At 11:58 AM 8/30/00 +1000, you wrote:
...
>John Blyth's description is very good I think.
Thanks!
...>The thing I cannot grasp in all this is how the so called singers
>formant can be at constant frequencies apparently unrelated to
>the relevant harmonics of the pitch being produced. Yet that is what
>I seem to read here so often. An unpleasant aural prospect!
I think that when the chords are adducted nicely that a sufficiently rich
collection of upper partials from the various avaiable vibrational modes of
the vocal cords allow frequencies at and above the singer's formant
frequency to be produced. If you see how close the harmonics get crowded
together high up in even a simple harmonic series, it's not hard to imagine
the jangled richness of the cords' tone producing that. I would go further
and say that the singer's formant is a sign that one is resonating richly.
> For some reason this brings to mind the problem some
>singers have of not opening their words on the same pitch as the
>subsequent vowel.
I sometimes have that problem if I am insufficiently prepared (it's getting
a lot better, I should add). I think it is partly solved by understanding
the way that different consonants vary the sub-glottal pressure.
john
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>Regards Reg.
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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