akintsucrooner posted: " Some people have a singing voice that just works easily. Some people have all the vocal ingredients but need to bake and shake for a few years to create an effortless sound. And then there's some people who are a recalcitrant vocal diamond in the r" akintsucrooner
Some people have a singing voice that just works easily.
Some people have all the vocal ingredients but need to bake and shake for a few years to create an effortless sound.
And then there's some people who are a recalcitrant vocal diamond in the rough (;-) and it takes time, trust, and technique to sound natural.
Depending on where a singer lies in their natural ability, learning to sing is not unlike a series of uncharted mazes.
Vocal technique is a lifelong quest. We gather rudiments, artistry, nuance, and adjustments as we age. Along with these benchmarks, we do crucial body/emotional work, and hopefully find a well meaning guide who will share a safe set of trustworthy ears. Releasing the intangible barricades that interfere with our ability to release is as important as establishing chiaroscuro bel canto vowels.
As a graduating member of the above described recalcitrant vocal camp, my dramatic soprano vocal tech satchel continues to fill with tools from varied sources including teachers, coaches, conductors, and peers.
Out of necessity (my dramatic soprano voice wouldn't function without finding the solution) I have developed a series of trouble shooting vocalizes over the years that have helped me most especially build a reliable blend within the often dreaded C4-C5 range; an area that often flummoxes many singers.
I have begun working with a gifted fellow cathedral choir singer Maria Alu on this vocal mix area. I call it the last frontier. This is a common range needed for navigating cantor repertoire. Because much cantor repertoire lives in this middle world, a head/chest blend is essential for a successful balance.
Tonight, we found a balanced mix by using Maria's "oo" vowel and voiced N consonant. We also worked on her embouchure ease and tongue release. As a result of these tools, the voice had more clarity and balance.
I liken voice teaching to detective work: so much to uncover, many contrasting clues, often mysterious, and no one size fits all solution. The hour flew by tonight working with Maria. And I learned something new: her lyric coloratura voice only goes into whistle on E6. What the. My big Bessie throat is already booting up some whistle action a 4th lower at B natural 5.
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