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. However, you have options, and if that is the case, you have to determine how you personally want to train your voice. The reason is this, you say you listen to female singers. Is this an indication that you want to countertenor? If so, then it is important to develop and reinforce your falsetto. If you want to train as a baritone or tenor, then the training will be entirely different.
  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 multiple parts of their registration. I am not particularly a fan of one dimensional voices. I want to ride on a vocal rollercoaster, so to speak. III.) Neutrality: I especially do not like neutral singing "modes" shall we say. Blandness in the voice is something that seems to me very uneventful and I think, too, very conservative. I enjoy a voice that is uninhibited in its application, and a voice unafraid to add say edgier tones, steely inflections, and other "effects." Folksy music, and even music with a more "spoken" quality I just personally find to be unappealing.
  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 particular voice type and capabilities, and you didn't much have to worry about the criticism of say an "effect" or "mode." I would wager that simply is not the case with much of what is CCM. I think, sure, those trained in coloratura and all of the skills and techniques encompassed in that repetoire are well aware that they are the "vocal gymnasts" of the opera singers. Largely, I think, it is a specialization of those voices who are trained to impress rather than express. And these similar techniques in modern music, especially in gospel, RnB, etc are used as a sort of expressive mechanism. It is quite peculiar, and especially interesting, actually. One didn't necessarily have to worry about "why does one sing this way?" It was because that is the type of singing that you are instructed to do, that your voice is capable of doing, and what the text itself demands of you. It was only whenever I had discovered CVT and what they call "ornamentation" to what I classify as "coloratura" (as a specialization), that I understood full well why I, myself, enjoyed it, because it is very similar on a technical level to what I had trained, except, of course, the bombastic and explosive belting, and remaining in my comfort zone, I ate up all types of predominantly blues, jazz, and soul music. I mean, gosh, they use so much appogiatura, and wobble, and all sorts of things that I found to be particularly beautiful in what was to me an unorthodox, non-classical way.
  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 demanded by what I had to study. At the very least, one can arm others with the fact that many things, especially in the world of the vocalist are ill-defined.
  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 increasingly sophisticated levels of unanswerable questions. Even so, it results in circular reasoning wherein there still isn't anything clearly defined. Who knew that pedagogy could be an exercise in logic and philosophy?
  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, who could deep into the Bass range, and well into the heights of lyrical soprano ranges. His instance was quite similar. Of course, it is tautological at this point. One cannot be sure that these things alone would contribute to vocal decline. But, I certainly wouldn't want that to be the case. Sarah Vaughan isamazing! Of course, considering her for just a minute, the belting is the issue I would have with such works. Sure, I could pitch an F5 or G5 with ease. The trouble is the acoustics of it. I would be willing to bet that Vaughan lifts her chest voice to achieve those things. But, in my case, all oratorio is done in head voice. To be able to sound chestier and more guttural, one might say, I would have to lift my larynx from the neutral position and the result is a throatier, raspy sound.
  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 I feel that it creates a sort of psychological obstruction in developing the voice differently later if one so chose. Of course, I often refuse to learn anything with dramatic edge and squillo and other huge, voluminous sounds for fear of vocal decline. But yes, I would have trained as something more dramatic and powerful. And I most certainly would have developed some semblance of a chest voice, because mine is pitiful. Shame that is what prohibited, haha.
  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 and dramatic as a baritonal voice. I unfortunately can't and am respective of my own capabilities. I try to remain as objective and encouraging as possible, though, when situations such as this arise it is certainly such a discouraging thing. I don't find that there is any "wrong" way to sing. But, why detract and break someone down, when, I think the idea of music is to bring people together, not divide them in an elitist way. It is just plain gross.
  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 curbing mode with ornamentation. I think it is important to state that these girls sang in more metallic modes like overdrive and edge. Me knowing the girl was influenced by gospel and RnB totally gets why she sings the way she does. This type of behavior wasn't only amongst the ladies, but also amongst the baritones and tenors who used different modes and different effects. I suppose my question is this, why do voices who use different modes and effects feel that another voice with different modes and effects is either a.) Wrong. b.) Bad. Or c.) Why they "just don't get it. I understand that any time auditions are involved it is a competitive environment. I understand people will have catty and hurtful remarks to try and psyche their perceived competition out. However, one thing I have never understood is why anyone, a vocalist or an instructor, and I have seen many, feel that anyone who sings differently than they do as " wrong" or "incorrect." And why, for example does someone get jealous of someone who may use ornamentation? And why do people think that edgier and more overdrive singers that use say distortion are trying to outsing everyone?
  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 tessitura sits at the contralto range, but, my head voice and flageolet are extra developed at the sacrifice of my chestier voice which wasn't instructed in Italian Bel Canto. Aforementioned, Wagnerian and Verdi styled pieces require heartier and chestier sounds, but, Wagner was German Opera. We have discussed Bel Canto previously, and of course, everyone has their own idea that it means purely "beautiful singing" alone. But that was not the case in my training. We had to study music, music theory, we also had to study interpretation, we studied the voice as an instrument. We had to study melismata, fioritiura, cadenza, tremolo. All these things were to be considered. And most importantly we had to sing the music as was written, as your voice is the instrument producing the written text.
  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 application for it vocally speaking? Can other pitches be produced with false cord function?