hi!
I have recently discovered this group and I like the
issues discussed.
I have been studying off and on with a voice coach
form about 1992 and I sang Tenor with a classical
choir. I recently had some sessons in SLS which I
enjoyed very much. Having read " great singers on
great singing" and " training Tenor voices" I became
very confused about how to sing well -there are as
many different techniques as there are people on
earth.
Place the voice, cover the tone, sing on a yawn, round
the vowels out in the passagio, drop the weight up are
some of the phrases that I struggled with for a long
time. SLS is the closest I come to singing with a
connected tone, though at this moment fairly light on
high notes.
I would like to listen to this clip that you have
posted, how can I find it?
It is not so easy for me to distinguish, interms of
sound, between falsetto and head voice. If Pavarotti
examples makes this clear I would like to find and
listen to it.
Patrick.
--- "mjmoody2000 <mjmoody@c...>"
<mjmoody@c...> wrote:
> Hey list, I just made and posted an MP3 out of a few
> snippets of
> Pavarotti's "Caro mio ben." I hope it's legal.
> There is no hope of
> saying this is a marketable recording - it is just
> some good
> examples of . . . "head voice??"
>
> I have been touting the benefits of crescendoing
> from a falsetto in
> order to find a good full-voice in previous posts.
> There are many
> recorded examples of what I am talking about, but I
> happened to run
> across this one today - so I wanted to get some
> other opinions of
> what the master is doing.
>
> To my ears he clearly starts in a falsetto-derived
> tone. As he
> descends the scale he adds a little more weight to
> it - then he adds
> his full voice. Later he takes a full voice tone,
> then slides up to
> a very soft, falsetto - derived tone, then finishes
> the piece in his
> full voice.
>
> Now, I can't make any sound that resembles these
> soft passages in
> anything related to my "chest voice." These tones
> are much closer
> to what I consider to be "falsetto." Whether a
> student can
> seemlessly integrate a soft starting tone into his
> full voice as
> Pavarotti does here right off the bat is not
> important in my
> opinion. The question is "what is the route to
> take?" "Can I
> achieve similar results by manipulating my chest
> voice? Or is my
> falsetto closer to the desired starting tones?"
>
> Well, here is a recorded example that can hopefully
> be commented on
> for illustrative purposes by other vocalisters. I
> would surely like
> to know what some of the more seasoned singers think
> and know Mr.
> Pavarotti is doing in these instances. You can find
> the MP3 in
> the "files" section under groups,
> vocalist-temporary.
>
> John
>
>
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