> 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?
Isolates the chest voice, and when I leap up, I keep the openness of the
chest on the top note. The flipping in this exercise doesn't harm me.
My registers are extremely even and I can sing a variety of pitches in
different weights and blends of "registers." This is an exercise,
meant to work the voice in a certain way, not a method of approaching
literature. The exercises are to be done for about 5 minutes out of a
30-40 minute vocal exercise routine and are specifically for the chest
voice. I assure you, I don't "disconnect with a big flip."
>
>
> 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
This helps by encouraging overlap in the registers of the lower middle
voice and the chest voice. Using the middle voice in isolation and
taking it down as low as possible enables strength and coordination and
the smoothest possible transition between registers. I am not saying
that this is to be done in literature, necessarily. It is an exercise.
> What is the point of this? It seems rather counterproductive.
On the contrary... to develop coordination in the most possible ways is
beneficial to the voice.
What exercises do you advocate for the female chest voice?
Gina
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