OOPS,
Good morning Lloyd,
Thanks for a review of all the basics! Especially pertinent this morning as
I'm finishing up my notes for a workshop I will be teaching to a church group
this morning. Specifically, the worship pastor wants me to focus on these
transitions and how to teach his worship teams to blend etc.
Just a clarification from this end of the "mix" folks. When I talk about
developing a mix in the voice, it is not talking about mixing functions of
the voice, implying that you are utilizing two functions at the same time.
But rather, learning how to transition from the "thick" oscillationg pattern
of the voice to the "thin." Instead of giving major preference to either
throughout the entire voice.
Using your posting as an example: When the voice makes a pitch in a balanced
manner, the full harmonic spectrum of that frequency is accessed and thus the
sensations/resonation that is a bi-product of that frequency is felt in
specific areas for the singer. Hence the name chest voice versus head voice.
Because we, the singer, is reduced to identifying with our voice by sound and
feeling, developing a mix merely eludes to the fact that one can learn how to
move from the chest feeling, through a mix, or blend, to head the feeling.
Yes, there can be preference given stylistically to either side within that
mix, but when one is learning how to make the pitches fundamentally (uh-oh,
pun intended) a balanced sound is always preferred.
Falsetto/Head voice: Although these are obviously completely different
functions, I've found that for those males that are completely "chest" bound,
that asking them to sing in a falsetto-ish sound/function, gives them their
first taste of where their head voice would resonate. Something, many of them
have never felt before, so have no idea what to identify with. Once they have
been in that area, I can give exercises that bring the folds into a more
closed position, while all they need to do is copy the exercise and "head"
for that falsetto-ish area again. (Sorry, pun was intended)
Hope this clarifies the mix-up......(uh-oh, pun again)
Disclaimer: I am making some generalities in this post, realizing that there
are grey areas for interpretation from all of us. 2) Yes, these sensations
can be felt in other areas of the voice, but I'm eluding to the pursuit of a
balanced and connected tone from top to bottom.
Best to all, I'm off to church!
Mary Beth Felker
The Voice Project
Speech Level Singing Instructor
Portland, OR/Seattle, WA
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