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  1. MDEW, Thank you; I appreciate the note back. I have only had limited contact with those who have perfected the art of singing (one was an opera singer,) and it's been an interest of mine to learn about the mechanics for some time. Since I have not been blessed with any kind of singing voice that anyone would want to hear (!), I suppose it was somewhat of a magic power I was seeing - and I am sometimes in awe of that fact. That part about performers holding the guitar wrong is pretty hilarious... Thanks again for getting back to me. Regards, Maitai
  2. Draven, Thank you for that thorough, well-thought-out, and courteous post - I appreciate you taking the time to explain the various techniques, and also providing the reasons you give via your background in recording. I was most interested in the mechanics of how Marilyn was producing the sounds (over-exaggerated and prerecorded as they may be) because her singing voice is, to me, incredible. There may be others who disagree, but in my mind, there's no accounting for taste, and in any event, I appreciate your patience and explanation regarding your position. Many thanks, Maitai
  3. Hi MDEW, This is a surprising and unfortunate circumstance. I had not anticipated such a strongly-worded reply. Just to make a correction, this was not a lip-synced performance - it was live. Listening to the original even once, you would be able to see that. Thank you for your response. Maitai
  4. Hi Everyone, Many thanks to the people who contribute to this forum. Knowledge leads to understanding, and that knowledge must come from those who are experienced in the craft. To those who are nice enough to share, thank you very much in advance. The Fifth Dimension's Marilyn McCoo stole my heart in the late 1990's with a rendition of "One Less Bell To Answer" on the Ed Sullivan Show, I believe in 1970 - this is one of those "TV Land" performances dug up from decades past. You can find the specific performance I'm speaking of HERE. The rendition of this particular song has me coming back over and over to watch it while I try to dissect the absolutely masterful manner in which Marilyn sings her song. I believe she was classically trained (for lack of a better term.) I would like to understand the various singing techniques she is using throughout the performance - but I am not a singer, just an interested fan of her work. At 1:06, there is a encircling of the arms, and it appears she pulls her facial muscles back to get the right pitch. The encircling can be similarly seen at 1:21. At 1:45, 1:53, and 2:06, she does a bit of a different "opening" of her thoracic body. Finally, there is a marked "pulling down" of her facial muscles at 2:18 - I have seen this technique in classically-trained singers previously. Marilyn was inspiring to me because of her confidence and the tenderness of her delivery - I mean, she genuinely appears to be mourning the loss of a mate. This performance on Sullivan, in my estimation, is the bar by which all other soul/pop/harmony groups should strive to attain the professionalism - by all members - and Marilyn's flawless delivery of the piece. Thank you so much for your time and attention. Regards, Maitai