Just a brief perspective: knowing the frequency claimed for the 'singer's
formant' I was able to calculate where it would be on the piano and listen
for elements of that pitch range in my own voice. On the other hand I was
able to do this because of some experience in 'harmonic singing' which
sensitised me to locating components of a tone aurally. The sonagrams of
(inter alia) Jussi Bjoerling in Miller's Training Tenor Voices made it very
clear a number of things about that voice: period and depth of vibrato;
amount of noise; which frequencies were absent. I expect to learn more from
such resources as I get a feel for them. There are, by the way, programmes
obtainable as shareware/freeware which will display sonagrams. I can't tell
you which right now, but if you're keen I could check (it would take me
some time). john
09:30 AM 10/13/00 -0400, you wrote:
>dear technoids,
...
> my question to you guys is, how do you specifically make the connection
>between technology and practical application. the estill method, for
>example, as explained in gillyanne kayes 'singing and the actor', applies
>information from laryngoscope viewing to movements you can actually feel
>(with your hand) the larynx making during phonation. this is the type of
>connection i wish you would make for me.
>
> spectral analysis, unless i can see it as i sing (does this
possibility
>exist at a low cost?), is useless to me, unless there is another way to make
>the connection (a connection to all spectral readings, the good, the bad and
>the ugly) and it would have to tell me something i don't already know in a
>simpler way.
>
>thanks,
>mike
>
>
>
>
>
>
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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