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K. Mc

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About K. Mc

  • Birthday 02/07/1994

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  1. Well, I must warn you that choral classifications are especially dangerous aside the Fach. In fact, it frequently happens that voices are miscategorized. Do you intend on singing classical oratorio and repertoire? This is the most important part of this conversation. If not, then vocal classification means very little. Many countertenors are naturally tenors or baritones, but consciously make the choice to train as a contralto, mezzo-soprano, or soprano. Currently, your range stretches from baritone to contralto, classically speaking. If you want to pursue classical music, I can help you.
  2. Studies have been conducted on abdominal/diaphragmatic pulse with microphones and electroglottographic waveforms in relation to the Marchesi criterion of a.) speed b.) clarity c.) eveness of tone d.) intensity.
  3. For me, it isn't a matter of someone's capability of convincing me that they are "singing," however, there are certain elements of voices that I do hear which makes me certainly enjoy said voice(s): I.) Timbre & Sound Color: This, along with intonation is not much up to the voice. I enjoy the vast differences in timbre. It isn't enough to have what may be considered a "pretty" voice -relative- as the term may be. II.) Versatility: I enjoy voices that trancend one way of singing. Oftentimes, multiple times throughout a piece. I also enjoy hearing voices transitioning through multi
  4. I am unsure necessarily how the training works for basses, however, I do know that there is a lot involved in developing the strohbass. One of my really good friends compared it to the development of the ultra high register, that it was almost a secret extension of the bass depths waiting to be accessed. I will contact him and see just what exactly the exercises were and let you know.
  5. I happen to really love Sarah Brightman. This is an opinion that is unfortunately not shared amongst the operatic community. However, I think that the world of opera owes Brightman a great deal of respect for the fact that this woman almost singlehandedly lifted opera into the 21st century. If you want to listen to more of her operatic oratorio I would definitely suggest her cover of "Regnava Nel Silenzio" from Lucia Di Lammermoor and the "Ebben Ne'Andro Lontana" from La Wally.
  6. I am glad that you shared this, because, I am operating from an entirely different perspective. Admittedly, I haven't really made any ventures into the CCM or musical theatre world, where, it appears to me, there is much more freedom in what you are allowed to do with your voice, but that freedom opens a floodgate of criticism unparalleled about the nature of the produced sound. I am glad that you can offer a perspective in this way. For the downsides that operatic training has, it also has qualities. For instance, you train a voice a certain way, you recite oratorio written for this particula
  7. Yes! I think, if anything, certainly good discussion such as this is really an armament of knowledge. And when you are armed with knowledge, it is almost like having a metaphorical bulletproof vests on. I know that even my own instructor has come under scrutiny from other renowned instructors, and that is something that she and I have discussed. Furthermore, my own instructor doesn't teach certain elements out of personal preference alone unless the student asks. She especially dislikes my tremolo and appogiatura, but, she understands that prior to my training with her, it was demand
  8. This has become a very academic discussion! It seems very much to me like inflation of conflict, wherein all perceived authorities of some particular area cannot agree, and therefore the entire profession is brought into question. Of course, appealing to an external authority is just as fallacious, but, it is curious nonetheless. The worst part is the imposition of things like "belting" onto someone, when it isn't clearly defined, becoming tautological again. There are no definitive answers. That seems to be kind of the whole point. I suppose the best one can do is seek to ask i
  9. I personally wouldn't make the decision to do so. And while I know that what I am about to type is a shining example of the anecdotal fallacy, relying upon personal experience and also compelling evidence in the cases of coloraturas who sang dramatic or spinto work: Beverly Sills, and conversely dramatics who sang coloratura work: Maria Callas. Both of whom considered doing either repertoire too heavy in the case of Sills, and repertoire too light in the case of Callas, immensely shed years off the quality of their voices. I can't even begin to imagine the curious case of Ivan Rebroff, wh
  10. I personally chose "Shut up and start singing." I am under the impression that after all of these years spent in training that the student should have direct control over how they want to train and utilize their own voices. I think that is not an option for many people, just as it was not for me. At this point, if I could go back and have trained differently I would. I would have foregone all of the coloratura: sostenuto, appogiatura, fioritiura, tremolo, portamento, cadenza, trills, and other features of the specific training. I think training one specific way is quite limiting, and
  11. Well, that is certainly why I left opera for CCM (Contemporary Commercial Music). I was exhausted with singing the same literature. In Bel Canto, and largely opera as a whole the text is composed specifically for voice types and their capabilities. The operatic community is fraught with baritones jealous of tenors, with mezzos jealous of full sopranos and vice versa. Of course, there is a lot of catering to tenors and sopranos, so I understand the grief. I tend to feel that is such a natural experience that we want the capabilities that we do not have. Personally I wish I could be as rich
  12. Hello everyone! Well, I have a soprano friend who is auditioning for a role in this musical and I just attended one of the rehearsals last evening and I was really shocked about the catty behavior from some of the other vocalists. Most notably whenever everyone had been chatting with each other after it was over. Standing beside my friend, two other girls who auditioned told her that: "well, we have heard you sing karaoke, but can you actually sing?" An obvious negative remark. And then they proceeded to say to her: "Why do you sing that way? Do all the extra?" They were referring to her
  13. Are you referring to like polyphonic tones? Wherein two notes are sometimes produced at the same time?
  14. I personally do not find that to be the case. The idea behind Bel Canto, irregardless of the school is to have a perfect legato and a blending of the passagio to make it seem as if it is an effortless transition which leads to a well oiled voice. Of course, depending upon how you are trained, this is entirely different. My lowest note is a G2, but this comes from voce aperta and it is then that I dip into a more baritonal sound, but without the resonance you would encounter with a natural baritone. I was trained alongside contralto, mezzos, and sopranos as a countertenor, so my tessi
  15. I don't think that I would personally use the false cords for the oratorio that I do sing, but, David and I discussed how in some pedagogical circles it is instructed. I find a great deal of CVT to be especially interesting, but at this point I am so encultured operatically that trying to calibrate my voice to do something different is nigh impossible. My own instructor, Karyn O'Connor informed me that it is largely instructed in rock and metal so as to prevent damage to the actual folds, and I can see that being the case. But other than these "death screams" is there any usage or applica
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