Re: [vocalist-temporary] TECHNIQUEHi, listers.
Thank you all for the contributions I've already received on this topic and am waiting for more! :-) I have some comments below:
Lloyd wrote:
"A lot of rock and pops singing chooses to distort the upper registers of the singing voice. The tone that is desired appears to be a pained vocal tone that is akin to a yell."
He does that too, but not necessarily. I'll ask him to produce both the distorted ( Aerosmith-like upper register ) and a cleaner one ( Dream Theater-like one ) and ask what he does differently ( and check his larynx ).
" I do believe it is possible to produce the "yell" voice in the upper registers but the balance of vocal function necessary to do so must be given consideration. "
But I've got a question for you: is the 'yell' a necessary by-product of raising the larynx?
" Raising the larynx has been proven to be damaging and should not be attempted. Notice how often rock/pop singers raise the chin and tip the head back slightly for the high tones. This movement tends to lift the larynx and pull the vocal mechanism out of its natural, balanced position."
I'll pay special attention to that when he sings, and ask him not to do it to see ( and hear ) what happens.
"BACK TO THE FIRST COMMENT: Opening the mouth as the pitch ascends is a natural method of tuning the vocal tract (mouth and pharynx) to a higher pitch. Try thumping along the side of your throat with your finger as you open the mouth and you will have an example of this effect. This helps to emphasize the fundamental of the tone you are singing."
A hypothesis: couldn't he be getting that fundamental by raising the larynx?
"If you choose to close the mouth as the pitch ascends you will be emphasizing one of the overtones (partials) of the tone you are singing and the voice will have a thinner, brighter sound."
Touchdown!? I think that's what he does. His voice is extremely bright. I call him a Mariah Carrey in pants :-). His voice sounds much like that of Sebastian Bach ( no, not the classical composer, but the vocalist on Skid Row, a famous rock band in the late 80's, early 90's ).
"Even in the [a] vowel the tongue is not completely flat at the bottom of the mouth. Only the schwa vowel has the tongue in a completely relaxed position at the bottom of the mouth. "
Sorry, I should have said it: it's for the [a], as in the Italian A. BTW, his pronunciation is extremely clear and well-articulated, both in speech and singing.
"It is always possible for some individuals to achieve an effect with seemingly diametrically opposed concepts of function. The fact that an admired singer may not really understand what is occurring in his/her voice is not uncommon. And many admired singers may have little need to know how their voices function as long as they are not teaching. However, once teaching begins, the teacher must become more aware of vocal function. I know many singers who learned how their voices worked only when they began teaching. And, to their surprise, their concepts of how they sang were not correct. Nor did their voices function as they thought they did."
I have the impression that he knows what HE is doing, but not what he WAS SUPPOSED to be doing. That's what puts this big question mark on my mind: wouldn't he be getting that incredible brightness and quality of tone in his voice from doing exactly what he was not supposed to?
"Experiment with your voice to discover what works well for you, read what others say, attempt what your teacher suggests but always apply your instruction to your needs and return to your teachers with questions and difficulties, especially if your instruction does not seem to be working for you."
I have decided to do exactly that. I was thinking, also based on what Lisa posted: isn't it possible that different vocal apparatuses require different things to do to get the same effect? For some, not opening up the mouth might get a brighter sound, as you described, while for some others the effect would be the opposite. It must have something to do with the formants you've described. BTW, can you suggest any reading on formants?
Lisa wrote:
"Or if he is, he may also be an extraordinarily talented person who doesn't need the same technique as many others. Listen to his other students and see if they have the same "ping" and amazing vocal quality. Different things work for different people and different teachers work for different people. This could be a great match, but don't work with a teacher just because that person has a great voice. You want that person to be able to help YOU."
That's what my speech therapist usually says. I fully agree.
Best regards,
Caio Rossi
|
| |