John,
Thanks your explanation. I feel a little relieved. That is exactly what I am working on with my voice teacher. He says that adding the dramatic component takes time, practice and patience. I have been able to blend head and chest very well actually. But what I would love to be able to do easily is do give the sound lush power. I know so many people, tenors particularly that sometimes when they are singing high notes, they sound like little boys with a tiny falsetto-like sound that is nowhere close to appropiate for the part. Anyway, I also realize that what sounds in my head is not what everybody else is hearing so I rely on my voice teacher to tell me if I'm doing things right.
And so it goes.
Thanks again,
Rick
> -----Original Message----- > From: RRicciardi@S... [SMTP:] > Sent: Friday, March 31, 2000 11:25 AM > To: vocalist-temporary@o... > Subject: RE: [vocalist-temporary] Re: Tenor High Notes > > Karen, > > Great explanation. Thank you. > love the imagery. I'll try it out myself. > > > Rick > > > -----Original Message----- > > From: John Alexander Blyth [SMTP:BLYTHE@B...] > > Sent: None > > To: vocalist-temporary@o... > > Subject: RE: [vocalist-temporary] Re: Tenor High Notes > > > > Karen, > > This seems to be the best description of this that I have read, > > and > > for me it is something of a revelation that what happens for a mezzo is > > analogous to what happens for a baritone, leaving aside the acoustic > > necessity of vowel modification higher in the female range. Thanks for > > this, > > and also for keeping the list going (thanks to I.B. too). john > > > > At 10:04 31/03/00 -0500, you wrote: > > ... > > >Learning how to produce big, lush high notes has been a two-stage > process > > >for me. First, I had to learn how to produce easy, unforced high notes > > >that "spin", without squeezing ribs, tightening jaw or tongue, or doing > > >any of the other things that would "force" out the note and make it > harsh > > >and edgy. To this end, my former teacher and I spent a lot of time > > >teaching me how to truly "float" the high notes way up in my cranium > > >(that's the imagery and sensation) - it was a combination of images, > > >actually - the first was the "floating" image, the second was a laser, > > the > > >idea being that the sound was very precise and focused, rather than > > >spread. When I accomplished this, I was able to produce very "lyric > > >soprano-like" high notes (in my mezzo range, of course) - clear, > > >bell-like, very easy to sing, almost "whistle-like" but with > vibrato-spin > > >on them. In my head, the notes sounded very small and focussed, but my > > >teacher assured me that acoustically they were definitely audible and > > rich > > >enough sounding. > > > > > >I started with a new teacher a little over a month ago, and one of the > > >first things she started working on with me was to get to the next > stage, > > >which was to, as she put it, fulfill the promise of my middle register > > >when I moved into my upper register. The idea here is to bring the > > weight > > >of my middle register into my high notes. This is a matter of adding > > >compression and support, and also allowing the larynx to descend more > > when > > >I move higher - basically, the imagery she uses is that of a > > counterweight > > >- as the note ascends, there's a kind of vocal counterweight that must > > >descend, so the whole aural spectrum actually gets wider as the notes > get > > >higher (and the result is that wonderful texture of overtones you hear > > >when big voices sing high notes well). So the idea isn't to take > exactly > > >the same production you use on the middle register and move it, like a > > >ball bouncing up a stair step, to the upper register; instead, it's a > > >sense of opening up and down vocally as you sing higher. > > > > > >It's very hard to convey these ideas in writing, but one thing I do > know > > >is that I could NOT be doing Stage Two without having first succeeded > > with > > >Stage One to the point where I was always producing those "floaty" high > > >notes consistently well, without tension ever. > > > > > >Hope this helps. > > > > > >KM > > >===== > > >Ich singe, wie der Vogel singt, > > >Der in den Zweigen wohnet; > > >Das Lied, das aus der Kehle dringt, > > >Ist Lohn, der reichlich lohnet. > > >- J.W. von Goethe, WILHELM MEISTER > > ... > > > > > > > > > > > John Blyth > > Baritone, inter alia. > > Brandon, Manitoba, Canada > > > > > > ------------------------------------------------------------------------ > > Good friends, school spirit, hair-dos you'd like to forget. > > Classmates.com has them all. And with 4.4 million alumni already > > registered, there's a good chance you'll find your friends here: > > http://click.egroups.com/1/2622/3/_/_/_/954519188/ > > ------------------------------------------------------------------------ > > > > To unsubscribe from this group, send an email to: > > vocalist-temporary-unsubscribe@o... > > > > > > ------------------------------------------------------------------------ > @Backup- Protect and Access your data any time, any where on the net. > Try @Backup FREE and recieve 300 points from mypoints.com Install now: > http://click.egroups.com/1/2345/3/_/_/_/954519923/ > ------------------------------------------------------------------------ > > To unsubscribe from this group, send an email to: > vocalist-temporary-unsubscribe@o... > >
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