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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