In a message dated 1/29/01 6:43:00 AM Central Standard Time,
classicalsinger@e... writes:
> I forgot to mention that with the /a/, /u/ octave leap, there is a
> deliberate yodel effect from the bottom note to the top note, as it
> switches from chest to head, deliberately getting the "aah - ooh - gah"
> car horn effect.
>
> Other "register" exercises are the siren, from low to high and back down
> again, smoothly, slowly. A variation on this is the "bomb drop" which
> starts in upper middle voice and sirens down as low as you can.
>
> You can also work to blend the feeling of the higher register into the
> lower register, for example, sopranos can sing 5 note descending scales
> beginning on D major, but start on the A and descend 5-4-3-2-1 and keep
> it as heady as possible, not letting it flip to chest. Repeat by going
> down half steps to Db major, beginning on the Ab and descending
> 5-4-3-2-1. See how low you can go without switching to chest.
>
> Gina
>
>
>
>
I'm not a big fan of exercises like this. They will only teach a female to
disconnect with a big flip. I really question that in the first one if
you're really going into head, or something more like falsetto. If a man
gave the appearance yodeling on these we would say the registers and not
blended. Why would you encourage such production here in the female voice?
As for the descending 5-4-3-2-1 exercise, advocating avoiding chest on the
way down will not only diminish the size of the voice as it descends but lead
to a big crash, similar to when a man sings in falsetto, descends down and
then abruptly switches to chest.
What is the point of this? It seems rather counterproductive.
Randy Buescher
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