical singing because of the differences in vocal intensity required and these differences are not only ones of style. The increased use and reliance on amplification carries with it a concomitance to using the electronic assistance as an artistic tool itself. Such a commitment does easily find a place in the classical singing area.
-- Lloyd W. Hanson
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