At 06:20 AM 12/11/02 EST, Greypins@a... wrote:
>.. it sounds like you are trying to do everything in third gear. while
>third gear is great for 20 to 35 or 40 mph, it's hard to start a car in third
>gear and it makes highway driving unpleasant. you'd be better off switching
>gears, even if it requires much more practice with the clutch.
Dear Mike,
Perhaps I overstated my preference for using mixed voice. It is true that
when I'm in mix I feel secure, but only in that I know I can flow into head
voice and chest voice easily. I like my chest voice, too, and do use it in
a normal way (IMO) when I'm singing an aria or a choral solo part [ie chest
at C#4 and lower, and mix at D4 to G4-Ab4]. In Camerata, however, it seems
we are often ppp-pp; then, a light mix seems to offer even more security.
After Randy's post, I went to the piano to test what I was doing a little
more closely. Below C#, using my "choir voice" I am indeed in chest, but
still have a "sense" of mix, probably because of the "lightness" of the
chest voice. I now suspect that in church choir, I am pressing at B3 and
below in a probably futile attempt to balance against some very loud, and
often underpitched basses. 40 minutes of this, and I'm burned.
On the other hand, you should be the last person to chide me about practice
with a "clutch" when you haven't yet found the <Shift> key!! (sorry,
couldn't resist!)
But this does raise an interesting point about shifting registers. One
school (Cornelius Reid?) seems to teach only 2 registers, chest and
falsetto. RM seems to codify 3 registers: chest, head, mixed. Yet, I
seem to sense more transition points in my higher voice: at Bb4, at D5, and
at F5, after which my voice breaks into a kind of falsetto which stops at
A5. The high note in each register requires more work that the low note of
the next higher register. So Bb4 is more work than B4. How many registers
are there? Does this vary from person to person? Or might I just have a
"lumpy" head voice?
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