Maybe we need to clarify what we each think of as a
"register." Part of the reason discussing technique
is so iffy is that there is no way to objectify the
language -- what is "forward" to one singer is
"chiaroscuro" to another and "singer's formant" to a
third. Of course, telling one student to sing
"forward" may result in one singing a beautiful tone,
another singing a shallow, over-bright tone, and a
third developing jaw tension. Wait, I titled this
email "registers." Okay...
Gina is saying that she doesn't believe in doing
exercises that separate the voice into registers and
then integrate them. Well, I do raw chest exercises
because I believe they strengthen the top. That is
obviously separating out one register, but I don't
think it's what the majority of "pro-register"
teachers are talking about on this topic.
I would bet that Taylor et al are thinking of
registers as middle voice, passaggio, top... Gina
would probably say those are parts of the whole
seamless voice and not "registers," even though you
may work them differently (i.e., don't fatten up the
passaggio or else you'll be killing your top), while
someone else might say, "But of course I work the
registers separately! You treat the passaggio
differently than the top and you treat the middle
voice differently than the mixed chest tones."
Everyone is doing the same thing, but some are calling
the various sections of the voice (like, low, middle,
passaggio, top, whistle, etc.) "registers" and some
are not.
Of course, my open chest exercises ARE taking one
register and dividing it out to work on. So maybe I'm
wrong.
Isabelle B.
=====
Isabelle Bracamonte
San Francisco, CA
ibracamonte@y...
ibracamonte@y...
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