Two things, both of the top of my head (definitely wait for confirmation by
wiser beings!): according to some sources there is something called a
''whistle register' that high sopranos employ. I'm not going to go into
what they think that is, since some of those research people seem to have
some funny ideas, suffice to say that it *is* a different register and will
feel different.
The other thing is that, in a choir one's first instinct is to try and do
what the person next to one is doing - this is hard not to do unless you're
very experienced and very confident, since it is partly automatic - if that
person next to you is singing a slightly different vowel colour from what
would be optimum for you, it is hard not to strain and have difficulty,
since you don't get to do what works for your voice - there is also the
tendency in louder sections to push for more vocal "force" instead of
allowing your natural resonance to develop, since you must inevitably feel
your voice is more muffled than usual, what with those sound-absorbent
heads in front of you and all these people making a loud noise all around,
not to mention that now the hall isn't as resonant with all those bodies,
and the sound of the orchestra, now that the string players are finally
playing confidently and in tune! john
At 01:39 PM 9/25/00 -0400, you wrote:
>Tako,
>I love your chart, but your distinction between coloraturas and sopranos
>brings me to a question. My teacher (as well as a well known voice
therapist
>I had the pleasure of working with after my voice surgery) thinks that I am
>a coloratura. On a good day I do vocalize to the E6. ...
recently performed the
>choral part of Beethoven's 9th (which I wound up faking because I as sick.)
>and I found this extremely difficult. I cannot understand why if I have
such
>a high voice-and my teacher recently told me that she would not be surprised
>if I ended up with an A6-then why is it so hard for me to sing up there?
...
>Leslie
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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