Dr. Hanson's explanation made a great deal of sense to me. My voice teacher
is constantly trying to make me produce "pure" vowels up and down the
register - with particular enphasis on the passagio (with closed vowels and
modifications and stuff). I finally understand what Pavarotti was talking
about when squeezing. Its the vowel closing effect, right?
Sure isn't easy to accomplish though.
By Jove, I think I finally got it !
Rick
> -----Original Message-----
> From: Isabelle Bracamonte [SMTP:ibracamonte@y...]
> Sent: Friday, April 21, 2000 11:41 AM
> To: vocalist-temporary@egroups.com
> Subject: [vocalist-temporary] Pavarotti and hour-glass passaggio
> concept
>
> > > you idea of what you think Pavarotti is describing
> > when he talks about
> > > "squeezing" through the passaggio
>
> I've often heard the voice described as an hour glass
> -- more open in the lower middle and above the staff,
> but very narrow through the passaggio.
>
> In a finished voice, I think a singer is able to
> maneouver this way -- larger, "bigger" feelings below
> the passaggio, then a quite closed, narrow feeling
> through the passaggio, then opening again to let the
> big, ringing top notes fly out.
>
> Non-finished voices (such as my own) often have to
> close/narrow refine-the-focus lighten (insert your own
> terminology here) the lower middle voice also.
>
> It's deceptively easy to let yourself sing big, fat,
> open, full and luscious F's and G's, only to find that
> your A's and B's have become thin and difficult. I
> have to consciously close up (both in narrow-feeling
> and by leaning into more closed resonating vowels, [i]
> for [I] and so forth) my passaggio if I want my C's
> and D's to be big and brilliant.
>
> Isabelle B.
>
> =====
> Isabelle Bracamonte
> San Francisco, CA
> ibracamonte@y...
>
>
>
>
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