Vocalist.org archive


<
From:  mrclmind@a...
Date:  Tue Oct 2, 2001  5:06 pm
Subject:  Re: [vocalist] A question of register

Randy:

It is common for me to have a new female student come into my studio
with an operatic background, whereupon I vocalize her using a five
note scale, and she will sing with a weak head voice down at middle c
and below. Finding the chest voice in the first place is often our
main challenge, then convincing them that it is safe for them to have
a connection to that chest feeling up to the A, is a matter of time
and patience. When they get that feeling of connection and see how
much easier it is for them to find the mix using that connection, the
expression of excitement on their faces (100% of the time), is my main
reward for teaching voice... it far surpases the monetary compensation
I get.

My operatic Sopranos use as much chest voice as my pop singers.
Granted, the mix is less hard than with the pop voices, but the chest
connection is just as solid. One of the biggest surprizes these women
experience is how much their top end has been extended once they have
a connection to the bottom.

Guy Babusek




Lauren
> >
>
> While I work with a lot of pop and musical theater people, a lot of
my own
> performing background is in classical and I do work with quite a few
opera
> singers; usually in a rehab setting. Most of the females in this
case use
> very little chest in the production of their bottom voices creating
a
> foundation of the instrument that needs high airflow. In turn, they
need to
> use quite a bit of extrinsic musculature to slam the folds together
to resist
> the airflow creating tremendous amounts of subglottal pressure. If
they get
> into chest, the prephonatory tuning of the cords is better and less
air is
> needed to engage Bernoulli. It's then a matter of learning how to
get out of
> chest without a flip, and that's a matter of how you train your
students.
> All (well 95%) of my students can do this.
>
> Randy Buescher
>
>




emusic.com