mike,
At 11:04 PM 1/1/02 EST, Greypins@a... wrote:
> timbre, in regard to voices, is not an absolute. <snip>...and, by what
criteria do we decide what someone's 'true'
>voice is? is it the voice they constructed through years of study or, the
>voice they grew up with, complete with hometown accent? the debate could
>rage on forever but, my point is, because the vocal tract is flexible, a
>singer is uniquely positioned to be more than one instrument, unlike the
>clarinet or, the violin.
Agreed. We've already covered range/tessitura, passagio, speaking voice,
and now timbre, *none* of which are absolute. And I believe that we've also
previously agreed that "baritone" is a pleomorhpic voice type, anyway. I
think it boils down to whether one felt like the bearded "stabb-er" vs the
young tragic (sometimes whimpy) "stabb-ee". That may be a matter of
attitude, afterall. Personally, the "stabber" ought not to sound like a
tenor singing low; but maybe I'm just conditioned that way. As for "true
voice", I suspect that eventually the singer, himself, may be able to decide
that. It's where the voice feels the most flexible/free, although,
admittedly, that, too, can change with experience. However, I find myself
tiring much more easily when I have to sing lower tessitura (like church hymns).
As for the violin, at our last concert, the concert master played the viola
part on his violin for our "Estampie Natalis" [Nelhybel] piece. Did a
wonderful job, too.
GWendel, dT
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