>From: "Sharon Szymanski"
>
>Someone else wrote.....
>the wobbles i have encountered have been evident in those women who sing
>almost exclusively in 'head' voice. when taught to use their 'chest' or
>'speaking' voice to sing with (as part of their overall singing), the
>wobble disappears quite quickly. of course, the new sound is less
>appropriate for >classical singing but, is quite usable in church choirs,
>christian contemporary, pop music, etc.
>
>
>>pmail/S=1705034266:HM/A=958322/rand=502443101>
>It continues to surprise me when folks don't realize that a truly
>well-developed classical voice is, by its very definition, making use of
>both its high and low registers (also known variously as head and chest
>voices or light or heavy mechanism). Many singers spend a great amount of
>time learning to blend the registers, creating a seamless and unified sound
>from top to bottom. The thought that classical singers would sing only in
>head voice is fallacious.
It might simply be easier for a jazz or pop singer to change her *style* of
singing. I recently bought Rosemary Clooney's two-CD retrospective, "Songs
from the Girl Singer." The first disk is a sampling of her 1950s pop hits,
when she sang in a very nice "legit" sound that blends her chest and head
voice. The second disk draws from her Concord Jazz recordings of the 1980s
and 1990s. Her style is definitely more "speaking," although she still has
that legit sound.
Incidentally, my Philadelphia teacher told me that developing my chest voice
would improve my high notes-- and by golly! she was right. I find that *I*
wobble if I don't support correctly, or push to hard on the breath.
Elizabeth Finkler
San Jose, California
mightymezzo@h...
http://home.earthlink.net/~mightymezzo
"This would be a better world for children if the parents had to eat the
spinach." --Groucho Marx
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