As far as the strohbass thing goes, I usually differentiate by how it
feels. Strohbass is usually called 'growling' among my friends. It
doesn't have the same feeling of breath support or resonance as chest
voice. Well, that was ambiguous...
I have been finding lately, as I experiment with low-note-production,
that any tension just kills the volume/projection, much more so than
it does with high notes.
Who do/should B/Brt's look to as a professional model of sound? DFD?
Ramey? Someone else? Sure, taste varies, but let's just see who
everyone likes.
CC
--- In vocalist-temporary@egroups.com, John Alexander Blyth
<BLYTHE@B...> wrote:
> Well, no, not really - but I'm in a small centre and have to pretty
much
> make it up from what sounds and feels right, what I've heard other
singers
> do live or on recording and what I've read. Unfortunately the
literature
> isn't exactly wriggling with low note ideas - I'm still not clear
whether I
> ever use "Strohbass" despite Tako's fascinating demonstration and R.
> Miller's description.
> I do note that low notes, to project at all, must feel like
they come from
> the very bottom of my gut, and have quite a hefty vibrato, but the
whole
> thing should feel open, not pressed - it's like kicking into
turbocharge. john
>
|
|  |
