Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jul 15, 2022 8:24:09 GMT -5
This is Jackie singing chest voice and breast mixed voice. Completely different sound than head mix voice and head voice. By the way, that's exactly what Jackie does on Both sides now and a case of you.
|
|
|
Post by lawrence on Jul 15, 2022 12:06:47 GMT -5
This is Jackie singing chest voice and breast mixed voice. Completely different sound than head mix voice and head voice. By the way, that's exactly what Jackie does on Both sides now and a case of you. Whatever you say. This tiresomely tedious debate has to end sometime. So let it be now.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jul 15, 2022 12:23:58 GMT -5
This is Jackie singing chest voice and breast mixed voice. Completely different sound than head mix voice and head voice. By the way, that's exactly what Jackie does on Both sides now and a case of you. Whatever you say. This tiresomely tedious debate has to end sometime. So let it be now. whenever you write nonsense, I will be there to tell you.
|
|
|
Post by lawrence on Jun 23, 2023 15:40:26 GMT -5
....she can and will sing her high notes in either chest or head voice depending upon the "color" she wants to give them. ...She will intentionally use head voice within her chest voice range when she wants to give a note or phrase a lighter, more lyrical quality than what her chest voice produces. ....She may also transition from chest to head voice within a single note when she wants it to fade softly. An early example of an unperfected transition within a single note, from Prelude to a Dream @1:28...3:50
|
|
|
Post by lawrence on Aug 25, 2023 15:23:38 GMT -5
Ehkzu Artzu Main focus: no-spoilers reviews to help you decide whether to see/read/hear a work of art, from pop culture to high art--whatever your tastes are. Article published Thursday, Aug 19, 2010
"Jackie Evancho--a ten year old who sings like someone twice her age."
"An addendum that addresses her high end":
Jackie is indeed singing in a falsetto register when vocalizing many of the higher notes which she sings. She has simply learned how to “blend” the modal and falsetto registers in such a way as to all but eliminate the “passaggio” (break) which would normally be perceivable by the human “ear” when she transitions from modal (chest voice) to falsetto (head voice). This is not impossible, but it is an extremely rare attribute. You are also correct in that normally falsetto voice is much more limited than its modal voice counterpart in both dynamic variation and tonal quality. Once again Jackie appears to have the very rare ability to vocalize in the falsetto voice register with nearly as much tonal quality and dynamic variation as she employs while vocalizing in the modal register. Also, as you point out, she seems to do these things effortlessly, which leads me to believe that she wasn’t necessarily “coached’ in that direction in order to achieve these amazing feats, but that she may have actually been born with this remarkable ability. Much like many of the world’s greatest painters, vocalists, composers, athletes, etc., some people have “it” and some people don’t. No matter how hard a five and a half foot tall man who can only jump a few inches off the ground trains, he will never become a legendary basketball player. It is much the same case with Jackie, except just the opposite. Jackie has innate vocal abilities which have only been present in a miniscule number of people throughout the history of the World. How far she decides to develop these remarkable abilities is up to her, but the sky is pretty much the limit for this ten year old “mega-prodigy”!
Jackie has maintained the rare, natural ability to use chest voice and head voice (falsetto) interchangeably by choice, not by necessity, with a "seamless" passaggio, and has perfected it over the years. Note at 2:03, Jackie transitions to head voice on the high note with almost imperceptible change in tonal quality but with an actual increase in dynamic.
Ave Maria
Ave Maria - Russian opera soprano, Nina Solodovnikova
By contrast, at 2:24, you hear a distinct change in tonal quality and decrease in dynamic as well, hitting the high note in falsetto. The passaggio is very obvious, more characteristic.
|
|