Rick,
You're welcome!
More to the sound inside being different from the sound outside:
you can get a bit of an idea of how it sounds outside by singing a loudish
(not forced) note with your hands over your ears and then taking your hands
away right at the end of the note. In a resonant acoustic you will hear an
echo which is a clearer hint as to your timbre than any but the most expert
recording. Another trick is to put your hands at the side of your head,
palms forward, in front of your ears. Singing thus you hear more of the echo
and
less of the original sound than you're used to.
The point of all this is reassurance, beacause head tone really
doesn't feel very 'big', and it is so tempting to force it out through your
mouth instead of just letting it resonate.. john
At 11:55 31/03/00 -0500, you wrote:
>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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John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada
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