Dear Mandi, "Creating a transition point" can only block your smooth passage from one register to another. The conscious recognition or marking of a passagio can be a detriment to "effortless" singing and can affect the quality of runs and, more importantly, the evenness of tone production. What do you exactly mean by changing mechanisms? Do you mean changing muscular configuration of the mouth mucles or vocal fold approximation ? I do not recommend any when moving towards the lower register. There are some vocal exercises which when done perfectly and constantly can make you lose your sense of your passagio paving the way for more relaxed singing, which, in turn, can pave the way for more ease with vowel changes. The correct opening of the mouth, the correct positioning of the orofacial muscles and maintaining an adequate opening of the glottis are all necessary for comfort and ease during singing and for producing good tones. Always aim for evenness of tone production and don't think of "lighter" or "heavier" mechanism when singing except for tone coloring, in which case, I would use the terms BRIGHT and DARK. Control and stability of the muscles involved have a lot to do with having a clear intention of what kind of sound you want to produce. This you should be able to "visualise" ahead. Happy singing, Miss G.
Amanda Kelley wrote: Question: Is it common to create a transition point (as in one transitioning note)? Or is it more likely that one would create a transition area? I ask this because, as a soprano, I'm just really starting to explore my chest voice above a middle C and am finding that I like having the options available (heavier vs. lighter mechanism). I'm also finding that, not only does my 'passagio' happen during pitch transitions and dynamic transitions, but I feel that I need to change (on certain notes in my voice) mechanisms as I change vowels. For example, when I go down to a D4 I usually go for the heavier mechanism, but if the vowel is an [u] it is terribly uncomfortable to sing that way. Now, is this an aspect of the instrument or would you say it is an indicator of some sort of tension? I realize this is a question I should ask my teacher but it seems like a really strange phenomenon and thought I would get some other feedback. Any ideas? Mandi
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