Vocalist.org archive


From:  Mezzoid@a...
Date:  Mon Jan 7, 2002  2:47 pm
Subject:  Re: [vocalist] re: Raised larynx, Crowded throat

In a message dated 01/06/2002 9:28:51 PM Central Standard Time,
Greypins@a... writes:

<< with the voice, by trying to keep the timbre the same, we only increase
the contrast between the sound we have been singing in, to the sound we have
to switch to, when we absolutely have to switch. by gradually changing the
sound over to what we will ultimately be going to, we eliminte the break as
the change was so gradual. this means beginning that change earlier. >>

That's actually what my teacher teaches and what I strive to teach as well --
have some head in chest and some chest in head, even if it's microscopic at
the extremes of the range. That's how you attain uniformity of sound.

If you want to hear an example of a singer who does not do that, at least on
this particular CD, and consequently "clunks" violently between registers,
listen to Agnes Baltsa's Rossini CD. Wow. My youngest students will say,
"Is that the same person?" because her changes in color as a result are so
dramatic. She'll virtually be belting up to A4, and at B-flat4 will
suddenly change to a head tone devoid of any connection to the rest of her
voice. And on the coloratura? Whoa.

Christine Thomas
Wauwatosa, WI
<A HREF="http://hometown.aol.com/mezzoid/myhomepage/profile.html">
http://hometown.aol.com/mezzoid/myhomepage/profile.html</A>

"I love to sing-a, about the moon-a and the June-a and the spring-a"



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