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From:  "lestaylor2003 <LesTaylor@a...&ECF-8YbAFIubvjrUYIMxD11P1uy0JVq7jeINH82mHegZLjLE>LesTaylor@a...
Date:  Mon Feb 10, 2003  3:07 pm
Subject:  Onsets

Dear Lloyd et al,
You wrote about onsets as they are used to help find head voice as
follows:
"Onsets. Once skill is established with onsets in the middle range of
the male voice, it is possible for many men to do single onset
exercises in the range just above the beginning point of their
passaggio (first passaggio point) or just above the ending point of
their passaggio (second passaggio point). Tenor are often able to
establish onset higher than this. These onsets are not in falsetto
voice but, instead, resemble a sob or a primitive whine.
*****************************************************************
By "beginning point of their passaggio", I assume that you mean the
lowest note of their passagio and by "ending point of their
passaggio", I assume that you mean the highest note of their
passaggio. Do you apply any descending sirens after the onsets? How
long do you have them sustain the vowel?

I often experiment with my own voice "feeling out" what happens in
the passaggio. Sometimes I'll alternate between what I think of as
an "engaged" tone (I can feel that the lower register is engaged but
not all of it) and falsetto, using onsets. It takes tremendous energy
and I don't generally persist in doing it for long. Your description
of "falsetto" versus "head voice" pretty much describes the
differences I feel between the two modes.

I often use descending sirens after falsetto onsets to help male
singers learn to manage the passaggio. A diminuendo and feeling of
release while sighing seems to ease nearly any voice through the
upper passaggio area. Of course if there's any tension or "squeezing"
things won't work as well. Sometimes I'll have them say "yoohoo!" as
if they're greeting a neighbor to get them to experience this feeling
of release.

Cornelius Reid wrote a lot about "intensity patterns" and that one
had to sing quietly through the passaggio until they got a feel for
how to do it. I find that keeping the intensity down (singing
quietly) in the area of the passagio, developing a feeling
of "letting go" and a sort of sigh-like feeling, help men to manage
the passaggio. First top down, then both up and down.
Regards,
Les





  Replies Name/Email Yahoo! ID Date  
22546 Re: OnsetsMichael <chosdad@y...>chosdad Mon  2/10/2003  
22560 Re: OnsetsLloyd W. Hansonlwh1 Tue  2/11/2003  
22561 Vocal VibratoLloyd W. Hansonlwh1 Tue  2/11/2003  
22557 Re: OnsetsLloyd W. Hansonlwh1 Tue  2/11/2003  
22575 Re: Onsetslestaylor2003 <LesTaylor@a...>lestaylor2003 Tue  2/11/2003  
22594 Re: OnsetsLloyd W. Hansonlwh1 Tue  2/11/2003  
22595 Re: Onsetsyenoham75@a...yenoham75 Wed  2/12/2003  
22597 Re: OnsetsLloyd W. Hansonlwh1 Wed  2/12/2003  
22603 Re: Onsetslestaylor2003 <LesTaylor@a...>lestaylor2003 Wed  2/12/2003  
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