In a message dated 2/2/2002 11:04:33 AM Pacific Standard Time,
Greypins@a... writes:
> the fractional relationship you refer to, in regard to ms. horne, to
> me, sounds like a description of sensations rather than something that is
> actually going on. also, in the hines book, she talks about a passaggio
> occuring around the F just above middle C which, indicates to me, someone
> who
> switches to 'head' voice too low (and by that, i mean someone who switches
> to
> the 'light' mechanism (which i really call falsetto) which, i view as a
> consideration of how the folds are being used as opposed to the resonance).
>
> it is this practice, btw, that i think leads to wobbles.
>
I could agree with you that the fractional relationship MAY be more of a
sensation than a scientifically proven phenomena. I can say, in my own
experience, that it feels intuitively correct, as that is exactly how I
experience my own mix. And the key to it all, is having your open column.
Eventually, when your column is really open, and you've built the repetitions
in enough to really get the proper balance on every vowel and every pitch,
the "mix" becomes a moot point. I am just beginning in my own vocal
development to have that sensation of indiscernability between the balance of
head or chest, a sense that the voice just "is". There are some singers
blessed by birth with that naturally. I was not one of them I will soon
sound like one of them, however. It just takes some of us longer than others
to get there.
> von stade, i always have thought, is a soprano imitating mezzos. if
> she were, she would have to use her 'heavy' mechanism to sing the low
> range.
> i don't know her singing as well (can't stand her enough to listen to her)
> so, i can't really say i would have any idea as to where she does any kind
> of
> switching.
>
>
I think it is as I described in my previous post about her.
Again, it is the case of there being two kinds of female singers: those who
relate to their voices from a head perspective, and those who relate from the
chest perspective. (And those who are just born with it perfectly balanced;
well. . .let's all just accept the fact that they are gifted and move on!)
At any rate, same goes with mezzos.Some are head based and some chest based.
When I was first starting out, since I was completely disconnected from my
chest when I sang classically, (although used only chest for my rock singing)
I was categorized as a light mezzo. I had no power in my lows. (Unless I
belted them; incorrectly.) When I opened up into the fullness of my connected
voice, my real identity emerged as a very full mezzo with a color suited to
Verdi rep. For me, it was my chest identity that allowed me my true vocal
home.
There are other full mezzos who are head based, (like Borodina, for
instance).The types who have very full head based tones, even down to the
their lower ranges. These types tend to be women who are larger in stature;
more barrel-chested and big. ( I am tall and slender.)
TinaO
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