In a message dated 10/2/2001 11:13:22 AM Central Daylight Time, mrclmind@a... writes: mrclmind@a... writes:
> 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 > >
I agree with you 100%. The top voice is set up much more efficiently if the chest register is engaged and not prematurely disengaged.
Randy Buescher
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