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When Anita Baker came to me complaining of hoarseness and singing flat, around C, above middle C (second registration); I noticed that in her third registration (E flat to A flat above middle C), her pitch was excellent and she didn't strain. This is a common problem for virtually all singers. It seems instinctive, to pull the heavy feeling of the first registration, into the second (where she was straining). We now know, that if the thickness of the vocal chords, is too heavy for the pitch, the singer will be flat. And, on the other hand; if the vocal chords are too thin for the pitch, the singer will be sharp. The good news is that, as singers, we can actually feel when the chords are too thick or too thin. Therefore; we can consciously correct pitch. So; Anita’s solution was to use the feeling of her third registration, at the top of her second. Problem solved: no more hoarseness or fatigue on the road. Keep in mind that this solution worked for her. It may or may not work for you.

THE Anita Baker? Maybe I need to pay more attention to your posts...

SingFromFeelStudio wrote:When Anita Baker came to me complaining of hoarseness and singing flat, around C, above middle C (second registration); I noticed that in her third registration (E flat to A flat above middle C), her pitch was excellent and she didn't strain. This is a common problem for virtually all singers. It seems instinctive, to pull the heavy feeling of the first registration, into the second (where she was straining). We now know, that if the thickness of the vocal chords, is too heavy for the pitch, the singer will be flat. And, on the other hand; if the vocal chords are too thin for the pitch, the singer will be sharp. The good news is that, as singers, we can actually feel when the chords are too thick or too thin. Therefore; we can consciously correct pitch. So; Anita’s solution was to use the feeling of her third registration, at the top of her second. Problem solved: no more hoarseness or fatigue on the road. Keep in mind that this solution worked for her. It may or may not work for you.

A lot of times, its not the voice, but rather the song choice which somebody sings, which determines success of register (at least in the ears of an untrained listener) . To that end, what was the song Anita Baker was singing in the seventies?

I'ld like to know your comments on falsetto and its appropriatness
and proper function.[/b]

fisherman bob wrote:THE Anita Baker? Maybe I need to pay more attention to your posts...

That's exactly what I was going to say.

Did I tell you how I helped Fred Mercury, and Bob Plant. Ahh it didn't matter, they both released recordings with major flat spots. Everyone loved them. I just don't get it.

Send a check anyway.

And always, always, put something on your profile that shows you have some musical talent. Remember a song is worth a thousand words, proof is in the pudding, and a squeaky vocalist is much easier to replace than oil a door-hinge.

You guys just don't get it,,,, do ya?

KLUGMO wrote:I'ld like to know your comments on falsetto and its appropriatness
and proper function.[/b]

. It's a matter of taste but I can't stand falsetto, especially when the words are unintelligible. It would be really cool if a screamo band had somebody in the band doing falsetto harmonies. True cacaphony.

A lot of times a singer will go there in a song and its just
distractive but some can do it just right. This guy does perfectly
in my opinion.

http://youtu.be/tmKZyugecCo

[/b]

KLUGMO wrote:I'ld like to know your comments on falsetto and its appropriatness
and proper function.[/b]

Falsettos can be used to paint a social setting: For example,


Mick Jagger did it with "Emotional Rescue". That song seemed to depict a soul/funk persona (not much different than a Super Fly) , and it portrays a typical courtship, or strutting of an urbanite over some chick...

Tiny Tim used Falsetto in "Tip-Toe Through the Tulips" to depict a 'minor adventure of frolic in a garden, with happy-gay overtones.

16th Century male singers through Modern Choral male singers with bass voice would take to using falsetto wherever there was need for an Alto or a Soprano register.

Brad was riding the wave 20-something years ago, but now that the music industry is pretty much in the shitter and these young cats really don't care how they sound, and the major fact that no one's really crooning anymore, he needs business wherever he can get it.

Good luck, Brad! I'm not being sarcastic, the more you put yourself out there, you're bound to get some business.

Chaeya

Black57 wrote:

fisherman bob wrote:THE Anita Baker? Maybe I need to pay more attention to your posts...

That's exactly what I was going to say.

Yes; The Anita Baker.