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< Singers, Teachers & Voice ~ Nessun Dorma, 1st read through |
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| LurkerJoined: 09:07, Mon 08 Mar 2010Posts: 22 |
Dan F wrote: Try recording a professional (or quasi-pro) voice on the same machine, same setting. This will give a much better indication of where you stand. If you are an audiophile, try also spectographing your voice. Then map it next to a tenor of your choice singing the same phrase. Notice the difference in harmonics. With proper guidance, you really can feel where each harmonic peak resonates in your body. Subtle, but there. Dan The more I look at this idea the more I like it. It gets me away from the tyranny of the little black dots. I'll just extract Caro Mio Ben from a flac file into Soundforge for a start. |
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| Piano Member (250+)Joined: 00:05, Mon 14 Jan 2008Posts: 398 |
Good man. If you need any help with file conversions, sampling, whatever, give me a shout. I'll be happy to help where I can. Look at a software called vocevista. This is just a fancy package for basic spectographing software for singers. It is highly interesting and you get a nice idea of what you're looking for psychoacoustically from their website.
Dan |
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| LurkerJoined: 09:07, Mon 08 Mar 2010Posts: 22 |
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| Piano Member (250+)Joined: 00:05, Mon 14 Jan 2008Posts: 398 |
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| Pianissimo Member (100+)Joined: 04:01, Sat 04 Aug 2007Posts: 196Location: Chicago |
Dan--Your post about spectrographing the voice jarred my memory of my mini-foray into the science of acoustics: a daunting proposition I felt obliged to mount--being a teacher and all--but thwarted knowing no understanding of acoustic reality (vocal spectrograph of harmonic structure) is going to show me how to shape the physical reality to shape the acoustic. Nevertheless, I made a feeble attempt, cracked a book, and within 15 min the whole science of acoustics was put to rest and with one word. But a little front matter is required.
Roughly: Anything that vibrates at 440 cycles per second (cps) (with a resonator of course) will produce a pitch we call A. Call it what we like; we have nothing to say about the pitch that mathematical exactness creates. (That’s what I call a Deity.) But I learned that the mathematical exactness is not what determines the pitch as perfect; that’s determined by the harmonic structure: the particular series of overtones or upper-partials set by the vibrating element, and that series is mathematically exact, also. But it was Percy A. Scholes in The Concise Oxford Dictionary of Music who said the defining characteristic of this series of overtones, which hits us as nothing but pure resonance, is that, theoretically, this series proceeds upward to infinity: ad infinitum. That was the word. It’s the series of overtones that sets the molecules of air in the house bonkers and they in turn infect every other molecule of air in the house (at the speed of sound, no less) until the whole house vibrates (resonates) (rare). But what I learned from ad infinitum: know the tip of the whip; then keep your eye on it. Know that ad infinitum resonance for starters and go for it (easier said than done) on every vowel on every pitch and whatever else constitutes “harmonic structure” will be there. Ad infinitum gave me a new-found respect for harmonic structure. Ad infinitum,  Bob
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