In a message dated 10/6/2001 1:49:20 PM Central Daylight Time,
leskayc@a... writes:
> What exactly do you mean by "connected-to-speech?"
>
By connected to speech, I mean singing with what my teacher and I call
"sing-speech", (which is slightly different than plain "speech"), and which
can, once you find it, start at your lowest pitch and extend all the way to
your top with no breaks. This is basically what Randy had mentioned in a
recent post, that once you get the correct "chest" tone, your whole voice
opens up, in fact, your top improves. Mine has improved radically simply by
finding the correct "sing speech" and being able to do the top stretching
exercises correctly, on the core of the voice, rather than on a disconnected
voice. By doing this, in three 1 hour practices I accessed my whistle
register, which I had never been able to do at all before. Ever. Pretty
thrilling. And not that I'll really use it in my rep, (full mezzo), but
having it there all of a sudden makes the high Gs in "Smanie implacabili"
'feel' like Ebs, and the Ebs 'feel' like Cs. (And god knows there are a ton
of Ebs in that aria.)
Another fantastic side benefit is, even after vocalizing high and singing
through that whole aria (which has a high tessitura for a mezzo), when you
remain connected to your speech, you don't lose your low a whit. I can
immediately turn around and sing "Che faro senza Euridice" with solid lower
middle tone that doesn't get wooly or sound weak. This is also a recent
development of mine, and I know it is due to finally accessing speech
singing. It is what made me finally understand how the singers of the past
in the golden age of bel canto were able to sing virtually anything, when
fachs were basically unheard of.
TinaO
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