Membership Expired Kat Hunter
Membership ExpiredForum Replies Created
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Yes! re. vocalis vs. TA. I’ve been told that calling everything the TA is more of an American tradition whereas labelling the vocalis as something separate is more European. This definitely doesn’t help with making waters less muddy.
Cool recording of your student! I would say he’s singing probably the whole thing in a “light mix”.
This whole discussion is an interesting point of comparison in regards to vocal techniques. Coming from an IVA background, the whole point of IVA is teaching mix. Period. Accessing all the registers and then smoothing out the passagios using consistent fold adduction and hopefully a resting larynx is pretty much the holy grail for IVA haha. And you can definitely teach it successfully – it’s what I spend most of my time teaching. But even then, from the perspective of the singer, there will always be tiny gear shifts, definitely. The idea of it being a gradient is a little misleading for sure. But if you can get it to the stage where the gear shifts are mostly imperceptible to most ears, and breaks/flips have mostly been eliminated then it provides real opportunities for expression – like that video above! Rachelle Ferrell from the sounds of it can go from F#3 to D#6 in one fell swoop, and pretty smoothly. In that song she demonstrates the ability to make a “connected sound” through that whole range. Which is pretty darn rad.
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PS. Matt, Do you know of Hirano’s 1970 study about vocalis vs CT activity? I’ve read a fair few articles that reference that study as showing evidence that in trained singers, a pitch glide will show this exact muscular action we’re talking about where the vocalis gradually gives over to the CT. I went looking for the original study online but could only find an article I read more recently that cited the study. http://etd.lsu.edu/…/etd…/unrestricted/Ferranti_dis.pdf page 11.
Of course this research is not super recent so maybe it’s been surpassed?I went looking for that Natalie Henrich paper and found this…http://phys.unsw.edu.au/jw/reprints/Kobetal.pdf is this the one you’re talking about? I’d be interested on knowing the pedagogical implications of this both for you personally in teaching and more generally. Sorry if this is nerd-out overload haha!
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Also you might be surprised how different the 57 and 58 feel. They have the same diaphragm, same everything essentially but the 57 has the grill removed and therefore is usually used as an instrumental mic. But I LOVE singing into the 57 because you can use more proximity effect which gives you more mids to your voice (which is nice for high female singers like myself who feel a little bit top-heavy as far as frequencies go).
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Great lesson, Matt. The forward vowel+sob combo is rad. Fixes so many things at once. I’ll be interested to hear the next steps!
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PS. I feel like I should say I got the OK from Matthew on this one.
PPS. IVA/SLS training is usually really expensive. I’m just offering a tailored condensed version of IVA training (as a certified instructor) for a fraction of the cost – say 25 pounds for an intensive hour of hands-on learning.
PPPS. Please ask me any questions. Like I said, I ain’t no messiah, I just have a passion for pedagogy, so if you’d like to test me out, please do. I’m happy to work with those of you who are Estiill teachers too. I believe that IVA and Estill aim to do fairly different things, and I think a range of perspectives never hurts. When it comes to helping students.
