Hello Wim: I am EXTREMELY interested in the matters you are discussing in this email in relation to Steve Perry's voice and such. I, myself, am a high lyric tenor just like Steve Perry so I am sure your comments could benefit me as well. How would one go about achieving the same pitches that Steve is singing but with the coordination and such you mentioned? Although I am a non-classical singer, I want to be a great and admired singer for both my voice and my technique. I want to be able to sing a 3 hour set and still be ready to go for more. I want to be able to do 12 hour days in the studio without a problem. And I want to be able to survive a tour and be consistent in my vocal performance every night of the tour. Any suggestions are more than welcome! :=) Thank you...
Yours In Music, Denis J. Lanza Vocalist http://www.denisjlanza.com
-----Original Message----- From: Wim Ritzerfeld [mailto:w.ritzerfeld@c...] Sent: Saturday, August 04, 2001 2:02 PM To: vocalist-temporary@yahoogroups.com Subject: [vocalist] Re: Seth Riggs' Recent SF Master Class (Wim's question)
Mike,
I listened to a few sample tracks on the internet by both Steve Perry and Chris Cornell. I did't know these singers before, but listening to these tracks I would agree that Steve Perry is closer to the classical type of resonance than Chris Cornell, meaning that it sounds as if he keeps his larynx lower when he reaches for the high notes than Chris Cornell, who really pulls it up high and 'squeezes' out the high notes. Neverheless I think even Steve Perry raises his larynx for the top notes, be it to a lesser degree. The effect of this typically is that the first formant goes up and 'tracks' the second harmonic of the sung tone, resulting in a shouty tone, which in his case is less obvious because he does not 'push' the voice as much (i.e. he probably uses less subglottal pressure).
A classical singer would keep his larynx in exacly the same place all the time and use his SECOND formant to resonate the third, fourth or fifth harmonic (depending on the vowel) of the sung tone, which gives more 'ping' to the tone. Voice teachers sometimes call this 'forward placement'. The lower larynx is also better for the singer's formant, which brings out even more high harmonics in the tone and adds to the carrying power of the voice. Thus a classical singer would be heard (unamplified) over an orchestra, while Steve Perry would probably not. The down side is that pop/rock singers don't seem to like the resulting sound.
Note that I couldn't find the tracks you recommended. If you have them in MP3 format and could send them to me or put them in the files section of Vocalist, I'll be happy to listen to them.
Cheers,
Wim
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