Just a brief perspective: knowing the frequency claimed for the 'singer's formant' I was able to calculate where it would be on the piano and listen for elements of that pitch range in my own voice. On the other hand I was able to do this because of some experience in 'harmonic singing' which sensitised me to locating components of a tone aurally. The sonagrams of (inter alia) Jussi Bjoerling in Miller's Training Tenor Voices made it very clear a number of things about that voice: period and depth of vibrato; amount of noise; which frequencies were absent. I expect to learn more from such resources as I get a feel for them. There are, by the way, programmes obtainable as shareware/freeware which will display sonagrams. I can't tell you which right now, but if you're keen I could check (it would take me some time). john
09:30 AM 10/13/00 -0400, you wrote: >dear technoids, ... > my question to you guys is, how do you specifically make the connection >between technology and practical application. the estill method, for >example, as explained in gillyanne kayes 'singing and the actor', applies >information from laryngoscope viewing to movements you can actually feel >(with your hand) the larynx making during phonation. this is the type of >connection i wish you would make for me. > > spectral analysis, unless i can see it as i sing (does this possibility >exist at a low cost?), is useless to me, unless there is another way to make >the connection (a connection to all spectral readings, the good, the bad and >the ugly) and it would have to tell me something i don't already know in a >simpler way. > >thanks, >mike > > > > > > John Blyth Baritono robusto e lirico Brandon, Manitoba, Canada
|
| |