>
> Most mezzos I know have a
> very clear idea
> of their yodel-point... the listener may not hear the
> shift, but she can
> feel it.
>
Oh, certainly. I think this is especially true for mezzos,
as you mentioned. I would say that the main focus of my
studies (coming up on ten years) has been to "smooth-over"
this break (for me it is Eb5). It is not quite as audible
as it was in the past, but I *feel* it immediately and am
always self conscious about it.
>
> Hard to describe this phenomenon, but a mezzo can decide
> where to make
> this particular transition so that a particular run does
> not cross
> awkwardly over her "break".
>
Not quite true. I know I have the ability (and I'm sure
other mezzos would agree with me) to colour the notes just
above and below my break with a higher or lower degree of
chest voice, depending on the context to give the illusion
of extending my chest voice. Sooner or later I have to
switch over completely, although when necessary, I can
generally get to G5 without switching completely into head
voice. I still feel the break on Eb, but much less so than
if I was not compensating.
>
> I *always* know which of the two registers I am in,
> unless I am singing
> ppp. I can be in chest with heady quality or head with
> chesty quality, but
> it's still one or the other. Ladies (esp contraltos and
> mezzos), is this
> true for you too? Can you consciously decide where to
> switch?
>
Hmmm. . . .well, personally, I can always feel which
register I'm singing in, although I rarely can tell by
listening to my voice. Concerning ppp singing: this is the
dynamic level in which I have the *least* trouble knowing
what register I am singing. I find that when singing ppp
my breaks are extremely obvious and more difficult to
disguise (hence, the yodel affect!).
Cheers,
Kate
__________________________________________________
|
