--- In vocalist-temporary@yahoogroups.com, "David Grogan"
<dgrogan@e...> wrote asking about exercises to use for blending the
registers, or bridging the passaggio:
David and Listers,
While I will get to specific exercises in a minute, I want to offer
my opinion as to _why_ 'blending the registers' is desirable.
Though there are many reasons, the finest summary reason I know is
that the individual gains access to a greater range of expression in
singing. Specifically, 1) greater dynamic range by access to both the
softer and louder ends; 2) finer control of line shaping by subtle
dynamic changes; 3) greater control over vowel shading: clarity,
brilliance and depth; 4) better ensemble, by increased ability to
combine aspects of #1, #2 and #3 when singing with others; and 4)
smooth access to the full pitch range of the voice, with power, and
without sudden, disruptive changes in tone quality.
To use a painting metaphor, blending the registers increases the
spectrum and intensity of colors on the palate. It makes the palate
larger, with places to mix what we would like. It gives us more
brushes to choose from, and and allows our chosen brush to paint
whatever colors we've mixed all the way to the edge of the canvas.
Now, as to exercises... My selection of specific exercises is based
on the particular needs of the student voice. Generally, I like to
begin by building the expressiveness of the middle voice through
messa di voce exercises, slow crescendo-diminuendo patterns on
individual pitches using a single vowel. The vowels chosen depend
on the registration blend which is easiest for the student. If the
student is a 'light, top-dominated' voice, then I use the long ah,
and the short a (cat). If the student is a 'heavy, bottom-dominated'
voice, then I use oo and ee.
At the passaggii, the issue I most often have to contend with is that
a beginner will try to carry a coordination too far across it (in any
direction), without making note-by-note small adjustments. A second
issue is the presence of 'either-or' registration on a particular
note, but no access to a combination. A third issue is the presence
of restricting, interfering tension. A fourth is an uneven
application of breath energy.
I can usually determine what is going on by 'taking inventory'
through a simple set of octave arpeggios (up and down) which cross
through the pitch regions of interest. If a transition is being taken
too heavily, I soften the dynamic or use oo or ee. If it is being
taken too lightly, then ah or a, as mentioned above. Descending 5-
tone scales through the regions are very useful as well.
While there are many others, those are the ones I start with, and
work out on specific problems from there.
Best Regards,
Steven Fraser
|
