in an artform where the 'correct' timbre is so critical, tape is a very
useful tool. obviously, where what we hear inside can be so different from
what everyone else hears, being able to monitor one's timbre is an asset.
it would be one thing if we got our voices to a certain point technically and
physically and it just stayed that way until death but, it doesn't. our
voices are gradually 'maturing' (creeping towards death) and we are always
tinkering with our techniques. even if we are trying for consistency, we
are always trying to improve.
when working with a voice teacher, a coach, a director, conductor, etc.,
we are always talking about the sounds we are making. those discussions
will make a lot more sense if we are refering to sounds we know are the same
(forgiving any notions wittgenstein might have had) rather than disagreeing
simply because we are actually talking about two different things.
compare bjoerling in the early 30s to bjoerling in the mid 40s or,
pavarotti in his early career to pavarotti singing chenier, morris as a
comprimario to morris as a wagnerian, callas two toscas, carreras at the age
of twenty-nine and what he eventually did to his singing (pre illness) and
you can see differences in even the top singers. we all change and it is
better that we monitor those changes ourselves rather than trusting someone
else. then, we are more likely to benefit from the input of others.
mike
mike
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