John,
Thanks your explanation. I feel a little relieved. That is exactly what I am
working on with my voice teacher. He says that adding the dramatic component
takes time, practice and patience. I have been able to blend head and chest
very well actually. But what I would love to be able to do easily is do give
the sound lush power. I know so many people, tenors particularly that
sometimes when they are singing high notes, they sound like little boys with
a tiny falsetto-like sound that is nowhere close to appropiate for the part.
Anyway, I also realize that what sounds in my head is not what everybody
else is hearing so I rely on my voice teacher to tell me if I'm doing things
right.
And so it goes.
Thanks again,
Rick
> -----Original Message-----
> From: RRicciardi@S... [SMTP:]
> Sent: Friday, March 31, 2000 11:25 AM
> To: vocalist-temporary@o...
> Subject: RE: [vocalist-temporary] Re: Tenor High Notes
>
> Karen,
>
> Great explanation. Thank you.
> love the imagery. I'll try it out myself.
>
>
> Rick
>
> > -----Original Message-----
> > From: John Alexander Blyth [SMTP:BLYTHE@B...]
> > Sent: None
> > To: vocalist-temporary@o...
> > Subject: RE: [vocalist-temporary] Re: Tenor High Notes
> >
> > Karen,
> > This seems to be the best description of this that I have read,
> > and
> > for me it is something of a revelation that what happens for a mezzo is
> > analogous to what happens for a baritone, leaving aside the acoustic
> > necessity of vowel modification higher in the female range. Thanks for
> > this,
> > and also for keeping the list going (thanks to I.B. too). john
> >
> > At 10:04 31/03/00 -0500, you wrote:
> > ...
> > >Learning how to produce big, lush high notes has been a two-stage
> process
> > >for me. First, I had to learn how to produce easy, unforced high notes
> > >that "spin", without squeezing ribs, tightening jaw or tongue, or doing
> > >any of the other things that would "force" out the note and make it
> harsh
> > >and edgy. To this end, my former teacher and I spent a lot of time
> > >teaching me how to truly "float" the high notes way up in my cranium
> > >(that's the imagery and sensation) - it was a combination of images,
> > >actually - the first was the "floating" image, the second was a laser,
> > the
> > >idea being that the sound was very precise and focused, rather than
> > >spread. When I accomplished this, I was able to produce very "lyric
> > >soprano-like" high notes (in my mezzo range, of course) - clear,
> > >bell-like, very easy to sing, almost "whistle-like" but with
> vibrato-spin
> > >on them. In my head, the notes sounded very small and focussed, but my
> > >teacher assured me that acoustically they were definitely audible and
> > rich
> > >enough sounding.
> > >
> > >I started with a new teacher a little over a month ago, and one of the
> > >first things she started working on with me was to get to the next
> stage,
> > >which was to, as she put it, fulfill the promise of my middle register
> > >when I moved into my upper register. The idea here is to bring the
> > weight
> > >of my middle register into my high notes. This is a matter of adding
> > >compression and support, and also allowing the larynx to descend more
> > when
> > >I move higher - basically, the imagery she uses is that of a
> > counterweight
> > >- as the note ascends, there's a kind of vocal counterweight that must
> > >descend, so the whole aural spectrum actually gets wider as the notes
> get
> > >higher (and the result is that wonderful texture of overtones you hear
> > >when big voices sing high notes well). So the idea isn't to take
> exactly
> > >the same production you use on the middle register and move it, like a
> > >ball bouncing up a stair step, to the upper register; instead, it's a
> > >sense of opening up and down vocally as you sing higher.
> > >
> > >It's very hard to convey these ideas in writing, but one thing I do
> know
> > >is that I could NOT be doing Stage Two without having first succeeded
> > with
> > >Stage One to the point where I was always producing those "floaty" high
> > >notes consistently well, without tension ever.
> > >
> > >Hope this helps.
> > >
> > >KM
> > >=====
> > >Ich singe, wie der Vogel singt,
> > >Der in den Zweigen wohnet;
> > >Das Lied, das aus der Kehle dringt,
> > >Ist Lohn, der reichlich lohnet.
> > >- J.W. von Goethe, WILHELM MEISTER
> > ...
> > >
> > >
> > >
> > John Blyth
> > Baritone, inter alia.
> > Brandon, Manitoba, Canada
> >
> >
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