RALUCOB@a... (mike) wrote (in response to Tako) :
> in my experience with working with both pre-pubescent males and
females,
>i have noticed that they both have what is called 'chest voice' and 'head
>voice'. in the case of these two groups, as well as adult females, the
>timbres of these two areas of the voice are more similar than these two
>timbres in the adult male voice (most would probably agree so far). in
>general, the boys, the girls and the women sing in both 'head' and 'chest',
>with the problem of going from one to the other without sounding or feeling
>as if they are 'switching'.
If that is true, I feel really sorry for the adult males. I remember being
tested at school for singing talent as a pre-pubescent girl and *very*
conciosuly switching to "head voice" - something completely different from
my speaking voice which was (and still is) a rather creaky chest voice. Of
course I didn't know what it was called at the time, but I still remember
the "different" feeling, and the feeling that it was the "right way to sing"
in that situation.
Please do not assume that pre-pubescent girls/boys are not aware of the
switch. Some are simply too timid to mention theat they are aware of the
switch.
I do also remember some years later, I was the only one of a small group of
teenagers to attempt the high notes of some popular song. The boys in the
group just "gave up". Perhaps because of cultural influence and not wanting
to sound like girls. I think you are right about the cultural influence -
the worst thing you can do to teenage boys is to ask them to sound like
girls, and once they have learned that, they remember it for life.
> without going into detail, my approach to this
> problem, in all voices, including adult males, is to have the student
begin
> 'switching' earlier and finish 'switching' later.
In my case, the problem-solving approach is not when to start or stop the
switching, but allowing the higher notes to be **different in character**
("lighter", perhaps) from the lower notes, trusting the voice itself to make
the necessary connection. In fact, I think that after professional
instruction my "passagio" area has shrinked due to not trying to "carry up"
or "carry down" the way I am singing. Initially (before instruction), I
ended up discarding my chest voice entirely for singing.
Tako then wrote:
>I've also heard that female singers simply have less of a formant -
>probably due to the higher notes (fewer overtones), but also because of a
>generally lighter production. I can relate to this when I sing
>countertenor. I *must* lighten my sound in my middle range, or the high
>notes become impossible, or don't reconcile timbrally.
Tako, you've taken a weight from my heart, because I don't seem to have a
singerīs
formant.
Anyway, one of the most efficient bits of advice I have received is "Pay
attention to the middle range notes - if they are too heavy, you willl never
reach the top". This is SO true. Lighten the middle (perceive it as the
beginning of the top range instead of the end of the low range), and the
problems disappear.
If this mail seems a bit self-centered and unconstructive, please blame the
empty bottle of champagne next to me. I'm celebrating the hopefully correct
diagnosis of my illness, which seems to be easy to manage and solve some
problems I thought was caused by an unhealthy life-style.
Karin (kmx@m...)
----who would love to get more involved in this discusssion - if work as a
computing professional and current illness did not prevent it. (BTW: does
anybody know what effect hypothyorid syndrome has on the voice? Private
answers that can supplement my very competent doctor are welcome. Special PS
to Caio: I belive you are a fan of the Scandiavinan wellfare state(s) - the
doctor is FREE, covered by our income taxes which I am happy to pay and
no-one else would believe the rate of.... anyway, just now I'm particulary
happy about it) . Anyone else, please excuse my rambling.
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